pericles: wayne t. carr (pericles) and sailors (samuel l. wick, zlato rizziolli). photo by jenny graham.
2015 Annual Report
Cynthia Rider
Executive Director
Bill Rauch
Artistic Director
In 2015, we celebrated our 80th anniversary and
launched Canon in a Decade, our commitment to
produce all 37 of Shakespeare’s plays in the next 10
years. We got off to a good start with a Shakespearean
production in each of our venues: a lively Much Ado
about Nothing in the Angus Bowmer Theatre, a
music-infused Pericles in the Thomas Theatre and the
tragic love story of Antony and Cleopatra in the Allen
Elizabethan Theatre.
New plays and old favorites dominated the season.
The musical classic Guys and Dolls ran in repertory
in the Angus Bowmer Theatre with three premiere
productions: Alexa Junge’s world-premiere adaptation
of Sarah Waters’ Victorian crime thriller Fingersmith,
the world premiere of Lynn Nottage’s Sweat—an
American Revolutions co-commission with Arena
Stage—and the U.S. premiere of Stan Lai’s Secret Love
in Peach Blossom Land. Quiara Alegría Hudes’ vibrant
The Happiest Song Plays Last and Eugene O’Neill’s
semiautobiographical Long Day’s Journey into Night
played in the Thomas Theatre. The Count of Monte
Cristo thrilled patrons in the Allen Elizabethan Theatre,
as did the world premiere of Jeff Whitty’s Head Over
Heels, a big-hearted musical with songs by the Go-Go’s.
Festival alumnus Stacy Keach returned to Ashland for
a special performance of Pamplona, his one-man show
about Ernest Hemingway. Sadly, we said goodbye to
longtime acting company member Catherine Coulson,
who died in September.
Offstage, the Education department and the Jackson
County Library System inaugurated Living Ideas: Art
and Community Dialogue Series, whose goal is to forge
connections between individuals and communities
by exploring the local impacts of global issues based
on topics inspired by our productions. In September,
we announced Play on!, our three-year, 39-play
commissioning project, dedicated to providing texts
of Shakespeare’s plays in contemporary English as
performable companion pieces for his original texts.
The New York Times praised OSF’s ongoing efforts to
promote diversity, which included holding our third
Latina/o Play Project and hosting the first artEquity,
a diversity and facilitation training for leaders in
American theatre.
At season’s end, shows present and past moved to
other venues. Pericles sailed to the Folger Theatre in
November and the Guthrie Theater in January. Mark
Bedard’s adaptation of The Cocoanuts played at the
Guthrie during the holidays. Guys and Dolls opened
at the Wallis Annenberg Center in December, Sweat
opened at Arena Stage in January and The Unfortunates
began its run at A.C.T. in San Francisco in February. Six
different productions of All The Way were scheduled
for several prominent theatres across the country,
including the Dallas Theater Center, Arena Stage, the
Alley Theatre and Asolo Repertory Theatre.
The eleven-production season played a total of 786
performances, closing at 87% of capacity with a total
attendance of 390,387. Six outdoor performances
were cancelled due to smoke from forest fires and one
instance of torrential rain. In spite of weather-related
setbacks however, 2015’s ticket revenue held steady at
$21 million, approximately the same as 2014’s revenue.
We are deeply grateful to all those who have made
it possible for OSF to thrive and dream big dreams. We
look forward to the next 80 years in the good company
of audiences: those of today and those yet to come.
Statement of Financial Position
As of October 31, 2015
As of
October 31, 2014
Assets
Current assets:
Cash and cash equivalents
$
256,239
$
781,716
Investments 3,840,627 7,924,857
Accounts receivable
147,618
161,697
Pledges receivable, net
1,870,365 2,467,645
Due from Endowment Fund
1,829,599 1,579,958
Prepaid expenses
1,468,226
1,218,352
Inventory
197,595
179,788
Total current assets 9,610,269 14,314,013
Noncurrent pledges receivable, net 4,066,436 2,154,180
Property and equipment, net 34,046,682 29,626,578
Endowment Fund
30,197,721 32,358,741
Total Assets
$ 77,921,108
$ 78,453,512
Liabilities and Net Assets
Current liabilities:
Accounts payable and accrued expenses
$
Due to Endowment Fund
Deferred revenue, tickets
Deferred revenue, program and other revenues
Current portion of long-term debt
2,864,124
$ 3,100,002
730,850
404,001
520,127
505,637
943,407
576,121
2,362,583
228,640 Total current liabilities
7,421,091 4,814,401
Long-term debt, less current portion
3,733,684 6,097,915
Total liabilities
$
11,154,775
$ 10,912,316
Net Assets:
Unrestricted $ 39,514,071
$35,600,599
Temporarily restricted 15,464,774 20,182,746
Permanently restricted 11,787,488 1 1,757,851
Total net assets 66,766,333 67,541,196
Total Liabilities and Net Assets
$ 77,921,108 $ 78,453,512
2015
Attendance:
Play
by Play
Attendance Analysis
All Other
Thomas
Theatre
School Visit
Program
45%
3%
Angus Bowmer
Theatre
16%
13%
23%
Allen Elizabethan
Theatre
The annual financial reports for the Festival Association and the Endowment Fund
have been audited and a clean opinion has been issued. The audit report is available
upon request.
