tcg Annual Report 2005–2006 Theatre Communications Group (TCG) was founded in 1961 at the outset of the regional theatre movement with the mission to strengthen, nurture and promote the professional not–for–profit American theatre. Over the last 45 years, our constituency has grown from a tiny network of groundbreaking theatres to more than 430 member theatres in 47 states and the District of Columbia, as well as over 17,000 individuals nationwide. TCG’s core programs include conferences, publications and grantmaking programs. Events, such as our annual TCG National Conference, bring together geographically separated peer professionals and provide forums for sharing best practices. As the nation’s leading independent publisher of dramatic literature, TCG Books releases approximately 15 theatre books and plays per year. Our periodical publications, American Theatre magazine and the ARTSEARCH employment bulletin, connect and inform the field. Through grantmaking programs and awards, TCG promotes career development, artistic collaboration and the creation of new work. As a national center, TCG is in a unique position to galvanize leadership. We spearhead the Free Night of Theater audience development campaign and other national collaborative initiatives. We gather and disseminate industry information, conduct national research and advocate for the theatre field in Washington. In our role as the U.S. Center of UNESCO’s International Theatre Institute, a network of theatre centers in over 90 countries, TCG links members to the international theatre community. In all our endeavors, TCG seeks to increase the organizational efficiency of our member theatres, cultivate and celebrate the artistic talent and achievements of the field, and promote a larger public understanding of and appreciation for the theatre. Board of Directors ••••••••••••••••••••••••••••••••••••••••••••••••• 2

Perspectives on the Year • ••••••••••••••••••••••••••••••••••••••••• 4 Abel López, Board President Ben Cameron, Executive Director

Core Programs ••••••••••••••••••••••••••••••••••••••••••••••••••••• 8 Conferences and Events 8 Expanding the Theatre Manager’s Repertoire 2005 Free Night of Theater Fall Forum on Governance: Art in the Board Room Leadership for Artistic Directors Conversations in the Field II ITI World Congress Blue Ocean Strategy TCG National Conference: Building Future Audience Managers’ Teleconferences Education Directors’ Teleconferences

Grantmaking, Professional Development and Awards 12 The Fox Foundation Resident Actor Fellowships New Generations Program NEA/TCG Career Development Programs NEA/TCG Theatre Residency Program for Playwrights TCG/ITI Travel Grants TCG Observership Program National Theatre Criticism/Affiliated Writers Program TCG Awards Peter Zeisler Memorial Award Inactive Programs

Publications 16 TCG Books American Theatre ARTSEARCH TCG Bulletin

Services and Field Leadership •••••••••••••••••••••••••••••••••••••• 18 National Research Advocacy Programs for Theatre Educators International Theatre Institute TCG Website

Constituency • •••••••••••••••••••••••••••••••••••••••••••••••••••• 22 TCG Member Theatres Business, Funder and University Affiliates Individual Members and Trustee Leadership Network National Council for the American Theatre Contributors Selection Panels, Task Forces and Advisory Committees

Financial Overview • ••••••••••••••••••••••••••••••••••••••••••••••• 30

TCG Staff ••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 32

table of contents tcg Annual Report  TCG’s board of directors represent a diverse range of geographic, board cultural, aesthetic and professional viewpoints. The board held three two–day meetings in 2005–2006, with additional committee meetings of directors held throughout the year. Board members are elected for an initial term of four years, and are eligible to be re–elected for an additional term of two years. We would like to express our appreciation to all of our board members for their generous donation of time, expertise and counsel throughout 2005–2006.

Gary Anderson • Vice President Susan V. Booth • Vice President Peter C. Brosius Carlyle Brown Producing Artistic Director Artistic Director Artistic Director Playwright Plowshares Theatre Company Alliance Theatre The Children’s Theatre Company Minneapolis, MN Detroit, MI Atlanta, GA Minneapolis, MN

Carol Brown Ben Cameron Jeff Church David Dower Pittsburgh Cultural Trust Executive Director Producing Artistic Director Artistic Director Pittsburgh, PA Theatre Communications Group The Coterie Theatre The Z Space Studio New York, NY Kansas City, MO San Francisco, CA

Peter DuBois Danny Hoch Melanie Joseph Martha Lavey Associate Producer Actor, Playwright, Director Producing Artistic Director Artistic Director The Public Theater New York, NY The Foundry Theatre Steppenwolf Theatre Company New York, NY New York, NY Chicago, IL

Robert H. Leonard Todd London Abel López • President Catherine Maciariello Director Artistic Director Associate Producing Director Program Officer Virginia Tech New Dramatists GALA Hispanic Theatre for the Performing Arts Blacksburg, VA New York, NY Washington, DC The Andrew W. Mellon Foundation New York, NY

 tcg Annual Report board of directors Ellen McLaughlin Benjamin Moore Charles Newell Paul Nicholson Actor, Playwright Managing Director Artistic Director Executive Director Nyack, NY Seattle Repertory Theatre Court Theatre Oregon Shakespeare Festival Seattle, WA Chicago, IL Ashland, OR

Daniel Renner Nancy Keen Roche • Treasurer Rosalba Rolón Timothy J. Shields • Secretary Director of Education Trustee Artistic Director Managing Director Denver Center Theatre Company CENTERSTAGE Pregones Theater Milwaukee Repertory Theater Denver, CO Baltimore, MD Bronx, NY Milwaukee, WI

Molly Smith Paula Tomei Susan Trapnell Susan Tsu Artistic Director Managing Director Managing Director Costume Designer Arena Stage South Coast Repertory ACT Theatre Carnegie Mellon University Washington, DC Costa Mesa, CA Seattle, WA Pittsburgh, PA

Shay Wafer Tim Weiss Jeffrey Woodward Chay Yew Managing Director Trustee Managing Director Playwright, Director Cornerstone Theater Company South Coast Repertory McCarter Theatre Center Los Angeles, CA Los Angeles, CA Costa Mesa, CA Princeton, NJ

board of directors tcg Annual Report  As I look back at our activities in fiscal year 2005–2006, I am struck by the Perspectives dramatic changes, new challenges and incredible successes that we have witnessed. This is an exciting moment of transition and opportunity for on the Year TCG—one that was not anticipated a year ago. After eight years of exemplary and visionary leadership, the end of the fiscal year brought the resignations • abel López, Board President of executive director Ben Cameron and managing director Joan Channick. They left an organization that is now stronger, more deeply rooted in its core values and poised to develop more specific actions to realize our vision for the future. Ben will continue to be an important partner to TCG in his new position as program director for the arts at the Doris Duke Charitable Foundation. Joan has returned to a member theatre as managing director of the Long Wharf Theatre in New Haven, CT. I know both will continue to serve our field with integrity, dedication and vision. But, we will miss their teamwork, humor and thoughtfulness at TCG. Now, to the absolute delight of our staff, board and field, Gigi Bolt is serving as our interim executive director. Gigi is the former director of theatre and musical theatre at the National Endowment for the Arts and will serve TCG until a new executive director is in place. Working closely with TCG board committees and staff liaisons, she has ensured that programs and services continue to be provided with the excellence you have come to expect and deserve. Her energy and leadership have maintained the momentum of all of our initiatives as we move forward. It is our hope, however, that the Selection Committee—under the chairmanship of Tim Shields, managing director of the Milwaukee Repertory Theater, and with the guidance of Greg Kandel of Management Consultants for the Arts, Inc.—will complete its work this fall and the next executive director of TCG will be at the helm in early 2007. Highlights of 2005–2006 •  TCG was awarded a 2005 Tony Honors for Excellence in Theatre in recognition of our contributions to the field. •  Our national Free Night of Theater pilot program was launched in Austin, Philadelphia and San Francisco. Our research revealed that the event was an unmatched success in reaching a new demographic audience and impacting the theatregoing habits of participants. The program will continue to expand across the country in 2006 and 2007. • More than 700 theatre professionals convened at the TCG National Conference in Atlanta to explore the topic of building future audiences. Your participation, intellectual curiosity and enthusiasm once again made the conference a wonderful experience full of rich dialogue, artistry and the development and strengthening of meaningful relationships. •  With funding from the Doris Duke Charitable Foundation and the Andrew W. Mellon Foundation, a series of Conversations in the Field was held in four cities to “take the pulse” of the American not–for–profit theatre. •  TCG convened several working group sessions as part of in a new initiative to create national models for student assessment and program evaluation for both school and community–based theatre education programs. •  TCG received applications for our newest grantmaking program, the Fox Foundation Resident Actor Fellowships, and will award the first round of grants in the fall of 2006. •  Once again, TCG Books published 14 exciting new titles, and has been entrusted with the publication of the complete works of August Wilson and the epic 365 Days/365 Plays project by Suzan–Lori Parks. •  We continued to make progress on our three–year plan to replace outdated technological systems, including the replacement of databases used for both fundraising and grantmaking. •  TCG has taken on a new “look” with a new organizational logo, a new four–color design of American Theatre magazine and the overhaul of the layout and content of our website, www.tcg.org.

 tcg Annual Report perspectives on the year Looking Ahead TCG’s vision for the future reverberates in programs and services that respond to the field in three realms: our immediate circle of theatre professionals, the communities and audiences we serve across the country, and the broader international theatre community. Even as TCG deepens and broadens trusted core programs and services to the field, the board of directors continues to examine the environment in which we exist and the changing needs of the not–for–profit theatre to envision a TCG capable of responding to those changes and needs. A board committee structure is now in place to work with TCG staff to develop programs that can further our goals for the field. As theatre professionals, we seek to strengthen our theatres, nurture our artists, develop greater audiences for our work and expand our role in international exchange and dialogue. These efforts can help sustain our field and build the support necessary to influence our own destiny. To that end, we have established a Resources Committee chaired by Carol Brown, formerly with the Pittsburgh Cultural Trust, to explore how significant resources can be created to support our field. The committee is working closely with Martha Neighbors, director of development, to define the necessary steps to meaningfully consider, plan and implement this significant effort. The Audiences Committee of the board of directors also has an active agenda this year. They are focused on efforts that can contribute to greater audiences for theatres across the country. We believe that by working in partnership it is possible to expand and diversify audiences in communities across the nation, and to build greater appreciation for theatre and the arts. Chaired by Molly Smith of Arena Stage, the committee is working on these fronts with Phillip Matthews, director of communications, and Mark Gordon, web director, on the Free Night of Theater campaign; with Terry Nemeth, TCG’s book publisher; and with Jim O’Quinn and his American Theatre magazine staff. We also remain committed to programs that support international collaboration and exchange involving theatres and artists. The International Committee, led by Melanie Joseph of The Foundry Theatre, is working with Emilya Cachapero, director of artistic programs and the new staff director of the U.S. Center of the International Theatre Institute, to ensure that a global perspective is integrated into TCG programs and services. With the close of fiscal year 2006, I would like to extend my heartfelt gratitude to departing board members Gary Anderson, Catherine Maciariello, Charles Newell, Paula Tomei and Susan Tsu. The entire TCG family and American theatre community mourn the passing of outgoing board treasurer Nancy Keen Roche on Sept. 8, 2006. Nancy’s tremendous warmth, wisdom and generosity of spirit are deeply missed by all who knew her. As we enter a new year, I am extremely pleased to welcome the following new members to the 2006–2007 board of directors: Douglas R. Brown, Dawn Chiang, Philip Himberg, Rachel Kraft, Marc Masterson, Mark Shugoll and Kate Warner. I want to thank you for your commitment to and participation in TCG and its programs. Your work in communities across the country inspires and challenges us to to promote that work and to exercise responsible leadership on your behalf. The TCG board of directors welcomes your participation and engagement, and endeavors to serve you in a manner that promotes the health and vitality of the entire field. I also want to thank Gigi Bolt and the entire TCG staff for their dedicaton and efforts to make our programs and services to the field so effective.

perspectives on the year tcg Annual Report  During fiscal year 2006, theatre audiences came into focus. For the first Perspectives time, Theatre Facts revealed an overall decline in theatre attendance across the country. Anticipating this challenge, TCG launched its Free on the Year Night of Theater audience development initiative, began a new project to create national models for theatre education program assessment • ben Cameron, and brought our collective attention to audience building at the TCG Executive Director National Conference in Atlanta. The following remarks are taken from executive director Ben Cameron’s farewell address on June 10, 2006:

…Somehow, I had always—at heart—thought of audience development as additive. Name the new group of your choice. Young people? We’ll add them in. People of color? Added in. Older audiences a new venture for you? Add them in. Somehow, if we could only find the right formula, we could increase our numbers, adding without fundamentally changing and reinventing our organizations in their entirety—never really recognizing that the addition of any new group, if seriously engaged, not only has the potential to displace and redefine the old, but will almost certainly do so. Indeed, our collective insensitivity to this basic truth of systems may well account for our largely unsuccessful attempts to truly diversify our audiences—whatever diversify means to you relative to your current audience base, whether by virtue of age or sexuality or gender or race or a host of other possibilities. Our opportunistic intersections, often by virtue of title, have failed to produce sustained interaction, perhaps because quite simply, the concept of mere adding doesn’t work. An invitation to merely attend without an invitation to participate in real reinvention may not be any invitation at all. It may be simply market exploitation. … But of all the ways of reinvention, perhaps the most urgent are those dealing with social interaction and our own sense of cultural authority, especially as we look to engage younger audiences. Why should a generation—a generation able to publish their own work on the web or produce and release their own CDs, a generation who increasingly turn to one another for their most powerful instruction rather than to the trained professional at the head of the classroom—why should this generation cede to mine any sense of cultural authority or power, regardless of our training or where we stand in physical relation to them? While historically the power to tell the story has been ceded to the artist, the Internet makes every person a potential storyteller, and no one appreciates this power more than the young. …Many, many theatres that exist today are already beginning to engage in a new social transaction, expanding the potential for optimal social interaction. Anne Bogart has opened her rehearsal hall permanently. Martha Lavey at Steppenwolf shared with us all in a past Field Letter her passionate desire to see the audience as a circle of collaborators, invested in the organization in a way that transcends like or dislike for an individual production. Lisa Adler of Horizon Theatre reports an entire organizational rejuvenation and redefinition in the wake of a mission change, leaving the primary purpose of “to produce the great plays” and replacing it with a new mission, “to connect people to the great plays”—a slight yet profound realignment that is changing every part of the organization. These moves— taken strategically, carefully, organically and yet patiently—indeed reveal the optimal strategies—those that invite revolution even while acknowledging the need for patience and long–term vigilance. …We cannot hope to thrive if our deepest intentions are on preserving our theatres and our institutions as we know them today. We must be willing to seize and embrace the change that is sure to come. Just as the not–for–profit theatre field of 50 years ago—a field of a mere two dozen professional theatres—bears scant resemblance to the field we know today, the field of 50 years from now will look different, will act different, will be different than the one we know today.

 tcg Annual Report perspectives on the year As will TCG. For it is time for me to say goodbye to you all, to yield the reins to someone else, in part to invite its transformation. Even as the TCG of today is in many ways very different than the one I was blessed to inherit, the transformations have not meant the eradication of all that went before. Our changes have, I hope, responded to conditions, responded to your needs, led us deeper and deeper into our commitment of service to you. TCG’s positive change will be in direct proportion to the energy and investment you give it, especially in these coming months. I leave feeling that we have brought it to a new point of strength—indeed, I could not leave in good conscience if we were in a point of peril—and because the organization will be best served by periodic change. I can only hope my successor will be given the same openness, the same generosity, the same affection that all of you have afforded me. As I close, just as you have been so generous in saluting me, I must take a moment to salute you. …You are the people I have always loved best, from the first moment I stumbled into a rehearsal hall in 1974. You are those people who dive, who harness, who move and pass the bags and move in a common rhythm, who cry for—and create—the work that is real. At our best, we have known—and accepted our responsibility—the part of our mission that lies increasingly in molding and defining our national character. We know that if a nation aspires to true greatness, it will do more than intone stale and mindless slogans of patriotism; it will do more than wallow in the drab literalness of the day to day. We know that if a nation aspires to true greatness, it must nurture and cultivate the collective imagination—the ability to imagine life other than as it is lived, our only road to the new solutions, not only to the problems that currently confound us but to the problems we have yet to see. We know that if a nation aspires to true greatness, it must constantly ask of itself, “Can we get along with one another,” as Anne [Bogart] asked. As artists, we labor in the hopes that our nation aspires to that greatness—a greatness that means it must support the arts. We want that greatness—and no matter who we are, or what kind of work we pursue, or what our own religious or political beliefs may be, we all believe in the transformative power of theatre, we all believe in what happens when the lights go up on a darkened house and a voice begins to speak, we all know that imagination—deep, wild, passionate imagination—is as valuable a national resource as economic impact and educational test scores. …At our best, I can only hope that we have extended these values to one another—engaging and delighting, sharing our passions, transporting to rapture, achieving communion. That we have together at our best been, like Anne said, "Heroic, poetic, intense, beautiful." Your generosity—your astounding generosity—the affection and respect and love I have felt from you—every time you have opened your homes to me, with every note and letter, with your presence here, indeed, for every moment of the last eight years, will be with me as long as I live, and I thank you from the bottom of my heart for it all. My name is Ben Cameron and, even as I now relinquish this role, I have been honored, humbled and deeply grateful every day of my tenure to be your executive director, to work beside you, with you, for you. God speed you in your travels, God speed you in your work, God bless you in every aspect of your lives.

perspectives on the year tcg Annual Report  Expanding the Theatre Core programs Manager’s Repertoire 2005 August 1–2, 2005 Baltimore, MD • conferences and Events For the eighth consecutive year, TCG offered the unique and successful training program Expanding the Theatre Manager’s Repertoire, continuing Throughout the year, TCG provides networking and our relationship with Target. Building on Target’s own human resources training opportunities for theatre professionals by hosting training methods, which exemplify the best practices in the corporate sector, this program is specifically tailored for theatre managers. Developed events that offer participants practical tools for their daily work, with considerable input from a diverse group of artistic and management promote in–depth reflection on crucial issues and seed field leaders and senior managers, the program is revised each year in response connections that sustain participants long after these to participants’ evaluations. Participants at the 2005 event spent two days meetings adjourn. in a highly interactive learning environment, with vital information and practical solutions for problems commonly encountered in work in the theatre. This year’s topics included coaching and developing, managing conflict, influencing others and mastering the change curve.

