PLATINUM2024

NEW DRAMATISTS INC

Dedicated to the Playwright

aka New Dramatists   |   New York, NY   |  http://newdramatists.org

Mission

To provide playwrights with time, space, and resources in the company of gifted peers to create work, realize their artistic potential, and make lasting contributions to the theatre.

Ruling year info

1951

Executive Director

Christie Brown

Artistic Director

Ms. Emily F. Morse

Main address

P.O. Box 2697

New York, NY 10108 USA

Show more contact info

EIN

13-1601093

NTEE code info

Arts Service Activities/Organizations (A90)

IRS filing requirement

This organization is required to file an IRS Form 990 or 990-EZ.

Sign in or create an account to view Form(s) 990 for 2023, 2022 and 2021.
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Communication

Programs and results

What we aim to solve

SOURCE: Self-reported by organization

Akin to the central mission of Bell Labs, which gave leading scientists time, space, and resources to explore important questions and develop game-changing new technology that benefited society, New Dramatists strives to serve the theatre by identifying and supporting a cohort of outstanding playwrights and providing them with unfettered access to opportunities to create new plays and musicals and grow professionally. We believe that by following the lead of generative artists, stronger and more dynamic artistic work will be forged—for the benefit of artists, producing theatres, audiences, and the field.

Our programs

SOURCE: Self-reported by organization

What are the organization's current programs, how do they measure success, and who do the programs serve?

The Playwrights Lab

During their seven-year Residencies, writers tap the programs of the PLAYWRIGHTS’ LAB to create and develop new plays and musicals. Playwrights choose their projects, then chart a course for their explorations. Supporting 90 to 100+ separate events each season, opportunities include:

• EXTENDED WORKSHOPS provide 29-hours of time, with teams of artistic collaborators, to support the in-depth investigation of a new work in progress

• One/Two-Day READINGS can occur as stand-alone opportunities to investigate text questions or as links in larger development plans that incorporate other Lab programs over time

• CREATIVE RETREATS bring together a focused company of writers with an ensemble of actors and collaborators to develop ambitious new projects (PLAYTIME) and to explore the nature of collaboration through the writing for musical theatre (COMPOSER-LIBRETTIST STUDIO)

• CREATIVE SESSIONS run the gamut from planning meetings, to initial team interviews, to team writing sessions

Population(s) Served
Artists and performers

New Dramatists also offers PROFESSIONAL SERVICES to assist each playwright as they establish and manage a viable career. Programming includes workshops, classes, and advocacy for new plays and playwrights. We also house an open-to-the-public manuscript library, writing spaces, our Seventh Heaven short-term residence rooms for out-of-town writers, and provide each resident with on-site and remote access to our virtual desktop infrastructure stocked with fully-licensed writing software.

Our OPPORTUNITY and LILLY-RUHL FUNDS provide direct reimbursement for childcare, travel, or substitute teaching fees—expenses that might otherwise prohibit a playwright or their collaborators from participating in Lab opportunities.

Population(s) Served
Artists and performers

With the belief that each writer's most valuable asset is other writers, New Dramatists offers programming designed to connect the residents to one another. Discussions, gatherings and writer meetings (both in NY and in LA to support our west-coast playwrights), and a private community listserv where writers can share advice and ideas.

Population(s) Served
Artists and performers

Where we work

Awards

Ross Wetzsteon Award for Excellence 2005

Obie Awards

Tony Honor for “blessing the theatre with new and exceptional works that have assured both a rich theatrical heritage and future for the American Theatre.” 2001

Tony Awards

Our results

SOURCE: Self-reported by organization

How does this organization measure their results? It's a hard question but an important one.

