Tag Archives: nonprofit theatres

Link Roundup! – 4/3/15

Link Roundups feature articles and bits of internet goodness that our dramaturgy team digs up. If you find something you want to send our way, drop us a line on Facebook or Twitter!

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Shaun Blugh, 30, has been appointed the City of Boston’s first-ever chief diversity officer.  Photo: Suzanne Kreiter/Globe staff

Shaun Blugh, 30, has been appointed the City of Boston’s first-ever chief diversity officer. Photo: Suzanne Kreiter/Globe staff

The Boston Globe has a story about the mayor’s new Office of Diversity and their efforts to make Boston workforces more equitable:

A glimpse at the city’s roughly 15,000 full-time employees underscores their challenge. In a city in which people of color constitute 53 percent of the population, Boston’s municipal workforce remains 61 percent white, according to records released to the Globe under the state’s open records law. Women slightly outnumber men at City Hall, but on average are paid 7 percent less than their male counterparts.

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The Non Profit with Balls blog has a post up about “Fakequity” — a term he coined for organizations that claim to be interested in creating equity, but don’t participate in active change:

So how does this apply to Equity? People seem to think that forming an equity committee, talking about equity, sending staff and board to trainings, “listening” to communities, conducting research and gathering data, and adding terminologies to websites and brochures are sufficient to achieving equity. But no, these things are necessary, but not sufficient. When we just talk about Equity and go no further, we are guilty of Fakequity. I’ve seen many well-meaning organizations and foundations spend years talking about equity, congratulate themselves on it, and don’t do anything else that would actually help to bring about Equity.

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Link Roundup! – 3/13/15

Link Roundups feature articles and bits of internet goodness that our dramaturgy team digs up. If you find something you want to send our way, drop us a line on Facebook or Twitter!

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Playwright Bess Wohl at the Abrons Arts Center Playhouse. Photo: Cassandra Giraldo for The Wall Street Journal

Playwright Bess Wohl at the Abrons Arts Center Playhouse. Photo: Cassandra Giraldo for The Wall Street Journal

The Wall Street Journal has an article up about playwrights who write for film and television, examining the way it allows for a more sustainable income than theatre:

In the nonprofit theater, playwrights like Ms. Wohl earn income from grants, commissions and in some cases fees from regional and international productions of their work. Only for a small handful does this accumulate to a living wage.

In TV, on the other hand, a complex system of generous minimums is in place to determine compensation for writers, whose salaries and fees vary based on a variety of factors, including a show’s length and where it is being broadcast or streamed.

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The Guardian takes a look at childcare and parent-friendly practices in theatre with their article “Parents in the arts need to stage a childcare revolution”: 

Of course it’s not just women who are affected by such responsibilities. But perhaps one of the reasons that there are fewer female theatre directors sustaining longer-term careers is that it’s hard to juggle family and directing. Plenty of women set out to be directors, but then when children come along, it is far harder to keep going alongside caring responsibilities which still often fall primarily upon women…Maybe that explains why only 29% of directors in big theatres are female.

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Link Roundup! – 1/23/15

Link Roundups feature articles and bits of internet goodness that our dramaturgy team digs up. If you find something you want to send our way, drop us a line on Facebook or Twitter!

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Moderator Michael John Garces, left, of the Cornerstone Theatre Company and Tim Dang of the East West Players, discussed diversity in theater back in 2013. (Lawrence K. Ho / Los Angeles Times)

Moderator Michael John Garces, left, of the Cornerstone Theatre Company and Tim Dang of the East West Players, discussed diversity in theater back in 2013. (Lawrence K. Ho / Los Angeles Times)

The LA Times has a story about Tim Dang’s initiative to increase diversity in Southern CA theatres:

California already was declared a predominantly minority population in the 2000 census. Yet 75% of theatergoers in the L.A. region are Caucasian, and 80% are of the baby boomer generation or older, according to a study by the nonprofit L.A. Stage Alliance in 2011, the most recent year for which statistics are available.

Dang and his supporters said that if theater companies were more diverse — by age, sex and skin color — the change would have a ripple effect on what plays or musicals were staged, and what audiences they brought.

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This post about “trickle down” community engagement over at the Nonprofit With Balls blog is a very important and interesting read for orgs who care about connecting with under-served communities in an authentic way.:

Look, I’m not saying anyone is intentionally trying to discriminate against certain communities. Everyone is well-intentioned. Diversity, equity, inclusion, and cultural competency have risen to the front of people’s minds. Organizations are scrambling to talk about these issues, to diversify their board, to get community input. That is all great and all, but it has only been leading to marginalized communities being irritated and frustrated. Every single week, we leaders of color get asked to provide input, to join an advisory committee, attend a summit, to fill out a survey. Because of this well-intentioned mandate to engage with communities, we get bombarded with requests to do stuff for free.

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Community Partnerships Between Arts & Non-Arts Organizations

We’ve been researching a metric ton of literature on community/arts partnerships for the last few weeks, and we think we’ve finally found some good material.

Here are two reports.

The first one is called Arts & Non-Arts Partnerships: Opportunities, Challenges, and Strategies.
It addresses:
– Mutual Benefits of Community Partnerships
– The Connections of Non-arts Organizations to the Arts
– Partnership Assets Can Also Be Liabilities
– Understanding the Risks
– Types of Partnership Risks

The second item is Partnership as an Art Form: What Works and What Doesn’t in Nonprofit Arts Partnerships. We recommend in particular the section called “Part I: How to Think About Partnerships,” and can be found on numbered pages 9-12 (pages 10-13 of the pdf file).

These readings provide some background to the how and why of arts & community partnerships, and can lend guidance on how theatres might think about possible collaborations for individual plays, or season initiatives.

New York Times: It May Be a Nonprofit Theater, but the Tickets Look For-Profit

This article from The New York Times talks about how nonprofit theatres in NYC are resorting to raising ticket prices and collaborating with commerical producers in order to recoup financial losses. The latest nonprofit theatre company raising ticket prices is Roundabout Theatre with their restaging of Cabaret, which originally ran from 1998-2004. Read the article here.

HowlRound: Antipermanence: An Argument for Increased Infrastructural Ephemerality in America’s Nonprofit Theaters

On HowlRound, theatre artist Annah Feinberg wrote an essay piece called Antipermanence: An Argument for Increased Infrastructural Ephemerality in America’s Nonprofit Theatres. In this essay, Feinberg states that the downfall of nonprofit theatre comes from an increased importance on job security and sustenance. In addition, she argues that the original idea that the nonprofit theatre movement was founded on is largely economically unfeasible in the long term. Read the entire essay here.