Note: Under leadership, we have listed the individuals we worked most closely within each organization, which sometimes is the president or director and other times may be the development staff.
Leadership: Michael Khan, Artistic Director; Nicholas Goldsboro, Executive Director
YoungAssociates served for eight months as Interim Director of Development and Campaign Management for the Shakespeare Theatre Company’s Harman Theatre, an 800-seat theatre occupying the first five and one-half floors of an 11-story office tower. The new facility, along with Shakespeare Theatre Company’s existing home, the Lansburgh Theatre, constitute the Harman Center for the Arts. Our firm staffed the development office, codified the prospects for the annual fund and the capital campaign through a combination of PDW and prospect research, and reconstituted the Steering Committee.
Leadership: Paula Stover, Executive Director; Deborah Minard, Business Manager
YoungAssociates conducted a rate-and-screening process with the Board of Lyric Theatre, utilizing their individual wealth analysis conducted as part of the Kirkpatrick Foundation’s study of six local arts organizations. Our firm cultivated initial leadership for campaign cabinet, solicited the $1 million lead gift, and met with a number of lead gift prospects to position a campaign in formation. The campaign was subsequently led by David Green.
Mr. Young’s rate and screen study is serving at the core in identifying our prospects and donor ratings. The steering committee and Board of Directors has relied heavily on this material for our first lead gifts and the material has been very beneficial and is working toward a successful Lyric campaign.
Lyric Theatre has never done a capital/endowment campaign before and Mr. Young’s early counsel and background research has led to our confidential quiet phase that has included numerous focused, cultivation activities of substance and promise. | Read full letter
Executive Director of Lyric Theatre and Academy
Leadership: Des McAnuff, Artistic Director; Terrence Dwyer, Managing Director; Shirley Fishman, Associate Artistic Director; Sidney Baker (2001-02), followed by Jim Forbes (2003), Directors of Institutional Advancement
The Playhouse’s campaign had an original goal of $25 million to build a modest black box theatre off campus, which would operate in addition to the existing Mandell Weiss Theatre and Mandell Weiss Forum on the UCSD campus, and to establish a $10 million endowment. When the lead gift was solicited, the cost for the new theatre was estimated at $15 million.
At the campaign’s midpoint, Des McAnuff returned to the Playhouse for his second period of artistic leadership, and YoungAssociates was engaged as counsel. We quickly recognized that everyone had much bigger hopes for the campaign. An architectural firm was selected and a more comprehensive plan developed, anticipating a new 400-seat black box theatre and adding three rehearsal spaces, a classroom, conference space, a year-round restaurant, and permanent offices all on the University of California San Diego campus. This new plan was estimated at $36 million and, by the time the campaign was at bid document level of planning, the need had grown to $41 million.
Among the many challenges at the point of our arrival was that the theatre had solicited their top eight $1-million-plus prospects, but the campaign’s goals had increased first by $11 million then later by an additional $4 million. YoungAssociates was proud to provide the proper support necessary for Sidney Baker and later Jim Forbes to meet the escalating campaign requirements.
Henry Young made a remarkable contribution to the philanthropic growth of La
Jolla Playhouse. When he arrived on site in January 2001, the Campaign for La Jolla Playhouse had stalled and the development operation was no longer productive. […] Henry’s most important contributions included extensive and productive work with the Board, building support from constituencies the Playhouse had traditionally overlooked, i.e., donors of $1,000 to $10,000, and providing counsel that resulted in the successful application for a challenge grant from The Kresge Foundation. | Read full letter
Director of Institutional Advancement
Leadership: Garland Wright, Artistic Director; Ed Martenson, Managing Director
With the appointment of Garland Wright as artistic director of the Guthrie Theatre, it was clear that a new generation of young American directors were taking artistic leadership positions in theatres that enjoyed a burst in their creative spirit at founding. However, to support regional theatre, the focus in the 1970s was on audience development, government and corporate advocacy, multi-year planning and the list goes on. Many felt there was a reliance on “safe” box office hits and, as a result, artistic development became stagnant and the theatres were taking away the very reason for their early success.
The moment Garland Wright and Ed Martenson were on campus, I reported that we had been quite successful in building a broad donor base and that the institution was ready for a major campaign, once they had a long-range plan and the operating detail, including cash-flow requirements for both the operating budget and renovation/construction budget.
Henry’s street smarts, his good humor, and sheer self determination, coupled with a genuine love for this theater, and a pugnacious unwillingness to lose—ever—held most of us together, even in the nail-biting and white-knucle days of last December. I always knew in the back of my mind that Henry wouldn’t allow us to fail, even if we lost our nerve. | Read full letter
By October 12, 1988, we announced A Campaign for Artistic Excellence, the Gurthrie’s $25 million endowment and capital campaign to raise the funds needed to make the long-range plan a reality. On that day, we also announced that more than $14 million had been pledged. By March 1992, the campaign goals had been exceeded—$26.1 million was raised through the unprecedented participation of 4,519 individual contributors.
Gifts to The Guthrie Theater’s Campaign for Artistic Excellence, March 1992
Sources of Gifts
Gifts by Location
713 gifts came from donors in 33 other states, the District of Columbia, and Canada.