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HomeMy WebLinkAbout2015-257-E Arts - Deep Dish Theater Company Arts Grant DocuSign Envelope ID: F859AB28-066D-45E9-BB24-D873BDC015A0 C a � i o � � ORANGE COUNTY ARTS COMMISSION z SPRING, 2015 GRANT AGREEMENT X11,P,Iii,sL 1,0 Lf 7 i AfM T o THIS AGREEMENT, entered into this 19th day of June, 2015, by and between Orange County ("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 of local arts experiences by providing funding and support for diverse high quality programs and projects. WHEREAS, the Alas 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 the 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 the 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 project ("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 five thousand dollars ($5,000) 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 County 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 June 2015 DocuSign Envelope ID: F859AB28-066D-45E9-BB24-D873BDC015A0 A. Implementation. The Project implementation shall take place between July 1, 2015 and June 30, 2016. 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—assignment. The grant cannot be assigned or transferred to a different project or artist without prior written approval of the Arts Commission. D. Records. Grant Recipient must maintain records and other evidence pertaining 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 8, 2016 . 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 $5,000 to the Grant Recipient. 6. Publicity A. Acknowled eg ment. 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 June 2015 DocuSign Envelope ID: F859AB28-066D-45E9-BB24-D873BDC015A0 i. County Funds Only. "This program is supported by the Orange County Arts Commission. " ii. x North Carolina Arts Council Funding. "This program is supported by the Orange County Arts Commission with fiends from the Grassroots Program of 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 ExploreChapelHillARTS.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 Arts Commission for replacement ExploreChapelHillARTS.com publicity materials. 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 behalf 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 obtain 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 any provision of this Agreement, as determined by the Arts Commission in its sole discretion. 3 Revised June 2015 DocuSign Envelope ID: F859AB28-066D-45E9-BB24-D873BDC015A0 (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 require 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. This 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 and entire understanding of the parties with respect to the subject matter of this Agreement. All modifications and amendments to this Agreement shall be in writing. This Agreement shall be binding upon the parties, their heirs, successors and assigns. B. Governing Law. This Agreement shall be interpreted in accordance with the laws of the State of North Carolina and the Orange County. C. Entire Agreement and Signatures. The parties have read this Agreement and agree to be bound by all of its terms, and further agree that it constitutes the complete and exclusive statement of the Agreement between the parties unless and until modified in writing and signed by the parties. This Agreement together with any amendments or modifications may be executed electronically. All electronic signatures affixed hereto evidence the intent of the Parties to comply with Article 11A and Article 40 of North Carolina General Statute Chapter 66. 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. Forrz.-;og ot�bbelzalf of the Grant Recipient 6/19/2015 z�-��zaxcs... Deep Dish Theater Company Date Forrne9ogbbehalf of Orange County Government jOV�,l�ttf �AaMw�t VS 6/22/2015 Bonme Hammersley, County Manager Date 4 Revised June 2015 DocuSign Envelope ID: F859AB28-066D-45E9-BB24-D873BDC015A0 14 General Arts Support Grant ORANGE COUNTY ARTS 2015-16 Application Form COMMISSION Orange County Arts Commission ORANGE COUNTY ARTS 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 Applicant Name Deep Dish Theater Com an Organization Mailing Address PO Box 4382 Daytime Phone (919) 968-1515 Fax Number Email Address deepdishtheatercoO-gmail.com Web Site deepdishtheater.org Project Director Paul Frellick Title Artistic Director DUNS Number 142809 388 2 Project Director Information Director or Chair must be Project Director for the General support grant category) Project Director Home Address 109 Teagan Ct Chapel Hill NC 27516 Daytime Phone 919-225-2574 Evening Phone same Email Address Pau lfrellick(cD-gmail com 3 General Support Request Summary General Support Grant Request $5000 Total Cash Match $5000 (Match may not include funds from the North Carolina Arts Council) Total Organizational Budget 2013-2014 $149,652 2014-2015 $145,965 2015-2016 $56.900 (projected) Summary Statement for Proposed Uses of General Support Grant operating support of our 15TH SEASON'S Fall Event: "Outside Mullingar"and"The Cherry Orchard" in