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HomeMy WebLinkAbout2014-351 Arts - Deep Dish Theater Company for Spring 2014 Arts Grant Agreement $2,801 ORANGE COUNTY ARTS COMMISSION ,..�. 1x R n FA e c a u n r v k ix TS SPRING,2014 GRANT AGREEMENT cl �. CVM!A155.1014 THIS AGREEMENT, entered into this 16th day of June, 2014, by and between Orange Count ("County"), by and through the Orange County Arts Commission("Arts Commission") and Deep Dish Theater Company("Grant Recipient"). WHEREAS, the Arts Commission is a countywide arts agency that ensures the growth o t' local arts experiences by providing funding and support for diverse high quality programs 11-1d projects. WHEREAS, the Arts Commission administers the Spring and Fall Arts Grants Program to provide economic opportunities to Orange County artists and non-profit organizations coordinating arts projects benefiting the citizens of Orange County. WHEREAS, the Spring Arts Grants Program is supported by Arts Commission with funds from the Grassroots Program of the North Carolina Arts Council, an agency of dic Department of Cultural Resources and the National Endowment for the Arts. WHEREAS, the Grant Recipient was selected by the Arts Commission to receive the Spring Arts Grant through the procedures duly adopted by the Arts Commission; and WHEREAS, both parties wish to promote and maintain the integrity and clarity of the Grant Recipient's ideas and statements and delineate the Grant Recipient's obligations to ttic County; NOW, THEREFORE, the County and the Grant Recipient, for the consideration and under the conditions hereinafter set forth, agree as follows: 1. Approved Grant Project. Grant funds are provided under this Agreement for the projeo ("Project") described in the Grant Recipient's Grant Application, attached hereto and incorporated herein as Exhibit A. 2. Grant Award. Grant funds in an amount not to exceed two thousand eight hundred one dollars ($2,801) have been awarded by the Arts Commission to the Grant Recipient for the approved Project. These funds must be matched at least dollar-for-dollar with cash from the Grant Recipient's funds not derived from either Orange Count appropriations or the North Carolina Arts Council. 3. Contingency. This grant is contingent on North Carolina Arts Council Grassroots Program funding to the Arts Commission. Final decisions on Grassroots Program funds to the North Carolina Arts Council are subject to approval by the North Carolina General Assembly. 4. Responsibilities of the Grant Recipient 1 Revised May 2012 A. Implementation. The Project implementation shall take place between Jule 1, 2014 and June 30, 2015. The Project shall be implemented in the manner described in Exhibit A. Time is of the essence in the implementation of the Project. B. Modifications to project. Grant Recipient shall present major changes to the original proposal, including but not limited to changes in design, implementation schedule and increase in Project budget by more than 10%, in writing to the Arts Commission for approval. Arts Commission shall approve or disapprove Grant Recipient's request for modifications within seven (7) days of receipt thereof. Consent to project modifications shall not be unreasonably withheld. Arts Commission's decisions shall be in writing. In the event the Arts Commission fails to approve or disapprove the requested modifications within the time stated herein, the modifications shall be deemed approved. C. Non—assi nment. The grant cannot be assigned or transferred to a different pro.iect or artist without prior written approval of the Arts Commission. D. Records. Grant Recipient must maintain records and other evidence pertair i ng to costs incurred and revenues acquired during the Project implementation. Grant Recipient shall maintain financial records pertaining to the Project for three ( 3) years from the date of this Agreement, in case of audit. E. Use of Funds. Grant Recipient shall not use the grant funds to repay outstanding taxes or other debts of any nature. The grants shall be utilized solely for the purpose of implementing the Project and Project related expenses. F. Final Report. Grant Recipient shall submit to the Arts Commission a Final Report on July 6, 2015 . The Final Report shall be in the format required by the North Carolina Arts Council. Failure to submit the Final Report or late submission of the Final Report, for any reason, shall be grounds for denial and,'or cancellation of grant funds for the Project and future grant proposals. 5. Responsibilities of the Arts Commission A. Payment. The Arts Commission shall release the grant funds in the amount of $2,801 to the Grant Recipient. 