Arts education programs and projects are eligible for funding through the new Student Support and Academic Enrichment ..
SPECIAL REPORT ON EDUCATION FEATURING
FIELD REFLECTIONS ON EDUCATION PROGRAMS, RELATIONSHIP TO MISSION, AND REVENUE GENERATION A N D
F I N D I N G S
TCG EDUCATION SURVEY 2014
F R O M
AND
TCG FISCAL SURVEY 2014
INTRODUCTION BY LAURIE M. BASKIN DIRECTOR OF RESEARCH, POLICY & COLLECTIVE ACTION, TCG Each year, TCG produces a Special Report on Education (formerly the Education Centerpiece), which comprises three sections: a narrative portion that offers voices from the field a platform from which to speak about a specific education-related topic; a presentation of the data from the annual TCG Education Survey, which focuses on programming, demographics served, and staffing; and education-related data from the annual TCG Fiscal Survey, including earned income, contributed income, and expenses. TCG’s Department of Research, Policy & Collective Action hopes that this report provides a wealth of information about education programs across the field and, together with the online Education Survey reporting tool, serves as a resource for theatre professionals and educators. For this Special Report, the narrative portion focuses on income generated for theatre education programs. We invited co-authored pieces by the artistic or managing director and the education director from six theatres that completed Education Survey 2014—one from each of TCG’s Budget Groups—and found that each narrative offers unique insights on the relationship of a theatre’s education programs to its mission, the ways in which a theatre’s budget reflects that relationship, and the role of education programs in revenue generation. Each narrative represents a different approach and set of choices through the voice of that theatre. Beyond reporting on the education programming in the field, we seek to find connections to the larger conversation on federal education policy. On December 10, 2015, President Obama signed into law the Every Student Succeeds Act (ESSA), which includes key provisions that support access to arts education. ESSA will replace the current national education law, the Elementary and Secondary Education Act (ESEA), also known as “No Child Left Behind.” This is a historic time for education in our nation! Among the new provisions for arts education are: • • • •
The arts are included in the definition of a “well-rounded education.” Well-rounded subjects are specified as eligible uses of Title I funds, the largest pool of federal resources dedicated to ensuring equitable access to a complete education for all students. ESSA retains the 21st Century Community Learning Centers program, which supports afterschool, out-of-school, and summer learning programs. These are key areas in which arts organizations partner with schools to support student learning in the arts. Arts education programs and projects are eligible for funding through the new Student Support and Academic Enrichment Grant Program. Programs supported by the current Arts in Education program at the U.S. Dept. of Education are retained as the Assistance for Arts Education Program.
Visit the Performing Arts Alliance website (www.theperformingartsalliance.org/news/new-education-bill-supports-arts-education/) for more information on arts education provisions in ESSA, which aims to provide all elementary and secondary students with fair and equal opportunities to achieve a high-quality education, and learn the ways in which these provisions will ensure that all students, including those in high-poverty schools, have the opportunity to access arts education. TCG would like to thank the writers whose pieces follow this introduction and everyone who filled out TCG Education Survey 2014 and TCG Fiscal Survey 2014. Copyright © February, 2016—Theatre Communications Group. The TCG Special Report on Education 2014 was written by: Alissa A. Moore, education, research & collective action associate; Gregory J. Cooper, education & collective action associate; Ilana B. Rose, associate director of research & collective action; and Laurie M. Baskin, director of research, policy & collective action. TCG is led by Teresa Eyring, executive director, and Kevin E. Moore, managing director.
FIELD REFLECTIONS ON EDUCATION PROGRAMS, RELATIONSHIP TO MISSION, AND REVENUE GENERATION ABOUT FACE THEATRE
ANDREW VOLKOFF, ARTISTIC DIRECTOR CHICAGO, IL About Face Theatre’s (AFT) mission is to create exceptional, innovative, and adventurous plays to advance the national dialogue on gender and sexual identity and to challenge and entertain audiences in Chicago, across the country, and around the world. Our education department embraces that mission, primarily by devising a play a year as a group in the About Face Youth Theatre (AFYT) around topics that are important to the AFYT company members and how these ideas relate to the queer community. Homelessness, trans issues, immigration, intergenerational issues, and family have all been some of the recent topics. The AFYT members are a fearless group of young artists and activists (we call them “artivists”) who always strive to challenge their audiences. Additionally, we tour another devised theatre piece based on the personal experiences of the actors involved as outreach to high schools, churches, and colleges. About Face Theatre’s Youth and Education department has been a key component of AFT for over 15 years. The team of artists that initiated AFYT recognized the need for a safe space for LGBTQ youth to tell their stories and build community when, a year earlier, Matthew Shepard was murdered, galvanizing the conversation in a different way around queer youth and bullying and school climate. Although creating theatre and community for queer youth has always been the primary focus, a connection to schools has also been a strong focus for AFYT, especially since young people spend a majority of their time socializing and learning there. Consequently, we understand the value of bringing our work to schools either as an outreach tour or as a week-long residency. As an LGBTQ theatre, we appreciate the impact that art can have in starting dialogue, as well as providing a sense of community, agency, and voice to our often marginalized young people. From a budgetary standpoint, all of the funds raised for education are allocated to our educational staffing and programming. Currently, we budget for two staff members – one full time, one half time – as well as production expenses, teaching artist and outreach performer fees, youth performer stipends, travel expenses, and marketing. Our organization operates fairly lean, and the education department is no exception. Our education program brings in both contributed and earned revenue. The contributed income is the result of support from several local foundations and national grants, and the earned income comes from revenue generated through presenting outreach performances at high schools and colleges, doing residencies at high schools, as well as ticket revenue from the annual Youth Theatre production. Our education program makes a point to provide our outreach and residency programs on a sliding economic scale to remove the barrier of cost should organizations need our programming but be unable to afford it. These accommodations can tax both the department and the organization since we never want to turn anyone away for inability to pay. Like most organizations, we base our annual budgeting on the year prior and the trends we see in the coming year. Our education and outreach director, Ali Hoefnagel, submits a budget to our managing director that gets reviewed by me and the finance committee. The challenge when budgeting is to balance the need and desire to expand our services – providing a more robust theatre experience for our Youth Theatre participants and connecting with more Chicago public schools – with the hard realities of funding, earned income, and increased expense. Significant decreases in state and government funding make it all the more challenging. No matter the financial challenge, however, we understand the value of what we do, and we will never stop serving the LGBTQ youth of Chicago.
CLEVELAND PLAY HOUSE KEVIN MOORE, MANAGING DIRECTOR PAMELA DIPASQUALE, DIRECTOR OF EDUCATION CLEVELAND, OH The mission of Cleveland Play House (CPH) is to inspire, stimulate, and entertain diverse audiences across northeast Ohio by producing plays and theatre education programs of the highest professional standards. Through our work, we aggressively pursue our vision to be a premier American regional theatre that is welcoming, diverse, distinctive, bold, thrilling, and essential to our community.
