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Central Square Theater Inc.

 450 Massachusetts Avenue
 Cambridge, MA 02139
[P] (617) 576-9278 x 208
[F] (617) 576-9279
http://www.centralsquaretheater.org
[email protected]
Maggie Moore Abdow
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INCORPORATED: 2008
 Printable Profile (Summary / Full)
EIN 26-1323224

LAST UPDATED: 09/06/2017
Organization DBA --
Former Names --
Organization received a competitive grant from the Boston Foundation in the past five years No

Summary

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Mission StatementMORE »

Central Square Theater has a mission to support its two theaters-in-residence (The Nora Theatre Company & Underground Railway Theater) while maintaining a shared vision: Artists & Audiences Creating Theater Vital to our Communities. CST offers the distinctive repertoires of these two award-winning companies as well as collaborative projects drawing on their creative synergy, designed to deepen relationships with schools, families and community organizations through outreach and educational programs.

 


Mission Statement

Central Square Theater has a mission to support its two theaters-in-residence (The Nora Theatre Company & Underground Railway Theater) while maintaining a shared vision: Artists & Audiences Creating Theater Vital to our Communities. CST offers the distinctive repertoires of these two award-winning companies as well as collaborative projects drawing on their creative synergy, designed to deepen relationships with schools, families and community organizations through outreach and educational programs.

 



FinancialsMORE »

Fiscal Year July 01, 2017 to June 30, 2018
Projected Income $1,654,375.00
Projected Expense $1,634,011.00

ProgramsMORE »


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

Central Square Theater has a mission to support its two theaters-in-residence (The Nora Theatre Company & Underground Railway Theater) while maintaining a shared vision: Artists & Audiences Creating Theater Vital to our Communities. CST offers the distinctive repertoires of these two award-winning companies as well as collaborative projects drawing on their creative synergy, designed to deepen relationships with schools, families and community organizations through outreach and educational programs.

 



Background Statement

Central Square Theater was founded to support the work of Underground Railway Theater and The Nora Theatre Company, yet it is not only their home, but is also a model artistic and managerial partnership in which each company maintains its unique and complementary vision while working in tandem to fuel long-term sustainability, stimulate creativity, and add value to the community. Catherine Carr Kelly, Executive Director of Central Square Theater (CST), Artistic Directors Lee Mikeska Gardner (The Nora) and Debra Wise (URT) comprise a dynamic triad that provides bold leadership to a unique organization that benefits from shared staffing and streamlined operations.  Under one umbrella, The Nora and URT have state-­of-­the-­art theater spaces, classrooms, offices and adjunct facilities; resources required for each company’s season programs and for extensive collaborative programs with the community; support for audience development through an evolving Community Connectivity initiative; and full theater seasons that include combined productions, rich adjunct programming, and comprehensive education programs. Together they create a shared vision of theater for over 30,000 people per year.

 

Central Square Theater’s vision, Artists and Audiences Creating Theater Vital to our Communities, is a mandate to create art in a uniquely collaborative way. CST's core programs include the following:

  • High quality theatrical productions: The creation and presentation of professional theatrical productions is paramount to CST and its resident theaters' missions. Over 30,000 people now attend CST/The Nora/URT productions each year.

  • Auxiliary programming: The development and promotion of rich auxiliary programming that provides context for the theatrical productions and creates dialogue around the themes that they engender. CST offers patrons the opportunity to become participants and “actors” in the unfolding of the multi-­layered immersive experience of theater that CST offers. The outcome of our pre-­ and post-­show discussions – Central Conversations -­ is a scaffolding of ideas—critique of the production creates the underpinnings of an evolving program structure and informed discussion is the catalyst for new program ideas and/or topics for future plays. In any given performance, 30 to 75% of the audience takes advantage of the pre/post show programs — an extraordinary percentage in comparison to other theaters.

  • Community and Education Programs for youth and families: CST, through its resident company, Underground Railway Theater, provides high quality theater and arts educational experiences to under-­served children and youth in Cambridge and Boston communities, working with over 2,000 youth each year and making strong links to neighborhood and family. URT also provides opportunities for youth of varying ages and backgrounds to join their peers from different Cambridge and Boston neighborhoods to make theater together at Central Square Theater through partnerships with Cambridge Public Schools, Boston International High School, and Roxbury’s Madison Park Development Corporation and Hibernian Hall.

