11.6.0073 Application
Florida Studio Theatre, Inc.

Applicant Information

Item	Response
Corporate Name	Florida Studio Theatre, Inc.
DBA Name	N/A
Federal Employer ID	23-7362760
Principal Address	1241 North Palm Avenue Sarasota, FL 34236-5602
County	Sarasota
Applicant Email Address	rlangford@floridastudiotheatre.org
Grant Contact	Rebecca Langford, Managing Director
Authorized Official	Rebecca Langford, Managing Director
Website	www.floridastudiotheatre.org

Proposal Information

Item	Response
Application #	11.6.0073
Program	General Program Support
Proposal Type	Discipline-Based
Funding Category	Level 3
Discipline	Professional Theatre
Applicant is requesting REDI waiver	N/A
Residency Contact Hours	N/A
Proposal Period	7/1/2010 - 6/30/2011
Proposal Title	Sarasota's Contemporary Theatre
Proposal Synopsis	Florida Studio Theatre seeks funding to support its six major program areas: Mainstage, Cabaret, Stage III, New Play Development, Education and Touring. Florida Studio Theatre is Sarasota's contemporary theatre and a nationally recognized LORT theatre with more than 12,000 unduplicated subscribers. In accordance with its mission point "to make theatre accessible and affordable to as many people as possible," Florida Studio Theatre serves over 160,000 attendees per year.

Mission Statement

• To make theatre affordable as accessible to as many people as possible; to reduce social barriers.

• To present theatre that challenges with as much gusto as it entertains.

• To be a positive, vital change agent in the community.

• To operate within and for the public trust.

Proposal Summary: Goals

FST seeks General Program Support for its six major programs: Mainstage, Cabaret, Stage III, New Play Development, Education and Touring. The goal over the next year is to create rich, vital theatre experiences that respond deeply to the theatre's mission and resonate throughout the community and beyond. Individual goals for each of the main program areas are identified through FST's Long-Range Plan. They remain:

(1) To produce the best in contemporary theatre by producing plays that speak to a living, evolving & dynamically changing world;
(2) To build a broad-based audience that is reflective of the world, so that we can put the world on the stage & reflect it back to our audience;
(3) To explore new theatre forms & in doing so create new audiences;
(4) To cause the creation of new plays by established & emerging writers;
(5) To deepen our relationship with artists & organizations on the local and national scene;
(6) To ensure a vital, affordable, accessible theatre that reflects the concerns of a diverse society;
(7) To provide excellent theatre for children & to train them in the language & thought of the theatre;
(8) To maintain a thriving and supportive work environment for artists;
(9) To renovate and construct new facilities; to remain at the forefront of integrating technology accelerators into the operation of the theatre;
(10) To be accountable to our audiences and donors by operating with fiscal responsibility.

Proposal Summary: Objectives

(1) Maintain an environment in which artistic, production and administrative staff members can grow.
(2) Expand the theatre's volunteer base to support administrative, production and artistic staff in the implementation of increased programming without increasing staff size.
(3) Increase the theatre's subscription base for each of the organization's three performance venues.
(4) Increase the theatre's single ticket buyers for each of the organization's three performance venues.
(4) Increase the number of plays in development through the New Play Development Program.
(5) Increase the reach and impact of FST's WRITE A PLAY program throughout the state of Florida.
(6) Expand the theatre's educational impact on disadvantaged youth in the in region and state.
(7) Increase the number of adult students and guest artists participating the FST Lab classes.
(8) Increase the audience's engagement in the artistic process.
(9) Continue offering free tickets and subsidized educational programming to those in need.
(10) Increase utilization of FST's website and online services by attendees.
(11) To begin improvements to the Gompertz Theatre that will enhance the audience experience in that structure.

Proposal Summary: Activities

To achieve its designated goals and objectives, FST will provide exceptional theatre through its 6 program areas:

(1) The Mainstage will present 4 winter and 3 summer productions, increasing its subscription base by 10%. Plays will be drawn from the most recent works, focusing on contemporary American playwrights.
(2) The Cabaret series will offer 3 productions that represent a range of musical revues, increasing its subscription base by 10%.
(3) Stage III shows will provide access to more challenging works.
(4) FST's newest addition, "Off-Center" will offer quirky productions appealing to diverse audiences.
(5) The New Play Development program will bring more new works to FST's 3 stages, providing material for its Mainstage, Cabaret and Stage III programs. In addition, FST will continue to develop new works through commissions, closed door readings, workshop productions and development roundtables, on a year-round basis.
(6) Education will offer 15 classes weekly in theatre, dance, and music for children, including programs for special needs and at-risk youth. 20% of students will receive need-based scholarship funds.
(7) Adult Education will offer 10 classes per week, providing students with a broad range of experiences, including master classes taught by guest artists from around the country.
(8) The WRITE A PLAY program will inspire 55,000 youth, K-12, to write plays.
(9) FST will provide 3 in-school residencies between the months of Sept. and March, targeting underserved schools. A total of 245 classes will focus on the elements of playwriting.
(10) Improv will continue to generate new audiences with its fresh, innovative performance format. In addition, FST will produce the Second Annual Sarasota Improv Festival.
(11) The theatre will continue its audience education initiative, FST Forums, which focus on providing contextual information for each of the theatre's productions.
(12) FST will continue to educate its attendees about the features of its website.
(13) Phase I of the Gompertz Theatre renovations will begin.

Narrative: Proposal Description

Florida Studio Theatre is Sarasota's contemporary theatre. Located in the heart of the downtown arts district, FST is a nationally recognized LORT theatre with more than 12,000 unduplicated subscribers. According to Theatre Communications Group, this is the fifth largest subscription base of any TCG member theatre in the country. In accordance with its mission point "to make theatre accessible and affordable to as many people as possible," Florida Studio Theatre serves over 160,000 attendees per year, through its 6 major programs.

Mainstage: Now in its 36th year, the Mainstage is FST's flagship program, producing the best in contemporary American theatre by presenting plays that speak to a living, evolving, dynamically changing world. The Mainstage Series features 7 annual productions that draw from new works, regionally produced shows, and the latest Off-Broadway and Broadway plays. As part of supporting FST's goal to "cause the creation of new works," the Mainstage has produced 32 world premieres and 86 regional premieres. Mainstage productions such as Black Pearl Sings!, Around the World in 80 Days and Ethel Waters: His Eye is on the Sparrow, have gone on to be mounted in regional theatres around the US. The FST World Premiere production of The Bully Pulpit enjoyed a critically acclaimed run Off-Broadway in the summer of 2008. (Timeline: Winter Mainstage productions run from Nov. – May. Summer Mainstage runs June – Aug.)

Cabaret: Housed in the intimate Goldstein Cabaret Theatre, the Cabaret was established to develop new audiences who might not otherwise participate in theatrical events. This series is not a 'chanteuse at a microphone' – at FST, Cabaret harkens back to its 19th Century Parisian origin, as an artistic outlet rebelling against the institution. FST adheres to those roots by making the Cabaret an artist-based series that differs from theatre only in its size. This program celebrates the lyric poets of our time, as well as presenting social and political satire. The Cabaret is also integral to the creation of new work, and has produced 37 world premieres. (Timeline: Winter Cabaret productions run from Oct. – June. Improv runs from Feb. – Aug.)

