Philadelphia Young Playwrights

Student Voices Center Stage

aka Young Playwrights   |   Philadelphia, PA   |

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Philadelphia Young Playwrights

EIN: 23-2474075


Philadelphia Young Playwrights celebrates student voices through the art of playwriting. Philadelphia Young Playwrights provides students with creative experiences that build community, inspire change, and transform lives. Since 1987, Philadelphia Young Playwrights (PYP) has partnered with educators to bring the transformative power of playwriting into classrooms and community settings across Greater Philadelphia. Placing students at the center of their learning, PYP's intensive writing residencies advance writing-based literacy skills while developing critical 21st century skills like creativity, communication, and collaboration.

Ruling year info


Executive Director

Ms LaNeshe Miller-White

Director of Education and Program Services

Madeline Charne

Main address

1219 Vine Street Fl 2

Philadelphia, PA 19107 USA

Show more contact info



Subject area info

Arts education


Performing arts education

Population served info

Children and youth

Economically disadvantaged people

NTEE code info

Arts Education/Schools (A25)

Theater (A65)

What we aim to solve

SOURCE: Self-reported by organization

Each year, hundreds of students in underserved schools benefit significantly and in fundamental ways key to closing achievement gaps, advancing their own literacy, creativity, listening skills and self-agency through our programs. We remain committed to providing programs in the School District of Philadelphia (SDP) through the course of the ongoing budget crisis, believing—in the words of one of our student playwrights—that students can "use theatre as a tool for change, in a time when the city really does need a reform." Our programs give students a voice and allow each of them to become, in the words of Quiara Alegria Hudes, who grew up in West Philadelphia and who is a graduate of the SDP, an "active shaper of [their] community, an intellectual, an entertainer, a truth teller."

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?

CORE Program

Since 1987, Philadelphia Young Playwrights (PYP) has partnered with educators to bring the transformative power of playwriting into classrooms across Greater Philadelphia. In a given year, our 25 Teaching Artists bring our Core Program directly to more than 1700 students in Philadelphia area schools, including 900 students in the School District of Philadelphia. Each year, hundreds of students in underserved schools benefit significantly and in fundamental ways that are key to closing achievement gaps. In 2023, over 700 individual monologues, individual plays, small group plays, and full class plays were created by our students. PYP provides tools for students to improve their writing-based literacy skills through playwriting—while also advancing creativity, confidence, critical thinking, problem-solving, and collaborative skills.

Population(s) Served

In 2023, PYP piloted the Neighborhood Initiative, which brings programming to neighborhood libraries and community centers during after school hours, at two locations. In 2024 the program expands to 4 locations. The Neighborhood Initiative serves Philadelphia elementary, middle, and high school students, those who might not have access to our programs in their schools, as well as students who have been in our programs and no longer have access to it in their schools, and want to continue to work with PYP. The program is free for all who attend. Piloted in 2023, this program brings PYP’s in-school curriculum to students during after school hours—these students either don’t have PYP in their schools or for other reasons may not have access to the programming. Our program will provide skill building, confidence, and a creative outlet to these hidden populations within the already underserved youth population.

Population(s) Served

The Resident Playwrights program is for interested students who want to pursue playwriting with more depth and at the next level. Each January, typically 10-15 playwrights between 13 and 18 years old and from Philadelphia and surrounding area schools are selected to become a Resident Playwright. Meeting bi-weekly for two and a half hours from January through June, Resident Playwrights gain critical mentorship and professional development. The playwrights write, share their work with their peers, and revise original plays.

Additionally, each playwright has an individual mentor who works with them separately once or twice a month. These individual mentoring hours offer students individualized, concentrated support to improve their writing. Resident Playwrights also receive and give feedback on their plays, learning how to use and provide constructive criticism and ideas in furthering their work.

Population(s) Served
Children and youth
Economically disadvantaged people
Children and youth
Economically disadvantaged people
Children and youth
Economically disadvantaged people

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.

