2020-05-12T09:59:27-05:00 2019-08-31 WITHUMSMITHBROWN PC 1411 BROADWAY 9TH FLOOR NEW YORK NY 10018 990 2018-09-01 136192346 ROUNDABOUT THEATRE COMPANY INC % JOHN DIMEGLIO ROUN 2127199393 231 WEST 39TH STREET Suite 1200 NEW YORK NY 10018 TODD HAIMES ARTISTIC DIR./CEO 2127199393 2020-05-08 true KAREN A KOWGIOS CPA P01461372 2127519100 2020-05-08 65.124.179.218 22006220201335000168 2020-05-12 P 2E96042820F29651B9B1375CE4397AAEC4108A87 65A6F87EFD4C6EBC6DA51BC8FFF765990037F011 2018 2020-09-22 18:59:49Z TODD HAIMES 231 WEST 39TH STREET 1200 NEW YORK NY 10018 86738664 false X WWW.ROUNDABOUTTHEATRE.ORG X 1965 NY ROUNDABOUT THEATRE COMPANY celebrates the power of theatre by spotlighting classics from the past,cultivating new works of the present and educating minds for the future. 45 43 1152 2390 1115143 -140800 15799752 16771160 20223225 39349409 2477283 2483016 7581111 6296625 46081371 64900210 0 0 0 0 22765119 34826343 0 218040 3902013 24782350 32782632 47547469 67827015 -1466098 -2926805 154885178 150525401 34039311 32740128 120845867 117785273 X OUR MISSION - Roundabout celebrates the power of theatre by spotlighting classics from the past, cultivating new works of the present and educating minds for the future. OUR WORK - We produce familiar and lesser-known plays and musicals with the ability to take artistic risk as only a not-for-profit can. We discover talented playwrights and provide them long-term artistic support to contribute to the future of the theatrical canon. We reduce the barriers-financial, physical and cultural-that can inhibit theatergoing. We collaborate with a diverse team of artists to identify programming for consideration. We build transformational education experiences that enhance teacher practice, deepen student learning, and ignite the futures of young people through career training and placement. We capture and archive over five decades of production history as an open resource for artists, scholars, and our community. OUR CULTURE - Artistry: We give our artists the autonomy to create. Connection: W false false 53939753 39072623 4A - THEATRICAL PRODUCTIONS: During the 2018-2019 season, Roundabout produced nine full-scale productions on one of our Broadway stages (the American Airlines Theatre, Studio 54), Off-Broadway stage (the Laura Pels Theatre at the Harold and Miriam Steinberg Center for Theatre), and Off-Off-Broadway stage (the Black Box Theatre at the Harold and Miriam Steinberg Center for Theatre). Our productions reached 445,490 audience members including 19,788 subscriber packages and 22,207 students, teachers and community partners. Roundabout has been an industry leader in developing and expanding the traditional theatre audience, creating and implementing outreach and theatre appreciation programs targeted to diverse audiences. The following are Roundabout's programs and outreach initiatives, through which Roundabout remains committed to a full complement of programs that?reduce the barriers-financial, physical and cultural-that can inhibit theatergoing: . Roundabout is committed to serving the broadest possible audience with innovative and large-scale programs that are in step with community needs. Roundabout serves the community by providing affordable tickets to quality theatre-subscribers pay less than half the single ticket price, with further discounts available to groups such as the deaf and hard of hearing, teachers, families and young adults. . Through Access Roundabout we make theatre even more accessible and made available 40,706 dramatically discounted tickets during the 2018-2019 season. This included 1,550 $10 tickets for the first four preview performances of every production; 15,334 $25 tickets to any performance of any production for Hiptix members aged 18-35; 8,995 $25 tickets to Roundabout Underground productions; 330 half-priced student rush tickets; 4,193 $30-$40 general rush tickets; and 10,304 $29-$39 TodayTix lottery and rush tickets. . Roundabout Access and inclusion are two