Stage III: Stage III is dedicated to the presentation of socially significant productions, stimulating audiences by presenting challenging content and unique form. The program was introduced to answer an increasing demand for edgier plays that show an uncommon human experience, testing the boundaries of previously held beliefs and values. Featuring plays with bite, verve and drive, Stage III brings provocative work to the Sarasota landscape. Off-Center, a new Stage III offering, will provide quirky, popular plays that otherwise might not be seen in Sarasota. As this program expansion enters the Gompertz theatre, FST will begin the first phase of renovations to the space, providing a new lobby and restrooms. Scene Magazine has dubbed FST and Stage III "Sarasota's Razor's Edge theatre." (Timeline: Stage III productions run from Jan. – May.)

New Play Development: New Play Development is the lifeblood of Florida Studio Theatre. It is a year-round activity that is fully integrated with each of the theatre's other programs. FST's philosophy of new play development is one that goes beyond producing the World Premiere, and focuses on the continued life of the work. This is why, along with developing World Premieres such as Ethel Waters: His Eye is on the Sparrow, FST frequently provides plays with their 2nd, 3rd or 4th productions. For example, in 2008, Pure Confidence received an early production at FST before going on to an Off-Broadway run. During the 2009-10 season, in partnership with the National New Play Network, FST will present the rolling world premiere of Shotgun by John Biguenet. (Timeline: R&D of new plays and closed-door readings are ongoing; public readings are held throughout the season as warranted; Cabaret development takes place from summer through fall; the Young Playwrights Festival and Burdick Reading Series take place in May.)

Touring: Since 1991, WRITE A PLAY has introduced thousands of students to professional theatre and provided them with the skills and motivation to create original plays. High energy, interactive performances, workshops, and long-term residencies inspire children's creativity, bolster their communication and literary skills, and instill in them an appreciation of the arts. Students are encouraged to write from their own point of view, and in doing so they create a diverse group of plays such as I Can't Miss! a cautionary tale of wishes and wisdom, and The Coqui, an insightful exploration of the immigrant experience. This arts-in-education initiative serves more than 55,000 children throughout the state of Florida, grades K-12, each year. (Timeline: Fall Children's Show runs Oct. – Dec.; Playmakers runs Nov. – Mar.; Secondary Workshops run Nov. – Mar.; Under Six runs Apr. – May; Residencies run Oct. – Dec.; YPF Day in May.)

Education: Since 1982, FST's Theatre School has offered a wealth of opportunities for children and adults to discover their creativity through theatre workshops and classes. An average of 24 on-site classes are offered weekly in theatre, playwriting, improvisation and dance. Children's classes are led by FST's resident professional teaching artists, while adults benefit from the talents of both local and national artists. To ensure equal participation by individuals of all social and economic backgrounds, FST provides financial assistance to those in need. FST believes that everyone deserves the opportunity to discover and nurture their creative souls regardless of their financial circumstances. (Timeline: Education classes run year-round, including a summer camp for children.)

Florida Studio Theatre's year-round programming serves 160,000 attendees each year – a greater number than any other Sarasota or Manatee County performaing arts venue. For more information on programs and a detailed timeline, please see the included support materials.

Narrative: Culture Builds Florida's Future

1. Strengthening the Economy

   The Florida Studio Theatre campus is a village of theatres - the historic Keating Theatre; the turn of the century Parisian style Goldstein Cabaret; and the industrial style Gompertz Theatre - located in the heart of Sarasota's vibrant and historic arts district. A short distance from the Sarasota Bay, FST brings energy and vitality to the downtown area. Each of the theatres is small in size and large in impact, reaching more than 160,000 attendees yearly - one person at a time.

   According to "Arts & Economic Prosperity: The Economic Impact of Nonprofit Arts Organizations and Their Audiences in Sarasota County, FL," a study by Americans for the Arts, Sarasota arts patrons spend an average of more than $34 per person, per event, not including the cost of admission. Of FST's 160,000 patrons, 100,000 are adults that are drawn to the theatre from around the region and across the country into downtown Sarasota, where they dine at local restaurants and purchase goods from neighborhood merchants. The Americans for the Arts study goes on to demonstrate that out-of-town arts patrons spend more, on average, than local arts patrons. During the 2008-09 season, more than 34% of the seats sold by FST were to patrons outside of Sarasota County, who are more likely to require meals and overnight lodging.

   According to the Americans for the Arts study, the arts are the 5th largest employer in Sarasota County. Florida Studio Theatre employs 32 full-time staff plus more than 100 artists each year from around the country. These are people who reside in Sarasota for anywhere from three months to dozens of years, earning and spending there income here and becoming a vital part of the local economy.

2. Learning and Wellness

   "We gather in the darkened theatre nightly to better understand our existence. We gather to laugh at ourselves, to enjoy the foibles of others, to share our human pain, to probe the dark as well as the light. In short, we go to the theatre to understand what it means to be alive."
   - Richard Hopkins, Artistic Director

   Every patron attending Florida Studio Theatre becomes actively engaged in lifelong learning. Whether through a Mainstage production such as Bridge and Tunnel, exploring the immigrant experience, or a Cabaret show of social and political satire like Laughing Matters 2009, FST meets patrons where they are, and then engages them in the journey of theatre.

   Children play as a means of understanding themselves within the context of the greater world; adults go to plays to learn about "the other." Lifelong learning takes place through the diversity of programming on FST's stages.

   Through the theatre's 3 stages and 6 programs, FST is able to fulfill its mission point "to make theatre accessible and affordable to as many people as possible" by providing a broad range of experiences:
   

   • Contemporary American theatre in the Mainstage Series, engaging the audience with the issues of the day.

   • Musical revues, satire and improv in the Cabaret Program, drawing new audiences of all ages so they can begin their educational journey through theatre.

   • Stage III, challenging audiences to rethink their perceptions of the world.

   • Seeking out new perspectives on what it means to be human, through New Play Development, introducing plays like Black Pearl Sings!, a discourse of who owns the rights to shared cultural heritage. This show was first seen by Sarasota audiences as a reading in the 2008 New Play Festival before opening as a full production the following year.

   • The WRITE A PLAY Program impacts 55,000 students each year, from grades K-12, promoting literacy.

   • FST's Theatre School promotes self-expression for children and adults through workshops and classes.

3. Building Leadership

   "Florida Studio Theatre has been a vital part of the cultural community of Sarasota for over 30 years. They have always been a leader in outreach to underserved residents."
   - Steve Queior, President/CEO, Greater Sarasota Chamber of Commerce

   FST builds leadership by engaging in its community, in pursuit of its mission point "to be a positive, vital change agent in the community." Executive staff has served on boards & advisory committees for the Sarasota Arts Council, the Cultural Exec. Committee, & the Nonprofit Resource Center. Local foundations (e.g. Gulf Coast Community Fdn. of Venice, Sarasota Cty. Community Fdn.) have sought FST's aid in the formulation of long-range plans.