Free Night of Theater October 20, 2005 Austin, TX; Philadelphia, PA; and San Francisco, CA On Oct. 20, 2005, over 150 theatre companies—large and small—in Austin, Philadelphia and San Francisco welcomed nearly 8,000 theatregoers to over 170 performances free of charge. This three–city event launched TCG’s Free Night of Theater national initiative to attract new audiences to live theatre, which will continue to expand to a fully national scale over the coming years. The Austin Circle of Theaters, the Theatre Alliance of Greater Philadelphia and Theatre Bay Area produced the event locally, and each of these three service organizations has taken a leadership role in producing phase two of the event. TCG envisioned the campaign, managed the pilot phase, established the national website and offered modest subsidies to offset the costs of the local printing and advertising campaigns. Shugoll Research of Bethesda, MD, conducted a follow–up survey of audience members in the Bay Area who participated in the 2005 pilot event. The survey was designed to gauge the success of program in meeting its primary goal of attracting new audience members, to report on outcomes of the program in terms of influencing theatregoing habits and to aid in program evaluation by reporting on the experience of participants and identifying any barriers to attendance at future Free Night of Theater events. The results were extremely encouraging: 69% of the Free Night patrons reported going to a theatre they had never gone to before. Of those, 29% reported that they went back to that theatre within nine months and purchased tickets. Better still, 35% of all participants reported going to the theatre more often in the nine months following Free Night 2005 than they had in the past, and of those, 85% say it was directly related to their experience with Free Night of Theater. Furthermore, the figures reflect that the program is reaching non–traditional theatregoers: 26% are under age 35, 19% have less than a college degree, 44% were people of color and 28% had incomes under $50,000. And finally, 98% of the patrons report that offered the chance, they would take part in the next Free Night of Theater event. CEO Mark Shugoll concludes that he “cannot think of any audience development program that is as successful as Free Night of Theater.”

 tcg Annual Report core programs Fall Forum on Governance: decisions are made, how conflict and is handled, how information is Art in the Board Room communicated and how ethical standards are established. TCG filled all November 11–13, 2005 New York, NY slots available to the theatre field, with a total of 35 artistic directors of The seventh annual Fall Forum on Governance was held at the Roundabout member theatres in attendance at the fall and spring sessions. Theatre Company and Theatre Row. Over 190 participants from TCG member theatres were in attendance. Cora Cahan, president of The New 42nd Street, delivered the keynote address and spoke about the Conversations in the Field II importance of the arts during economic development and revitalization. February–March, 2006 Geared to giving trustees the opportunity to gain deeper insights into the Boston, MA; Los Angeles, CA; Louisville, KY; artistic process, the Forum focused largely on the play Mr. Marmalade and Washington, DC as a teaching example. Registrants were sent a copy of the script and TCG periodically “takes the pulse” of the theatre field through different attended the production at the Roundabout’s Laura Pels Theatre. Before channels. Most recently, in February and March 2006, we held a series the performance, directors Susan Booth, Martha Lavey, Timothy Near of convenings funded by the Doris Duke Charitable Foundation and the and Charles Newell led workshops about the producing challenges posed Andrew W. Mellon Foundation. More than 100 independent artists and by Mr. Marmalade. The next day, participants were given the opportunity leaders from large, small and mid–sized theatres from every region of the to discuss the production in a session entitled “How to Talk with Artists country gathered in Boston, Los Angeles, Louisville, and Washington, DC, to About their Work” with director Michael Greif and playwright Noah Haidle. assess the current state of the American not–for–profit theatre. Many new John Borstel of the Liz Lerman Dance Exchange facilitated the discussion challenges and pressures facing the field were identified. These included using the “critical response process” developed by Liz Lerman. In other the demand on theatres to provide a context for productions within an sessions, Anne Bogart, artistic director of New York’s SITI Company, invited increasingly polarized political climate, the need for theatres to adapt participants to experience firsthand the actor/director relationship by to a changing audience as shown by declining ticket sales and shrinking auditing an actual first rehearsal of a new Charles Mee play with actors, subscriber bases and the artistic tradeoffs that come with producing designers and the playwright in attendance. Constance Congdon, Arthur theatre within an increasingly constrained economic environment. All Kopit, Ellen McLaughlin and Chay Yew led interactive playwriting workshops meetings were facilitated by Gwen Cochran Hadden, president of Cochran in which trustees themselves encountered the blank page. Hadden Royston Associates. A full report by Ben Pesner is printed in the July/August 2006 issue of American Theatre magazine.

ITI World Congress May 22–28, 2006 Manila, Philippines TCG sent a delegation of 23 U.S.–based artists and theatre leaders, including ITI president Melanie Joseph and Emilya Cachapero, recently appointed director of ITI/U.S., to attend the 2006 International Theatre Institute World Congress held May 22–28 in the Philippines. The Congress is the biennial gathering of theatre professionals representing ITI’s 93 member countries. In addition to plenary sessions and committee meetings, concurrent events included the World Festival of Drama Schools, featuring the work of students from over 20 countries and the Theatre Olympics,

US featuring 26 international productions. The culminating event of the ARC M

Congress and the Theatre Olympics was the presentation of The Borges N A O

J Project, a 90–minute international collaboration based on Argentine writer Mamie Gummer, Michael C. Hall and the company of Roundabout Theatre Company’s Jorge Luis Borges’s story “The Circular Ruins.” The Borges Project also Mr. Marmalade. opened the Manila International Theatre Festival. An article on the event by U.S. delegate Heather Cohn is printed in the September 2006 issue of Leadership for American Theatre magazine. Artistic Directors November 13–14, 2005 and June 20–21, 2006 New York, NY, and Portland, OR Blue Ocean Strategy In conjunction with Dance/USA and National Arts Strategies, TCG offered June 8, 2006 Atlanta, GA the Leadership for Artistic Directors training program as a post–conference On June 8, TCG held its pre–conference workshop, Blue Ocean Strategy, a session to our 2005 Fall Forum on Governance. Due to the immense seminar based on the business tactic best–seller Blue Ocean Strategy: How popularity of this program, another session was offered in Portland in to Create Uncontested Market Space and Make the Competition Irrelevant June of 2006. This advanced training program is designed for existing or by W. Chan Kim and Renée Mauborgne. Led by business professor and prospective artistic directors who want to understand more clearly the consultant Ralph Trombetta, the pre–conference introduced 90 participants organizational leadership responsibilities of the position. The training to the Blue Ocean Strategy, the idea of an existing business creating a new included sessions about how artistic directors can 1) position the organization niche for itself instead of trying to compete with similar business models, advantageously in the minds of artists, patrons, donors and staff; 2) manage thereby eliminating the competition. relationships with board members, the managing director and other key staff; and 3) identify and influence the organization’s internal culture—how

core programs tcg Annual Report  TCG National Conference: Core programs Building Future Audience June 8–10, 2006 Atlanta, GA • conferences and Events The 16th TCG National Conference was held at Atlanta’s Woodruff Arts Center, home of the Alliance Theatre, and drew over 700 theatre professionals from across the country. Participants heard from plenary speakers who addressed a major need within the theatre field to build future audiences. Anne Bogart, the renowned artistic director of SITI Company in New York, shared her wisdom and perspective on “The Role of the Audience” as the conference’s opening speaker. Conferencegoers examined the changing nature of our audiences with guidance from Guy Garcia, author of The New Mainstream: How the Multicultural Consumer Is Transforming American Business, and Wendy Puriefoy, president of the Public Education Network. Kevin McCarthy of RAND Corporation, author of two studies on arts participation, addressed the topic of audience building from a social scientist’s perspective, looking at how theatres can understand and respond to a potential audience’s predisposed attitudes towards theatre. Colin Greer, president of the New World Foundation spoke about the power of grassroots movements and theatre as an effective form of expression. Ben Cameron offered his last closing statement as executive director of TCG with his summation of the conference and thanks to his colleagues and friends, which is excerpted in the Perspectives on the Year section of this report. Performances at the conference included Free Street Programs’ eternal return, written and performed by Chicago high school students, Pick Up Performance Company’s Art, Life and Show–Biz, a look at the life of Valda Setterfield, and Alternate ROOTS’s multidisciplinary piece Uprooted: the Katrina Project. Open Eye Figure Theatre provided several showings of their puppet musical, The Adventures of Katie Tomatie, and solo artist Daniel Beaty performed an excerpt from his work, Emergence–SEE! TCG held three “mini–plenaries” which took place simultaneously in two consecutive sessions in an effort to allow participants to hear as many speakers as possible. The sessions included: “Another World Is Possible: The World Social Forum,” moderated by Clyde Valentin and featuring Candido Grzybowski, director of the Brazilian Institute of Social and Economic Analysis, Michael Guerrero, director of Grassroots Global Justice, Melanie Joseph, artistic director of The Foundry Theatre and TCG board member, and Alice Lovelace, national lead staff organizer for the U.S. Social Forum; “Organizing Online,” a conversation between MoveOn. org co–founder Joan Blades and Molly Smith; and “Making Theatre, Building Community,” a panel moderated by TCG board member Robert Leonard and including Meena Natarajan, John O’Neal, Marty Pottenger, Michael Rohd and Michael Sommers. O D UEN Q O R R E H OP T IS BY CHR BY OS T O H P

LL A

Top row: Opening reception at the High Museum’s Wieland Pavilion. Second row: Speakers from left, Colin Greer, Kevin McCarthy, Wendy Puriefoy and Guy Garcia. Third row: TCG awardees from left, Mary Trudel of The Wallace Foundation, Woodie King, Jr., Lisa Cremin of the Metropolitan Atlanta Arts Fund and Will Power. Bottom Row: Mini-plenary session panelists from left, Meena Natarajan, Marty Pottenger, Robert Leonard (moderator), John O’Neal, Michael Rohd and Michael Sommers,

10 tcg Annual Report core programs Affinity group sessions, held after registration on the first day of the Managers’ conference, launched the conference by bringing theatres of like size and Teleconferences budget group together to congregate, get acquainted and discuss issues Ongoing with those in similar situations. Teleconferencing has proved to be an effective way to gather theatre Breakout sessions provided valuable time for theatre leaders to professionals in specific departments from across the country to share gather and speak openly about matters that affect them and their theatres. information and brainstorm solutions to common problems. During fiscal In response to suggestions from previous conference participants, year 2006, teleconferences for development directors and marketing TCG pared down the number of breakout sessions to 43 as opposed to directors from TCG member theatres were moderated by Dawn Rains, last year’s 55. The more tightly focused sessions, concentrating on director of development at Seattle Repertory Theatre and Lory Bowman, audience development, were divided topically into artistic, international, director of marketing at The Repertory Theatre of St. Louis. management, governance and informational categories. The 2005 conference also featured a Salon Series of lunches with prominent figures in the theatre who were interviewed by a colleague: Tisa Education Directors’ Chang with Gigi Bolt, Peter Culman with Victoria Nolan, Woodie King, Jr. Teleconferences with Gary Anderson and Ed Waterstreet with Timothy Near. Ongoing The opening reception was held at the Wieland Pavilion, the centerpiece TCG offered three series of teleconferences for education directors, of the Woodruff campus’s High Museum of Art. A breakfast for trustees moderated by Andrea Allen, director of education at Seattle Repertory was hosted by TCG’s National Council for the American Theatre on Friday Theatre. Topics addressed during these calls included establishing morning at the Center for Puppetry Arts. The “Spotlight On” reception partnerships and alliances, building stronger student matinee and touring and exhibit, sponsored by Fisher Dachs Associates, was a showcase for programs, integrating approaches to education through arts in public TCG/NEA Career Development Program and New Generations Program schools, internal and external advocacy, assessment, long–range planning recipients, and featured the innovative work of emerging directors and and training artists. designers from across the country. The TCG Bookstore offered over 110 titles for sale and featured book signings by Suzan–Lori Parks, Donna Walker–Kuhne, Joan Blades and Guy Garcia. The TCG National Conference not only brings together the theatre field, but also places a national spotlight on each host city. The Atlanta theatre community is close–knit and energetic, and local participation was incredible: 170 Atlanta–area individuals attended the conference, representing approximately 20 arts organizations and 35 theatres. TCG was pleased to receive local funding from the AEC Trust, the City of Atlanta Bureau of Cultural Affairs, Fulton County Arts Council, the Georgia Council for the Arts, the John H. and Wilhelmina D. Harland Charitable Foundation, the Charles Loridans Foundation, the James Starr Moore Memorial Foundation, Metropolitan Atlanta Arts Fund and Wachovia Trust. TCG member theatres Dad’s Garage and 7 Stages hosted after–hours events, featuring improv, live music and contemporary works in their spaces—first–hand examples of theatres successfully bringing new, younger audiences through their doors. Performances were also offered to conferencegoers by Actor’s Express, Georgia Shakespeare, Horizon Theatre Company and PushPush Theater. The 2007 conference will take place in Minneapolis/St. Paul on June 7–9, 2007 at the Guthrie Theater.

