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Organization DBA Fort Point Theatre Channel
Former Names --
Organization received a competitive grant from the Boston Foundation in the past five years No

Summary

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Mission StatementMORE »

Fort Point Theatre Channel is dedicated to creating and sustaining new configurations of the performing arts. We bring together an ensemble of artists from the worlds of theater, music, visual arts, and everything in between as a forum for collaborative expression while enriching the Fort Point community, Boston, and beyond.

Mission Statement

Fort Point Theatre Channel is dedicated to creating and sustaining new configurations of the performing arts. We bring together an ensemble of artists from the worlds of theater, music, visual arts, and everything in between as a forum for collaborative expression while enriching the Fort Point community, Boston, and beyond.

FinancialsMORE »

Fiscal Year Jan 01, 2013 to Dec 31, 2013
Projected Income $30,000.00
Projected Expense $30,000.00

ProgramsMORE »

  • Exclamation Point, Salons, and Other Free Events
  • Major Productions

Revenue vs. Expense ($000s)

Expense Breakdown 2015 (%)

Expense Breakdown 2014 (%)

Expense Breakdown 2013 (%)

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


Overview

Mission Statement

Fort Point Theatre Channel is dedicated to creating and sustaining new configurations of the performing arts. We bring together an ensemble of artists from the worlds of theater, music, visual arts, and everything in between as a forum for collaborative expression while enriching the Fort Point community, Boston, and beyond.

Background Statement

Formed in 2007 and incorporated as a nonprofit in 2011, Fort Point Theatre Channel is dedicated to creating and sustaining new configurations of the performing arts. We bring together an ensemble of artists from the worlds of theater, music, visual arts, and everything in between as a forum for collaborative expression while enriching the Fort Point community, Boston, and beyond.
 
Our programs strengthen our neighborhood. They encourage the arts, encourage artists to share work with the public, and encourage the neighborhood to support the arts. We collaborate actively with other local organizations—in particular, Friends of Fort Point Channel and the Fort Point Arts Community. With FPAC, the producer is clerk, board member, and a leader in an effort to create an arts center in Fort Point.
 
Joining our core group of 14 artistic directors for each project are many collaborators. Most involve 25-40 participants and reach 50-500 audience members.
 
Emphasizing both inclusion and quality, we offer a flexible combination of activities. Boston Magazine has described FPTC as “a unique initiative in the performing arts in the city.” The magazine was honoring FPTC resident playwright Silvia Graziano as a "New Revolutionary."
 
Each year, FPTC offers major productions in theatre, music, and dance. A few highlights, all unique, are “The Good Person of Setzuan;” “4:48 Psychosis;” “Carny Knowledge: A Sideshow Extravaganza of Original Plays and Extraordinary Oddities;” “Impermanence and Uncertainty: An Evening of Contemporary Music and Dance;” “Codes of Conduct: Plays About Women & Men;” “Hotel Cassiopeia,” inspired by the artist Joseph Cornell; and “Memories and Fantasies,” a dance/music production. We stage many of these in nontraditional, neighborhood locations.
 
Central to our mission are two intimate, informal free programs. Salons bring people together to explore artistic ideas. Each begins by listening to a project concept or listening to a work in progress, followed by discussion over dinner.
 
The Exclamation Point! series explores new short works, often works in progress. Offered for free, these informal evenings give writers, musicians, filmmakers, and others a chance to see their work presented by a professional company. Each draws a capacity audience to a variety of nontraditional venues (cafes, galleries, storefronts, etc.). Themes, considered broadly, have included film, the science of love, anachronism, the four humors, and more. We have offered 11 EPs.

Impact Statement

MicroTheatre: pla(T)forms. Atlantic Works Gallery & Korean Church. December 2015
 
Launched SENSES: A Performance Series at Internal Matters. Monthly, free presentations have included such evenings as Animation: The Next Generation, Elastic Communion: Raw. Modern. Beat. Poetry, The Mosquito Story Slam, The Katrina Roadhouse
 
Children’s Craft Event. Atlantic Wharf. December 2015

Body & Sold: dramatic reading in collaboration with The Club by George Foreman III and Tempest Productions. October 2015

Jeanne: the story of a woman: Opera-dance collaboration with Ensemble Warhol and Contrapose Dance. September  2015.

