Arts, Culture, and Humanities
The Irish Repertory Theatre provides a context for understanding the contemporary Irish-American experience through evocative works of theater, music, and dance. This mission is accomplished by staging the works of Irish and Irish-American classic and contemporary playwrights, encouraging the development of new works focused on the Irish and Irish-American experience, and producing the works of other cultures interpreted through the lens of an Irish sensibility.
Ms. Charlotte Moore
132 West 22nd Street
New York, NY 10011 USA
irish, theatre, theater, off broadway
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This organization is required to file an IRS Form 990 or 990-EZ.
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What are the organization's current programs, how do they measure success, and who do the programs serve?
SOURCE: Self-reported by organization
The Irish Repertory Theatre maintains three principal activities:
The Irish Rep presents a balanced offering of classics, new works, plays, and musicals, and is devoted to bringing Irish and Irish-American works ― from the masters to the new generation of Irish and Irish-American writers ― to the stage. The Irish Rep imports the finest in contemporary theatre from Ireland while providing a platform for the creation of new works by talented artists. We draw our artistic participants from the richest talent in New York City and around the world, many of whom have been honored by Tony, Obie, Drama Desk, Emmy, and Academy awards and nominations. The 140-seat Francis J. Greenburger Mainstage season, traditionally consists of five productions per season presented for a period of eight weeks each. In addition to readings of new plays and one full production per year, the 55-seat W. Scott McLucas Studio Theatre presents productions as institutional capacity and funding support permit.
New Works Reading Series
The presentation of new works is a vital part of our mission at the Irish Rep. The Irish Rep has traditionally presented at least nine to twelve readings of new plays during each season. The New Works Reading Series is designed to feature new works by emerging and established artists and serves as an incubator for shows to be considered for future Mainstage productions. . Free from the pressures of full-scale production, and with financial, logistical, and administrative support otherwise not available to emerging and established playwrights at this stage of play development, the series is a forum in which the artist can see his or her work on a stage, collaborate with other professionals, and engage audiences in a free, open exchange of thoughts and ideas about the developing work.
The Irish Rep is widely recognized for its longstanding commitment to playwrights and artists, multiple award-winning productions, and its ongoing dedication to engaging communities in a greater appreciation of Irish and Irish-American works. The Irish Rep seeks to develop an audience of open-minded theatre-goers across all boundaries by producing theatre that is challenging, entertaining, and creatively staged.
Our Arts Engagement endeavors are geared to attract an extensive group made up of the general theatre-going public as well as providing additional assistance to senior and student groups, specifically through our Ticket Subsidy Program, who might be unable to attend the theatre. We engage the audience by reaching out with post-show discussions as well as neighborhood or industry events promoting theatre as part of our Audience Development endeavors. In addition, we maintain an Internship/Work-Study Program in an effort to expose future professional artists to the craft from varying perspectives, through our Collaborations we work with other organizations in order to create new or enhanced opportunities for theatrical presentation and arts education; and, finally, we endeavor to make the theatre available to physically challenged patrons through our Accessibility program.
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Five powerful questions that require reflection about what really matters - results.
SOURCE: Self-reported by organization
What is the organization aiming to accomplish?
What are the organization's key strategies for making this happen?
What are the organization's capabilities for doing this?
How will they know if they are making progress?
What have and haven't they accomplished so far?
Ever since the Irish Repertory Theatre bought its property on West 22nd Street in 2007 we have worked tirelessly to raise money to renovate our performance spaces and facilities, and to retire our mortgage on the theater's site. With the completion of these goals about to be realized we can fully focus on our core aim of bringing Irish theater and culture to an American audience.
Our primary mission is to continue to produce a significant number of Irish and Irish-American plays each year. We aim to bring a diverse selection of productions that explore all aspects of the Irish experience. This will involve not just productions of plays, but also musicals, dance, talks from artists and academics, and exhibitions.
This aim is complemented by our desire to discover and promote new writing in Irish theater. With the construction of our new studio and rehearsal space we hope to give a home to writers who wish to develop their work in a creative and exciting environment. This project also opens up the possibility that one of the writers will have the chance to have their work produced on our main-stage.
In the future we plan to continue our work in audience development through our Arts Engagement program. We aim to grow our audience through various outreach programs and to bring our work to a younger audience. The Internship/Work-Study Program will continue to be a major aspect of our outreach work. This provides invaluable experience for people who are interested in pursuing a career in the arts.
Finally, much of our work is supported through the donations and subscriptions of our members. In this area we hope to maintain our loyal membership base and to bring in new members who will support us in the future.
In order to produce a consistently vibrant and interesting program we will work with the existing creative team that we have built up over the years, but also draw on new talent from both America and Ireland. As a repertory company we have many artists and practitioners who work with us on a regular basis. However, we also bring in outside artists to make sure that our work is opened up to a broader audience. In the summer of 2016 Matthew Broderick will perform in our production of Conor McPherson's Shining City and earlier in the year we had Julian Sands perform his solo show, A Celebration of Harold Pinter. This sort of name recognition guarantees that our shows reach a much wider demographic than just the Irish communities of New York.
Nonetheless, we owe much of the success of our organization to our loyal membership base. This has created a sizable audience that provides us with an enthusiastic audience who lend a strong level of financial stability. Our annual subscriptions ensure we have a constant flow of donations throughout the year, whilst giving our members a variety of benefits. We also apply to various individuals, government bodies and corporations for one-off grants to support the running of our theater. Our major fundraising event of the year is the annual gala. This allows us to celebrate the contribution our members have made, but also to raise a large amount of capital through ticket sales, an online auction and raffle.