Above left: Clyde Valentin moderates a mini-plenary on the World Social Forum with panelists Melanie Joseph and Michael Guerrero. Above right: Molly Smith and MoveOn.org’s Joan Blades in a mini-plenary.

core programs tcg Annual Report 11 2005–2006 New Generations PROGRAM Core programs Future Audiences Recipients Black Spectrum Theatre Company (Jamaica, NY) to create and produce two original plays about avoiding gang life and teen sexuality through their Youth • Grantmaking, Theatre Company for summer 2006, using their mobile theatre stage to reach underserved youth in targeted New York City communities, and to hire a part–time Professional Development outreach coordinator. and Awards Classical Theatre of Harlem (New York, NY) to hire an outreach coordinator to reinstitute, expand and manage their grassroots Harlem audience program. They will also hire a part–time box office manager and install a computerized system TCG offers programs in partnership with government in their box office that will allow them to capture walk–up patron information at the point of sale. and foundation funders that provide career development Deaf West Theatre (North Hollywood, CA) to expand its audience development opportunities to theatre professionals, facilitate the creation plan for young and deaf audiences by conducting sensitivity training, organizing of new work, sustain collaborative artistic relationships, marketing and outreach events that target the deaf community, holding talk–backs and developing a Discovery Journal, all in conjunction with several and recognize achievement in the field. TCG utilizes upcoming productions including a new musical based on the children’s classic a peer–panel review process in all selections, with different Sleeping Beauty. groups of panelists convened foreach program. Freehold Theatre (Seattle, WA) to expand its Engaged Theatre tour to culturally underserved communities, adding additional performances and workshops. They will also integrate a musical component into the piece being created using improvisation and writing through their Prison Residency at the Women’s Correctional Center of Washington. The Fox Foundation Resident Georgia Shakespeare (Atlanta, GA) to expand its marketing and outreach efforts Actor Fellowships to target a younger, more urban and ethnically diverse audience through its During 2005–2006, TCG received the first round of applications for our Shake at the Lake program, which includes five free performances in the park, and Celebrate Shakespeare, a free event for families. first dedicated grant program for actors. The Fox Foundation Resident Actor Fellowships, administered by TCG, are divided into two categories: HERE Arts Center (New York, NY) to expand its customized show–specific marketing and add more proactive person–to–person audience development Extraordinary Potential and Distinguished Achievement. Applicants through their HERE:Tailored–to–Fit program, which uses targeted marketing for the Extraordinary Potential category are early– to mid–career actors rather than institutional branding to encourage young audiences to engage with who have completed their training within the last 10 years. Grantees their resident and visiting artists’ work. receive an award of $15,000, with up to an additional $10,000 available Oregon Shakespeare Festival (Ashland, OR) to expand its audience development to relieve student loans. Applicants in the Distinguished Achievement work with African–American and Hispanic professionals in Portland, OR; Oakland, San Francisco and Sacramento, CA and Seattle, WA. They will meet with leaders category must have considerable experience in professional theatre with from diverse communities to develop host committees for OSF events in these a substantial body of work. Grantees in this category receive a $25,000 cities and promote travel to OSF. Events will highlight the OSF theatre experience, award. Host theatres will receive sums of $5,000 in support of the residency. involving actors from OSF and participants in OSF’s Open Door program. To be eligible to apply, U.S. host theatres must be members of TCG with a The People’s Light and Theatre Company (Malvern, PA) to present productions, minimum annual operating budget of $500,000. In addition, a small group forums and workshops that center on Tazewell Thompson’s new play inspired by the local stories of the Underground Railroad. The Underground Railroad Project of British theatres were invited to submit proposals with British actors. will include newly cultivated audience members in the development of the script The first round of fellowships will be awarded in the fall of 2006. and in the events and activities surrounding the production. San Diego Repertory Theatre (San Diego, CA) to expand its Ambassadors to the Future project, building increased partnerships with audiences from their New Generations Program bi–national community. They will develop a deeper interaction with downtown, Latino and African–American communities through collaboration with an active Cooperatively designed by the Doris Duke Charitable Foundation, the Ambassadors Council of community leaders, developed in association with trustees Andrew W. Mellon Foundation and TCG, the New Generations Program and guided by the marketing director and a new audience development associate. has distributed over $9 million in two–year grants to 126 theatres since Seattle Children’s Theatre (Seattle, WA) to expand program activities, personnel 2001. During fiscal year 2006, the program awarded 25 grants in the support and production values for their Deaf Youth Drama Program (DYDP). They following categories: Future Leaders, the cultivation of a new generation will expand staff resources for local and outreach residencies and partner with of theatre leadership through mentorships with established leaders in Seattle Central Community College’s interpreter training program to bring both deaf and hearing students into DYDP programs. the theatre field, Future Audiences, the expansion and bolstering of 7 Stages (Atlanta, GA) to hire a director of audience development and increase existing audience development programs that have proven effective in promotion of the Rush Hour Wednesday program, which models itself on after– reaching young and/or culturally specific audiences, and Future Leaders: work happy hours to overcome geographic and traffic barriers to reaching young International Fellowships where theatre professionals from abroad professionals. They will also engage in more nuanced uses of electronic technology, spend six months in residency at an American theatre. In an effort to such as adding blogging functionality and archival records to their website. gauge the relevancy of the program objectives, the Duke and Mellon Theater by the Blind (New York, NY) to increase the number of performances presented yearly and add more touring and workshops. They will expand their Foundations also supported a series of convenings, called Conversations productions to two per year, with runs increasing from four to six weeks. They in the Field II, to assess the needs of the not–for–profit theatre field. As a will also provide workshops for vision–impaired students, providing role models result, the international component of the program was reconceived as for what blind people can achieve. Future Collaborations: TCG/ITI International Fellowships to support The Theater Offensive (Cambridge, MA) to expand Repeat Offenders, its audience unrestricted international travel for theatre professionals, enabling them involvement program, to include shared meals, pre– and post–show gatherings in homes and neighborhood restaurants, insider volunteer opportunities and to share ideas and techniques and/or collaborate with colleagues from excursions to other cultural experiences. They will cultivate a core team of around the world. The Future Collaborations objective will be implemented audience leaders, called Hardcore Offenders, who will host these events and during fiscal year 2007. participate in planning the program.

12 tcg Annual Report core programs 2005–2006 New Generations PROGRAM Future Leaders: International Fellowships NEA/TCG Career Recipients Development Programs Bloomsburg Theatre Ensemble (Bloomsburg, PA) to host Nabil Mohammed TCG administers the NEA/TCG Career Development Program (CDP) with Bahgat Al Hidaya Abdel Fattah, a director from Egypt. While in Bloomsburg, major support by the National Endowment for the Arts and additional Mr. Baghat will observe the practical workings of the ensemble’s artistic and support from the Ford Foundation’s New Works Program. The program administrative operations, train the ensemble in Arab puppetry and co–create for directors began in 1987 and expanded to include designers in 1990. bilingual works to tour the U.S. and Egypt. Early–career directors, as well as costume, lighting, scenic and sound Dell’Arte International (Blue Lake, CA) to host Carlos Simioni, an actor/creator designers, benefit from the opportunity to spend six months within a and co–founder of LUME Teatro in Brazil. While in Blue Lake, Mr. Simioni will exchange approaches to physical theatre and ensemble structure in the creation two–year period developing their creative skills and expanding their of original work with Dell’Arte. He will participate in company productions and knowledge of the field. Each recipient’s program is hand–tailored to match develop a LUME methodology workshop that will become part of Dell’Arte’s its goals to appropriate and challenging assignments. Program activities new MFA program. may include assistantships, observation, research and travel. Recipients The Talking Band (New York, NY) to host Anna Kiraly, a set and costume may also direct or design projects under the guidance of one or more designer from Hungary. While in New York, Ms. Kiraly will design the Talking Band’s production of The Necklace, develop and present a new visually–driven designated mentors. An independent, national selection panel composed theatre work and travel to Hungary and Poland to present new work and conduct of theatre professionals chose the recipients during fiscal year 2006. workshops. Stipends of $22,500 were provided to seven stage directors and seven designers who are exceptionally talented and seek a career in America’s 2005–2006 New Generations PROGRAM not–for–profit professional theatre. In addition, the recipients were eligible Future Leaders Recipients for an additional $1,000 for life needs, such as health insurance, child care Alley Theatre’s (Houston, TX) director of education and community engagement or aging parental care. Amy Steele to mentor Autumn Knight in education and community outreach. Ms. Knight will coordinate the Alley Theatre’s education and community engagement programs, including a new play development program for high school 2005–2007 NEA/TCG Career Development students, and will assist with teacher recruitment and training. Program for Directors Recipients Black Ensemble Theater’s (Chicago, IL) executive director Jackie Taylor Nataki Garrett, Artistic Director of Blank–The–Dog (Los Angeles, CA) to mentor Reuben D. Echoles in artistic leadership. Mr. Echoles will learn the Kristin Horton, Director and Sound Designer (Iowa City, IA) management and administrative duties of an artistic director, work as an Armando Molina, Director and Writer (Los Angeles, CA) assistant director, direct a production and teach an eight–week acting workshop Jay Scheib, Director (Boston, MA) for beginners. Beatrice Terry, Director (New York, NY) Classic Stage Company’s (New York, NY) artistic director Brian Kulick to Liesl Tommy, Director (New York, NY) mentor Jeff Janisheski in artistic directing. Mr. Janisheski will collaborate on Jonathan Walters, Founding Artistic Director, Hand2Mouth Theatre the First Look Festival, the On the Verge program and the Monday Night Open (Portland, OR) Rehearsal series. He will serve as an ambassador for Classic Stage Company’s new education initiative, assist visiting directors and direct his own readings and a workshop. 2005–2007 NEA/TCG Career Development The Foundry Theatre’s (New York, NY) producing artistic director Melanie Joseph Program for Designers Recipients to mentor Sunder Ganglani in artistic producing. Mr. Ganglani will participate Juliet Chia, Lighting Designer (New York, NY) in the development of new work, aid in the conception and execution of public Leah Gelpe, Sound Designer (New York, NY) dialogue events and help to build an advisory board of artists. Timothy E. Gray, Sound Designer/Composer (Eureka, CA) INTAR Theatre’s (New York, NY) artistic director Eduardo Machado to mentor Fred Kinney, Scenic Designer (Tucson, AZ) Megan Smith in artistic producing and new play development. Ms. Smith will help Peter Ksander, Lighting and Scenic Designer (New York, NY) with all administrative aspects of production and take part in the selection and creative development of plays. Jane Shaw, Sound Designer, Big Dance Theater (New York, NY) Sibyl Wickersheimer, Scenic Designer (Los Angeles, CA) Jump–Start Performance Co.’s (San Antonio, TX) education director Steve Bailey to mentor Daniel Jackson in directing and community education. Mr. Jackson will assist on productions, participate as a teacher in Jump–Start’s education programs and help with the programming of Jump–Start’s guest artist series. Mu Performing Arts’s (Minneapolis, MN) artistic director Rick Shiomi to mentor Randy Reyes in artistic directing. Mr. Reyes will assist with and eventually take responsibility for the New Eyes Festival and New Directions Festival, participate in the organization of theatre outreach performances, organize and lead actor and script development workshops and direct a mainstage production. Mum Puppettheatre’s (Philadelphia, PA) artistic director Robert Smythe to mentor Martina Plag in puppetry. Ms. Plag will conduct historical and practical research and assist with preliminary puppet design and engineering. She will also develop projects involving community outreach, including creating collaborations between Mum Puppettheatre, individual artists and other organizations. Youth Ensemble of Atlanta’s (Atlanta, GA) executive director Deborah Frye 2006 ONI Barber to mentor Chiwuzo Ife Okwumabua in producing. Ms. Okwumabua will CARB

assist with producing Youth Ensemble of Atlanta’s productions, participate in the UE Q general operations of the company and work on tour management and fundraising. MONI © ©

Lea Michelle and Jonathan Groft (center) and the company in Atlantic Theater Company’s world premiere of Spring Awakening directed Michael Mayer, assisted by CDP recipient Beatrice Terry.

core programs tcg Annual Report 13 NEA/TCG Theatre Residency Core programs Program for Playwrights Since 1997, the NEA/TCG Theatre Residency Program for Playwrights has • Grantmaking, helped playwrights create new work while in residence at a host theatre, Professional Development and encouraged them to become an integral part of the theatre’s artistic life and community activities. Each cycle of the program provides stipends and Awards of $25,000 to eleven playwrights, while the host theatres receive $4,500 to enhance their ability to support the residencies. The Ford Foundation’s New Works Program awards playwrights up to an additional $1,000 to provide individual ongoing life needs such as health insurance and child care. The program alternates yearly grantmaking cycles with the NEA/TCG Career Development Program. The next round of awards is during fiscal year 2007.

National Theatre Criticism/ Affiliated Writers Program In 1989, with the support of the Jerome Foundation, TCG launched the National Theatre Criticism/Affiliated Writers Program to help young writers from Minnesota and New York City develop careers in arts journalism. The program has enabled American Theatre magazine to greatly expand its coverage of the national theatre scene while simultaneously encouraging a new generation of cultural reporters and critics. The 2005—2006 affiliated writers contributed seven articles during the 2006 fiscal year, adding a variety of perspectives to the magazine.

2005—2006 National Theatre Criticism/ Affiliated Writers Program Recipients Kerri Allen wrote “A Knight Errant on 4th Street,” about Touchstone Theatre’s Don Quixote of Bethlehem, a community–based performance (October 2005) and “Inside the Slave Trade,” a news piece on Becoming Natasha, a documentary project by Isadora Productions on human sex trafficking (April 2006). Additionally, her feature story on Borderlands Theater of Tucson, AZ, and its connection to the now a hot–button issue of border politics will appear in the December 2006 issue. Laura Butchy wrote “Is Henry Crazy? Or Is it You?” on the collaboration between Pittsburgh Irish and Classical Theatre and Northern Ireland’s Field Day, part of a feature titled “3 Transnational Collaborations” (September 2005) and “What’s the Verdict, Doc?” on Standardized Patient Care, a program which uses actors to help train medical students to deal effectively with patients (May/June 2006). She will complete her fellowship with a feature article on Michelle Hensley and Ten Thousand Things, a Minneapolis–based company that performs for people with little access to theatre (February 2007). David Kornhaber wrote a profile of lighting designer Ben Stanton in the multipart feature “6 Designers You Need to Know” (December 2005) and two case study interviews with mentoring partners Jules Fisher and Peggy Eisenhauer and Sam Woodhouse and Delicia Turner Sonnenberg as part of a special training section on mentorship (January 2006). His Critic’s Notebook piece on the Appalachian Festival of Plays and Playwrights at Barter Theatre will appear in the November 2006 issue.

Peter Zeisler Memorial Award In tribute to longtime TCG executive director Peter Zeisler, this award recognizes an individual or organization whose work exemplifies innovative or untraditional practices, is dedicated to the freedom of expression and has not yet been recognized in the national field for this work.

