2019-05-08T07:24:41-05:00 2018-08-31 WITHUMSMITHBROWN PC 1411 BROADWAY 9TH FLOOR NEW YORK NY 10018 990 2017-09-01 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 2019-05-06 true KAREN A KOWGIOS CPA P01461372 2127519100 2019-05-06 198.46.120.251 22006220191285000001 2019-05-08 P C10FC276FEFC8CE58262A8EADA2417953D7EB8B7 C10FC276FEFC8CE58262A8EADA2417953D7EB8B7 2017 2019-02-21 02:37:17Z TODD HAIMES 231 WEST 39TH STREET1200 NEW YORK NY 10018 73371023 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. 46 44 1378 2116 1222957 -127059 29601149 15799752 47538244 20223225 1795524 2477283 7903303 7581111 86838220 46081371 0 0 0 0 34657610 22765119 0 0 3663837 34075302 24782350 68732912 47547469 18105308 -1466098 151858832 154885178 31751987 34039311 120106845 120845867 X 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 theatregoing. 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: We believe shared live experiences preserve and improve our humanity. Bravery: We make choices for art, not for profit. Vision: We acknowledge our responsibilities at the fo false false 32393542 20047236 THEATRICAL PRODUCTIONS: During the 2017-2018 season, Roundabout produced eight full-scale productions on one of our Broadway stages (the American Airlines Theatre), 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 186,939 audience members including 16,133 subscriber packages. 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 Roundabouts programs and outreach initiatives: - 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 30,540 dramatically discounted tickets during the 2017-2018 season. This included 1,680 $10 tickets for the first four preview performances of every production; 12,104 $25 tickets to any performance of any production for Hiptix members aged 18-35; 9,486 $25 tickets to Roundabout Underground productions; 58 half-priced student rush tickets; 3,176 $40-$50 general rush tickets; and 4,036 $20-$40 TodayTix lottery tickets. - As a not-for-profit theatre, Roundabout is also committed to going beyond just producing great plays to informing and educating audiences about a plays writer, its themes, and its historical context. Roundabouts Education Dramaturgs led 125 informative pre- and post-show discussions throughout the 2017-2018 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. 905249 ARTISTIC DEVELOPMENT: Roundabout is committed to providing a nurturing home to artists at all stages of their careers. In the 2017/18 season, Roundabout continued to push forward in this mission. The company continued its expanded two-show season in the Roundabout Underground Program and produced a 7th year of the Roundabout Underground Reading Series; moved into the third year of our artistic and educational partnership with Columbia University; expanded the Space Jam program to provide playwrights with the space, time, and resources they need to create great work; launched an application process for the second year of the Roundabout Directing Fellowship to support young directors from underrepresented communities; and created a position for the first Directing Fellow to do ongoing work focused on equity, diversity, and inclusion. These developments, in concert with the continued excellence of Roundabouts 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 Roundabouts mission, and this season saw a significant commitment to new work, with productions of three new plays at the Laura Pels Theatre (two of which were commissioned by Roundabout from alumni of the Roundabout Underground program) and two new plays at Roundabout Underground. At the Underground, Jireh Breon Holders Too Heavy for Your Pocket told a story of the personal cost of protest through four young, black friends in the civil rights movement. His play was followed by Alex Lubischers Bobbie Clearly, a stylistically adventurous work about learning to mourn and forgive as a community. This play, with a cast of 11 and its set featuring thousands of ears of corn, was the largest ever undertaken in the space. Alex also served as Roundabouts Tow Foundation Playwright-in-Residence throughout the season, fully integrating as an artist within the company and using the opportunity to learn how an institutional theatre works from the inside. Both of these playwrights were also commissioned to write future work for Roundabout, as part of our belief in creating lasting relationships with emerging artists beyond their first production. The three-play season at the Laura Pels Theatre ranged from our first collaboration with the gifted Anna Ziegler (The Last Match) to the return of Joshua Harmon with his third successful production at Roundabout (Skintight), this time getting audiences buzzing with the questions he raised about the value society places on youth and beauty. Our second collaboration with Lindsey Ferrentino, Amy and the Orphans, was historic offering the first major role off-Broadway ever written for an actor with Down Syndrome. We were honored to have the gifted Jamie Brewer and Edward Barbanell alternate in the title role (even changing the title to Andy and the Orphans when Eddie went on) and to be able to impact audiences with this story and their triumphant performances. Anna, Josh, and Lindsey have all been commissioned to write their next play for Roundabout. All of these new plays are living on regionally and internationally. Skintight is set for a major production in Los Angeles, Too Heavy for