   FST has built leadership throughout the 18 years of its WRITE A PLAY program, working with county school boards, administrators & educators. The first area theatre to offer a summer camp, FST also led the pack in reaching out to youth with special needs through its VIP program.

   FST is taking a leadership role in piloting its Expanded Volunteer Program, maximizing efficiency while minimizing costs. This is a model program that can be replicated in other organizations.

   Local nonprofit and civic agencies that FST has partnered with include:
   Planned Parenthood
   Police Activities League
   Sarasota Manatee Jewish Federation
   Coexistence, Inc.
   Boys & Girls Clubs
   Girls, Inc.
   YMCA
   Sarasota Chamber of Commerce
   Convention and Visitor's Bureau

   FST has led collaborations with local arts and cultural organizations, most recently, by teaming with the Sarasota Orchestra in its production of Michael Hollinger's Opus and Sarasota Museum of Art in FST's production of Edward Albee's Occupant.

   FST also works with national and international theatre organizations, e.g.:
   League of Resident Theatres
   Theatre Communications Group
   National New Play Network
   Actors Equity Assoc.
   Society of Directors & Choreographers
   United Scenic Artists
   Tessitura Network

   Each relationship that FST develops is meaningful, providing both partners with valuable programs, skills, and/or knowledge.

4. Design and Development

   FST owns 4 commercial & 8 residential facilities located in the heart of downtown Sarasota's Theatre & Arts District. When FST first opened in 1973, this area was virtually unoccupied. By creating a central destination, FST has been the catalyst for strong commercial and residential growth. Today, downtown Sarasota thrives as a cultural bevy of activity.

   Because of its location on a historic block in the heart of the city, any changes to FST's facilities are executed through partnership with the city and local community.

   FST's artistic campus consists of 3 theatres and an administrative building:

   The Keating Theatre is a historic facility built in 1914 and listed in the National Register of Historic Places. FST has advanced design and development the neighborhood by renovating this building several times, while maintaining its historic look & feel.

   The Goldstein Cabaret was designed & built in 1995 to complement the aesthetic of existing neighborhood structures, while providing the atmosphere of a 19th Century Parisian Cabaret.

   The Gompertz Theatre, purchased in 2001, was built in 1928. The current phase of renovations will advance development by modernizing & going "green" without compromising the original 1920's Mediterranean façade.

   The Sudakoff Theatre Wing houses FST's offices and has been maintained in its original 1970's Sarasota School of Architecture style.

   Thanks to a DCA Cultural Facilities Grant, FST has landscaped the campus with native flora, receiving a Civic Beautification Award from the Sarasota Garden Club.

   The theatre has spent the last five years upgrading its technology infrastructure, beginning with the purchase and integration of Tessitura, a customer service/fundraising software. FST's website has been completely revamped to include the full range of online ticketing. Website renovations have also supported FST's Audience Enrichment initiative (funded in part by a DCA Challenge Grant) with online articles, interviews and streaming video that provides context for the theatre's productions.

Narrative: Marketing and Promotion

The success of FST's marketing approach is evident in the 160,000+ patrons who attend its programs each year. FST's marketing efforts are synergistic with its programming. Plans are guided by audience response & continually refined to ensure cost-effectiveness & the highest rate of return.

Following is an outline of FST's multi-pronged approach to marketing its season:

Direct Mail
FST has the 5th largest subscription base of any Theatre Communications Group (TCG) member theatre. This base of loyal, returning patrons is the foundation from which FST has built its programs; consequently much marketing effort is focused there.

• 120,000 brochures are mailed, highlighting the coming season & cultivating new subscription sales/class registrations.

• 35,000 subscription renewal letters are mailed to past subscribers.

• 135,000 postcards are mailed to attract single ticket buyers.

• 45,000 newsletters are distributed to FST's subscriber base.

Media Advertisements and Displays

• Print advertisements: Featured daily in the Sarasota Herald Tribune, with a daily circulation of 102,000. Additional ads placed on a per show basis in the following publications: American Theatre Magazine, The Longboat Observer, Pelican Press, The Bradenton Herald & Creative Loafing. Since 2009, FST has expanded where ads appear to include community newsletters, such as Meadoword, River Wilderness and Palm Aire News.

• Posters & flyers for individual productions in targeted locations such as airports, libraries, downtown merchants, community centers, university common rooms, and shopping centers.

• Internet: Online newsletters such as Anything Arts, This Week in Sarasota and SRQ Daily. Other online advertising includes Google Adwords, TheatreMania and social networking sites, e.g. Facebook, MySpace and Twitter.

• Alternative marketing in the form of downtown banners, hotel rack cards and banners in public locations, e.g. downtown lampposts, shopping malls, the exterior of FST's facilities.

Public Relations

• Television & Radio: Live and taped interviews with several local and regional television and radio stations, e.g.: ABC 7, BLAB TV21, SNN News, Sarasota Education Channel, WWSB TV 40, WEDU, WUSF FM 89.7 & WSLR 96.5.

• Press Releases: Local, state & national press representatives/other media contacts receive announcements for all FST's main programs. Special attention is placed on such national trade publications as American Theatre and Variety.

• Tourism – During the high season, 34% of FST's audiences are non-Sarasota County residents. Tourist participation is cultivated through active partnerships and discounted ticket offers with area hotels, travel agencies, & the Sarasota Convention & Visitors Bureau. FST also advertises in tourist publications and the hotel television circuit.

Internet

• In order "to make theatre affordable and accessible to as many people as possible," FST engaged in a 5-year technology/systems overhaul. The multiphase project consisted of the purchase & installation of the Tessitura software, followed by a complete relaunch of FST's website www.floridastudiotheatre.com, and finally, the integration of all of the theatre's ticketing processes (from single ticket sales to subscription sales, renewals and exchanges) into its website. Additional website features include videos and links to further information about each of FST's productions.

• E-mail Club: FST actively markets its programming through ticket offers, online newsletters and program updates, sending more than 500,000 emails per year.

Direct Marketing
FST utilizes a computerized tele-messaging system, sending over 400,000 voicemails to theatregoers annually. Ticket offers are sent via fax to partnering agencies and hotels to cultivate tourism.

According to TCG, FST maintains an extremely low marketing expense, utilizing only 17% of its ticketing revenue towards marketing, and sells an average of 93% of its seats. TCG reports that the average amount of ticket revenue spent by theatres on marketing is 46% and the national average of seats sold is 66%.

Narrative: Personnel and Partners

Key staff members (see support material for full bios of FST staff):

Richard Hopkins is the Artistic Director and Chief Executive Officer of FST and is directly responsible to the Board of Directors. He oversees the creation and implementation of all FST programming and fiscal planning.

Kate Alexander is the Associate Director of FST; Founding Director of Education. In this capacity, she pioneered an acting training method for children, which is the foundation for the FST School. She is also a resident actress and director.

Rebecca Langford is the Managing Director and Chief Operating Officer for Florida Studio Theatre, responsible for the oversight and coordination of marketing, development, box office, business office, front of house, and Cabaret restaurant operations.

Robert Warren, as Associate Director, is the line producer for Off Center productions as well as special projects management. Mr. Warren is also in charge of New Play Development and will oversee Institutional Development and Advocacy.

