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Transcript
Company One Inc.
General Information
539 Tremont Street, Studio 202
Boston, MA 02116
(617) 2927110
Website
http://www.companyone.org/
Organization Contact
Sarah Shampnois [email protected]
Year of Incorporation
1998
1
Statements & Search Criteria
Mission Statement
Company One Theatre's mission is to change the face of Boston theatre by uniting the city’s diverse
communities through innovative, socially provocative performance and developing civically engaged
artists.
Company One Theatre’s Vision Statement: Company One Theatre is Boston’s theatre for the
people. We are the intersection of art and social change. We will be a national leader for audience
engagement, artist development and the creation of new work that pushes boundaries by
presenting issues and events critical to the progress of society. We maintain a sense of integrity,
authenticity and social responsibility to all people.
Background Statement
Company One Theatre was founded in 1998 to integrate Boston audiences, challenge the city’s
social divides and foster a new generation of theatre-makers and theatergoers. Since then we have
become a nationally renowned, award-winning theatre company in residence at the Boston Center
for the Arts in the South End. Our mission is to change the face of Boston theatre by uniting the
city’s diverse communities through innovative, socially provocative performance and developing
civically engaged artists.
We fulfill our mission through theatre productions and education and outreach programs, bringing
Bostonians from a wide range of backgrounds into a space to have a shared experience. In all of
our endeavors, we use the artistic experience to foster social change, build community, broaden
arts participation, and eliminate social divides. We have helped launch the careers of a diverse
collective of playwrights and performers, and we have served over 10,000 students through our
education outreach programs.
Over the past 15 seasons Company One Theatre has produced and mounted over 60 plays. Our
artistic programming has consistently been praised by the local and national media, and has been
the recipient of 12 Elliot Norton Awards and 10 Independent Reviewers of New England Awards
since 2007. Our Education Programs have received the Mass Cultural Council’s Gold Star Award.
In 2011 Company One received a National Theatre Company Grant from the American Theatre
Wing (The Tony Awards) calling us “One of the most inspiring and innovative theatre companies on
our national landscape.” In 2013 we were awarded an Official Resolution by the Boston City
Council for “Your countless contributions to Boston’s Art community and dedication to diversifying
arts and theater in Boston,” as well as being named “Boston’s Best Theatre” by the Improper
Bostonian. In 2014 we were named “Boston’s Best Fringe Theater” by The Weekly Dig.
This past year, the Boston Globe commended the organization on its 15th anniversary, saying
“Company One has… established itself as a home for must-see theater… To attend one of their
performances is often to feel yourself immersed in exuberance, with waves of energy pouring from
the stage, usually reciprocated by an avidly enthusiastic audience that is far younger and more
diverse than the Boston theater norm.”
In a recent review by WBUR/NPR Company One Theatre’s unique audience demographics were
praised: “You sense, at a Company One production, that the troupe is reaching out to audiences
that other theaters aren’t, particularly young audiences. And the laughter that you hear… sounds
like a new generation learning to love the theater.”
2
Impact Statement
Recent Accomplishments:
• Completed
a comprehensive three year strategic plan funded by The Boston Foundation
with partners including the Nonprofit Finance Fund and MORE Advertising.
• Company One
was awarded an Official Resolution by the Boston City Council for “Your
countless contributions to
Boston’s Art community and dedication to diversifying arts and
theater in
Boston,”
• Named
Boston’s Best Theatre by the Improper Bostonian
• Completed
the match of a $50,000 challenge grant awarded by The Mable Louise Riley
Foundation
• Awarded
five Elliot Norton Awards (more than any other theatre in Boston), as well
three
Independent Reviewers of New England awards
Goals for the upcoming year:
• Increase
staff capacity
• Hire a Director of Marketing and Community Engagement
• Implement the full C1 Street Team program
• Implement the first stage of the Teaching Theatre
model; Technical Fellows
• Implement
our new brand
• Grow
audience by 15%
• Develop
new collaborations
• ArtsEmerson: The World on Stage – partnering with them
to produce WE ARE PROUD TO
PRESENT A PRESENTATION
• Suffolk University – partnering with them to produce
THE FLICK
• UMass Boston – partnering with them on the C1 Street
Team program
• Boston Youth Fund – partnering with them on the C1
Street Team program
• Implement capitalization plans and financial reserves, including debt reduction
Needs Statement
• Continue to transition current in-kind management staff to paid positions in order to increase
organizational capacity. Support needed: $400,000 over the next 5 years
• Funds to expand our successful C1 Street Team program. The program focuses on engaging
young Bostonians, 15-24 years of age. In the program’s first full year, the percentage our
audience under the age of 24 grew by 17%. Support needed: $60,000
• Support for new play development with nationally renowned playwrights Jackie Sibblies Drury
(WE ARE PROUD TO PRESENT...) and Kristoffer Diaz (THE ELABORATE ENTRANCE OF
CHAD DEITY). Support needed: $40,000
• Support to expand our Stage One education programs. The Stage One: Apprentice program
focuses on youth development, employing Boston teens (15-18) to create community
engagement events and develop essential professional skills. The Stage One: In-School program
works in 5 Boston Public high schools and 1 elementary school where arts education is needed.
Support needed: $60,000 over the next 2 years
• Secure funding to hire Development support staff. Support needed: $25,000
CEO/Executive Director Statement
Global history tells us that theatre can be a powerful tool used for connection and social change.