Last year, 68% of students in the School District of Philadelphia scored at Basic or Below Basic levels for English, Language Arts on standardized PSSA tests. 27% scored ‘Proficient' while only 6% scored ‘Advanced'. More than two-thirds of our students are economically disadvantaged. In the School District of Philadelphia—with whom the organization has partnered in each year since its founding in 1987—89% of students are economically disadvantaged. Of the almost 2,100 students served through the entire Core Program, 1,300 qualify for free or reduced lunch and free textbooks. In the current school environment, creative writing and self-expression are often completely lost in the fray—when in reality they are often the keys to unlocking student achievement. Philadelphia Young Playwrights programs give students a platform to express themselves.

Young Playwrights places value in young people, cultivating students throughout the Greater Philadelphia region to become confident, engaged citizen-artists. Each year, we reach more than 2,100 students through our Core Program of in-class playwriting residencies, which take place over the course of 25 total hours in English, Language Arts, and Humanities classrooms in schools throughout the region. Our work begins in the classroom, but it does not end there. Our programs focus on taking student work from page to stage, extending student learning from literacy and creativity skills to critical 21st century learning like social and cross-cultural skills, collaboration, and communication.

PYP’s programming staff is led by the Director for Education and Program Services Mindy A. Early, who conceives, administers, and executes the organization’s arts education programs. This includes facilitating professional development activities, workshops and special projects. Mindy received a B.A. in Drama from Washington College in Maryland, and did her graduate work in Theatre at Miami University of Ohio with a concentration in Directing. Formerly the Resident Teaching Artist and Education Associate at Philadelphia Theatre Company, she taught over 500 workshops at nearly 40 schools. Additionally, Mindy is a director and playwright.\n\nPYP encourages staff and TAs to participate in extensive professional development programs to strengthen their capacity to teach and inspire its participants. PYP has worked with the Stockton Rush Bartol Foundation as a recipient of their professional training for teaching artists since its inception. Since that time, PYP staff has created its own comprehensive selection of professional development that ranges from classroom management to customized trauma-informed training to support a variety of student needs.\nNew staff and TAs are required to attend professional development where they receive resources that help them designing effective, youth-centered workshops that help students to express themselves through playwriting, as well as practice and strengthen their writing and thinking skills; engaging, motivating and supporting student playwrights of all ages and abilities

After their residencies, roughly 800 students submit plays to the Annual Playwriting Festival to be considered for further development and production as part of the Play Development Series (PDS). Through the PDS, students work alongside professional directors, dramaturgs, designers, and actors taking student work from the page to the stage.\n\nOutside of the classroom, PYP engages young people through special projects and initiatives. In April 2017, PYP launched its podcast, Mouthful. The first season dove into themes and ideas stemming from dramatic monologues written by young people and brought them into conversations for the larger community. Season One gained 21,000 unique listeners and a “Best of Philly” nod from Philadelphia Magazine. Currently, in preparation for its third season Mouthful looks to capitalize on its expanded listenership.

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?

    We don't have any major challenges to collecting feedback


Philadelphia Young Playwrights
Fiscal year: Sep 01 - Aug 31

Revenue vs. expenses:  breakdown

SOURCE: IRS Form 990 info
Note: When component data are not available, the graph displays the total Revenue and/or Expense values.

Liquidity in 2023 info

SOURCE: IRS Form 990


Average of 0.93 over 10 years

Months of cash in 2023 info

SOURCE: IRS Form 990


Average of 1 over 10 years

Fringe rate in 2023 info

SOURCE: IRS Form 990


Average of 19% over 10 years

Funding sources info

Source: IRS Form 990

Assets & liabilities info

Source: IRS Form 990

Financial data

SOURCE: IRS Form 990

Philadelphia Young Playwrights

Revenue & expenses

Fiscal Year: Sep 01 - Aug 31

SOURCE: IRS Form 990 info

Fiscal year ending: cloud_download Download Data

Philadelphia Young Playwrights

Balance sheet

Fiscal Year: Sep 01 - Aug 31

SOURCE: IRS Form 990 info

The balance sheet gives a snapshot of the financial health of an organization at a particular point in time. An organization's total assets should generally exceed its total liabilities, or it cannot survive long, but the types of assets and liabilities must also be considered. For instance, an organization's current assets (cash, receivables, securities, etc.) should be sufficient to cover its current liabilities (payables, deferred revenue, current year loan, and note payments). Otherwise, the organization may face solvency problems. On the other hand, an organization whose cash and equivalents greatly exceed its current liabilities might not be putting its money to best use.