Number of
Performances Attendance
Percent of
Capacity
Angus Bowmer Theatre Much Ado about Nothing
11761,544 89%
Fingersmith
4424,791 95%
Guys and Dolls
12172,925 96%
Secret Love in Peach Blossom Land 73 31,248 72%
Sweat 3820,744 92%
Allen Elizabethan Theatre
Antony and Cleopatra
3834,008 75%
Head Over Heels
3834,951 77%
The Count of Monte Cristo 3836,075 80%
Thomas Theatre
Pericles
139
37,349
98%
Long Day's Journey into Night 8923,413 96%
The Happiest Song Plays Last
5113,339 95%
Totals
786390,387 87%
Statement of Activities
For the year ended October 31, 2015
Unrestricted
For the year ended October 31, 2014
Temporarily
Restricted
Permanently
Restricted
Total
Unrestricted Temporarily
Restricted
Permanently
Restricted
Total
Operating revenue:
Plays
$
21,237,923$
-$
-$
21,237,923$
21,263,071$
Other events
344,965
-
- 344,965 343,038
Educational programs
301,245
-
- 301,245
292,559
Publications 304,804
-
- 304,804
262,516
Concessions 438,214
-
-
438,214 371,965
Investment income (loss)
35,297
-
-
35,297
11,326
Support from Endowment Fund 1,430,916
-
- 1,430,916
1,386,494
Other
809,751
-
- 809,751
942,076
-
$
-
-
-
-
-
-
-
- 21,263,071
- 343,038
-
292,559
-
262,516
- 371,965
-
11,326
- 1,386,494
- 942,076
Total operating revenue 24,903,115
-
- 24,873,045
-
-24,903,115
24,873,045
Support:
Memberships
4,182,476
-
-
4,182,476 3,554,053385,558
Gifts and grants3,411,925
1,255,541
-
4,667,466 2,768,021
1,938,289
Support groups 131,116
-
-131,116 137,230
-
Net assets released from restrictions:
Satisfaction of time and purpose restrictions 3,357,695 (3,357,695)
-
-
3,633,134
(3,633,134)
-
-
Total support 11,083,212 (2,102,154)
-
8,783,151
-
8,981,058
10,092,438
(1,309,287)
- 3,939,611
-4,706,310
- 137,230
Total operating revenue and support 35,986,327 (2,102,154)
-33,884,173 34,965,483
(1,309,287)
- 33,656,196
Operating expenses:
Plays and education 24,922,259
-
-24,922,259 24,622,679
-
- 24,622,679
Marketing and audience services 4,742,782
-
- 4,742,782 4,671,301
-
- 4,671,301
General and administration 3,811,033
-
- 3,811,033 3,416,622
-
- 3,416,622
Membership and fundraising 1,706,886
-
- 1,706,886 1,509,035
-
- 1,509,035
Total operating expenses 35,182,960
Income (Loss) from current endeavors
-
-35,182,960 803,367 (2,102,154)
34,219,637
-(1,298,787) 745,846
-
( 1,309,287)
- 34,219,637
-
(563,441)
Other funds and nonoperating
activities, net
-30,665
-30,665
-41,934
- 41,934
Collective bargaining expenses
(23,159)
-
- (23,159)
-
-
-
Depreciation on assets funded by restricted gifts and grants (563,479)
-
- (563,479) (542,060)
-
- (542,060)
Capital campaign contributions
and earnings
- 3,240,917
- 3,240,917 - 881,275
-
881,275
Capital campaign contributions released
from restriction
4,697,945
(4,697,945)-- -
-
-
Endowment activities:
Endowment Fund contributions 8,530 50,000 29,637 88,167 18,741 35,000
Endowment Fund investment
income (loss)
(251,748) (277,823)
- (529,571) 1,186,847 1,434,316 Change in value of gift annuities -
(36,082)
-
(36,082)
- (57,255)
Release of gift annuities
148,090 (148,090)
-
-
-
-
Endowment support to Festival (815,123)
(777,460)
-
( 1,592,583)
(633,741) (752,753)
Endowment expenses (90,951)
-
- (90,951) (81,992)
-
Change in net assets
3,913,472 (4,717,972)
29,637 (774,863) 693,641
273,230
28,173
81,914
- 2,621,163
-
(57,255)
-
- (1,386,494)
-
(81,992)
28,173
995,044
Net assets:
Beginning of year
35,600,59920,182,746