We founded Company One Theatre with a belief that we could change Boston and the world. From
our stage, we break down the barriers of urban segregation, connect communities, educate the
young, empower marginalized voices and give new Boston an innovative cultural institution to be
proud of. Through 15 years of powerful performance, transformative education, and meaningful
workforce development, I am inspired by our significant growth and anticipate an impactful future.
3
Board Chair Statement
When I sit at a Company One Theatre performance in the midst of Boston’s most diverse audience,
I am surrounded by the success of our mission. Company One’s mission is more than words on a
page, it is the communal experience of Bostonians of all ages, colors, and income levels coming
together to see theater that uses laughter, tears, and conversation to examine the social issues that
challenge us all.
My passion for work on the Company One Theatre Board is fed by productions of plays by the most
exciting new faces on the American stage. We’ve championed playwrights like Boston’s own John
Oluwole ADEkoje, Kirsten Greenidge, Miranda Craigwell, and Obehi Janice; and we’ve introduced
Boston to national voices like Aditi Brennan Kapil, Jackie Sibblies Drury, Idris Goodwin, Rajiv
Joseph, and Natsu Onoda Power. Each of these writers creates plays that attract vibrantly diverse
th
casts and audiences.In an article celebrating our 15 anniversary, the Boston Globe’s Don Aucoin
summarized Company One’s impact on the Boston theatre scene eloquently,
“To attend one of their performances is often to feel yourself immersed in exuberance, with waves of
energy pouring from the stage, usually reciprocated by an avidly enthusiastic audience that is far
younger and more diverse than the Boston theater norm.”
Feedback from Boston Public High School students enrolled in the Company One In-School
Program or our Production Apprenticeship Program also motivates my dedication to Company One
Theatre. Our value is affirmed when I read comments like this,
"This class was wonderful. Working with others helped me be more kind and feel successful."
The Company One Board is leading this critically-lauded theatre at an essential growth point. Our
tremendous success is also our greatest challenge. Company One was founded in 1999 by a
passionate team of artists, who to this day fill the majority of the organization’s executive
management positions on a wholly voluntary basis. This exceptional team of founders, have earned
15 Elliot Norton Awards for theatrical excellence, 10 Independent Reviewers of New England
awards, and an enthusiastic donor base of individuals. Corporate, foundation, and government
funding has consistently been awarded. However, in the early years, the organization was
structured so that all income went into the costs of our theatrical productions and educational
programs at the expense of salaries for leadership.
In recognition that this business model is unsustainable, the Board completed an invigorating 3-year
strategic planning process funded by The Boston Foundation. The resultant Strategic Business
Plan focuses all of our energies on the steps we need to take to anchor Company One’s theatrical
magic in a sustainable long-term business model.
The first steps have been taken, with funding for the salaries of the Managing Director and
Marketing Director, and an honorarium for the Artistic Director. The Board will now execute action
plans that will lead to the creation of salaries for all Executive and Management level positions by
the end of Fiscal Year ‘16. The Board is united in our efforts to ensure that Company One Theatre
has the structure to continue serving Boston long after the Founders and current Board members
have stepped aside.
Service Categories
Theater
Geographic Areas Served
4
Company One is dedicated to serving the City of Boston. Approximately 40% of our overall
audience is from within the city limits. The majority of the Boston audiences come from the
Dorchester, Jamaica Plain, South End, Back Bay and Roxbury neighborhoods. Approximately 9%
of the audience comes from Cambridge, 9% from Brookline, 5% from other 021 zipcodes, 4% from
Somerville, 24% from other location within MA and 11% from outside the state.
Please review online profile for full list of selected areas served.
5
Programs
Stage One: In-School
Description
Using theatre as a means to liberate expression, build selfconfidence, and expand cultural awareness, Company One
Theatre is committed to teaching and exposing students to theatre
in order to inspire creative and original thought, produce wellrounded individuals and establish a future generation of theatre
artists.
Our Stage One: In School program brings theatre education
residencies to the Boston Public Schools, designed to foster each
young actor’s personal growth and theatrical development.
Students in the class will develop acting techniques while also
creating original individual and group-based scenes. Company
One Theatre teaching artists work with students to produce work
dealing with social, political and academic issues relevant to a
high school-aged population, ultimately culminating in
performances for the school community. We currently work in 7
BPS high schools and 1 middle school, serving over 700 students
annually.
Budget
$.00
Category
Arts, Culture & Humanities, General/Other Arts, Culture &
Humanities, General/Other
Population Served
Other Economic Level, ,
6
Program Short Term Success
Through the study of theatre, students will demonstrate growth in
drama skills, art skills, academic skills, and life skills.
Drama Skills - By the end of a student’s time in our program:
·
85% will improve in control and movement of their body.
·
85% will improve in control of their voice.
·
85% will learn new skills for developing character and story.
Art Skills - By the end of a student’s time in our program:
·
80% will tap into their imagination more frequently
·
80% will improve in cooperation with others
·
80% will creatively articulate point of view
Academic Skills - By the end of a student’s time in our program:
·
90% will be more comfortable with reading.
·
80% will analyze text more thoughtfully.
·
85% will be more confident speaking in public.
Life Skills - By the end of a student’s time in our program:
·
80% will demonstrate more sensitivity.
·
80% will demonstrate more empathy.
·
80% will demonstrate an increase in appreciation of others’
work.
7
Program Long term Success
Through the study of theatre, students will develop an
appreciation for the power and necessity of theatre’s role in
society, and the responsibility of civically engaged artists to create
new work that pushes boundaries by presenting issues and
events critical to the progress of society. Students will develop
skills associated with the theatre, but will also develop a stronger
identity, as well as create stronger connections to their
community.