6. Publicity A. Acknowledgement. Credit must be given to the Orange County Arts Commission using the Arts Commission logo and if State funds are received to the North Carolina Grassroots Program in brochures, news releases, programs, and all other printed and online publications. Copies of such printed materials must accompany the evaluation report. When no printed information is used, verbal credit shall be given. In addition, all print and promotional material must include the following credit line (check all that apply): 2 Revised May 2012 i. County Funds Only. "This program is supported by the Oravige County Arts Commission. " ii. x North Carolina Arts Council Funding. "This program is supported by they Orange County Arts Commission with funds from the Grassroots Program n> the North Carolina Arts Council, a state agency. " B. The Grant Recipient must enter all events, exhibits and performances open to the public and related to this grant award on the ExploreChapelHillARTS.com website and display ExploreChapelHil ARTS.com publicity materials (postcards, brochures, etc.) prominently and consistently at their venue or performance space. In addition, the Grant Recipient must add a link to the ExploreChapelHillARTS.com (ExploreChapelHillARTS.com logo preferred) to their main webpage. The Grant Recipient shall contact the Orange County I,ris Commission for replacement ExploreChapelHillARTS.com publicity material',; 7. Indemnity. The Grant Recipient agrees to indemnify and hold harmless the County, the Arts Commission and the North Carolina Arts Council and their officers and employees from any and all claims or actual injury, damage or loss to a person, or real or personal property that results from or is in any way connected to the use of the grant funds. 8. Independent Contractor. The Grant Recipient is an independent contractor and not an employee, agent or other representative of the County and/or the Arts Commission. Nothing contained in this Agreement shall be construed to create the relationship of' principal and agent, or employer and employee, between Grant Recipient and Arts Commission or Orange County Government. Grant Recipient understands and agrees that he/she is not authorized to incur any expenses or any liability whatsoever on behaIf' of the County or the Arts Commission and has no authority, expressed or implied. to obligate or make representations on behalf of the County or the Arts Commission.. In addition, Grant Recipient agrees to maintain his or her own worker's compensation insurance for himself/herself and his or her employees for the duration of the art work s installation. 9. Termination A. In the event of any of the circumstances set forth below(hereinafter referred to as "default"), the Arts Commission may immediately terminate this Agreement: (i) Any fraudulent representation in any verification required to obiai n payment under this Agreement or other dishonesty on a material matter relating to the performance of services under this Agreement. (ii) Nonperformance, incomplete service or performance, or failure to satisfactorily perform any part of the Project or to comply with and provision of this Agreement, as determined by the Arts Commission in its sole discretion. 3 Revised May 2012 (iii) Failure to adhere to the terms of applicable county, state or federal laws. regulations, or stated public policy. B. In the event of default by the Grant Recipient, the Arts Commission has the discretion to elect to terminate this Agreement, in whole or in part and/or requi re the Grant Recipient to repay the grant funds within seven (7) from written notice of default or allow the grant recipient the opportunity to cure the default. rf h i s clause shall not be interpreted to limit the County's or the Arts Commission's remedies in law or in equity. 10. Miscellaneous. A. Entire Agreement. This Agreement and the attachments contain the final Enid entire understanding of the parties with respect to the subject matter of t h i s Agreement. All modifications and amendments to this Agreement shall be '111 writing. This Agreement shall be binding upon the parties, their heirs, success ors and assigns. B. Governing Law. This Agreement shall be interpreted in accordance with the hm s of the State of North Carolina and the Orange County. IN WITNESS WHEREOF, the Orange County and the Grant Recipient have signed this Grant Agreement, effective on the last date this Agreement is signed by both parties as indicated by the dates set forth under signatures below. For an f the Grant Recipient eep Dish Theater Company Date For and on behalf of Orange County Government , County Nfe&iager Date '5,o nn i e- 4A.mmers1e n For and on behalf of Orange County Arts Commission/approved as to technical content 7- ---?