rotating Repertory - 4 Budget Sheet—See Page Three 919/968-2011 —P.O. Box 1177, 131 West Margaret Lane, Hillsborough, NC 27278—www.artsorange.org 2015-16 General Arts Support Application — Page Two DocuSign Envelope ID: F859AB28-066D-45E9-BB24-D873BDC015A0 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 fifteen 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 Chapel Hill Library,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 magic in that audience-performer relationship, and it is that magic that we work to leverage with our productions, looking to create work that will live on in the collective conscious of our patrons. In our fourteen seasons,we have amassed a vigorous and diverse body of work. Classic work(The Misanthrope, Othello, She Stoops to Conquer, The Liar)has shared our stage with acclaimed contemporary work(Lobby Hero, Body Awareness, Superior Donuts, Next to Normal, Good People, A Kid Like Jake); issue-oriented plays (The Exonerated, Cat's-Paw, Glengarry Glen Ross, After the Revolution)with sparkling comedies (Polish Joke, An Ideal Husband); modern masterworks (Hedda Gabler, Summer and Smoke, Radio Golf, Journey's End)with North Carolina and World premieres (Permanent Collection, The Gratitude of Wasps, Mi Vida Loca, A Queer Kiss, The Landing, Native); and plays from around the globe(A Lesson from Aloes, Nathan the Wise, The Cripple of Inishmaan, 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, Audiences Served Our audience comes to our theater from across the Triangle—Orange,Wake,Durham and Chatham counties—with the majority of our patrons residing in Chapel Hill and Carrboro. Many of our most loyal patrons live in retirement communities in the area, and their regular attendance and willingness to explore new material with us has provided us with a dependable and enthusiastic base of support. DocuSign Envelope ID: F859AB28-066D-45E9-BB24-D873BDC015A0 We have been developing our audience database over the last few years and are now much better able to keep in contact with our patrons. Productions like Jitney, A Lesson from Aloes, Body Awareness, The Clean House, Radio Golf and A Queer Kiss have introduced our work to new audiences within our community and beyond, and have afforded us opportunities to do outreach into new communities as well. Increasing Diversity We are proud of our efforts in this regard. Our programming, casting and staffing continue to reflect the diversity of our community, and we rededicate ourselves to these efforts with each project. With casting,when ethnicity, gender or other specificity is important—or can be important—to the story we're telling,we make sure we get those details right;when it's not, as will be the case with our production of The Cherry Orchard, we embrace non- traditional casting in an effort to break down assumptions and to create a world on stage that at least in its diversity might serve as a model to the world outside the theater. The breadth and depth of our actor, designer and director pools have increased dramatically over the years, and we have expanded and diversified our board as well. Current Programs and Services Four mainstage productions,presented in a season that runs August-May A two-week long New Play Workshop, in which a playwright and her unproduced play have the opportunity to develop that work with a director and actors in our space and gather feedback from audiences. Book Talks, co-sponsored with the Chapel Hill Public Library, on books related thematically to our productions Pre-and Post-show discussions with scholars and artists Occasional presentations by guest artists (e.g. Mike Wiley's Dar He and Susan Stein's Etty) "Cheap Dish"reduced-price tickets Proposed Use of Grant Funds University Mall has told us they can only guarantee that we can continue to occupy our current space through December,2015. As we look for a new and larger space elsewhere,we will conclude our 15 year residency in the mall by doing something we've never done before. We are requesting support for our Fall 2015 event: two shows in rotating repertory. The productions are: 1) Outside Mullingar, a contemporary comedy by John Patrick Shanley about two young Irish farmers trying desperately to hold onto their land and not to fall in love; and 2)Anton Chekhov's The Cherry Orchard, one of the most admired and influential plays ever written, in which the inhabitants of a provincial Russian estate find their lives and their culture at a crossroads. These are very different plays, written over a century apart and on opposite sides of the globe, and consequently emblematic of the breadth of work we've been able to produce in our theater over the years;but they have DocuSign Envelope ID: F859AB28-066D-45E9-BB24-D873BDC015A0 much to say to each other and to us two plays about tangled skeins of life, love and real estate (issues of which Deep Dish is acutely aware these days). We will rehearse the plays simultaneously and then perform them in rotation, so that it will be possible to see both plays in the same week or even on the same day. This