  • Catalyst [email protected]: a collaboration between Central Square Theater and MIT, is the nation’s only ongoing partnership between a professional theater company and a world-class research institution. Each season, [email protected] pries open the door between art and science and pushes us to expand our horizons with plays framed by real-time encounters with the scientists who are changing our world.

  • Leadership and Professional Development: CST extends opportunities for leadership skill training and provides professional opportunities for over 500 students, playwrights, actors, and artists each year. CST offers extensive internships which matches young people with leadership across the CST infrastructure and provides access to professional dramaturgs, directors and technical advisors with opportunities to interact with our audience on and off stage.  Finally, its youth development program, Youth Underground Resident Youth Ensemble is more fully described below.

 
 

Impact Statement

Accomplishments (FY17)
  • 9 main stage productions
  • 228 performances
  • 30,000 Greater Boston patrons served through our main stage productions, education programs
  • Our teens in Youth Underground unearthed issues in the achievement gap and took a deep dive into diversity.


Goals (FY 18)
 
 • CST will work toward creating and sustaining a staff, Board of Directors, and audience that reflect the diversity of Greater Boston
• CST will work toward creating and strengthening structured and consistent pathways for new and existing patrons to connect and build relationships with the theater and its staff and Boards.
• CST will continue to build on the synergy of the complementary sensibilities of  The Nora and URT to produce a rich and rewarding season that engages   and nourishes a wide-ranging audience.


 
 
 
 

Needs Statement

1. Sustainability: Develop and seed a 3- year Capitalization Plan with a focus on recovery capital, working capital and change capital to support and sustain programmatic and organizational strategies.($150,000)
 
2. Patron Services: Build capacity to bring more of the Patron Services function in-house and to change to a different ticketing system. ($100,000)
 
3. Diversity and Inclusion: Develop and seed a paid sponsorship program to mentor and train a diverse pool of new administrative, technical, and creative/design team members at CST. ($75,000)
 
4. Leadership Transition (The Nora Theatre Company): Build the Mary C. Huntington Second Act Fund to secure the transition from the Founding Artistic Director (Mary C. Huntington) to the new Artistic Director (Lee Mikeska Gardner). ($75,000)
 
5. Audience Experience: Launch Deep Dive, a place-based project pairing scientists (or specialists in any discipline) with theater artists to create powerful and engaging lobby and outdoor courtyard displays, that offer audiences an interactive, dynamic experience, deepening personal connections to themes on our stage. ($50,000)
 

CEO Statement

Part of our work will always be to continually evolve and refine our strategies for bridging the profound demographic divides in Greater Boston. The immediate area surrounding Central Square Theater includes two of the most prestigious research institutions in the world as well as one of the poorest neighborhoods in the Greater Boston area. The quest to be a professional theater that supports our entire community and is of the community, is what differentiates CST from many other theaters. This quest will always be a challenge for CST, but one which we are mission-driven to tackle. All of our existing audience development and community connectivity efforts are designed not simply to invite diverse audiences and artists into our theater, but to build and maintain long-term relationships, resulting in continued dialogue that will build investment on both sides, ensuring that our programming evolves alongside mutual interests of community stakeholders.
 
Deemed a cultural "anchor" in Central Square, CST spearheaded the effort that led to the MA Cultural Council (MCC) designating Central Square a Cultural District in October 2012. The MCC, City of Cambridge and Central Square Business Association all acknowledged the efforts of  Central Square Theater and the Cambridge Arts Council, whose Executive Directors partnered to begin the campaign to win the Cultural District designation.
 
The Cultural District campaign is just one example of CST's evolving efforts to build bridges that span across diverse neighborhoods through professional theater that speaks to the cultural heritage and contemporary concerns of the community as well as serving as the community “home” for civic engagement. CST is committed to engaging and connecting with the rich identity of a multi-cultural, multi-ethnic and diverse socio-economic area that includes not only neighborhood residents, but also Harvard and MIT students, the burgeoning innovation district, and the local small businesses that comprise the neighborhood and help maintain the unique character of the Square.
 

Board Chair Statement

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Geographic Area Served

In a specific U.S. city, cities, state(s) and/or region.
GREATER BOSTON REGION, MA
City of Boston- Citywide (Indiv. neighborhoods also listed)
Central Square Theater and its two resident companies, Underground Railway Theater and The Nora Theatre Company, are located in Central Square, Cambridge, MA (02139). The majority of the audience base and program participants are from the greater Boston area, including Boston, Cambridge, Somerville,  Watertown,  Newton and Brookline, among others.