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Everything that we do is in support of those two statements, both of which articulate a profound commitment to education. This is manifested in nine education programs: Apprentice Program, Compassionate Arts Remaking Education (CARE), High School Drama Club, Educator Evenings: A Professional Development Program, KeyBank CPH College, Wraparound Strategy for Academic Achievement, Student Matinee: A Field Trip Program, University Hospitals Rainbow Babies & Children’s Hospital Classroom Matinee: A Touring Program, and VSA Playwright Discovery Program: Performing Arts Access for Kids. Effective this year, our education team assumed responsibility for InsideCPH, a suite of engagement initiatives that deepen and contextualize our audience’s experience with our work. These programs are rooted in the same philosophies that are found in all of our programs: telling stories that matter to our community, preparing young people to succeed in 21st-century society, and being a leader in the creative economy of greater Cleveland. CPH education programs are woven into the overall financial picture of the company and accounted for in dedicated revenue and expense categories. These programs generate both earned and contributed revenue. Earned revenue takes two primary forms: ticket sales for onsite and touring student performances and contracts for education services, including agreements with United Way, US Department of Education, and VSA Kennedy Center. Contributed revenue categories include grants from foundations, corporations, and government agencies. These are accounted for in annual fund categories, alongside grants for artistic programming and general operating. Additional grants are inspired by our focus on education but are not donor-restricted. This is particularly true in the area of individual donors, where purpose-based restrictions are few, but passion for arts education is evident. At present, CPH educational programs represent 13% of the overall budget. The percentage is higher than in past years due to two largescale programs with the U.S. Department of Education and United Way. These two programs are fully-funded and currently account for 63% of education spending. We do not set a target percentage for education spending – rather, we focus on providing high-impact, essential services to as many young people as possible. As those projects and associated contracts are completed, we will seek new ways to support our important work in the schools and neighborhoods of our community. CPH education programs are conceived, planned, and implemented by director of education Pamela DiPasquale and her team of theatre educators, working under the leadership of artistic director Laura Kepley. The programs are supported by departments throughout the company, including production, marketing, development, and general management. The primary objective is meeting the needs of our community, balanced by our institutional and financial capacity to deliver programs at a high level of quality. From this, budget proposals are made to the managing director, who weaves them into the overall institutional budget. A large portion of CPH education activity is tied to education service contracts; therefore, financial consultations often occur when the grant application is made, with successful proposals considered givens when the institutional budget is subsequently developed. The CPH business plan is built around four key strategies: Education Front & Center; Invest in CPH (People, Tools & Technology); Build Patron Loyalty; and Leverage the 2015-16 CPH Centennial. The education strategy is placed first because we believe that our overall success depends on quality education programs and strong public awareness of them, which will then inspire support for the institution as a whole. More importantly, these programs are essential to fulfilling our mission and building a better community.
CORNERSTONE THEATER COMPANY MICHAEL JOHN GARCÉS, ARTISTIC DIRECTOR PAULA DONNELLY, DIRECTOR OF ENGAGEMENT LOS ANGELES, CA Our approach to pedagogy reflects our methodology and values and is at the core of how we seek to serve our mission. Creating curricula based in our process of community engagement serves the company in multiple ways. It has helped us codify our best practices; encouraged us to dig deeper into the reasons we do what we do; and confront, in a rigorous way, the contradictions and issues inherent in our work, such as appropriation of narrative and authenticity of voice. It has enabled us to share our methodology, seed the field, be in deep conversation with our colleagues, learn other perspectives and ways of work, and create a group of colleagues who deeply understand our process. Our programs bring in earned and contributed income. In relationship to how much it costs to run these programs, 100% of those funds (earned and contributed) are allocated to the same programs, and a certain percentage of general operating funds are also allocated to those programs (earned income is 10% of costs associated with our Institute). This is as it should be, as these programs are integrated into our core programming and not considered ancillary. The internal budgeting process is by-and-large conducted by our managing and artistic directors, in consultation with our general manager and, in the case of these programs, with our director of engagement. Cornerstone has two Institute programs, both designed to share our specific methodology for how community engagement informs all of our play-making processes. Most participants are adult artists, educators, or organizers, and more often than not they identify with at least two of those descriptors. Many are current or recent college or graduate students looking to expand their skillsets to bring broader values 3
into their work. Both programs share Cornerstone’s methodology starting with determining the collaborating community and first steps. Curricula follow in an essentially chronological way through the steps of building partnerships, getting to know the community through research and story circles, writing adaptations and original scripts, design, auditions & casting, rehearsals and performances, and what happens afterward. The Institute Summer Residency is a 32-day program that requires an application process and tuition. Each class includes 12 to 20 participants who live and work full time in the community where we are collaborating. Morning classes provide the curriculum. The students also work alongside Cornerstone artists and staff in dedicated assignments along the lines of design associate, performer, ASM, assistant director, communications, etc. to produce the play. Afternoons and evenings are spent in rehearsals and work calls to support technical and community elements of the production. The living circumstances are often unique and the workdays very full. Students are quickly immersed in outreach within the community. The Institute Intensive is designed to take place over two days. Cornerstone offers an Intensive for individual participation bi-annually in Los Angeles. Classes include 18 to 36 participants. The Intensive concludes with participants collaborating to create short performances that incorporate the devised curriculum. We offer Intensives for hire as well. A flat fee brings two Cornerstone company members on site to teach our methodology, tailored to the circumstances of the client institution. Content is modified to reflect the needs of the host. Intensives are sometimes modified for time and cost to serve specific needs of the host organization.
SHADOWLIGHT PRODUCTIONS
SACHIKO WILLIS, MANAGING DIRECTOR ANDREA RODRIGUEZ CHAMBERLIN, EDUCATION & OUTREACH DIRECTOR SAN FRANCISCO, CA ShadowLight Productions was founded in San Francisco in 1972 by Larry Reed to nurture indigenous shadow theatre traditions, expand the possibilities of the shadow theatre medium, and reflect the cultural diversity and complexity of the modern world through its works. The company’s mission is to expose the general public to shadow theatre. The means of providing such exposure include but are not limited to live theatre, film, and other media. Our one-of-a-kind theatrical works integrate traditional shadow theatre techniques with contemporary film and theatre methods. As one of the very few professional shadow theatre companies in the world, we aim to demonstrate a wide spectrum of shadow theatre to audiences of all ages and backgrounds, and our arts education program lies at the heart of this mission. Over the past 8 years, our arts education activities have become a major means of exposure and a source of modest but steady income. As we look toward the unforeseeable future in this economic climate, we continue to see a need and opportunity to firmly establish our education program as one that provides a continuing stream of activity, serving as a sustaining and stabilizing core of ShadowLight. ShadowLight Productions has a track record of successful fiscal management and does not have an accumulated deficit. We are a projectdriven company to a larger degree than many traditionally-structured theatre companies, and our budget fluctuates year-to-year depending on the number and scale of the projects we self-produce. Our budget consists of 78% of contributed income (three-year average). We receive support from national, state, and city government agencies and private foundations. Earned revenues are generated from contracted service fees for performances, technical/artistic consultation, workshops/lectures, and the sales of our DVDs. The proceeds from the Arts Education programming represents 60% of the earned income during the 2014-15 school year, a considerable increase from the previous three-year average of 11%. The earned income generated by our Arts Education program through paid residencies, workshops, and assembly performances is allocated directly back toward teaching artist salaries, staffing, and other education program expenses. In 2014-15, the Arts Education program budget made up 16% of the overall organization’s operating budget. As mentioned the overall budget fluctuates based on the projects we self-produce in any given year; therefore, the internal budgeting and decision-making process is an organizational one made by both the Artistic and Managing Directors. As an organization driven by a single artist’s vision, the future of the company after Founder/Artistic Director Larry Reed’s retirement is our major issue, and it drove the development of our current learning-based strategic plan and “Living Legacy” approach. When we contemplate on our mission and the ancient shadow theatre traditions upon which we stand, we realize that the essence of our legacy lies in sharing—inspiring the next generation to take part in the long lineage of shadow theatre traditions. Disseminated by master artists, shadow theatre is traditionally a community-building art form. With this as an inspiration, we will continue to train young shadow theatre artists and performers in workshops and in our major productions, immersing public school students in the art form through our Education Program.