Number of resident playwrights and playwriting fellows served each year

This metric is no longer tracked.
Totals By Year
Population(s) Served

Adults, Artists and performers

Related Program

The Playwrights Lab

Type of Metric

Output - describing our activities and reach

Direction of Success

Holding steady

Context Notes

Each year, ND is home to a company of 50+ playwrights (7-year residency), & 1-4 playwriting fellows (1-2 yrs). * ND paused admissions/graduation in 2020 and 2021; extended current residencies by 2 yrs

Number of writer-driven artistic events and activities per season

This metric is no longer tracked.
Totals By Year
Population(s) Served

Adults

Related Program

The Playwrights Lab

Type of Metric

Output - describing our activities and reach

Direction of Success

Holding steady

Context Notes

2023, we increased playwrights served per project by doubling PlayTime retreat. Beyond anchor events, activity is planned/driven by writers. * all-virtual 3/14/20 - 6/9/22 due to pandemic

Number of artistic collaborators who annually work at New Dramatists in support of new play development

This metric is no longer tracked.
Totals By Year
Population(s) Served

Adults

Related Program

The Playwrights Lab

Type of Metric

Output - describing our activities and reach

Direction of Success

Increasing

Context Notes

Artistic collaborators include: actors, directors, designers, composers, music directors, choreographers, musicians, and dramaturgs, among other artists. * 2020 and 2021 impacted by pandemic.

Number of applications for residency received annually

This metric is no longer tracked.
Totals By Year
Population(s) Served

Adults

Related Program

The Playwrights Lab

Type of Metric

Output - describing our activities and reach

Direction of Success

Increasing

Context Notes

Admissions were suspended for 2 years due to COVID. In 2023, the process began again with 369 applications received.

Our Sustainable Development Goals

SOURCE: Self-reported by organization

Learn more about Sustainable Development Goals.

Goals & Strategy

SOURCE: Self-reported by organization

Learn about the organization's key goals, strategies, capabilities, and progress.

Charting impact

Four powerful questions that require reflection about what really matters - results.

Since its founding in 1949, New Dramatists has pursued a simple, singular mission: to provide playwrights with time, space, and resources in the company of gifted peers to create work, realize their artistic potential, and make lasting contributions to the theatre.

One of our primary goals is to serve as an artistic home for our resident playwrights, a safe space where writers can develop works at their own pace, under their own direction, outside of production timetables and the pressure of ticket sales.

Our commitment to playwrights is significant: seven full years of artistic support. The depth of this commitment is unparalleled in New York and the field-at-large. Within these residencies, writers have full control over their work and career trajectory. New Dramatists does not edit or curate residents' work; we do not charge residents for any benefits, nor do we passively participate in any works developed by residents.

New Dramatists fulfills its mission by seeking out and supporting a dynamic and diverse resident company of 50-plus playwrights, each of whom receive a free seven-year residency. Each year, 5 to 8 new writers are selected to join the company from an average application pool of 450 applicants and 5 to 8 residents complete residencies and become “alumni." With this yearly cycle of review, addition and graduation, our cohort of writers continually evolves, to reflect the field's range of new voices and their novel approaches to new play development.

Our resident company remains relevant, artistically outstanding, and extremely diverse, due to the strength of our admissions process. Founded by a largely unknown female playwright in 1949, New Dramatists has been built on the maxim that ALL artists of outstanding artistic merit deserved to be heard. We balance our transparent and rigorous review process with thoughtful outreach, to encourage a truly representative spectrum of new writers to apply for residency. An outside admissions panel that changes completely every year, a multi-layered review process, and a paperless application window help ensure that all applicants can easily apply, and get deep, thorough consideration. New Dramatists' staff facilitate this process but do not "vote" or have any say in the decisions of the admissions committee.

New Dramatists' seven-year investment in writers ensures deep, significant and lasting residency benefits for writers. With seven years of unconditional support, writers have time to fully explore new projects, meet new artistic collaborators or deepen existing relationships, and experiment with their new work processes. Our residency ensures lessons learned will deepen and enrich writers' voices over time.

Likewise, our commitment to charging no fees to participants, or charging admission fees for audiences, ensures that earned income streams will not factor into our writers' development of new works.

