INDEX

ABT (American Ballet Theatre), 106–115, 170

accounting, 61–65, 168

acting schools, graduate options, xi

actors, x

Angela’s story, 195–197

employment and compensation, 41

Actors’ Equity Association (AEA), 133

adaptability, 129–130

administrative duties, balancing, 154

advice, asking for, 202

agents, 191–194

aggressiveness, when asking for funds, 182

Allentown Symphony Orchestra, 128

American Ballet Theatre (ABT), 106–115, 170

American Conservatory Theater (San Francisco), 131

American Red Cross, 173

American Society of Composers, Authors, and Publishers (ASCAP), 23

analog media, 45

Anderson, Gillian, 191

Andrew W. Mellon Foundation, 124–125

annual reports, 70

Apple, 109

iPod, 47

artist, 138

artist-entrepreneurs, xv, 1, 120–155

artistic directors, as fundraisers, 176

artistic organizations, joint projects, 117

artistic venture, costs, 4

artists, revenues from recording, 51

arts

employees, 41–42

and government control, 23–24

significance of, xii

arts education, Gelb and, 91

ASCAP (American Society of Composers, Authors, and Publishers), 23

assertiveness, when asking for funds, 182

assets, 62

vs. liabilities, 68

attendance lists, and gift donors, 173

attitude, 193

audience

for ballet, 112

for classical music, x

creating, 54

relationship to, 95

auditions, xvi, 7, 185–191

being on time, 188–189

clothes for, 189

finding fun and enjoyment, 189–190

auditions (continued)