hallmarks of the disability rights movement and we are dedicated to providing both. We strive to create an environment that is inclusive to those of all abilities and to normalize that inclusivity as part of the typical theatergoing experience. Going beyond simple compliance with the Americans with Disabilities Act, our wide range of offerings are aimed at creating equitable access for people with disabilities of all types. The long running Sign Interpreted Series has been a mainstay of our programming for 20+ years and is a valued cultural offering in the Deaf and hard of hearing community. Our newest, Relaxed at Roundabout, are innovative and industry leading relaxed performances designed for neuro-diverse individuals and welcoming to all. Additionally, we have an ongoing commitment to providing on-demand closed captioning and audio description for all of our mainstage productions. . As a not-for-profit theatre, Roundabout is also committed to going beyond just producing great plays to informing and educating audiences about a play's writer, its themes, and its historical context. Roundabout's Education Dramaturgs led 150 informative pre- and post-show discussions throughout the 2018-2019 season. Additionally, through our UPSTAGE guide, published for every production, behind-the-scenes content on our blog and social media channels, as well as interactive opportunities within our venues, we provide a number of ways for our audiences to both understand and engage with our productions and the artistic process. 620091 ARTISTIC DEVELOPMENT: Roundabout is committed to providing a nurturing home to artists at all stages of their careers. In the 2018-19 season, Roundabout continued to push forward in this mission. The company staged nine full productions for audiences on and off-Broadway, producing a variety of work to highlight both the classics and the voices of today. The company also shepherded several artist-driven initiatives described below, many of which focused on a commitment to the future through deeper emphasis on equity, diversity, and inclusion. These developments, in concert with the continued excellence of Roundabout's season programming, ensure that Roundabout will continue to forge meaningful connections between artists and audiences for years to come. The New Play Initiative continues to be a vital part of Roundabout's mission, and this season saw a significant commitment to new work, with productions of four world premiere plays. All four of those world premieres were written by American women, and all of them were named Critic's Picks by the New York Times. Ming Peiffer's Usual Girls became a sensation as part of the Roundabout Underground program. Selling out before it even opened, this was a frank, funny, and heartrending depiction of growing up female in the world today, and audiences embraced it wholeheartedly. The playwright became the first ever Asian-American woman to be nominated for the Best New Play award at the Drama Desks. Another hit at the Underground followed closely on the heels of Usual Girls. Something Clean was written by Selina Fillinger when she was barely out of college, but its portrait of parents coping with their son's imprisonment for committing sexual assault demonstrated wisdom well beyond her years. The play was a hit with audiences and critics, used the Underground space in an innovative design, and spurred impactful conversation. Both of these playwrights have been commissioned to write their next plays for Roundabout as part of our belief in creating lasting relationships with emerging artists beyond their first production. At the Laura Pels Theatre off-Broadway, we shared Alexi Kaye-Campbell's American premiere of Apologia, starring the inimitable Stockard Channing as a mother whose strong sense of activism didn't leave room for active participation in her sons' lives. We also premiered a long-in-development Roundabout commission, Lydia R. Diamond's Toni Stone. The titular character was