11,757,851 67,541,196
34,906,95819,909,516 11,729,678 66,546,152
End of year
$ 39,514,071
$ 15,464,774
$ 11,787,488 $ 66,766,333
Attendance
Number of Percent of
PerformancesAttendance Capacity
Comparisons
20152014
Angus Bowmer Theatre
Allen Elizabethan Theatre
Thomas Theatre
393
114
279
406
114
274
211,252
105,034
74,101
Totals 786
794
390,387 398,289
2015
2014
215,457
110,342
72,490
20152014
89% 90%
78% 82%
97% 97%
87%
88%
$ 35,600,599
$ 20,182,746 $ 11,757,851 $ 67,541,196
School Visit Program
Number of Schools Visited
Number of Events
Attendance
Fall 2015
Fall 2014
116
95
525
462
62,44053,495
jenny graham
jenny graham
jenny graham
The 2015 Plays
Allen Elizabethan Theatre
Angus Bowmer Theatre
Thomas Theatre
Antony and Cleopatra
Much Ado about Nothing
Pericles
by William Shakespeare
Directed by Bill Rauch. Scenic designer, Richard L. Hay. Costume
designer, David C. Woolard. Lighting designer, Jane Cox.
Composer and sound designer, Paul James Prendergast.
Lead Sponsor: The Goatie Foundation
Production Partners: Peter and Jane Carpenter, Jim Collier,
Hitz Foundation, Bill Meehan and Randi Zeller
Head Over Heels
Play by Jeff Whitty. Music and lyrics by the Go-Go's.
World Premiere
Directed by Ed Sylvanus Iskandar. Music supervisor,
orchestrations and arrangement by Carmel Dean.
Choreography by Sonya Tayeh. Scenic designer, Christopher
Acebo. Costume designer, Loren Shaw. Lighting designer,
Jane Cox. Sound designer, Kai Harada. Video designer,
Mark Holthusen. Music director, Geraldine Anello.
Lead Sponsor: Edgerton Foundation New Play Awards
Production Sponsors: Amy and Mort Friedkin,
Charlotte Lin and Robert P. Porter
Production Partners: Sandy Farewell, Anonymous
The Count of Monte Cristo
by Alexandre Dumas. Adapted by Charles Fechter and
James O'Neill. Additional restoration by William Davies
King for Peter Sellars.
Directed by Marcela Lorca. Scenic designer, Sybil
Wickersheimer. Costume designer, Ana Kuzmanic. Lighting
designer, Karin Olson. Composer and sound designer,
Sarah Pickett. Additional lyrics by Dylan Paul.
Lead Sponsor: The Pigott Family
Production Partners: Nancy and Donald deBrier,
Kevin and Suzanne Kahn
Green Show
Associate Producer, Community: Claudia Alick
Producing Assistants, Community: Cassondra Fetty,
Donya K. Washington
Technical Manager: Benajah B. Cobb
Green Show Partners: Avista, Butler Automotive Group,
Lithia Auto Stores
The Oregon Shakespeare Festival’s productions of Much Ado
about Nothing, Pericles and Antony and Cleopatra were part
of Shakespeare in American Communities, a national program
of the National Endowment for the Arts in partnership with
Arts Midwest.
by William Shakespeare
Directed by Lileana Blain-Cruz. Scenic designer, Scott Bradley.
Costume designer, Kara Harmon. Lighting designer, Yi Zhao.
Composer and sound designer, Chad Raines. Choreographer,
Jaclyn Miller.
Lead Sponsor: U.S. Bank
Production Sponsor: The Chautauqua Guild
Production Partners: Ann P. Wyckoff, Katie Farewell,
The Henderson Family
Guys and Dolls
A Musical Fable of Broadway
Based on a story and characters of Damon Runyon. Music and
lyrics by Frank Loesser. Book by Jo Swerling and Abe Burrows.
Directed by Mary Zimmerman. Music direction by Doug Peck.
Choreography by Daniel Pelzig. Scenic designer, Daniel Ostling.
Costume designer, Mara Blumenfeld. Lighting designer,
T. J. Gerckens. Sound designer, Ray Nardelli. Orchestrations,
Doug Peck.
