Alliance of Resident Theatres/New York

aka A.R.T./New York   |   New York, NY   |  www.art-newyork.org

Mission

Founded in 1972, the Alliance of Resident Theatres/New York (A.R.T./New York) assists over 300 nonprofit theatres in managing their companies effectively so they may realize their rich artistic visions and serve their diverse audiences well. Over the years, A.R.T./New York has earned a reputation as a leader in providing progressive services to our members—from shared office and rehearsal spaces, to the nation's only revolving loan fund for real estate, to technical assistance programs for emerging theatres—which have made our organization an expert in the needs of the New York City nonprofit theatre community.

Ruling year info

1973

Principal Officer

Ms. Virginia P. Louloudes

Main address

520 Eighth Avenue, Suite 319

New York, NY 10018 USA

Show more contact info

EIN

13-2768583

NTEE code info

Arts Service Activities/Organizations (A90)

Theater (A65)

Alliance/Advocacy Organizations (A01)

IRS filing requirement

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

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Communication

Programs and results

What we aim to solve

SOURCE: Self-reported by organization

Nonprofit theatres create 80% of the theatrical premieres in New York City each year—thousands of affordable, high quality shows enlivening communities throughout all five boroughs. Even more impressive is the fact that roughly 280 of those companies (66% of the field) achieve this level of capability with annual budgets under $500,000. Unfortunately, their modest budgets force them to fly under the radar of major funders and, despite their contributions to the field, these theatres operate in a state of constant financial tension. And though these artists are creatively gifted and have expertise in production, they often lack traditional business and administration skill sets. As a result, they are forced to outsource work, and have difficult running efficient companies on their limited resources. Additionally, because of New York City's rising real estate costs, we have lost 80 small performance venues over the past decade, creating a space crisis for artists in New York City.

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?

Training

The NANCY QUINN TECHNICAL ASSISTANCE PROGRAM educates artistic leaders
in nonprofit best practices through a continually evolving roster of workshops
and one-on-one consultations led by experts in the field. Each year, we hold 40-50 sessions, serving over 300 leaders
from 100+ theatres. The HAROLD AND MIMI STEINBERG THEATRE LEADERSHIP PROGRAM provides flexible, long-term consultancies that help
theatres address challenges that cannot be covered in a workshop setting, such
as changes in leadership and strategic planning. Consultancies are ongoing and
can last up to three years, with 40 to 70 companies participating in over 100
meetings during any given year. In addition, we annually host approximately 30
informal ROUNDTABLES, attended by
nearly 300 individuals, in which members discuss shared challenges. Currently,
we are expanding the program to include more topic-driven discussions based on
current issues.

Population(s) Served

: While NYC’s smallest
theatres with annual budgets below $100,000 make up the largest and most
diverse portion of our membership, they are frequently overlooked by major
funders focused on larger institutions. For these organizations, the NANCY QUINN FUND is a rare and very
important source of unrestricted operating support for their core financial,
production, marketing, and artistic needs. In addition, the EDITH LUTYENS AND NORMAN BEL GEDDES DESIGN ENHANCEMENT FUND awards funding to augment a specific design element
critical to a play’s production, thus enabling companies to more fully realize
their artistic vision. The CREATIVE SPACE GRANT also enhances our
members’ artistic output, while additionally responding to the issue of rising
real estate costs, by providing companies with 25-150 hours of free use of our rehearsal
studios. Each year, over 100 theatres receive a total of $100,000 in cash grants
and/or free studio space from one of these three programs.

: THE BRIDGE FUND helps members maintain
a stable cash flow for their projects by providing short-term loans of up to
$50,000 to companies awaiting income from sources such as box office sales or
the payment of a major grant. THE ELIZABETH STEINWAY CHAPIN LOAN FUND is the nation’s only
capital loan fund specifically designated for
theatre renovation, purchase, or construction and provides
support of up to $200,000. Together, these funds make approximately 35 new
loans per year.

Population(s) Served

By providing a central location for
their operations, our shared office and rehearsal facilities, South Oxford Space (Brooklyn)
and Spaces @ 520 (Manhattan), enable
theatres that normally could not afford an expensive, long-term lease to run
more professionally and efficiently. Together, they house 42 members, offering
access
to shared
amenities such as kitchen
and copy rooms, storage, and rehearsal studios that are utilized by 55,000+ people annually. In 2014, we will open
the A.R.T./New York Theatres (99 and
150 seats), which we will rent to members at below-market rates through a $7M
rental subsidy fund designed to last the entirety of our 99-year lease. The
venues themselves will be modern and highly flexible, with sophisticated technical
systems and a LEED Silver rating.

Population(s) Served

By connecting students who care about the theatre
to theatre companies that need staffing support, A.R.T./New York’s INTERNSHIP PROGRAM helps strengthen the vitality and well-being of the field. Held
each spring, our Theatre Internship Fair enables approximately 400 students from universities around the
country to meet representatives from 50-65 theatre companies annually.
For those students and theatre companies that are unable to attend the fair, or
for members with staffing needs throughout the year, we maintain the Intern E-file, an electronic database of intern resumes. In addition to the direct services A.R.T./New York provides our
members, we advocate on behalf of New York City nonprofit theatres at all
levels of government, engage our members in matters critical to the health of
the performing arts, and partner with other cultural leaders on outreach
efforts.

Population(s) Served

Where we work

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.