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SHAKESPEARE THEATRE COMPANY
MICHAEL KAHN, ARTISTIC DIRECTOR SAMANTHA K. WYER, DIRECTOR OF EDUCATION WASHINGTON, DC Classical theatre tells us about ourselves in a way that nothing else does, enriches our lives, helps us appreciate people unlike ourselves, makes us think and glories in the language that we speak. But without it going back into the schools and going to new generations of young people, it will be lost. It would be a terrible thing. I hope I don’t ever see that happen. From the book An American Classic: Shakespeare Theatre Company When I first agreed to lead the Shakespeare Theatre Company in 1986, my primary goal was to create a first-rate Shakespearean company and to establish education programs that would cultivate a broad, diverse audience base. From the beginning, I knew that education and community engagement were inextricably linked to the success of our artistic mission. My own personal experience tells me that if children are exposed to the arts and the humanities at an early age, they will develop an appreciation and sense of connection to the theatre that will grow and accompany them into adulthood, bringing them back to the arts again and again. Recent research further substantiates this belief, making it increasingly important to foster a sense of connection to theatre for young adults. Our ongoing education work gives students the opportunity to experience Shakespeare deeply by forging an emotional or psychological connection with his work. When students discover that Shakespeare is relevant to the modern world and their own lives, they begin to appreciate the value of classical theatre. We believe that when audience members have a positive first experience with Shakespeare, they will return and make theatregoing a part of their lives. The District Shakespeare initiative now firmly in place after a four-year developmental process serves all public high schools and public charter high schools in the District of Columbia completely free of charge, impacting 5,000 students annually. This program has already brought more than 14,000 new and underserved students into our spaces—students that may never have set foot in a theatre before we invite them to join us. STC believes that providing access to classical theatre for 100% of D.C.’s public and public charter schools is critical to the well-rounded education of the city’s students. Our education work is tied directly to our mission; the programming is skillfully bound to our mainstage productions and provides pathways to illuminate Shakespeare and the art of theatre making. On a financial level, we look at our artistic and educational work in an identical fashion. As with our productions, we receive contributed income for our education efforts, and our 26 education programs, publications, and discussions range from strong income producers to completely free experiences for participants. We approach each education offering by analyzing its fit with our mission and also the financial implications of implementation. On a program-by-program basis the measurements vary, with some programs closer to mission and others with equally strong financial value. This process allows decisions to be made that would maximize STC’s educational reach within the available resources, especially during an economic downturn. We have strived to maintain a discipline in which all education work is fully funded by directed contributed gifts and earned revenue. Currently, each pays for half of our total education budget. For our cost analysis, we look at the totality of our education costs, including staff and expenses, in comparison to the contributed income and revenue. To simplify accounting, income is not allocated to a specific department, merely considered part of the bottom line. STC is fortunate in that education efforts consistently end up in the black. By looking at the big picture, we don’t talk about a single education program’s having to pay for itself. We never have. If it’s important to our community, we make it happen.
THE WILMA THEATER
BLANKA ZIZKA, ARTISTIC DIRECTOR JAMES HASKINS, MANAGING DIRECTOR ANNE K. HOLMES, EDUCATION DIRECTOR PHILADELPHIA, PA The Wilma’s relationship to education began a gradual but radical transformation about seven years ago when we started noticing our audiences were getting older and we had very few young people coming into the theatre who could eventually replace them. Our reputation for tackling provocative material with mature content played into the narrative of the Wilma’s being a theatre for highlyeducated adults. So while we had several education programs that generated both earned and contributed income for the theatre, there was a clear disconnect between those programs and our artistic mission. While our “outreach program,” Wilmagination, was bringing fully funded theatre residencies into Philadelphia public schools, many of the students participating in those residencies never came to the theatre. Our studio school brought in earned revenue by offering the standard progression of generic acting classes, but the students who
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took those classes rarely attended our productions. Education might have been helping us balance our budget every spring, but unless we could find a way to cultivate newer, younger audiences, it would only be a temporary stopgap. As we began thinking about strategies for inviting students into the Wilma and engaging them in the work, many of the ideas seemed intuitive: provide affordable tickets; give them VIP access to the artists and their processes; prepare them for our productions through interactive, experiential workshops; and feed them. But budgeting for treating students like VIPs is anything but intuitive. Haven’t we been conditioned to see education programs as income generators, not added expenses? Unfortunately, cultivating future audiences is more of a long game, and we don’t really know what, if any, payoff there will be from it in the end. But we knew if we were really going to shift the paradigm, to change the way we budgeted our education programs at a time when resources were already scarce, we needed to reimagine our education programs in ways that would make them feel vital to our artistic work and mission. We didn’t just need to make the students feel like stakeholders in the theatre, we also needed to make our staff and our artists feel like stakeholders in education. A multi-year Wallace Foundation Excellence Award to Build the Audiences of Tomorrow was instrumental in supporting this endeavor. We closed our revenue-generating studio school about five years ago and are only now making plans for a new studio school that reflects the training and performance methods employed by Wilma company members. We’ve expanded our residency program in the Philadelphia high schools and have managed to keep it fully funded. All of our residencies (we’ve increased to 15 per season thanks to The William Penn Foundation) are crafted around Wilma productions and culminate in the students returning to the Wilma to perform original work inspired by our production for the Wilma staff and company actors. We now have a loose company of Wilma teaching artists who are either part of the Wilma Hothouse Company or who have done much of the same training. One school residency a year, a partnership with El Centro de Estudiantes High School, takes place entirely at the Wilma. Last season students from El Centro worked on their own time with CERA, the street artist responsible for painting the graffiti on our Hamlet set, to install an interactive graffiti wall in the lobby for the run of Hamlet. Just last week some of those same students returned to the Wilma on their own to see Antigone and chat with the Wilma staff. Our theatre is now regularly packed with students, many of whom have participated in workshops with cast members or taken backstage tours with our production team before seeing the show. Not surprisingly given their preparation and VIP treatment, student audiences are consistently among our most engaged and appreciative.
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FINDINGS FROM TCG EDUCATION SURVEY 2014 AND TCG FISCAL SURVEY 2014 The Special Report on Education 2014 is Theatre Communications Group’s (TCG) 16th annual report on education programming by participating Member Theatres. This report examines personnel, programming, and age group and school level demographics of education departments, as reported in TCG Education Survey 2014. In addition, this report includes data from TCG Fiscal Survey 2014 relating to education programming income and expenses. In both surveys, theatres reported on activity taking place within their fiscal year completed anytime between October 31, 2013 and September 30, 2014. Though some theatres completed both, the two surveys represent significantly different pools of responding theatres. The first section of the report focuses solely on Education Survey data, while the second section presents education-related Fiscal Survey data. This Special Report on Education is intended to serve the field and to highlight the important education work taking place at TCG Member Theatres.
TCG EDUCATION SURVEY 2014 99 theatres participated in TCG Education Survey 2014. Throughout this report, we present data for six budget groups, based on total annual expenses. It is important to acknowledge that there were significantly fewer participants from Group 1 and 2 theatres than from the other groups. TCG EDUCATION SURVEY 2014 PARTICIPANTS BY BUDGET GROUP (99 Theatres) Budget Group
Budget Group Expense Range
# of Theatres
Average Expenses
6
$10 million or more
30
$21,212,628
5
$5 million - $9,999,999
19
$7,479,475
4
$3 million - $4,999,999
9
$3,962,777
3
$1 million - $2,999,999
31
$1,761,046
2
$500,000 - $999,999
5
$739,082
1
$499,999 or less
5
$397,339
This year, we also looked at a subset of 50 theatres that have participated in the TCG Education Survey each year from 2010 to 2014 in order to identify changes that have taken place over the last five years. Findings for these Trend Theatres are presented throughout the report in the form of 5-Year Snapshots. The average expenses for all 99 participants in TCG Education Survey 2014 were $8,832,610, while the average expenses for the subset of 50 Trend Theatres were $9,262,524 in 2014. In addition to the analysis presented within this report, TCG provides an online reporting tool which allows any user to run customized reports based on TCG Education Survey 2014 data. This online tool provides an opportunity to create reports based on criteria including location, types of programming, number of personnel, and participant demographics, in addition to budget size, and can be found on the TCG website at http://www.tcg.org/tools/education/protected/report.cfm. The figures presented throughout this report were calculated based on the number of responses, unless otherwise noted.