proximity will provide us with even more opportunities than usual to offer our audience an array of contextual resources,including our dramaturg discussions, scholarly talks, and conversations with the artists about the production, and we will continue our Book Talk,reading and discussing literature related to the production. The project will also further our exploration of the potential of a small theater space and of the collaboration that is so central to our work, as two design staffs and two casts work not only as individual teams but also in concert with one another, creating an experience even larger than the two remarkable plays that comprise it. Long Range planning Long range planning has occupied much of our attention in the past two years. We have contracted with Priscilla Bratcher of Armstrong McGuire and with the Executive Service Corps to help us marshal our resources and focus our efforts to grow our audiences. We are among ten Triangle arts organizations selected by the State Arts Council and the Triangle Community Foundation to participate in a year-long multi-disciplinary effort to address long-term planning within organizations and across our community. And as we look for new space,we have drawn up a budget projections to help determine what we can afford and what assumptions about growth we are prepared to make. Challenges Our top three challenges in the coming year will be(1)to find affordable theater space amenable to our ambitions to create a sustainable organization; (2)to strengthen our profile in the community to order to raise awareness and increase our institutional support, and(3)to expand our board and our fundraising capabilities. Thank you for your consideration. DocuSign Envelope ID: F859AB28-066D-45E9-BB24-D873BDC015A0 DEEP DISH THEATER FINANCIAL INFORMATION FOR ORANGE COUNTY ARTS APPLICATION FOR 2015 PROJECT Grant Cash Amount Applicant Project Expenses Expense Requested Cash Match A Personnel Administrative staff $10,500 $10,500 Artistic stafff $9,600 $2,500 $7,100 Production Staff $8,500 $2,500 $6,000 B.Outside Fees and Servies Artistic Contracts $3,500 $3,500 C.Space rental $4,200 $4,200 D.Travel $0 E. Marketing $7,500 $7,500 F. Remianing project Expenses $13,100 $13,100 Total Cash Expenses $56,900 $5,000 $51,900 Project Income Cash Income A.Admissions $42,000 B.Contracted Services Revenue $0 C. Other Revenue(Concessions) $200 D. Private Support Corporate Support $0 Foundation Support $0 Other private $5,700 E. Government Support Federal $0 State Regional $4,000 Local $0 F.Applicant Cash $0 G. Grant Amount Requested $5,000 OCAC Grant TOTAL $56,900 DocuSign Envelope ID: F859AB28-066D-45E9-BB24-D873BDC015A0 2015-16 General Arts Support Application — Page Four 11// G ORANGE COUNTY ARTS COMMISSION Signat s Signature of Pro ct Director J Date PA U L- FR-EL.LI GK-�, Ty ep d or Pri – Project Director Signature of Authorizing Official Date 4-1/_0 - LF� Typed or Printed Name–Authorizing Official INCOMPLETE APPLICATIONS WILL NOT BE FUNDED Glossary of Budget Terms DocuSign Envelope ID: F859AB28-066D-45E9-BB24-D873BDC015A0 9:50 PM Deep Dish Theater Company 05/22114 Profit & Loss Accrual Basis July 2013 through June 2014 Jul'13-Jun 14 - -------------- ------------- Ordinary tneome/Expense Income 4000•Contributions/Grants/Donations 4100-Contributions 4110<Restricted Contributions 5,365.00 4120•Unrestricted Contributions 32,927.30 4130•Board Contributions 15,05.0.00 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/GrantsfOonations 65,943.30 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 5050•Admin Production Wages 4,395.00 5100-Royalties Expense 4,475,00 5150-Costume Expense 3,099.59 5200<Prop Expense 402.78 5250•Set 3,057.42 5300•Light&Sound 834.92 5350•Scripts 634.34 5400•Cast Parties 1,291.63 5450<Production Supplies 121.71 8500•Stipends 5510•Actors 22,673.63 5520•Productions Staff 27,401.80 5525•Artistic,Director 0.00 $526•Wages for Artistic Director 5,000.00 5530•Directors 3,750.00 5540•Stipend-Other 125.00 --------------------- Total 5500<Stipends 58,950.43 5550• Miscellaneous Production Expens 86.56 5600-Rent 5,621.90 5610-Efix Fees 167.70 5650-Program Printing Expense 2,974.83 5700-Concession Expense 698.17 5750<Production Promotion 5751 Promotional Printing per Show 1,346.27 5752<Promotional Mailing per Show 306.72 5755<Production Promotion Photograph 49,34 Total 5750 •Production Promotion 1,702.33 5000•Production Expenses-Other 2.4.71 --------------------------------- Total 5000•Production Expenses 88,539.02 Page 1 DocuSign Envelope ID: F859AB28-066D-45E9-BB24-D873BDC015A0 9:50 PM Deep Dish Theater Company 05122/14 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 7163•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 7750•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 -1,593,16 Page 2 DocuSign Envelope ID: F859AB28-066D-45E9-BB24-D873BDC015A0 11:03 PM Deep Dish Theater Company 05120/15 Profit & Loss Accrual Basis July 2014 through June 2015 Jul'14-Jun 15 Ordinary Income/Expense Income 4000•Contributions/Grants/Donations 4100•Contributions 4110•Restricted