Exclamation Point 14! Inter-Actions: Performance Art x Art That Performs. July 2015

Production: Reimagined The Hidden Faces of Courage with A Lot on Our Minds, by On With Living and Learning, March 19-28, 2015. Cambridge YMCA

Exclamation Point 13! Channel/Dance: An Evening of Movement, Art, and Theatre, FPTC & Contrapose Dance, February 2015

Coming up

Production of a new play, Dreambook: A Play with Songs, by Dan Osterman and Nick Thorkelson. June 2016

Basra-Boston Project presentations in the Boston area and in Basra, Iraq. June 2015-Winter 2016-17.

Onscreen/Offscreen Exclamation Point: Film and Live Performance, winter 2016


Needs Statement

Grants and donations are essential to our work. They enable FPTC to provide the people who work with us with sufficient resources. Just as important, we can keep admission prices low for all—and offer many free events like Exclamation Point!and our Salons.
 
Our core group of 14 artists maintains the company and plans and oversees all productions and other events. We have no regular paid staff but pay 20 to 40 actors, designers, and technical crew to work on each project. Although we are a small performance company, we are committed to paying the artists who work with us and to giving them the resources they need to do their work. We also pay more than the going rate for small theatre companies because of this commitment to supporting artists as well as mounting high-quality productions.
 
The stipend for actors is a minimum of $300 but we usually pay at least $500 and periodically engage actors on a regular union contract at $300 per week. Set, lighting, and costume designers receive a stipend of $500-$1,000 depending on available resources. The greatest need is for larger budgets for the designers to create with, at least double the $1,000 we currently aim to provide.
 
Budgets range from $2,000 for Exclamation Point events, which are always offered for free, to $15,000 for a large-scale production. Our goal is to double both as quickly as possible.
 
Fortunately, a local developer given us the free use of a 5,000-square-foot space for two years. However, we expect this major donation will end within a year. We are seeking a new, permanent home, but this will add up to $30,000 to our annual expenses.

CEO Statement

FPTC’s performances and our many other projects are embedded in issues that matter to us and to our community, from what it means to be an individual and part of a larger community, to the challenges faced by former prisoners and veterans, to the need for places grounded in joy and creativity in any society. As an organization, we engage deeply with our neighborhood on development issues, particularly the role of the arts in creating and solidifying a community.
 
The members of the community value our contributions to it highly, illustrated in part by local attendance at our events and the financial contributions of a number of local businesses. In addition, we help support the many local artists from Fort Point and elsewhere who collaborate with us. In these and other ways, we help preserve and enlarge the artist community in Fort Point and connect it to the rest of our city, as well as to the larger society.

Board Chair Statement

None

Geographic Area Served

GREATER BOSTON REGION, MA
Fort Point, the City of Boston, Greater Boston

Organization Categories

  1. Arts,Culture & Humanities - Performing Arts
  2. Public & Societal Benefit - Public & Societal Benefit NEC
  3. Unknown - Unknown

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

No

Programs

Exclamation Point, Salons, and Other Free Events

The Exclamation Point! series explores new work, often works in progress. Offered for free, these informal evenings give writers, musicians, filmmakers, and others a chance to see their work presented by a professional company. Each draws a capacity audience to a variety of nontraditional venues (cafes, galleries, storefronts, etc.). Themes, each considered broadly, have included film, the science of love, anachronism, the four humours, and more. We have offered 11 EPs.
 
Salons bring people together to explore artistic ideas. Each begins by listening to a project concept or listening to a work in progress, followed by discussion over dinner.
Budget  0-$2,000
Category  Arts, Culture & Humanities, General/Other Performing Arts
Population Served Adults US Families
Program Short-Term Success 
Success for all productions and events is an enjoyable and thought-provoking evening for participants and audiences, as well as a high-quality production. This is measured through post-event evaluation sessions by FPTC’s 14 artistic board members, along with feedback from participants and audiences. In some cases, additional feedback comes from reviews and other notices in various media.
 
For Exclamation Point and other special events, we aim to present early-stage, high-quality, stimulating material, with:
 
> 1-2 performances of each
> total audiences of 100-200
> 20-30 contributing artists and other staff receive payment for their participation
Program Long-Term Success 
Our work strengthens the neighborhood we serve as part of our efforts to encourage the arts, encourage artists to share their work with the neighborhood, and encourage the neighborhood to support the arts. In all our work, FPTC uses theatre and many other arts to bring people together.
 