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EDUCATION PERSONNEL INFORMATION In this section, we present information about education personnel reported by the 99 TCG Education Survey 2014 participants. In aggregate, these theatres reported 4,052 education-related personnel: 298 full-time education staff, 150 part-time education staff, 2,055 teaching artists, 451 interns, 192 apprentices, and 906 volunteers. The table that follows displays the percentage of theatres in each budget group that reported employing or engaging each of these types of education personnel. PERCENTAGE OF THEATRES REPORTING EDUCATION PERSONNEL All
Group 6
Group 5
Group 4
Group 3
Group 2
Group 1
(99)
(30)
(19)
(9)
(31)
(5)
(5)
Full-Time Staff
91%
97%
100%
100%
87%
80%
40%
Part-Time Staff
65%
60%
74%
67%
65%
80%
40%
Teaching Artists
95%
93%
95%
100%
97%
100%
80%
Interns
73%
90%
74%
89%
52%
60%
80%
Apprentices
29%
30%
42%
22%
26%
20%
20%
Volunteers
44%
60%
53%
33%
39%
0%
20%
Total # of Participants
• • • • • •
91% of participants (90 theatres) reported full-time education staff. Of those theatres, 25% had only 1 full-time staff member (not shown in table). All Group 4 and 5 theatres reported full-time staff, while all Group 2 and 4 theatres reported employing teaching artists. With the exception of Group 1, the majority of theatres in every Group reported employing part-time staff. Groups 3, 4, 5, and 6 had higher percentages of theatres report full-time staff than part-time staff, while Groups 1 and 2 had equal percentages of theatres report full-time and part-time staff. Group 6 had the highest percentage of theatres report that they engage interns, followed closely by Group 4. Group 5 had the highest percentage of theatres report that they engage apprentices, and over half of both Group 5 and 6 theatres reported engaging volunteers.
NUMBER OF EDUCATION PERSONNEL All
Group 6
Group 5
Group 4
Group 3
Group 2
Group 1
Number of Theatres
(99)
(30)
(19)
(9)
(31)
(5)
(5)
# of Resp
(90)
(29)
(19)
(9)
(27)
(4)
(2)
Full-Time Staff
Part-Time Staff
Teaching Artists
Interns
Apprentices
Volunteers
Average
3
5
4
2
2
1
1
Min - Max
1 - 13
2 - 13
1-9
1-4
1-7
1-1
1-1
# of Resp
(64)
(18)
(14)
(6)
(20)
(4)
(2)
Average
2
2
2
2
3
1
2
Min - Max
1 - 12
1-8
1 - 12
1-6
1 - 11
1-1
1-3
# of Resp
(94)
(28)
(18)
(9)
(30)
(5)
(4)
Average
22
30
23
22
18
7
7
Min - Max
1 - 100
2 - 100
3 - 100
3 - 60
2 - 65
1 - 14
2 - 15
# of Resp
(72)
(27)
(14)
(8)
(16)
(3)
(4)
Average
6
8
7
5
6
2
2
Min - Max
1 - 95
1 - 95
1 - 30
1 - 15
1 - 20
2-2
1-4
# of Resp
(29)
(9)
(8)
(2)
(8)
(1)
(1)
Average
7
8
6
9
7
1
2
Min - Max
1 - 55
1 - 55
1 - 12
3 - 14
1 - 25
1-1
2-2
# of Resp
(44)
(18)
(10)
(3)
(12)
(0)
(1)
Average
21
28
17
11
17
0
4
Min - Max
1 - 145
1 - 145
1 - 115
3 - 20
1 - 100
0-0
4-4
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5-YEAR SNAPSHOT: EDUCATION PERSONNEL For the 50 Trend Theatres, the average number of full-time staff declined between 2010 and 2011 then increased annually, ending slightly higher in 2014 than at the beginning of the 5-year period. The average number of part-time staff was also higher in 2014 than in 2010, but there was a notable drop in 2014 from the high point in 2013.The average number of teaching artists declined annually between 2010 and 2012 and then increased annually between 2012 and 2014. The average number of volunteers dropped significantly between 2013 and 2014, ending the 5-year period 65% lower than the beginning, while there was a notable increase in the average number of interns between 2013 and 2014 and a nearly 100% increase between 2010 and 2014. AVERAGE NUMBER OF EDUCATION STAFF
3.5 3 2.5
3.2
2.9
2.8
2
2.0
1.5 1 0.5
3.5
3.1
1.5 1.0
1.1
2010
2011
1.3
2012 Full Time
2013
2014
Part Time
AVERAGE NUMBER OF TEACHING ARTISTS, VOLUNTEERS, INTERNS
25 20 15
23.6 10.5
10 5 0
4.3 2010
21.5
20.9
10.1
9.4
4.2 2011 Teaching Artists
3.8 2012 Volunteers
22.7
21.8 10.2
8.5
4.6
3.6
2013
2014 Interns
EDUCATION PROGRAMMING The following section presents information about the types of education programming offered by the 99 TCG Education Survey 2014 participants. • •
• • • •
The two most common programs reported were Workshops/Classes at Schools and Student Matinees, both of which were offered by 90% or more of theatres. The most widely offered type of access programs were programs for economically disadvantaged individuals (offered by 73% of theatres), followed by mobility-related programs (58% of theatres), “other” programs (30%), language-related programs (26%), cognitive-related programs (24%), and Autism-related programs (20%). 16% of theatres offered bilingual educational programming. 80% of theatres reported that they offered teen classes, 62% offered children’s classes, and 49% offered adult classes. 58% of theatres offered professional development for classroom teachers, and 62% offered in-service credit to teachers. Distance Learning in any form was the least offered type of education programming, along with “other programs” and “service learning partner.”
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PERCENTAGE OF THEATRES REPORTING VARIOUS TYPES OF EDUCATION PROGRAMS Workshops/Classes at School Student Matinees Program Evaluation Tools Internships Workshops/Classes at Theatre Student Assessment Tools Residency In-School Programs Teen Classes Partnerships Student Study Guides Program Guides Summer Programs/Camps Access Program: Economically Disadvantaged Discussions Children's Classes Professional Development: In-Service Credit for Classroom Teachers Conservatory/Professional Training Programs Workshops/Classes at Community Center Professional Development: Classroom Teachers Professional Development: Artists Access Program: Mobility Long-Range Planning Process College/University Partnerships Adult Programs Adult Classes Teacher Guides Touring Shows: High School Professional Development: Theatre Education Staff Workshops/Classes at Others Touring Shows: Middle School Touring Shows: Community Access Program: Other Touring Shows: Elementary School Literacy Programs Access Program: Language Access Program: Cognitive Job Training Access Program: Autism Bilingual Programming Video Guides Student Reviewer/Critic Program Distance Learning: Social Media Service Learning Partner Distance Learning: Video Other Programs Distance Learning: Webinar Distance Learning: Other
39% 39% 38% 33% 33% 32% 30% 30% 28% 26% 24% 24% 20% 16% 11% 10% 8% 8% 7% 4% 4% 2%
62% 62% 62% 60% 58% 58% 58% 56% 51% 51% 49%
94% 90% 89% 89% 85% 85% 80% 80% 77% 76% 76% 74% 73% 72%
10
5-YEAR SNAPSHOT: EDUCATION PROGRAMMING TYPES The following charts reflect data related to the ten most offered types of education programs, as reported by the 50 Trend Theatres throughout the 5-year period. We note that access programs are not reflected below, despite being among the most offered programs, because the question regarding access programs was reframed in 2013 and has made trend analysis difficult. The percentage of theatres that reported offering the top ten types of programs was higher in 2014 than in 2010 in all categories, except for evaluation tools, which had the same number of theatres report offering them at the end of the period as at the beginning. The increase in the number of theatres offering assessment tools was the most substantial over the 5-year period, followed by the number offering student matinees, those offering internships and in-school residencies, those engaging in partnerships, those offering workshops at the theatre, those offering workshops at schools, those offering study guides, and those offering discussions. The figures below represent the percentages of those theatres that reported having each type of program in each year.