Contributions 5,067.00 4120•Unrestricted Contributions 21,869.20 4130•Restricted Board Contributions 9,810.76 4140•Unrestricted Board Contribution 16,000.00 Total 4100•Contributions 52,746.96 4150•Miscellaneous Income 236.50 4200•Government Grants 4210•Restricted Government Grants 5,000.00 4220•Unrestricted Government Grants 2,801.00 Total 4200•Government Grants 7,801.00 4300•Foundation Gifts 4310.Restricted Foundation Gifts 3,450.00 Total 4300•Foundation Gifts 3,450.00 4500•Inkind Donations 0.00 4600•Event Revenue 4610•Tickets for special events 2,065.00 Total 4600•Event Revenue 2,065.00 Total 4000•Contributions/Grants/Donations 66,299.46 4800•Earned Income 4830-Season Subscription Sales 27,231.50 4850-Concession Sales 298.00 4860•Single Ticket Sales 46,466.88 Total 4800-Earned Income 73,996.38 Total Income 140,295.84 Expense 5000.Production Expenses 5050-Admin Production Wages 3,975.00 5100•Royalties Expense 4,421.20 5150•Costume Expense 1,023.16 5200•Prop Expense 1,153,06 5250•Set 3,146.94 5300•Light&Sound 614.07 5350•Scripts 3,299.52 5400.Cast Parties 5410 Postmortem Expenses 15.39 5400 Cast Parties-Other 1,432.48 Total 6400•Cast Parties 1,447.87 5450•Production Supplies 43.46 5500•Stipends 5510•Actors 15,948.96 5520•Productions Staff 24,163.59 5526•Wages for Artistic Director 3,750.00 5530-Directors 5,500.00 5540•Stipend-Other 4,525.00 Total 6600•Stipends 53,887.55 5550•Miscellaneous Production Expens 18.54 5600•Rent 5,573.10 5650•Program Printing Expense 3,586.43 5700•Concession Expense 233.86 5000.Production Expenses-Other 403.82 Total 5000•Production Expenses 82,827.58 Pagel DocuSign Envelope ID: F859AB28-066D-45E9-BB24-D873BDC015A0 11:03 PM Deep Dish Theater Company 05/20/15 Profit & Loss Accrual Basis July 2014 through June 2015 Jul'14-Jun 15 6000•Solicitation Expense 6100•Solicitation Supplies Expense 1,495.91 6200•Solicitation Postage Expense 558.87 6300•Event Expense 1,203.26 Total 6000•Solicitation Expense 3,258.04 6565•Employer Payroll Tax Expense 1,597.41 6999•Uncategorized Expenses 285.21 7000•DDTC Administration Expenses 7014 Dues and Subscriptions 540.00 7015 Licenses and Permits 332.00 7050•Admin-Non Program Wages 13,156.07 7100•Accounting&Legal Expenses 7110•Accounting 2,785.00 7120•Consulting 3,450.00 7100•Accounting&Legal Expenses-Other -560.00 Total 7100•Accounting&Legal Expenses 5,675.00 7150•Bank Service Charges 7153•Vendini Fees 2,114.63 7155•Credit Card/Merchant Fees 3,581.69 7150•Bank Service Charges-Other -239.41 Total 7150•Bank Service Charges 5,456.91 7199•Sales Tax Expense 18.31 7250•Repair&Maintenance 203.27 7275•Storage 2,380.54 7400•Insurance 740.00 7500•Office Supplies 1,965.64 7550•Postage Admin 324.77 7600•PR/Marketing(Theater) 75.00 7650•Printing&Repro Admin Expense 101.71 7750•Utilities 7751 •Electric 4,544.33 7752•Telephone 2,459.48 7753•Trash 965.00 Total 7760•Utilities 7,968,81 Total 7000•DDTC Administration Expenses 38,938.03 8000•Marketing 8110•Promotional Printing per Season 55830 8113•TV/Radio Advertising 2,268.00 8114 Web-Based Services 282.65 8200 Incremental Advertising 5,431.01 8750•Production Promotion 8751 •Promotional Printing per Show 899.12 8752 Promotional Mailing per Show 188.23 8755 Production Promotion Photograph 1,130.07 Total 8760•Production Promotion 2,217.42 Total 8000•Marketing 10,757.38 Total Expense 137,663.65 Net Ordinary Income 2,632.19 Net Income 2,632.19 Page 2 DocuSign Envelope ID: F859AB28-066D-45E9-BB24-D873BDC015A0 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 I 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. paulfrellick @c�mail,com Kit Fitzsimons: 811 Northcreek Dr. Durham, NC 27707. 919-968-1515. info@deepdishtheater.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 dreamerCo)hotmail.com Staff Roster Artistic Director: Paul Frellick-(employee) Theater Manager: Kit Fitzsimons (employee) Production Stage Manager: Jon Bauer (contract) Webmaster: Eric Swenson (volunteer) Resident Director: Tony Lea (contract) DocuSign Envelope ID: F859AB28-066D-45E9-BB24-D873BDC015A0 Board Contact List r Ken ---_ 140 W Franklin St., Apt. Chapel Hiil- Broun 607 NC X27516 ksbroun@email.unc.edu 919-929-4486 _� ___--__-- ------_-.--- ---____-- — Dorothy -----.---_--_-- 2417 Bay Harbor Dr Raleigh NC 27604 drbrawnnc @nc.rr.cam— 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 i NC 27278 dfriend3 @bellsouth.net 919-968-1013 — Friend Crossroads --_--------- �__- Dave 4113 Gardeniake Dr. Raleigh NC 1 27612 Dwh1000@live.com 440-749-1264 Halstead Davidr 1424 Gray Bluff Trail__ C_hapel Hill j NC 27517 davidblederer @gmail.com 919-929-6500 Lederer Liz 404 Piney Mountain Chapel Hill NC 27514 lizth @aoi.com J 919-933-6063 Thorpe Road Karen 304 Simerville Rd Chapel Hill NC 27517 karen.curtin@me.com 919-240-4573 Curtin DocuSign Envelope ID: F859AB28-066D-45E9-BB24-D873BDC015A0 'INTI pU2'�1U2 internal Revenue Service Department of the Treasury P, O. Box 2508 Date: February 12, 2007 Cincinnati, OH 45201 Person to Contact: DEEP DISH THEATER COMPANY David Harry ID# 31.08704 % PAUL FRELLICK Customer Service Representative PO BOX 4382 'toll