We collaborate actively other organizations to market, develop, and preserve the neighborhood. Recently, FPTC has played in a leading role in the effort of the Fort Point Arts Community to create an arts center in Fort Point. In the face of intense development and upscaling, such a facility would anchor Fort Point for the long-term as a Boston’s premier artist neighborhood and a resource for the region. It could also provide a new, permanent home for FPTC.
Program Success Monitored By 
Success is measured through post-event evaluation sessions by members of Fort Point Theatre Channel, along with feedback from participants and audiences. In some cases, additional feedback comes from reviews and other notices in various media.
 
Success is also measured by the resources we are able to provide to the artists working with us, as both stipends and expenses for their creative efforts on our behalf.
Examples of Program Success 
Exclamation Points this past year drew about 150 people each. We presented EP for two evenings to accommodate interest in these offerings. “Napoleon Bowling” was the first EP presented outside Fort Point: the Currier Museum of Art cosponsored one evening. All Exclamation Points are free.
 
Other recent special events illustrate the diversity of our offerings:
 
> “Travels With Franny: A True & Faithful Account of Our Road Trip with Franz Kafka,” a reading of a novel-in-progress
> Readings of the Iraqi play “Waiting for Gilgamesh”and “No Room for Wishing,” a new play about Occupy Boston, presented during Icons, an exhibit curated by FPTC’s Anne Loyer of art growing out of interviews with Iraqi citizens and U.S. veterans of the Iraq war
> “The Hidden Faces of Courage,” a semi-staged reading of a new play on reentry challenges for formerly incarcerated women
> “We Still Live Here: Âs Nutayuneân,” an acclaimed documentary, tells the story of the revival of an indigenous language

Major Productions

Each year, FPTC offers major productions in theatre, music, and dance. A few highlights, all unique, include:
 
> Play festivals: “Carny Knowledge: A Sideshow Extravaganza of Original Plays and Extraordinary Oddities;” “Gods, Monsters, and the Other;” and “Codes of Conduct: Plays About Women & Men”
 
> Major plays, such as: “The Good Person of Setzuan;” “4: 48 Psychosis;” “The Time of Your Life;” and “Hotel Cassiopeia”
 
> Music/dance events, such as: “Impermanence and Uncertainty: An Evening of Contemporary Music and Dance” and “Memories and Fantasies,” a dance/music production.
 
We stage many of these in nontraditional, neighborhood locations.
Budget  6,000 - $15,000
Category  Arts, Culture & Humanities, General/Other Performing Arts
Population Served Adults Offenders/Ex-Offenders Immigrant, Newcomers, Refugees
Program Short-Term Success 
Success for all productions and events is an enjoyable and thought-provoking evening for participants and audiences, as well as a high-quality production. This is measured through post-event evaluation sessions by FPTC’s 14 artistic board members, along with feedback from participants and audiences. In some cases, additional feedback comes from reviews and other notices in various media.
 
We aim for fully developed, high-quality productions, with:
 
> 6-9 performances of each
> total audiences of 500-1,000
> 20-30 contributing artists and other staff receive payment for their participation
Program Long-Term Success 
Our work strengthens the neighborhood we serve as part of our efforts to encourage the arts, encourage artists to share their work with the neighborhood, and encourage the neighborhood to support the arts. In all our work, FPTC uses theatre and many other arts to bring people together.
 
We collaborate actively other organizations to market, develop, and preserve the neighborhood. Recently, FPTC has played in a leading role in the effort of the Fort Point Arts Community to create an arts center in Fort Point. In the face of intense development and upscaling, such a facility would anchor Fort Point for the long-term as a Boston’s premier artist neighborhood and a resource for the region. It could also provide a new, permanent home for FPTC.
Program Success Monitored By 
Success is measured through post-event evaluation sessions by members of Fort Point Theatre Channel, along with feedback from participants and audiences. In some cases, additional feedback comes from reviews and other notices in various media.
 
Success is also measured by the resources we are able to provide to the artists working with us, as both stipends and expenses for their creative efforts on our behalf.
Examples of Program Success  “The Good Person of Setzuan,” offered in 2013, was our most successful production in many respects, artistically, economically, and socially. Reviews and comments were exceptionally enthusiastic. We distributed about $15,000 to three dozen actors, designers, and others. We performed for capacity audiences for six of the nine evenings and at two-thirds capacity for the others, despite blizzards. We had a balanced budget despite low ticket prices ($18 maximum, with many discounts and free offers).