the first woman to ever play professional baseball in this country, breaking that barrier in the Negro Leagues just as Jackie Robinson was breaking the race barrier in the Majors. Lydia's lyrical work gave way to moments of stunning choreography from Camille A. Brown and to a bravura performance from April Matthis as Toni. In a departure for Roundabout, new work also came to Broadway this season. Another commissioned play, Theresa Rebeck's Bernhardt/Hamlet, debuting at the American Airlines Theatre. Exploring the infamous Sarah Bernhardt's decision to challenge the establishment by playing Hamlet in 1899, the play was passionate, exuberant, and charged by the work of the brilliant Janet McTeer as Sarah. It would receive two Tony Award nominations and is set for major productions across the country in the season ahead. A great deal of development of work took place in the midst of these productions, following the NPI's three-pronged approach to new work: Commission, Develop, Produce. During the 2018/19 season, this work included: 32 readings and workshops of plays and musicals, of which 28 represented new work, and 23 commissions at varying stages of development. Classic plays also shined in this season, with two major works of the 20th Century getting Broadway revivals. Sam Shepard's True West and Arthur Miller's All My Sons were both tremendous successes for the theatre, drawing in huge audiences and reinvigorating these titles for the future. The latter would be nominated for 3 Tony Awards. The 2018-19 season also saw the rare revival of a musical off-Broadway. A few years into their tenure as Roundabout's Company in Residence, Fiasco Theater brought Merrily We Roll Along to life. This notoriously imperfect piece was a welcome challenge, and with the support of Stephen Sondheim, the group pulled from every existing draft to create their version of this should-be classic. The small-cast/big-heart production charmed audiences, and one of the musical's original cast members called it "perfect." On a larger musical scale, the classic Kiss Me, Kate came to life at Studio 54. The production was reimagined for our modern age, with writer Amanda Green joining the creative team to make small but skillful edits to the text to help make the piece more relevant to today's audiences. It would go on to receive 4 Tony Award nominations and to play an extended run. Beyond productions, the season also continued our artistic and educational partnership with Columbia University. In addition to the education component of this partnership, Roundabout hosted the fourth annual Columbia@Roundabout Reading Series. The series introduced three recent Columbia graduates to industry professionals and brought these talented young writers into the Roundabout family. Those artists were all invited into the Space Jam program. Space Jam was created to provide playwrights with the space, time, and resources they need to create great work. Throughout the season, Roundabout's rehearsal studio was converted into a writers' room on four separate occasions for a week-long retreat. The program is not tied to results; writers are not obligated to share their work with Roundabout. The goal is simply to support writers whose talent the theater believes in by giving them the chance to do their work in a pleasant and productive atmosphere. We were able to support 29 writers in this way. We also continued our residence in a rented solo office that rotates among playwrights from week to week, offering them a private writing space to help them do their essential work, serving 26 writers. We continued the third prong of this program, giving writers retreats outside of New York City, by partnering with the Bucks County Playhouse to serve two teams of musical theatre writers. In our Associate Artist programs, both Resident Directors, Rebecca Taichman (Tony-winner for Indecent) and Anne Kauffman, signed on for second years and continued to be important voices in our season planning. We