New Dramatists' is recognized as a field leader in the arena of artist support and new play development. Our veteran staff of 9, with a total of 121 years of service to the organization, brings considerable expertise to bear in the areas of artist advocacy, new work development, nonprofit management and fundraising. Led

The plays and musicals created and developed by our resident writers at New Dramatists garner interest from producers at an unprecedented rate. For example, of the total of our Creativity Fund and PlayTime projects of the last decade, over 60% have earned outside interest in the form of further development and productions. And in the in the 2019-20 and 2020-21 seasons combined, over 700 separate productions of our writers’ works were produced, or planned to be produced (before the pandemic cancellations) in NYC, across the country, and even around the globe. Each year, these productions of our alumni and resident writers’ works reach a downstream local and national audience numbering in the hundreds of thousands, and impact dozens of nonprofit theatres, universities, and other producing entities, and provide opportunities for thousands of artists to perform, direct, and design productions of these works.

New Dramatists’ immediate and sustained impact on the field is strikingly evident over our seven-decade history. From the list of award-winning writers and projects, to August Wilson drafting "Joe Turner’s Come and Gone" during his commuting stay overs in 7th Heaven (our nickname for three artist garrets on the 3rd floor of the church), New Dramatists has enriched the field immeasurably with its blend of personal and professional support for resident playwrights. Our resident writers experience their work produced on stages across the country, including Broadway, and internationally at theatres such as The Royal Court, The Royal National Theatre of GB, Sydney Theatre Company, among others. Current playwrights and alumni have won 20 Pulitzers, 23 Tonys® (including 2017 Awards for BEST PLAY to alums J.T. Rogers for Oslo and BEST REVIVAL to August Wilson for Jitney), 81 OBIEs, 18 Drama Desk Awards, 8 MacArthur Fellowships, and 14 Susan Smith Blackburn Awards.

In 2001, New Dramatists received a Tony Honor for, “blessing the theatre with new and exceptional works that have assured both a rich theatrical heritage and future for the American Theatre.”

How we listen

SOURCE: Self-reported by organization

Seeking feedback from people served makes programs more responsive and effective. Here’s how this organization is listening.

done We shared information about our current feedback practices.
  • How is your organization using feedback from the people you serve?

    To identify and remedy poor client service experiences, To identify bright spots and enhance positive service experiences, To make fundamental changes to our programs and/or operations, To inform the development of new programs/projects, To identify where we are less inclusive or equitable across demographic groups, To strengthen relationships with the people we serve, To understand people's needs and how we can help them achieve their goals

  • Which of the following feedback practices does your organization routinely carry out?

    We collect feedback from the people we serve at least annually, We take steps to get feedback from marginalized or under-represented people, We aim to collect feedback from as many people we serve as possible, We take steps to ensure people feel comfortable being honest with us, We look for patterns in feedback based on demographics (e.g., race, age, gender, etc.), We look for patterns in feedback based on people’s interactions with us (e.g., site, frequency of service, etc.), We engage the people who provide feedback in looking for ways we can improve in response, We act on the feedback we receive, We tell the people who gave us feedback how we acted on their feedback, We ask the people who gave us feedback how well they think we responded

  • What challenges does the organization face when collecting feedback?

    It is difficult to get the people we serve to respond to requests for feedback

Financials

NEW DRAMATISTS INC
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Operations

The people, governance practices, and partners that make the organization tick.

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lock

Connect with nonprofit leaders

Subscribe

Build relationships with key people who manage and lead nonprofit organizations with GuideStar Pro. Try a low commitment monthly plan today.

  • Analyze a variety of pre-calculated financial metrics
  • Access beautifully interactive analysis and comparison tools
  • Compare nonprofit financials to similar organizations

Want to see how you can enhance your nonprofit research and unlock more insights? Learn More about GuideStar Pro.