Lead Sponsor: Peter and Helen Bing
Production Sponsors: Jed and Celia Meese, Sid and Karen DeBoer,
Jerry and Jeanne Taylor Family Foundation
Production Partners: Lynne Carmichael, Jim Collier,
Betty and Jack Schafer
Fingersmith
by Alexa Junge. Based on the novel by Sarah Waters.
World Premiere
Directed by Bill Rauch. Scenic designer, Christopher Acebo.
Costume designer, Deborah M. Dryden. Lighting designer, Alan
C. Edwards. Video and projections, Shawn Sagady. Composer
and sound designer, Andre J. Pluess. Choreographer, Jaclyn
Miller. Phil Killian Directing Fellow, Mei Ann Teo.
Production Sponsor: Yogen and Peggy Dalal
Production Partners: The Goatie Foundation, Pamela Howard
and Thomas Castle, Lynn and Gary Jacobs, George and Claudette
Paige, Carol Streeter and Harold Goldstein
by William Shakespeare
Directed by Joseph Haj. Scenic designer, Jan Chambers.
Costume designer, Raquel Barreto. Lighting designer, Rui Rita.
Original music and lyrics, Jack Herrick. Sound designer, Amadon
Jaeger. Video designer, Francesca Talenti. Movement director,
Sarah Lozoff.
Production Partners: The Collonge Family, Julie Strasser Dixon and
Rocky Dixon, Mrs. Donald Hare, Michael and Leslie Schroeder
Long Day's Journey into Night
by Eugene O'Neill
Directed by Christopher Liam Moore. Scenic designer,
Christopher Acebo. Costume designer, Meg Neville. Lighting
designer, James F. Ingalls. Composer and co-sound designer,
Andre J. Pluess. Co-sound designer, Matt Callahan.
Lead Sponsor: Roberta and David Elliott
Production Partners: Robert Dohmen, Carole Howard,
Cynthia Muss Lawrence
The Happiest Song Plays Last
by Quiara AlegrÍa Hudes
Directed by Shishir Kurup. Scenic designer, Sibyl Wickersheimer.
Costume designer, Raquel Barreto. Lighting designer, Geoff Korf.
Video designers, Geoff Korf and Sibyl Wickersheimer. Composer
and sound designer, John Nobori.
Production Sponsors: Brad and Louise Edgerton, The Robert and
Star Pepper Foundation
Production Partner: Ted Wobber and Linda M. DeMelis
Secret Love in Peach Blossom Land
by Stan Lai in collaboration with the original 1986 cast.
Translated by Stan Lai.
U.S. Premiere
Directed by Stan Lai. Scenic designer, Michael Locher. Costume
designer, Helen Q. Huang. Lighting designer, Alexander V.
Nichols. Sound designer, Valerie Lawrence. Peking Opera
specialist, Carol Chia-lin Ma. Phil Killian Directing Fellow, Mei
Ann Teo. Creative consultant, Nai-Chu Ding.
Producing Sponsor: Joel Axelrod and Judy Yin Shih, PhD
Lead Sponsor: McMurtry Family Foundation
Community Sponsors: Fred W. Fields Fund of the Oregon
Community Foundation, National Endowment for the Arts
Production Partners: Michael R. Jacobson and Trine J. Sorensen,
Andrew and Brenda Birrell
Sweat
by Lynn Nottage. Co-commissioned with Arena Stage.
World Premiere
Directed by Kate Whoriskey. Scenic designer, John Lee Beatty.
Costume designer, Jennifer Moeller. Lighting designer,
Peter Kaczorowski. Sound designers, Michael Bodeen and
Rob Milburn. Video designer, Jeff Sugg.
Sweat was co-commissioned with Arena Stage through
American Revolutions: the United States History Cycle, OSF’s
10-year program of commissioning up to 37 new plays about
moments of change in United States history. Development and
production of Sweat was supported by a Theatre Commissioning
and Production Initiative grant from the Doris Duke Charitable
Foundation and grants from The Andrew W. Mellon Foundation
and The Harold and Mimi Steinberg Charitable Trust
Lead Sponsor: Doris Duke Charitable Foundation
Production Sponsor: The Paul G. Allen Family Foundation
Production Partners: Anonymous Applegate Donors, Ed
McCurtain, Karen Easterbrook and Alex Sutton, The Hobbes
Family, The Teel Family Foundation, Wally and Sheila Weisman,
The Kinsman Foundation
The Oregon Shakespeare Festival theatres and offices:
15 South Pioneer
Mailing address:
P.O. Box 158
Ashland, OR 97520
541-482-2111 administration
800-219-8161 box office and membership
541-488-5406 or 866-545-6337 group sales
541-488-3880 or 800-628-9530 development
www.osfashland.org