Types of Work

• Known for revivals of modern classics
  
  • “We do the seminal works of established playwrights”
    
• Revivals of forgotten classics
  
• New adaptations
  
  • Foreign classics
    
  • Classic novels
    
• New plays that champion language
  
  • The way writer uses language is unique
    
  • Language front and center in how it moves
    
  • Fascination with how language works
    
  • Example: Hang — language used in a startling way
    
• The Father intellectual challenge in the structure/ideas
  
  • For us and for the audience
    
• Classics to be
  
  • Defining why we think so
    
  • Timeless quality that presents new plays as future classics
    
• What canonical means to us
  
  • Engender conversations
    

Ensemble Based: Core Ensemble

• Currently 6 Actors, time of change
  
  • 5 active: Nick Sandys, Greg Matthew Anderson, Anabell Armour, Linda Gillum, Eliza Stoughton
    
  • Peter Davis recently retired and left Chicago, wants to remain engaged
    
  • 3 have left the Core Ensemble this year
    
    • Kelsey Brennan - now full-time at American Players Theatre, still interested in projects
      
    • Shawn Douglass - career and life shift - had been contemplating leaving for 5 years
      
    • David Darlow - had been inactive beyond participating in season shows due to family and other commitments for some time. Resigned November 2019
      
• Ensemble role
  
  • Role in Play and Season selection
    
  • Try to involve in season as actors or directors
    
    • No audition (unless requested by outside director under special circumstances)
      
    • If want a role, they ask and get first consideration
      
    • Nick is the arbiter
      
    • Good faith effort but no commitment they will be hired and understanding they will not have opportunities every season
      
    • Emphasis on choosing plays for season before considering casting is nominally agreed upon, as is the need for inclusion--but the realities of those choices unclear.
      
  • Ensemble role has always been complex and confusing.
    
    • Choosing repertoire important part of ensemble identity & value
      
    • There’s a lack of clarity around individual roles/expectations and individual and group accountability.
      
      • Only reference to Ensemble in bylaws is that there is one Ensemble ex officio board seat.
        
      • Only other articulation of Ensemble role in connection with the 2012 Organization Profile developed in connection with initial strategic planning process
        
      • Some but not all wish for more “hands on” role
        
      • Continuity of individual and collective Core Ensemble engagement (outside defined actor/director roles) an ongoing challenge
        
  • Ensemble engagement complicated by busier, established careers and other commitments as well as differing interests
    
    • Thus less engaged when not directly involved
      
    • Longtime Ensemble members have moved on to other projects and more urgent parts of their lives so doing this type of work a lesser priority over time.
      
    • Younger Ensemble members not as determined to do "classically based" work
      
  • Personal politics and social media profiles now play part in "community" character. Not just “who are we?” But who do we appear to be?
    
• Complex leadership dynamics:
  
  • Group memory of leader who had the natural authority of founder and patron. And earlier time when there was a big artistically-based decision that didn’t fit the budget and James determined to produce anyway by funding the gap.
    
  • Current leader is one of the core ensemble and line between leader and ensemble member a confusing duality.
    
    • Current leader trying to be less "privileged white male in power" but is "pwmip" at time society, sector, and RBTC recognizing need and struggling with how to navigate from pwmip hegemony to more representative work, audiences, leadership and institutions
      
• “Core Ensemble” relatively new title
  
  • Initially named Artistic Associates by James
    
  • Titles got really confusing when additional ring of artists added several years ago and with “Associate” title taken, Nick called them “Ensemble”
    
  • To solve: “Core Ensemble” for core artists and “Associate Artists” for honorary associates.
    

Season Model

• Currently and Traditionally 3 show season
  
• 4 has long been the aspiration
  
  • Only achieved in 16-17 — and only second time in company’s history
    
  • This year 4 shows in 12 months, but not within one season
    
• 7 potential slots
  
  • Early fall
    
  • Mid fall
    
  • Holiday
    
  • Winter
    
  • Early spring
    
  • Late spring
    
  • Summer
    
• For many years — Mid fall, Holiday, and Early spring
  
  • Holiday slot
    
    • Requires show that will work in the slot
      
    • No holiday show last season or this
      
• In the last 2 seasons, began to experiment and explore other scheduling opportunities
  
  • This year: Early Fall, Winter, Late Spring
    
    • August opening to avoid September crush
      
• Which slots based both on Show and Facility factors
  
  • In sudden move from Greenhouse to Theater Wit last year, parameters fell into Wit availability
    