Organization Categories

  1. Arts,Culture & Humanities - Theater
  2. Youth Development - Youth Development Programs
  3. Arts,Culture & Humanities - Performing Arts Centers

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

No

Programs

Catalyst [email protected] ([email protected])

[email protected] is a unique collaboration between MIT and Central Square Theater (CST), located only blocks from the MIT campus. [email protected] is dedicated to creating and presenting plays that deepen engagement with science, while providing artistic and emotional experiences not available in other forms of dialogue about science. [email protected] is committed to furthering approaches for investigating science and technology as part of the fabric of theater and life.

Budget  $200,000.00
Category  Arts, Culture & Humanities, General/Other Theater
Population Served Adults Adolescents Only (13-19 years) Families
Program Short-Term Success 

-Engages audiences in thinking about themes in science and technology of social and ethical concern.

-Provides insight into the culture of science and its impact on our society.

-Examines the human condition through the lens of science and technology that intersects our lives, and the lives of the scientists whose work changes our world.

Program Long-Term Success 

-Pairing MIT’s expertise in science and technology and CST’s commitment to artistic excellence, cross-disciplinary collaboration and community involvement, [email protected] makes significant contributions to the growing field of science theater.

-Connections to primary research concerns at MIT affords [email protected] the opportunity to authentically convey the challenges and rewards of scientific enterprise to a wide and growing general audience.
Program Success Monitored By 

-# audience members from all backgrounds reporting the experience to be both poetic and provocative, inviting reflection and spurring new connections and rich questions

- # scientists reporting that the scientific concepts are accurately represented

-# theater colleagues reporting the work to be ambitious, unique, and worthy of further productions.

Examples of Program Success 

 -Four world premieres From Orchids to Octopi – an evolutionary love story by Melinda Lopez, first ever play commissioned by the National Institute of Health, 2010, IRNE award-Best New Play; Operation Epsilon, by Alan Brody, 2013).

-Staged over 20 play readings/public conversations on scientific themes.

-Piloted an MIT course on science theater.


Central Conversations

This constellation of rich auxiliary programming provides context for the theatrical productions and creates dialogue around the themes that they engender. CST offers patrons the opportunity to become participants and “actors” in the unfolding of the multi-layered, immersive experience of theater. Pre-show panels, post-show conversations, story-telling events and interactive lobby installations engage audiences with artists, scholars, scientists and community members around the themes explored on our stage.

Budget  $30,000.00
Category  Arts, Culture & Humanities, General/Other Theater
Population Served Adults Adolescents Only (13-19 years) Families
Program Short-Term Success 

-Patrons generate rich questions

-New connections are sparked
-Deeper understanding  of production and its themes

 

Program Long-Term Success 
-Central Conversations emerges as a scaffolding of ideas.
-Critique of the productions creates the underpinnings of an evolving program structure
-Informed discussion is the catalyst for new program ideas and/or topics for future plays.
Program Success Monitored By 

-# audience members that participate in pre/post-show conversations.

-# post-show survey respondents that identify central conversations as important to their theater experience.

-further engagement of participating scholars, scientists and community members in development of future CST projects

Examples of Program Success  In any given performance, 30 to 75% of the audience takes advantage of the pre/post show programs — an extraordinary percentage in comparison to other theaters.

Community and Education Programs for Youth and Families

CST, through its resident company URT, provides high quality theater educational experiences to under-served children and youth in Cambridge and Boston communities, working with over 2,000 youth each year and making strong links to neighborhood and family. URT also provides opportunities for youth of varying ages and backgrounds to join their peers from different Cambridge and Boston neighborhoods to make theater together at Central Square Theater through partnerships with Dorchester’s Jeremiah E. Burke High School and Roxbury’s Madison Park Development Corp. and Hibernian Hall. A key component, Youth Underground (YU), offers stipend-eligible opportunities for youth to create theater together and in tandem with community-based organizations, presented at CST and beyond. YU also teaches students to be “oral historians,” creating theater that results from their thoughtful participatory research interviews with experts and those affected by important issues.
Budget  $80,000.00
Category  Arts, Culture & Humanities, General/Other Performing Arts
Population Served Poor,Economically Disadvantaged,Indigent Adolescents Only (13-19 years) Families
Program Short-Term Success 

-Students demonstrate how to read and analyze dramatic material.

