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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