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Boston Lyric Opera Company

 11 Avenue de Lafayette
 Boston, MA 02111
[P] (617) 542-4912
[F] (617) 542-4913
www.blo.org
[email protected]
Cathy Emmons
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INCORPORATED: 1976
 Printable Profile (Summary / Full)
EIN 04-2469627

LAST UPDATED: 10/25/2017
Organization DBA BLO
Former Names --
Organization received a competitive grant from the Boston Foundation in the past five years No

Summary

Mission StatementMORE »

The mission of Boston Lyric Opera is to build curiosity, enthusiasm,  and support for opera, by creating musically and theatrically compelling productions, events, and educational resources for our community and beyond.  We produce opera in all forms, large to small, popular to less known, from early music to newly commissioned works.

Mission Statement

The mission of Boston Lyric Opera is to build curiosity, enthusiasm,  and support for opera, by creating musically and theatrically compelling productions, events, and educational resources for our community and beyond.  We produce opera in all forms, large to small, popular to less known, from early music to newly commissioned works.

FinancialsMORE »

Fiscal Year July 01, 2017 to June 30, 2018
Projected Income $8,455,300.00
Projected Expense $8,355,300.00

ProgramsMORE »

  • Community Engagement Programs
  • Productions

Revenue vs. Expense ($000s)

Expense Breakdown 2016 (%)

Expense Breakdown 2015 (%)

Expense Breakdown 2014 (%)

For more details regarding the organization's financial information, select the financial tab and review available comments.


Overview

Mission Statement

The mission of Boston Lyric Opera is to build curiosity, enthusiasm,  and support for opera, by creating musically and theatrically compelling productions, events, and educational resources for our community and beyond.  We produce opera in all forms, large to small, popular to less known, from early music to newly commissioned works.

Background Statement

Boston Lyric Opera is New England’s leading fully-professional opera company, reaching close to 35,000 people of all ages annually. Recent productions have been acclaimed by critics and audiences alike. Of last year’s The Marriage of Figaro, the Boston Globe wrote “A cast of singers so marvelous that one would be lucky to hear them do Figaro anywhere they offered it.”  Opera Annex productions provide a pathway to opera for new audiences. The New York Times heralded Opera Annex, saying “Enthralling…strong work is being done here.” In the 40th Anniversary Season, each of the four operas was presented in a different iconic Boston space: Carmen brought opera back to the Boston Opera House for the first time in two decades; Greek followed, at the Emerson/Paramount Center; The Rake’s Progress captivated audiences at the Cutler Majestic Theatre; and, The Marriage of Figaro played to sold-out houses at John Hancock Hall. BLO also serves another 10,000 to 15,000 community members with free programs that include classes, lectures, and performances. BLO productions and programs put the Company at the center of a network of organizations that help to make Boston a vibrant place to live and work. BLO creates hundreds of work opportunities every Season – for singers from stars to the chorus, for the artists in the orchestra, and for members of the stage crew – in the theatre, as well as career development for Emerging Artists and full-time employment for a staff of 27. From nationally-renowned companies such as American Repertory Theater and the Boston Symphony Orchestra, to local businesses such as Somerville’s Costume Works, BLO has become an active partner in the area’s creative economy. Program partnerships with youth-serving organizations, like the Boston Public Schools, to Artists for Humanity and Wheelock Family Theatre, help to ensure the future of opera.