Bruce Price is the Production Manager; in that capacity he oversees the technical aspects of all productions at FST.

In addition to its full time staff, Florida Studio Theatre employs more than 100 guest artists each year. Those who return for show after show become members of FST's extended company. A few extended company members include:

Stephen Hope, actor & choreographer, has performed at FST in more than a dozen productions including The Exonerated, The 25th Annual Putnam County Spelling Bee, and Laughing Matters 2009. One of FST's most frequently returning artists, Mr. Hope's talents have been tapped for FST Lab Adult Classes.

Richie McCall has been seen in FST's productions of It Ain't Nothin' But the Blues, The All Night Strut, Harry Who? and Laughing Matters 2009. In addition to his roles onstage, Mr. McCall has been identified as ideal for teaching FST Labs.

Dennis Courtney (Director/Choreographer) has directed numerous FST productions, most recently having staged That's Life and European Cabaret.

Bill Castellino (Director/Choreographer) has directed in venues such as Carnegie Hall, the Smithsonian Institution, PBS, ABC, HBO, Showtime, etc. FST audiences have seen his work in Hula Hoop Sha-Boop.

In order to carry out its programming for the 2010-11 season, FST anticipates the following key partnerships:
League of Resident Theatres
Theatre Communications Group
National New Play Network
Actors Equity Association
Society of Directors & Choreographers
United Scenic Artists
American Guild of Variety Artists
Florida Professional Theatres Assoc.
Southeast Theatre Conference
Tessitura Network
Sarasota Sister Cities Association
Coexistence, Inc.: Embracing Our Differences
Ringling College of Art and Design
Pines of Sarasota
Girls, Inc.
Sarasota Tourist Development Council
Sarasota County Arts Council
Sarasota Chamber of Commerce
Sarasota Convention and Visitors Bureau
Sarasota and Manatee County School Boards

Other partnerships are anticipated to develop as the season progresses; all of FST's partnerships grow organically from its programming.

Proposal Estimates

Estimated Number of	Response	Instructions to the Applicant
school based youth benefiting	55,000	Enter the number of individuals under the age of 18 that are expected to be participating in organized school based cultural events. This figure should reflect a portion of the total individuals benefiting.
non-school based youth benefiting	800	Enter the number of individuals under the age of 18 that are expected to be participating in non-school based cultural events. This figure should reflect a portion of the total individuals benefiting.
elders benefiting	31,000	Enter the number of individuals over the age of 65 that are expected to benefit from the proposal activities. This figure should reflect a portion of the total individuals benefiting.
artists participating	179	Enter the estimated number of professional artists that will be directly involved in providing artistic services specifically identified with the proposal. Include living artists whose work is represented in an exhibition regardless of whether the work was provided by the artist or by an institution. This figure should reflect a portion of the total individuals benefiting.
individuals benefiting	160,050	Give the total number of individuals that are expected to be involved in proposal activities as artists, non-artists, participants, or audience members. This number should include the values listed for youth, elders and artists.
proposal events	72	How many different events will be produced or presented within the grant period as a part of this proposal? Be sure to list different events, not performances. For example, a musical performed 10 times is only one event, but a musical performed 10 times and workshop done once are two events.
opportunities for public participation	1,927	Each event will have one or more opportunities for public participation. For example a musical performed 10 times is one event with 10 opportunities for public participation.

Estimated Counties served

• Broward
• Charlotte
• Collier
• Highlands
• Lee
• Leon
• Liberty
• Manatee
• Marion
• Miami-Dade
• Okeechobee
• Pinellas
• Putnam
• Sarasota
• Seminole
• St. Johns
• St. Lucie
• Volusia
• Walton

Narrative: Assessment and Planning

"Good art tells us who we are, where we've been, and where we're going as a people. Good art is like social therapy: it can heal, inspire, amaze, illuminate, and transcend. At Florida Studio Theatre, art is made every night. It's tangible and honest and emotionally connected work that speaks to today's world. The work I saw at FST, when my play Boleros for the Disenchanted was produced there, reminded me why I write plays, why I love to connect with audiences, and why, in my opinion, good, live theatre will never be obsolete or irrelevant."
- Jose Rivera, Playwright, Boleros for the Disenchanted

Evaluation is synergistic with FST's programming and has become a natural part of the theatre's daily operations. Operations are measured both subjectively and objectively: subjectively through the experience and intuition of the artist and objectively through independent research methods. Examples include:

• Patron surveys, house management, box office reports, post-mortem meetings and staff performance planning meetings.

• "The Economic Impact of Nonprofit Arts Organizations and Their Audiences in Sarasota County, FL" a study conducted by Americans for the Arts to determine the economic impact of the arts on Sarasota County.

• As a member of the League of Resident Theatres (LORT), Theatre Communications Group (TCG) and the Tessitura Network, FST stays abreast of best practices in the field, allowing the theatre to attract top tier professionals from around the country in both guest artists and permanent staff, and delivering the best possible work to its audiences.

• LORT, the largest professional theatre association of its kind with 76 member theatres, holds collective bargaining agreements with Actor's Equity Association, Society of Directors & Choreographers, and United Scenic Artists. This ensures that artists contracting with LORT theatres such as FST receive the highest pay within the nonprofit theatre world.

• Theatre Communications Group's Theatre Facts Survey, an annual, in-depth industry report based on fiscal data gathered from member theatres. In addition, FST utilizes TCG's salary survey to ensure that artistic staff members are compensated at fair market value.

• Its membership in the Tessitura Network guarantees that FST is using state-of-the-art tools in running its administrative offices. The efficiencies gained through these tools allows FST to invest more money into the art/artists, ensuring the best art for patrons.

• FST also utilizes the Nonprofit Resource Center of the Community Foundation of Sarasota's 2008 Compensation and Benefits Report to ensure that FST's compensation is at fair market value for the region.

• Each year FST ensures that its WRITE A PLAY program content supports Sunshine State Standards for Language Arts and Theatre.

• Robertson Consulting, Inc., a professional Outcomes Measurement Specialist, provides independent analysis of FST's impact on the community.

• Active participation in community planning with the following civic organizations: Sarasota County Arts Council, Sarasota Chamber of Commerce, Sarasota County Public Schools, Community Foundation of Sarasota County, & Sarasota County Openly Plans for Excellence (SCOPE).

The following research, while older, has laid the foundation for current assessment methods utilized by FST:

• The Performing Arts Research Coalition (PARC) Study, a 3-year study by the Urban Institute that examined the arts in 10 communities, including Sarasota.

• The professional services of ArtsMarket, Inc., who conducted a private analysis report in 2005 for the purposes of determining future growth potential for FST.

As a testament to FST's planning and assessment abilities, the theatre has operated in the black for the last 20 years.

Narrative: Proposal Impact

Just over a century ago, the Sarasota Bay region was one of the most desolate areas of the United States. Since its incorporation as a city in 1914, however, Sarasota has drawn a diverse and sophisticated population, primarily from the Midwest. The favorable climate, the many recreational opportunities, and the rich cultural life have helped foster this relatively small city into one of Florida's many tourist destinations.