CEO/Executive Director/Board Comments

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Management


CEO/Executive Director Dr. Marc S. Miller
CEO Term Start Sept 2011
CEO Email [email protected]
CEO Experience Marc S. Miller is FPTC’s co-artistic director, cofounder, and producer. He has directed for a number of Boston-area theatres and was a member of the Actors’ Coop of North Carolina. He directed FPTC’s productions of “4:48 Psychosis,” “The Time of Your Life,” “Indiscreet Discretion,” and “Hotel Cassiopeia” and Silvia Graziano’s “Heads or Tales?” for FeverFest 2010. Other favorite directing gigs include “Arcadia,” “Pygmalion,” and “Cloud Nine” with the Longwood Players; “Tone Clusters,” “Middle-Aged White Guys,” and “Arms and the Man” with the Theatre Cooperative; “Criminal Hearts” with Theatre Unanimous (also co-producer); “Play With a Tiger” (independent production; also producer); and “We Can’t Pay, We Won’t Pay” with the Actors Coop of North Carolina. He has acted, stage managed, and swept the floors for countless theatre companies over four decades. A writer and editor for his day job, he has written or been project director for a dozen books, including several that won major awards. He has written on theatre, economic opportunity, health care, human rights, history, and technology policy. He is a long-time board member and past president of Resist Foundation, www.resistinc.org, and a board member of Fort Point Arts Community, www.forpointarts.org.
Co-CEO --
Co-CEO Term Start --
Co-CEO Email --
Co-CEO Experience --