Impact Statement

2016/17 marked BLO’s 40th Anniversary Season, presenting four operas – Carmen; Greek; The Rake’s Progress ; and, The Marriage of Figaro – in a different iconic Boston space. In honor of our 40-year milestone, a number of special programs gave us the opportunity to share our art form with the community. First among these was 40 Days of Opera. From August 23 – October 2, 2016, the company kicked off the season with a community-wide celebration of the art form, titled 40 Days of Opera.  Featuring opera-themed events and activities across the city – from performances to film screenings, lectures, walking tours, parties, online articles, one-of-a-kind videos and more – the initiative culminated in the launch of Boston Opera Calendar, an online listing of opera performances in the greater Boston area curated by the Boston Opera Alliance, a community-driven consortium of Boston-area opera organizations and producers which BLO is hosting in its inaugural year. Another highlight of the 40th anniversary celebrations was the special performance by the stars of Carmen at English High School in Jamaica Plain. BLO had the chance to perform an hour-long concert version of Carmen for an audience of 250 BPS high school students, followed by an open conversation with the artists. Most recently, BLO has helped to put Boston at the forefront of the opera world with the announcement in January 2017 of BLO New Works, a commitment to commissioning which will bring World Premieres operas to the City in each of the next two years. In 2017, BLO will produce The Immoral, Nefarious but Highly Profitable Enterprise of Mr. Burke & Mr. Hare by Julian Grant and Mark Campbell, and in 2018, BLO’s commission of a new opera by Cambridge-based Tod Machover, Schoenberg in Hollywood, will have its World Premiere.

BLO serves up to 15,000 community members with free programs that include classes, lectures, and performances. BLO productions and programs put the Company at the center of a network of organizations that help to make Boston a vibrant place to live and work. BLO creates hundreds of work opportunities every Season – for singers from stars to the chorus, for the artists in the orchestra, and for members of the stage crew – in the theatre, as well as career development for Emerging Artists and full-time employment for a team of 27 professionals. From nationally-renowned companies such as American Repertory Theater and the Boston Symphony Orchestra, to local businesses such as Somerville’s Costume Works, BLO has become an active partner in the area’s creative economy. Program partnerships with youth-serving organizations, like the Boston Public Schools and Artists for Humanity, help to ensure the future of opera.



Needs Statement

Capitalization: To ensure sustainability of the Company, BLO needs to raise endowment funds that will support the high standard of programming achieved over the past eight years and that will help to expand the artistic vision.

Artistic Planning. BLO needs funds to devote to the planning of upcoming seasons, enabling BLO to plan new productions, larger works, and commissions, continuing the momentum of the past few Seasons.

Support for Administrative Infrastructure. BLO is actively working to build the administrative infrastructure that will support an opera company for 21st century Boston, capable of reaching out to and serving the needs of diverse audiences. To achieve this goal, BLO needs assistance to invest in employee salaries, and build capacity to enable effective fundraising, marketing, and customer service.

Expansion of Education Programs. Additional funding would allow BLO to increase the number of students and teachers served, engage in more and deeper partnerships with regional community organizations, reach more Title 1 schools, and increase the diversity of its audiences.

Audience Development Technical Assistance, to enable BLO to work with experienced consultants on audience needs analysis and to survey audiences to best inform future planning.

CEO Statement

For 40 years, Boston Lyric Opera has demonstrated a careful and financially responsible progression in its artistic planning while gradually building an infrastructure to sustain a fully professional major opera company in Boston. Unique as the only New England opera company with this broader artistic focus, BLO has now identified a long-term goal to go one step further. Through regular presentation of an inclusive repertoire, it is BLO’s aspiration build and deepen partnerships, and strengthen artistic planning so that we can both commission new works and see those big works we’ve been missing in Boston for some time. Boston has a proven interest in opera with high Met HD broadcast attendance, and a prevalence of over 30 producers of the art form, ranging from small to mid-size companies. BLO attracts over 35,000 people a year and has the largest opera audience in New England. BLO’s current primary challenge is to identify the venue solution that best meets the needs of Boston's opera community, one that will allow more frequent production of those major operas demanding the largest vocal and musical resources, such as Carmen, Turandot, and Nixon in China, to name a few. These operas resonate with audiences present and future, and offer the full breadth of the art form. Combined with production of lesser-known and chamber works, and more frequent commissions, it is BLO’s commitment to bring opera’s full scale of potential to Boston. The past several seasons finished with surpluses, sound evidence that we have the potential to deliver on this goal. We have successfully established the critically-acclaimed Opera Annex series and are building an endowment for operations. By gaining the capacity for the largest works, not only will we have over 30 producers of the art form here who present thought-provoking works, but we will also have an anchor for all this energy with the ability to experience the full breadth of the art from the small to the large. It is this unbounded pageantry – this transcendence into another world, and connection to the history of the human condition and how we express ourselves - that opera, particularly on a large scale, gives us. It not only expresses the present, it expresses our history. I believe that an appreciation of artistic history alongside expression of the present and future with all its complexity bring a fuller understanding through this art form. Boston is a world-class city, and it deserves a world-class opera and performing artscommunity.