2005–2006 Peter Zeisler Memorial Award Recipient Will Power, Acclaimed Actor, Rapper and Playwright (New York, NY)

14 tcg Annual Report core programs TCG/ITI Travel Grants TCG Observership Program TCG/ITI Travel Grants, funded by the Trust for Mutual Understanding, are The Observership Program is TCG’s oldest grant program and the only one designed to foster cultural exchange and artistic partnerships between funded solely by TCG. For nearly four decades, this program has provided theatre professionals in the United States and their counterparts in Russia opportunities for artistic or management personnel at TCG’s member and Eastern and Central Europe. These $2,500 grants support travel in theatres to observe the administration and artistic work of other theatres either direction between theatre artists, administrators and educators, and meet with colleagues in other parts of the country and abroad. Grants enabling them to share ideas, gain exposure to each other’s cultural of up to $2,000 are awarded for travel purposes that will broaden theatre traditions and communicate contemporary theatre techniques. Recipients leaders’ exposure to the field and aid in their professional growth. may be either of the following: a U.S. not–for–profit theatre applying on behalf of a theatre professional or an individual theatre professional who 2005–2006 TCG Observership Program Recipients is a U.S. citizen or permanent resident. Murph Henderson, director of new play development at the Arden Theatre Company (Philadelphia, PA), to visit the Children’s Theatre Company (Minneapolis, 2005–2006 TCG/ITI Travel Grant Recipients MN) and Seattle Children’s Theatre (Seattle, WA) to discuss the development and commissioning of new plays for children. Ms. Henderson will observe productions Joanna Sherman, artistic director of New York City’s Bond Street Theatre, and rehearsals of theatre for young audiences. to travel to Bosnia where she will work with the Bulgarian theatre company Dee Covington, education and special events director of Curious Theatre Company Theatre Tsvete to organize the second meeting of the Performing Artists for (Denver, CO), to visit three theatres that offer young writers’ programs: Florida Balkans Peace in conjunction with Mostar Youth Theatre’s International Festival Stage (Manalapan, FL), Berkeley Repertory Theatre (Berkeley, CA) and Horizon of Authorial Poetics. Theatre Company (Atlanta, GA). Ms. Covington will observe these programs Actor and theatre educator Marisa C. Hayes of Newport, KY, to travel to Brasov, with an eye toward the expansion of Curious Theatre Company’s Curious New Romania, to participate in the third annual Said in Context Theatre Festival, where Voices program. she will give readings, co–develop workshop performances and adjudicate the Ariel de Man and Maia Knispel, co–producing artistic directors of Out of Hand festival’s youth competition. Ms. Hayes will also visit Serbia and Montenegro to Theater (Atlanta, GA), to visit the Wooster Group and SITI Company (New York, NY) participate in the Amala School’s summer arts exchange. and Pig Iron Theatre Company (Philadelphia, PA). Ms. de Man and Ms. Knispel will Susan Claassen, managing artistic director of Tucson’s Invisible Theatre, to attend meet with institutional leaders and administrative staff to investigate strategies the Georgian International Festival of Arts in the Republic of Georgia. During the for touring ensemble created works. Festival, Ms. Claassen will perform her play A Conversation with Edith Head. Scott RC Levy, producing artistic director of Penobscot Theatre (Bangor, ME), New York City’s Mabou Mines co–artistic director Sharon Fogarty to travel to visit two theatres with experience restoring historic theatres: Historic Everett to the Czech Republic to collaborate with digital artist Misha Zabranska and Theatre (Everett, WA) and the Sheldon Theatre (Red Wing, MN). These theatres Misha Votruba on Finn, a mythological tale based on the Celtic legend of Finn will serve as models to Penobscot Theatre Company as they prepare to restore McCool. The production will combine live performance with digital motion the Bangor Opera House. Mr. Levy will also visit the Coterie Theatre (Kansas City, capture. MO) to observe their successful education program strategies. Director Christopher Jay Markle and actor Melissa Hawkins of Dekalb, IL, to Stacey Parshall, director of the Chicago Avenue Project at Pillsbury House return to Cluj, Romania, with the final production of Andras Visky’s one–woman Theatre (Minneapolis, MN), to observe youth mentorship programs at the 52nd show Julia (Juliet): A Dialogue About Love, to be performed at the School of Street Project and the All–Star Project at the Castillo Theatre (New York, NY) in Theatre and Television of the University of Babes–Bolyai. order to create and implement similar procedures at Pillsbury House. Ms. Parshall Polish director Tadeusz Bradecki to travel to Pittsburgh Irish & Classical Theatre will also meet artistic leaders at MCC Theater, Art Start, Harbor Conservatory (PICT) to direct Endgame, the centerpiece of PICT’s 2006 BeckettFest. for the Performing Arts, Harlem Children’s Zone (New York, NY) and Pregones Theater (Bronx, NY). Author, designer and director Theodora Skipatares of New York City to travel to the Czech Republic to meet and consult with several puppet artists, including John Bay, education director, and Charles G. Baldwin, publicity and marketing those of Tineola Theater and Drak Theatre. director of Wheelock Family Theatre (Boston, MA), to visit Seattle Children’s Theatre, Youth Theatre Northwest, Seattle Repertory Theatre, and Village Theatre (Seattle, WA). Mr. Bay will investigate education program initiatives, while Mr. Baldwin will explore strategies for subscriber cultivation and retention. TCG Awards Since 2001, the TCG Awards have saluted extraordinary contributions to inactive Programs the American theatre community through recognition at the TCG National AT&T: OnStage® Conference. The TCG Awards are given to corporate, foundation and From 1985–2005, the AT&T: OnStage® program reflected AT&T’s longstand- regional funders that have evidenced national leadership and provided ing commitment to innovation and diversity in theatre arts, with particular sustained outstanding support of the theatre. The Theatre Practitioner attention to the work of women and artists of diverse cultures. During award recognizes an individual—artist or administrator, institutionally the life of this important program, 103 new works were supported at 61 affiliated or unaffiliated—whose work in the American theatre has evidenced theatre organizations in the United States, United Kingdom and Canada. exemplary achievement over time and who has contributed significantly TCG administered the program from 2000–2005, with the last round of to the development of the larger field. While the award was originally grants awarded during fiscal year 2005. designed to honor an individual, nominations for an ensemble, collective or partnership will be considered in cases in which joint/collective contribution TCG/MetLife Extended Collaboration Grants makes it difficult to pinpoint the primacy of a single individual. Offered by TCG and supported by the MetLife Foundation from 1989–2005, the Extended Collaboration Grants gave theatre companies the opportunity 2005–2006 TCG Award Recipients to host playwrights and collaborating artists over an extended period The Wallace Foundation of time. The program extended standard preproduction and rehearsal The Metropolitan Atlanta Arts Fund schedules, and often funded travel, research and workshop components Woodie King, Jr., Founder and Producing Director, New Federal Theatre of the play development process. The final round of grants were awarded in fiscal year 2005.

core programs tcg Annual Report 15 TCG Books Core programs In our 30–year history as a publisher, TCG Books has published the work of more than 235 playwrights and other theatre professionals in single • Publications volumes and anthologies, and sold over 1.8 million books. Our authors boast seven Pulitzer Prizes, six Tony Awards for Best Play or Book of a Musical and one Nobel Prize for Literature, in addition to countless OBIEs, Drama Desk awards and other national and international prizes. TCG also serves as the exclusive U.S. distributor for the following publishers based in Toronto, London, Los Angeles and New York: Aurora Metro Publications, League of Professional Theatre Women, Martin E. Segal Theatre Center Publications, Nick Hern Books, Oberon Books, Padua Playwrights Press, PAJ Publications and Playwrights Canada Press. TCG Books now represents over 1,300 titles. As a publisher of new plays and emerging playwrights, TCG Books has a dual objective: to bring new literary voices to public attention and to cultivate individual relationships with our playwrights that nurture their careers. Many of America’s finest contemporary playwrights got their first publications with TCG Books, including Spalding Gray, Tony Kushner, Craig Lucas, Donald Margulies, Lynn Nottage, Suzan–Lori Parks, José Rivera and Paula Vogel. Every play published by TCG since 1984 is still in print. Our books program again published 14 new titles in 2005–2006. New releases from seasoned TCG playwrights included Mistero Buffo by Dario Fo, Shining City by Conor McPherson and an adaption of Strindberg’s A Dream Play by Caryl Churchill. New play collections included Humpty Dumpty and Other Plays by Eric Bogosian, The Greek Plays by Ellen McLaughlin and Where Do We Live and Other Plays by Christopher Shinn. New cutting–edge plays included Rabbit Hole by David Lindsay–Abaire, Well by Lisa Kron, and My Name Is Rachel Corrie, taken from the writings of Rachel Corrie and edited by Alan Rickman and Katharine Viner. In addition to new plays, TCG Books continued to publish reference books for theatre students, artists and managers, such as the Theatre Directory 2005–2006, the Stage Directors Handbook, compiled by the Stage Directors and Choreographers Foundation, Women in American Theatre edited by Linda Jenkins and Helen Chinoy, Invitation to the Party by Donna Walker–Kuhne and The Viewpoints Book by Anne Bogart and Tina Landau

American Theatre As the only national magazine dedicated to theatre art and practice, American Theatre has served the field as a critical source of news, information and analysis since its inception in 1984. Published 10 times a year with a readership of more than 75,000, the magazine has a subscriber base that includes all 50 states and 90 foreign countries. Its articles have been reprinted in 13 different languages and in hundreds of individual theatre programs. American Theatre’s pages cover all of the traditional disciplines of theatre—acting, directing, design, playwriting—and follow new developments in the arenas of international theatre, emerging genres (such as hip–hop theatre) and related art forms, theatre publications, government policy and arts management. We are proud to announce that, with the November 2005 issue, a cover–to–cover graphic redesign of American Theatre magazine made its debut. The stunning cover photo of August Wilson exemplified our goals for the redesign: artistic expressiveness, a profound engagement with the material we’re covering, and a straightforward appreciation of the beautiful—its simplicity, its theatricality, its power to heal and renew. As editor Jim O’Quinn succinctly comments, “It’s all about the theatre.” The addition of full color on inside pages, the introduction of a bolder, simpler typeface and the larger images framed by more white space are all design changes that help readers get a better look at what

16 tcg Annual Report core programs matters: the art on stage. In addition to the “new look,” the content has ARTSEARCH been reorganized as well: A lively “News in Brief” section (formerly “Trends The ARTSEARCH employment bulletin, now in its 27th year, is the leading & Events”) now leads the way into feature coverage; news from TCG has source of information on administrative, artistic, production, technical, moved primarily to the website and is capsulized on a user–friendly index education, internship and apprentice positions in the arts. ARTSEARCH page; complete play texts (published five times per year) have moved currently has more than 6,000 subscribers and an estimated readership to the black–and–white back section of the magazine. Among the new of 40,000, representing individuals of all experience levels, from among departments are a sumptuous spread called “Production Notebook,” which the full range of disciplines and specialties in the performing arts and arts celebrates the best on American stages with striking visuals and artists’ administration. The bulletin is updated in print twice a month and on the commentaries about them. TCG website every three business days. On the TCG website, job seekers In terms of content, we’re aiming for an ever–stronger focus on can now search for positions by over 200 job titles or categories and save artists’ voices, the exploration of key issues and controversies, and the their selections in their own online file. ARTSEARCH contains over 500 showcasing of the richness and diversity of theatre nationally and beyond. advertisements online and 300 advertisements per bimonthly printed In the past year the magazine has featured the voices of such theatrical edition with an average of 2,000 organizations advertising annually. forces as Richard Greenberg, Lisa Kron, Ethan McSweeny, Lynn Nottage, Will Power, Theresa Rebeck, Sarah Ruhl, Duncan Sheik, Bartlett Sher, Wole Soyinka and William S. Yellow Robe, Jr. Special issues were devoted to TCG Bulletin theatrical mentorship (January) and musical–theatre development (April). The monthly online TCG Bulletin informs our members about current national Complete playscripts included Melissa James Gibson’s Brooklyn Bridge, issues and deadlines requiring immediate attention, and includes news Julia Cho’s BFE, August Wilson’s Radio Golf, Luis Alfaro’s Electricidad and updates, research and survey results and legislative alerts. The Bulletin is Wendy Wasserstein’s Third. available on our website, and an email directing members to the site is sent Our global coverage continues to expand. We have now built in regular monthly as each issue is released. Other publications linked to the Bulletin snapshots of international theatre events in our “Global Spotlight” column. are the executive director Field Letter and the Centerpiece series, an online The May/June international issue, now an annual tradition, previews library of articles on several topics, including marketing, development, theatre festivals worldwide. In 2006, the international issue focused on governance, arts education and management. “The New Europe,” including articles by Jan Lauwers on Belgium, Karin Coonrod on Italy, Jonathan Kalb on Germany, Randy Gener on France and Therese Bjørneboe on Norway. The magazine continued such regular features as its précis of Theatre Facts, TCG’s annual survey of the finances and productivity of America’s not–for–profit theatres; and the Season Preview, an annual compilation of productions, dates and directors for the coming season at theatres coast–to–coast. The content of American Theatre is also featured monthly on the TCG website, with selected articles from each new issue, including editorials by TCG’s executive director; additional articles exclusive to the web; full awards listings; and a database of productions happening each month. Past issues are archived on the web, and the site includes an index of plays published in the magazine, as well as a historical list of each season’s top 10 most–produced plays, dating back to the 1994–95 season.

core programs tcg Annual Report 17 National Research services and TCG is a vital source of national research on the fiscal state of the American not–for–profit theatre. Through two annual national surveys, the Fiscal field leadership Survey and Salary Survey, we analyze industry finances and productivity, employment trends and employee compensation levels. For over 30 years, TCG has published Theatre Facts, which draws from the Fiscal Survey and offers an analysis of the attendance, performance and fiscal health of the American not–for–profit theatre field. Survey results provide benchmarks for theatre managers and arm the field with factual information to use as a tool in advocacy and policy–making.

Theatre Facts 2005 • The report is a compilation of information gathered for the fiscal year completed by theatres anytime between Sept. 30, 2004, and Aug. 31, 2005. Theatre Facts 2005 reported sustained improvement in the not–for–profit theatre field’s fiscal health. The report revealed that theatres continue to make significant contributions to the nation’s artistic legacy, to their communities and to the economy despite the severe challenges they faced during the first years of the new millennium. Written by Zannie Giraud Voss, associate professor, Duke University, and Glenn B. Voss, assistant professor, North Carolina State University, along with TCG staff members Christopher Shuff and Ilana B. Rose, the report examines unrestricted income and expenses, balance sheets, attendance, pricing and performance details and is organized into three sections that offer different perspectives. By collecting comparative data from a large universe of theatres year after year, TCG identifies patterns and trends that help theatres understand their own financial condition in a national context. The last five years have shown significant shifts in audience behavior, with single ticket sales exceeding traditional subscription sales, as well as shifts in funding patterns, with increased reliance on contributed income, particularly from individual donors. This year’s indications are hopeful in many respects—income is up and fewer theatres are experiencing deficits. But the continued decline in attendance suggests that audience development remains an urgent priority for theatres nationwide.

Theatre Facts 2005 Summary of Findings The Universe section provides the broadest snapshot of the industry for 2005, examining an overview of 1,490 theatres—226 theatres that completed survey information and 1,264 theatres that filed IRS Form 990, using an extrapolation formula based on annual expenses. Findings include: Not–for–profit theatres contributed over $1.53 billion to the U.S. economy through payments for goods, services and employee salaries and benefits. Theatres offered 169,000 performances that attracted over 32.5 million attendees. The majority of theatres’ employees are engaged in artistic positions, with an average workplace consisting of 63% artistic, 24% technical and 13% administrative personnel. 51% of total income came from earned sources and 49% from contributions.

The Trend Theatres section focuses on the 100 theatres that have responded to the long form TCG Fiscal Survey in each of the past five years. This analysis examines trends in earned income, expenses, contributed income and attendance figures. The trend analysis, although encouraging, also highlights areas of concern. Findings include: 57% of theatres ended 2005 in the black and deficits have been less severe in the past two years, while surpluses have been greater. For the first time since the new millennium, earned income growth exceeded expense growth, with earned income rising 7.5% in the past year alone and outpacing inflation by 11% over the 5–year period. Adjusting for inflation, contributed income rose 21.8%, total income was up 15.5%, while expense rose 8.5%. Over the 5–year period, total attendance declined 5.5% and subscription numbers continued to drop with 10% fewer subscription tickets purchased. Working capital has been negative since 2002 and was at its worst in 2005, indicating that theatres are carrying accumulated debt and are borrowing funds to meet daily operating needs.