-/% Steve Brantley,Economic Dev ment Director Date Approv d�as to and legal sufficiency Annette . Moor , Staff Attorney Date 4 Revised May 2012 This instrument has been pre-audited in the manner required by the Local Government Budget and Fiscal Control Act 7filly AA /J• Clarence G. Grier,Administrative and Financial Services Date 5 Revised May 2012 j/ General Arts Support Grant 2014-15 Application Form ORANGE COUNTY ARTS Orange County Arts Commission COMMISSION Promoting the artistic and cultural development of Orange County, North Carolina Evaluation Criteria • Artistic merit of program. • Populations served—impact for geographic&traditionally under-served populations. • Feasibility of proposed activity&effectiveness in fulfilling applicant's mission. • Organizational strength of applicant. • Cooperation between organization and artists. • Evidence of community support and responsiveness to community needs. 1 Applicant Information ((�� p Applicant Name DEEP DIS-4 THEATER, COMPANY Y Organization Mailing Address PO 8oX 13SZ I CNAPEL �ILL I NC 27S157 Daytime Phone 01 1 9— `(&00—J 5 J S7 Fax Number IVr/A Email Address I Al FFOe DEEMISWIREATER-OKWeb Site 3dW)y.deeD�lS„ hAMftC;Of"q Project Director T A V L- 1=P.6 L L 1 C K t�Title A� ai ST i C b RECToI� ,J DUNS Number 114-e O o� J s e 2 Project Director Information (Director or Chair must be Project Director for the General Support grant category t ; Project Director Home Address 109 1 EA� N CT. C AAML �1LL. IY C Z 75)6 Daytime Phone oJ i 1 Evening Phone SAME Email Address PA ULT=AELC.IC fee GMA1l,XOM 3 General Support Request Summary General Support Grant Request $5©oO Total Cash Match :15000 w (Match may not include funds from the North Carolina Arts Councii,, Total Organizational Budget 2012-2013 31_501 47 1 2013-2014 V;Z 2014-2015 _SlHt:�- 000 crphT E p� Summary Statement for Proposed Uses of General Support Grant+OMPATI NG S V PPORT OF 0(/K MTN 5;nAsoM wi4Ic14 WI�� INCLOVE 'A KIo LIKE 3Are IT-Ne. LAnDIMG �PREAIMR ouR ytu AWVAL NEr( h ,Y V1roMflPPP EY'S DID. ANb �Ti4E LiA& Budget Sheet—See Page Three Questions? Call us at(919)968-2011 - Deliver Application to:501 West Franklin Street, Chapel Hill, NC APPLICATION NARRATIVE Organizational Profile The DEEP DISH THEATER COMPANY is a Chapel Hill arts organization committed to the presentation of compelling,provocative, human-centered dramatic work in an intimate setting. It develops that work through the collaboration of its artists, striving always to create productions which cannot be contained within a single imagination. It celebrates the communal nature of creating and experiencing a theatrical work,and is determined to include and reach out to the surrounding community in all its diversity. Our organization is founded on the conviction that the theater can be a vital and important part of the life of a community. Over the thirteen years we have been producing in Chapel Hill's University Mall,we have developed long-term relationships with our audience, artists, community organizations like the Chapel Hill-Carrboro Chamber of Commerce and the IFC Food Bank,mall management and our merchant neighbors. Our performance space seats 71 people, making for an intimate relationship between performers and audience. We have found that relationship to be one of the most striking elements of our productions. Audience members frequently comment on how engaged they are by our productions,reminding us that there is a magic in that audience-performer relationship that can rival any falling chandelier or on-stage helicopter. In our thirteen seasons,we have amassed a vigorous and diverse body of work. Classic work(The Misanthrope, Othello, She Stoops to Conquer)has shared our stage with acclaimed contemporary work(Lobby Hero, Body Awareness, Superior Donuts, Next to Normal, Good People); issue-oriented plays (The Exonerated, Cat's-Paw, Glengarry Glen Ross, After the Revolution)with sparkling comedies(Polish Joke,An Ideal Husband, Is He Dead?);modern masterworks (Hedda Gabler, Summer and Smoke, Radio Gol(Arcadia)with North Carolina and World premieres (Permanent Collection, The Gratitude of Wasps, Mi Vida Loca, A Queer Kiss); and plays from around the globe (A Lesson from Aloes, Nathan the Wise, The Cripple oflnishmaan, Life is a Dream). With every production,we host discussions on issues raised by the play, on the technical production challenges the play presents, and on a book which is related thematically to the play. We have also been able to host writer/performers like Barbara Bates Smith and Mike Wiley. Increasing Diversity We have been developing our audience database over the last few years are now much better able to keep in contact with our patrons, so we are confident that we can build this season on the recent advances we've made. Recent productions like Jitney,A Lesson front Aloes, Body Awareness, The Clean House, Radio Golf and A Queer Kiss have introduced our work to new audiences,we embrace non-traditional