Share |

Lyric Stage Company Of Boston Inc.

 140 Clarendon Street
 Boston, MA 02116
[P] (617) 585-5675
[F] (617) 585-5689
Matt Chapuran
Facebook Twitter
 Printable Profile (Summary / Full)
EIN 23-7346311

LAST UPDATED: 09/07/2017
Organization DBA --
Former Names --
Organization received a competitive grant from the Boston Foundation in the past five years Yes



Mission StatementMORE »

The mission of the Lyric Stage Company of Boston is to bring an intimate approach to world-class theatre with productions that challenge, entertain, and inspire its audiences; showcase Boston-based theatrical artists; and represent the diverse tastes and backgrounds of 21st century Boston.

Mission Statement

The mission of the Lyric Stage Company of Boston is to bring an intimate approach to world-class theatre with productions that challenge, entertain, and inspire its audiences; showcase Boston-based theatrical artists; and represent the diverse tastes and backgrounds of 21st century Boston.

FinancialsMORE »

Fiscal Year July 01, 2017 to June 30, 2018
Projected Income $2,216,012.00
Projected Expense $2,166,342.00

ProgramsMORE »

  • Mainstage subscription season

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.


Mission Statement

The mission of the Lyric Stage Company of Boston is to bring an intimate approach to world-class theatre with productions that challenge, entertain, and inspire its audiences; showcase Boston-based theatrical artists; and represent the diverse tastes and backgrounds of 21st century Boston.

Background Statement

At the time of his 1997 appointment as Producing Artistic Director, Spiro Veloudos cited as a systemic issue the high number of actors cast from New York City with only a handful of roles available to local talent. He immediately sought to address that issue by casting almost exclusively from Boston’s talent pool. In the subsequent 18 seasons, a number of other local companies have arisen to share in this commitment, with the Lyric Stage sparking the development of an unofficial repertory company of actors shared by multiple resident theatre companies in Boston.

The Lyric Stage further enhanced its local leadership by playing an instrumental role in the creation of NEAT—New England Area Theatres, a bargaining collective of a dozen small and midsize theatre companies who share a regional contract with Actors Equity Association, the professional actors union headquartered in New York City. Now entering its 21st year, NEAT provides emerging fringe cooperatives with a concrete blueprint for transitioning to professional theatres and guarantees a framework for existing Equity companies to chart their growth.

With his early productions of ASSASSINS (1998) and SUNDAY IN THE PARK WITH GEORGE (2001), Veloudos proved that midsize theatre companies had the capacity to stage large musicals and take advantage of Boston’s otherwise neglected wealth of musical talent. As with local casting, Veloudos created a framework and inspired other local companies to introduce more musical theatre to their repertories, leading in turn to larger audiences and greater resources.

Impact Statement

In the course of its history, the Lyric Stage has collected a substantial number of awards, including 31 Eliot Norton Awards given by the Boston Theatre Critics Association and 63 IRNE Awards given by the Independent Reviewers of New England. It continues to receive local accolades and national attention from publications such as the WALL STREET JOURNAL and the SONDHEIM REVIEW.
The Lyric Stage’s recently announced SONDHEIM INITIATIVE is an advancement of Veloudos’s interest in America’s greatest living composer and a further investment in Boston’s capacity for staging ambitious musicals. In addition to a stated intention of producing Sondheim musicals such as SONDHEIM ON SONDHEIM (2015-2016 Season), COMPANY (announced for the 2016-2017 Season), MERRIILY WE ROLL ALONG, PACIFIC OVERTURES, and PASSION (for subsequent seasons), and a revisiting of SUNDAY IN THE PARK WITH GEORGE at a larger venue, the Sondheim Initiative includes a range of educational programming, including incorporating Sondheim into the existing Lyric First Stage program, the creation of a New England College Sondheim Competition, and the establishment of the annual Boston Sondheim Award.
As casting Boston-area actors was a pressing need in 1997, Veloudos now prioritizes the hiring of Boston-area non-white actors. His inclusive casting practice means that if the ethnicity of a character is not explicitly stated by the playwright or required by the dramatic needs of the story, Veloudos and Associate Artistic Director A. Nora Long seek to create an acting company representative of Boston’s current status as a so-called “minority majority” city. Recent productions of INTO THE WOODS, SWEENEY TODD, MY FAIR LADY, and the upcoming MR. BURNS cast African-American, Asian-American, and Hispanic-American actors in roles originally created by white actors. Veloudos and Long also routinely select plays written by playwrights of color including this season's productions of Katori Hall’s SATURDAY NIGHT/SUNDAY MORNING, and Carla Ching’s FAST COMPANY.
Long is also a local champion for gender equity. This season, the Lyric Stage offers as many roles for women as for men, and productions demonstrate gender parity backstage. This season, four directors out of six are women and the recent production of SATURDAY NIGHT/SUNDAY MORNING received the designation of Standing O, a designation awarded by StageSource, a local thearical artist and producer support organization, for productions that demonstrate gender parity on stage and backstage.