As a result of our program:
·
More Boston Public School (BPS) students will engage in
community dialogue
·
more BPS students will engage in civic action
·
more BPS students will register to vote
·
more BPS students will follow through with their education
·
students will recognize the value of their relationships with
friends, family, and community members
·
students will celebrate differences and build bridges between
communities
·
the arts workforce in Boston will more closely reflect the
racial/cultural make-up of the city
Program Success Monitored By
In an effort to examine the program through a variety of lenses,
we use a diversity of tools used to monitor success:
·
pre- and post-program surveys from the students
·
consultations with each school’s administration
·
consultations with teaching artists
·
interviews with students
·
performance evaluations
·
test scores/grades
·
student reflections in journals
8
Examples of Program Success
Students have spoken loudly and clearly about the program.
·
“This class was wonderful. I learned I can write my own play,
and it’s fun. I learned to speak loud in front of an audience.
Working with others helped me be more kind and feel successful.”
·
"It taught me a lot about teamwork, leadership, creativity, and
ethics."
·
"This was a great experience that has truly allowed me to
grow as an actress, writer, and problem solver.”
·
"This program makes you think outside the box."
·
"This program did help me grow, both as an artist and a
person."
- 91% reported improvement in control of their body.
- 82% reported improvement in control of their voice.
- 91% reported learning skills for developing a character and a
story.
- 82% reported learning skills to cooperate with others.
- 82% reported believing more strongly in their own ideas.
- 100% reported feeling more confident in their abilities.
- 91% reported a development in the appreciation of the work of
others.
9
C1 Street Team
Description
The C1 Street Team is a group of community organizers that fulfill
Company One Theatre’s mission to unite Boston’s diverse
communities and the program is the central core of our community
engagement efforts. By focusing the program on the 15-24 year
old cohort, we are taking advantage of Boston being one of
America’s largest college towns, and also a city with a large,
diverse young-adult population (138,000 permanent residents
between the ages of 15 and 24).
The C1 Street Team program’s goal is to increase the number of
15-24 year olds engaging with Company One Theatre’s mission
by ensuring that they 1) feel more connected with other
community members, 2) are motivated to take action, and 3) are
intellectually stimulated. The program is focused on audience
development and building demand for art focused on social
change. It works to demystify the world of theatre and how it can
be used a tool for social justice and bringing people together.
Budget
$.00
Category
Arts, Culture & Humanities, General/Other Artists' Services
Population Served
College Aged (18-26 years), Other Named Groups,
Program Short Term Success
The short term objectives for this program are to engage Boston's
young adult population. We will accomplish this through
intellectual stimulation and social bridging and bonding. We work
to gain a greater understanding of how the work is relevant (or
what work is relevant) to this age cohort. Through repeated
attendance and involvement we will measure audience
captivation, emotional resonance, and aesthetic enrichment.
Program Long term Success
The Objectives of this program are to engage Boston’s young
adult population with
other community sectors and each other
through socially-motivated
award-winning performance and art
leading to…
• Higher level of community and social
connection
• Increased motivation to take action or make a
change
• Increased intellectual stimulation
• Integrate Boston’s college population with
the greater city
in order to enable cultural dialogue and empower the
views and the opinions of Boston’s younger citizens
• Expansion of Company One Theatre’s unique
audience
demographics and its capacity for engagement
• Empower a select team of creative young
adults to act as
young ambassadors, cultural investigators and community
engagement specialists
Long Term Impacts Include:
• A more civically engaged community
• Greater community discourse
• Increases in arts funding
• Increase demand for socially provocative arts and arts
education.
10
Program Success Monitored By
Both extrinsic and intrinsic impacts will be measured as part of
assessing the overall success of the C1 Street Team program.
Company One Theatre has a long-standing, strong infrastructure
for surveying and our typical response rate is around 50%.
Impact will be measured using attendee surveys, on-line and invenue, developed in collaboration with WolfBrown. These surveys
were initially developed as part of WolfBrown’s Measuring the
Intrinsic Impact of Live Theatre study and they allow us to
measure the transformative power our work is having.
Examples of Program Success
Since its official beginning in the spring of 2013, the program has
seen the percentage of Company One’s audience under the age
of 24 increase by 17%, numerous events and projects were
launched that reached tens of thousands of Bostonians, focus
groups were held, and a team of energetic and inspiring young
people has been hired to engage our audiences.
11
C1 Playlab
Description
Designed to propel the work of local playwrights from
development to production. Writers at various stages of their
careers receive mentorship, dramaturgical support and advocacy
through a series of masterclasses with industry professionals and
workshops.
Budget
$.00
Category
Arts, Culture & Humanities, General/Other
Population Served
General/Unspecified, ,
Program Short Term Success
For this season’s program, we have selected two playwrights to
work with – one playwright’s script we are developing for
production to premiere in Company One’s Season 17. With this
playwright, our specific goals set for their development include
helping them incorporate photography in their work alongside
artist collaborators. The second playwright has yet to be chosen,
however, specific goals for the aforementioned playwright will be
produced after an elaborate discussion on what the project needs.
We plan on holding a few events apart of this program: one public
event in the fall, one public event in the winter, and a two-day
festival in the spring. At the end of this year’s program, we would
have engaged approximately 30-80 people in new playwrights’
work.
Program Long term Success
Not only has it and will it continue to bring together the BCA and
Company One in a unique collaboration, but it shepherds seven
playwrights, at various stages of their careers, through
development, mentorship, and production processes, resulting in
a canon of new work for the American Theatre. We are
introducing a new vibrant picture of our region’s new play sector to
the Boston people, providing them work that speaks to current
social matters. Through this process, we will be able to present
and appreciate work from female playwrights and artists as we
recognize the need to support them in our community.