casting whenever possible, and we are exploring outreach opportunities across the Triangle. The diversity of our actor and designer pool has increased dramatically over the years,and we have expanded and diversified our board as well. Proposed Use of Grant Funds We are requesting support for the four productions and one workshop that will comprise our 2014-2015 season. These are: 1)A Kid Like Jake, a drama by Daniel Pearle in which a young couple hoping to get their toddler into an exclusive kindergarten are advised to play up their son's fondness for princesses and dress-up; 2) the regional premiere of The Landing, a chamber musical by John Kander(the composer of Chicago and Cabaret) and Greg Pierce that tells three strangely captivating tales of love and loss; 3)our fourth amoral New Play Workshop,featuring a playwright-in-residence and a script-under- construction; 5)R.C. Sherriffs acclaimed drama,Journey's End, set in the trenches of France during the first World War;and b) The Liar, David Ives' typically hilarious adaptation of the Pierre Corneille classic about a young gentleman who can't stop lying and his hopelessly honest servant. These plays reflect our desire to explore themes and issues pertinent to our community from a variety of perspectives; they also testify ib the maturity and ambition of our theater after thirteen years here in Chapel Hill, Challenges/Long Range planning Our top three challenges in the coming year will be (1)to strengthen our profile in the community to order to raise awareness and increase our institutional support, (2)to expand our board and our fundraising capabilities, and(3)to continue to look for ways to enhance the theater-going experience. Thank you for your consideration. 2014-15 General Arts Support Application — Page Three ORANGE 600X77 ARTS com lsstop Financial Information Please provide a projected budget for your proposed project utilizing the format below. Project Expenses Cash = Grant Amount + Applicant Expenses Requested Cash Match A Personnel Administrative staff 177 �7000 Artistic staff ��".i� Technical/Production staff 25�3� � ��S 1800 B Outside Fees and Services Artistic contracts Other contracts: C Space Rental Q© — D Travel E Marketing I S00© 150 06 F Remaining Project Expenses 45C 00 G Total Cash Expenses N5000 00 + Project Income Cash Income A Admissions 70PO-0 B Contracted Services Revenue C Other Revenue(specify) D Private Support Corporate support Foundation support 46 Qoo Other private support 16 000 E Government Support Federal State/regional (not including this request) Local (not including this request) F Applicant Cash G Grant Amount Requested in this application H Total Cash income 45-b 00 (must equal Total Cash Expenses, Item G above) ♦� !ji 2014-15 General Arts Support Application — Page Four v ORANGE COUNTY ARTS COMMISSION Signatures 5 'ZD / Si re o roject D' or Date f ate,t L Ty ed or Printed Name–Project Director �nwrlb- S� 2 Si nature of Authorizing Official Date Typed or Printed Name–Authorizing Official INCOMPLETE APPLICATIONS WILL NOT BE FUNDED Resumes of Key Artists/Administrators Paul Frellick (Artistic Director) is in his thirteenth season as founding Artistic Director of the Deep Dish Theater Company. He has directed many of the company's productions, from the inaugural production of Endgame to last season's Next to Normal, and the recent world premiere of A Queer Kiss. Elsewhere in the Triangle, he directed Adam Sobsey's Hang Town Fry in conjunction with A Southern Season; produced and directed A Walk in the Woods and the American premiere of Rainshark for the GlobalArts Initiative; and staged productions for Manbites Dog Theater Company, Burning Coal Theatre Company, and the ArtsCenter in Carrboro. Before coming to North Carolina, he served as Artistic Director of Chicago's Organic Theater, and he has directed for such theaters as the Indiana Repertory Theater, the Denver Center Theatre Company, and the Idaho Shakespeare Festival. Kit FitzSimons (Theater Manager)joined Deep Dish's administrative staff this past fall, overseeing all daily business, development, and marketing tasks, and serving the board in whatever additional capacity necessary. He is an active member of the improv comedy community, as both performer and coach (DSI Comedy Theater). He has previously acted in a number of Deep Dish productions (How 1 Got That Story, Is He Dead?, Baltimore Waltz). JJ Bauer (Company Stage Manager) has been a stage manager, props manager, costume designer, set designer and completely unwilling actor for various area theater companies, including Ghost & Spice Productions, NC State TheatreFest, The Open Door Theatre, Street Signs Center for Literature and Performance, and Wordshed Productions. She is the Deep Dish Production Stage Manager. Tony Lea (Resident Director) has directed thirteen shows in thirteen seasons and will be directing the upcoming A Kid Like Jake. Most recently he directed Good People and She Stoops to Conquer. He has also acted for area companies including Raleigh Ensemble Players and Burning Coal. He is currently directing Blithe Spirit at Raleigh Little Theatre. Contact Information Paul Frellick: 109 Teagan Ct, Chapel Hill, NC 27516. 