Needs Statement

While the Lyric Stage's inclusive casting practices have resulted in an increase in opportunities for non-white actors, and have been recognized both by the theatrical community and local media, the Staff and Board have been collaborating on a comprehensive strategy to meaningfully extend its work beyond its home neighborhoods of the Back Bay and the South End. Through strategic partnerships with community-based organizations, including the Museum of African American History, the Boston Asian American Film Festival, the Boston Chinatown Neighborhood Center, and Discover Roxbury, which predominately serve the Lyric Stage's expansion neighborhoods, and with thoughtful programming designed to meet the needs of new constituents, the Lyric Stage creates opportunities for dialogue that transcend perceived socioeconomic or ethnic barriers.

Recently, the Lyric Stage has sponsored a film from the Boston Asian American Film Festival, followed by a screening of the sponsored film in its own theatre; hosted the Boston Chinatown Neighborhood Center for a fundraising performance of Saturday Night/Sunday Morning by African American playwright Katori Hall; hosted numerous panel conversations for Associated Grant Makers; provided below-market rental rates to Little Brothers Friends for the Elderly and Upstage Lung Cancer; and served as the venue for a new play reading event by the Jewish Arts Collaborative. Upcoming collaborations include working with the African American Museum of History on joint summer programming; and co-producing a reading of William Inge's play PICNIC with an all African-American cast with brand new classic, an emerging fringe theatre company.

CEO Statement

Board Chair Statement

Successes and Challenges:

  • Financial: The Lyric Stage has had a long history of financial stability funded largely by ticket sales. This speaks well for our popularity with our subscribers and the theater company’s ability to manage resources. However, until very recently, contributed revenue has not been a focus of sustained energy. The last two years have seen significant growth but as a percentage of our overall budget, our contributed revenue has remained at a low level compared to other arts organizations. The challenge going forward is to increase the amount of contributed revenue. This would help to decrease the financial restraints on our artistic endeavors. And it would allow us to reach out to the Boston community with offers of affordable tickets. 

  • Board Management: Our Board has been instrumental in working with the staff over the past few years, helping the company through some staff transitions, and helping to negotiate a new lease for our space. The challenge going forward is to increase the size of the Board and move toward more efficient working committees, making the Board a more useful adjunct to the paid staff.

  • Diversity goals: The Lyric Stage Company has begun to reflect the diversity of 21st Century Boston onstage, both through inclusive casting, and through choice of plays that tell stories of all types. The challenge going forward is to begin to reflect the city’s diversity in the make-up of our Board and our staff. This will help to ensure that the theater is seen as a “theatrical home” for all the citizens of Boston.

Live theater is an important part of the artistic life of any city, and Boston is fortunate to have a thriving theater community. The Lyric Stage Company of Boston is my personal favorite for several reasons: the choice of plays each season provides me with diverse options including musicals and straight plays, dramas and comedies, classic and cutting edge plays. The theatrical space itself is intimate and inviting, making the experience of attending a performance a very personal one. And the staff is always welcoming to audience members. It is a pleasure to be associated with such a warm and talented group of artists and staff.

Geographic Area Served

In the 2015-2016 Season, LYRIC FIRST CURTAIN has piloted rewarding experiences for middle school students at McKinley South End Academy, a Boston Public School that serves a unique population of students with diagnosed emotional challenges to learning; and for students between the ages of 14 and 20 at the Dudley Square branch of the Boston Public Library. McKinley students have learned the basic principles of story theatre, and applied that learning to the textual source material for the Lyric Stage's upcoming professional production of PETER AND THE STARCATCHER. Working with classroom teachers, the Lyric Stage seeks to create positive associations with learning and the classroom environment while also providing direct reinforcement of the McKinley faculty's academic objectives. Dudley Square students have learned how to select and prepare an audition monologue, with embedded college and career preparedness activities such as resume writing and creation of a digital brand.