also added Whitney White, who had been our inaugural Directing Fellow, to the larger group of Roundabout's Associate Artists. This group of more than a dozen respected members of the theatre community from the worlds of playwriting and directing all find an artistic home here. Through this program, the artists are given a stable base of support and the opportunity to bring projects at all stages of development. The Roundabout Directing Fellowship successfully moved into its third year of bringing a young director from an underrepresented community into the theatre to give the artist a chance to assist and be mentored by directors on Roundabout productions and also develop their own work. Kathleen Capdesuner thrived, assisting on Apologia, True West, and Something Clean, as well as doing two workshops of her own passion projects, all while getting to know Roundabout staff and forming long-lasting relationships. Her predecessor, Miranda Haymon, was offered to stay on board in the role of Artistic Development Associate during this season, and she provided meaningful consultation, particularly in Roundabout's efforts to ensure diversity behind the scenes, with an emphasis on designers. 4752186 276786 EDUCATION: During the 2018-2019 season, Education at Roundabout impacted over 36,000 students, educators, and adults from 440 schools, over 300 of which are NYC based and represent all five boroughs, and across a diverse slate of programming. Roundabout's education programs engage students in non-traditional ways of learning to help them acquire the skills needed to be productive, engaged citizens. Each year, Roundabout's programming ranges from student matinees to in-school classroom residencies, from school-wide partnerships to professional development workshops for teachers, from a free after-school program to a career development apprentice program. In the fall of 2019, alongside labor union partner, the International Alliance of Theatrical Stage Employees, Roundabout launched year three of the Theatrical Workforce Development Program, which provides young adults from traditionally underrepresented communities access to careers in technical theatre. Below is an overview of the programs: Teaching and Learning . Professional Development at Roundabout offers a variety of workshops to enhance each educator's ability to use theatre as an effective teaching tool in the classroom. These workshops are offered throughout the year to teachers, schools, and districts. Workshops are often customized to meet different learning objectives. [FY19 Impact: 1062 educators] . Roundabout Youth Ensemble is our student-run theatre company where public high school students take responsibility for their learning by making all the artistic, technical, and administrative decisions for each production. It takes place in our Black Box Theatre at the Harold and Miriam Steinberg Center for Theatre. [FY19 Impact: 55 students; 17 schools] . School Partnerships are at the core of our work and target middle schools and high schools with limited access to the arts. The vehicles for learning in School Partnerships are intensive residencies that are thoughtfully developed and tailored to meet the goals of individual schools. The residencies provide in-depth programs that connect the process of theatre production to the school curriculum. Residencies can range from 8-12 artist visits in a single classroom to year-long partnerships that take place in several classrooms or grade levels within the school. Specialized Teaching Artists work with educators to determine residency goals and success measurement tools to ensure that residencies fulfill targeted education needs. [FY19 Impact: 4,798 students in 122 classrooms] . Theatre Access provides free and discounted matinee tickets to Roundabout productions for student groups from throughout the tri-state area. This commitment to making world-class theatre accessible and affordable for the widest possible audience gives many