PERCENTAGE OF TREND THEATRES REPORTING EDUCATION PROGRAM TYPE – TOP FIVE PROGRAMS
50 48 Workshop at Schools
46
Evaluation Tools
44
Assessment Tools
42
Student Matinees
40
Workshop at Theatre
38 2010
2011
2012
2013
2014
PERCENTAGE OF TREND THEATRES REPORTING EDUCATION PROGRAM TYPE – NEXT FIVE PROGRAMS
45 43
Discussions
41
Internships
39
Residency in School
37
Study Guides
35
Partnerships
33 2010
2011
2012
2013
2014
11
AGE GROUPS SERVED BY EDUCATION PROGRAMS AVERAGE % OF AGE GROUPS SERVED BY 99 MEMBER THEATRES Participating theatres were asked to report the breakdown of programming serving each age group as follows: ages 0-4, ages 511, ages 12-18, ages 19-25, ages 26-40, ages 41-60, and ages over 60. For the 99 theatres that participated in TCG Education Survey 2014, the largest percentage of their programming (47%) was directed at children ages 12-18. That was also true for every budget group: Group 1, 4, and 6 theatres directed more than half of their programming toward the 12-18 age group; Group 2 theatres directed just under half; and Groups 3 and 4 directed 38% and 43% of their programming to that group, respectively. The 511 age group was the next most popular program recipient for the participants as a whole and for each budget group, with the exception of Group 2, for which the 19-25 age group was the second most served. Excluding Group 2, between 18% and 33% of theatres’ programming was directed towards ages 5-11.
Ages 41-60 5%
Ages over 60 5%
Ages 0-4 2%
Ages 26-40 7%
Ages 5-11 24%
Ages 19-25 10%
Ages 12-18 47%
PERCENTAGE OF AGE GROUPS SERVED BROKEN DOWN BY GROUP Ages 26-40 1%
Ages 41-60 3%
Ages 19-25 4%
Ages over 60 3%
Group 1 Ages 04 0% Ages 511 33%
Ages 12-18 59%
Ages over 60 7%
Ages 04 0%
Ages 26-40 6%
Ages 41-60 2%
Ages over 60 0%
Group 4 Ages 04 3% Ages 511 26%
Ages 41-60 7% Ages 26-40 7% Ages 19-25 6%
Group 2 Ages 511 8%
Ages 12-18 49%
Ages 19-25 26%
Ages 12-18 56%
Ages 26-40 2% Ages 19-25 8%
Ages 41-60 4%
Ages over 60 7%
Ages 04 2%
Group 5 Ages 511 28%
Ages 41-60 5%
Ages over 60 5%
Ages 04 3%
Ages 26-40 10%
Group 3 Ages 511 28%
Ages 19-25 11% Ages 12-18 38%
Ages Ages 41-60 over 60 5% 6% Ages 26-40 7%
Ages 04 3%
Group 6 Ages 511 18%
Ages 19-25 9%
Ages 12-18 52%
Ages 12-18 43%
12
SCHOOL LEVELS AND NUMBER OF STUDENTS SERVED Theatres were asked what percentage of education programs targeted participants’ school levels and life stage. The responses were fairly consistent with the responses reported for the correlating age groups. On average for all participants, 33% of programming targets the high school level, 21% targets the elementary school level, 19% targets the middle school level, 12% targets adults, 6% targets the college level, 4% targets seniors, 3% targets pre-school/early Childhood level, and 2% serves home schoolers (not shown in tables). All 99 theatres reported serving students, defined as kindergarten through twelfth grade. The aggregate number of students served by all participating theatres was 2,959,641. On average, larger budget theatres serve more students, with Group 6 theatres serving the largest number. TOTAL NUMBER OF STUDENTS SERVED (K-12) All Groups
Group 6
Group 5
Group 4
Group 3
Group 2
Group 1
# of Resp
(99)
(30)
(19)
(9)
(31)
(5)
(5)
Average
25,189
54,171
16,680
10,132
12,939
4,435
7,436
Min - Max
35 - 849,500
100 - 849,500
1,559 - 65,000
1,324 - 50,400
35 - 74,513
573 - 9,000
50 - 29,132
All PARTICIPANTS SERVED BY EDUCATION PROGRAMS All Groups
Group 6
Group 5
Group 4
Group 3
Group 2
Group 1
# of Resp
(99)
(30)
(19)
(9)
(31)
(5)
(5)
Average
29,895
62,144
23,881
13,140
14,742
5,129
8,133
Min - Max
100 - 107,904
100 - 107,904
2,511 - 65,600
1,344 - 50,614
100 - 76,155
1,476 - 10,000
100 - 29,132
5-YEAR SNAPSHOT: STUDENTS SERVED AVERAGE STUDENTS (K-GRADUATE) SERVED BY TREND THEATRES The average number of students, kindergarten through graduate level, served by the 50 Trend Theatres’ education programs increased by 55% between 2013 and 2014. It’s important to note that this question was moved to a different section of the survey in 2014, and there was the addition of a companion question that asked about the total number of people served by education programs. This new context could explain the sharp increase in the number of Kgraduate students reported to be served.
36,246
36,000 34,000 32,000 30,000 28,000 26,000 24,000 22,000
30,529 28,366 24,867 23,381
As noted in last year’s Special Report on Education 2013, the 2010 2011 2012 2013 2014 Common Core State Standards (CCSS) was largely implemented in classrooms nationally in 2010. Anecdotally it Average Number of K-Graduate Students Served has been discussed by education directors within TCG’s membership that an increased emphasis on testing in two core academic subjects (English Language Arts and Mathematics) made finding time in the school day for theatre education programs more difficult. To read more about how theatre education directors are aligning with the CCSS, see TCG Special Report on Education 2012 (http://www.tcg.org/tools/other/EducationReports.cfm).
