Susan Medak has witnessed some profound changes across the theater funding landscape since assuming the role of Berkeley Repertory Theatre’s managing director in 1990. We talk with her about some of the sector’s biggest challenges.
As state governments cuts support for the arts, regional donors often try to fill the gap. For a particularly stark example of this phenomenon, we turn our attention to Florida, where private wealth is offsetting some cuts to public arts funding.
Many dance and theater groups continue to grapple with lower box office yields, a shrinking subscriber base, fickle millennials, and declines in public funding. The Schubert Foundation is one of the best friends these nonprofits have.
Funder interest in the intersection of art and social justice remains strong. A case in point is the Sheri and Les Biller Family Foundation, which will soon make its first round of grants to back theater performances that “take on relevant social issues.”
Los Angeles-area lawyer David Gindler and his wife Kiki Ramos Gindler have emerged as top local arts funders in recent years. They are likely to play a hands-on role in the organizations that they support.
Stewart F. Lane and his wife Bonnie Comley have collectively produced over 40 Broadway shows, making a fortune along the way—wealth that underwrites philanthropy focused on the arts and their alma maters.
By increasing its payout to National Theater Project winners, the New England Foundation for the Arts is another institutional grantmaker providing critical support for traditionally underfunded arts fields.
Bruce Whitacre, who leads Theatre Forward, which recently rolled out a new national grants program aimed at boosting diversity and equity in theater, shares his thoughts with IP on key challenges facing this world.
We write often about the handful of national funders that support individual artists. But there are also some local and regional funders who operate in this space, including Artist Trust, which is based in Seattle.
Now in its 12th year and funded by the David Charles Horn Foundation, winners of the David Charles Horn Prize receive $10,000, a publishing deal, and a staged professional reading.
The Wallace Foundation's latest Building Audiences for Sustainability Story looks at a theater troupe's successful efforts to attract younger attendees by tapping into the power of market research.
The Educational Theatre Foundation was formed a year ago to raise money for what seems like a super niche area. But as its ED tells us, there's more potential donor support for school theater than you might think.
Patron support remains relatively scarce in a theater space dominated by institutional funders. Even more so when it comes to funding theater education programs for kids. Here's an exception.
Thanks to a $3.77 million infusion from the Andrew W. Mellon Foundation, the New England Foundation for the Arts' National Theater Project is extending its scope beyond developing and staging new work.
News out of Chapel Hill points to another example of a loyal patron looking to transform a university performing arts program into a regional (and potentially national) powerhouse.
A $5 million fund from digital audiobook company Audible suggests that the next frontier of theater grantmaking may not be the stage, but the smart phone in your pocket.
While theater directors understand the value of working with peers who've boosted audience engagement, criss-crossing the continent doesn't come cheap. Which is where these grants come in.
A New York-based private equity titan giving millions to support a new college theater? Sounds like a typo, but more Wall Street types are into the arts than you might think.
The Restless Award, the largest annual cash prize in American theater devoted to a new play, involves partnering with the British theater community.
Nine play cycles. Twenty-four-hour performances. "Hamilton." They jury behind the $100,000 Edward M. Kennedy Prize for drama inspired by American history likes ambitious grandiose productions.
News out of D.C. suggests that a contentious political climate and the public's thirst for compelling portrayals of U.S. history have created in opening in what was once considered a niche area of theater.
Donors dollars are turning universities into small town talent incubators, funneling students towards the country's theater hot spots. We dig into a recent example out of Michigan.
A unique initiative out of New York has received financial backing from institutional funders like the Howard Gilman and Doris Duke Charitable Foundation as well as Hamilton playwright Lin-Manuel Miranda.