Arts Project Support
Arts Project Support
Hobo-Sapien.
Lynne Bertalmio: Retired Director Stillwater Public Library; Cristeta Boarini: 826 MSP Program Director; Craig Dunn: Arts Accessibility Consultant; Tricia Heuring: Public Functionary Executive Director; Alejandra Iannone: Sparkle Theatricals Creative Co-Director; Wu Chen Khoo: Technical Tools of the Trade Stage Technical Designer and Director; Wendy Lane: Retired Human Resources Professional; Alejandra Pelinka: City of Bloomington Director of Creative Placemaking; Tommy Sar: Ordway Center for the Performing Arts Coordinator of Community Programs; Lue Vang: McKnight Foundation Accountant; Donna Saul Millen: TPT-Twin Cities PBS Events Director; Christal Moose: Native Pride Productions Inc Manager; Adaobi Okolue: Twin Cities Media Alliance Executive Director; Andrea Sjogren: Hopkins Community Education Adult and Youth Programs Coordinator; Deanna StandingCloud: New Native Theatre; Sara Wilson: Gislason and Hunter LLP Attorney; Robyn Cline: City of Savage Economic Development Commissioner.
Bob Peskin: General Management / Administration, Finance / Audit, Fundraising; Brenna Mosser: Artistic, Education, General Management/ Administration/ Support; Denetrick Powers: Community Service / Development, Artistic, Audience Development / Marketing; Jennifer Ilse: Artistic, General Management / Administration; Karen Charles: Artistic, Education, General Management / Administration; Rob Thomas: General Management/Administration/Support, Program Development, Marketing/Audience Development.
ACHF Arts Access ACHF Arts Education ACHF Cultural Heritage
Concerning the artist community at our workshop-style auditions, we hope to have more attendees than our Spring 2019 workshops, have at least 25% of this year's attendees be "returning" from those workshops, and create a welcoming, fun, and inclusive environment where more than 50% of attendees state that they "enjoyed" the experience, are interested in returning to future workshops, and express a preference for this style of auditioning. Concerning the patron community at performances, we hope to sell more tickets than we did to our Spring 2019 production, that the "non-white" identifying audience makes up less than 90% of the total audience, and that the production leaves patrons leaving the theater feeling "better" than when they entered it. To measure artist workshop feedback, we will collect emails during signup and send post-workshop surveys to participants who will be asked if they are returning from Spring 2019 and to rate their enjoyment, interest in returning, and preference for this style of auditions. To measure our audience goals we will collect email addresses through our box office ticketing point of sale, count tickets sold through this same platform (compared to recorded numbers from 2019), and send digital post-show surveys to patrons asking them to provide demographic information and rate on a scale how they felt when leaving the theater compared to when they entered it.
Successes: 23 more people attended our 2020 workshops than in 2019 (93 vs 70), 30% of attendees were returning from the previous year, 96% or respondents rated their enjoyment of the process a 4 or 5 out of 5, , 94% said they would attend workshops like this again, and 86% said they preferred this audition process. Failed: We did not achieve any performance goals as there was no performance.
Other,local or private