Board Chair Statement

 

In turning 40 years old, Boston Lyric Opera became the longest-tenured opera company in Boston’s history. Sure, we’re still young compared to our colleagues over at Symphony Hall, but this milestone dispels the antiquated notion that Boston can’t support an opera company. We are very grateful to you, and all our patrons past and present, for four decades of love and support.

 

We kicked off last season by raising the high-water mark for opera in our town – bursting out of the gate with “40 Days of Opera” to highlight the depth and diversity of the art form for nearly six weeks, and launching BostonOperaCalendar.org to bring together all the opera-centric action in one place for the first time.

 

Our 2016/17 Season became BLO’s most successful in a decade. We had our strongest sales and giving year since 2007/08, and the small surplus with which we ended the year was the seventh such success in a row.

 

Calixto Bieito’s Carmen was the biggest-selling production in all of BLO’s history. And the momentum carried us all through the celebratory year. Later in the season, Greek, The Rake’s Progress and The Marriage of Figaro all proved not just popular, but artistically and critically successful too.

 

We successfully transitioned to a different model of production – four shows in four different venues. The very thing that vexes performing arts groups across the city and in many places across the country proved to be what energized us, our artists, and our audiences in our 40th year. And by owning our ability to sell tickets directly, we increased individual ticket sales by more than 30 percent. That’s a year-over-year sales increase any 40-year-old corporation would die to have. And a direct result of the changes BLO made when we left our former home – right before we embarked on our milestone year.

 

This year and next hold significant momentum for Boston Lyric Opera. As I said earlier, our 41st Season is already shaping up to be another winner. We are excited by the potential of a new home, although it’s a few years in the future. If we can keep doing what we’ve done last year, and use the momentum to our strategic advantage, there’s nothing we can’t do for opera in Boston and across the country.

 

--Michael Puzo


Geographic Area Served

In a specific U.S. city, cities, state(s) and/or region.
GREATER BOSTON REGION, MA
STATEWIDE
NATIONAL

BLO serves Greater Boston, New England, and national opera audiences as well as audiences from numerous countries outside the United States.

Organization Categories

  1. Arts,Culture & Humanities - Opera
  2. -
  3. -

Independent research has been conducted on this organization's theory of change or on the effectiveness of this organization's program(s)

Under Development

Programs

Community Engagement Programs

 

BLO serves thousands of audience members and creates dozens of opportunities to engage with opera through community events, with series including the multidisciplinary Signature Series (in collaboration with colleague organizations such as the Museum of Fine Arts and the Boston Athenaeum); free Opera Night at the BPL lectures; film screenings; pop-up concerts; and, timely collaborations with other opera organizations such as the Boston Opera Alliance. The Final Dress Rehearsal performances of each of the season’s four productions provides free access to students, community members, and artists’ family and friends.

Budget  --
Category  Arts, Culture & Humanities, General/Other
Population Served General/Unspecified
Program Short-Term Success  In the short term, many BLO programs serve to develop and diversify audiences.
Program Long-Term Success  Community Engagement Programs support the overall success of every BLO Season. They serve to build community by expanding opera's reach far beyond the stages where BLO performances are held.
Program Success Monitored By  Growing attendance at events, which are designed to complement the Season's repertoire, is a strong predictor of the success of individual BLO productions.
Examples of Program Success  This season, BLO was able to add 4,000 households to its database.