Supporting work by women matters, especially work by women of
color. In a field where we are still a long way from gender parity on
our stages nationally, and where larger theatres and producing
organizations are derided for their inability to curate seasons that
reflect the diversity of our world, the BCA PlayLab argues that
there is no shortage of dynamic, potent plays by women.
12
Program Success Monitored By
The BCA PlayLab is monitored through audience surveys after
every event asking specific question regarding their experiences
with the program as well as exit interviews with all playwrights and
artists directly involved in the program. During the exit interviews,
Company One can correctly gather information about what the
strengths and weaknesses of the program are.
Examples of Program Success
Shelter Of Last Resort by Miranda Craigwell was in development
when it came to us. Miranda first workshopped the play as part of
her Huntington Playwriting Fellowship, but desired a more fully
supported process during which she could explore the
development of a soundscape and musical world unique to the
story. We provided her such an opportunity, and she worked with
her preferred collaborators to fully revise the text into what she
called a “play with a vocal mix.” Without PlayLab, this would not
be possible. The Splendor Variations by Kirsten Greenidge, a
continuation of the work Kirsten began with her 2012-13 PlayLab
residency, this project exploded SPLENDOR into three new oneacts. For the 2014 Festival, she finished one of those three,
including a character brand new to the community she created.
Work on this project was an important milestone for the program,
as we are able to support a midcareer nationally-recognized
playwright in a way no other theatre has yet been able to do.
13
Company One Theatre Productions
Description
Each season Company One Theatre produces 4 productions
including award-winning area premiers and commissioned new
work. The company is currently in production 20 weeks per year
and employs over 100 local artists and production staff per
season. We choose our projects based on artistic quality, with a
focus on fulfilling our mission. We create theatrical events that
speak to a wide variety of Boston’s diverse communities and that
grapple with relevant social issues. Company One Theatre has
produced and mounted over 75 plays. Our work has been lauded
by the local and national media, and has been the recipient of
over 30 major Boston theatre awards. The Boston Globe recently
wrote “Company One has… established itself as a home for mustsee theater… To attend one of their performances is to feel
yourself immersed in exuberance, with waves of energy pouring
from the stage, usually reciprocated by an avidly enthusiastic
audience that is far younger and more diverse than the Boston
theater norm.”
Budget
$.00
Category
Arts, Culture & Humanities, General/Other Theatrical
Performances
Population Served
General/Unspecified, Minorities, College Aged (18-26 years)
Program Short Term Success
Over the next 3 seasons, Company One Theatre is committed to
producing at least 60% of its plays by playwrights of color and at
least 50% of its plays by women. Audience demographics will
maintain at 60% people under the age of 35 and grow from 33%
to 40% people of color. These numbers are significantly higher
than those of other theaters and will account for a major shift in
Boston's overall cultural demographics.
Program Long term Success
Company One is Boston’s theatre for the people. We are the
intersection of art and social change. We will be a national leader
for audience engagement, artist development and the creation of
new work that pushes boundaries by presenting issues and
events critical to the progress of society. We maintain a sense of
integrity, authenticity and social responsibility to all people. We will
be responsible for diversifying Boston's cultural landscape
regarding race, class, age and gender. The goal is to diversify the
representation on Boston's stages, so that it eventually matches
the demographics of the city itself.
14
Program Success Monitored By
Impact will be measured using attendee surveys, on-line and invenue, developed in collaboration with WolfBrown. These surveys
were initially developed as part of WolfBrown’s Measuring the
Intrinsic Impact of Live Theatre study and they allow us to
measure audience demographics and the transformative power
our work is having, specifically in five areas: 1) Captivation; 2)
Intellectual stimulation; 3) Emotional resonance; 4) Aesthetic
enrichment; and 5) Social bridging/Bonding. Company One
Theatre has identified Intellectual Stimulation and Social
Bridging/Bonding (includes motivation to take action and
connection to others in your community) as mostly closely aligning
with our mission, so the highest priority measures for the
organization’s programming. In order to best use this data, the
organization sets out expectations for how they feel the audience
will respond to the production.
Examples of Program Success
*
15
Stage One: Apprentice Program
Description
Company One Theatre’s Apprenticeship Program is a professional
development opportunity designed to give young artists the skills
they need to work on professional theatrical productions. Our
program develops many of the skills necessary to the 21st century
workforce including adept communication and collaboration,
adaptability, and critical thinking. It’s perfect for anyone interested
in theatre as a vocation or avocation, and for those who value the
intersection of art and community as well.
Company One Theatre’s professional staff and local artists teach
master classes, which introduce and deepen students’
understanding of every element of the production process,
including Directing, Stage Management, Production Management,
Fight Choreography, Dramaturgy, Technical Design and Front of
House Management. In addition, apprentices receive classes on
essential skills, which apply to the workplace more broadly,
including Resume Writing, Communication, Financial Literacy and
Budgeting.
Budget
$35,000.00
Category
Arts, Culture & Humanities, General/Other Theater
Population Served
Adolescents Only (13-19 years), ,
16
Program Short Term Success
Through focused work in theatre administration, apprentices will
st
demonstrate growth in specific 21 century workforce and career
skills, as well as life skills.