Fiscal year ending: cloud_download Download Data

Philadelphia Young Playwrights

Financial trends analysis Glossary & formula definitions

Fiscal Year: Sep 01 - Aug 31

SOURCE: IRS Form 990 info

This snapshot of Philadelphia Young Playwrights’s financial trends applies Nonprofit Finance Fund® analysis to data hosted by GuideStar. While it highlights the data that matter most, remember that context is key – numbers only tell part of any story.

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Business model indicators

Profitability info 2019 2020 2021 2022 2023
Unrestricted surplus (deficit) before depreciation $47,998 $17,501 $15,355 $72,712 -$42,230
As % of expenses 5.1% 2.2% 2.1% 9.9% -5.9%
Unrestricted surplus (deficit) after depreciation $17,295 $2,858 $11,694 $72,712 -$42,230
As % of expenses 1.8% 0.3% 1.6% 9.9% -5.9%
Revenue composition info
Total revenue (unrestricted & restricted) $749,834 $1,328,441 $448,667 $626,381 $1,089,789
Total revenue, % change over prior year -5.4% 77.2% -66.2% 39.6% 74.0%
Program services revenue 29.2% 5.6% 18.9% 14.6% 8.0%
Membership dues 0.0% 0.0% 0.0% 0.0% 0.0%
Investment income 1.8% 0.9% 4.1% 3.0% 1.9%
Government grants 5.1% 2.8% 24.7% 40.4% 10.8%
All other grants and contributions 63.9% 90.7% 52.3% 42.0% 79.3%
Other revenue 0.0% 0.0% 0.0% 0.0% 0.0%
Expense composition info
Total expenses before depreciation $934,372 $806,728 $748,529 $733,983 $710,399
Total expenses, % change over prior year 11.3% -13.7% -7.2% -1.9% -3.2%
Personnel 54.5% 61.6% 67.0% 64.7% 54.4%
Professional fees 0.8% 1.0% 1.1% 1.3% 1.5%
Occupancy 6.2% 6.3% 4.8% 4.4% 4.1%
Interest 0.7% 0.6% 0.3% 0.3% 0.9%
Pass-through 0.0% 0.0% 0.0% 0.0% 0.0%
All other expenses 37.8% 30.5% 26.7% 29.3% 39.1%
Full cost components (estimated) info 2019 2020 2021 2022 2023
Total expenses (after depreciation) $965,075 $821,371 $752,190 $733,983 $710,399
One month of savings $77,864 $67,227 $62,377 $61,165 $59,200
Debt principal payment $0 $0 $0 $0 $0
Fixed asset additions $0 $0 $0 $0 $0
Total full costs (estimated) $1,042,939 $888,598 $814,567 $795,148 $769,599

Capital structure indicators

Liquidity info 2019 2020 2021 2022 2023
Months of cash 2.8 1.4 0.9 1.4 0.8
Months of cash and investments 2.8 1.4 0.9 1.4 0.8
Months of estimated liquid unrestricted net assets -2.2 -2.3 -1.6 -0.4 -1.1
Balance sheet composition info 2019 2020 2021 2022 2023
Cash $219,644 $95,574 $53,898 $82,751 $48,614
Investments $0 $0 $0 $0 $0
Receivables $181,338 $287,260 $221,650 $185,950 $228,037
Gross land, buildings, equipment (LBE) $281,267 $281,267 $67,524 $38,809 $38,809
Accumulated depreciation (as a % of LBE) 79.2% 84.4% 100.0% 100.0% 100.0%
Liabilities (as a % of assets) 14.8% 12.2% 14.4% 18.3% 11.2%
Unrestricted net assets -$112,241 -$109,383 -$97,689 -$24,977 -$67,207
Temporarily restricted net assets $561,122 N/A N/A N/A N/A
Permanently restricted net assets $299,549 N/A N/A N/A N/A
Total restricted net assets $860,671 $1,337,664 $1,134,660 $831,390 $1,293,645
Total net assets $748,430 $1,228,281 $1,036,971 $806,413 $1,226,438

