Arts Activities Support
Arts Activities Support
The Father (a play about dementia).
Osman Mohamed Ali: Founder and Executive Director; Lynne Bertalmio: Retired Director; Cristeta Boarini: freelance audio producer, journalist, writer, Tricia Heuring: Public Functionary Executive Director, Alejandra Iannone: Creative Co-Director, Wu Chen Khoo: Technical: Stage Technical Designer,Stage Director, Wendy Lane: Retired Human Resources Consultant, Dayna Martinez: Ordway Center for the Performing Arts, Donna Saul Millen: Events Director, Christal Moose: Manager, Adaobi Okolue: Executive Director, Andrea Sjogren: Adult and Youth Programs Coordinator, Deanna StandingCloud: Program and Community Network Director, Sara Wilson: Attorney.
Anna Ostroushko: Artistic, General Administration, Volunteerism; Caitlin Hammel: Artistic, Education, General Administration; Chandler Daily: Organizational Development, Artistic, General Administration; Daisuke Kawachi: Artistic, Community Education, General Administration; Hawona Sullivan Janzen: General Administration, Community Education, Artistic; Sophie Liu-Othmer: Community Education, Community Service and Development, General Administration.
ACHF Arts Access
The first outcome is whether the production succeeded artistically based on reviews of the production, audience feedback and word of mouth. The second and third outcomes will be measured by the financial goal of $1,440 in earned revenue, and the numeric attendance goals of 1040 patrons; particularly looking for growth in introducing first-time audiences to our work, developing younger audiences, and reaching less affluent audiences. We will measure artistic success based on both the notices the production receives and the feedback we get from the participating artists and audience members. We will determine financial success by whether the production made at least $14,400 in earned revenue. We will measure our attendance success in two ways. First, by comparing with our goal of averaging at least 65 patrons per show, and second, by tracking the number of under 30 tickets sold, complimentary and discounted tickets distributed, and number of first time patrons in attendance to look for new audience growth.
Again, this project succeeded far beyond our expectations. We averaged 105 patrons per performance (a 61% increase over our goal of 65) and saw substantial growth in first time patrons and patrons under 30 years of age (over 20% of our audience and more than 250 patrons respectively). The production's quality, emotional impact and empathy for it's subject were noted by reviewers and audiences.
Other,local or private