A.R.T./New York is the leading service and advocacy organization for New York City's nonprofit theatre community. We assist more than 380 theatres in managing their companies effectively so they may realize their rich artistic visions and serve their diverse audiences well. Our core programming empowers companies with practical skills for management success delivered through compassionate, individualized assistance from our knowledgeable staff. We offer a strategic combination of professional development, affordable space initiatives, financial programs, and community events to secure the health and longevity of our vibrant industry. It is our aim to not only provide immediate assistance to artists in need, but to give them the tools to ensure their long term health and sustainability, thereby securing the future of the field at large.

With more than forty years of experience, A.R.T./New York has become an expert in the needs of the nonprofit theatre field, and this is reflected in our flexible roster of programming. Each season, we adjust our offerings to address current challenges facing our members. All of our services are free to members with minimal dues.

A.R.T./New York's current core programs include:

• Education and leadership development through free workshops, roundtables, and long term consultancies of up to three years;
• Affordable office, rehearsal, and performance space in Manhattan and Brooklyn;
• Four grant programs and two low-interest loan funds;
• Community Building activities such as our Theatre Internship Fair, Town Hall Meetings, and advocacy;
• Diversity, Equity, and Inclusion Programs to build more accessible theatres and diverse organizations.

A.R.T./New York's long history has allowed us to gain a deep understanding of the field and the needs of our members, while also cultivating excellent relationships with funders, artists, and political leaders. With a budget of just over $4 million, A.R.T./New York runs three accessible facilities, two in Manhattan and one in Fort Greene, Brooklyn, which allow us to offer our popular space initiatives. We have a full time staff of 17 and our programs department actively seeks out top industry experts when creating our roster of workshops so that company leaders have high quality access to professional development, and leave our classrooms with relevant skill sets they can immediately apply to their operations.

The Alliance of Resident Theatres/New York (A.R.T./New York) has championed the needs of New York City's vibrant nonprofit theatre community through a strategic combination of financial assistance, affordable space, and professional development programs.
Launched in 1972 by a collective of 40 theatres, A.R.T./New York was originally established to promote a sense of community and collaboration among the city's then small but vital Off Off Broadway population. A.R.T./New York has since earned a reputation as a thought leader and an influential advocate for the industry.
In the nation's most expensive property market, A.R.T./New York has specialized in the complex field of theatrical real estate since 1987, when the organization first employed a full-time broker to help theatre companies identify office and performance space. A.R.T./New York went on to create the country's first capital loan fund specifically for theatres in the 1990s. In 2000 and 2002, A.R.T./New York spearheaded groundbreaking new ventures to create multi-company shared office and rehearsal space facilities in Manhattan and Brooklyn, in partnership with the City of New York. In 2010, with leadership support from The Andrew W. Mellon Foundation, A.R.T./New York began awarding grants of free rehearsal space to the field. This year, the organization, again in partnership with the City, has opened two new, subsidized performance venues—the A.R.T./New York Theatres—designed specifically for the small theatre companies that are in such dire need of this support.
In the coming year, A.R.T./new York is shifting its focus to creating a robust offering of programs focused on Diversity, Equity, and Inclusion. We have recently received one of three grants from The Scherman Foundation's Katharine S. and Axel G. Rosin Fund to support our program, Diversifying Our Organizations, which combines field research, workshops, and networking events to create more diverse Boards of Directors at theatres. Several upcoming access cohorts will unite theatre leaders with an accessibility expert to guide them in creating actions plans. At the end of the program, participants receive a $500 implementation grant from A.R.T./New York to follow through. We have also launched the A.R.T./New York Creative Opportunity Fellowships to train young arts administrators of color in leadership track positions.

Financials

Alliance of Resident Theatres/New York
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Operations

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

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Connect with nonprofit leaders

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  • Analyze a variety of pre-calculated financial metrics
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  • Compare nonprofit financials to similar organizations

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Alliance of Resident Theatres/New York

Board of directors
as of 10/04/2017
SOURCE: Self-reported by organization
Board chair

Mr. Jeffrey Gural

Chairman, Newmark Knight Grubb Frank

Barbara Parisi

Executive Director, Ryan Repertory Company

Linda Herring

Executive Director, Tribeca Performing Arts Center

José Oliveras

Artistic-Managing Director, Teatro Circulo

Jeffrey Gural

Chairman, Newmark Knight Frank

Catherine Porter

Co-Founder/Artistic Director, Peculiar Works Project

Carol Ochs

Executive Director, 52nd Street Project

Tim Hartzell

Barclays Capital

Andrew Lance

Partner, Gibson, Dunn & Crutcher

Susan Bernfield

Artistic Director, New Georges

Todd Haimes

Artistic Director, Roundabout Theatre Company

Alvan Lespier

Associate Artistic Director, Pregones Theatre

Virginia Louloudes

Executive Director, Alliance of Resident Theatres/New York

Jerry Stiller

Actor

Helene Blieberg

Helene Blieberg Associates

Mark Plesent

Producing Director, The Working Theatre

Daphne Rubin-Vega

Actor

Jonathan Maurer

Managing Director, Fortistar

Richard Fabricant

Managing Partner, Wohl Loewe Stettner Fabricant & Deitz

Howard Aibel

Partner, LeBoeuf, Lamb, Greene & MacRae (retired)

John Collins

Elevator Repair Service

Stephane Essama

Goldman Sachs

Ryan Gilliam

Downtown Art

Joe Grifasi

Deadria Harrington

Movement Theatre Company

Michael Herskovitz

AllianceBernstein

Andrew Leynse

Primary Stages

Stacie Rabinowitz

USquare Insight

Niegel Smith

The Flea Theater

Moe Yousuf

Target Margin Theater

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? Yes
  • CEO oversight
    Has the board conducted a formal, written assessment of the chief executive within the past year ? Yes
  • 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