Your Pocket has more than a dozen productions lined up across the US, and Amy and the Orphans will make a London debut next year. A great deal of development of work took place in the midst of these productions, following the NPIs three-pronged approach to new work: Commission, Develop, Produce. During the 2017/18 season, this work included: 35 readings and workshops of plays and musicals, of which 27 represented new work, and 22 commissions at varying stages of development. The season was rare for us, in that it did not include a musical. However, we were able to revive some lesser-known titles that were a hit with audiences. Time and the Conways, directed by one of the seasons new Resident Directors, Rebecca Taichman, was a fascinating meditation on time, regret, and what we owe our future selves. And Travesties continued Roundabouts longstanding relationship with the great Tom Stoppard, allowing one of his earliest works to be reimagined by director Patrick Marber, earning a Tony nomination for Best Revival. The 2017/18 season also continued our artistic and educational partnership with Columbia University. In addition to the education component of this partnership (Apprenticeships for Columbia graduate students), Roundabout hosted the third annual reading series called Columbia@Roundabout. 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. This season also saw a revitalization of our Associate Artist program. Both Rebecca Taichman (Tony-winner for Indecent) and Anne Kauffman were brought on as Resident Directors and immediately became important voices in our season planning. We also added playwrights Jenny Rachel Weiner (a former Tow resident) and Joshua Harmon to the Associate Artist roster, adding them to a group of more than a dozen respected members of the theatre community from the worlds of playwriting and directing who receive 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. To further Roundabouts commitment to artists, the company continued our new writers retreat, known as Space Jam. The program opens a Roundabout rehearsal studio for a week-long retreat giving writers space, time, and resources to work without ever having to leave the city. The program is not tied to results; writers are not obligated to share their work with Roundabout or to work on a Roundabout-related project. With four of these retreats, we were able to serve about 20 playwrights. 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, again serving about 20 writers. We continued the third prong of this program, giving writers retreats outside of New York City, by partnering with the Orchard Project to serve three playwrights and with the Bucks County Playhouse to serve two teams of musical theatre writers. The Roundabout Directing Fellowship successfully moved into its second year of bringing a young director from an underrepresented community into the theater to give the artist a chance to assist and be mentored by directors on Roundabout productions and also develop their own work. Miranda Haymon thrived in this atmosphere, assisting on Too Heavy for Your Pocket, Amy and the Orphans, and Travesties, as well as doing two workshops of her own passion projects, while also getting to know Roundabout staff and forming long-lasting relationships. We found Miranda through a full application process that allowed Roundabout to meet many more exciting candidates and spread word of the program further than before. Miranda was offered to stay on board in the role of Artistic Development Associate for the following season, and her predecessor, Whitney White, was offered to join the ranks of our Associate Artists. 4099114 376773 During the 2017-2018 season, Education at Roundabout impacted over 28,000 students, educators, and adults from 486 schools through diverse programming. Roundabouts education programs engage students in non-traditional ways of learning to help them acquire the skills needed to be productive, engaged citizens. Each year, Roundabouts 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 2018, alongside labor union partner, the International Alliance of Theatrical Stage Employees, Roundabout launched year two 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 educators ability to use theatre as an effective teaching tool in the classroom. These workshops are offered throughout the year to teachers, schools, and districts and are often customized to meet different learning objectives. [FY18 Impact: 942 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. [FY18 Impact: 52 students; 25 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. [FY18 Impact: 4,048 students in 110 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 are invited to participate in professional development workshops and can receive curriculum materials to prepare their students for a trip to the theatre. Pre- and post-show workshops are also available for students. [FY18 Impact: over 11,000 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 College & 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 Roundabouts 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 Roundabouts 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. [FY18 Impact: 396 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. [FY18 Impact: 34 students/pre-professionals] AUDIENCE AND 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. [FY18 Impact: 10,625 patrons] 1969777 1022173 ROUNDABOUT