Workforce Skills - By the end of a student’s time in our program:
90 % will improve in critical thinking and problem solving
85 % will improve in flexibility and adaptability
85 % will improve in initiative and self-direction
85 % will improve in productivity and accountability
85 % will improve in leadership
Career Skills - By the end of a student’s time in our program:
80 % will improve in interacting with customers
80 % will improve in computer technology
90 % will improve in time management
90 % will improve in project management
Life Skills - By the end of a student’s time in our program:
95 % will improve in work ethic and professionalism
90 % will improve in communication and interpersonal skills
90 % will improve in social and cross-cultural skills
95 % will improve in appreciation of others’ work.
17
Program Long term Success
Through focused work in theatre administration, apprentices will
develop an appreciation for the power and necessity of theatre’s
role in society, and the responsibility of civically engaged artists to
create new work that pushes boundaries by presenting issues and
events critical to the progress of society. Students will develop
st
21 century workforce skills, but will also develop a stronger
identity, as well as create stronger connections to their
community.
As a result of our program:
More Boston Public School (BPS) students will engage in
community dialogue
more BPS students will engage in civic action
more BPS students will register to vote
more BPS students will follow through with their education
more BPS students will be able to develop and articulate a
direction/mission for the next stage in their life
students will celebrate differences and build bridges between
communities
the arts workforce in Boston will more closely reflect the
racial/cultural make-up of the city
Program Success Monitored By
In an effort to examine the program through a variety of lenses,
we use a diversity of tools used to monitor success:
pre- and post-program surveys from the apprentices
interviews with apprentices
goal setting consultations with the apprentices
MA work-based learning plan
performance evaluations
student reflections in journals
18
Examples of Program Success
Company One Theatre’s apprentices love the program, and many
express interest in returning for multiple years.
“My experience here at Company One has been amazing…I
consider them a second family.”
“It helped me be more open with my ideas. Here, I share my
ideas and it’s not just my ideas to myself, it’s my ideas with
everyone else.”
“I love coming here. After school, my stress and everything
goes away. I get to come here and think about the things that I
love- theatre. My mind is in a more positive place.”
“I’ve learned to be more creative and open minded. I know I
never used to be like that.”
80 % reported improvement in leadership
94 % reported improvement in project management
100 % reported improvement in work ethic/professionalism
87 % reported improvement in communication/interpersonal
skills
94 % reported improvement in critical thinking/problem solving
skills
94 % reported improvement in time management
100 % reported feeling more confident in their abilities
Program Comments
CEO Comments
Company One programs each season with a vision of being a social-provocateur, a goal of
continuing to diversify Boston’s theater landscape, and to provide Boston’s communities with a
different kind of theatrical experience. We are Boston’s leading Indie theatre. Indie theatre
is scrappy and resourceful. It’s inventive, it’s imaginative, and its makers are as diverse as the
stories they tell. Indie Theatre is highly collaborative, and the playwrights who work in this aesthetic
form a strong network of staggering variety. Our plays are generally world premieres or early
productions by America’s most exciting young playwrights. Together, we create plays that are highly
theatrical and tell stories from the margins. In our embracing of Indie Theatre, we become part of a
national artistic network — one that celebrates the playwright, and the electrifying relationship
between the performers and audience.
19
Management
CEO/Executive Director
Executive Director
Ms Sarah Shampnois
Term Start
Dec 1998
Email
[email protected]
Experience
Sarah is a founding member of Company One. She holds a Masters of Public Administration (MPA)
in Nonprofit Management from the Sawyer Business School at Suffolk University and a BA from
Clark University. Sarah has worked for several non-profit agencies including AmeriCorps, New
Jersey Community Water Watch, MassPIRG and the President's Council on Sustainable
Development under President Clinton. She also served as the Educational Team Leader for NJWW
and has taught environmental education and the arts in the Camden, NJ and Worcester, MA school
systems. She has received training and has extensive experience in Community Organizing, Private
and Corporate Fund Raising, Internship Supervision, and Media Relations.
Co-CEO
Co-CEO
Shawn LaCount
Term Start
Dec 1998
Email
[email protected]
Experience
Shawn is a proud co-founder of Company One Theatre. Recent directorial credits include the
regional premieres of Jackie Sibblies Drury’s REALLY; Young Jean Lee’s WE’RE GONNA DIE (The
American Repertory Theatre /Company One Theatre); A. Rey Pamatmat's EDITH CAN SHOOT
THINGS AND HIT THEM (Elliot Norton Award Nominee for Outstanding Director and Outstanding
Production); Annie Baker's THE FLICK (Elliot Norton Award, Outstanding Production); the world
premiere of Kirsten Greenidge's SPLENDOR (IRNE Award nominee, Best New Play); the Boston
premieres of BENGAL TIGER AT THE BAGHDAD ZOO by Rajiv Joseph; THE ELABORATE
ENTRANCE OF CHAD DEITY by Kristoffer Diaz (Elliot Norton Award for Outstanding Director and
Outstanding Production); Annie Baker's THE ALIENS (Elliot Norton Award for Outstanding Director
and Outstanding Production); the world premiere of GRIMM (IRNE Award nominee for Best New
Play); the Boston premiere of THE OVERWHELMING by JT Rogers (Elliot Norton Award Nominee,
Outstanding Production); the Boston premiere of Haruki Murakami’s AFTER THE QUAKE (Elliot
Norton Award Nominee, Outstanding Production); Stephen Sondheim’s ASSASSINS (IRNE
nomination for Best Director and Best Musical); and the Boston premiere of Noah Haidle’s MR.
MARMALADE (Elliot Norton Award Nominee, Outstanding Director/Outstanding Drama). Shawn
holds an MA Ed. in theatre Education from Clark University and an MFA in Directing from The
University of Massachusetts, Amherst. He has taught at Emerson College, Boston Arts Academy,
Huntington Theatre Company, Tufts University, Stage One and the University of Massachusetts,
Amherst.