-Students demonstrate ability to write dramatic material.

-Students demonstrate acting & public speaking skills.

-Teachers collaborating with URT artists acquire techniques for teaching through the integration and immersion of theater.

Program Long-Term Success 
-Young people understand the perspective of others, develop their own perspectives, and gain deeper understanding of self.
 
-Youth Underground Ensemble members define themselves as artists and agents of change within their immediate neighborhoods and beyond.   
.  
Program Success Monitored By 
-# and % of participating students’ original scripts and audience attendance
 
-# and % of students who can read aloud scripts and archived material, and students who can describe and analyze dramatic work using appropriate theater vocabulary.
 
-# and % of individual and group student written scripts.
 
-# and % of students who portray characters in scripted and improvised scenes.
 
Documented post-performance discussions moderated by participating youth.
 
Examples of Program Success  From a Youth Underground member, currently a senior at Cambridge Rindge & Latin School: After three days of reading and re-reading the email and letter I've finally convinced myself that it's true: Harvard said yes!!!! I really can't believe it, but I'm so excited that it's actually happening. I also wanted to say thank you for all the help and support you have given me. Getting to be a part of Youth Underground and the Central Square Theater community is something I really value and appreciate. Though next year I won't be around Rindge, I hope to continue seeing you and the Youth Underground productions.

CEO/Executive Director/Board Comments

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Management


CEO/Executive Director Ms Catherine Carr Kelly
CEO Term Start Mar 2008
CEO Email [email protected]
CEO Experience

Catherine Carr Kelly (Executive Director, Central Square Theater) was Managing Director of Underground Railway Theater for eleven years, overseeing the doubling of the budget and the streamlining of procedures. She served as Campaign Manager for the Campaign for Central Square Theater for the two years prior to becoming Executive Director of Central Square Theater. Catherine is also the founding Managing Director of the Women on Top Theater Festival of New Works, running from 2000-2007. She is the founding Director of the award-winning I Was There project, an interdisciplinary arts based oral history residency (grades 1-5) at the Vartan Gregorian Elementary School in Providence, RI. Prior to joining URT, she earned an MBA in Marketing on a fellowship at Suffolk University. Catherine has published in an international direct marketing guide, has consulted for theaters, restaurants and communications firms in public relations, small business management, and taught fundraising and arts advocacy courses in a variety of venues. She also stage managed, assistant directed, and produced original theater in Prague, Czech Republic.

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
Lee Mikeska Gardner The Nora Theatre Company Artistic Director Lee Mikeska Gardner has an extensive background in the theatre arts, education and administration and has never taken the beaten path. Longing to be an actress, Lee started out as a stage manager and while pursuing her performance ambitions became a director, a teacher and eventually an arts administrator in the Washington, D.C. region. Her work ranges from plays in development to the classics. She has helmed over 20 world premieres, three of which earned The Charles MacArthur Award for New Play. As an actor or director, she has received over 25 Helen Hayes nominations. An Artistic Associate for 10 years at Woolly Mammoth Theatre Company, Lee directed the following shows nominated for a Helen Hayes award, Outstanding Direction: After Ashley, Life During Wartime, and Goodnight, Desdemona, Good Morning Juliet.  She has served as an Associate Artist with 1st Stage and was the Managing Director for Washington Shakespeare Company for five years. She joined CST and The Nora in early 2014.
Debra Wise Underground Railway Theater Artistic Director

Debra Wise has been involved in the collaborative creation of more than 30 new works, as performer, director, playwright, and/or dramaturge. She is CoDirector of Catalyst [email protected] MIT, guiding the development of this science theater partnership between CST and MIT. Wise’s work as a playwright includes Aging Puzzle (commissioned by Boston Museum of Science); Home is Where (about homelessness and community); Washed-Up Middle-Aged Women (based on interviews with women from diverse backgrounds); and States of Grace (inspired by Grace Paley). She co-wrote URT’s environmental justice eco-cabaret, InTOXICating, and  has guided 3 commissions for the Boston Symphony Orchestra, and 3 programs in dialogue with visual art for the MFA,  ICA, and New Center for Arts and Culture. She has taught at Northeastern University and MIT, led a year-long residency at Tufts University and is on the faculty of Project Zero Summer Institute, Harvard Graduate School of Education. 