Organization Categories

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

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



Mainstage subscription season

The Lyric Stage produces a seven-show subscription season for an annual audience of 35,000 and operating with a $2,000,000 budget.      
Budget  $840,636.00
Category  Arts, Culture & Humanities, General/Other
Population Served Adults
Program Short-Term Success  The Lyric Stage examines audience response surveys and overall attendance trends.

Program Long-Term Success  Successful season selections range from large musicals, new plays, classic revivals, and productions which expand equity and opportunity for women and artists of color.  
Program Success Monitored By  Periodic monitoring is done by the Lyric Stage's artistic team.
Examples of Program Success    Over its 42-year history, the Lyric Stage has earned a substantial number of awards, including 31 Eliot Norton Awards given by the Boston Theatre Critics Association and 63 IRNE Awards given by the Independent Reviewers of New England. It has received national attention from publications such as the WALL STREET JOURNAL and the SONDHEIM REVIEW.        

CEO/Executive Director/Board Comments



CEO/Executive Director Mr. Spiro Veloudos
CEO Term Start Apr 1997
CEO Email
CEO Experience --
Co-CEO Matt Chapuran
Co-CEO Term Start Oct 2014
Co-CEO Email
Co-CEO Experience --

Former CEOs and Terms

Name Start End
-- -- --

Senior Staff

Name Title Experience/Biography
-- -- --


Award Awarding Organization Year
-- -- --


Affiliation Year
-- --
Member of state association of nonprofits? Yes
Name of state association --

External Assessments and Accreditations

External Assessment or Accreditation Year
-- --



CEO/Executive Director/Board Comments


Foundation Comments


Staff Information

Number of Full Time Staff 8
Number of Part Time Staff 15
Number of Volunteers 300
Number of Contract Staff 125
Staff Retention Rate % --

Staff Demographics

Ethnicity African American/Black: 23
Asian American/Pacific Islander: 8
Caucasian: 389
Hispanic/Latino: 6
Native American/American Indian: 0
Other: 0
Other (if specified): --
Gender Female: 4
Male: 4
Not Specified 0

Plans & Policies

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

Risk Management Provisions


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


Board Chair Ms. Jo-An Heileman
Board Chair Company Affiliation WGBH Public Radio and Television (retired)
Board Chair Term July 2016 - June 2019
Board Co-Chair --
Board Co-Chair Company Affiliation --
Board Co-Chair Term -

Board Members

Name Company Affiliations Status
Nina Berk Freelance Designer Voting
Barry Bluestone Northeastern University Voting
Julian Cherubini Alimed (retired) Voting
Richard Daynard Northeastern University Voting
Mary K Eliot Development Consultant Voting
Glenda Fishman Huntington Theatre Company Voting
Jo-An Heileman WGBH Public Radio and Television (retired) Voting
Christopher Hill Venture Capital Voting
Tim Holiner Massachusetts Institute of Technology (retired) Voting
Paul Kastner Talbots (retired) Voting
Sharon Parisi Braintree Public Schools Voting
Joseph Richard State Street Bank Voting
M. Robert Rose Brookline Bank Voting
Ron Sudol Oakland University (retired) Voting
Steven Wasser Powell Flutes Voting
Christopher Yens South End Realty Voting

Constituent Board Members

Name Company Affiliations Status
-- -- --

Youth Board Members

Name Company Affiliations Status
-- -- --

Advisory Board Members

Name Company Affiliations Status
-- -- --

Board Demographics

Ethnicity African American/Black: 0
Asian American/Pacific Islander: 1
Caucasian: 18
Hispanic/Latino: 0
Native American/American Indian: 0
Other: 0
Other (if specified): --
Gender Female: 5
Male: 14
Not Specified 0

Board Information

Board Term Lengths --
Board Term Limits --
Board Meeting Attendance % 80%
Written Board Selection Criteria Under Development
Written Conflict Of Interest Policy Under Development
Percentage of Monetary Contributions 100%
Percentage of In-Kind Contributions --
Constituency Includes Client Representation Yes