Senior Staff
Summer L. Williams
Title
Director of Public Relations
20
Experience/Biography
Ms. Williams has been with Company One since its inception in
1998. An active member of the Board of Directors, Summer is a
producer, director and educator for Company One. Her most
recent directing credits include SHELTER OF LAST RESORT by
Miranda Craigwell as a part of XX PlayLab 2014, the New
England Premiere of Jackie Sibblies Drury’s WE ARE PROUD TO
PRESENT A PRESENTATION ABOUT THE HERERO OF
NAMIBIA, FORMERLY KNOWN AS SOUTHWEST AFRICA
FROM THE GERMAN SUDWESTAFRIKA BETWEEN THE
YEARS 1884-1915, Idris Goodwin's HOW WE GOT ON and Lynn
Nottage’s BY THE WAY, MEET VERA STARK at the Lyric Stage
Company of Boston. Regional credits: THE BROTHERS SIZE and
MARCUS; OR THE SECRET OF SWEET as part of the THE
BROTHER/SISTER PLAYS (2012 Elliot Norton Award nominated
for Outstanding Production and winner of the 2012 IRNE Award
for Best Play), NEIGHBORS, GRIMM, THE GOOD NEGRO,
VOYEURS DE VENUS (Winner of 2009 Elliot Norton Award for
Outstanding Director), THE BLUEST EYE (IRNE and Elliot Norton
Award nominated), THE LAST DAYS OF JUDAS ISCARIOT,
SPELL #7 (IRNE nominated), JESUS HOPPED THE A TRAIN
(2004 Elliot Norton Award for Best Fringe Production) TWILIGHT:
LOS ANGELES 1992 (IRNE nominated). Ms. Williams has also
directed for the Boston Playwrights' Theatre, Clark University,
Brandeis University, The Theatre Offensive and Huntington
Theatre Company. She is a teacher of drama and director at
Brookline High School and holds a BA in Theatre, as well as a MA
Ed. in Theatre and Urban Education. Ms. Williams serves as a
member of the Board of Directors of both Stage Source and The
Coolidge Corner Theatre.
21
Mark Abby VanDerzee
Title
Education Director
Experience/Biography
Mark, a co-founder of Company One, attended Clark University
where he received his B.A. in Theatre Performance and dual
certification in Elementary Education and K-12 Performing Arts,
and received his MA Ed. in Curriculum and Instruction from the
University of Phoenix. Stage One, Company One's dramatic
education program, is under Mark's helm, and over the past
fourteen years, he has developed the curriculum for several
different branches of the program: a Stage One summer camp, a
series of intensive after-school theatre courses, an educational
tour of ARTiculation, and short-term artist residencies. Currently,
Company One runs four educational programs: Stage One: In
School (a year-long artistic residency in five Boston Public High
Schools), Stage One: Production Apprenticeships (a workforce
development program providing teens with skills to bring to their
chosen profession), Stage One: Professional Development for
Actors (a series of 8 week classes designed to challenge and
support developing artists), and Stage One: Curricular
Connections (a free online curriculum guide presented with every
show in Company One's season). Under Mark's guidance,
Company One's Stage One program has now begun to educate
people from the ages of 4 to 40 (and beyond) with quality artistic
programming. Mark began his public school teaching career in the
Worcester Public Schools, and currently teaches Technical
Theater, Design for the Stage, Drama 1, and Advanced
Improvisation at Brookline High School. Proudly, Mark is also an
educator with Stage One.
22
Ilana Brownstein
Title
The Director of New Work
Experience/Biography
Ilana is a dramaturg and director specializing in new plays and
public arts advocacy. In addition to her work with Company One,
she is the Founding Dramaturg at Playwrights' Commons, and on
faculty at the BU School of Theatre. Previously, she created the
Playwriting Fellows program and Breaking Ground Festival at The
Huntington, programs recently celebrated by a 2013 regional Tony
Award. With C1: Lydia R. Diamond's VOYEURS DE VENUS,
Rajiv Joseph’s BENGAL TIGER, Kirsten Greenidge’s
SPLENDOR, and Aditi Kapil’s LOVE PERSON. She is the Senior
Dramaturg for The XX PlayLab, propelling works by women to the
stage. Projects include: Lauren Yee's HOOKMAN, Natalia
Naman’s THE OLD SHIP OF ZION, Lydia R. Diamond’s SMART
PEOPLE, Natsu Onoda Power’s ASTRO BOY & THE GOD OF
COMICS, Miranda Craigwell’s SHELTER OF LAST RESORT, and
Obehi Janice’s FUFU & OREOS. With Playwrights' Commons she
runs the annual Freedom Art Retreat, taking emerging Bostonarea artists into the woods to devise work collaboratively. She
holds an MFA in Dramaturgy (Yale), and a Directing BA (College
of Wooster). Ilana is a Kilroys nominator for The List, is on the
Advisory Board for HowlRound/A Center for The Theatre
Commons, and is a two-time winner of the Elliott Hayes Award for
excellence in dramaturgy (2008, 2014). Follow along:
@bostonturgy
Karthik Subramanian
Title
Production Manager
Experience/Biography
Susanna Jackson
Title
Marketing & Communications Manager
Experience/Biography
Susanna Jackson is a writer, editor, and marketing professional
living in Jamaica Plain. Before signing on as Company One's
Marketing and Communications Manager, she held posts at
DigBoston, Museum of Fine Arts, The Rhode Island International
Film Festival, and a handful of coffee shops. A graduate of
Emerson College, her writing has appeared in the Boston Globe,
Boston magazine, WBUR and Art New England.