As such, Sarasota does not have the cultural and ethnic diversity of many larger urban centers. Historically, the base population has remained:

• Older (42% are over 55),

• White (88% are of Anglo descent),

• Affluent (7,000+ millionaires reside in the immediate vicinity).

The above statistics have stereotyped Sarasota audiences as highly conservative and incapable of being challenged by adventurous programming. FST has challenged this notion by successfully producing provocative theatre.

• FST has produced more premiere work then any other theatres in the region.

• FST has produced more ethnic plays than any other theatre in the region.

• FST has produced the most challenging, cutting-edge theatre in the region.

In addition to challenging the stereotype on the Mainstage, FST enjoys the extended audiences found in its other programs.

• The Cabaret audience is a significantly younger audience of working professionals, many of whom have never attended the theatre.

• FST Improv attracts the youngest audience of twenty-somethings and above.

• New Play Development attracts a mixture of audiences that frequent all 3-performance venues and enjoy participating in the development process.

• Stage III attracts a unique audience preferring provocative, unconventional subject matter.

• FST's low-cost ticket policy keeps theatre affordable and accessible to a large and diverse clientele.

Moreover, FST reaches out to audiences in schools throughout the state of Florida, with a special emphasis on those with special needs.

• Education ensures the accessibility of its classes to all individuals through its Scholarship Program, its classes for disabled youth, and its outreach programs for "at-risk" youth and nursing home residents. As such, the program has become a true cross section of individuals, aged 5 to 95.

• The WRITE A PLAY program has impacted over 1 million students, grades K-12, with a special emphasis on financially disadvantaged youth, in all 67 Florida Counties and internationally with Sarasota's Sister Cities.

Narrative: Education and Outreach

WRITE A PLAY (WAP)
Since 1991, WRITE A PLAY, an arts-in-education initiative, has introduced thousands of students to professional theatre providing them with the skills and motivation to create original plays. Using high energy, interactive performances and workshops, WAP provides children, aged 5-18, with exercises in critical and creative thinking while promoting literacy and strengthening language and communication skills.

Activities:

• A Classic Children's Play – The play that sets the example.

  Students travel to FST to see an exciting fall production that provides an example for young writers. More than 9,000 students experience a professional theatrical production that gives them a well-written point of reference for creating works of their own.

• Playmakers Statewide Tour – The play that inspires writing.

  FST actors travel on tour to elementary and secondary schools with a dynamic "Playmaker's" presentation. The adventure of writing comes alive with high energy, interactive performances and workshops that teach the basic tenets of playwriting: setting, character, conflict and dialogue. Teaching Artists guide over 24,000 students in an exciting, improvisational experience that results in the creation of a new play.

• Long-term Residencies.

  In-depth residences focus on students in grades K-5 and provide individual playwriting instruction over an extended period of time, allowing FST to deepen its impact and broaden its program goals. Classes are designed to prepare students for their FCAT examinations by focusing on lessons that enforce the skills necessary for effective narrative and expository writing.

• Under Six and the Young Playwright's Festival – celebrating and honoring the works of youth.

  Every spring, more than 9,000 students return to FST to see the celebrated plays written by their peers. More than 5,000 students annually submit plays they've written, each of which are read and considered for inclusion in "Under Six." Professional actors carefully weave together a collection of approximately ten winning plays, with reverence to the written word of its young creators.

Under Six culminates with the Young Playwrights Festival, a special day of recognition for the students and one of the few literary award programs for youth in the country. Hundreds of students, their families, educators, playwrights and dignitaries travel from across the state to Sarasota to see and celebrate their outstanding work. Special guest speakers of literary or community merit such as Pulitzer Prize Winner Edward Albee bring credence and honor to this literary celebration.

Theatre School
Since 1982, FST's Theatre School has offered a wealth of opportunities for children and adults to discover their creativity through theatre workshops and classes.

Youth workshops target children and teens ages 5-18 and offer an original training method developed from over 2 decades of experience. Classes are offered throughout the school year, offering acing, dance, improv, musical theatre, and sketch comedy.

Adult workshops offer a creative forum to explore their human and artistic potential.
Year-round classes offering acting, voice, improv, storytelling and theatre appreciation.

Master classes led by FST's guest artists are held throughout the season in subjects such as acting, directing, sketch comedy writing and design.

Scholarships are offered to children and adults with financial need, as well as disabled youth.

FST's education outreach also provides an accredited theatre program at the Ringling College of Art & Design that offers critical liberal arts credits to the college's future animators and illustrators, "Poetry in Motion," a weekly dance class held at the Pines of Sarasota Nursing Home, and programs for "at-risk" youth

Lifelong learning is also addressed through FST's Audience Enrichment initiative, which provides attendees with a deeper connection to FST's productions. Utilizing the theatre's website as well as lobby displays, FST presents background contextual information that gives the audience greater insight into the shows they see.

Operating Budget

	Operating Expenses	Completed FY ended 9/30/09	Current FY ending 9/30/10	Next FY ending 9/30/11
1.	Personnel: Administrative	652,872	678,750	692,325
2.	Personnel: Programmatic	552,972	597,087	609,029
3.	Personnel: Technical/Production	255,700	248,577	253,549
4.	Outside Fees and Services: Programmatic	634,135	816,337	738,324
5.	Outside Fees and Services: Other	27,360	24,000	24,000
6.	Space Rental, Rent or Mortgage
7.	Travel	69,982	154,870	134,345
8.	Marketing	249,814	287,643	293,396
9.	Remaining Operating Expenses	894,035	738,061	752,822
A.	Total Cash Expenses	$3,336,870	$3,545,325	$3,497,790
B.	In-kind Contributions	$49,650	$74,600	$99,600
C.	Total Operating Expenses	$3,386,520	$3,619,925	$3,597,390
	Operating Income	Completed FY ended 9/30/09	Current FY ending 9/30/10	Next FY ending 9/30/11
10.	Revenue: Admissions	1,764,374	1,647,272	1,746,135
11.	Revenue: Contracted Services	350,022	272,769	272,769
12.	Revenue: Other	490,138	508,941	245,706
13.	Private Support: Corporate	30,000	34,500	34,500
14.	Private Support: Foundation	138,450	243,050	223,000
15.	Private Support: Other	666,045	706,500	720,630
16.	Government Support: Federal	18,000	15,000	15,000
17.	Government Support: State/Regional	62,697	25,000	150,000
18.	Government Support: Local/County	89,678	92,293	90,050
19.	Applicant Cash
D.	Total Cash Income	$3,609,404	$3,545,325	$3,497,790
B.	In-kind Contributions	$49,650	$74,600	$99,600
E.	Total Operating Income	$3,659,054	$3,619,925	$3,597,390