Productions

 Every season, BLO produces three main stage operas and a fourth, Opera Annex, in an alternative space. In 2017/18, the operas will be Puccini’s Tosca; a World Premiere opera, The Nefarious, Immoral but Highly Profitable Enterprise of Mr. Burke & Mr. Hare; Kurt Weill’s The Threepenny Opera; and, Trouble in Tahiti by Leonard Bernstein.
Budget  --
Category  Arts, Culture & Humanities, General/Other Opera Performances
Population Served General/Unspecified
Program Short-Term Success  Annual audiences of 20,000 will be served including expanded outreach to younger and more diverse populations of Bostonians.
Program Long-Term Success   

Through annual productions and performances, BLO fulfills its mission of producing opera in all forms, from the earliest works to the contemporary.

Program Success Monitored By  Success can be found in sold-out houses of "Carmen" at the Boston Opera House, where opera had not been performed in decades and in the national attention that is drawn to Boston's vibrant opera community such as in The Wall Street Journal's coverage of BLO's Tweet Squad of real-time commenters at Final Dress Rehearsal performances.
Examples of Program Success  With control of its own box office operations, BLO has added some 3,500 households to its database, greatly increasing our ability to reach new audiences for performances of BLO productions.

CEO/Executive Director/Board Comments

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Management


CEO/Executive Director Ms. Esther Nelson
CEO Term Start Sept 2008
CEO Email [email protected]
CEO Experience

Esther Nelson joined Boston Lyric Opera in 2008, and has launched numerous new programs including Opera Annex, Signature Series at the Museum of Fine Arts, Open House, and partnerships with Boston University’s Opera Institute as well as other university and organization collaborations. Esther Nelson’s experience in opera and the performing arts spans three decades. Before joining BLO, she was a management consultant to artistic associations including the New York Historical Association, their research library, and their associated Fenimore Art Museum; the Farmers’ Museum in Cooperstown, New York; the European International Music and Arts Foundation; the Cultural Diplomacy Institute in New York and Berlin, Germany; Albany Symphony Orchestra in New York; The Douglas Moore Fund in New York City; Foothills Performing Arts Center in Oneonta, NY; and Memphis and Portland (Maine) Operas. This followed six years as the General Director/CEO of Glimmerglass Opera, one of the country’s largest and most prestigious opera festivals. During her seven year tenure, Glimmerglass Opera experienced significant artistic growth and fiscal stability, earning her a professional citation from the governor of New York. Before Glimmerglass, Ms. Nelson was the General Director/CEO of Nevada Opera in Reno, where she was responsible for all administrative and artistic activities and founded the company’s successful state-wide touring program. She also held previous leadership positions with Virginia Opera, Triangle Opera, and New Orleans Opera. Ms. Nelson has served as evaluator for the National Endowment for the Arts as well as the New York State Council, and is a frequent speaker and panelist, including consulting with OPERA America, the American opera service organization. She serves on the Board of Directors and Executive and Finance Committees of numerous cultural and social service organizations.

Co-CEO --
Co-CEO Term Start --
Co-CEO Email --
Co-CEO Experience --

Former CEOs and Terms

Name Start End
-- -- --

Senior Staff

Name Title Experience/Biography
Karen Frost Director of Finance & Administration --
Anna Labykina Production and Technical Director --
Nicholas Russell Director of Artistic Operations --
Eileen Nugent Williston Director of Development --

Awards

Award Awarding Organization Year
Friday, September 23 is declared Boston Lyric Opera Day in the City of Boston City of Boston 2016
Lawrence Olivier Award for Best New Opera Production to James MacMillan, composer of BLO-co-commissioned Clemency for the production The Society of London Theatre 2011
Opera Honors Award for Lifetime Achievement to John Conklin, BLO Artistic Advisor. This is the highest award bestowed in the field of opera in the United States. National Endowment for the Arts 2011
Excellence Award, for BLO's new and expanded family programming designed to engage future generations of opera audiences The Wallace Foundation 2006
Professional Citation to Esther Nelson, General & Artistic Director of BLO, for her outstanding leadership at Glimmerglass Opera where she was CEO prior to appointment at BLO. The Governor of New York 2002
Resolution and recognition for Carmen on the Common Boston City Council 2002
Top of the Arts Award for Outstanding Impact for Carmen on the Common, attended by over 145,000 people free of charge The Arts and Business Council of Greater Boston 2002
Success Award for outstanding collaboration on the 1999/2000 Egyptian Season in partnership with the Museum of Fine Arts, Boston; Museum of Science; Boston Ballet; and The Wang Center OPERA America 2000