Standing Committees

  • Executive
  • Nominating
  • Strategic Planning / Strategic Direction

CEO/Executive Director/Board Comments


Foundation Comments



Revenue vs. Expense ($000s)

Expense Breakdown 2016 (%)

Expense Breakdown 2015 (%)

Expense Breakdown 2014 (%)

Fiscal Year July 01, 2017 to June 30, 2018
Projected Income $2,216,012.00
Projected Expense $2,166,342.00
Form 990s

2016 Form 990

2015 Form 990

2014 Form 990

2013 Form 990

Audit Documents

2016 Audited Financials

2015 Audited Financials

2014 Audited Financials

2013 Audited Financials

IRS Letter of Exemption

IRS Letter of Determination

Prior Three Years Total Revenue and Expense Totals

Fiscal Year 2016 2015 2014
Total Revenue $2,046,200 $2,034,500 $1,904,100
Total Expenses $2,069,400 $1,960,200 $1,964,600

Prior Three Years Revenue Sources

Fiscal Year 2016 2015 2014
Foundation and
Corporation Contributions
-- -- --
Government Contributions $38,700 $16,000 $15,800
    Federal -- -- --
    State -- -- --
    Local -- -- --
    Unspecified $38,700 $16,000 $15,800
Individual Contributions $490,600 $539,100 $342,300
Indirect Public Support $0 -- --
Earned Revenue $1,514,900 $1,476,300 $1,543,900
Investment Income, Net of Losses $2,000 $3,100 $2,100
Membership Dues $0 -- --
Special Events $0 -- --
Revenue In-Kind -- -- --
Other $0 -- --

Prior Three Years Expense Allocations

Fiscal Year 2016 2015 2014
Program Expense $1,354,600 $1,265,200 $1,295,500
Administration Expense $601,100 $584,100 $585,100
Fundraising Expense $113,700 $110,900 $84,000
Payments to Affiliates -- -- --
Total Revenue/Total Expenses 0.99 1.04 0.97
Program Expense/Total Expenses 65% 65% 66%
Fundraising Expense/Contributed Revenue 21% 20% 23%

Prior Three Years Assets and Liabilities

Fiscal Year 2016 2015 2014
Total Assets $1,067,800 $1,127,000 $920,300
Current Assets $917,600 $1,029,300 $797,400
Long-Term Liabilities $0 $0 $0
Current Liabilities $606,500 $642,500 $510,100
Total Net Assets $461,300 $484,500 $410,200

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 --
Spending Policy --
Percentage(If selected) --
Credit Line No
Reserve Fund Yes
How many months does reserve cover? 1.20

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 1.51 1.60 1.56

Long Term Solvency

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

CEO/Executive Director/Board Comments

In 2016 and 2017, the Lyric Stage came to the end of multi-year funding commitments from the Barr Foundation, the Klarman Family Foundation, and Bloomberg Philanthropies. These funding programs invested a total of $700,000 into the Lyric Stage over six years. The foundations provided training programs for staff and board members around issues of capitalization, fundraising, board development, and succession planning.

Over the total lifespan of the two programs, the Lyric Stage saw its net operating assets grow from $336,000 at the end of the 2010-2011 Fiscal Year, to a current level of $524,245. Revenue from ticket sales and philanthropy respectively rose from approximately $1,125,000 and $150,000 in FY11 to approximately $1,442,000 and $512,000 in FY17.

These resources are directly responsible for opening Clarendon Hall. Additionally, production budgets have increased by over $200,000; increasing artist compensation continues to be a focus area, particularly as the Lyric Stage has recently signed agreements with the Boston Musicians Association and the Society for Designers and Choreographers. The additional revenue has been invested in developing the Lyric Stage’s full-time staff, which grew from seven to nine over this period. By contrast, administrative spending has grown by an average of 2% over the last six years.

As a result, the Lyric Stage currently has a very strong balance sheet, with over $500,000 in liquid assets and no long-term debt. In strategic planning, budgeting, and fundraising, the conversations increasingly turn from deficits and obstacles to opportunities for investment and growth.

Foundation Comments

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


Other Documents

No Other Documents currently available.


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?


2. What are your strategies for making this happen?


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


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


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