students their first Broadway experience. Teachers receive curriculum materials to prepare their students for a trip to the theatre. Pre- and post-show workshops are also available for students. [FY19 Impact: over 19,000 students received free and highly subsidized tickets] Career Training . Career Development at Roundabout offers a wide range of hands-on learning opportunities for pre-professionals interested in theatre administration careers. Programming includes exposure and training opportunities like Collage & Career Readiness Day, How to Stand Out workshops, and a high school internship partnership with the Broadway League. But the most in-depth training comes from Roundabout's intern and apprentice programs. Each summer twelve 3-month internships are offered to early career professionals, introducing, and immersing them into the day-to-day operations of a professional theatre; and, each season Roundabout administers a 9-month apprentice program, enabling a richer and longer-term experience for 14 full-time staff members. Interns and Apprentices attend regular seminars with members of Roundabout's senior staff, receive a living wage, and benefit from cross-networking opportunities with interns/apprentices from other cultural institutions like the American Ballet Theatre and New York Theatre Workshop. Roundabout's career development program strives to support young professionals from historically underrepresented communities through the first steps of their theatre administration careers. This season, Roundabout offered a new Cost of Living Scholarship to help offset the cost of housing and transportation. The scholarship is available to all summer internship and season-long apprenticeship applicants and was awarded to one qualifying Intern and Apprentice. [FY 19 Impact: 376 students/pre-professionals] . Theatrical Workforce Development In the fall of 2016, alongside labor union partner, the International Alliance of Theatrical Stage Employees, Roundabout launched the Theatrical Workforce Development Program, which provides young adults from traditionally underrepresented communities access to careers in technical theatre. This three-year program trains and places young New Yorkers into paid professional positions. The program is intended to break down the barriers that prevent young adults from gaining economic stability; to bring equity and diversity to a field of high-quality, skill-based jobs in a growing economic sector; and to educate and encourage a new generation of passionate theatre professionals. [FY 19 Impact: 45 active Fellows from three cohorts] Audience & Community Partnerships . Theatre Plus programs enhance the theatre-going experience for thousands of subscribers and patrons to help them learn more about the history of the production and its creators. Programming includes pre-show dramaturgical discussions and post-show talkbacks and lectures. [FY19 Impact: 13,005 patrons] . UPSTAGE Guides provide audiences and students with print and digital access to artist interviews, thematic and dramaturgical essays, designer statements, and research materials related to Roundabout's productions. Guides are available in each of our theatres and online. [FY19 Impact: 16,805 guides distributed] . Community Conversations are post show events that aim to deepen audience members experience with the play and to each other. The format is intended to create space for audience members to share their experience, building a sense of mutual understanding and therefore, a stronger Roundabout community. [FY19 Impact: 147 patrons] 528409 0 Now in its tenth year, Roundabout's archives continue the mission to capture and preserve the artistic and institutional output of the company and provide access to the extensive archival holdings - both physical collections and an online database - to staff and artistic collaborators as well as the broader academic and theatrical communities. OTHER: There were additional expenses related to maintaining the Stephen Sondheim Theatre in between scheduled productions. 