NEW DRAMATISTS INC

Board of directors
as of 06/27/2024
SOURCE: Self-reported by organization
Board chair

Abbie Van Nostrand

Robin Lynn

Director of Individual Giving (retired), Municipal Art Society

Charlotte Ackert

Vice Chair, WNET Thirteen - New York Public Media

Susan Heller Anderson

Writer and Journalist

Kirsten Berkman

Associate Producer, Olympus Theatricals

Luis Castro

Independent Producer

Betsy Cohn

Philanthropist

Jim Dale

Actor

Willy Holtzman

Alumnus, New Dramatists

Susan Kraus

Philanthropist

Sarah K. Lippman

Actor

Jolyon Fox Stern

Chairman, Risk Strategies / DeWitt Stern Group

Dori Berinstein

Film Director / Broadway Producer, Dramatic Forces

Kristoffer Diaz

Alumnus, New Dramatists

David Rosenzweig

CPA (retired), Janover LLC

Jason M. Cooper

Business Affairs Executive, Theatre, Creative Artists Agency

Lyndsay Magid

Co-Founder, Hideaway Circus

Mark D'Ambrosi

Partner, Marks Paneth LLC

Shelby Jiggets-Tivony

Vice President, Creative & Advanced Development, Disney Parks Live Entertainment

Robert Kuchner

Partner, Marks Paneth LLC (ret)

Cori Thomas

Resident Playwright, New Dramatists

Laura Politi

Independent Human Resources Executive

Qui Nguyen

Alumnus, New Dramatists

Sharon Bridgforth

Alumna, New Dramatists

Abbie Van Nostrand

Business Affairs Executive, Theatre, Creative Artists Agency

Joseph Maffia

Partner, Janover LLC

Sam Chanse

Resident, New Dramatists

Morgan Gould

Resident, New Dramatists

Ken Urban

Resident, New Dramatists

Jamila Ponton Bragg

Producer & Founder, JamRock Productions

Board leadership practices

SOURCE: Self-reported by organization

GuideStar worked with BoardSource, the national leader in nonprofit board leadership and governance, to create this section.

  • Board orientation and education
    Does the board conduct a formal orientation for new board members and require all board members to sign a written agreement regarding their roles, responsibilities, and expectations? No
  • CEO oversight
    Has the board conducted a formal, written assessment of the chief executive within the past year ? No
  • Ethics and transparency
    Have the board and senior staff reviewed the conflict-of-interest policy and completed and signed disclosure statements in the past year? Yes
  • Board composition
    Does the board ensure an inclusive board member recruitment process that results in diversity of thought and leadership? Yes
  • Board performance
    Has the board conducted a formal, written self-assessment of its performance within the past three years? No

Organizational demographics

SOURCE: Self-reported; last updated 6/27/2024

Who works and leads organizations that serve our diverse communities? Candid partnered with CHANGE Philanthropy on this demographic section.

Leadership

The organization's leader identifies as:

Race & ethnicity
White/Caucasian/European
Gender identity
Female, Not transgender
Sexual orientation
Heterosexual or Straight
Disability status
Person without a disability

The organization's co-leader identifies as:

Race & ethnicity
White/Caucasian/European
Gender identity
Female, Not transgender
Sexual orientation
Heterosexual or Straight
Disability status
Person without a disability

Race & ethnicity

Gender identity

Transgender Identity

Sexual orientation

Disability

Equity strategies

Last updated: 06/28/2022

GuideStar partnered with Equity in the Center - an organization that works to shift mindsets, practices, and systems to increase racial equity - to create this section. Learn more

Data
  • We review compensation data across the organization (and by staff levels) to identify disparities by race.
  • We ask team members to identify racial disparities in their programs and / or portfolios.
  • We disaggregate data to adjust programming goals to keep pace with changing needs of the communities we support.
  • We employ non-traditional ways of gathering feedback on programs and trainings, which may include interviews, roundtables, and external reviews with/by community stakeholders.
  • We have long-term strategic plans and measurable goals for creating a culture such that one’s race identity has no influence on how they fare within the organization.
Policies and processes
  • We use a vetting process to identify vendors and partners that share our commitment to race equity.
  • We seek individuals from various race backgrounds for board and executive director/CEO positions within our organization.
  • We have community representation at the board level, either on the board itself or through a community advisory board.
  • We help senior leadership understand how to be inclusive leaders with learning approaches that emphasize reflection, iteration, and adaptability.
  • We engage everyone, from the board to staff levels of the organization, in race equity work and ensure that individuals understand their roles in creating culture such that one’s race identity has no influence on how they fare within the organization.