Our aim of growing and diversifying our audience will be achieved through a variety of strategies. We will continue to operate our Ticket Subsidy Program in order to ensure that students and seniors have access to our work. We also offer Green Seat Memberships to people who are under 35 years old. These memberships are free and offer a hugely reduced rate on the price of tickets as well as access to special events. This program has gone a long way in bringing in a new, younger audience to the Irish Rep and we will continue to grow it in the future. Above all we plan to create a sense of belonging and ownership for our audiences. We strive to build this feeling of inclusiveness for new and existing audience members through post-show talks, creating a strong neighborhood community program and industry events that promote theater.
From the end of Summer 2016 onward, the Irish Repertory Theatre will return to its home on West 22nd Street. With the newly renovated Francis J. Greenburger Main Stage and the smaller W. Scott McLucas Studio space fully equipped, our goal of producing a consistently high standard of artistic work will be much easier to achieve in the future. The construction of two motorized tracks on the stage will mean that backstage work will be significantly simpler and the installation of an LED lighting grid will make for more visually striking productions. Furthermore, the opening of our studio space gives us our own rehearsal area. This will encourage a sense of constant activity and community within the building. The studio will also act as a space for new writing to be developed and performed, thus granting us the ability to broaden the horizons of our programming.
As well as new theaters we will also see the opening of new disabled access facilities, including wheelchair access and assistive listening equipment for those audience members with hearing difficulties. A lot of work has also been done in improving our bar and bathroom facilities. All of this will further improve our audience's experience and ensure that we will continue to thrive in the coming years.
The administrative staff will likewise have their work space significantly improved. We will move into a modern open-plan office, which will encourage collaboration and creative dialogue between members of staff. This will centralize our archives and records and make for a more efficient and transparent working environment. We will also have access to better storage and computer facilities. As a result, fundraising, audience development, and creative programming will all benefit.
Much of this will be made possible through the continued support of our friends and members. To that end, the development staff will continue to strengthen and maintain our membership program and apply to individuals, government bodies and corporations for grants.
In order to track the success of our artistic output we largely rely on audience numbers and box office takings. But we also take into account the critical reception of the show and our own audience's feedback. Many of our audience members write to us in support of our shows and other use both our Facebook and Twitter accounts to express their opinions. Post-show discussions also play a vital role of informing us how our audiences react to our work. If our shows enjoy particular success it is not unusual for them to receive an extended run or even transfer to another theater. Meanwhile, the success of any new writing will be monitored by how many new plays are developed and make it onto the Main Stage.
The involvement of our members is vital to growing and improving our company. We keep a well regulated data-base of members and donors, both past and present. The number of members and the amount that they give acts as a metric for the success of our work. Within the membership structure we take a great deal of effort to encourage our members to increase the amount that they donate year-to-year.
The success of our audience development program is measured in a variety of ways. For those under the age of 35, our best means of determining our success is to track how many Green Seats have been taken. These free memberships act as an indicator for how many young people have seen our shows and whether they plan to return in the future. The success of our Ticket Subsidy Program likewise informs us how many students and seniors have attended our productions.
The Irish Rep's greatest accomplishment in recent years has been the punctual completion of our theater's renovation and the support we have received through our capital campaign. This has completely revolutionized what the Irish Rep will be able to achieve in the future. Moreover, it will grow its reputation both locally and abroad as a producer of Irish and Irish-American theater.
Many of our projects are ongoing and depend on a variety of factors to determine their success. Our most recent shows have all been met with approval from critics and audiences alike. Meanwhile rehearsals have already begun on our upcoming production of Conor McPherson's Shining City.
Our fundraising and development department continue to act as a source of stability for the organization. We continue to grow our membership and receive regular and significant donations from individuals, government bodies and corporate entities.
Audience development has continued to be a successful part of our company's output, in spite of the fact that we have been away from our theater for some time. We have continued to provide reduced prices for seniors and students and our Green Seats program has gained a healthy number of members. Likewise, our free readings and post-show discussions have garnered impressive audience numbers. The only regrettable impact of our absence from West 22nd Street has been our lack of work in the local community. However, this is to be expected, given our circumstances.
Better Business Bureau Wise Giving Alliance
Affiliations & Memberships
Actor's Equity Association
Association of Fundraising Professionals - Member
Americans for the Arts
Irish Repertory Theatre Company Inc
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The people, governance practices, and partners that make the organization tick.
as of 4/19/2016
Irish Repertory Theatre
Raich End Malter & Co.
Irish Repertory Theatre
Skadden, Arps, Slate, Meagher & Flom, LLP
Skadden, Arps, Slate, Meagher & Flom
Millennium Management Inc.
Cahill, Gordon and Reindel
Katie Rustum O'Neill
SOURCE: Self-reported by organization
GuideStar worked with BoardSource, the national leader in nonprofit board leadership and governance, to create this section, which enables organizations and donors to transparently share information about essential board leadership practices.SOURCE: Self-reported by organization
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?
Has the board conducted a formal, written assessment of the chief executive within the past year?
Have the board and senior staff reviewed the conflict-of-interest policy and completed and signed disclosure statements in the past year?
Does the board ensure an inclusive board member recruitment process that results in diversity of thought and leadership?
Has the board conducted a formal, written self-assessment of its performance within the past three years?