13
STUDENT MATINEE TICKET PRICES In this section, we look at student matinee attendance and ticket prices. Group 4 had the highest average number of students that attended student matinees, while Group 6 had the highest average number of additional student-priced tickets sold through the box office. 61% of participating theatres reported offering free student matinee tickets to students and their schools (not shown in tables). 86% of theatres reported offering a student matinee program with an average number of 43 matinee performances for the year (not shown in tables). TOTAL NUMBER OF STUDENTS THAT ATTENDED STUDENT MATINEEES All Groups
Group 6
Group 5
Group 4
Group 3
Group 2
Group 1
# of Resp
(86)
(30)
(19)
(7)
(24)
(3)
(3)
Average
11,841
11,711
13,209
21,035
9,923
1,062
9,152
Min - Max
118 - 130,765
500 - 48,195
540 - 40,829
498 - 130,765
355 - 67,229
118 - 1,600
323 - 23,950
TOTAL NUMBER OF ADDITIONAL STUDENT PRICED TICKETS SOLD THROUGH BOX OFFICE All Groups
Group 6
Group 5
Group 4
Group 3
Group 2
Group 1
# of Resp
(73)
(23)
(16)
(6)
(23)
(3)
(2)
Average
5,069
11,167
3,817
2,302
1,375
488
2,609
Min - Max
36 - 89,820
300 - 89,820
96 - 15,882
203 - 4,500
100 - 4,207
125 - 1,200
36 - 5,182
STUDENT MATINEE TICKET PRICES All Groups
Group 6
Group 5
Group 4
Group 3
Group 2
Group 1
# of Resp
(78)
(24)
(18)
(8)
(22)
(3)
(3)
Average
$12.00
$13.00
$12.00
$13.00
$11.00
$12.00
$6.00
Min - Max
$1 - $25
$4 - $25
$5 - $23
$9 - $20
$5.50 - $25
$10 - $15
$1 - $8
5-YEAR SNAPSHOT: STUDENT MATINEE PRICING AVERAGE TREND THEATRE STUDENT MATINEE TICKET PRICES This chart shows the change in average student matinee ticket prices over the 5-year period, as reported by the 50 Trend Theatres.
$12.00 $11.00 $10.00
$10.94 $10.02
$9.00
$10.29
$10.55 $10.66
$8.00 2010
2011
2012
2013
2014
Average Matinee Prices
14
EDUCATION FUNDING This section looks at ways in which education programming is funded. The chart below presents the percentage of education programming that was paid for by grants or the theatre versus the percentage of programming that was paid for by schools or participants. HOW EDUCATION PROGRAMMING IS SUPPORTED
Group 6
36%
64%
Group 5
49%
51%
Group 4
34%
66%
Group 3
43%
57%
Group 2
22%
78%
Group 1
48%
52% 0%
20%
40%
Paid by grants/theatre
60%
80%
100%
Paid by schools/participants
As shown in the chart below, 22% of all theatres received funding from the National Endowment for the Arts through an Art Works: Arts Education grant. PERCENTAGE OF THEATRES AWARDED AN ARTS WORKS: ARTS EDUCATION GRANT
35%
32%
30% 25%
27% 22%
22%
20%
19%
15% 10% 5% 0%
All
Group 6
Group 5
Group 4
Group 3
0%
0%
Group 2
Group 1
Another potential source of funding is the U.S. Department of Education, which supports arts education programming through its competitive Model Development and Dissemination Program. Of the 99 participants, 2 theatres reported receiving this funding—1 in Group 3 and 1 in Group 5. One of these theatres received a Model Development and Dissemination grant, and the other received this funding in partnership with the John F. Kennedy Center for the Performing Arts. Survey participants were also asked if they have an education endowment. Eighteen of the 99 theatres reported having an endowment relating specifically to their education activity: 1 theatre in Group 2, 7 theatres in Group 3, 4 theatres in Group 5, and 6 theatres in Group 6. No education-related endowments were reported in Groups 1 or 4. More information about funding for education programs can be found in the next section of the report, which presents education-related data from TCG Fiscal Survey 2014.
15
TCG FISCAL SURVEY 2014 To complement the findings from TCG Education Survey 2014, we now present education-related data from TCG Fiscal Survey 2014. First conducted in the mid-1970s, the annual TCG Fiscal Survey captures comprehensive data from TCG Member Theatres related to their finances, attendance, and ticket sales. The information gathered in this survey serves as the basis for Theatre Facts, TCG’s in-depth annual report on the state of the U.S. professional not-for-profit theatre field. Theatre Facts presents data through three lenses: A general overview of the estimated universe of professional not-for-profit theatres in the U.S.; a longitudinal analysis of the TCG Member Theatres that participated in each of the last five surveys; and a detailed examination of all of the participants in the current survey, with data broken down by budget group. Participants in the TCG Fiscal Survey also gain exclusive access to extensive online reporting tools and data. To read Theatre Facts 2014, visit http://www.tcg.org/tools/facts/. For more information about the TCG Fiscal Survey, visit http://www.tcg.org/tools/fiscal/. Throughout the report that follows, we present education-related data for the 177 TCG Member Theatres that participated in TCG Fiscal Survey 2014, broken into six budget groups, based on annual expenses. Percentages may not total 100% due to rounding. TCG FISCAL SURVEY 2014 PARTICIPANTS (177 Theatres) Budget Group
Budget Group Expense Range
# of Theatres
Average Expenses
6
$10 million or more
32
$20,307,915
5
$5 million - $9,999,999
37
$7,202,629
4
$3 million - $4,999,999
15
$3,794,519
3
$1 million - $2,999,999
57
$1,926,042
2
$500,000 - $999,999
21
$798,197
1
$499,999 or less
15
$302,991
OVERVIEW OF EDUCATION/OUTREACH PROGRAMS In aggregate, theatres offered 1,189 education and outreach programs that served 2.7 million people around the country. Education activity generated nearly $53.3 million in total income. Of the 177 theatres that participated in TCG Fiscal Survey 2014, 154 reported Education/Outreach Programs activity. On average, those theatres offered 8 types of programs that served 17,501 people:
RANGE (min - max) # of Resp
# Programs (types) # Served
All
Group 6
Group 5
Group 4
Group 3
Group 2
Group 1
(154)
(31)
(36)
(13)
(51)
(13)
(10)
1 - 50
1 - 41
2 - 28
1 - 22
1 - 50
1 - 11
1–4
9 – 158,167
184 – 126,994
546 – 155,400
160 – 52,000
24 – 158,167
9 – 32,140
13 – 4,322 16
EARNED INCOME FROM EDUCATION/OUTREACH PROGRAMS 133 of the 177 TCG Fiscal Survey 2014 participants (75%) reported earned income from Education/Outreach Programs. In aggregate, education/outreach programs generated $35.2 million in earned income. We note that “earned income” represents contract and fee income related to classes, workshops, and other education/outreach programming; it does not include ticket income from student matinees or performances specifically geared towards young audiences, which is captured as part of other line items in the survey. Total earned income from Education/Outreach Programs reflects income from three categories of programs: Arts-In-Education/Youth Services Programs, Adult Access/Outreach Programs, and Training Programs. Of the 133 theatres: • 18 theatres (14%) reported income from all three categories of programs • 41 theatres (31%) reported income from both Arts-In-Education/Youth Services Programs and Training Programs • 2 theatres (2%) reported income from both adult Access/Outreach Programs and Training Programs • 5 theatres (4%) reported income from Arts-In-Education/Youth Services Programs and Adult Access/Outreach Programs • 39 theatres (29%) reported income solely from Arts-In-Education/Youth Services Programs • 3 theatres (2%) reported income solely from Adult Access/Outreach Programs • 25 theatres (19%) reported income solely from Training Programs The 133 theatres generated an average of $264,893 in earned income from their Education/Outreach programs. In the table below, we present the average income for all theatres and for each budget group, as well as the percentage of that income that came from each of the three categories of education/outreach programs. Figures were calculated based on only those theatres that reported earned income from Education/Outreach programs. On average, half or more of Group 2 and 1 theatres’ total earned Education/Outreach income came from Arts-in-Education/Youth Services Programs, while half or more of the total earned Education/Outreach income for the remaining budget groups—and for the 133 theatres overall—came from Training Programs. EARNED INCOME FROM EDUCATION/OUTREACH PROGRAMS All
Group 6
Group 5
Group 4
Group 3
Group 2
Group 1
# of Resp Min Max
(133) $150 $3,931,489
(27) $150 $2,173,118
(34) $10,383 $3,931,489
(11) $4,174 $2,113,019
(42) $1,400 $542,153
(12) $1,150 $90,042
(7) $1,091 $32,953
Average Earned Income
$264,893
$496,271
$407,730
$279,370
$105,798
$31,959
$9,791
35.7%
37.6%
35.1%
21.4%
40.0%
50.0%
53.8%
1.0%
1.2%
0.9%
0.5%
1.3%
2.6%
7.2%
63.3%
61.3%
64.0%
78.1%
58.6%
47.4%
39.0%
% from Arts-In- Education/Youth Services Programs % from Adult Access Programs % from Training Programs
UNRESTRICTED CONTRIBUTED INCOME RELATED TO EDUCATION/OUTREACH PROGRAMS 105 of the 177 TCG Fiscal Survey 2014 participants (59%) reported that some portion of their unrestricted contributed income was earmarked for education programs. In aggregate, those theatres reported $18.1 million in earmarked contributions. We note that unrestricted contributed income includes unrestricted donations/grants for operating and non-operating purposes as well as net assets released from temporary restrictions—i.e., assets that were released into the unrestricted fund during the fiscal year by the satisfaction of time or purpose restrictions. Money that was awarded/donated to theatres in the fiscal year being surveyed that was restricted for use until a future fiscal year is not reflected in these figures. Not all theatres receive support from every type of funder/contributor. In the table that follows, we show the number of theatres that received unrestricted contributed income from each source and, to the right of that number, what percentage of those theatres that received funding indicated that some of that funding was earmarked for education programs. For example, of the 177 participants, 101 received unrestricted contributed income from the federal government, and 17.8% of those 101 theatres reported that a portion of that money was earmarked for education programs.