Former CEOs and Terms

Name Start End
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Senior Staff

Name Title Experience/Biography
Mr. Rick Dorff artistic board member Richard Dorff is a visual artist. He attended Massachusetts College of Art and currently works in his studio in East Boston. He is a founding member of the Atlantic Works Gallery where he shows his work.
Dr. Mary Driscoll artistic board member Mary Driscoll is founder of the nonprofit On With Living and Learning, Inc. OWLL’s advocacy performances present the authentic expression of women whose voices have been silenced in our communities. Her work has been performed as part of the African American Play Festival, by Boston Theatre Works, at Provincetown Fine Arts Center, and, for FPTC, in the play festival, “Gods, Monsters, and the Other,” and in “Hotel Cassiopeia” and “The Good Person of Setzuan.” Mary has combined her experience an occupational therapist with her passion for theatre to design a program that advances 21st century occupational and literacy skills. OWLL’s successful program is for people who are transitioning from marginalization to productive participation in their communities. As an actor, she has appeared on Boston, New York, and Provincetown stages. onwithlivingandlearning.org
Ms. Christie Lee Gibson artistic board member Christie Lee Gibson is an opera singer, actress, and creator/producer/director/coach of musical-theatrical happenings. She is drawn to the continuum of work spanning from experimental theatre to classical opera and pieces that exist at indefinable points along that spectrum. She has acted, directed, and been vocal coach for numerous FPTC productions, including “Codes of Conduct,” “Carny Knowledge,” “Memories and Fantasies,” and “The Time of Your Life.” She directed FPTC’s “The Good Person of Setzuan.”She performed in France as Orphée in Offenbach’s “Orphee Aux Enfers” and in concerts of music by Saint-Saëns, Gounod, Poulenc, and Aboulker. Recent credits include “The Four-Note Opera,” “The Choose-Your-Own-Opera,” “Der Zwerg,” and “L'Incoronazione di Poppea” (OperaHub), “Enjoy” (Apollinaire), “From Places Unknown” (11:11 Theatre), “Iolanthe” (Mass Theatrica), “Rusalka” (Diva Day Foundation), and “A Dream Play” (Exquisite Corps). Currently she and composer Erin Huelskamp are developing a one-act chamber opera/movement-based theatre piece entitled “The Ten-Block Walk: An Old-Person's Odyssey.” She is a graduate of Brown University. christieleegibson.com
Ms. Silvia Graziano artistic board member Silvia Graziano, a playwright and poet, is FPTC's co-artistic director and resident playwright. FPTC premiered her full-length play “Indiscreet Discretion” in 2012. Silvia was co-impresario of FPTC’s “Carny Knowledge,” and FPTC’s first play festival featured her play “The Romantic.” In 2010, she was named a New Revolutionary in “Boston Magazine” for her work with Fort Point Theatre Channel. Her one-act play “Trapped Inside a Low-fat Twinkie” was featured in 2010 in FPTC’s “Codes of Conduct.” In 2011, she collaborated with Blue Spruce Theatre and composer David Reiffel to win Company One’s Fringe Wars for their musical “Potter’s Field Bed and Breakfast.” The team’s musical “The Royal Institute for the Support and Healing of the Arts” qualified them for the finals. Her short play “Heads or Tales?” was part of FeverFest 2010. Reflecting her interest in psychology, much of Silvia’s writing explores the best and the darkest sides of the human condition in a celebration of the quest for understanding ourselves. She coordinates a Harvard-affiliated Psychiatry Residency Training Program. Previously, she was an outreach worker, with a focus on the transgendered and chronically ill communities. Silvia has a BFA in dramatic writing from NYU.
Ms. Anne Loyer artistic board member Anne Loyer is an emerging director, whose first film short won the "Indie Soul" Special Recognition award at the Boston International Film Festival. She has been involved in visual storytelling throughout her career: from her two-dimensional fine art work, to narrative animations, to public art projects and performances that included her audio and video collages based on participants’ stories. She was production designer for FPTC’s “The Good Person of Setzuan.” She recently served as art director for the Academic Media Studio at Wesleyan University, where she produced award-winning video and interactive web sites for educational use in the classroom and museum setting. While a guest artist at Montserrat College of Art, she collaborated with professor Gabrielle Keller and students on a project that evolved into the Odysseus Project, an ongoing dialogue among veterans, artists, and artist-veterans, with support from the Joiner Center for the Study of War and Social Consequences at UMass Boston. The project’s current direction is "Tamziq, Scattered and Connected," an international and local collaboration between artists and students from the United States and the Middle East, with a focus on Iraq. Her work has been supported by grants from the Massachusetts Cultural Council, Jane’s Trust, and a fellowship at the National Academy of Design. http://www.nervegarden.com/