919-225-2574. paulfrellicka-gmail.com Kit FitzSimons: 811 Northcreek Dr. Durham, NC 27707. 919-968-1515. infoa-deeodishtheater.org JJ Bauer: 370 Wild Ginger Ridge, Chapel Hill, NC 27515. 919-824-0842. ibauer�email.unc.edu Tony Lea: 2600 Oberlin Rd Apt S2, Raleigh, NC 27608. 919-247-3580. Whirlwind dreamera-hotmail.com Staff Roster Artistic Director: Paul Frellick (employee) Theater Manager: Kit FitzSimons (employee) Production Stage Manager: Jen Bauer (contract) Webmaster: Eric Swenson (volunteer) Resident Director: Tony Lea (contract) AM Deep Dish Theater Company 22113 Profit & Loss xrual Basis July 2012 through June 2013 Jul'12-Jun 13 Expense 5000-Production Expenses 5050-Admin Production Wages 3,809.00 5100•Royalties Expense 7,975.00 5160-Costume Expense 2,501.76 5200-Prop Expense 1,095.05 6250-Set 3,799.83 5300•Light&Sound 1,410.17 6360-Scripts 338.88 5400-Cast Parties 6410-Postmortem Expenses 107.75 5400-Cast Parties-Other 1,108.57 Total 5400-Cast Parties 1,216.32 6450-Production Supplies 127.29 6500-Stipends 6610-Actors 19,385.67 5520-Productions Staff 22,950.00 6625•Artistic Director 5,000.00 5530-Directors 4,000.00 6640-Stipend-Other 5,700.00 Total 5500-Stipends 57,035.67 5550-Miscellaneous Production Expens 55.16 6600-Rent 5,040.55 5610-Etix Fees 593.72 5650-Program Printing Expense 4,953.52 5700•Concession Expense 665.44 5750-Production Promotion 5751 -Promotional Printing per Show 1,538.98 5752-Promotional Mailing per Show 864.73 $755-Production Promotion Photograph 1,013.27 Total 5750-Production Promotion 3,416.98 Total 6000-Production Expenses 94,034.34 6000-Solicitation Expense 6100-Solicitation Supplies Expense 2,477.86 6200-Solicitation Postage Expense 1,284.90 6300-Event Expense 1,723.09 Total 6000-Solicitation Expense 5,485.85 6450-Contract Labor 300.00 6660-Payroll Expenses 5,030.00 6566-Employer Payroll Tax Expense 1,567.75 7000-DDTC Administration Expenses 7014-Dues and Subscriptions 411.65 7015•Licenses and Permits 50.00 7050-Admin-Non Program Wages 11,684.50 7100-Accounting&Legal Expenses 7110-Accounting 2,240.00 Total 7100-Accounting&Legal Expenses 2,240.00 7160-Bank Service Charges 7156-Credit Card fees 45.51 7150-Bank Service Charges-Other 707.25 Total 7160-Bank Service Charges 752.76 7200.Capital improvemeats 4,128.43 7260•Repair&Maintenance 426.61 Y275•Storage ' 1,163.50 7400-Durance , 651.25 7450-Miscellaneous 328.53 7600•Office Supplies 1,151.70 7550-Postage Admin 846.73 7700-Travel 452.51 Page 2 :38 Ann Deep Dish Theater Company 122/13 Profit & Loss :crual Basis July 2012 through June 2013 Jul'12-Jun 13 Ordinary Income/Expense Income 4000•ContributionslGrants/Donations 4100•Contributions 4110-Restricted Contributions 500.00 4120•Unrestricted Contributions 34,510.93 4130•Board Contributions 19,563.00 Total 4100-Contributions 54,573.93 4150•Miscellaneous Income 264.66 4200•Government Grants 12,500,00 4300•Foundation Gifts 4320•Unrestricted Foundation Gifts 5,404.00 Total 4300•Foundation Gifts 5,404.00 4600•Event Revenue 4610•Tickets for special events 2,520.00 4630-Income from Donated items 2,772.46 Total 4600•Event Revenue 5,292.46 Total 4000•Contributions/Grants/Donations 78,035.05 4800•Earned Income 4030•Season Subscription Sales 15,491.00 4860•Concession Sales 1,209.00 4860•Single Ticket Sales 54,916.87 Total 4800•Earned Income 71,616.87 Total Income 149,651.92 Gross Profit 149,651.92 Page 10:38 AM Deep Dish Theater Company 15/22113 Profit & Loss tccruai Basis July 2012 through June 2013 Jul'12-Jun 13 7750•Utilities 7751 -Electric 2,504.73 7752•Telephone 2,339.25 7753•Trash 972.00 7750•Utilities-Other 89.00 Total 7750-Utilities -- - —_5,904.98 Total 7000-DDTC Administration Expenses 30,193.15 8000•Marketing 8110•Promotional Printing per Season 269.76 8112-Print Advertising 500.00 8113•TV/Radio Advertising 1,980.00 8114•Web-Based Services 113.40 Total 8000•Marketing 2,863.16 Total Expense 139,474.25 Net Ordinary Income 10,177.67 Net Income 10,177.67 IR LnPage: 10:11 PM Deep Dish Theater Company 05/22/14 Profit & Loss Accrual Basis July 2013 through June 2014 Jul'13-Jun 14 Ordinary Income/Expense Income 4000•Contributions/Grants/Donations 4100•Contributions 4110•Restricted Contributions 5,385.00 4120•Unrestricted Contributions 32,927.30 4130-Board Contributions 15,050.00 Total 4100•Contributions 53,362.30 4150•Miscellaneous Income 66.00 4200-Government Grants 4220•Unrestricted Government Grants 1,000.00 4200•Government