The Washington Ballet
The Washington Ballet
EIN: 52-0846173
as of December 2022
as of December 12, 2022
Programs and results
Reports and documents
Download annual reportsWhat we aim to solve
Our programs
What are the organization's current programs, how do they measure success, and who do the programs serve?
Professional Company
The Washington Ballet's professional company consists of world class dancers and apprentices forming an ensemble core. Together, with our Studio Company they perform a wide variety of works from classical to contemporary choreography. The Washington Ballet (TWB) has distinguished itself as an American ballet company, showcasing defining works by renowned choreographers while bringing new creations by emerging choreographers and allowing for the evolution of the art form as part of our Nextsteps program as well as our presenting our signature salute to Washington DC and holiday favorite: Septime Webre's original "The Nutcracker".
In addition to our Nutcracker, the professional and studio companies will bring five new ballets created on The Washington Ballet, a full-length production of The Sleeping Beauty plus a mixed repertoire of classical pieces of the highest caliber to stages throughout the national capital area for the 2022-23 season.
The Washington School of Ballet
Co-founded in 1944 by the late Mary Day and Lisa Gardiner, The Washington School of Ballet (TWSB) is recognized nationally and internationally for its classical training and dedication to excellence in dance and dance education. Xiomara Reyes, Head of School, brings her passion and dedication to teach and inspire a new generation of dancers. The school trains more than 700 students each year at its Northwest Campus studios on Wisconsin Avenue and over 200 students at the Southeast Campus housed at The Town Hall Education, Arts and Recreation Center (THEARC).
To ensure uniformity, all campuses follow the same curriculum. Our curriculum includes pre-ballet, boys’ classes and a graded program for children through young adulthood as well as adults. For students who wish to pursue dance as a career, the school offers a Professional Training Program that brings talented students together from around the world for intensive training under TWSB's renowned faculty.
Community Engagement
TWB’s annual investment of $1.4 million in our community engagement programs has allowed us to reach more than 160,000 of Washington, DC’s most economically disadvantaged children, adults, and seniors over the last 22 years. TWB’s Community Engagement Programs provide opportunities for youth, adults and seniors and include Dance DC and Dance for All.
Dance DC reaches hundreds of DC Public and Charter School students with arts integration programs that are guided by the National Core Arts Standards for Dance and integrated into core subject classes including reading, math and science.
Dance for All provides free experiences in every Ward of DC, with an intentional focus on Wards 7 and 8.
Where we work
External reviews

Photos
How we listen
Seeking feedback from people served makes programs more responsive and effective. Here’s how this organization is listening.
-
How is your organization collecting feedback from the people you serve?
-
How is your organization using feedback from the people you serve?
-
With whom is the organization sharing feedback?
-
Which of the following feedback practices does your organization routinely carry out?
-
What challenges does the organization face when collecting feedback?
Financials
Revenue vs. expenses: breakdown
Liquidity in 2020 info
0.62
Months of cash in 2020 info
1.9
Fringe rate in 2020 info
17%
Funding sources info
Assets & liabilities info
The Washington Ballet
Revenue & expensesFiscal Year: Jul 01 - Jun 30
SOURCE: IRS Form 990
The Washington Ballet
Balance sheetFiscal Year: Jul 01 - Jun 30
SOURCE: IRS Form 990
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: Jul 01 - Jun 30
SOURCE: IRS Form 990
This snapshot of The Washington Ballet’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.