Proposal Budget: Summary

	Proposal Expenses	A. Request	B. Cash Expenses	C. In-kind	Total
1.	Personnel: Administrative	0	692,325	74,600	$766,925
2.	Personnel: Programmatic	50,000	559,029	0	$609,029
3.	Personnel: Technical/Production	25,000	228,549	25,000	$278,549
4.	Outside Fees and Services: Programmatic	50,000	688,324	0	$738,324
5.	Outside Fees and Services: Other	0	24,000	0	$24,000
6.	Space Rental, Rent	0	0	0	$0
7.	Travel	0	134,345	0	$134,345
8.	Marketing	10,000	283,396	0	$293,396
9.	Equipment	0	0	0	$0
10.	Remaining Proposal Expenses	15,000	737,822	0	$752,822
D.	Total Proposal Expenses	150,000	3,347,790	99,600	$3,597,390
	Proposal Income	A. Request	E. Cash Income	C. In-Kind	Total
11.	Revenue: Admissions		1,746,135		1,746,135
12.	Revenue: Contracted Services		272,769		272,769
13.	Revenue: Other		245,706		245,706
14.	Private Support: Corporate		34,500		34,500
15.	Private Support: Foundation		223,000		223,000
16.	Private Support: Other		720,630		720,630
17.	Government Support: Federal		15,000		15,000
18.	Government Support: State/Regional (not including state funds)		0		$0
19.	Government Support: Local/County		90,050		90,050
20.	Applicant Cash		0		$0
F.	Total Proposal Income	150,000	3,347,790	99,600	$3,597,390

Proposal Budget: Detail

	Proposal Expenses	A. Request	B. Cash Expenses	C. In-Kind	Total
1.	Personnel: Administrative	0	692,325	74,600	$766,925
1.1. Includes salary expenses for FST's Managing Dir., Marketing Dept., Develop. Dept., Box Ofc., Bus. Ofc., Education Admin., IT Dept., Cabaret Mgmt., FOH		0	692,325	74,600	766,925
2.	Personnel: Programmatic	50,000	559,029	0	$609,029
2.1. Includes salary expenses for FST's Artistic and Associate Directors, Resident Designers, Resident Musical Dir., Teaching Artists, and Literary Dept.		50,000	559,029	0	609,029
3.	Personnel: Technical/Production	25,000	228,549	25,000	$278,549
3.1. Includes salary expenses associated with FST's Production and Stage Mgrs., Technical Dir., Company Mgmt., Production Assts., and Facilities Mgmt.		25,000	228,549	25,000	278,549
4.	Outside Fees and Services: Programmatic	50,000	688,324	0	$738,324
4.1. Includes Actors, Designers, Directors, Choreographers, Playwrights and Production Overhire.		50,000	688,324	0	738,324
5.	Outside Fees and Services: Other	0	24,000	0	$24,000
5.1. Outcomes Measurement		0	1,000	0	1,000
5.2. Professional Fees		0	23,000	0	23,000
6.	Space Rental, Rent	0	0	0	$0
7.	Travel	0	134,345	0	$134,345
7.1. Outside Artist Travel		0	23,525	0	23,525
7.2. Outside Artist Housing (includes both rentals & maintenance)		0	34,320	0	34,320
7.3. Executive Travel		0	10,200	0	10,200
7.4. Auditions		0	31,620	0	31,620
7.5. Hotels/Per Diems		0	15,810	0	15,810
7.6. Gas/Vehicle Maint.		0	18,870	0	18,870
8.	Marketing	10,000	283,396	0	$293,396
8.1. Playbill		0	16,524	0	16,524
8.2. Photography		0	1,020	0	1,020
8.3. Website		0	16,830	0	16,830
8.4. Print Advertising		10,000	182,161	0	192,161
8.5. Public Relations Expense		0	18,156	0	18,156
8.6. Printing & Postage		0	48,705	0	48,705
9.	Equipment	0	0	0	$0
10.	Remaining Proposal Expenses	15,000	737,822	0	$752,822
10.1. Production Materials		0	78,530	0	78,530
10.2. Royalties		15,000	100,290	0	115,290
10.3. Music Rentals		0	7,650	0	7,650
10.4. Scripts & Literary		0	2,040	0	2,040
10.5. Staff Training		0	15,300	0	15,300
10.6. Box Office Supplies		0	9,180	0	9,180
10.7. General Office Supplies/Postage		0	24,888	0	24,888
10.8. Education Materials/Supplies		0	11,270	0	11,270
10.9. Fundraising		0	46,410	0	46,410
10.10. Utilities/Sanitation & Building/Grounds Maint.		0	178,883	0	178,883
10.11. Insurance		0	133,797	0	133,797
10.12. Telephone		0	20,400	0	20,400
10.13. Equipment Contracts		0	45,145	0	45,145
10.14. Memberships		0	11,588	0	11,588
10.15. Service Charges		0	52,451	0	52,451
D.	Total Proposal Expenses	150,000	3,347,790	99,600	$3,597,390

	Proposal Income	A. Request	E. Cash Income	C. In-Kind	Total
11.	Revenue: Admissions		1,746,135		$1,746,135
11-1 Subscriptions			1,148,109		1,148,109
11-2 Single Tickets			598,026		598,026
12.	Revenue: Contracted Services		272,769		$272,769
12-1 WRITE A PLAY Residencies			52,000		52,000
12-2 Education Income			220,769		220,769
13.	Revenue: Other		245,706		$245,706
13-1 Playbill Advertising			40,000		40,000
13-2 Space Rentals			66,284		66,284
13-3 Handling Fees			54,540		54,540
13-4 Interest			82,582		82,582
13-5 Misc.			2,300		2,300
14.	Private Support: Corporate		34,500		$34,500
14-1 Corporate Support			34,500		34,500
15.	Private Support: Foundation		223,000		$223,000
15-1 Foundation Support			223,000		223,000
16.	Private Support: Other		720,630		$720,630
16-1 Other Private Support			720,630		720,630
17.	Government Support: Federal		15,000		$15,000
17-1 Government Support - Federal			15,000		15,000
18.	Government Support: State/Regional (not including state funds)		0		$0
19.	Government Support: Local/County		90,050		$90,050
19-1 Government Support - Local/County			90,050		90,050
20.	Applicant Cash		0		$0
F.	Total Proposal Income	150,000	3,347,790	99,600	$3,597,390

Proposal Summary: Evaluation Plan

Evaluation is an integral component of FST's daily operations. Each of the theatre's 6 main programs is analyzed on an ongoing basis. FST uses a variety of tools including: daily reports from all departments, detailed survey analysis and independent outcomes measurement.

Attendance patterns and audience development are evaluated through a detailed reporting system that includes:

• Box Office Sales and Closing Reports

• Stage Management Performance Reports

• House Management Closing & Financial Reports

• Concessions Reports

• Cabaret Management/Restaurant Reports

• Marketing Results by Performance

• Subscription Campaign Reports

• Post-Show Discussion Reports

• FST annual survey of the three theatres

• Specific, issue-related, surveys as necessary

• Utilize independent evaluator for analysis of selected program areas.

By analyzing reports, spreadsheets, surveys, audience feedback and ticket sales, the theatre is able to accomplish a variety of goals. For example:

• Executing the most cost effective marketing and development campaigns

• Analyzing zip codes for penetration of residential areas to identify underserved groups

• Tracking changes in audience characteristics

Finally, all qualitative and quantitative data is analyzed and filtered to assess the overall artistic effectiveness of each program.