Grants-Other 7,000.00 Total 4200•Government Grants 8,000.00 4500-Inkind Donations 1,250.00 4600•Event Revenue 4610•Tickets for special events 3,265.00 Total 4600-Event Revenue 3,265.00 Total 4000•Contributions/Grants/Donations 65,94330 4800•Earned Income 4830,Season Subscription Sales 19,160.00 4850•Concession Sales 894.00 4860•Single Ticket Sales 48,083.08 Total 4800•Earned Income 68,137.08 Total Income 134,080.38 Expense 5000•Production Expenses 5060•Admin Production Wages 4,395.00 5100•Royalties Expense 4,475.00 5150•Costume Expense 3,09959 6200•Prop Expense 402.78 5250-Set 3,057.42 5300•Light&Sound 834.92 5360-Scripts 634.34 6400•Cast Parties 1,291.63 6450•Production Supplies 121.71 5600•Stipends 6510•Actors 22,673.63 5520-Productions Staff 27,401.80 5525•Artistic Director 0.00 5526•Wages for Artistic Director 5,000.00 5530•Directors 3,750.00 5640•Stipend-Other 125.00 Total 6600-Stipends 58,950.43 5560-Miscellaneous Production Expens 86.56 6600-Rent 5,621.90 5610•Etix Fees 167,70 5660•Program Printing Expense 2,974.83 6700•Concession Expense 698.17 6750•Production Promotion 5751 -Promotional Printing per Show 1,346.27 6752•Promotional Mailing per Show 30672 5765•Production Promotion Photograph 49.34 Total 5760•Production Promotion 1,702.33 5000•Production Expenses-Other 24.71 Total 6000•Production Expenses 88,539.02 Page 1 10:11 PM Deep Dish Theater Company 05/22/14 Profit & Loss Accrual Basis July 2013 through June 2014 Jul'13-Jun 14 6000•Solicitation Expense 6100•Solicitation Supplies Expense 989.72 6200-Solicitation Postage Expense 319.20 6300•Event Expense 1,587.21 Total 6000•Solicitation Expense 2,896.13 6565•Employer Payroll Tax Expense 1,825.50 7000•DDTC Administration Expenses 7015•Licenses and Permits 332.00 7050•Admin-Non Program Wages 14,467.75 7100•Accounting&Legal Expenses 7110•Accounting 2,360.00 7120•Consulting 3,042.92 Total 7100•Accounting&Legal Expenses 5,402.92 7150-Bank Service Charges 7153•Vendini Fees 1,937.10 7155•Credit Card/Merchant Fees 1,745.52 Total 7150•Bank Service Charges 3,682.62 7200•Capital Improvements 749.00 7250•Repair&Maintenance 1,071.48 7275•Storage 1,058.00 7400•Insurance 376.30 7450-Miscellaneous 48.89 7500•Office Supplies 2,375.77 7550•Postage Admin 1,592.80 7650•Printing&Repro Admin Expense 20.00 7750•Utilities 7751 •Electric 2,882.72 7752•Telephone 2,388.28 7753•Trash 1,177.20 Total 7760•Utilities 6,448.20 Total 7000-DDTC Administration Expenses 37,625.73 8000•Marketing 8110•Promotional Printing per Season 2,196.16 8111 .Promotional Mailing per Season 26.86 8112•Print Advertising 175.00 8113•TV/Radio Advertising 2,088.00 8114•Web-Based Services 121.50 8000•Marketing-Other 179.64 Total 8000• Marketing 4,787.16 Total Expense 135,673.54 Net Ordinary Income -1,593.16 Net Income A,593.16 Page 2 Board Contact List Ken 140 W. Franklin St., Apt. Chapel Hill NC 27516 ksbroun @email.unc.edu 919-929-4486 Broun 607 Dorothy 2417 Bay Harbor Dr Raleigh NC 27604 drbrownnc@nc.rr.com 919-456-4847 Brown Kamie 105 Vernon Hills Court Chapel Hill NC 27514 kamieoh @yahoo.com 919-933-1515 Edwards Doris 5812 Dodson's Hillsborough NC 27278 dfriend3 @bellsouth.net 919-968-1013 Friend Crossroads Dave 4113 Gardenlake Dr. Raleigh NC 27612 Dwh1000 @live.com 440-749-1264 Halstead David 1424 Gray Bluff Trail Chapel Hill NC 27517 davidblederer @gmail.com 919-929-6500 Lederer Liz 404 Piney Mountain Chapel Hill NC 27514 lizth @aol.com 919-933-6063 Thorpe Road Karen 304 Simerville Rd Chapel Hill NC 27517 karen.curtin @me.com 919-240-4573 Curtin Indy Week N-1 5! ".. ......._j ..;1 The bleakly hilarious Cripple of/nishmaanat Deep Dish Theater by Byron Woods Stereotypes, as we know, are so politically incorrect. Far be it from me, then, to suggest that the villagers on the remote Irish isle of Inishmaan all seem to be running a quart low on the milk of human kindness. But how often do you see an audience for a film (or "fill-um," in the local brogue) about fishermen root for the sharks instead? Or a wee young slip of lass—and a gifted murderer of assorted barnyard animals—complain that, as far as she's concerned, Pontius Pilate got a raw deal in the New Testament? Still, Ireland can't be all that bad a place—not, that is, as long as it turns out comedies as rewarding as Martin McDonagh's gleefully bleak opus from 1996, The Cripple ofinishmaan. The town of the title is a community where woes and misfortunes are cultivated, and no silver lining survives the relentless search for even the faintest wisps of gray. If schadenfreude is the chief form of entertainment on this benighted island of busybodies, McDonagh quickly convinces us that's mainly because it's the most abundant source. Under Tom Marriott's direction, Kate and Eileen (the rewarding Julie Oliver and Marcia Edmundson) could have made the Olympic team in worrying as