Free Telephone Number: CHAPEL HILL NO 27515-4382 823 Federal Identification Number: 56-2262962 Dear Sir or Madam: This is in response to your request of February 12, 2007, regarding your organization's tax-exempt status. In September 2001 we issued a determination letter that•reoognized your organization as exempt from federal income tax, our records indicate that your organization is currently exempt under section 501(c)(3) of the Internal Revenue Code. Our records indicate that your organization is also classified as a public charity under sections 509(x)(1) and 170(b)(1)(A)(vi) of the Internal Revenue Code, Our records indicate that contributions to your organization are deductible under section 170 of the Code, and that you are qualified to receive tax deductible bequests, devisee• transfers or gifts under section 2055, 2106 or 2522 of the Internal Revenue Code. If you have any questions, please call us at the telephone number shown in the heading 0 this letter. Sincerely, Michele M. Sullivan, Oper, Mgr. Accounts Management Operations 1 DocuSign Envelope ID: F859AB28-066D-45E9-BB24-D873BDC015A0 A strong season opener in A Kid Like Jake By Byron Woods Photo by Jonathan Young (L-R)Jim Moscater, Meredith Sause and Rasool Jahan in A KID LIKE JAKE A K1D: Jkt JAKE Deep Disi1 Theater.::; . Through Sept 20 `: n a sane world, Daniel Pearle's drama A KID LIKE JAKE, the incandescent season opener at Deep Dish Theater, would be considered an out-and-out farce. It chronicles a professional couple's marriage as it's stretched to the breaking point by the process of assembling their only child's applications—not to college, but kindergarten, in a series of upscale private schools around New York. As a result, the title character's behavior is closely parsed by parents Alex and Greg (Meredith Sause and Jim Moscater), pre-school administrator Judy(Rasool Jahan)and the nonfictional Educational Records Bureau, creators of the Admission Assessment for Beginning Learners, a standardized test that measures"verbal and quantitative reasoning, early literacy, and mathematics skills"—in pre-kindergarten children. When the search for a vaunted competitive edge begins at 4, Jake's current age, the parents find themselves judged as closely as the child. They're the ones who have to fill out entrance essays assessing things like their"educational values."Alex is stressing over one as the play opens. Under Tony Lea's direction, Sause is at the top of her game as the tightly-wound Alex. As she veers between over- analysis and denial, Alex's obsessive concern about Jake's future begins to make us wonder about the child's past. Though a bit more low-key at the start, Moscater's Greg ultimately finds the dark side in this relationship. Jahan delivers the crisp, professional performance we expect as no-nonsense administrator Judy, and Jess Jones strongly serves in two supporting roles. I'd like to say such madness is limited to terminal overachievers in major cities. But given assaults on public education in North Carolina such as the one reported in last week's INDY, there are probably going to be a lot more kids like Jake--and parents like these—in the future. More's the pity. This article appeared in print with the headline "The overachievers." DocuSign Envelope ID: F859AB28-066D-45E9-BB24-D873BDC015A0 A Kid Like Jake: First Time Playwright's Masterpiece at Deep Dish Theater I!EVENT INFORMYV110N Chapel Hill--(Fri.,Aug.29,2014-Sat.,Sep.20,2014) Deep Dish Theater:A Kid Like Jake Fridays,Saturdays,Sundays:Adults$25,Seniors/Educators$23,Students$21;Wednesdays, Thursdays:Adults$23,Seniors/Educators$21,Students$19--Deep Dish Theatre, (919)968-1515,http://rviviv.degpdisliflieater.or. / By Jeffrey Rossman September 6, 2014 - Chapel Hill, NC: On paper it may have seemed that Deep Dish Theater Company was taking a shot-in-the-dark by producing a 28-year-old's very first play, but if it was good enough for Lincoln Center, just over a year ago, it would certainly be good enough for a 70-seat theater at a mall in Chapel Hill (no offense intended, Deep Dish). Daniel Pearle, a Harvard graduate, wrote A Kid Like Jake as his graduate thesis at the New School for Drama and won the Laurents/Hatcher Foundation Award that included a $50,000 cash prize plus $100K towards production of the play. Wow! I got a limp, sweaty handshake from my adviser when I completed my thesis. It was one of those nights that I was in no mood for what I stereotyped as some kid's attempt to proselytize his immature concepts of relationships, raising children, and the absurdities of school admissions for children barely out of diapers. Boy was I wrong. Within minutes I realized that I was in the presence of a playwright with a perfect-pitch sense of how real people react and speak to each other, plus superb actors that, pardon the cliche, inhabited their parts. We meet Alex (Meredith Sause) and Gregg (Jim Moscater), a thirtysomething yuppie couple (are these 80s terms obsolete?) living the relatively good life in New York City. When Alex speaks, she, at first, has that "I'm an