18 tcg Annual Report services and field leadership The Profiled Theatres section provides the greatest level of detail for the 202 theatres that completed the long form TCG Fiscal Survey 2005. This analysis Advocacy breaks down earned and contributed income, expenses, attendance, pricing and TCG continues to advocate for federal policies that strengthen the performance information by budget group and in aggregate. Findings include: performing arts, by educating elected officials and policy–makers in On the whole, earned income financed 60.8% of total expenses and contributed Washington, DC, on issues of importance to the theatre field. Through income financed 50.7%, which shows that total income exceeded total distribution of Action Alerts to the field, TCG mobilizes theatre leaders to expenses by 11.5%. Theatres attracted 5.9 million single ticket buyers and express their support for the NEA and other important issues during the 1 million subscribers/season ticket holders in 2005. Education and outreach annual appropriations cycle, generating scores of grassroots letters and programs served an audience of 3.5 million people through 1,283 programs. Theatres produced 262 world premieres and earned $2.5 million from 401 phone calls to elected officials. Highlights of the past year included: royalty properties. As a founding member of the American Arts Alliance, TCG continued its work with the Association of Performing Arts Presenters, Dance/ Education Survey • TCG conducts an annual survey of the USA and OPERA America in Washington, DC, and our newest member, programming, fiscal health and goals of its member theatre education American Symphony Orchestra League, to advocate for favorable departments. Now in its eighth year, the Education Survey captures a wealth legislation for the performing arts. The American Arts Alliance’s website, of knowledge benefiting a small but enormously effective, essential sector www.americanartsalliance.org, continues to provide member theatres, of the theatre field as a whole. Through classroom residencies, student opera companies, dance companies, presenters, symphony orchestras matinee programs, workshops and classes, and after–school and summer and the public access to an easy–to–use action–oriented resource. camp programs, TCG’s theatre educators reach millions of students and The new website includes information on a range of issues that affect adult learners every year. The Education Survey data is collected via the performing arts organizations, as well as actions to be taken on these TCG website and released to the field through various online reporting tools, issues. The American Arts Alliance launched its new monthly electronic featuring flexible filtering options and custom reports. A full tabulation newsletter, the Advocacy Report, to keep all AAA members updated on of survey data is published in TCG’s Education Centerpiece. For more the full range of issues, between Action Alerts. information on TCG education programs please refer to the Education TCG continued its partnership with Americans for the Arts, which section of the annual report. encompasses a membership of local arts councils and united arts funds. Americans for the Arts is well known for its economic impact studies, “Art: Snapshot Surveys • Snapshot Surveys focus on various topics such Ask for More” PSA campaign, and annual Arts Advocacy Day. Benefits for as software and technology, international collaborations, touring and the TCG member theatres now automatically includes membership with the effects of September 1 1 , 2001 on the theatre field. This format allows TCG Americans for the Arts Action Fund, a dynamic new 501(c)(4) membership to gather and disseminate information quickly and to identify new areas organization that utilizes state–of–the–art advocacy tools to educate and for investigation. Some Snapshot Surveys, such as the Employee Benefits mobilize thousands of grassroots arts organizations and concerned citizens Survey and Governing Boards Surveys, are more comprehensive and are to advance arts–friendly legislation and support arts–friendly candidates administered at regular intervals. running for federal office. On March 13 and 14, 2006, TCG representatives and other arts Interdisciplinary Research • In addition to its multitude of advocates converged in Washington, DC, for Arts Advocacy Day. William in–house research projects, TCG occasionally participates in interdisciplinary Safire delivered the 19th Annual Nancy Hanks Lecture, which kicked off Arts collaborative research projects with organizations like the American Advocacy Day events on March 13th. TCG board member and professor of Symphony Orchestra League, the Association of Performing Arts Presenters, costume design at Carnegie Mellon University Susan Tsu joined TCG staff Dance/USA and Opera America. Among these projects is the Nonprofit for visits to “the Hill.” The team also included Andrew Michael, trustee Listening Post Project. Organized by the Johns Hopkins University, the project of the Contemporary American Theater Festival in Shepherdstown, WV, involves over 600 not–for–profit organizations from various fields including and member of TCG’s National Council for the American Theatre. The TCG social services, health, environment, community and economic development, delegation met with Congresswoman Shelley Moore Capito (R–WV), as well and arts and culture (represented by members of TCG and the American as arts staffers in the offices of Senator Robert Byrd (D–WV), Congressman Association of Museums). These organizations serve as “listening posts” Mike Doyle (D–PA) and Congressman Tim Murphy (R–PA). on the major developments in the not–for–profit field. Periodic surveys are TCG advocated for the following issues during the past year: NEA administered covering a variety of subjects, including indicators of financial appropriations, arts education funding, charitable tax incentives, improving health, partnering, governance, human capital development and technology, the visa process for international artists, funding for cultural exchange with regular “soundings” of findings disseminated over a five–year period. and disaster relief for performing arts organizations. Published during TCG’s 2006 fiscal year, the fourth “sounding” on nonprofit TCG had another opportunity to bring members to the Hill on Feb. 28th, governance and accountability offered the first up–to–date information on 2006 in conjunction with one of the Conversations in the Field convened by the actual governance and accountability practices of U.S. not–for–profit TCG’s Artistic Programs department. Susan Booth, artistic director of the organizations, revealing that the overwhelming majority of the surveyed Alliance Theatre, Del Hamilton, artistic director of 7 Stages in Atlanta, Bryn organizations have boards of directors that are already significantly involved Magnus, managing director of Free Street Programs in Chicago, and Geoffrey in the key oversight functions that not–for–profit boards are expected to Sherman, artistic director of Alabama Shakespeare Festival, exercised their perform. Investment Capital: The New Challenge for American Nonprofits, advocacy muscles quite effectively in the offices of Congressman Terry the project’s fifth “sounding” explored the capital needs of the surveyed Everett (R–AL), Senator John Isakson (R–GA), Congressman Luis Gutierrez organizations and the ease or difficulty they face in meeting these needs. (D–IL) and Congressman John Lewis (D–GA). Despite their significant investment capital needs, the report illustrated, many not–for–profits have limited knowledge of major capital resources such as insurance companies and pensions funds, and those that do have knowledge report substantial difficulty in accessing them.

services and field leadership tcg Annual Report 19 Programs for services and Theatre Educators TCG’s education programs provide necessary support for theatre education field leadership departments and staff. Through field research, a teleconference series for education directors and professional development opportunities, TCG provides theatre educators with visibility for their efforts and support of their work. We are proud to announce that during 2005–2006, we began work on our new national education initiative, Building a National TEAM: Theatre Education Assessment Models. In consortium with ASSITEJ/USA, the American organization of theatres for young people and children, TCG spearheaded the project to create 10–12 national assessment models that will be adaptable, reliable and useful to the field. The project is guided by consultant Robert Southworth and a working group of 10 education directors from theatres of different sizes and geographic locations. The group is conducting research of current field–wide assessment tools, creating models and planning the TEAM training session which is slated to take place in 2007 as a pre–conference meeting to the TCG National Conference in the Twin Cities. More information on TCG’s education programs is available on the TCG website, including a searchable database of study guides and education programming at TCG member theatres and the Education Centerpiece report on the results of TCG’s sixth annual education survey. The page also contains announcements of federal arts education initiatives and funding opportunities, along with links to important arts education research.

International Theatre Institute The International Theatre Institute (ITI) was founded by UNESCO in the aftermath of World War II to support the ideal of theatre without borders, protecting the rights of theatre artists around the world and insuring their right to communicate. ITI’s mission is to encourage exchange and cooperation between theatre artists all over the world to promote mutual understanding and peaceful coexistence. Today the ITI network includes over 90 national centers on six continents. TCG is honored to have served as the U.S. Center since 1999. In our capacity as ITI/U.S., TCG supports cross–cultural exchange and provides assistance to traveling theatre professionals. We provide support letters for theatres seeking visas to bring foreign guest artists to the United States, and advocate for less restrictive federal policies regarding the exchange of artists. The spirit of internationalism is fully embodied in everything we do at TCG, from our publications, to our grantmaking programs, to our advocacy activities. The following were highlights of of our international activities in 2005–2006: • Concurrent with the departure of TCG managing director Joan Channick, Emilya Cachapero, director of TCG’s artistic programs was appointed as the new director of ITI/U.S. Ms. Cachapero serves on the executive committee of ITI, and Melanie Joseph, artistic director of The Foundry Theatre (New York) and TCG board member, serves as the president of ITI/U.S. • The culminating event at the 2006 ITI World Congress in Manila, N H

O Phillipines, was the presentation of The Borges Project, an international R C R E theatre collaboration. Eight countries—Belgium, Cameroon, Croatia, ATH E

H Germany, Japan, Philippines, Switzerland and the United States— The Borges Project in Manila, 2006. Top: Croatian team’s contribution to the project. each contributed short pieces based on the Jorge Luis Borges story Bottom: Swiss team’s contribution to the project. “Las Ruinas Circulares” (“The Circular Ruins”). The Borges Project also opened the Manila International Theatre Festival. The U.S. team was organized by ITI/U.S. under the leadership of Emilya Cachapero, who was also the co–project manager and producer of the overall project.

20 tcg Annual Report services and field leadership • We made refinements to the International Fellowships component TCG Website of our New Generations grant program to include unrestricted travel The newly redesigned TCG website, www.tcg.org, was launched on the last grants that promote cross–cultural collaboration. day of the fiscal year. The new site has a clean, contemporary look in keeping • We awarded 15 TCG/ITI Travel Grants to support travel in both directions with our new logo. With fewer subject areas and more white space, visitors for theatre practitioners in the U.S. and their counterparts in Russia can more easily find what they are looking for and click through to in–depth and Central/Eastern Europe. detail. More and more we rely upon the site as our conduit of information • American Theatre featured a monthly “Global Spotlight” column, and to and from the field, and the improvements to the site are making it much the May/June 2006 issue again previewed theatre festivals worldwide easier for our constituents to use the site to fullest capacity and to submit and featured articles on theatre artists abroad. information to the organization. Already, the improvements to the site and • TCG serves on the U.S. National Commission for UNESCO and on integration with in–house systems have resulted in increased efficiency and the International UNESCO board, one of the very few not–for–profit savings throughout the organization, making better use of staff time in grants organizations to hold that position. administration, research, publications, events and development. The site provides breaking news in the “What’s New” section; updates and registrations for TCG events; guidelines and applications for all our grantmaking and professional development programs; access to the latest publications from the TCG bookstore; and online versions of all of our periodical publications and press releases. In addition to descriptions of TCG programs, the education, advocacy and International Theatre Institute pages link members to important research and external resources. The majority of TCG’s surveys—Fiscal Survey, Education Survey and Snapshot Surveys—are conducted and published online for the benefit of all members. Visitors to the site can look up season information in Theatre Profiles, a database of all TCG member theatres, as well as look up study guides and other information from member theatre’s education programs. Both the Education and Fiscal Survey have features which enable members to generate customized reports. N H O R C R E ATH E H

The Borges Project in Manila, 2006. Pictured: Japanese team’s contribution to the project.

services and field leadership tcg Annual Report 21 TCG member theatres constituency During fiscal year 2006, 437 theatres enjoyed the benefits of TCG membership. Member theatres span 47 states and the District of Columbia and reflect the diversity that characterizes the American not–for–profit BUDGET GROUP %OF MEMBERSHIP theatre. Our member theatres operate with annual budgets ranging from $50,000 to $40 million. They represent a wide range of aesthetic styles, serve and spring from diverse communities, embrace divergent $499,999 or less 36% missions, and together are responsible for producing thrilling, vibrant $ 500,000 – $999,999 2 1 % theatrical work. $ 1 million – $2,999,999 25% Membership is available to all not–for–profit, tax–exempt theatres that meet TCG’s minimum requirements for professional leadership, orientation $ 3 million – $4,999,999 6% and standards. Applications for membership are accepted year–round and $ 5 million – $9,999,999 7% are evaluated on the basis of professionalism, length of time in operation, $ 10 million or more 5 % budget size, organizational stability, scope of performance and other program activity.

About Face Theatre Center for Puppetry Arts Folger Theatre Academy Theatre Center Theatre Group The Foothill Theatre Company ACT Theatre CENTERSTAGE Ford’s Theatre The Acting Company Centre Stage – South Carolina The Foundry Theatre Actor’s Express The Chance Theater Fountain Theatre The Actors’ Gang Charleston Stage Company Free Street Programs Actors Guild of Lexington Cherry Lane Theatre GableStage Actor’s Theatre of Charlotte Chicago Dramatists Gainesville Theatre Alliance Actors Theatre of Louisville Chicago Shakespeare Theater GALA Hispanic Theatre Actors Theatre of Phoenix The Children’s Theatre Company Gamm Theatre Adirondack Theatre Festival Childsplay, Inc. Gamut Theatre Group The African Continuum Theatre Company Cider Mill Playhouse Geffen Playhouse Alabama Shakespeare Festival Cincinnati Shakespeare Company George Street Playhouse Alley Theatre City Garage Georgia Shakespeare Alliance Theatre City Theatre Geva Theatre Center Amas Musical Theatre, Inc. City Theatre Company Golden Thread Productions American Conservatory Theater The Civilians Goodman Theatre American Folklore Theatre Clarence Brown Theatre Company Great Lakes Theater Festival American Players Theatre Classic Stage Company Greenbrier Valley Theatre American Repertory Theatre Classical Theatre of Harlem Growing Stage – Children’s Theatre of New Jersey American Shakespeare Center The Cleveland Play House Guthrie Theater American Stage Cleveland Public Theatre Hangar Theatre American Theater Company Collaboraction Harlequin Productions American Theatre Company The Colony Theatre Company HartBeat Ensemble Arden Theatre Company Columbus Children’s Theatre Hartford Stage Company Arena Stage Commonweal Theatre Company Harwich Junior Theatre and Harwich Winter Arizona Theatre Company Company of Fools Theatre The Arkansas Arts Center Children’s Theatre Congo Square Theatre History Theatre Arkansas Repertory Theatre Connecticut Repertory Theatre Honolulu Theatre for Youth Artists Repertory Theatre Contemporary American Theater Festival Horizon Theatre Company Arts Center of Coastal Carolina Cornerstone Theater Company The Human Race Theatre Company Arvada Center for the Arts & Humanities The Coterie Theatre Huntington Theatre Company Asolo Repertory Theatre Court Theatre Hyde Park Theatre Atlantic Theater Company Creede Repertory Theatre The Hypocrites Aurora Theatre Company Curious Theatre Company Idaho Shakespeare Festival B Street Theatre Cygnet Theatre Company Illinois Theatre Center Barksdale Theatre Cyrano’s Theatre Company Illusion Theater Barrington Stage Company Dad’s Garage Imagination Stage Bay Street Theatre Dallas Children’s Theater In the Heart of the Beast Puppet & Mask Theatre Berkeley Repertory Theatre Dallas Theater Center Indiana Repertory Theatre Berkshire Theatre Festival Deaf West Theatre INTAR Theatre Bilingual Foundation of the Arts Delaware Theatre Company InterAct Theatre Company Blank Theatre Company Dell’Arte International International City Theatre Bloomsburg Theatre Ensemble Denver Center Theatre Company Intiman Theatre BoarsHead Theater Depot Theatre Invisible Theatre Company Boise Contemporary Theater Detroit Repertory Theatre Irish Classical Theatre Company Book–It Repertory Theatre Dobama Theatre Irondale Ensemble Project Borderlands Theater Double Edge Theatre Productions The Jewish Theater of New York Boston Theatre Works East West Players Jewish Theatre of the South Brat Productions 1812 Productions The John Drew Theater at Guild Hall Brava Theater Center The Empty Space Theatre Joslyn Center Theatre Bristol Riverside Theatre Ensemble Studio Theatre Jungle Theater Burning Coal Theatre Company The Ensemble Theatre Kansas City Repertory Theatre Bushfire Theatre of Performing Arts Ensemble Theatre Company The Kavinoky Theatre California Repertory Company Ensemble Theatre of Cincinnati Kennedy Center – Youth and Family Programs California Shakespeare Theater Eugene O’Neill Theater Center Kentucky Repertory Theatre California Theatre Center Everyman Theatre Kentucky Shakespeare Festival The Cape Cod Theatre Project The 52nd Street Project Kitchen Dog Theater Capital Repertory Theatre First Stage Children’s Theater Kitchen Theatre Company Castillo Theatre Florida Stage L.A. Theatre Works Center for New Performance at Cal Arts Florida Studio Theatre La Jolla Playhouse