Ms. Sally Nutt artistic board member Sally Nutt first worked with FPTC in 2010 in “Carny Knowledge,” playing the frustrated wife and a needy mother in the short plays “Wife of Bobbo” and “Love Me/Leave Me.” Other recent area credits include “The Good Person of Setzuan” (FPTC), “The Life and Adventures of Nicholas Nickleby” (Lyric Stage), “Quills” and “Barefoot in the Park” (Bad Habit Productions), “Something About Swans” (Blackburn Center for the Arts at Boston Playwrights Theatre), and “Funny Money” (Newburyport's Firehouse Center). She relishes working with playwrights, workshopping and performing in their new works, and as such, is an actor-in-residence with Boston’s Playwrights’ Platform. Sally grew up in rural New Jersey, traveled the world courtesy of the U.S. Air Force, currently resides on the North Shore . . . and has thrived on theatre in all those places. She is a voice-over artist and a member of the Screen Actors Guild and the American Federation of Television and Radio Artists.
Ms. Hana Permimkova artistic board member Hana Permimkova is a design director and illustrator at Mario Avila Design studio in her day job. Hana's experience with props comes from the fashion photography industry.
Ms. Amanda Sheehan artistic board member Amanda Sheehan is a freelance stage manager living in Boston who spends her summers company managing at the New London Barn Playhouse in New Hampshire. She has also dabbled in props design and is currently learning about marketing and pr for small theatres. She will be graduating from Dartmouth College with a Master's in Liberal Studies, creative writing focus, in June 2013.
Ms. Robin JaVonne Smith artistic board member Robin JaVonne Smith made her FPTC debut as the Newsboy in The “Time of Your Life” and recently played Flo in “Sunday With Joy.” Other credits include “Phantom of the Oprah” (Ryan Landry’s Gold Dust Orphans) and “King John” (Actors’ Shakespeare Project). She is also a member of the Beau Jest Moving Theatre company and appeared in a Tennessee Williams world premiere of “American Gothic” at the 2010 Tennessee Williams Theater Festival in Provincetown. She received her A.B. in English and theatre from Bowdoin College and studied at the British American Drama Academy in London.
Mr. Nick Thorkelson artistic board member Nick Thorkelson regularly performs his multimedia pieces in FPTC’s Exclamation Point! series. He composed the music and led the Carny Band for “The Good Person of Setzuan.” He also led the Carny Band in Carny Knowledge, for which he wrote the short play “Lionel Banished.” He appeared in FPTC’s “The Time of Your Life” and “Trapped Inside a Low-fat Twinkie.” Previously, he co-wrote, with Josef Treggor, and helped stage a workshop production of “Defarge,” a musical based on “A Tale of Two Cities.” He has performed in various rock, blues, soul, and reggae bands, including Boston’s first reggae band, Jamaica Hylton. www.nickthorkelson.com
Mr. Douglas Urbank artistic board member Douglas Urbank is an experimental filmmaker with a background in sculpture and drawing who began working with film in 2008. His films are made primarily with 16 mm film stock using “direct film” techniques, including combinations of original and found footage, blank leader, hand coloring, adhesive overlays, and other interventions, and are edited on a light table without use of a traditional editing system. His work has been screened nationally at film festivals and tours and locally at experimental music programs with live sound accompaniment. Since 2001 he has hosted a radio program devoted to experimental, improvisational, and other unconventional music and sound art, and part of WZBC’s long-running “No Commercial Potential” weeknight programming from Boston College. The show aired previously for several years on Tufts University’s WMFO. www.douglasurbank.com
Mr. Daniel J. van Ackere artistic board member Daniel J. van Ackere graduated from the School of the Museum of Fine Arts and Tufts University in 1988 and has been photographing for a wide range of commercial and art-based clients ever since. He has collaborated on several photographic and holographic portrait projects with the late Harriet Casdin-Silver, an internationally renowned and long-time Fort Point artist, and is staff photographer at America’s Test Kitchen. Daniel is currently collaborating on a permanent public art piece based on his “Starry Night” installation, originally conceived for Fort Point Arts Community’s Winter Solstice Public Art Series. His continuing fascination with the illusory worlds of theatre and holography has melded with his current work in public art and his photographic pursuits of landscape, theatre, and dance. He can be reached on his website at www.danieljvanackere.com.
Mr. Mark Warhol artistic board member Mark Warhol, cofounder of Fort Point Theatre Channel, was born in Texas and received a degree in electrical engineering from Purdue University. This was naturally followed by the study of piano with William Dorn and music composition with David van Vactor at the Music School of the University of Tennessee, where he designed and built the first electronic music studio. An interest in opera and further study at the Stockhausen Concerts and Courses in Germany led him to include theatrical aspects in all his compositions. Mark lives in Gloucester, where he is a freelance composer and artistic director of Ensemble Warhol. His works include a theatrical dimension in which musicians work regularly with actors, animators, artists, authors, choreographers, dancers, mimes, performance artists, sculptors, stage directors, and other artists, and they are sometimes themselves called upon to integrate their instrumental or vocal performances into the stage action. He was composer and producer of “Heaven and Earth” and “Memories and Fantasies,” both of which were collaborations of Fort Point Theatre Channel and Ensemble Warhol. www.markwarhol.net