528409 0 59840439 true true false true false false false false false true true false false false true true true false false false false false false true true false false false false true false false false false false false true true true false false false false false false false false true 209 0 1152 true true true false false false false true true false false X 45 43 false false true false false false false true true false false true true true true true true true true false CA CO CT DC FL GA IL KY ME MD MA MI MO NJ NY NC OH PA RI TN VA WA X X JOHN DIMEGLIO 2127199393 231 WEST 39TH STREET 1200 NEW YORK NY 10018 THOMAS E TUFT CHAIRMAN 2.0 0.0 X X 0 0 0 LAWRENCE KAPLEN VICE CHAIRMAN 1.0 0.0 X X 0 0 0 KATHERYN PATTERSON KEMPNER VICE CHAIRMAN 1.0 0.0 X X 0 0 0 STEPHANIE KRAMER VICE CHAIRMAN 1.0 0.0 X X 0 0 0 ARTHUR M DE GRAFFENRIED III TREASURER 1.0 0.0 X X 0 0 0 ALEC BALDWIN DIRECTOR 1.0 0.0 X 0 0 0 JEFFREY BARKER DIRECTOR 1.0 0.0 X 0 0 0 ROXANNE BOK DIRECTOR 1.0 0.0 X 0 0 0 MATTHEW BRODERICK DIRECTOR 1.0 0.0 X 0 0 0 MARDEE BROWN DIRECTOR 1.0 0.0 X 0 0 0 JAMES J BURKE JR DIRECTOR 1.0 0.0 X 0 0 0 MARY CADAGIN DIRECTOR 1.0 0.0 X 0 0 0 JIM CARTER DIRECTOR 1.0 0.0 X 0 0 0 MICHAEL T COHEN DIRECTOR 1.0 0.0 X 0 0 0 WENDY COLLINS DIRECTOR 1.0 0.0 X 0 0 0 DOUGLAS DURST DIRECTOR 1.0 0.0 X 0 0 0 HERBERT W ENGERT JR DIRECTOR 1.0 0.0 X 0 0 0 SUSAN FORST DIRECTOR 1.0 0.0 X 0 0 0 PATRICIA GOLDSTEIN DIRECTOR 1.0 0.0 X 0 0 0 JOHN GORDON DIRECTOR 1.0 0.0 X 0 0 0 HARRY E GOULD JR DIRECTOR 1.0 0.0 X 0 0 0 PERRY B GRANOFF DIRECTOR 1.0 0.0 X 0 0 0 ADAM GWON DIRECTOR 1.0 0.0 X 0 0 0 JEANNE HAGERTY DIRECTOR 1.0 0.0 X 0 0 0 MERYL D HARTZBAND DIRECTOR 1.0 0.0 X 0 0 0 ABBY F KOHNSTAMM DIRECTOR 1.0 0.0 X 0 0 0 GENE KORF DIRECTOR 1.0 0.0 X 0 0 0 CAROLE S KRUMLAND DIRECTOR 1.0 0.0 X 0 0 0 CRAIG LEAVITT DIRECTOR 1.0 0.0 X 0 0 0 GESS A LEBLANC DIRECTOR 1.0 0.0 X 0 0 0 CYNTHIA LEWIS BECK DIRECTOR 1.0 0.0 X 0 0 0 ALAN P MARK DIRECTOR 1.0 0.0 X 0 0 0 LAURA PELS DIRECTOR 1.0 0.0 X 0 0 0 CHARLES RANDOLPH-WRIGHT DIRECTOR 1.0 0.0 X 0 0 0 MARVIN ROSEN DIRECTOR 1.0 0.0 X 0 0 0 SAMANTHA RUDIN EARLS DIRECTOR 1.0 0.0 X 0 0 0 MICHAEL SLOCUM DIRECTOR 1.0 0.0 X 0 0 0 BERYL SNYDER DIRECTOR 1.0 0.0 X 0 0 0 JOLYON STERN DIRECTOR 1.0 0.0 X 0 0 0 JENNIFER B THOMAS DIRECTOR 1.0 0.0 X 0 0 0 CYNTHIA C WAINWRIGHT DIRECTOR 1.0 0.0 X 0 0 0 VANESSA WILLIAMS DIRECTOR 1.0 0.0 X 0 0 0 JASON WINGARD DIRECTOR 1.0 0.0 X 0 0 0 JOHS WORSOE DIRECTOR 1.0 0.0 X 0 0 0 MARY SOLOMAN DIRECTOR 1.0 0.0 X 0 0 0 TODD HAIMES PRESIDENT/ARTISTIC DIRECTOR 40.0 0.0 X X 611574 0 67448 SYLVIA GOLDEN SECRETARY 1.0 0.0 X X 0 0 0 JULIA LEVY EXEC. 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EARNINGS ARE TO SUPPORT THE ARTISTIC AND EDUCATIONAL INITIATIVES OF THE INSTITUTION. PART X, LINE 2 THE ORGANIZATION BELIEVES THAT IT HAS APPROPRIATE SUPPORT FOR ANY TAX POSITIONS TAKEN, AND AS SUCH, DOES NOT HAVE ANY UNCERTAIN TAX POSITIONS THAT ARE MATERIAL TO THE FINANCIAL STATEMENTS. X X X X X X X true DCM inc 330 W 38th Street 207 NEW YORK NY 10018 telefund raising false 316548 221500 95048 IPM ADVANCEMENT LLC 16845 N 29th Avenue Suite 1-550 Pheonix AZ 85053 direct mail /consulting false 208433 143254 65179 524981 364754 160227 CA CO CT DC FL GA IL KY ME MD MA MI MO NJ NY NC OH PA RI TN VA WA GALA 3754301 3117755 636546 243140 186526 206880 My One & Only 989960 660498 329462 28823 219332 81307 1 134385 98209 36176 14932 11283 9961 4878646 3876462 1002184 286895 417141 298148 1002184 X X X X true false false false false false false false false TODD HAIMES PRESIDENT/ARTISTIC DIRECTOR 595720 15854 50270 17178 679022 JULIA LEVY EXEC. DIRECTOR/ASST. SECRETARY 378113 197793 14517 590423 CHRISTOPHER NAVE DIRECTOR OF DEVELOPMENT 236764 12058 14327 263149 SYDNEY A BEERS GENERAL MANAGER 260472 37538 18696 316706 STEVEN J DOW CHIEF ADMIN OFF ASST. TREASURER 275045 27615 11046 313706 ANDREW O FORSTE STAGE CREW 236738 53366 40400 330504 LAWRENCE JENNINO STAGE CREW 219046 49138 