as fresh start, 191

as not personal, 186

relationships with others at, 190–191

taking seriously, 187–188

time off for, 6

authenticity, 10, 86–89, 201

Bach, Johann Sebastian, 14–16

backstage tour, for major donors, 176

Bain & Company, 105

balance sheet, 67

ballet, 57–58

ballet shoes, ABT and, 114

BAM (Brooklyn Academy of Music), 101

bankruptcy, 68

Baryshnikov, Mikhail, 107, 170

Beethoven, Ludwig van, 18–19

Berman, Brooke, 135

Bernstein, Leonard, 24

Bing, Sir Rudolf, 26

BMI, 22, 23

boards of directors, 34, 108

and fundraising, 159–161, 179–180

looking for potential, 182

bookkeeping, 61–65

Boston Ballet, 106

Boulez, Pierre, 150

branding, 55, 106–115

identity crisis and, 108–111

Brooklyn Academy of Music (BAM), 101

budgeting process, 142

burnout, 203

business, xii–xiii

for-profit vs not-for-profit, 4–5

business creativity, vs. performance, 199–200

business plan, 80–81, 84, 202

Caballé, Monserrat, 26

Cabral, Luis, 52

career

business side of, 44

planning, 128

unexpected path, 202–203

Carmina Burana (Orff), 66

Carnegie Hall, 96

cash flow, 67, 69

one-fifth policy, 142–143

castration, 15

cause-related marketing, 172

certification, of dance teachers, 113

change, 29, 59

Charity Navigator, 82

Chase, Claire, xv, 122–129

Cheung, Anthony, 150

choreographers, 148

employment and compensation, 41

Churchill, Caryl, Fen, 133–134

Clark, Dick, 53

classical music

audiences for, x

recordings available, 51

click farms, 53

cloud storage, 46–47

Coca-Cola, 109

commission, for fundraising, 158

community, 196

and performing arts, 42

community chorus, finances, 65–68

compact discs, 45

compensation, 40–42

competition, 3, 8

composers, 38–40

employment and compensation, 41

compression ratio, 45

conductor, 66

content organizations, 170

Conti, Petra, 57–58

Copeland, Misty, 115–116

copyright law, 22

and digital age, 48–50

Napster and, 47

core values, 28

corporate giving, 172

corporate giving, to local arts groups, 34–35

corporate sponsorships, 114–115

creativity, business vs. performance, 199–200

credit card, 142

crowdfunding, 163–166

Cullman, Trip, The Liddy Plays, 135

dance

classes, 146

spaces for, 145

Dance Magazine, 149

dancers, x

auditions, 187

employment and compensation, 41

Davies Symphony Hall (San Francisco), 34, 72

day job, retaining, 6–7

defined-benefit plans, 75

delivery, 55

depreciation, 64, 72–73

Detour Days, 134–136

digital age

climbing to the top, 52–53

and copyright law, 48–50

digital media, xiv, 45

copying and distributing recordings, 46

keynotes, 58–60

digital revolution, 45–60

direct mail fundraising, 173

directors, employment and compensation, 41

discretionary demand, 32

Dolbashian, Gregory, 145–149

donations, 5

donor pledges, 72

Duchovny, David, 191

education, in dance, 112–114

Eisenhower, Dwight D., 110–111

Emerson, Ralph Waldo, 53–55

employee retirement benefits, 75–76

employment, 40–42

end-of-the-year bonus, 143

endowment, 73, 178–179

Ensemble Modern, 123

entrepreneurial workshop, 84

entrepreneurship, 1–2

events and galas, for fundraising, 168–169

experimentation, 1

ExxonMobil, 172

Fabulous & Fighting, 6–7

Facebook, 53

failures, sharing with funders, 159

fair use doctrine, 49

Fall for Dance, 103

feedback, web presence and, 59

Fifth Symphony (Shostakovich), 24

finances

challenges, 124

of community chorus, 65–68

for performing arts in digital age, 50–52

financial distress, 68–69

financial goals, past records for, 141

financial statements, 43

footnotes, 84

reading and understanding, 61–84

financing, 141–143

fiscal years, 62

Flores, Dustin, 186

for-profit corporations, 32

Foundation Center, 82, 161

foundations, 161–162, 171–172, 183–184

Fox, John, 166

free events, 117

Freed, Alan, 53

friendraising, 166–167

fundraising, 95, 156–184

boards of directors and, 159–161, 179–180

challenge, 180–181

events and galas, 168–169

foundations, 161

friendraising, 166–167

individual giving, 173–174

major donors, 174–177

planned giving and endowments, 178–179

sources, 171–172

galas, for fundraising, 168–169

Gallim Dance, 97, 100, 104

Gelb, Peter, 35, 85, 86–94

Gershvin, Jacob, 22

Gershwin, George, 22–23