17
# OF THEATRES REPORTING UNRESTRICTED CONTRIBUTED INCOME FROM EACH SOURCE AND THE PERCENTAGE OF THOSE THEATRES THAT REPORTED A PORTION EARMARKED FOR EDUCATION PROGRAMS All Group 6 Group 5 Group 4 Group 3 Group 2 Total # of Part
(177)
(32)
(37)
(15)
(57)
Group 1
(21)
(15)
Federal
101
17.8%
27
22.2%
25
28.0%
6
16.7%
26
15.4%
10
0.0%
7
0.0%
State
142
20.4%
23
34.8%
34
20.6%
13
15.4%
49
18.4%
16
18.8%
7
0.0%
City/County
135
24.4%
24
37.5%
29
27.6%
14
14.3%
43
23.3%
13
15.4%
12
16.7%
Corporations
166
45.2%
32
75.0%
36
55.6%
15
40.0%
53
34.0%
19
31.6%
11
9.1%
Foundations
174
49.4%
32
71.9%
37
59.5%
15
53.3%
57
40.4%
20
35.0%
13
23.1%
Trustees and Other Individuals
177
32.2%
32
50.0%
37
40.5%
15
40.0%
57
28.1%
21
14.3%
15
6.7%
Total
177
59.3%
32
75.0%
37
70.3%
15
66.7%
57
56.1%
21
42.9%
15
26.7%
For the 105 theatres that reported unrestricted contributed income earmarked for education programs, the average amount was $172,329, which represented 5.5% of their total unrestricted contributed income. In the two tables that follow, we present the average amount of unrestricted contributed income earmarked for education programs that theatres received, in dollar amounts and as a percentage of the total unrestricted contributed income that they received. Please note that all figures were calculated based only on those theatres that reported unrestricted contributed income earmarked for education programs. For example, 18 of the 177 TCG Fiscal Survey participants reported unrestricted contributed income from the federal government that was earmarked for education programs. For those 18 theatres, the average amount earmarked for education programs was $40,267, which represented 52.3% of the total unrestricted contributed income that those theatres received from the federal government.
UNRESTRICTED CONTRIBUTED INCOME EARMARKED FOR EDUCATION PROGRAMS All
Group 6
Group 5
Group 4
Group 3
Group 2
Group 1
# of Resp
(18)
(6)
(7)
(1)
(4)
(0)
(0)
Federal Government
Average
$40,267
$42,384
$41,133
$42,583
$35,000
—
—
Min Max
$10,000 $137,929
$20,000 $90,302
$20,000 $137,929
$42,583 $42,583
$10,000 $80,000
— —
— —
# of Resp
(29)
(8)
(7)
(2)
(9)
(3)
(0)
State Government
Average
$22,508
$29,018
$9,619
$10,921
$28,714
$24,324
—
Min Max
$700 $170,056
$3,000 $84,845
$700 $15,400
$7,300 $14,541
$1,500 $170,056
$3,500 $52,473
— —
# of Resp
(33)
(9)
(8)
(2)
(10)
(2)
(2)
Average
$21,827
$38,272
$13,900
$14,615
$17,287
$26,869
$4,400
Min Max
$1,000 $97,769
$2,000 $97,769
$3,000 $33,930
$1,000 $28,229
$1,200 $43,487
$16,737 $37,000
$3,000 $5,800
City/County Government
Corporations
Foundations
# of Resp
(75)
(24)
(20)
(6)
(18)
(6)
(1)
Average
$73,750
$148,098
$60,818
$44,404
$25,433
$5,558
$3,000
Min Max
$2,000 $418,064
$16,000 $418,064
$5,000 $158,584
$23,912 $90,000
$2,000 $92,100
$2,000 $15,000
$3,000 $3,000
# of Resp
(86)
(23)
(22)
(8)
(23)
(7)
(3)
Average
$92,464
$172,511
$83,255
$58,392
$57,277
$44,643
$18,500
Min Max
$1,500 $421,750
$14,450 $421,750
$16,000 $188,726
$2,738 $90,000
$6,000 $185,971
$1,500 $147,500
$4,000 $39,500
# of Resp
(57)
(16)
(15)
(6)
(16)
(3)
(1)
Trustees and Other Individuals
Average
$41,549
$93,386
$29,997
$32,757
$13,412
$4,245
$310
Min Max
$310 $402,500
$7,960 $402,500
$500 $83,025
$2,725 $100,000
$525 $33,000
$762 $6,673
$310 $310
Total Unrestricted Contributed Income Earmarked for Education Programs
# of Resp
(105)
(24)
(26)
(10)
(32)
(9)
(4)
Average
$172,329
$410,298
$152,477
$102,376
$84,134
$53,922
$20,417
Min Max
$762 $1,094,370
$137,367 $1,094,370
$25,000 $346,509
$4,100 $194,000
$1,920 $522,243
$762 $211,500
$3,000 $53,558 18
PORTION EARMARKED FOR EDUCATION PROGRAMS AS A PERCENTAGE OF TOTAL UNRESTRICTED CONTRIBUTED INCOME FROM THE SOURCE All
Group 6
Group 5
Group 4
Group 3
Group 2
Group 1
# of Resp
(18)
(6)
(7)
(1)
(4)
(0)
(0)
Average
52.3%
32.6%
73.1%
100.0%
82.4%
—
—
Min Max
18.3% 100.0%
18.3% 100.0%
28.3% 100.0%
100.0% 100.0%
50.0% 100.0%
— —
— —
# of Resp
(29)
(8)
(7)
(2)
(9)
(3)
(0)
State Government
Average
29.9%
23.0%
18.5%
46.6%
39.5%
64.1%
—
Min Max
5.8% 100.0%
10.7% 100.0%
5.8% 39.0%
36.8% 100.0%
8.6% 71.0%
24.1% 72.6%
— —
# of Resp
(33)
(9)
(8)
(2)
(10)
(2)
(2)
City/County Government
Average
15.4%
10.7%
24.5%
9.0%
34.1%
42.0%
15.2%
Min Max
0.5% 100.0%
0.5% 100.0%
2.2% 100.0%
8.8% 100.0%
19.5% 100.0%
23.5% 65.2%
8.2% 27.3%
Federal Government
Corporations
Foundations
Trustees and Other Individuals Total Earmarked Contributions as a % of Total Unrestricted Contributed Income
# of Resp
(75)
(24)
(20)
(6)
(18)
(6)
(1)
Average
21.1%
20.2%
20.6%
27.5%
32.3%
11.5%
10.9%
Min Max
2.2% 100.0%
2.2% 70.3%
5.6% 76.9%
9.2% 80.2%
2.8% 100.0%
3.0% 50.4%
10.9% 10.9%
# of Resp
(86)
(23)
(22)
(8)
(23)
(7)
(3)
Average
16.1%
14.8%
15.9%
17.5%
19.3%
23.9%
24.1%
Min Max
1.6% 100.0%
1.6% 100.0%
2.6% 38.9%
6.0% 66.4%
3.3% 55.2%
1.9% 60.4%
20.2% 59.9%
# of Resp
(57)
(16)
(15)
(6)
(16)
(3)
(1)
Average
2.3%
2.3%
1.8%
2.9%
4.4%
4.3%
0.4%
Min Max
0.0% 17.8%
0.4% 9.9%
0.0% 17.8%
0.3% 5.9%
0.4% 16.8%
0.7% 6.8%
0.4% 0.4%
# of Resp
(105)
(24)
(26)
(10)
(32)
(9)
(4)
Average
5.5%
5.6%
4.3%
4.7%
8.3%
11.9%