Affiliations

Affiliation Year
AFP (Association of Fundraising Professionals) 2012
OPERA America 2012
Member of state association of nonprofits? Yes
Name of state association --

External Assessments and Accreditations

External Assessment or Accreditation Year
-- --

Collaborations

Artistic partnerships are important in helping BLO manage its resources effectively. A co-production with Wolf Trap Foundation in 2012, and a co-commission with Royal Opera House Covent Garden, Scottish Opera and Britten Sinfonia in 2014, enable BLO to do work it could not do alone and bring national and international attention to Boston. The company collaborates to deliver educational programming, including: four lecture programs annually at the Museum of Fine Arts; free performances at Boston Public Library; and Music! Words! Opera!, a teacher training program in partnership with Boston Public Schools, Boston Centers for Youth and Families, and Opera America. With Wheelock Family Theatre, BLO offers a week-long Institute in which children study opera through movement and acting exercises. In 2011, BLO launched a significant partnership with Boston University that provides an interdisciplinary, 14-session two-credit liberal arts course, as well as a role study program for young singers. Other partners include Boston Landmarks Orchestra, American Repertory Theatre, and PALS Children’s Chorus.

CEO/Executive Director/Board Comments

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Foundation Comments

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Staff Information

Number of Full Time Staff 23
Number of Part Time Staff 310
Number of Volunteers 120
Number of Contract Staff 38
Staff Retention Rate % 67%

Staff Demographics

Ethnicity African American/Black: 0
Asian American/Pacific Islander: 0
Caucasian: 100
Hispanic/Latino: 0
Native American/American Indian: 0
Other: 0
Other (if specified): 0
Gender Female: 66
Male: 33
Not Specified 0

Plans & Policies

Organization has Fundraising Plan? Under Development
Organization has Strategic Plan? Yes
Years Strategic Plan Considers 5
Management Succession Plan Under Development
Business Continuity of Operations Plan No
Organization Policies And Procedures Yes
Nondiscrimination Policy Yes
Whistle Blower Policy No
Document Destruction Policy No
Directors and Officers Insurance Policy Yes
State Charitable Solicitations Permit Yes
State Registration Exempt

Risk Management Provisions

Directors and Officers Policy
Workers Compensation and Employers' Liability
Commercial General Insurance
Automobile Insurance
Commercial General Liability
Inland Marine and Mobile Equipment

Reporting and Evaluations

Management Reports to Board? Yes
CEO Formal Evaluation and Frequency Yes Annually
Senior Management Formal Evaluation and Frequency Yes Annually
Non Management Formal Evaluation and Frequency Yes Annually

Governance


Board Chair Mr. Michael J. Puzo Esq.
Board Chair Company Affiliation Hemenway & Barnes
Board Chair Term Sept 2015 -
Board Co-Chair Mr. Wayne Davis
Board Co-Chair Company Affiliation UBS Financial Services
Board Co-Chair Term Sept 2014 -

Board Members

Name Company Affiliations Status
Linda Cabot Black Community Volunteer Voting
Willa Bodman Community Volunteer Voting
Alicia Cooney Monument Group Voting
Wayne Davis UBS Private Bank Voting
Miguel de Braganca Trinity Investment Management, Retired Voting
Alan Dynner Eaton Vance Corp, Retired Voting
Andrew Eisenberg Esq. Constangy, Brooks, Prophete & Smith LLP Voting
Thomas D. Gill Jr. Community Volunteer Voting
Mimi Hewlett Community Volunteer Voting
Horace H. Irvine II Community Volunteer Voting
Susan W. Jacobs InterQual Inc. Voting
Amelia Welt Katzen U.S. Environmental Protection Agency Voting
Maria J. Krokidas Krokidas & Bluestein LLP Voting
Jeffrey Marshall Retired Voting
Abigail B. Mason Kaspick & Company Voting
Anne M. Morgan Community Volunteer Voting
Esther Nelson Boston Lyric Opera Exofficio
A. Neil Pappalardo MEDITECH Voting
E. Lee Perry Community Volunteer Voting
Irving H. Plotkin Pricewaterhouse Coopers Voting
William Pounds MIT Sloane School, Retired Voting
Michael Puzo Hemenway Trust Company, LLC Voting
David W. Scudder Aureus Asset Management Voting
Susan R. Shapiro Ropes & Gray Voting
Ray Stata Analog Devices Voting
Dr. Christopher Tadgell Community Volunteer Voting
Lady Juliet Tadgell Community Volunteer Voting