entitled rich girl" sound that makes you want to shake her conscience awake. Thank goodness it evolves over the course of the play. She and her psychiatrist husband, Greg, are discussing the application process for their son Jake —to Kindergarten! There are two themes running through this play that forty years ago would have, respectively, seemed utterly ridiculous for one and completely unimaginable for the other. The competitiveness and angst, plus cost, of getting your child into the "best" elementary school was once culled for comic effect, but it's a deadly serious business now. The concept of gender confusion/disparity was disturbing enough for most in the dark ages of the 20th century, but the thought that a four-year-old can have these feelings is as foreign as the surface of Mars. So we have here the travails of this couple navigating, with a little help from a "friend," the treacherous waters of elite private elementary school admissions for their son Jake, who is increasingly demonstrating "gender-variant" behavior. The third player in this drama is Judy (Rasool Jahan), the advisor and admissions counselor in Jake's pre-K program who guides the anxious couple on this perilous journey. Like the others, she is so entrenched in this precarious reality that it is hard to tell whether she really has the "best interest of the child" in mind, or she is just a mindless feeder to a system gone amuck. Jahan is a tremendous talent who at first pulls you in as well-meaning and sincere, but grows ominous and chilly as she spouts increasingly odd proclamations on what Jake's behavior might "mean." Her suggestion that Jake's enjoyment of Cinderella and The Little Mermaid might be used to enhance his diversity in the essays starts off another major conflict in the play. Sause and Moscater were, well, perfectly human in their portrayals of this couple battling for their son —and one thing is for sure: neither knows the answer. This could have easily fallen into an DocuSign Envelope ID: F859AB28-066D-45E9-BB24-D873BDC015A0 abyss of overacting, but it felt like I was listening in on real life. Their major fight, in the penultimate scene, was so realistic and natural that it had veterans of these real-life encounters squirming. The blame starts. While Greg accuses his wife of buying too many Disney "princess" DVDs, she retaliates by asking him when he ever threw a baseball with Jake. This is no laughing matter, but Pearle judiciously employs some great comical lines to break the tension and further humanize the characters. The mention of public schools or McDonalds elicited howls of disgust and derision. There are many nuanced topics touched on and then withdrawn quickly from the burner: hypocrisy of some liberals, women leaving careers to take care of children, white flight to suburbs for "better" schools, even reparative therapy to "cure" Jake. This is a play which proves that an excellent script and great acting is all you need: I'd watch them perform it in an empty room. However, the minimalist sets (Jenni Mann Becker, scenic desitner) and lighting (Liz Droessler, lighting designer) did add another dimension to the experience. The backdrop (Matthew S. Gaynor, graphic designer) was a colorful, quasi- impressionistic cityscape that didn't necessarily identify itself as New York—which is where it's actually set. The sets primarily alternated between the couple's simple living room and Judy's office at Jake's current school. The set changes (about eight of them) were done quickly and efficiently by stagehands on a darkened set while well-chosen music played. While there is a costume designer (Pamela Bond), the dress was unremarkable everyday clothing. In case the reader is wondering, Jake is never seen, except for a wonderful scene where Alex imagines her son as female. Jess Jones, who also doubles in a small part as a Nurse, sensitively plays the gender-realized Jake. Directed by Tony Lea in a way that simply allows a well-written story to be told by a superb ensemble, A Kid Like Jake is a magnificent study of people grappling with things they can't fully understand and probably have no control over. There is no resolution, just more questions as the final scene balances the silly with the profound. We are just at the starting gate of the 2014-15 arts season, but A Kid Like Jake, has already positioned itself at the top of the list for Best Play of the Year. A Kid Like Jake continues through Saturday, September 20. For more details on this production, please view the sidebar. DocuSign Envelope ID: F859AB28-066D-45E9-BB24-D873BDC015A0 Review: Strong Deep Dish production makes the most of'The Landing' The play's first mini musical whets the appetite, but the succeeding two pieces are far less nourishing. John Allore, left, and Neil Bullard in Deep Dish Theater's production of"The Landing." JONATHAN YOUNG BY ROY C. DICKS-CORRESPONDENT "The Landing" is composer John Kander's first attempt at writing with another lyricist after the late Fred Ebb ("Cabaret" and "Chicago"). Although Greg Pierce's script and lyrics have many