Gershwine, Jacob, see Gershvin, Jacob

Gibney, Gina, 149

Gibney Dance, 147

Gibson, Warren, xii

Gillinson, Clive, 1, 85, 94–97

goals

indirect path to, 8

setting clear, 140

vs. visions, 127–128

Goethe, Johann Wolfgang von, 61

goodwill, 62

government funding to the arts, 38

grant proposal, 75, 80

gross income, 63

gross revenue, 168–169

Grossman, Alan, 97

growth, planned, 97

GuideStar, 82, 161

Halo, Laurel, 59

Harvard University, endowment, 73

Haydn, Joseph, 17

head shot, 193

casting director’s notes on, 189

Heinrich, Bethany, 6–7

help, asking for, 201

Hennessy, Moët, 172

Herbert, Christopher Dylan, 138–144

Heschel, Abraham Joshua, 7

Hodges, Meredith “Max,” xv, 85, 97–106

hourly wages, 40–42

House of Ricordi (Casa Ricordi), 20

human capital, 40–41

ICElab, 125–127

illiquidity, 68

image, 30

impresario, 19

income

multiple sources of, 28

need for, x

individual giving, 173–174

insolvency, 68, 79

intangible assets, 62

Internal Revenue Service Form 990, 70

International Contemporary Ensemble (ICE), 122–129

Internet, 200

internship, 43

investor, 5

iTunes, 47, 48

Jobs, Steve, 47

Joseph II, 17

Juilliard, 132

Kappelmeister, Bach as, 15

Kaufmann, Jonas, 92

Kellogg, Clara Louise, 20

Kentridge, William, 93

Kerger, Paula, 169

keynotes, xvii, 27–30, 42–44

on artist-entrepreneurs, 152–155

artistic organization projects, 117–119

on auditions, 197–198

digital media, 58–60

on financial statements, 81–84

on fundraising, 181–184

questions to ask yourself, 11

Khrushchev, Nikita, 110

Kickstarter, 163–166

kindness, 7, 12

Koch Theater, 109

Konzertmeister, Bach as, 15

Lady Macbeth of the Mtsensk District (Shostakovich), 24

Landon, Loni, 145–149

lawyers, 161

Leading with Kindness (Baker and O’Malley), 7

Leatherwood, Evan, xii

leotards, 114

Lewis, Michael, Liar’s Poker, 107

liabilities, 62, 63

vs. assets, 68

Liar’s Poker (Lewis), 107

Lipowski, Alex, 2, 149–152

liquidity, 69

list brokers, 173

live concerts, 51

lobbyist, for American Ballet Theatre, 111

Long, Timothy, 144

Lynn, Larry, 169, 170–171

MacArthur Foundation, “genius” grant, 127

The Magic Flute (Mozart), 17–18

magnetic tape, 45

Major Bowes’ Amateur Hour, 25

Marek, George, 17

market research, 55

marketing, 53–55

cause-related, 172

McShane, Joseph, xi

Merelli, Bartolomeo, 19

Metropolitan Opera, 86, 171

finances, 87

Live in HD, 89–90

Sirius XM radio channel, 91

theatricality of productions, 91–92

Miami Marathon event, 101–102

Miller, Andrea, 103

Minghella, Anthony, 92

minority communities, and ballet, 115–116

Missa Solemnis, 18

mission creep, avoiding, 122

mission fulfillment, in Opportunity Framework, 98

mission statement, 33

Moore, Rachel S., 85, 106–116

Mostly Mozart Festival, 127

Movado, 172

Mozart, Wolfgang Amadeus, 16–18

museum café, 102

music, digitization of, xiv

Music Center in Los Angeles, 116

music directors, employment and compensation, 41

Musical Connections, 96

musical instruction, 94, 96

free resources, 94

musical theater, 42

musicians, x

employment and compensation, 41

servants as, 19

Nabucco, 20

Napster, 46–47

National Endowment for the Arts, 38, 107–108

net income, 63

net revenue, 168–169

net worth, 62, 64, 83

networking, 8, 9, 12–13, 166, 202

New York City Ballet (NYCB), 109

New York City Opera (NYCO), 25, 27

New York Museum of Modern Art (MoMA), 93

New York Polyphony (NYP), 138–144, 193

New York Theatre Workshop, 137

niche

filling, 147–149

finding, 145–147, 202

questions for finding, 153

“no jerks” policy, 190

Nordica, Giglia, 20–21, 30

Norton, Lillian, 20–21, 30

not-for-profit organizations, 32

finances, 36–37

fundraising responsibilities, 158

profits, 69

required reports, 82

Nugent, Bärli, 155

NYCB (New York City Ballet), 109

NYP (New York Polyphony), 138–144, 193

Oberto, 19

Off-Broadway, 133

vs. Off-Off Broadway, 135–136

O’Malley, Michael, Leading with Kindness, 7

Onstage America, Kickstarter, 166

open rehearsals, 174

open-minded approach to career, vs. single-minded, 129

opera, average seasonal attendance, 88

opera management, 26–27

Opportunity Framework, 97–103

impact on Gallim, 103–105

orchestra, 42