Narrative: Applicant History

Florida Studio Theatre is one of the major cultural resources for the West Coast of Florida. FST was founded in 1974 by Jon Spelman as a professional, nonprofit touring company presenting plays to isolated audiences such as nursing home residents, students, and prisoners. In 1977, FST found a permanent home in Sarasota's Historic Woman's Club building, a fixture in the downtown community since 1914. In 1980, Richard Hopkins was named Artistic Director, and the mission of the theatre shifted from touring to the establishment of a resident company. Under his leadership, FST has grown from a small group of artists with an initial subscriber base of 100 patrons, into a nationally recognized, LORT theatre with over 12,000 unduplicated subscribers.

After 36 years of diligence, FST continues to grow by staying focused on its mission and remaining true to its founding principles. Today, the theatre serves over 160,000 attendees each year through 6 major programs: Mainstage, Stage III, Cabaret, New Play Development, Education, and Touring. Together, the Mainstage and Cabaret have produced 69 world premieres, 86 regional premieres, and the New Play Development program has brought 58 original pieces to production, many of which have gone on to theatres across the nation. The 2004 original Mainstage production, The Bully Pulpit, enjoyed excellent reviews throughout a six-week run in Off-Broadway's Samuel Beckett Theatre, after touring through Blowing Rock Stage Company, Bristol Riverside Theatre, and ART Station.

• 1980: Richard Hopkins is named Artistic Director & establishes a resident theatre.

• 1981: FST purchases the Keating Mainstage.

• 1982: FST premieres its Education Wing for the benefit of children.

• 1983: FST inaugurates its New Play Development Program.

• 1991: FST launches its WRITE A PLAY Program.

• 1992: FST inaugurates its first Summer Season.

• 1993: FST premieres the Young Playwrights Festival.

• 1995: FST builds its Cabaret Theatre.

• 1996: FST inaugurates its Cabaret Series.

• 1997: FST purchases an 8,000 square foot office building for use as administrative office space and costume shop.

• 2001: FST Improv program begins as an adult education class, designed to attract new attendees. By 2002, the first public performance is held, and in 2003, a performance series is inaugurated.

• 2003: FST purchases and renovates the newly named Gompertz Theatre and 5 parcels of land to accommodate future programming expansions.

• 2005: FST inaugurates the STAGE III performance series, dedicated to the presentation of cutting edge plays in the Gompertz Theatre.

• 2006: FST inaugurates a new audience enrichment initiative, FST Forums.

• 2006: FST owns 8 residential properties.

• 2007: FST receives the Stanford Financial Excellence in Arts Award.

• 2009: FST hosted a portion of the National Critic's Conference. The resulting exposure for the Mainstage production of "Black Pearl Sings!" has led to numerous subsequent productions, making the play the ninth most produced play in 2009.

• 2009: FST produces its first annual Sarasota Improv Festival, bringing improv troupes from across the state of Florida and around the country to perform and provide workshops for Gulf Coast audiences.

• 2009: FST's Summerfest Subscription base grows by 18%; Winter Cabaret Subscriptions sell out in during the opening month. Meanwhile, Winter Mainstage Subscription numbers are on a course to see growth over the previous season.

An average day begins with bright yellow school busses surrounding the area as hundreds of school children attend theatre performances. Meanwhile, in an elementary school in Miami, FST's WRITE A PLAY tour engages young students in the process of writing a play. As night falls, the campus comes alive with twinkling lights, and walkways are crowded with hundreds of visitors attending each of the 3 stages. Crossing the threshold into the darkened auditorium, the theatre-goer sits in close proximity to the stage, within reach of the actors and an integral part of the experience. Florida Studio Theatre is purposefully intimate and purposefully meaningful.

Narrative: Sustainability

Expansion and growth:
Since that first subscription season in 1980, Florida Studio Theatre has been in an ongoing state of steady growth. Expansions in programs are tied to increased demand based upon existing program growth (i.e. a need for more seats in FST's subscription series'), and demand for greater program diversity (i.e. a need for expansion of FST's Stage III to include Off-Center).

FST is currently poised to increase the subscriber base to its Mainstage series. For the past several years, Mainstage subscriptions have reached capacity for the space and number of weeks in each run, but Sarasota's arts-going population has grown. In order to accommodate increased demand, FST has moved one of its Winter Mainstage and one of its Summer Mainstage productions into the Gompertz Theatre. Doing so allows the theatre to expand the number of weeks each show runs, providing space for a growing audience base. The theatre anticipates a 10% increase in its Mainstage subscription base, thanks to these efforts. FST has already seen this model work: in 2009, its Summer Mainstage subscriptions increased by 18% by adding a week to the run of each show.

FST has also had to make room for new Cabaret subscribers. For years, the program has been sold out, however, in the upcoming year, FST will expand the run of each show by one week, allowing for a 10% expansion in Cabaret subscribers as well.

Meanwhile, new programming in the form of Off-Center is also anticipated to grow FST's audience base in the 2010-11 season. Off-Center is an expansion of FST's Stage III program, producing quirky, popular plays that otherwise might not be seen in Sarasota.

Finally, growth in Adult Education is anticipated in what will be the second year of FST Labs. During this first year of the program, FST has begun to identify opportunities for expansion, particularly in the offerings for theatre appreciation.

The financial sustainability of this growth is addressed under "fiscal stability."

Long Range Plan:
The primary goal over the next six years will be to maintain the theatre's core programming while expanding its audience base. In this way, the future is ensured, and Florida Studio Theatre will continue to be a vital artistic company that operates in the black.

To that end, Florida Studio Theatre's Artistic and Administrative staff has developed the following Long Range Plan with the support of the Board of Trustees. This plan exists as a tool to execute the theatre's artistic mission and to maintain the financial support structure. To meet the theatre's objectives, the Long Range Plan has been organized to preserve the best aspects of Florida Studio Theatre's past successes, while stimulating future growth and the organized completion of our goals.

Goal 1: To produce the best in contemporary theatre by presenting plays that speak to a living, evolving & dynamically changing world.
Goal 2: To build a broad-based audience that is reflective of the world, so that we can put the world on the stage and reflect it back to our audience.
Goal 3: To explore new theatre forms and in doing so create new audiences.
Goal 4: To cause the creation of new plays by established and emerging writers.
Goal 5: To deepen our relationship with artists and organizations on the local & national scene.
Goal 6: To ensure a vital, affordable, accessible theatre that reflects the concerns of a diverse society.
Goal 7: To provide excellent theatre for children and to train them in the language and thought of the theatre.
Goal 8: To maintain a thriving and supportive working environment for artists in which they can grow and thrive.
Goal 9: To renovate and construct new facilities; to remain at the forefront of integrating technology accelerators into the operation of the theatre.
Goal 10: To be accountable to our audiences and donors by operating with fiscal responsibility.

For FST's detailed Long Range Plan, please see support materials.