Created in partnership with
Business model indicators
Profitability info | 2016 | 2017 | 2018 | 2019 | 2020 |
---|---|---|---|---|---|
Unrestricted surplus (deficit) before depreciation | -$482,851 | -$1,716,155 | -$147,115 | $486,564 | $1,025,199 |
As % of expenses | -4.0% | -13.3% | -1.2% | 3.8% | 8.5% |
Unrestricted surplus (deficit) after depreciation | -$879,976 | -$2,256,326 | -$608,226 | $52,780 | $567,976 |
As % of expenses | -7.1% | -16.8% | -4.7% | 0.4% | 4.5% |
Revenue composition info | |||||
---|---|---|---|---|---|
Total revenue (unrestricted & restricted) | $11,011,456 | $10,426,971 | $12,358,090 | $13,243,060 | $13,347,355 |
Total revenue, % change over prior year | -1.2% | -5.3% | 18.5% | 7.2% | 0.8% |
Program services revenue | 73.0% | 70.1% | 61.3% | 60.1% | 53.9% |
Membership dues | 0.3% | 0.2% | 0.0% | 0.0% | 0.0% |
Investment income | 0.2% | 0.2% | 0.0% | 0.1% | 0.0% |
Government grants | 2.6% | 2.2% | 2.6% | 9.6% | 9.0% |
All other grants and contributions | 20.9% | 24.8% | 33.5% | 26.3% | 32.5% |
Other revenue | 3.0% | 2.6% | 2.5% | 3.8% | 4.6% |
Expense composition info | |||||
---|---|---|---|---|---|
Total expenses before depreciation | $11,995,254 | $12,865,517 | $12,385,002 | $12,908,164 | $12,045,252 |
Total expenses, % change over prior year | 15.3% | 7.3% | -3.7% | 4.2% | -6.7% |
Personnel | 46.8% | 47.8% | 48.8% | 47.3% | 50.6% |
Professional fees | 20.1% | 19.2% | 23.6% | 26.8% | 19.7% |
Occupancy | 10.8% | 11.3% | 8.5% | 10.0% | 10.8% |
Interest | 0.1% | 0.5% | 0.5% | 0.0% | 0.0% |
Pass-through | 1.2% | 1.5% | 1.6% | 2.4% | 5.0% |
All other expenses | 20.9% | 19.8% | 17.0% | 13.6% | 14.0% |
Full cost components (estimated) info | 2016 | 2017 | 2018 | 2019 | 2020 |
---|---|---|---|---|---|
Total expenses (after depreciation) | $12,392,379 | $13,405,688 | $12,846,113 | $13,341,948 | $12,502,475 |
One month of savings | $999,605 | $1,072,126 | $1,032,084 | $1,075,680 | $1,003,771 |
Debt principal payment | $0 | $0 | $0 | $0 | $1,798,144 |
Fixed asset additions | $1,469,950 | $0 | $0 | $0 | $0 |
Total full costs (estimated) | $14,861,934 | $14,477,814 | $13,878,197 | $14,417,628 | $15,304,390 |
Capital structure indicators
Liquidity info | 2016 | 2017 | 2018 | 2019 | 2020 |
---|---|---|---|---|---|
Months of cash | 0.4 | 0.1 | 0.4 | 0.5 | 1.9 |
Months of cash and investments | 1.5 | 0.5 | 1.0 | 0.8 | 2.2 |
Months of estimated liquid unrestricted net assets | -1.6 | -2.8 | -2.8 | -1.8 | -1.2 |
Balance sheet composition info | 2016 | 2017 | 2018 | 2019 | 2020 |
---|---|---|---|---|---|
Cash | $361,021 | $157,695 | $401,563 | $492,807 | $1,892,052 |
Investments | $1,157,229 | $325,833 | $663,685 | $314,157 | $361,669 |
Receivables | $714,527 | $469,951 | $289,502 | $669,754 | $840,221 |
Gross land, buildings, equipment (LBE) | $9,209,756 | $9,181,558 | $9,187,896 | $9,102,142 | $7,098,992 |
Accumulated depreciation (as a % of LBE) | 29.8% | 34.9% | 38.9% | 41.7% | 54.0% |
Liabilities (as a % of assets) | 41.7% | 67.3% | 73.7% | 74.4% | 59.6% |
Unrestricted net assets | $3,920,935 | $1,664,609 | $1,056,383 | $1,109,163 | $1,677,139 |
Temporarily restricted net assets | $763,036 | $62,474 | $207,484 | $368,125 | N/A |
Permanently restricted net assets | $621,423 | $621,423 | $621,423 | $310,000 | N/A |
Total restricted net assets | $1,384,459 | $683,897 | $828,907 | $678,125 | $952,062 |
Total net assets | $5,305,394 | $2,348,506 | $1,885,290 | $1,787,288 | $2,629,201 |
Key data checks
Key data checks info | 2016 | 2017 | 2018 | 2019 | 2020 |
---|---|---|---|---|---|
Material data errors | No | No | No | No | No |
Operations
The people, governance practices, and partners that make the organization tick.