34933 303117 JOHN WOODING STAGE CREW 207536 46517 33067 287120 DAN HOFFMAN STAGE CREW 203417 45626 32436 281479 STEVE A BEERS atage crew 196791 44180 31389 272360 EXECUTIVE DIRECTOR COMPENSATION IN PART II COLUMN C: In 2014, the Organization entered into a retention agreement with an executive under which, upon the completion of continuous service until February 14, 2020, the executive will receive $1 million, payable in equal installments on June 13, 2020, 2021 and 2022. As of August 31, 2019, a cumulative total of $896,957 has been accrued. If the executive is replaced or duties curtailed other than for "cause" before completing continuous service until February 14, 2020, the executive would be due an amount equal to one-month base salary for each year of service since 1990, payable over thirty-six months. THE ORGANIZATION HAS RECOGNIZED $170,626 IN EXPENSE DURING CALENDAR YEAR 2018 ACCRUED UNDER THIS AGREEMENT. THIS AMOUNT HAS BEEN INCLUDED IN FORM 990 SCHEDULE J PART II COLUMN (C), AS IT REPRESENTS DEFERRED COMPENSATION ACCRUED BUT NOT PAID. STEVE BEERS FAMILY RELATIONSIP WITH KEY EMPLOYEE SYDNEY BEERS 244405 PAYMENT FOR SERVICES RENDERED false Michael Day FAMILY RELATIONSIP WITH KEY EMPLOYEE SYDNEY BEERS 10693 PAYMENT FOR SERVICES RENDERED false ONE BRYANT PARK BUSINESS RELATIONSHIP - BOARD MEMBER DOUGLAS DURST HAS OWNERSHIP INTEREST 1014058 RENTAL PAYMENTS false JOLYON STERN FAMILY RELATIONSHIP - BOARD MEMBER JOLYON STERN HAD OWNERSHIP INTEREST 864299 INSURANCE SERVICES false X 53 1616422 FMV X AIR TICKETS 1 137687 FMV X FOOD AND BEVERAGE 8 107486 FMV X LODGING 1 15307 FMV X MERCHANDISE 2 16065 FMV X PIANO RENTAL 1 2450 0 false true false FORM 990, PART VI, SECTION B, LINE 11 management and the audit committee approve and then a final draft is sent to full board for review and comments. FORM 990, PART VI, SECTION B, LINE 12C THE DISCLOSURES ARE REVIEWED ANNUALLY BY THE NOMINATING AND GOVERNANCE COMMITTEE AND THE AUDIT COMMITTEE. THROUGHOUT THE YEAR, AS ANY POTENTIAL CONFLICTS ARE IDENTIFIED THEY ARE ADDRESSED BY THE ABOVE COMMITTEES. ISSUES ARE ADDRESSED BY DISCLOSING THEM TO THE BOARD AND ASKING THE PARTY INVOLVED TO REFRAIN FROM VOTING ON THE RELEVANT ISSUE FORM 990, PART VI, SECTION B, LINE 15 THE COMPENSATION COMMITTEE CONSISTING OF FOUR INDEPENDENT BOARD MEMBERS, REVIEWS THE PERFORMANCE OF THE CHIEF EXECUTIVE OFFICER, REVIEWS AVAILABLE DATA ON COMPENSATION OF EXECUTIVES IN COMPARABLE NON-PROFIT PERFORMING ARTS ORGANIZATIONS AND MAKES A RECOMMENDATION WITH RESPECT TO THE CHIEF EXECUTIVE OFFICER'S COMPENSATION TO THE EXECUTIVE COMMITTEE (CONSISTING OF FIFTEEN DISINTERESTED MEMBERS AND THE CHIEF EXECUTIVE OFFICER WHO ABSENTS HIMSELF DURING THE COMPENSATION DISCUSSIONS). THE EXECUTIVE COMMITTEE REVIEWS THE COMPENSATION COMMITTEE'S RECOMMENDATIONS AND RECOMMENDS ITS ACCEPTANCE OR MODIFICATION TO THE FULL BOARD FOR THE BOARD'S APPROVAL. The Compensation Committee also reviews available data on compensation of comparable not for profit performing arts organizations with respect to the Executive Director, Chief Administrative Officer, General Manager and Director of Development. They review the compensation recommendations of the Chief Executive Officer. The Chief Executive Officer's recommendations are reviewed by the Executive Committee. The Chief Executive Officer then reviews his recommendations to the full Board. FORM 990, PART VI, SECTION C, LINE 19 FORM 990 IS AVAILABLE ON GUIDESTAR.ORG. FULL AUDITED FINANCIAL STATEMENTS ARE POSTED ON THE ORGANIZATION'S WEBSITE AND ON THE NEW YORK STATE CHARITIES BUREAU WEBSITE. FORM 990, PART XII, LINE 2C THE AUDIT COMMITTEE ASSUMES RESPONSIBILITY FOR THE OVERSIGHT OF THE AUDIT. FORM 990, PART I, LINE 6 THIS VOLUNTEER TOTAL INCLUDES ALL VOLUNTEERS WHO GENERALLY USHER ONE PERFORMANCE OF A PLAY OR MUSICAL IN EXCHANGE FOR BEING ABLE TO SEE THE SHOW. FORM 990, PART VI, SECTION A, LINE 4 During the year ended August 31, 2019, the Organization amended its by-laws to add two Co-Chairs of the Board.