• Seek to avoid heavy competition - particularly for openings
  
  • “Traditional theatre season” has been September through May
    
    • Habit has been to avoid September openings
      
    • Now “traditional season” changing as others shift and adapt
      
  • Reference League of Chicago Theatres opening schedule when choosing slots
    

Audience

• Just completed demographic survey
  
  • Primarily white
    
  • Predominantly over the age of 55
    
  • Significant portion over the age of 65
    
  • About 65% Female
    
  • College educated
    
  • Upper Middle Class
    
  • Mostly from the city
    
    • About 70% from Chicago Zip
      
      • North side, Goldcoast
        
    • 15%-20% from northern suburbs
      
      • Evanston, Wilmette
        
    • * These numbers are for overall audience
      
      • Subscriber base even more concentrated
        
  • Variation in data attributable to artists involved in production
    
• 1100 subscribers
  
  • High was 1400 In ‘11-12
    
• 5500 attendance
  
  • 8722 capacity
    
  • 10 year average 7500
    
    • Had significantly more capacity at Greenhouse
      
• Subscribers followed move to Wit
  
  • Retention rate 80%, up from 70%
    
• Single ticket audience slowly eroding
  
  • Made up for declining attendance with increased pricing
    
  • With lots of ups and downs, average income essentially flat over last 12 years
    

Staff

• 6 Full Time
  
  • Producing Artistic Director
    
  • Managing Director
    
  • Associate Artistic Director
    
  • Operations Director
    
  • Marketing Manager
    
  • Patron and Donor Services Manager
    
• Part Time
  
  • Production Manager
    
  • Technical Director
    
  • Seasonal office support person - subscription season
    
  • Casting Director (paid position?)
    
  • 6-15 interns per year
    
    • Casting, Development, Marketing/Graphics, Artistic, Special Events
      

Artists

• 6 Core Ensemble
  
• 7 Associate Artists
  
  • Honorary title
    
  • Invited by Nick
    
  • Currently:
    
    • 4 Designers
      
    • 1 Stage Manager
      
    • 1 Production Manager
      
    • 1 Director
      
  • Not involved in Season selection
    
  • First to go to (after Core Ensemble) once have season
    
• 20 actors in current season
  
  • Highest 27, with exception of 42 with 4th show in ‘16-17
    
• 13 AEA contracts
  
  • 12 obligated
    
    • 3 SM
      
  • CAT 2 or 3
    
• 5-6 designers/show, 15-20 in season
  
  • Includes movement and vocal
    
• 3 SM & crew/show, 9 in season
  
• 4 build crew
  
• 18-20 build & electrics crew per season
  
• 90-100 Artists/Season overall
  

Board

• 14 outside directors
  
  • Traditionally 12-16
    
• Plus 3 ex officio voting members
  
  • Producing Artistic Director
    
  • Managing Director
    
  • Core Ensemble Representative
    
    • 3 year term
      
• Bylaws say 15 directors
  
• Traditionally 12-16 outside members
  
  • Strong retention
    
  • On average, turnover in one position/year
    
• Junior level for under 40
  
  • 2 current
    
  • Lower give/get, everything else is same
    
• No term limits
  
• 2 year officer terms
  
  • 5 board presidents to date, 4 still on board
    
• Good engagement
  
  • 50% very engaged
    
  • 25% moderately engaged
    
  • 25% lightly engaged
    
    • Seasonal fluidity between moderate and lightly
      
• 100% participation in give get
  
• Board contributions
  
  • $1500 — Board Leadership gift
    
    • Has to be personal give
      
    • Has never been raised since instituted in 2002
      
  • $3500 — additional give/get
    
    • Has increased
      
• 7 standing committees
  
  • Chaired by Board members
    
  • Include additional community volunteers
    

Volunteers

• Non board member committee members
  
• 80 active community member volunteers involved in gala, office work, events, etc.
  

Decision-Making Authority

• Artistic
  
  • Producing Artistic Director with input from Associate Artistic Director
    
  • Season Selection
    
    • Core Ensemble
      
    • In process led by Producing Artistic Director and Associate Artistic Director
      
• Organizational
  
  • Producing Artistic Director with Managing Director
    
    • In collaboration with Operations Director
      
      • Day-to-day operations
        
    • Board oversight
      
      • Large financial decisions
        
      • Approve budget
        

Financial

• Right around $1 million operating budget (currently $992k)
  
  • Revenue
    
    • 70% contributed
      
    • 30% earned
      
  • Expenses
    
    • 67% cost of goods sold
      
      • Includes production staff, & marketing
        
    • 33% Admin, including development
      
• $130k in reserve
  
• $240k in cash in bank
  
• AEA
  
  • Officially CAT 2
    
  • Currently producing under CAT 3
    

Facility

• Theater Wit
  
  • In 2nd season there after 22 years at Greenhouse
    
  • Looks like we’re paying ⅔ of former rent, but flat line when add in Wit box office costs and fees
    
  • 98 seat house. 3 theaters
    
    • Half the seating capacity at Greenhouse greatly impacts upside potential for hits
      
  • Thus far have produced in Theaters 1 and 2
    
  • Have not yet produced in Theater 3 (most flexible - black box), which is most in demand
    
  • 1 of 4 resident companies
    
    • Resident companies get priority
      
    • Some contention of space availability
      
  • Work through their box office
    
    • Have to sell tickets through Wit’s website
      
  • Have already maxed technical and space capabilities
    
    • Grid, dimmers
      
    • Little backstage area
      
    • Very limited dressing room space (limits max cast to 12)
      
    • No real backstage lavatory
      
  • Patron experience at Wit is much improved from Greenhouse
    
    • 1 level, more accessible
      
    • Better neighborhood
      
      • Lively
        
      • Better dining and parking options
        
      • Not next to college bars
        
  • Requires more admin time than Greenhouse
    
• Ravenswood: year to year lease on 2 suites plus storage room
  
  • Admin offices
    
    • 800 sq ft
      
    • Expanded from smaller space off reh. room 2 years ago
      
  • Rehearsal room/green room & prop storage
    
    • 1100 sq ft
      
    • Generate some income from rentals of rehearsal space
      
  • Storage room