funny and moving moments, the show's three separate musicals are sketchily drawn and have surprise endings that need more coming before them to have real impact. Nevertheless, Deep Dish Theater's first-rate production does its best to minimize any weaknesses with fine acting, sensitive musical direction (Glenn Mehrbach), effective set design (Thomas Mauney) and tight direction (Paul Frellick). The first, and best, piece is "Andra," an affecting story of carpenter Ben (John Allore) who is remodeling a house where young Noah (Neil Bullard) and his parents live. At first, the taciturn Ben is put off by precocious Noah's interfering questions. But a budding relationship forms when Ben gets Noah interested in astronomy, and their outings with a telescope are very father-and-son. (Noah's stock broker father is never around.) Noah's mother (Erin Tito) firmly tries to squelch the relationship, her reasons eventually made clear by what Noah inadvertently spots in his telescope one night. Allore and Bullard beautifully project their characters' hurts (Ben's marital problems; Noah's bully- scarred days), subtly supported by the four-piece orchestra's intimate underscoring. This lovely miniature whets the appetite, but the succeeding two pieces are far less nourishing. 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Sheriff Talented Posted by Sarah Rose McQuillan+•March 7th,2015•Printer-friendly - and Max Biter(photo by Jonathan Young) Karen O'Brien, offered a ,Journey's End"stars(from left)Carl Maerformrance of Journey's End, directed bY and World War I Deep Dish Theater Company's intimate Friday-night p soldiers. English playwright leasant balance between heavy emotional material and comedic relief. riveting revelation of the often-overlooked mental wars and demons fought y the trickle into the small theater. veteran R.C. Sherriff's 19 single play maintains a p takes place in a single setting;and a warm, rustic glow strikes the audience as Y The story en has transformed the stage of Deep Dish's small black-box theater into a room in a World Scenic designer Michael Allen beams covering its entirety and complete with knickknacks and details of all sorts War I-style bunker,with worn true to the time period. Beyond the main room was the packed dirt and branches of a trench tunnel,edible and'Iproperly set the tone as to o what the interior of the bunker that much res of the eeproductionlism of the set was incr ,, audience could expect from the depends on well-done realism to be successful, and D ast mlembers knew their characterst journey's nd is a play that p erformance. It was evident that the have delivered a more realistic or impressive p their erformances immensely more realistic. For example,Osborne(Eric Carl)clenched his inside and out, making each o f p us habit, and Stanhope Gus Allen) ran his palms repeatedly fists and ran his thumbs over his folded knuckles ns a nervo over his thighs when he felt stressed and noticeable actions allowed their characters to come that much demonstrlatedGhe us anguish The actors tiny, barely gui h and shame especially stood out in Friday's performance, as his facial exp ressions so accurately that Stanhope felt throughout the play. DocuSign Envelope ID: F859AB28-066D-45E9-BB24-D873BDC015A0 The"`Journey's End"cast includes(from left)Max Bitar, Eric Carl, Gus Allen, and Carl Martin(photo by Jonathan Young) Again, each actor developed and performed his role to perfection.Trotter(Carl Martin)and Mason(David Hudson)were notable in providing sufficient comedic relief during some of the play's more solemn moments,which were plentiful.The audience both chuckled heartily and full out laughed throughout the show, and gazed upon the scene before them with concern and heavy hearts. The characters' pain and anguish was portrayed with the utmost authenticity, and the dry humor never failed to earn at least a chuckle from the audience. Overall, Deep Dish Theater Company's March 6th presentation ofJoumey's End offered an incredibly talented performance of a remarkably well-done story. DocuSign Envelope ID: F859AB28-066D-45E9-BB24-D873BDC015A0 Dishonesty is an artform in Deep Dish Theater Company's The Liar; Hairspray comes to Temple Theatre By Byron Woods @byronwoods r a (7„ Photo by Jonathan Young Rebecca Bossen and Maryanne Henderson in The Liar Write to the editor THE LIA Deep,Dish Theater Company 20 H� 1 S Estes Dr Chapel II 919968 1.515 vvv�rwdeepdshtheater.org Through.May You know, a play about lies(and the lying liars who tell them, inSenator Al Franken's immortal words) cuts a bit close to the bone for us theater critics.We reward the most accomplished liars—those stage artists who best convince us that they are who they are not—as a matter of professional practice. You could say that our job comes down to vetting the best lies in town on any given week—and then recommending them,wholeheartedly, for your consumption. It is comforting to note that Dorante,the main character in French playwright Pierre Corneille's 17th-century farce THE LIAR(Deep Dish Theater Company), appreciates these