Constituent Board Members

Name Company Affiliations Status
-- -- --

Youth Board Members

Name Company Affiliations Status
-- -- --

Advisory Board Members

Name Company Affiliations Status
James Ackerman Wadland & Ackerman NonVoting
Sarah E. Ashby Community Volunteer NonVoting
Kimberly E. Balfour Community Volunteer NonVoting
Elizabeth Barker Boston Athenaeum NonVoting
Edward Bell Riverside Properties Inc. NonVoting
Richard M. Burnes Jr. Charles River Ventures NonVoting
Ellen Cabot Coldwell Banker Residential, Retired NonVoting
Carol Gram Deane Community Volunteer NonVoting
Amos Deinard Retired NonVoting
JoAnne Dickinson -- --
Dr. Nicholas DiMauro Middleton Dental Care NonVoting
Jessica Donohue State Street Associates NonVoting
Catherine Dunn Retired NonVoting
Joseph Glenmullen Private Practice - Psychiatrist NonVoting
Amy Hunter Boston Private Bank & Trust NonVoting
William A. Hunter -- --
Louise Johnson Aptuit NonVoting
Ellen Kaplan -- --
Stephen Kunian Eckert Seamans NonVoting
Pamela S. Kunkemueller Community Volunteer NonVoting
L. Joseph Lodato The Home for Little Wanderers NonVoting
Russell Lopez Northeastern University NonVoting
Anita Loscalzo Independent Curator NonVoting
M. Lynne Markus Community Volunteer NonVoting
Jillian McGrath Community Volunteer NonVoting
Jane Pisciottoli Papa Quincy Public Schools, Retired NonVoting
Barbara Goodwin Papesch Community Volunteer NonVoting
Samuel Y. Parkinson Harvard University NonVoting
Susanne Potts Community Volunteer NonVoting
Carl Rosenberg Acentech NonVoting
Carol Rubin -- --
Allison Ryder Fidelity Investments NonVoting
Alex Senchak Community Volunteer NonVoting
Wendy Shattuck Four Seasons Hotel, Community Volunteer NonVoting
Lawrence St. Clair New England Foundation for Psychoanalysis, Community Volunteer NonVoting
Frank Tempesta Community Volunteer NonVoting
Richard Trant 40 Love, Inc. NonVoting
Amy Tsurumi -- --
Sandra A. Urie Cambridge Associates LLC NonVoting
Lydia Kenton Walsh Corning Incorporated NonVoting
Peter Wender Draper Laboratory NonVoting
Tania Zouikin 20-20 Investment Association Exofficio

Board Demographics

Ethnicity African American/Black: 0
Asian American/Pacific Islander: 2
Caucasian: 66
Hispanic/Latino: 1
Native American/American Indian: 0
Other: 0
Other (if specified): 0
Gender Female: 35
Male: 33
Not Specified 0

Board Information

Board Term Lengths 3
Board Term Limits --
Board Meeting Attendance % 71%
Written Board Selection Criteria Yes
Written Conflict Of Interest Policy Yes
Percentage of Monetary Contributions 100%
Percentage of In-Kind Contributions 0%
Constituency Includes Client Representation Yes

Standing Committees

  • Audit
  • Board Development / Board Orientation
  • Community Outreach / Community Relations
  • Compensation
  • Development / Fund Development / Fund Raising / Grant Writing / Major Gifts
  • Executive
  • Finance
  • Strategic Planning / Strategic Direction