Awards

Award Awarding Organization Year
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Affiliations

Affiliation Year
-- --
Member of state association of nonprofits? No
Name of state association --

External Assessments and Accreditations

External Assessment or Accreditation Year
-- --

Collaborations

We collaborate actively with other local organizations—in particular, Friends of Fort Point Channel and the Fort Point Arts Community. With FPAC, the producer is clerk, board member, and a leader in an effort to create an arts center in Fort Point.

CEO/Executive Director/Board Comments

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Foundation Comments

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Staff Information

Number of Full Time Staff 0
Number of Part Time Staff 0
Number of Volunteers 14
Number of Contract Staff 50
Staff Retention Rate % 90%

Staff Demographics

Ethnicity African American/Black: 7
Asian American/Pacific Islander: 0
Caucasian: 93
Hispanic/Latino: 0
Native American/American Indian: 0
Other: 0
Other (if specified): 0
Gender Female: 57
Male: 43
Not Specified 0

Plans & Policies

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

Risk Management Provisions

--

Reporting and Evaluations

Management Reports to Board? No
CEO Formal Evaluation and Frequency No N/A
Senior Management Formal Evaluation and Frequency N/A N/A
Non Management Formal Evaluation and Frequency N/A N/A

Governance


Board Chair Dr. Marc S. Miller
Board Chair Company Affiliation Community Volunteer
Board Chair Term Sept 2011 - Aug 2014
Board Co-Chair Mr. Nick Thorkelson
Board Co-Chair Company Affiliation Community Volunteer
Board Co-Chair Term Sept 2014 - Aug 2014

Board Members

Name Company Affiliations Status
Mr. Richard Dorff Community Volunteer NonVoting
Dr. Mary Driscoll Retired NonVoting
Ms. Silvia Graziano Community Volunteer Voting
Ian W. King Community Volunteer Voting
Ms. Anne Loyer Community Volunteer NonVoting
Dr. Marc S. Miller Community Volunteer Voting
Ms. Sally Nutt Community Volunteer NonVoting
Ms. Hana Permimkova Community Volunteer NonVoting
Mr. Nick Thorkelson Community Volunteer Voting
Nathan Troup Community Volunteer Voting
Mr. Douglas Urbank Community Volunteer NonVoting
Mr. Daniel J. van Ackere Community Volunteer NonVoting
Mr. Mark Warhol Community Volunteer NonVoting

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: 7
Asian American/Pacific Islander: 0
Caucasian: 93
Hispanic/Latino: 0
Native American/American Indian: 0
Other: 0
Other (if specified): 0
Gender Female: 57
Male: 43
Not Specified 0

Board Information

Board Term Lengths 3
Board Term Limits --
Board Meeting Attendance % 90%
Written Board Selection Criteria No
Written Conflict Of Interest Policy Yes
Percentage of Monetary Contributions 100%
Percentage of In-Kind Contributions 100%
Constituency Includes Client Representation No

Standing Committees

    --

CEO/Executive Director/Board Comments

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Foundation Comments

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Financials


Revenue vs. Expense ($000s)

Expense Breakdown 2015 (%)

Expense Breakdown 2014 (%)

Expense Breakdown 2013 (%)

Fiscal Year Jan 01, 2013 to Dec 31, 2013
Projected Income $30,000.00
Projected Expense $30,000.00
Form 990s

2015 990

2014 990

2013 990

2012 990

2011 990

Audit Documents --
IRS Letter of Exemption

IRS Letter of Determination

Prior Three Years Total Revenue and Expense Totals

Fiscal Year 2015 2014 2013
Total Revenue $35,791 $57,891 $33,821
Total Expenses $30,479 $39,002 $38,438

Prior Three Years Revenue Sources

Fiscal Year 2015 2014 2013
Foundation and
Corporation Contributions
-- -- --
Government Contributions $0 $0 $0
    Federal -- -- --
    State -- -- --
    Local -- -- --
    Unspecified -- -- --
Individual Contributions $23,507 $50,806 $24,896
Indirect Public Support -- -- --
Earned Revenue $12,284 $7,085 $8,925
Investment Income, Net of Losses -- -- --
Membership Dues -- -- --
Special Events -- -- --
Revenue In-Kind -- -- --
Other -- -- --

Prior Three Years Expense Allocations

Fiscal Year 2015 2014 2013
Program Expense $30,479 $39,002 $38,438
Administration Expense -- -- --
Fundraising Expense -- -- --
Payments to Affiliates -- -- --
Total Revenue/Total Expenses 1.17 1.48 0.88
Program Expense/Total Expenses 100% 100% 100%
Fundraising Expense/Contributed Revenue 0% 0% 0%

Prior Three Years Assets and Liabilities

Fiscal Year 2015 2014 2013
Total Assets $30,133 $24,821 $5,932
Current Assets $29,333 $24,021 $5,132
Long-Term Liabilities $0 $0 $0
Current Liabilities $0 $0 $0
Total Net Assets $30,133 $24,821 $5,932

Prior Three Years Top Three Funding Sources

Fiscal Year 2015 2014 2013
1st (Source and Amount) -- --
-- --
-- --
2nd (Source and Amount) -- --
-- --
-- --
3rd (Source and Amount) -- --
-- --
-- --

Financial Planning

Endowment Value --
Spending Policy N/A
Percentage(If selected) --
Credit Line No
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 2015 2014 2013
Current Ratio: Current Assets/Current Liabilities -- -- --

Long Term Solvency

Fiscal Year 2015 2014 2013
Long-term Liabilities/Total Assets 0% 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 Form 990s. Contributions from foundations and corporations are listed under individuals when the breakout was not available. Please note, the 2011 Form 990 posted above is for a partial year.

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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