subtle nuances as well. At first, actor Roman Pearah's nimble character seems a run-of-the-mill cad—a new-in-town jasper who may have just enough wit to flimflam his way into a lucrative arranged marriage with a local swell's daughter. But as adapter David Ives unfolds this tangled story, Dorante takes on an existential hue: less Groucho Marx and more Albert Camus. By then, he's spun a tale to the credulous Alcippe (Scott Nagel)of a boating tryst to end all water-borne seductions.When servant Cliton (Matthew Hager)determines it's a lie, Dorante calmly rejoins that"the unimagined life's not worth living." When Alcippe imagines his fiance as the one seduced, he challenges Dorante to a duel. As he narrates it in real-time, as if it were the Mayweather–Pacquiao prizefight, and then recounts the thrilling blood-and-thunder of an equally spurious shotgun wedding, Dorante hasn't just made his own life a bit more interesting. The truth is, he has done the same for ours. DocuSign Envelope ID: F859AB28-066D-45E9-BB24-D873BDC015A0 Under Paul Frellick's deft direction, Pearah's Dorante whistles along some imposing self-erected precipices as he tries to keep Cliton, father Geronte(robust Warren Keyes) and prospective paramours Clarice and Lucrece(glittering Rebecca Bossen and soulful Maryanne Henderson) in the dark on different facets of his life. In their midst, Nagel's cockeyed read on the bellicose Alcippe suggests a refreshing 15th-century take on"Weird Al"Yankovic. The occasional snag is the iambic pentameter Ives employs throughout. When it works,well over half the time, the practice is theatrical meringue. When the inevitable clunkers land, it's a fallen stage souffl6. Dorante's improbable second-act credo begins with a tag on Shakespeare: "All the world's a lie, and the men and women merely liars." But instead of using this to confirm some darker truth of human nature, Dorante finds liberation and limitless possibility in it. When all meaning is a mere invention to distract us from the void, the liar"turns to poetry our daily prose ... to dazzle us[and] reweave the tapestry with brilliant colors from his endless spools." In the right hands, Dorante reminds us, a lie can be performance art. As a culture, we used to know this. The popularity of The Monti and The Moth bids us to remember that our predecessors once regularly held similar contests—called tall-tale competitions and fish-tale festivals—for the best- told lies, instead of truths. Were those practices still commonplace, would we be more or less inoculated against far less beneficial untruths—the ones that have crept into our politics and political reporting? .a Photo by Jonathan Young ® Matthew Hager and Roman Pearah in The Liar Regional companies very rarely stage the same show in the same season. Since any given stage show has a finite audience, two adjacent runs split that group—and potentially cut their houses in half. Then there's the unwanted specter of head-to-head competition. For the thoughtful theatergoer, parallel productions let us place two creative teams side by side and assess their differences in artistic vision and execution. But if you're on the marketing and development side of either company, you might not want those comparisons made available, much less inevitable, among the general public. Temple Theatre closes its 2014115 season with HAIRSPRAY, the John Waters musical that Raleigh Little Theatre performed in the same season in September. Director Peggy Taphorn and imaginative set designer Steven Harrington don't force an able Emily Hubbard, as central character Tracy Turnblad, to open the show as singlehandedly as the RLT production did last fall. Instead, opening number"Good Morning Baltimore"takes us on a vivid and fully populated whirlwind tour—first of Tracy's teenage bedroom, then the scuzzy sides of her neighborhood walk to school. DocuSign Envelope ID: F859AB28-066D-45E9-BB24-D873BDC015A0 Taphorn's kinetic choreography and witty stage composition propel the production through "The Nicest Kids in Town" and"I Can Hear the Bells."As Penny, Tracy's teenage aide de camp, Kelsey Walston is a winning ultra-geek. Through their quest to find fame, romance and civil rights on Baltimore daytime TV in the 1960s, they encounter dragon lady Velma Von Tussle(a convincing Trish Hamilton) and ally Motormouth Maybelle(Rozlyn Sorrell, who chalks up yet another show-stopper in the production's 11 o'clock number, "I Know Where I've Been.") Stephen Moore seems a bit flat in the traditional drag role of Tracy's mother, Edna, but Ken Griggs helps cement the family unit as Wilbur. In supporting roles, Timothy Houston is probably aging out as teen heartthrob Link, but Robyne Parrish nails the jail matron in "The Big Dollhouse,"and Matt Lamb ingratiates as the Dick Clark figure, Corny Collins. Harrington's sound design left the singers under-amplified against the pre-recorded orchestra through much of Saturday night—the only other major drawback in an otherwise engaging production. This article appeared in print with the headline "Sweet little lies"