the proprietors of the island's meager grocery store and adoptive aunts to the title character. A smug johnnypateenmike (played nonchalantly by Kevin Silva) hzs found a unique way to monetize being the town gossip. An amiable but slow- witted Bartley (Andrew Crabtree), Kate and Eileen's most frequent customer., invariably requests every form of candy this store will never have. Meanwhile, Bartley's martial, plain-spoken sister, Helen (Samantha Rahn), expresses her tenderest sentiments in a vocabulary of noogies, Indian burns and airborne eggs. Small wonder then that the title character, Billy (a reflective Ishai Buchbinder), wants out. A misfit physically, intellectually and emotionally among such grim company, he seizes on a chance for a life beyond this archipelago when a foreign film crew arrives on a neighboring island to make the real-life 1934 epic Man ofAran. Though there were laughs aplenty to go with the sudden, inescapable twists present in any McDonagh tale, several things kept distracting us on opening night. Miyuki Su's too-primitive set design seemingly rendered Kate and Eileen's store from an episode of The Flintstones. Eric Swenson's Bobby was under-defined as the village tough guy, while Rahn, whose work as a child actor /NDVcritics have followed in recent years, may well be too young, in life and professional development, for the major supporting role of Helen. These elements may change as this show develops. Composer Curtis Eller's banjo-based haiku provided a tasteful counterpoint to the various scenes and blackouts, and jenny Wales' dialects gave the production a similarly musical lift. Book a trip to Inishmaan, if you can. And then be glad that you don't have to live there. This article appeared in print with the head line "Comedy in shades of dark and light. " 'Good People' thoughtfully funny, warmly moving BY ROY C.DICKS C;orrespixidentAli_ust 26,2C,1 3 FacebookTwitterGoogle PlusRedditE-mailPmit s � h . N yR + f W �q' RaLwl 7ahat,left,,and Mark Filiacl it Det� p Dish Theater's pm auction of"Good People:" GOTJRTESY F 3ONATHAN BRADI -I 1D Y' What:"Good People,"by David Lindsay-Abaire Where: Deep Dish Theater Company;University Mall,241 S. Estes Drive,Chapel Hill When: 7:30 p.m. Aug. 28-29, Sept. 4-5 and Sept. 11-12; 8 p.m. Aug. 30-31, Sept. 6-7 and Sept. 13-14;2 1, n. Sept. 1 and 8 Tickets: $16424 Info: 919-968-1.515 or deepdishtheater.org In David Lindsay-Abaire's 2011 serious comedy,"Good People,"he contends that we all can be selfish ci giving,depending on the situation. Deep Dish Theater Company's thoughtfully funny,warmly moving production beautifully supports the playwright's insightful script. In the working-class neighborhood of South Boston,single mother Margie gets fired from her cashier's job, having missed too much work. She reminds her boss it's because of her mentally disabled adult daughter,but he tells Margie he must fire her to keep his own job. Desperate to make rent,Margie decides to appeal to Mike,a former boyfriend and now successful doctor,after learning he's back in the area. He meets her for old times' sake,but says he has nothing when she asks for a job. Margie pushes the guilt button by contrasting his wealthy lifestyle with her no-options;poverty-stricken existence. Mike reluctantly invites her to a party,at his home, suggesting she might find work among his business friends. The party is canceled because Mike's daughter gets sick,but Margie shows up anyway, armed with a drastic plan to elicit Mike's help. However, she is forced to re-evaluate her whole life after meeting Mike's wife and learning the couple's history. The human comedy arises from the crude banter among Margie and her friends,as well as the awkward moments between former lovers. Lurking underneath;however,is the plight of the unemployed,the sadness in dreams defeated and the guilt over hurtful past actions. Director Tony Lea astutely guides his superb cast in balancing each character's flaws and strengths. Helen Hagan skillfully plays Margie's hardened,manipulative side,only to move us deeply with Margie's ultimate loving sacrifice. Mark Filiaci is perfectly cast as the confident,well-mannered Mike,perceptively revealing his ambivalence and remorse as the past confronts him. As wife Kate,Rasool Jahan is the essence of urbane sophistication hiding self-doubts and resentments. The trio's lengthy second act scene is a gripping roller- coaster ride. Page Purgar is a laugh machine as Margie's outrageous friend Jean,Brian Fisher offers an amusing range of pent-up frustration as Margie's boss Stevie,and Sharlene Thomas' Dottie,Margie's landlady,lives up to the character's name with her off-the-wall ditherings. Rob Hamilton's impressive turntable of settings and Jenni Mama Becker's mood-enhancing lighting round out this highly recommended