Key data checks

Key data checks info 2019 2020 2021 2022 2023
Material data errors No No No No No


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

Form 1023/1024 is not available for this organization

Executive Director

Ms LaNeshe Miller-White

LaNeshe Miller-White is the former Executive Director of Theatre Philadelphia and has more than 15 years of experience on the Philly arts and culture scene. After graduating from Temple University, Miller-White worked as the marketing manager of Painted Bride Art Center for over ten years. During that time, she also co-founded Theatre in the X, a company dedicated to breaking down the barriers to the theater by providing accessible productions in Philadelphia’s Malcolm X Park for no cost. She is a two-time Leeway Foundation Art & Change grantee, and was the first Philadelphia co-chief representative for the national organization the Parent-Artist Advocacy League (PAAL), of which she is now an advisory board member. She is also an adjunct professor in Drexel University's Westphal College of Media Arts & Design, a board member of the Philadelphia Cultural Fund, and the 2022 Story Changers Awardee for the Philadelphia Women's Theatre Festival.

Director of Education and Program Services

Madeline Charne

​Madeline Charne is a teaching artist, dramaturg, facilitator, and arts administrator with a lifelong love of storytelling. Having worked as a teaching artist for over a decade, she has worked with students aged 3-93 at theaters, schools, libraries, day programs, prisons, hospitals, and camps across the east coast. Madeline graduated from the Yale School of Drama in 2020 with an MFA in Dramaturgy and Dramatic Criticism and a focus on dramaturgies of disability and community based theater making. Although she loves her research and time spent in the rehearsal room, her true passion lies in teaching and she is grateful to have exercised that passion through theaters all over Philadelphia, teaching with the Wilma, the Walnut, Philadelphia Young Playwrights, the Arden, InterAct, Theater Horizon, the Lantern, and Wolf PAC. Madeline is coming to Philadelphia Young Playwrights from a position as the Director of Education and Community at the Philadelphia Film Society.

Number of employees

Source: IRS Form 990

Philadelphia Young Playwrights

Officers, directors, trustees, and key employees

SOURCE: IRS Form 990

Show data for fiscal year
Compensation data
Download up to 5 most recent years of officer and director compensation data for this organization

There are no highest paid employees recorded for this organization.

Philadelphia Young Playwrights

Board of directors
as of 06/26/2024
SOURCE: Self-reported by organization
Board of directors data
Download the most recent year of board of directors data for this organization
Board chair

Peter Mastriano


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Andrew Comerford


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Kevin Robinson

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M. Allyson Brown

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Fay Beauchamp

Retired Educator

Dan Filler

Dean, Drexel University Kline School of Law

Marcia Gelbart

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Heather Meads

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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? Yes

Organizational demographics

SOURCE: Self-reported; last updated 6/26/2024

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


The organization's leader identifies as:

Race & ethnicity
Black/African American
Gender identity
Female, Not transgender

The organization's co-leader identifies as:

Race & ethnicity
Gender identity
Female, Not transgender

Race & ethnicity

Gender identity

Transgender Identity

Sexual orientation


No data

Equity strategies

Last updated: 01/22/2023

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

  • 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 analyze disaggregated data and root causes of race disparities that impact the organization's programs, portfolios, and the populations served.
  • 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 disaggregate data by demographics, including race, in every policy and program measured.
  • 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 have a promotion process that anticipates and mitigates implicit and explicit biases about people of color serving in leadership positions.
  • 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 measure and then disaggregate job satisfaction and retention data by race, function, level, and/or team.
  • 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.