8.3%
Min Max
0.2% 46.5%
1.6% 14.1%
0.9% 11.1%
0.3% 9.0%
0.2% 46.5%
0.3% 43.6%
1.3% 17.9%
TOTAL EDUCATION INCOME Of the 177 TCG Fiscal Survey 2014 participants, 145 (82%) received some kind of education-related income. The tables below present the average amounts that theatres received in combined earned and unrestricted contributed income as dollar amounts and as a percentage of their total unrestricted income. Again, all figures were calculated based only on those theatres that reported income related to education programs. It is important to note that many theatres conduct additional education programming for which they do not receive income.
TOTAL INCOME RELATED TO EDUCATION PROGRAMS (EARNED AND CONTRIBUTED) All
Group 6
Group 5
Group 4
Group 3
Group 2
Group 1
# of Resp
(145)
(30)
(36)
(13)
(45)
(12)
(9)
Average
$367,761
$774,883
$495,201
$315,141
$158,574
$72,400
$16,690
Min Max
$1,091 $4,073,177
$4,564 $2,374,348
$22,725 $4,073,177
$4,100 $2,113,019
$2,340 $542,153
$2,060 $289,034
$1,091 $53,558
TOTAL EDUCATION INCOME AS A PERCENTAGE OF TOTAL UNRESTRICTED INCOME (EARNED AND CONTRIBUTED) All
Group 6
Group 5
Group 4
Group 3
Group 2
# of Resp
(145)
(30)
(36)
(13)
(45)
(12)
Group 1 (9)
Average
5.0%
3.7%
6.6%
8.0%
8.2%
9.5%
4.8%
Min Max
0.0% 47.9%
0.0% 20.7%
0.3% 42.5%
0.1% 47.9%
0.2% 39.8%
0.4% 40.3%
0.3% 16.4% 19
TOTAL EDUCATION EXPENSES Of the 177 TCG Fiscal Survey 2014 participants, 151 (85%) reported expenses specifically related to education programs. In aggregate, those theatres spent $43.7 million, nearly 70% of which went towards salaries and benefits for education staff. It is important to note that some theatres that conduct education programs do not have designated education staff members, and that education activities often involve personnel beyond education staff, including other staff members, actors, and additional guest artists. In the table that follows, we present the average amounts that theatres spent on education payroll, education fringe benefits, and education non-payroll expenses, which could include non-salaried education personnel as well as supplies and materials. All figures were calculated based on only those theatres that reported education-related expenses.
EDUCATION EXPENSES
Education Payroll Education Fringe Benefits
All
Group 6
Group 5
Group 4
Group 3
Group 2
Group 1
# of Resp
(136)
(30)
(36)
(13)
(42)
(9)
(6)
Average
$187,934
$431,662
$218,290
$128,310
$65,610
$29,216
$10,685
Min Max
$1,584 $1,826,334
$22,916 $1,566,469
$8,463 $1,826,334
$4,200 $443,120
$2,258 $247,206
$3,222 $47,547
$1,584 $25,706
# of Resp
(132)
(30)
(36)
(13)
(40)
(9)
(4)
Average
$36,694
$89,019
$38,693
$23,163
$11,023
$3,339
$2,006
Min Max
$24 $289,496
$3,208 $281,964
$1,044 $289,496
$305 $89,319
$24 $39,311
$206 $7,345
$241 $5,741
# of Resp
(148)
(30)
(36)
(14)
(48)
(13)
(7)
Education Non-Payroll
Average
$89,597
$200,351
$98,680
$99,524
$43,784
$13,793
$3,298
Min Max
$26 $765,656
$6,599 $765,656
$7,924 $417,534
$4,188 $735,365
$26 $182,033
$246 $43,346
$131 $11,373
Total EducationRelated Expenses
# of Resp
(151)
(30)
(36)
(14)
(50)
(13)
(8)
Average
$289,159
$721,032
$355,663
$240,177
$105,963
$36,332
$11,902
Min Max
$131 $2,418,793
$62,247 $2,399,903
$32,541 $2,418,793
$4,188 $1,227,430
$2,773 $354,220
$2,619 $91,286
$131 $31,447
Finally, we present the average ratio of education expenses for education payroll and benefits versus education non-payroll expenses. Please note that these figures were calculated based on the total number of theatres that reported education expenses of some kind.
RATIO OF EXPENSES RELATED TO PAYROLL & BENEFITS VS. NON-PAYROLL EDUCATION EXPENSES
Education Payroll and Benefits Education NonPayroll Expenses
All
Group 6
Group 5
Group 4
Group 3
Group 2
Group 1
# of Resp
(151)
(30)
(36)
(14)
(50)
(13)
(8)
Average
69.6%
72.2%
72.3%
58.6%
60.3%
62.0%
75.8%
Average
30.4%
27.8%
27.7%
41.4%
39.7%
38.0%
24.2%
Please visit the Arts Education section of the TCG website at http://www.tcg.org/tools/education/ for more information about TCG’s education-related programming. For more information about the state of the U.S. professional not-for-profit theatre field in 2014, read Theatre Facts 2014, available free of charge on the TCG website at http://www.tcg.org/tools/facts/. For over 50 years, Theatre Communications Group (TCG), the national organization for the American theatre, has existed to strengthen, nurture, and promote the professional not-for-profit American theatre. Its programs serve nearly 700 member theatres and affiliate organizations and more than 12,000 individuals nationwide. As the U.S. Center of the International Theatre Institute, TCG connects its constituents to the global theatre community. In all of its endeavors, TCG seeks to increase the organizational efficiency of its member theatres; cultivate and celebrate the artistic talent and achievements of the field; and promote a larger public understanding of, and appreciation for, the theatre. TCG is a 501(c)(3) not-for-profit organization. Copyright © February, 2016—Theatre Communications Group 20