22 tcg Annual Report constituency La MaMa E.T.C. Pangea World Theater St. Louis Black Repertory Company LAByrinth Theater Company Paper Mill Playhouse Stage One: The Louisville Children’s Theatre Laguna Playhouse Pasadena Playhouse Stages Repertory Theatre Lantern Theater Company Passage Theatre Company Stages Theatre Center Lark Play Development Center PCPA Theaterfest Stages Theatre Company Lincoln Center Theater Pegasus Players Theatre StageWorks/Hudson Long Wharf Theatre Peninsula Players Theatre State Theater Company Lookingglass Theatre Company The Pennsylvania Shakespeare Festival Steppenwolf Theatre Company Lord Leebrick Theatre Company Penobscot Theatre The Studio Theatre Lost Nation Theater Penumbra Theatre Company The Súgán Theatre Company The Lyric Stage Company of Boston The People’s Light and Theatre Company Sundance Institute Theatre Mabou Mines Performance Network Swine Palace Productions Mad River Theater Works Perishable Theatre Synchronicity Performance Group Madison Repertory Theatre Perseverance Theatre Syracuse Stage Magic Theatre Peterborough Players TADA! Main Street Theater Philadelphia Shakespeare Festival Talking Band Manhattan Ensemble Theater Philadelphia Theatre Company Taproot Theatre Company Manhattan Theatre Club Philadelphia Young Playwrights Target Margin Theater Marin Shakespeare Company Phoenix Theatre Teatro del Pueblo Marin Theatre Company Phoenix Theatre, Inc Teatro Vision Maryland Ensemble Theatre Pick Up Performance Company Teatro Vista Ma–Yi Theater Company Pig Iron Theatre Company Ten Thousand Things Theater Company McCarter Theatre Center Pillsbury House Theatre Tennessee Repertory Theatre Meadow Brook Theatre Ping Chong & Company Thalia Spanish Theatre Melting Pot Theatre Company Pioneer Theatre Company Theater Alliance Merrimack Repertory Theatre Pittsburgh Irish & Classical Theatre (PICT) The Theater at Monmouth Merry–Go–Round Playhouse, Inc. Pittsburgh Public Theater Theater by the Blind Metro Theater Company Piven Theatre Workshop Theater for the New City Milwaukee Chamber Theatre PlayGround Theater Grottesco Milwaukee Repertory Theater Playhouse on the Square Theater J Milwaukee Shakespeare Playhouse West Theater of the First Amendment Mint Theater Company Playmakers Repertory Company Theater Previews at Duke Miracle Theatre Group The Playwrights’ Center Theatre Aspen Mirror Repertory Company Playwrights Horizons Theatre de la Jeune Lune Mixed Blood Theatre Company Playwrights Theatre of New Jersey Theatre for a New Audience Montana Repertory Theatre Plowshares Theatre Company Theatre of Yugen Montgomery Theater Portland Center Stage Theatre Project Moving Arts Portland Stage Company Theatre West Mu Performing Arts Pregones Theater TheatreWorks Mum Puppettheatre Primary Stages Theatrical Outfit Native Voices at the Autry ProArts Collective of Austin Touchstone Theatre Nautilus Music–Theater Profile Theatre Project Traveling Jewish Theatre Nebraska Repertory Theatre The Public Theater Triad Stage Nevada Shakespeare Company The Public Theatre Tricklock Theatre Company The New American Shakespeare Tavern PushPush Theater Trinity Repertory Company New American Theater Red Barn Theatre True Colors Theatre Company The New Conservatory Theatre Center Redmoon Theater Trustus New Dramatists, Inc Renaissance Theaterworks Two River Theater Company New Federal Theatre, Inc. The Repertory Theatre of St. Louis Undermain Theatre New Georges River Stage Unicorn Theatre New Ground Theatre Riverlight and Company Urban Stages The New Harmony Theatre Riverside Theatre Utah Shakespearean Festival New Jersey Repertory Company Roadside Theater Valley Youth Theatre New Paradise Laboratories Theatre Round House Theatre Vermont Stage Company New Professional Theatre Roundabout Theatre Company Victory Gardens Theater New Repertory Theatre Roxy Regional Theatre The Vineyard Playhouse New Stage Theatre Rude Mechanicals Virginia Stage Company New Theatre, Inc. Saint Michael’s Playhouse Vital Theatre Company New WORLD Theater The Salt Lake Acting Company Voices of the South New York Stage & Film, Inc. Salvage Vanguard Theater Walden Theatre New York State Theatre Institute (NYSTI) San Diego Repertory Theatre The Warehouse Theatre New York Theatre Workshop San Jose Repertory Theatre WaterTower Theatre Next Act Theatre Seattle Children’s Theatre Wellfleet Harbor Actors Theater Next Theatre Company Seattle Public Theater West Coast Ensemble A Noise Within Seattle Repertory Theatre The Western Stage North Carolina Stage Company Seattle Shakespeare Company Weston Playhouse Theatre Company North Coast Repertory Theatre Second Stage Theatre Westport Country Playhouse North Shore Music Theatre 7 Stages Wheelock Family Theatre North Star Theatre Shakespeare & Company William Inge Center for the Arts Northern Stage The Shakespeare Festival at Tulane Williamstown Theatre Festival Northlight Theatre Shakespeare Santa Cruz The Wilma Theater Northwest Children’s Theater and School The Shakespeare Theatre Company Wing–It Productions Odyssey Theatre Ensemble The Shakespeare Theatre of New Jersey Women’s Project & Productions The Old Globe Shattered Globe Theatre Woolly Mammoth Theatre Company Olney Theatre Center for the Arts Shotgun Players The Wooster Group Omaha Theater Company for Young People Sierra Repertory Theatre Working Classroom Ontological–Hysteric Theater Signature Theatre The Working Theater The Open Eye Theater Signature Theatre Company Writers’ Theatre Open Stage of Harrisburg SITI Company Yale Repertory Theatre OpenStage Theatre & Company Society Hill Playhouse Young Playwrights’ Theater Oregon Children’s Theatre Solano College Theatre Youth Ensemble of Atlanta Oregon Shakespeare Festival South Coast Repertory The Z Space Studio Orlando–UCF Shakespeare Festival Southern Appalachian Repertory Theatre Zachary Scott Theatre Center Out of Hand Theater Southern Rep Palm Beach Dramaworks Southwest Shakespeare Company Pan Asian Repertory Theatre SpeakEasy Stage Company

constituency tcg Annual Report 23 University Affiliates constituency The University Affiliate program is designed for university and college theatre programs that are not affiliated with professional theatres. The program was created to connect faculty and students to the national theatre community and to provide access to the field’s most up–to–date resources. Affiliates receive subscriptions to American Theatre magazine and ARTSEARCH, copies of the annual TCG Theatre Directory, Dramatists Business Affiliates Sourcebook and Production Notebooks, the monthly TCG Bulletin, and The Business Affiliate program was created to provide companies with a discounts on advertising with TCG. In 2005–2006, we were pleased to valuable connection to the national theatre community. Businesses have count 70 University Affiliates among our membership: an opportunity to reach out to managing and artistic leaders of more than Angelo State University San Diego State University 400 theatres located throughout the country, and gain access to the most Arcadia University Skidmore College current information about industry trends. Affiliates receive subscriptions Bard College Suffolk University to American Theatre magazine and ARTSEARCH, copies of the TCG Theatre Barnard College Tufts University Bethune Cookman College University of Alabama Directory, Dramatists Sourcebook and Production Notebooks, the monthly Boise State University University of Arkansas TCG Bulletin, and discounts on advertising with TCG. They also receive Boston University University of California–Irvine discounted rates on participation in the annual TCG National Conference Brandeis University University of California–San Diego and opportunities to exhibit. During fiscal year 2006, 23 businesses Brown University University of Chicago Bucknell University University of Delaware participated in the program: California State University, University of Denver Fullerton University of Evansville Albert Hall & Associates Plays for Young Audiences Canyon Crest Academy University of Illinois–Urbana/Champaign AMS Planning & Research POP College of Charleston University of Maryland Artistic Logistics Sachs Morgan Studio Columbia College Chicago University of Michigan Arts Consulting Group Schuler & Shook, Inc. Cornish College of the Arts University of Minnesota Arts Management Systems Schweickert & Co. Dickinson College University of Minnesota–Duluth Blackbaud The Stage Channel Emerson College University of Missouri Choice Ticketing Systems Talaske Emory University University of Nevada–Las Vegas City of Miami Beach Tessitura Software Florida State University University of North Carolina– DenhamWolf Real Estate Theatre Row Studios Ithaca College Greensboro Fisher Dachs Associates Tickets.com James Madison University University of North Dakota IDC Lewis & Clark College University of Richmond LMN Architects Marquette University University of San Diego Patron Technology Marymount Manhattan College University of South Florida Meredith College University of Southern California Naropa University University of Texas–El Paso Funder Affiliates Neumann College University of Texas–Austin New York University University of Utah The Funder Affiliate program provides a more comprehensive and candid North Carolina School of the Arts University of Wyoming dialogue between grant makers and grant seekers than is usually available Northwestern University Virginia Tech through the grant review process. By joining TCG, funders can gain an in– Regent University Wayne State University depth understanding of the issues facing the not–for–profit national theatre Rhodes College Wellesley College Roosevelt University West Point community, receive valuable insight into local theatre communities and craft Saint Mary’s University of Western Illinois University more responsive and timely grant programs. Benefits include TCG resource Minnesota Worcester Poly Institute books, subscriptions to American Theatre magazine and ARTSEARCH, as well Sam Houston State University as discounts on TCG Books, plays and advertising. Through this program, we hope to foster a healthier philanthropic relationship between funders and the not–for–profit theatre and to strengthen our collective future. In Trustee Leadership Network the past fiscal year eight funders participated in the program: Initiated by the National Council for the American Theatre, the Trustee Leadership Network provides an enhanced form of individual membership Arts Council of Indianapolis for trustees of TCG member theatres, TCG takes a leadership role in Eugene and Agnes E. Meyer Foundation Grants for the Arts providing services to theatre trustees and in pooling and sharing their The Japan Foundation knowledge, experience and perspectives with the broader field. The San Francisco Foundation In addition to a subscription to American Theatre magazine, trustees Surdna Foundation Texas Commission on the Arts receive email announcements with links to the monthly TCG Bulletin, which William Penn Foundation includes topical Centerpieces on theatre management and governance, and features the executive director’s monthly Field Letter. Trustees also receive discounts on all TCG Books titles. Members are encouraged to Individual Members attend the annual Fall Forum on Governance, an event that focuses on TCG membership is available to theatre professionals and the general current management and governance issues. During fiscal year 2006, public through subscriptions to American Theatre magazine. Individual the Trustee Leadership Network included 120 trustees from theatres members receive discounts on TCG books and resource materials, as well across the country. as discounts on theatre tickets from participating theatres. Currently, there are approximately 17,000 individual TCG members.

24 tcg Annual Report constituency National Council for the American Theatre The National Council for the American Theatre, comprised of 26 leading trustees from TCG member theatres around the country, guides TCG’s programs on governance and board development. This prestigious body serves as a brain trust not only for TCG but for the field as a whole. The National Council has a direct impact on the design and implementation of TCG programs and services that, in turn, have a profound effect on the management and governance of America’s theatres. Successful programs and activities launched by the Council include the annual Fall Forum on Governance, special sessions for trustees at the annual TCG National Conference, the Centerpiece series on governance issues and the Trustee Leadership Network. The National Council for the American Theatre meets twice yearly in New York, including an annual joint meeting with TCG’s board of directors. Members are invited to participate in TCG committees, panels and/or advisory groups, host a trustee breakfast and moderate breakout sessions at the TCG National Conference, as interest and availability dictate. Members must be on the board of a TCG–member theatre, and are nominated by either managing or artistic directors. All members of the National Council for the American Theatre receive a complimentary subscription to American Theatre magazine, the ARTSEARCH employment bulletin, the monthly TCG Bulletin, including the Centerpiece series and the executive director’s Field Letter, and discounts on TCG Books. In addition, National Council members receive automatic invitations to all TCG forums and conferences.

2005—2006 National council members Judith O. Rubin Chair Playwrights Horizons, New York, NY Eve Alvord Seattle Children’s Theatre, Seattle, WA Bill Balzer Theatrical Outfit, Atlanta, GA Doug Brown Steppenwolf Theatre Company, Chicago, IL Donna Darroch Actor’s Express, Atlanta, GA Lynn Deering CENTERSTAGE, Baltimore, MD Nancy L. Donahue Merrimack Repertory Theatre, Lowell, MA Jane Epstein Playwrights Horizons, New York, NY Brad Fowler ACT Theatre, Seattle, WA Judy Hansen Milwaukee Repertory Theater, Milwaukee, WI Bruce E.H. Johnson Seattle Repertory Theatre, Seattle, WA Jack Kraushaar Geva Theatre Center, Rochester, NY Carole S. Krumland Berkeley Repertory Theatre, Berkeley, CA Jerome H. Meyer Long Wharf Theatre, New Haven, CT Elisabeth Morten Westport Country Playhouse, Westport, CT Eleanor C. Nolan Seattle Children’s Theatre, Seattle, WA Judy Lynn Prince Arena Stage, Washington, DC Toni Rembe American Conservatory Theater, San Francisco, CA Nancy Keen Roche CENTERSTAGE, Baltimore, MD Theodore C. Rogers Theatre for a New Audience, New York, NY Deedie Rose Dallas Theater Center, Dallas, TX Jean Z. Strunsky Berkeley Repertory Theatre, Berkeley, CA Moya Vazquez Intiman Theatre, Seattle, WA Elaine Weinberg South Coast Repertory, Costa Mesa, CA Tim Weiss South Coast Repertory, Costa Mesa, CA Jaan Whitehead The SITI Company, New York, NY

constituency tcg Annual Report 25 contributors constituency TCG gratefully acknowledges the following organizations and individuals for their generous support of our work on behalf of the not–for–profit American theatre.