Staff Information
Full Time Staff
4
Part Time Staff
24
Volunteers
30
23
Contractors
80
Staff Demographics - Ethnicity
African American/Black
48
Asian American/Pacific Islander
12
Caucasian
148
Hispanic/Latino
11
Native American/American Indian
0
Other
5 Indian, Middle Eastern
Staff Demographics - Gender
Male
109
Female
115
Unspecified
0
Formal Evaluations
CEO Formal Evaluation
Yes
CEO/Executive Formal Evaluation Frequency
Annually
Senior Management Formal Evaluation
Yes
Senior Management Formal Evaluation Frequency
Annually
NonManagement Formal Evaluation
Yes
Non Management Formal Evaluation Frequency
Annually
Plans & Policies
Organization has a Fundraising Plan?
Under Development
Organization has a Strategic Plan?
Yes
Years Strategic Plan Considers
3
Date Strategic Plan Adopted
Sept 2013
Does your organization have a Business Continuity No
of Operations Plan?
Management Succession Plan?
Under Development
Organization Policy and Procedures
Under Development
Nondiscrimination Policy
Under Development
Whistleblower Policy
No
Directors and Officers Insurance Policy
Yes
Permit?
Yes
24
Risk Management Provisions
Commercial General Liability
Liquor Liability
Directors and Officers Policy
Awards
Awards
25
Award/Recognition
Organization
Year
National Theatre Company Award American Theatre Wing
2012
Outstanding Actor (Small/Fringe
Elliot Norton Awards
Theatre) THE BROTHER/SISTER
PLAYS
2012
Outstanding Actress (Small/Fringe Elliot Norton Awards
Theatre) - GREEN EYES
2012
Outstanding Director (Small/Fringe Elliot Norton Awards
Theatre) - THE ALIENS
2011
Outstanding Design
(Midsize/Small/Fringe Theatre) THE ALIENS
Elliot Norton Awards
2011
Outstanding Actor (Small/Fringe
Theatre) - THE ALIENS
Elliot Norton Awards
2011
Outstanding Production
(Small/Fringe Theatre) - THE
ALIENS
Elliot Norton Awards
2011
Outstanding Director (Small/Fringe Elliot Norton Awards
Theatre) - VOYEURS DE VENUS
2010
Best Production (Fringe Theatre) - Elliot Norton Awards
JESUS HOPPED THE "A" TRAIN
2004
Best Supporting Actor, Drama
(Midsize) - THE
BROTHER/SISTER PLAYS
Independent Reviewers of New
England
2012
Best Play (Midsize) - THE
BROTHER/SISTER PLAYS
Independent Reviewers of New
England
2012
Best Director of a Drama (Midsize) Independent Reviewers of New
- THE BOOK OF GRACE
England
2012
Best Visiting Production - Pig Pen
Theatre Company's THE
MOUNTAIN SONG
Independent Reviewers of New
England
2012
Best Supporting Actress, Drama GRIMM
Independent Reviewers of New
England
2011
Best Costumes - THE
Independent Reviewers of New
SUPERHEROINE MONOLOGUES England
2009
Supporting Actor, Musical ASSASSINS
Independent Reviewers of New
England
2009
Best Visiting Performer - GREEN
EYES
Independent Reviewers of New
England
2013
Best Visiting Production - GREEN
EYES
Independent Reviewers of New
England
2013
Best Set Design - THE
ELABORATE ENTRANCE OF
CHAD DEITY
Independent Reviewers of New
England
2013
Outstanding Design - THE
ELABORATE ENTRANCE OF
CHAD DEITY
Elliot Norton Awards
2013
Outstanding Director - THE
ELABORATE ENTRANCE OF
CHAD DEITY
Elliot Norton Awards
2013
Outstanding Production - THE
ELABORATE ENTRANCE OF
CHAD DEITY
Elliot Norton Awards
2013
Outstanding Actor - THE
ELABORATE ENTRANCE OF
CHAD DEITY
Elliot Norton Awards
2013
26
Outstanding Actor - THE FLICK
Elliot Norton Awards
2014
Outstanding Design - THE FLICK
Elliot Norton Awards
2014
Outstanding Production - THE
FLICK
Elliot Norton Awards
2014
Outstanding Director - Natsu
Onodo Power
Elliot Norton Awards
2015
Outstanding Design - ASTRO BOY Elliot Norton Awards
AND THE GOD OF COMICS
2015
Outstanding Actor - Brandon
Green (AN OCTOROON)
Elliot Norton Awards
2016
Outstanding Director - Summer L.