staging. Dicks: music theaterk)lycos.com Read more here: http://www.newsobserver.com/2013/08/26/3138653/good-people-thoughtfully- funny.html#storylink=cpy Review: In second Triangle outing, 'Next to Normal' cuts even deeper BY ROY C.DICKS CorreslJOrt cnt N-larch 4,2011 FacebookT-MaerGoogle PlusRedditE-mailPrint ry^� ' rr�� ti4 it 4t +r, r This is the first of fot r photos for the from left;Lisa Jolley and Joln Allore in Deep Dish Theater's production of Next To Normal",playing Mardi I 24_ COURTESY OF JONATHAN BRAD FORD yc The 2010 Pulitzer Prize-winning musical,"Next to Normal"explores the devastating impact of mental illy c on individuals,their families and loved ones. In its second Triangle staging this season,the piece still pac E.s i r emotional wallop,especially in the expert hands of Deep Dish Theater Company. The central figure is Diana,whose bi-polar diagnosis explains much of the deteriorating relationship she has had with her devoted but long-suffering husband Dan and her emotionally closed-off daughter Natalie,hn . i her mother's obsessive preference for Natalie's brother,Gabe.After enduring a range of unsuccessful mcd al treatments,Diana changes doctors and undergoes hypnosis and ultimately shock therapy,finally forcing li,;r is face her demons and make some life-changing decisions. The show is designated a rock musical,but the term misleads,as Tom Kitt's score contains many heartfelt ballads and stirring Broadway-style anthems. Brian Yorkey's lyrics are clever without being cute,repeatedly gripping in their poignant truths. Thankfully,the lyrics are easily understood here,as the backstage band, under Julie Florin's sensitive direction,is heard through speakers and never allowed to overpower the singers. Occasional imbalances and dropouts from the singers' mics are the only distractions. Deep Dish's small stage is shrewdly disguised by Rob Hamilton's design of gauzy,interlocking walls that swivel to create different scenes,revealing characters when lit from behind.Director Paul Frellick keeps the staging simple but nicely varied,the intimate space permitting every subtle facial expression and quietly spoken phrase to register. Lisa Jolley gives Diana full range,her desperation to understand her predicament moving,her.realizations of it heartbreaking. As husband Dan,John Allore is extremely affecting,making Dan's feelings of helplessness and loss palpable. Abigail Coryell's Natalie is smartly judged,its hardened surface hiding a frightened,damaged soul. Wesley Miller's confident vocals and tender sincerity make Gabe's special connection to his mother sweetly touching,while Mark Ridenour gives both doctors depths beyond their stereotypical characters. As Natalie's love-struck bovfriend Henry,Jeffrey Vizeaino sings impressively but plays the character blandly. Dicks:music_rhearerfatvcos.com Deep Dish Theater's Good People by Byron Woods s eT N Photo by Jonathan Young Helen Hagan and Mark Filiaci in Good People" A set of lies ends up stripped away by the end of David Lindsay-Abaire's 201 l drama Good People. Under Tony Lea's discerning direction, this uncomfortably close-up study in cultural plate tectonics places two middle-aged Southies--a man and a woman who grew up as friends through hardscrabble childhoods in the infamous south side of Boston—on different sides of the class divide in the present day. Mike (Mark Filiaci) is the one who appears to have gotten away unscathed from the coarseness, the crushing poverty and the violence of the old neighborhood as a successful endocrinologist with a requisite mansion, an intellectual wife and child. Margie (Helen Hagan) didn't. In the first scene, she's being fired from a cashier's job at a neighborhood dollar store by a manager she knew as a neighborhood kid (a solid Brian Fisher). in the second, it becomes clear, as she commiserates with old friend jean (a flawless Page Purgar) and her peppery landlord Dottie (a , rewarding Sharlene Thomas), just how quickly Margie is running out of options for herself and her brain-damaged adult daughter. A chance meeting sets Margie in Mike's office—and then his home—in a desperate search for a job. She tries to convince herself that she might have wound up on the other side of the poverty line, just as Mike assures himself that he never could have. Since Margie's approach to the less-than-gentle art of verbal self-defense involves a formidable offense, inevitably the gloves come off. When they do, the factors dividing the two grow narrower and narrower. Rasool jahan adds to the blue-chip cast assembled here with her grounded work as Mike's wife, Kate, in a production that takes on some of privilege's most cherished assumptions as it asks who—and what—a good person actually is. This article appeared in print with the head line "Guiding lies. "