Awards

Award Awarding Organization Year
Outstanding Actor, Will Lyman (Operation Epsilon) The Nora Elliot Norton Award 2013
Best Costumes, (Arabian Nights), Small Theater (The Nora & URT co-production) Independent Reviewers of New England 2012
Best Directing, (Arabian Nights), Small Theater (The Nora & URT co-production) Independent Reviewers of New England 2012
Best Set Design, (Arabian Nights), Small Theater (The Nora & URT co-production) Independent Reviewers of New England 2012
Outstanding Actress, Stacy Fischer, (Hysteria) (The Nora) Elliot Norton Award 2011
Best New Play (Orchids to Octopi), Small Theater (URT) Independent Reviewers of New England 2010
Top Ten Productions of 2010 (Not Enough Air) (The Nora) The Boston Globe 2010

Affiliations

Affiliation Year
Actor's Equity Association --
AFP (Association of Fundraising Professionals) --
Theatre Communications Groups - Constituent Theatre --
Member of state association of nonprofits? No
Name of state association --

External Assessments and Accreditations

External Assessment or Accreditation Year
-- --

Collaborations

Central Square Business Association: CST Executive Director on Board. Catalyst [email protected]: MIT partnership to create/present plays to boost public understanding of science. Connectivity Council: Trotter Institute for Study of Black Culture; Union Baptist Church, Cambridge; Cambridge Peace Commission, Cambridge YWCA. Central Conversations: Cambridge Arts Council (puppetry workshop); MA Commission on LGBT Youth and Boston GLASS, (symposium, LGBT Rights); The Algebra Project and Young Peoples Project, (symposium, Equity and Opportunity in Education.) Roots of Liberty, Haitian Revolution and American Civil War: pageant, Freedom Rising History Conference (National Park Service, Harvard University). Workshops with: The Welcome Project, Books of Hope, The Haitian Coalition, Madison Park Development Corp, The Boston Haitian Reporter, Margaret Fuller House; Cambridge Rindge and Latin School, Cambridge Haiti Sister City Committee.

CEO/Executive Director/Board Comments

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Foundation Comments

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Staff Information

Number of Full Time Staff 7
Number of Part Time Staff 9
Number of Volunteers 115
Number of Contract Staff 150
Staff Retention Rate % --

Staff Demographics

Ethnicity African American/Black: 4
Asian American/Pacific Islander: 2
Caucasian: 10
Hispanic/Latino: 1
Native American/American Indian: 0
Other: 0
Other (if specified): 0
Gender Female: 11
Male: 5
Not Specified 0

Plans & Policies

Organization has Fundraising Plan? Under Development
Organization has Strategic Plan? Under Development
Years Strategic Plan Considers 3
Management Succession Plan Under Development
Business Continuity of Operations Plan No
Organization Policies And Procedures Under Development
Nondiscrimination Policy Yes
Whistle Blower Policy No
Document Destruction Policy No
Directors and Officers Insurance Policy Yes
State Charitable Solicitations Permit No
State Registration --

Risk Management Provisions

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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 Ms. Laura Roberts
Board Chair Company Affiliation Principal, Roberts Consulting
Board Chair Term July 2017 - June 2020
Board Co-Chair Betsy Groban
Board Co-Chair Company Affiliation Mass Creative
Board Co-Chair Term July 2017 - June 2020

Board Members

Name Company Affiliations Status
Sallie Adams Community Organizer Voting
Betsy Bard Cambridge Rindge & Latin School Voting
Dr. Martin Blatt Boston National Historic Park Voting
Downing Cless Tufts University Voting
Allison Coleman Capital Link Voting
Subrata Das Founder, CEO Machine Analytics Voting
Mary Dill IT Senior Business Voting
Betsy Groban MassCreative Voting
James Kaufman Suffolk University Voting
Breton Leone-Quick Esq. Mintz Levin Voting
Linda Lipkin Boston Public Schools Voting
Rakel Meir Tufts Health Plan Voting
Lee Mikeska Gardner The Nora Theatre Company Voting
Jane Minasian Esq. Minasian & Becker LLC Voting
Carolyn Mugar Farm Aid Voting
Brandon Ogubunu The Broad Institute (Harvard & MIT) Voting
Laura Roberts Roberts Consulting Voting
Simar Singh Conflict Dynamics International Voting
Melanie Wallace WGBH/NOVA Voting
Debra Wise Underground Railway Theater 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: 1
Asian American/Pacific Islander: 2
Caucasian: 16
Hispanic/Latino: 1
Native American/American Indian: 0
Other: 0
Other (if specified): 0
Gender Female: 13
Male: 7
Not Specified 0