ARCHIVES: roundabout remains one of the only theatres in the country to maintain and provide public access to its institutional archives. Launched during the 2008-2009 season, the Roundabout Theatre Company Archives are open to the public and through formal retention, preservation and cataloging of our work across five NY stages and our impact on the theatre community over five decades, the extensive collection chronicles our rich history as one of the countrys most prolific theatre producers. Our archival holdings both physical collections and an open-access database are available to the broader academic and theatrical communities as well as to staff and artistic collaborators. OTHER: To fulfill the 2017-2018 seven show Subscription Series we purchased tickets to the Broadway production of the play, Children of a Lesser God. There were additional expenses related to maintaining the Stephen Sondheim Theatre in between scheduled productions. 1969777 1022173 39367682 true true false true false false false false false true true false false false true true true false false false false false false false true false false false false true false false false false false false true true true false false false false false false false false true 240 0 1378 true true true false false false false true true false false X 46 44 false false false false false false false true true false false true true true true true true true true false CA CT FL IL MA NJ NY PA 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 Todd Haimes President/Artistic Director 40.0 0.0 X X 867808 0 54206 Arthur M de Graffenried III Treasurer (starting june 2018) 1.0 0.0 X X 0 0 0 Sylvia Golden Secretary 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 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 Samuel R Chapin Director Treasurer thru 6/2018 1.0 0.0 X X 0 0 0 Michael T Cohen Director 1.0 0.0 X 0 0 0 Marcia Dunn Director 1.0 0.0 X 0 0 0 Douglas Durst Director 1.0 0.0 X 0 0 0 Samantha Rudin Earls Director 1.0 0.0 X 0 0 0 Susan Forst Director 1.0 0.0 X 0 0 0 Patricia R Goldstein Director 1.0 0.0 X 0 0 0 John R 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 Maureen A Hayes Director 1.0 0.0 X 0 0 0 Abby F Kohnstamm Director 1.0 0.0 X 0 0 0 Gene R Korf Director 1.0 0.0 X 0 0 0 Carole S Krumland Director 1.0 0.0 X 0 0 0 Craig A Leavitt Director 1.0 0.0 X 0 0 0 Gess A LeBlanc Director (Joined March 2018) 1.0 0.0 X 0 0 0 Mark J Manoff 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 Gregg Rechler Director 1.0 0.0 X 0 0 0 Marvin Rosen 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 Alyce Toonk Director (Left March 2018) 1.0 0.0 X 0 0 0 Jennifer B Thomas Director (Joined March 2018) 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 (Joined March 2018) 1.0 0.0 X 0 0 0 Johs Worsoe Director 1.0 0.0 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. PART XI, LINE 4b & PART XII, LINE 4b LOSS ON DISPOSAL OF EQUIPMENT WAS REFLECTED NET ON AUDITED FINANCIAL STATEMENTS OF $33,982. RECLASSIFIED TO EXPENSE FOR TAX PURPOSES. GALA 3641654 3027660 613994 218753 202730 192511 DAMN YANKEES 556125 315952 240173 30000 144866 65307 3 213991 128494 85497 25551 59946 4411770 3472106 939664 274304 347596 317764 939664 X X X true false false false false false false false false Todd Haimes President/Artistic Director 567808 300000 40382 13824 922014 JULIA LEVY EXEC. DIRECTOR/ASST. SECRETARY 352613 100000 184509 14518 651640 STEVEN J DOW chief admin office Asst. Treasurer 236776 15000 16048 10547 278371 SYDNEY A BEERS GENERAL MANAGER 244368 60000 31493 18147 354008 CHRISTOPHER NAVE DIRECTOR OF DEVELOPMENT 230471 20000 11750 13950 276171 HAROLD WOLPERT managing dir asst. TREASURER (thru sept 16) 11165 304500 558 20164 336387 304500 ANDREW O FORSTE STAGE CREW 223501 50255 37556 311312 STEVE A BEERS STAGE CREW 213580 47760 33361 294701 LAWRENCE JENNINO STAGE CREW 194147 41824 29115 265086 DAN HOFFMAN STAGE CREW 184801 39420 27476 251697 severance COMPENSATION IN PART II COLUMN (C) FOR HAROLD WOLPERT INCLUDES SEVERANCE COMPENSATION OF $304,500 WHICH WAS ACCRUED IN 2016, AND PAYABLE IN 2018 PURSUANT TO A CONTRACTUAL AGREEMENT. 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, 2018, a cumulative total of $722,952 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 $165,657 IN EXPENSE DURING CALENDAR YEAR 2017 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 233313 PAYMENT FOR SERVICES RENDERED false Michael Day FAMILY RELATIONSIP WITH KEY EMPLOYEE SYDNEY BEERS 63179 PAYMENT FOR SERVICES RENDERED false One Bryant Park BUSINESS RELATIONSHIP - BOARD MEMBER DOUGLAS DURST HAS OWNERSHIP INTEREST 1020089 RENTAL PAYMENTS false TAMAR CLIMAN FAMILY RELATIONSHIP WITH OFFICER TODD HAIMES (TO SEP 2016) 435957 THEATRE RENTAL false JOLYON STERN BUSINESS RELATIONSHIP - BOARD MEMBER JOLYON STERN HAD OWNERSHIP INTEREST 968673 INSURANCE SERVICES false Nelle Nugent FAMILY RELATIONSHIP WITH BOARD MEMBER JOLYON STERN 1042805 THEATRE RENTAL false X 58 2879714 FMV X AIR TICKETS 1 92073 FMV X FOOD AND BEVERAGE 24 56538 FMV X LODGING 1 10628 FMV X INTERIOR DESIGN 1 9538 FMV X THEATRE TICKETS 4 740 FMV false true false FORM 990, PART VI, SECTION B, LINE 11 DRAFT OF FORM 990 IS SENT TO THE FULL BOARD OF DIRECTORS AND OFFICERS FOR REVIEW AND APPROVAL. 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 FIVE 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 Officers 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.