corporations, Judy Hansen Ellen Stewart Constance Shute foundations Bruce E.H. Johnson Susan Tsu Nancy Simon Jack Kraushaar Zannie Giraud Voss Paul Slee and government Carole S. Krumland Shay Wafer Edward Stern Agencies Elisabeth Morten Chay Yew Michael Stotts $1,000,000 and Above Eleanor C. Nolan Sam Sweet Judy Lynn Prince $100–249 Dorothy Swerdlove • Doris Duke Charitable Foundation Theodore Rogers Anonymous Fontaine Syer and • The Andrew W. Mellon Foundation Jean Z. Strunsky Esthy Adler Henry M. Woronicz National Endowment for the Arts Moya Vazquez JoAnne Akalaitis Megan Wanlass Szalla $100,000–$999,999 Elaine J. Weinberg Bruce Allardice and Victoria Abrash Tony Taccone Jessica L. Andrews and • The Ford Foundation Jaan W. Whitehead Paul R. Tetreault Timothy W. Toothman The William & Eva Fox Foundation Susan Baird Trapnell $1,000–$4,999 Patrick Benton • Trust for Mutual Understanding Russ Tutterow Roger S. Berlind Mark D. Bernstein Robert J. Wallner $25,000–$99,999 Martha Lavey Marge Betley Chip Walton • Altria Group, Inc. Abel López Jennifer Bielstein and Kate J. Warner American Express Company Ellen McLaughlin Michael Halberstam Dale Wasserman AT&T Foundation Charles Newell and Kathleen Collins June R. and Jonathan Bingham Fund Thomas S. Watson The Carnegie Corporation of New York Toni Rembe Jane Bishop Toby Webb The Nathan Cummings Foundation Timothy J. Shields and Phoebe H. Bowers John W. Weidman • The William and Flora Hewlett Megan A. Miller–Shields Pewter Plough Playhouse Hubert H. Whitlow, Jr. Foundation Paula Tomei and David Emmes Paula Butzi Tappan Wilder David Kirk Chambers Robert Wildman Jerome Foundation $500–$999 The JPMorgan Chase Foundation Jeff Church Harold E. Wolpert and Rui Rita Susan V. Booth and Max Leventhal • New York State Council on the Arts Diane G. Claussen Steven Woolf Peter C. Brosius The Shubert Foundation Bill De Land Henry M. Woronicz Carol Brown Target Cory & Bob Donnalley Janet Yocam Edgar Dobie Charitable Foundation Sharon Yoshida $10,000–25,000 David Dower Peter DuBois $50–$99 The Max and Victoria Dreyfus Joe Dowling Elizabeth Engelman Foundation Todd Haimes Robert Englund Joseph Adler John H. and Wilhelmina D. Harland David Hawkanson Katherine Fairhurst Donald L. Alsedek Charitable Foundation Richard Hopkins Robyn Flatt Daniel Banks Esther B. Kahn Charitable Foundation Barbara Janowitz and Peter Entin Barbara Gaines Laurie and Joshua Baskin Charles Loridans Foundation Frances Kumin and Richard Ticktin Dean R. and Jane T. Gladden L. Lee Beger Metropolitan Atlanta Arts Fund Catherine Maciariello Angela Paton Elizabeth Benedict James Starr Moore Benjamin Moore David Ira Goldstein Craig Carter Memorial Foundation Donna and Terry Nemeth Barry and Maggie Grove Carolyn Casselman • New York Times Company Foundation Paul Nicholson Judith Cooper Guido Ping Chong Molly D. Smith David Hammond Megan Cole $1,000–9,999 Harry Weintraub and Steve Mohr Jane Harmon Laura Crow AEC Trust Jeffrey Woodward Richard L. Hay Peter Culman and David Herskovits Anne LeFarge Culman City of Atlanta Bureau of $250–$499 Cultural Affairs Ira J. Hillman Marcia J. Decker The Dramatists Guild Fund Stephen J. Albert Joan Hotchkis Daniel E. Efner Fisher Dachs Associates Carol and Judson Bemis, Jr. Fund Barnard Hughes and Anne Einhorn Fulton County Arts Council of The Minneapolis Foundation Helen Stenborg Hughes John Clinton Eisner Georgia Council for the Arts Martin Benson Karen Ingenthron Angelina Fiordellisi Leon Levy Foundation André Bishop Lynn K. Jeffries Austin and Aili Flint Proskauer Rose LLP Carlyle Brown Gregory Kandel Stan Foote Schweickert & Company Arvin Brown Paul E. King Ann Gilbert Theatre Development Fund Debbie Chinn Larry S. Kitler Henry Godinez Woodruff Arts Center Richard A. Cohn Rachel E. Kraft Moses Goldberg The Xerox Foundation Martha W. Coigney Barbara Zinn Krieger Karen Grassle Gordon Davidson •multi–year grant Kathy Kuehn Edwin P. Hart P. A. Distler Robert Leonard Dawn J. Helsing Individual donors Sheldon L. Epps Edith H. Love Jody Hovland and Ron Clark TCG Annual Fund Naomi Grabel Robert H. and Carol O. Manegold Michael Hume Thomas B. Harris and Doreen M. Kelly Emily B. Mann Jessica Jenen $10,000 and above Robert L. and Jill Klinow Jaffe Terry Martin David Jones Jerome H. Meyer, M.D. Melanie Joseph Robert Marx Stanley Kauffmann Nancy Keen Roche Michael Kahn Edward Matthews Danielle Kennedy Edward W. Rose III Family Fund Sharon Karmazin Timothy J. McClimon Jeanne Klein of The Dallas Foundation Everett L. King Victoria Nolan Terry Knickerbocker Judith O. and Robert E. Rubin Steven B. Libman Kathleen Kund Nolan Lynn Landis Tim Weiss Ellen L. Livingston Peter and Meg O’Brien Connie L. Alexis Laona Michael Maso Dael Orlandersmith Deborah C. Lawlor $5,000–$9,999 Jill Matichak Sharon Ott Mark Lerman Eve Alvord Marcelle McVay and Dennis Zacek Katherine Owens and Bruce DuBose Todd London William C. Balzer Jon Nakagawa Thomas Pechar Claudia J. Lovelette Doug Brown Martin Prentice Anthony Ridley and Kathryn Graybill Mark Lutwak and Y York Ben Cameron Daniel Renner William S. Yellow Robe, Jr. Leslie Marcus Donna Darroch Ellen Richard Steven Robman Susan McGregor–Laine Lynn Deering Rosalba Rolón Jean Gordon Ryon Jeffrey McMahon Nancy L. Donahue Michael J. Ross David P. Saar Meredith Mcminn Jane Epstein Sara Rutstein Roche Schulfer Michael D. McShane Brad Fowler Suzanne M. Sato and Tim Hawkins Rick Shiomi Lori Monnier and Fred Kinney Bartlett Sher

26 tcg Annual Report constituency Charles Morey Arthur Bartow Jody Hovland and Ron Clark Tom Quinn Keef Morgan Laurie and Joshua Baskin Cheryl Ikemiya William Rauch and Hugh W. Morton, IV Lou Bellamy Karen Ingenthron Christopher Liam Moore William Rauch and Dr. and Mrs. Zeke Berlin Bill Irwin Daniel Renner Christopher Liam Moore Mark D. Bernstein Tom Isbell Christina Ripple M.H. Robins Kenneth R. Bernstein Robert L. and Jill Klinow Jaffe Blake Robison Owen Sharkey André Bishop David A. Jobin Rosalba Rolón Mr. and Mrs. Thomas Sheehy William Blake Cassandra Johnson Ilana Rose Deidre W. Simmons Mark Bly Melanie Joseph Eric Rosen Marion Simon Lise Bohn Michael Kahn Robert Rosen and Margaret Spear Gigi Bolt Gregory Kandel Shawn McConneloug Joseph A. Sterner, III Sandy Boren–Barrett Sheela Kangal Michael J. Ross Joan Vail Thorne Nancy Borgenicht Heather Kitchen Sara E. Rutstein Mark and Rebecca Udden Phoebe H. Bowers Stacy A. Klein Philip Santora Stephen Wadsworth Risa Brainin Deen Kogan Joan E. Schirle and Francesca Faridany Mr. and Mrs. Roger Brooks Rachel E. Kraft Jason Schroeder Carl Weber Peter C. Brosius Darlene F. Krenz William A. Schulenburg Alan Weiner Arvin Brown Kathy Kuehn Roche E. Schulfer Sam and Constance Weisman Carlyle Brown Frances Kumin and Richard Ticktin Elizabeth Selfridge Ruth Wilcox Pewter Plough Playhouse La MaMa Experimental Theatre Club Howard Shalwitz Karen Wood James A. Bundy The League of American Theatres John Patrick Shanley Jack Young and Christina Keefe Tisa Chang & Producers Ann E. Sheffer Casey Childs Cindy Lee Timothy J. Shields and The ben cameron fund Debbie Chinn Young Jean Lee Megan A. Miller–Shields of the TCG endowment Demosthenes Chrysan Roger Leifer Rick Shiomi Jeff Church Robert Leonard Christopher G. Shuff MAJOR DONORS Brooke W. Ciardelli Ruby Lerner Christopher A. Smith Eve Alvord Diane G. Claussen Julia C. Levy Molly D. Smith Americans for the Arts Jen Cleary Laurie Levy–Page Robert L. Smith and William C. Balzer Heather Cohn Judy Liss and The Paper Bag Players Carol Payne Smith Susan V. Booth and Max Leventhal Jessica Conrad Ellen L. Livingston Cheryl Sorokin Doug Brown Mark Cuddy Eve Loeb Kelly Stark Carol Brown Cyrano Theatre Company Edith H. Love Douglas and Carola Stein Joan Channick Edgar Cyrus Mabou Mines Anita Stewart Martha W. Coigney Lauri Dahl Frank Mack Michael W. Stotts Donna Darroch Rick Davis Elizabeth Maestri Kitty Suen Lynn Deering Ed Decker Bryn Magnus Elsa Daspin Suisman Charles Dillingham, III, Amanda Distefano Kevin and Sharon Maifeld Daniel Tamez and Susan D. Clines Edgar Dobie Donald Margulies Theatre Bay Area Brad Fowler Nancy L. Donahue Marin Shakespeare Company Kent Thompson and Kaatri B. Grigg David Dower Ed Martenson Kathleen McCall Thompson Judy Hansen Peter DuBois Terry Martin Joan Vail Thorne Linda Hartzell The Doris Duke Charitable Foundation Robert K. Marx Charles Towers Bruce E.H. Johnson (Matching Gift) Rebecca Marzalek–Kelly David Townsend Jack Kraushaar Daniel E. Efner Michael Maso Susan Tsu Carole Krumland Elizabeth Engelman Marc Masterson Louis Tyrrell Martha Lavey Sheldon L. Epps Melanie Matthews Mark and Rebecca Udden Abel López Jane Epstein Phillip Matthews John A. Vaccaro Ellen McLaughlin Brad Erickson Daniel and Rachel May Carol Van Keuren and George Zegarsky Jerome H. Meyer, M.D. Nicole Estvanik Cynthia J.Y.K. Mayeda Jack Viertel Elisabeth Morten Robert Fass Ruth Mayleas Zannie Giraud Voss Eleanor C. Nolan Melissa Fendell Timothy J. McClimon Elaine Bonifield Wackerly The Pew Charitable Trusts Zelda D. Fichandler John R. McEwen Stephen Wadsworth (Matching Gift) Elizabeth A. Fillo and Chris Coucill Susie Medak and Francesca Faridany Toni Rembe Robyn Flatt Royanne Minskoff Shay Wafer Nancy Keen Roche David Galbraith Flinn Lynn Moffat Kathryn Walat Arthur Rock (Matching Gift) Stan Foote Bonnie J. Monte Honey Waldman Theodore C. Rogers Richard Garner The Moore Family Fund for the Arts Robbin Walker Edward W. Rose III Family Fund Randy Gener of The Minneapolis Foundation Thomas S. Watson of The Dallas Foundation Michael P. Gennaro Benjamin Moore Jenni Werner Judith O. and Robert E. Rubin Dean R. and Jane T. Gladden Charles Morey Richard G. Whittington Suzanne M. Sato and Tim Hawkins Marian A. Godfrey Jon Nakagawa Matthew and Marion Wiener Jean Z. Strunsky Henry D. Godinez Sandra Nance Robert Wildman Paula Tomei and David Emmes Sheri M. Goldhirsch Timothy Near John Wiley & Sons, Inc. (Matching Gift) Moya Vazquez Barclay and Raquel R. Goldsmith Martha Neighbors and Charles Boday Michael R. Wilson Elaine J. Weinberg Mark Gordon Jennifer L. Nelson Mollie Wilson Tim Weiss Beverly P. Greenberg Terence and Donna Nemeth Harold Wolpert and Rui Rita Jaan W. Whitehead Grace E. Grillet Charles Newell and Kathleen Collins Laurie Woolery Westport Country Playhouse Barry and Maggie Grove Warren and Ellen Nichols Steven Woolf Michael Halberstam Paul Nicholson Judith Zickler FRIENDS and Jennifer Bielstein Kathleen Kund Nolan Anonymous (2) Constance Hall Victoria Nolan alan schneider Abigail Adams Andrew Hamingson Carol North memorial fund Lisa K. Adler David Alan Hammond Northlight Theatre Angelina Fiordellisi Douglas Aibel Jerome R. Hanley David Nugent Michael Haney Jane Alexander and Edwin Sherin Margot Harley Peter and Meg O’Brien Barnet Kellman Bruce Allardice and Victoria Abrash Jane Harmon Bill O’Brien Nancy Keystone Jessica L. Andrews and Alison Harris James O’Quinn Samuel and Sally Sandoe Timothy W. Toothman Sarah A. Hart Robert J. Orchard Edward Stern Libby Appel Edward Hastings Dael Orlandersmith David F. Wheeler Elizabeth Auman Michelle Hensley Jorge Ortoll Victoria Bailey Ira J. Hillman Ben Pesner peter zeisler Cliff F. Baker Philip Himberg Pillsbury House Theatre Deborah Barber Mark Hofflund Janet I. Plotkin memorial award Anthony Michael Barilla Jeffrey M. Horowitz Martin Prentice Joan Channick Katherine Barry Joan M. Hotchkis Judy Lynn Prince Glenn and Mary Davidson

constituency tcg Annual Report 27 Selection Panels, Task Forces constituency and Advisory Committees In addition to drawing upon the expertise of our board of directors and the National Council for the American Theatre, TCG engages dozens of individuals from our member theatres, as well as professionals from outside the field to serve on selection panels, advisory committees and task forces that help to ensure the quality of our programs. We would like to express our heartfelt appreciation to the following individuals, who served TCG and the field during 2005–2006:

Idris Ackamoor Martin Childers Managing Director Michael Gennaro President and CEO Executive and Co–Artistic Director Jenny Wiley Theatre, Prestonsburg, KY Paper Mill Playhouse, Millburn, NJ Cultural Odyssey, San Francisco, CA Ping Chong Artistic Director Melvin D. Gerald Jr. Managing Director Abigail Adams Artistic Director Ping Chong & Company, New York, NY African Continuum Theatre, Washington, DC People’s Light and Theatre Company, Malvern, PA Eric Coble Playwright Cleveland Heights, OH Zannie Giraud Voss Associate Professor and Luis Alfaro Playwright Los Angeles, CA Producing Director Department of Theater Studies/ Gwen Cochran Hadden President Theater Previews at Duke, Durham, NC Jessica Andrews Managing Director Cochran Hadden Royston Associates, Gloucester, MA Arizona Theatre Company, Tucson, Phoenix & Mesa, AZ Henry Godinez Resident Artistic Associate Richard Corley Artistic Director Goodman Theatre, Chicago, IL Vincent Anthony Executive Director Madison Repertory Theatre, Madison, WI Center for Puppetry Arts, Atlanta, GA Leslie Golden Associate Producer Deborah Cullinan Executive Director Arkansas Repertory Theatre, Little Rock, AR Maggie Arbogast General Manager Intersection and Campo Santo, San Francisco, CA The Wilma Theater, Philadelphia, PA Nicholas Goldsborough Managing Director Tim Dang Producing Artistic Director Shakespeare Theatre Company, Washington, DC Steve Asher Executive Director East West Players, Los Angeles, CA LAByrinth Theater Company, New York, NY Barclay Goldsmith Producing Director Rafael de Acha Artistic Director Borderlands Theater, Tucson, AZ Carol Bailey Scenic and Costume Designer New Theatre, Coral Gables, FL New York, NY Philip Kan Gotanda Playwright Berkeley, CA Ed Decker Founding Artistic Director Daniel Banks Freelance Director New Conservatory Theatre Center, San Francisco, CA Jyana Gregory Artistic Director and Instructor of Theatre Studies Active Eye, Astoria, NY Tisch School of the Arts, New York, NY David Diamond Theatre Consultant and Career Coach New York, NY Del Hamilton Artistic Director Anthony Barilla Artistic Director 7 Stages, Atlanta, GA Infernal Bridegroom Productions, Houston, TX Charles Dillingham Managing Director Mark Taper Forum, Los Angeles, CA Sabrina Hamilton Artistic Director Todd Barton Resident Composer Ko Festival of Performance, Amherst, MA and Music Director Pavel Dobrusky Director, Author, Scenographer Oregon Shakespeare Festival, Ashland, OR New York, NY David Hammond Artistic Director Playmakers Repertory Company, Chapel Hill, NC Judy Berdan Production Manager Andrea Dymond Literary Manager and Milwaukee Repertory Theater, Milwaukee, WI Resident Director Michael Hammond Associate Artistic Director Victory Gardens Theater, Chicago, IL Shakespeare & Company, Lenox, MA Susan Bernfield Artistic Director New Georges Theater Company, New York, NY Gordon Edelstein Artistic Director Wier Harman Director Seattle, WA Long Wharf Theatre, New Haven, CT Mark Bernstein Managing Director Cynthia Hedstrom Producing Director Repertory Theatre of St. Louis, St. Louis, MO Patricia Egan Consultant The Wooster Group, New York, NY Cool Spring Analytics, Bel Air, MD Erika Block Co–Artistic and Producing Director Michelle Hensley Artistic Director Walk & Squawk Performance Project, Detroit, MI John Clinton Eisner Producing Director Ten Thousand Things, Minneapolis, MN Lark Play Development Center, New York, NY Anne Bogart Artistic Director Jeffrey Herrmann Producing Director SITI Company, New York, NY Nan Elsasser Executive Director Perseverance Theatre, Douglas, AK Working Classroom, Albuquerque, NM Norma Bowles Artistic Director Dan Hershey Fringe Benefits, Los Angeles, CA David Emmes Producing Artistic Director Community Relationships Coordinator South Coast Repertory, Costa Mesa, CA Guthrie Theater, Minneapolis, MN Julianne Boyd Artistic Director Barrington Stage Company, Sheffield, MA Sheldon Epps Artistic Director Joan Holden Playwright San Francisco, CA Pasadena Playhouse, Pasadena, CA Robert Brock Artistic Director Allen Lee Hughes Designer Kentucky Repertory Theatre, Horse Cave, KY Robert Federico Executive Director NYU/Arena Stage, New York, NY Repertorio Español, New York, NY Laurie Brooks Playwright Austin, TX Cheryl Ikemiya Program Officer for the Arts Catherine Filloux Playwright New York, NY Doris Duke Charitable Foundation, New York, NY Stephen Buescher Actor/Educator Providence, RI Clove Galilee Artistic Associate Robert Johnson Alfred Butler General Manager Mabou Mines and School For Gifted Children, Lead Regional Operations Manager Trinity Repertory Company, Providence, RI New York, NY Newton Learning, New York, NY