CEO/Executive Director/Board Comments

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Foundation Comments

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Financials


Revenue vs. Expense ($000s)

Expense Breakdown 2016 (%)

Expense Breakdown 2015 (%)

Expense Breakdown 2014 (%)

Prior Three Years Total Revenue and Expense Totals

Fiscal Year 2016 2015 2014
Total Revenue $6,310,879 $11,842,838 $9,516,761
Total Expenses $8,037,388 $7,484,089 $7,468,372

Prior Three Years Revenue Sources

Fiscal Year 2016 2015 2014
Foundation and
Corporation Contributions
-- -- --
Government Contributions $109,300 $76,200 $39,300
    Federal -- -- --
    State -- -- --
    Local -- -- --
    Unspecified $109,300 $76,200 $39,300
Individual Contributions $4,028,183 $9,448,272 $7,544,334
Indirect Public Support $0 $0 --
Earned Revenue $1,338,609 $1,509,580 $1,464,317
Investment Income, Net of Losses $608,560 $458,077 $228,205
Membership Dues $0 $0 --
Special Events $113,504 $222,096 $113,442
Revenue In-Kind -- -- --
Other $112,723 $128,613 $127,163

Prior Three Years Expense Allocations

Fiscal Year 2016 2015 2014
Program Expense $6,372,919 $6,090,766 $6,003,089
Administration Expense $820,294 $698,079 $687,156
Fundraising Expense $844,175 $695,244 $778,127
Payments to Affiliates -- -- --
Total Revenue/Total Expenses 0.79 1.58 1.27
Program Expense/Total Expenses 79% 81% 80%
Fundraising Expense/Contributed Revenue 20% 7% 10%

Prior Three Years Assets and Liabilities

Fiscal Year 2016 2015 2014
Total Assets $19,453,243 $20,348,378 $16,209,286
Current Assets $6,757,175 $9,050,216 $9,814,256
Long-Term Liabilities $750,000 $0 $0
Current Liabilities $1,102,493 $1,109,964 $1,090,183
Total Net Assets $17,600,750 $19,238,414 $15,119,103

Prior Three Years Top Three Funding Sources

Fiscal Year 2016 2015 2014
1st (Source and Amount) -- --
-- --
-- --
2nd (Source and Amount) -- --
-- --
-- --
3rd (Source and Amount) -- --
-- --
-- --

Financial Planning

Endowment Value $15,227,593.00
Spending Policy Percentage
Percentage(If selected) 5.0%
Credit Line Yes
Reserve Fund No
How many months does reserve cover? --

Capital Campaign

Are you currently in a Capital Campaign? No
Capital Campaign Purpose --
Campaign Goal --
Capital Campaign Dates -
Capital Campaign Raised-to-Date Amount --
Capital Campaign Anticipated in Next 5 Years? --

Short Term Solvency

Fiscal Year 2016 2015 2014
Current Ratio: Current Assets/Current Liabilities 6.13 8.15 9.00

Long Term Solvency

Fiscal Year 2016 2015 2014
Long-term Liabilities/Total Assets 4% 0% 0%

CEO/Executive Director/Board Comments

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Foundation Comments

Financial summary data in charts and graphs are per the organization's IRS 990s.  Contributions from foundations and corporations are listed under individuals when the breakout was not available.

Impact

The Impact tab is a section on the Giving Common added in October 2013; as such the majority of nonprofits have not yet had the chance to complete this voluntary section. The purpose of the Impact section is to ask five deceptively simple questions that require reflection and promote communication about what really matters – results. The goal is to encourage strategic thinking about how a nonprofit will achieve its goals. The following Impact questions are being completed by nonprofits slowly, thoughtfully and at the right time for their respective organizations to ensure the most accurate information possible.


1. What is your organization aiming to accomplish?

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2. What are your strategies for making this happen?

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3. What are your organization’s capabilities for doing this?

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4. How will your organization know if you are making progress?

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5. What have and haven’t you accomplished so far?

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