Orff, Carl, Carmina Burana, 66

organization, increasing impact, 95–96

outsourcing, 99

Pandora, 48

partnerships, for communicating, 164

Payless, 114

payola, 53

PBS, 172

peer connection, and major donor, 175

performance creativity, vs. business, 199–200

performances

booking, 154–155

grant applications for, 162

time off for, 6

performing artists

biographies, 29

and donors, 178–179

skills for careers, ix–x

performing arts

economics of, x

employment and compensation, 40–42

in Europe, 153

finances in digital age, 50–52

industry, 31–32

industry data, 36–38

not-for-profit and for-profit organizations, 32–36

question of why, 2

revenues, 37

shift from aristocratic toward commercial support, 16–18

personal finances, 62–65

Phillips, Craig, 140, 143

planned growth, 97

Plato, 204

The Playground, 145–149

Poeta, Paula, 186

Polisi, Joseph, xi

Potozkin, Amy, 132

Potter, Dennis, Blue Remembered Hills, 135

prepaid expense, 72

presenting organizations, 170

private funding to the arts, 38

producers, employment and compensation, 41

professional fundraiser, 158

profitability, in Opportunity Framework, 98

Project Plié, 116

promoting yourself, working at, 200

prospect research, in fundraising, 157

Public Radio Exchange, 164

publication royalties, 18

quality, 54

Ranieri, Lewis, 107

Rattlestick Playwrights Theater, 137

Recording Industry Association of America, 47

rehearsals, time off for, 6

relationships, 203

religious institutions, 29

reputation, 190

responsibility, distribution of, 140–141, 154

ripping music files, 46

Rising Phoenix Repertory, 129–138

risks, 122

Romitelli, Fausto, 150

St. Michael’s School, Bach scholarship, 15

salaries, 35, 40–42

Salieri, Antonio, 17

sampling rate, 45

San Francisco Symphony, 33, 55–57

balance sheet, 71

endowment, 73

management personnel, 75

prosperity of, 70–77

statement of expenses, 76

statement of income, 73–74

San Jose Repertory Theatre

Chapter 7 bankruptcy, 77–79

financials for 2011, 78

Schikaneder, Emmanuel, 17, 18

scope of project, crowdfunding and, 165

Securities and Exchange Commission, 70

self-management model, for small groups of performers, 139

service organizations, 170–171

Seventh Symphony (Shostakovich), 24

Sexton, Michael, 135

Shakespeare, William, 10

Shapiro, Andrew, 200

shareholders, of for-profit corporations, 33

sheet music business, 22

Shostakovich, Dimitri, 23–24, 51–52

Sills, Beverly, 24–27, 30, 88–89

Silverman, Belle, 25

Sing Sing (New York State), musical instruction, 96

single-minded approach to career, vs. openminded, 129

singspiel, 17

Sirius XM radio channel, 91

small ensembles, balance in, 138–139

Smith, Adam, The Wealth of Nations, 33

Snug Harbor Productions, 137

social media, 59

Socrates, 109

solid-state storage formats, 46

solvency, 122

sound recordings, 23

Soviet system, 23–24

sponsor, 67

Spotify, 48

Stalin, Joseph, 24

strategic thinking, need for evaluating, 3–4

strategic vision, 123–124

studio space, productive use of, 102

subscribers, donations, 37

superstitions, 134

T-account, 64

tactical challenges, of ICE, 124–125

tagline, 111, 119

Talbott, Daniel, 129–138

finances, 131

Talea Ensemble, 2, 149–152

Professor Bad Trip, 150–152

talking pictures, 23

tax-exempt 501(c)(3) charity, 5

tenacity, 149–150

Texaco, 172

Theater auf der Wieden (Vienna), 17

Thomas, Michael Tilson, 56–57, 75

Time, 26

time constraint, for dancing, 146

time frame, for crowdfunding, 165

Tommasini, Anthony, 27

Top 40 Radio, 52–53

total assets, 73

total liabilities, 73

touring, 101, 111–112, 139

two-week limit, 144

transactional funding, 172

Tru Optik, 49

TUNDRA, 127

Ulanova, Galina, 55, 57–58

U.S. State Department, ABT and, 112

U.S. Census Bureau, 36

Va pensiero, 20

Verdi, Giuseppe, 19–20

Victrola records, 23

vinyl records, 45

vision

achieving, 127–129

writing, 153

Volpe, Joseph, 87

The Wealth of Nations (Smith), 33

wealth screening services, 174

WeatherVane Productions, 137

Williams, Geoffrey, 140, 143

Wilson, Steven Caldicott, 142

Wittry, Diane, 7, 128, 186

work and life, balancing, 143–144

work portfolio, 193

YouTube Symphony Orchestra, 57

Ziff, Ann, 93

Zimmerman, Mary, 92