Narrative: Fiscal Stability

The fiscal stability of FST is exemplary and continues to strengthen and grow through keen attention to detail and diligent financial management of all programs. According to FST's audited financial statements for the 2007-08 fiscal year, the theatre sustained an operating budget of over $4.3 million, with reserves totaling over $530,000, and assets of over $9 million. This represents the 20th consecutive year that FST has operated in the black, a strong testament to the fiscal health of the organization. Preliminary audits indicate that the theatre will end the tumultuous 2008-09 year in the black as well. The theatre's continued debt-free operation is the direct result of its nimble ability to adapt to changing circumstances.

In 2005, FST established an endowment that currently stands at $2.9 million. In addition, while FST has always had an option for donors to leave legacy gift, 2010 – 2011 will mark the introduction of FST's Legacy Campaign.

Earned income represents the theatre's strongest source of revenue, accounting for an historical average of 65% of the theatre's annual operating budget. FST attributes this impressive statistic to 2 fundamental formulas that have driven the financial engine of the theatre for decades:

• High Salaries for artists = High Quality on the stage.

• Low-ticket prices = High Volume participation.

Consequently, FST generated over $1.7 million in ticket sales, over $300K in workshop fees, and over $400K in other income during the 2008-09 fiscal year.

Unearned income represents the remaining 35% of the theatre's revenue. FST is constantly working to sustain the theatre's programming by diversifying its resources amongst Corporate, Foundation & Private Support.

Individual contributions represent the single most important and successful source of unearned income. FST's Fundraising Plan strives for balance and consistency by targeting donors at all giving levels. This ensures that FST maximizes its earning potential and provides opportunities for all patrons to be actively involved in the growth of the theatre. Campaigns are divided into 3 categories: Friends Memberships ($35-$249); Large gifts ($250 - $4,999); and Grand Sponsors ($5,000+). Of FST's subscribers, 57% contribute funds to the theatre – well above the national average of 25%. Individual contributions generate over $725,000 each year through direct donations and special event income.

Local and federal government support has been instrumental in sustaining the theatre's operations during the summer season. FST has received one of the highest Tourist Development Council grants awarded each year for the past 18 years from the Sarasota County Arts Council & Sarasota County's Tourist Development Council. To date, that contribution exceeds $1 million. Federal funds have been provided by the National Endowment for the Arts, supporting both artistic programming and theatre for children.

Like all nonprofits, FST has experienced a loss of funding from government, foundation and corporate sources. However, FST continues to aggressively pursue funding resulting in the generation of over $230,000 in support from the following local and national institutions:

_The Shubert Foundation, The Community Fdn. of Sarasota County, Gulf Coast Community Fdn. of Venice, Florida Winefest & Auction, Woman's Exchange of Sarasota County, The Esther Mertz Charitable Trust, Hegner Family Foundation, Hess Foundation, Harold C. & Jacqueline F. Bladel Foundation, The Jelks Family Foundation,
Bank of America Foundation, Northern Trust Bank, Publix Super Markets Charities, Traget Stores, Verizon_ and Des Champs & Gregory, Inc.

In-kind contributions are an invaluable resource for the theatre. Over 400 individual and corporate donors volunteer their services to FST each year as Board members, professional consultants, special event chairs, ushers, play readers, production assistants, education assistants, and general administrative assistants. In-kind contributions are expected to double for the 2010 – 2010 season, once FST's Expanded Volunteer Program has been fully launched.

Narrative: Collection Summary (GPS Collecting Museums only)

No answer provided.

Applicant Accessibility

Statement	Response
Applicant's facilities and programs are accessible to persons with disabilities.	True
Applicant has conducted an accessibility self-evaluation of its facilities and programs (Date of most recent evaluation).	True Date of most recent evaluation: 12/6/2007
Applicant has established policies and procedures which address nondiscrimination against persons with disabilities.	True
Applicant has a complaint process for discrimination on the basis of disability	True
Applicant has designated staff person that is responsible for Section 504, ADA and Florida Statutes 553 Compliance.	True Designated staff contact: Rebecca Langford, Managing Director
Other staff members are informed and trained in access issues.	True

Narrative: Accessibility

In accordance with its mission "to make theatre accessible and affordable to as many people as possible," all of FST's facilities are ADA compliant. In addition, the WRITE A PLAY program travels out into schools all around the state, bringing its unique playwriting curriculum to those who might otherwise never have the opportunity to attend a theatrical production.

The theatre has instituted a committee that will assess how to continue to improve the organization's accessibility. For example, for the 2010 season FST will create a large print playbill and make it available to patrons that require it, both on line and at the box office. In addition, this committee has responsibility for keeping abreast of accessibility technology, and incorporating it into FST's future plans.

However, FST's approach to accessibility is not limited to ADA regulations. The organization recognizes that there are other definitions for this word, including, 'easy to get to,' 'comprehensible,' and 'approachable.' As a result, the theatre considers such aspects as affordability and diversity of programming in its activities. FST fulfills the above mission point through the following:

• FST staunchly believes that theatre should not be a privilege of the few, but should benefit everyone. Unlike many American theatres, FST is able to maintain reasonable ticket prices; the most that a person will play for a 4-play subscription to the Mainstage series is $61, or $15.25 per show.

• The Cabaret series, which was established to develop new audiences who might not otherwise participate in theatrical events.

• Subsidized ticketing for Title I schools taking part in the WRITE A PLAY program.

• Scholarships for FST Theatre School and FST Labs students who would not otherwise be able to participate.

• Partnering with businesses and social service agencies such as The Pines of Sarasota, offering dance/movement classes to seniors in wheelchairs, and traveling to provide services to students who would otherwise not be able to participate in the program.

• The VIP Program, a performing arts program for special needs youth in grades K-12, including children with physical challenges, such as blindness or hearing impairments; mental challenges, such as Down's Syndrome, Autism and other developmental delays; and emotional or behavioral challenges, such as Attention Deficit Disorder and Hyperactivity.

• Maintaining inexpensive ticket prices for all FST productions.

• The Stage III program, directed towards an otherwise underserved audience in Sarasota: individuals between the ages of 18 and 65.

• FST's Improv Program, designed for those that are attracted to a different form of theatre.

FST is a village of diverse theatres built for a community of people with different needs, different tastes and widely varying sensibilities. The theatre aims to serve and celebrate that diversity.

A. Letters of Support
1. U.S. Senator Bill Nelson
2. U.S. Congressman Vern Buchanan
3. Florida State Representative Doug Holder
4. Florida State Senator Michael S. Bennett
5. Sarasota County Commission
6. City of Sarasota Mayor Richard Clapp
7. City of Sarasota Vice Mayor Kelly Kirschner
8. Superintendent of Schools, Sarasota County, Lori White
9. Curriculum Specialist, Dr. Sherry Lawrence
10. Playwright, Michael O. Smith
11. Actor/Choreographer, Stephen Hope

B. Detailed Program Information
1. Program Descriptions
2. Timeline for Planning & Implementation

C. Organizational Information
1. FST Mission/History
2. Production History, 2006 – Present
3. Artist Resumes
4. Organizational Chart
5. Board of Trustees/Community Resource Group
6. Florida Studio Theatre Long Range Plan

D. Required Documentation
1. 501(c)(3) Documentation
2. Division of Corporations Record

E. Press

F. Print Materials

G. DVD: "Sarasota's Contemporary Theatre"