Williams (AN OCTOROON)
Elliot Norton Awards
2016
Best Puppetry Design - Eric
Bornstein (SHOCKHEADED
PETER)
Independent Reviewers of New
England
2016
Best Projection Design - Jared
Mezzocchi (ASTRO BOY AND
THE GOD OF COMICS)
Independent Reviewers of New
England
2015
Affiliations
Affiliation
Year
Boston Center for the Arts
2012
Massachusetts Nonprofit Network
2012
Theatre Communications Groups - Constituent
Theatre
2012
National New Play Network - Constituent Theatre
2014
27
Board & Governance
Board Chair
Board Chair
Mrs Sasha Abby VanDerzee
Company Affiliation
Northeastern University
Term
Sept 2016 to Sept 2018
Email
[email protected]
Board Members
Name
Affiliation
Status
Salma Abu Ayyash
Roxbury Community College
Voting
John Oluwole ADEkoje
Boston Arts Academy, Huntington Voting
Theatre Company
Phyllis Bretholtz
Boston Arts Academy, Cambridge Voting
Arts Council, Cambridge Women’s
Commission
Elisa Choi
Harvard Medical School, Harvard
Vanguard Medical Associates,
MAP for Health
Voting
Nicole Gilmore
Savanna Technologies
Voting
Devin Hill
J.P. Morgan Chase, BalletROX
Voting
Noe Montez
Tufts University
Voting
Linda Nathan
The Center for Artistry and
Scholarship
Voting
Mason Sand
Watertown Housing Authority,
Boston University
Voting
Rosalind Thomas-Clark
TC Squared Theatre Company,
Boston Arts Academy
Voting
William Tilton
Shire Pharmaceutical
Voting
Michael Tow
New Boston Financial, Asian
Community Development
Corporation, Massachusetts
Workplaces Investment Board,
Asian American Civic Assoc,
Massachusetts Asian American
Commission
Voting
Sasha Abby Vanderzee
City on a Hill Charter School
Voting
Mark Abby Vanderzee
Brookline High School
Voting
Summer L Williams
Brookline High School, Stage
Source, Coolidge Corner Theater
Voting
Board Demographics - Ethnicity
African American/Black
3
Asian American/Pacific Islander
2
Caucasian
8
Hispanic/Latino
1
28
Native American/American Indian
0
Other
1 Palestinian-American
Board Demographics - Gender
Male
7
Female
8
Unspecified
0
Board Information
Board Term Lengths
2
Number of Full Board Meetings Annually
6
Board Meeting Attendance %
81%
Written Board Selection Criteria?
Yes
Written Conflict of Interest Policy?
Under Development
Percentage Making Monetary Contributions
100%
Percentage Making In-Kind Contributions
30%
Constituency Includes Client Representation
Yes
Standing Committees
Executive
Development / Fund Development / Fund Raising / Grant Writing / Major Gifts
Additional Board Members and Affiliations
Name
Affiliation
Barry Andelman
Boston Public Schools
Heidi Brooks
Citizens Bank
Mary Chin
Lydia Diamond
Harvard University
Jamal Gathers
Community Volunteer
Thomas Henry
Chobee Hoy
Chobee Hoy Associates
Vinca Jarrett
Lawyer
Victoria Marsh
WGBH
James Milord
Carlos PiSierra
Lois Roach
First Night's Neighborhood Network, Northeastern
University, Wellesley College
Alex Rogers-Pittman
Grant writer
29
Lisa Simmons
The Color of Film, Press Pass for TV, Alliance for
Independent Motion Media, Massachusetts Office of
Travel and Tourism
Kirk Sykes
Senior Vice President, President of Urban Strategy
America Fund, L.P., New Boston Fund, Inc.
Giselle Ty
Comments
CEO Comments
30
Financials
Fiscal Year
Fiscal Year Start
Sept 01, 2016
Fiscal Year End
Aug 31, 2017
Projected Revenue
$717,235.00
Projected Expenses
$712,251.00
Endowment?
No
Credit Line?
Yes
Reserve Fund?
No
Months Reserve Fund Covers
0
Detailed Financials
Revenue and Expenses
Fiscal Year
Total Revenue
Total Expenses
Revenue Sources
Fiscal Year
Foundation and Corporation
Contributions
Government Contributions
Federal
State
Local
Unspecified
Individual Contributions
Indirect Public Support
Earned Revenue
Investment Income, Net of Losses
Membership Dues
Special Events
Revenue In-Kind
Other
2016
$599,557
$612,850
2015
$539,812
$543,851
2014
$361,759
$381,661
2016
--
2015
--
2014
--
$5,400
---$5,400
$329,242
-$240,201
$28
-$24,686
---
$10,900
---$10,900
$290,139
-$184,196
-$8,445
$46,132
---
$3,500
---$3,500
$153,857
-$152,921
-$12,414
$39,067
---
31
Expense Allocation
Fiscal Year
Program Expense
Administration Expense
Fundraising Expense
Payments to Affiliates
Total Revenue/Total Expenses
Program Expense/Total Expenses
Fundraising Expense/Contributed
Revenue
Assets and Liabilities
Fiscal Year
Total Assets
Current Assets
Long-Term Liabilities
Current Liabilities
Total Net Assets
Short Term Solvency
Fiscal Year
Current Ratio: Current Assets/Current
Liabilities
Long Term Solvency
Fiscal Year
Long-Term Liabilities/Total Assets
Top Funding Sources
Fiscal Year
Top Funding Source & Dollar Amount
Second Highest Funding Source & Dollar
Amount
Third Highest Funding Source & Dollar
Amount
2016
$337,885
$269,028
$5,937
-0.98
55%
2%
2015
$325,632
$212,297
$5,922
-0.99
60%
2%
2014
$216,620
$158,356
$6,685
-0.95
57%
3%
2016
$248,920
$245,663
$34,705
$214,143
$72
2015
$211,440
$207,188
$58,157
$139,918
$13,365
2014
$57,028
$51,781
$0
$28,820
$28,208
2016
1.15
2015
1.48
2014
1.80
2016
14%
2015
28%
2014
0%
2016
---
2015
---
2014
---
--
--
--
Capital Campaign
Currently in a Capital Campaign?
No
Comments
Foundation Staff Comments
Financial summary data in the charts and graphs above are per the organization's IRS Form 990s.
Contributions from foundations and corporations are listed under individuals when the breakout was
not available.
Created 05.13.2017.
Copyright © 2017 The Boston Foundation
32