Polly Carl Producing Artistic Director Tony Garcia Executive Artistic Director Sara Jones Managing Director The Playwrights’ Center, Minneapolis, MN Su Teatro, Denver, CO Sierra Repertory Theatre, Sonora, CA

Laurie Carlos Playwright, Director Ellen Gavin Artistic Director Jamil Khoury Artistic Director Minneapolis, MN Brava Theater Center, San Francisco, CA Silk Road Theatre Project, Chicago, IL

Linda Chapman Associate Artistic Director Janie Geiser Director, Designer Los Angeles, CA Susan Kosoff Producer New York Theatre Workshop, New York, NY Wheelock Family Theatre, Boston, MA

28 tcg Annual Report constituency Kim Peter Kovac Director Bill O’Brien Managing Director/Producer Bartlett Sher Artistic Director Youth and Family Programs, Kennedy Center Youth Deaf West Theatre, North Hollywood, CA Intiman Theatre, Seattle, WA and Family Programs, Washington, DC Robert Orchard Executive Director Geoffrey Sherman Producing Artistc Director Rachel Kraft Executive Director American Repertory Theatre, Cambridge, MA Alabama Shakespeare Festival, Montgomery, AL Lookingglass Theatre Company, Chicago, IL Michele Pearce Co–Producing Artistic Director Dan Shoemaker Executive Artistic Director Louise Lanzilotti Managing Director Synchronicity Performance Group , Atlanta, GA The Actor’s Theatre of Charlotte , Charlotte, NC Honolulu Theatre for Youth, Honolulu, HI Ralph Peña Artistic Director Mark Shugoll Chief Executive Officer Grace Lee Resident Producer Ma–Yi Theater Company, New York, NY Shugoll Research, Bethesda, MD Second Generation, New York, NY Kathy Anne Perkins Lighting Designer Melissa Smith Conservatory Director Roberta Levitow Director Champaign, IL American Conservatory Theater, San Francisco, CA Theatre Without Borders, New York, NY Ben Pesner Writer New York, NY Janet Stanford Artistic Director Victoria Lewis Individual Artist Imagination Stage, Bethesda, MD University of Redlands, Redlands, CA Thomas Proehl Managing Director Guthrie Theater, Minneapolis, MN Rebecca Taichman Associate Artistic Director Victor Lodato Playwright Tucson, AZ Woolly Mammoth Theatre Company, Washington, DC Diane E. Ragsdale Senior Program Associate Jason Loewith Artistic Director The Andrew W. Mellon Foundation , New York, NY Eric Ting Artistic Associate Next Theatre Company, Evanston, IL Long Wharf Theatre, New Haven, CT Noel Raymond Co–Artistic Managing Director Eduardo Machado Artistic Director Pillsbury House Theatre, Minneapolis, MN Daniella Topol Managing Director INTAR, New York, NY Lark Play Development Center , New York, NY Stephen Richard Executive Director Rory MacPherson Senior Program Officer Arena Stage, Washington, DC Edward Torres Artistic Director The Wallace Foundation, New York, NY Teatro Vista...Theatre with a View, Chicago, IL Steve Richardson Producing Director Bryn Magnus Managing Director Theatre de la Jeune Lune, Minneapolis, MN Susan Trapnell Managing Director Free Street Programs , Chicago, IL ACT Theatre, Seattle, WA Lisa Rigsby Peterson Director of Administration Rajendra Maharaj Artistic Director Denver Center Theatre Company, Denver, CO Janine Trevens Executive and Artistic Director Rebel Theater, New York, NY TADA!, New York, NY Blake Robison Producing Artistic Director Tom Mardikes Designer, Chair, Founder, Trustee Round House Theatre, Bethesda, MD Delicia Turner–Sonnenberg Artistic Director Kansas City Actors Theatre, Kansas City, MO MOXIE Theatre, San Diego, CA Diane Rodriguez Michael Maso Managing Director Associate Producer of New Play Development Clyde Valentin Producer and Executive Director Huntington Theatre Company, Boston, MA Center Theatre Group, Los Angeles, CA Hip Hop Theater Festival, Brooklyn, NY

Christopher McElroen Co–Founder Gus Rogerson Artistic Director Donna Walker–Kuhne President Classical Theatre of Harlem, New York, NY 52nd Street Project, Inc., New York, NY Walker Communications Group, Brooklyn, NY

Ellen McLaughlin Playwright, Actor Michael Rohd Artistic Director Kate Warner Artistic Director Upper Nyack, NY Sojourn Theatre, Portland, OR Dad’s Garage, Atlanta, GA

Susan Medak Managing Director Randy Rollison Executive and Artistic Director Les Waters Associate Artistic Director Berkeley Repertory Theatre, Berkeley, CA Cleveland Public Theatre , Cleveland, OH Berkeley Repertory Theatre, Berkeley, CA

Yvonne Mendez Director of Design and Publicity Rosalba Rolón Artistic Director Michael Wilson Artistic Director New WORLD Theater, Amherst, MA Pregones Theater, Bronx, NY Hartford Stage, Hartford, CT

Penny Metropolous Associate Artistic Director Robert Rosen Founding Member Sam Woodhouse Artistic Director Oregon Shakespeare Festival, Ashland, OR Theatre de la Jeune Lune, Minneapolis, MN San Diego Repertory Theatre, San Diego, CA

Nobuko Miyamoto Artistic Director Michael Ross Managing Director Robert Woodruff Artistic Director Great Leap, Los Angeles, CA CENTERSTAGE, Baltimore, MD American Repertory Theatre, Cambridge, MA

Lori Monnier Associate Managing Director Ari Roth Artistic Director Celia Wren Writer Richmond, VA Arizona Theatre Company, Tucson, Phoenix & Mesa, AZ Theater J, Washington, DC Anita Yavich Costume Designer New York, NY Elisabeth Morten Chair Dan Rothenberg Co–Artistic Director Westport Country Playhouse, Westport, CT Pig Iron Theatre Company, Philadelphia, PA Jiri Zizka Co–Artistic Director The Wilma Theater, Philadelphia, PA Jonathan Moscone Artistic Director Mildred Ruiz Co–Founder and Co–Director, California Shakespeare Theater, Berkeley, CA UNIVERSES, Bronx, NY

Meena Natarajan Executive and Literary Director Mark Russell Producer Pangea World Theater, Minneapolis, MN Under the Radar Festival, New York, NY

Jennifer Nelson Producing Artistic Director Abe Rybeck Artistic Director African Continuum Theatre Company, Washington, DC The Theater Offensive, Cambridge, MA

Jason Neulander Artistic Director KJ Sanchez Director, Actor, Playwright Salvage Vanguard Theater, Austin, TX New York, NY

Charles Newell Artistic Director Olga Sanchez Artistic Director Court Theatre, Chicago, IL Miracle Theatre Group, Portland, OR

Naomi Newman Ensemble Member, Actor Steven Sapp Director, Actor, Playwright Traveling Jewish Theatre, San Francisco, CA UNIVERSES, Bronx, NY

Karen Noyes General Manager Zan Sawyer–Dailey Associate Director New Dramatists , New York, NY Actors Theatre of Louiusville, Louisville, KY

John O’Neal Artistic Director Joan Schirle Founding Artistic Director Junebug Productions, New Orleans, LA Dell’Arte International, Blue Lake, CA

Fabian Obispo Composer, Sound Designer Howard Shalwitz Artistic Director New York, NY Woolly Mammoth Theatre Co, Washington, DC

constituency tcg Annual Report 29 At the close of fiscal year 2005-2006, TCG’s financial situation continues to financial remain healthy. Net assets at the end of this fiscal year were $10,825,718, broken out between a permanently restricted endowment of $1,149,236, overview and the remaining split between $8,797,081 in temporarily restricted net assets and $879,401 in unrestricted net assets. All not-for-profit organizations strive to create diverse sources of revenue to help protect against being too heavily reliant on one area of income. TCG continues to enjoy diverse sources of income, with support from foundations, corporations, individuals and government grants representing 48% of our income; 24% from book sales; 8% from subscriptions; 10% from theatre memberships; 3% from investment gains and interest and the remaining amount from other areas. Continuing to emphasize our programs and services allows TCG to better serve our members and we are pleased to report that in 2005- 2006 we maintained an 86% ratio of program expenses to administrative expenses. TCG’s auditors have noted that the organization sustains an excellent level of spending on programmatic expenses.

Exhibit A Statement of Activities YEAR ENDED JUNE 30, 2006 (With Summarized Financial Information for the Year Ended June 30, 2005) Temporarily permanently Total Unrestricted Restricted Restricted 2006 2005 revenues, gains and other support . Government $ 32,300 $ 543,287 $ 575,587 $ 980,900 Foundations 119,500 4,095,600 $ 1,000 4,216,100 1,155,107 Corporations 129,000 57,500 186,500 116,950 Individuals 245,704 4,601 148,236 398,541 258,708 Honorariam donations 7,150 7,150 13,485 In–Kind contributions 8,200 8,200 13,500 Contracts 431,299 431,299 639,719 Books 1,586,658 1,586,658 1,559,486 Periodicals 1,618,357 1,618,357 1,471,089 Individual membership 469,743 469,743 449,515 Affiliates’ membership 44,458 44,458 37,525 Theatre registration fees 1,102,555 1,102,555 1,016,128 Conferences 354,817 354,817 373,545 Interest and dividends 90,496 113,348 203,844 469,694 Net gain (loss) on investments 87,056 (7,042) 80,014 22,890 Other revenues 20,354 20,354 19,959 Net assets released from restrictions $ 2,239,109 $ (2,239,109)

Total revenues, gains and other support $ 8,578,556 $ 2,576,385 $ 149,236 $ 11,304,177 $ 8, 598,200

Expenses . Program services $ 7,313,792 $ 7,313,792 $ 8,241,453 Administration 804,621 804,621 907,074 Development 435,680 435,680 390,558

Total expenses $ 8,554,093 $ 8,554,093 $ 9,539,085 Change in net assets $ 24,463 $ 2,576,385 $ 149,236 $ 2,750,084 $ (940,885) Net assets – beginning of year $ 854,938 $ 6,220,696 $ 1,000,000 $ 8,075,634 $ 9,016,519

Net assets (deficit) – end of year (Exhibit B) $ 879,401 $ 8,797,081 $ 1,149,236 $ 10,825,718 $ 8,075,634

30 tcg Annual Report financial overview Sources of Income Allocation of Expenses

INCOME FROM INVESTMENTS fyo6 FY06 DEVELOPMENT OTHER INCOME ADMINISTRATION

DEVELOPMENT 5.09% SUBSCRIPTIONS $435,680 ADMINISTRATION 9.41% $804,621 SUPPORT INCOME PROGRAMS AND SERVICES 85.50% THEATRE REGISTRATION FEES $7,313,792

INCOME FROM INVESTMENTS 2.51% BOOK SALES $283,858 PROGRAMS AND SERVICES OTHER INCOME 7.53% $850,928 SUBSCRIPTIONS 8.36% $945,121 THEATRE REGISTRATION FEES 9.75% $1,102,555 BOOK SALES 24.15% $2,729,637 SUPPORT INCOME 47.70% $5,392,078

Exhibit b balance sheet JUNE 30, 2006 (With Summarized Financial Information for the Year Ended June 30, 2005)

2006 2005 ASSETS .

Cash and cash equivalents $ 1,150,558 $ 786,201 Investments 6,403,504 5,772,295 Accounts receivable (net of allowance for doubtful accounts of $2,450 in 2006) 470,275 590,066 Contributions receivable – current 2,808,000 1,374,500 Government grants receivable 1,251,072 975,000 Accrued interest receivable 25,949 37,012 Prepaid expenses and other receivables 197,600 146,588 Inventory of books 583,781 493,084 Fixed assets (net of accumulated depreciation and amortization of $1,233,429 in 2006 and $1,103,545 in 2005) 404,079 475,987

Total assets $ 13,294,818 $ 10,650,733

liabilities AND NET ASSETS .

Liabilities Accounts payable and accrued expenses $ 659,282 $ 946,194 Deferred subscriptions and registration fees 1,538,950 1,382,662 Deferred compensation payable 270,868 246,243

Total liabilities $ 2,469,100 $ 2,575,099

Net assets (deficit) (Exhibit A) Unrestricted $ 879,401 $ 854,938 Temporarily restricted 8,797,081 6,220,696 Permanently restricted 1,149,236 1,000,000

Total net assets $10,825,718 $ 8,075,634

Total liabilities and net assets $ 13,294,818 $ 10,650,733

financial overview tcg Annual Report 31 Staff as of December 2006

Executive Office Advertising and Marketing Gigi Bolt Interim Executive Director Carol Van Keuren Director of Advertising Sandra Nance Executive Assistant Leigh A. Zona Director of Marketing Kathryn Walat Marketing Associate Finance Cate Brewer Advertising Assistant Elizabeth Morrow Selfridge Director of Finance and Administration Jenny Lam Accountant Art Department Lucy Ormanova Accountant Kitty Suen Art Director Monet Cogbill Graphic Designer Information Systems Lizbeth Alvarado Production Artist Warren Nichols Director of Information Systems and Operations David Townsend Help Desk Technician Development Kelly Haydon Database Manager Martha Neighbors Director of Development Tara Bracco Development Associate Membership and Customer Service Connie Hall Development Associate Jennifer Cleary Director of Membership Liz Maestri Development Assistant Rebecca Marzalek–Kelly Membership Coordinator Janelle Bernard Customer Service and Circulation Manager Gus Schulenberg Associate Customer Service Manager We wish to thank the following Jessica Conrad Customer Service Representative former staff members and interns. John Horgan Customer Service Representative Their efforts helped to make possible Office Management many of our achievements Demosthenes Chrysan Office Manager over the past year: Michael Shatara Associate Office Manager Anna Shapiro Receptionist Alison Anderson Management, Government and Education Programs Intern Taras Berezowsky Publications Intern Artistic and International Programs Sheila Callaghan Web Design Assistant Emilya Cachapero Director of Artistic Programs, TCG; Director of ITI/U.S. Ben Cameron Executive Director Sheela Kangal Senior Artistic Programs Associate Casey Baltes Artistic Programs Associate Joan Channick Deputy Director, TCG; Director, Director of ITI/U.S. Michael Francis Artistic Programs Associate Heather Cohn Development Associate Young Jean Lee Artistic Programs Associate Megan Graff Development and Communications Intern Jaclyn Harriott Advertising Assistant Management Programs Cindy Lee Database Manager Christopher Shuff Director of Management Programs Ilana Rose Management Programs Research Associate Rebecca McHugh Customer Service Representative Jason Schroeder Management Programs Associate David Nugent Artistic Programs Associate Peter Fenzel Management Programs Associate Government and Education Programs Ali Rohrs American Theatre Intern Laurie Baskin Director of Government and Education Programs Jessica Schnall Database Manager Liz Maestri Government and Education Programs Assistant Kelly Stark Advertising Assistant National Conference Mollie Wilson Editorial Associate Jenni Werner National Conference Director Eve Zapulla Assistant Web Editor Melissa Fendell National Conference Associate Books Program Terry Nemeth Publisher Kathy Sova Editorial Director Cassandra Johnson Editorial Associate Arthur Stanley Publications Associate American Theatre magazine Jim O’Quinn Editor in Chief Sarah Hart Managing Editor Randy Gener Senior Editor Nicole Estvanik Associate Editor Eliza Bent Editorial Assistant Website Mark Gordon Web Director Katherine Barry Web Assistant Communications Phillip Matthews Director of Communications

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