Documents
Managing Director
Mr. Patrick Muhlen-Schulte
Patrick Mühlen-Schulte became the managing director of The Washington Ballet (TWB) in July 2020.
Patrick Mühlen-Schulte leads The Washington Ballet’s administration team, with responsibility to successfully manage a budget of more than $13 million annually. Patrick has worked as a senior arts administrator in major performing arts companies and venues in the U.S. and Australia. Prior to joining the US arts management sector, he worked in New York as a corporate business development manager and external & legal affairs executive with Marsh & McLennan, a global financial services and consulting firm. He has an extensive background as a senior advisor and chief of staff in the Australian government and political sector, leading teams in finance, international trade and cultural portfolios. Patrick holds a Juris Doctor with honors from the University of Technology, Sydney, and a Bachelor of Arts with honors from the University of Sydney, majoring in music and political science.
Artistic Director
Julie Kent
Julie Kent became the Artistic Director of The Washington Ballet in July 2016 and is the longest serving ballerina in American Ballet Theatre’s (ABT) history. Kent is the only American woman ever to have won the “Prix Benois de la Danse.” Kent starred in the film “Dancers” opposite Mikhail Baryshnikov and later in the motion picture “Center Stage.”
Kent was awarded an Honorary Doctorate of Performing Arts from the University of North Carolina School of the Arts and bestowed a “Lifetime Achievement Award” from Dance Magazine. During her extraordinary performing career, she has danced over 100 ballets, including roles in all of the major classical, and neo-classical works by greats such as Petipa, Balanchine, Ashton and Sir Kenneth MacMillan and has had roles created on her by John Neumeier, Lar Lubovitch, Twyla Tharp, and Alexei Ratmansky, to name a few, and performed as a guest across Europe. After 30 years of performing, Kent was named Artistic Director of ABT’s Summer Intensive.
Number of employees
Source: IRS Form 990
The Washington Ballet
Officers, directors, trustees, and key employeesSOURCE: IRS Form 990
Compensation data
The Washington Ballet
Highest paid employeesSOURCE: IRS Form 990
Compensation data
The Washington Ballet
Board of directorsas of 01/17/2023
Board of directors data
Mrs. Jean-Marie Fernandez
Fernandez Foundation
Term: 2018 -
Mr. Michael Goldstein
Cooley LLP
Luanne Adams
Lowell Yoder
M&T Bank
Joan McCarthy
Britt Biles
U.S. SBA
Jamie Boucher
Skadden Financial
Jane Cafritz
Jane R. Cafritz Antiques & Interiors
Evonne Connolly
Bishop Walker School for Boys
Erin Drouin
Charles DeSantis
Georgetown University
David DeSantis
TTR Sotheby's International Realty
Ryan Hayes
Covington & Burling
Maureen Hinman
Silverado Policy Accelerator
Ashley Holbrook
Boeing
Heather Hughes
American University
Hanane Lemlih
Wells Fargo
Eve Lilley
Educational Assessment Associates
Timothy Lowery
CityCenterDC
Dorothy McSweeny
Chair Emeritus DCCAH
Michelle Montes
EY
Dr. Michael Olding
George Washington University
Barbara Rothkopf
Martha Schwieters
Yolanda Scott
Slalom LLC
Mary Slimp
CIA
Jennifer Tulumello
Freelance journalist
Dena Wiggins
Natural Gas Supply Association
Patricia Wu
Crowell & Moring LLP
Lauri Fitz-Pegado
Board leadership practices
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
Who works and leads organizations that serve our diverse communities? GuideStar partnered on this section with CHANGE Philanthropy and Equity in the Center.
Leadership
The organization's leader identifies as:
The organization's co-leader identifies as:
Race & ethnicity
No data
Gender identity
No data
No data
Sexual orientation
No data
Disability
No data