Board Information

Board Term Lengths 2
Board Term Limits 5
Board Meeting Attendance % 75%
Written Board Selection Criteria Under Development
Written Conflict Of Interest Policy Yes
Percentage of Monetary Contributions 100%
Percentage of In-Kind Contributions 30%
Constituency Includes Client Representation Yes

Standing Committees

  • Diversity & Inclusion
  • Donor Services
  • Executive
  • Finance
  • Special Events (Golf Tournament, Walk / Run, Silent Auction, Dinner / Gala)
  • Strategic Planning / Strategic Direction

CEO/Executive Director/Board Comments

CST’s structure maximizes the synergy between the two resident theater companies, provides a vehicle for critical input from all levels of the organization, and streamlines decision making in this unique collaborative organizational model. Three boards have overlapping membership in Executive Committee positions on the CST board. The URT & The Nora “Company Boards” focus on vision and program, while the CST Board has fiscal and organizational oversight and creates strategic, multi-year partnerships.

Foundation Comments

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Financials


Revenue vs. Expense ($000s)

Expense Breakdown 2016 (%)

Expense Breakdown 2015 (%)

Expense Breakdown 2014 (%)

Fiscal Year July 01, 2017 to June 30, 2018
Projected Income $1,654,375.00
Projected Expense $1,634,011.00
Form 990s

2016 990

2015 990

2014 990

2013 990

2012 990

2011 990

2010 990

Audit Documents

2016 CST Audited Statement

2015 CST Audited Statement

2014 CST Audited Statement

2013 CST Audited Statement

2012 CST Audited Statement

2011 CST Audited Statement

IRS Letter of Exemption

IRS Letter of Determination

Prior Three Years Total Revenue and Expense Totals

Fiscal Year 2016 2015 2014
Total Revenue $1,825,627 $1,751,082 $1,671,909
Total Expenses $2,058,462 $1,918,750 $2,000,462

Prior Three Years Revenue Sources

Fiscal Year 2016 2015 2014
Foundation and
Corporation Contributions
$326,005 $254,538 $177,525
Government Contributions $16,900 $14,100 $31,900
    Federal -- -- --
    State -- -- --
    Local -- -- --
    Unspecified $16,900 $14,100 $31,900
Individual Contributions $206,798 $368,808 $429,549
Indirect Public Support -- -- --
Earned Revenue $994,232 $829,826 $732,284
Investment Income, Net of Losses -- -- --
Membership Dues -- -- --
Special Events $48,809 $74,875 $86,371
Revenue In-Kind $217,431 $203,913 $189,310
Other $15,452 $5,022 $24,970

Prior Three Years Expense Allocations

Fiscal Year 2016 2015 2014
Program Expense $1,618,133 $1,528,334 $1,549,372
Administration Expense $244,346 $230,166 $250,550
Fundraising Expense $195,983 $160,250 $200,540
Payments to Affiliates -- -- --
Total Revenue/Total Expenses 0.89 0.91 0.84
Program Expense/Total Expenses 79% 80% 77%
Fundraising Expense/Contributed Revenue 33% 22% 28%

Prior Three Years Assets and Liabilities

Fiscal Year 2016 2015 2014
Total Assets $2,267,246 $2,481,306 $2,581,364
Current Assets $195,466 $226,656 $152,221
Long-Term Liabilities $475,000 $1,190,079 $1,190,079
Current Liabilities $517,193 $473,416 $405,806
Total Net Assets $1,275,053 $817,811 $985,479

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 Yes
Reserve Fund Yes
How many months does reserve cover? 2.00

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? Yes

Short Term Solvency

Fiscal Year 2016 2015 2014
Current Ratio: Current Assets/Current Liabilities 0.38 0.48 0.38

Long Term Solvency

Fiscal Year 2016 2015 2014
Long-term Liabilities/Total Assets 21% 48% 46%

CEO/Executive Director/Board Comments

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Foundation Comments

Financial summary data in charts and graphs are per the organization's audited financials.

Documents


Other Documents

No Other Documents currently 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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