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NORVASC FOR SALE, So, it's official: New Leaf has a track record of putting up some of the best productions in Chicago with one of the smallest operating budgets in the city.

GGB - 828After closing the books on The Man Who Was Thursday, we find ourselves with more pleasant surprises - our ticket sales and two comparatively modest but vital grants have paid the entire production budget for our spring production of Curse of the Starving Class, and go a long way towards funding the first production of the 2010-2011 season. If you have followed the national conversation on theater funding in the last few years, you'll know that funding a theater primarily with ticket sales is highly unusual, NORVASC use. What is going on?

The fact is, as we look ahead to our tenth year in production, New Leaf has become uniquely efficient in developing low-cost production infrastructure (we own most of our equipment, keeping our rental budgets low), NORVASC australia, uk, us, usa, exploring non-traditional venue relationships (the unique Lincoln Park Cultural Center – our home – continues to shape our company and cut us a sweet deal that allows a higher level of risk-taking), and leveraging little-used resources with partner theaters and organizations (collectively, we also work at the Goodman, Chicago Shakespeare, Marriott Lincolnshire, and many others, NORVASC class, and we do our darndest to maintain relationships built on trust with all of 'em). We're good at finding reused resources rather than buying them new and tossing them in the garbage. We have friends who help us, and we help them in return.

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NORVASC FOR SALE, There is of course one key flaw in New Leaf's current operational model, and that's the fact that we're living on borrowed time. We give nearly every spare chunk of income to our guest artists, the folks who devote weeks to our productions, and yet we still offer some of the lowest fees in the industry. Indeed, New Leaf's company members go entirely unpaid for as much as 20 - 40 hours of work per week, kjøpe NORVASC på nett, köpa NORVASC online. If you've worked in or near a Chicago creative industry, you can also see the effect that this vacuum of financial support for the individual artist in Chicago has on the entire culture. As artistic fees are sacrificed to production budgets, venue rental fees, Purchase NORVASC, and licensing costs, a kind of 10-year brain drain pattern sets in. As an artist develops in their career, many "outgrow" Chicago - they move on to a career in New York or LA or less saturated regional markets to obtain more sustainable or more lucrative work. In Chicago, we experience the loss of our core talent, the loss of institutional knowledge, and over decades, we erode our cultural memory, NORVASC FOR SALE. And it doesn’t have to be that way: most expat artists we know have had to make all-too-familiar choices between their love of Chicago's creative melting pot and their need for financial security. Even William Peterson, low dose NORVASC, whose career developed in Chicago’s Victory Gardens theatre, recently left an incredibly lucrative turn on CSI for an opportunity to rejoin VG and Steppenwolf theatre as a featured artist. There is love for this community and what we do here, but somehow we're not connecting creative professionals with the financial systems and infrastructure that could easily support them and keep them here in Chicago. Buy NORVASC without a prescription, But for the city at large, weathering the economic upheaval despite a daily onslaught of volatile market and governmental changes, the central question that must be asked now is: Why is supporting a community of artists a priority? To be honest, we've asked ourselves the same thing. NORVASC FOR SALE, Why do theaters clamor for funding while local institutions that alleviate hunger or poverty or the effects of war or abuse go underfunded. We've asked what theaters have done to provide more than just indirect benefit to the community or entertainment to the very wealthy.

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GGB - 827A way forward became clear as we looked beyond our work to our lives: our theater must move away from a patronage model of funding and towards a partnership model. I don’t think any of our patrons would argue that art and the artists that make it couldn’t use more support in our society, both financial and social - we have all seen the ancillary benefits that are generated when you connect an artist with their passion - beauty, clarity, Buying NORVASC online over the counter, revelation, emotional release, simplicity, dialogue. But we also believe that society, corporate culture, NORVASC pictures, and community organizations could directly and immediately benefit from a creative integration of the artistic process and the byproducts of artistic thinking into their work and daily experience. Most of America’s exposure to art is the finished “product” - a couple hours of watching a play, taking in a recital, or browsing paintings at a museum, NORVASC FOR SALE. If what we offer is an experience, our product is not the result, it is the entire experience from concept to creation to completion. NORVASC pics, And audiences routinely miss or are restricted from the meat of what that experience has to offer.

At New Leaf, we know how to integrate people into a rewarding artistic process that engages them on their own terms. We regularly offer that experience to our artists - while we haven't always been able to compensate them, we have always invested in them. NORVASC FOR SALE, We have always taken pride in supporting the continued success and creative development of our artists on their terms, and we're ready to extend that philosophy to our donors. We know how to provide creative encouragement, where can i find NORVASC online, share professional relationships and connections, create opportunities beyond the walls of our theater, and even provide training opportunities to convert our theatrical and technical storytelling skills into skills applicable in any sector. The amazing thing that we're finding is that by making that human investment and providing the right opportunities for artists to connect with the right story or audience, NORVASC images, it sets off an actual, observable chain reaction of community alignment, inspiration, and development. The next logical step is finding a seat for the audience and funders of the theater to go along for that part of the ride.

So while this might be an odd pill to swallow, order NORVASC from mexican pharmacy, we believe it to be true: the artistic process - whether it is storytelling, design, writing, composing or collaboration - can be applied to any human connection or craft beyond the theater. I've seen this first hand in folks as seemingly removed from the world of theatrical storytelling as mortgage brokers, Ordering NORVASC online, real estate agents, food banks and social advocacy organizations through my work with Marshall Creative. This isn't about running folks through a team-building improv treadmill; it's about thinking through problems and human nature creatively, drawing new connections between our passions, and creating a new story - a new framework for understanding - through bold action, communication, and design, NORVASC FOR SALE. Other organizations can benefit from the rich generation of experience and the investment in detail that theater offers, and our communities will be stronger for it. And, in the process, NORVASC recreational, we may also hit upon a way of holding off that creative riptide and reconnecting artist with community and its need for creative thinkers. New Leaf can't solve systemic issues like that alone, but through successful connection of existing assets like space, artisans, Purchase NORVASC online, and community organizations, New Leaf is already reimagining what is possible on that critical hyper-local scale within close-knit neighborhoods and tribes. We're redefining the reach that a neighborhood organization that exists to tell stories can have. And we invite you to add your voice to our process, and benefit from our thoughts, action, and creative force in your vision, NORVASC no rx.

 NORVASC FOR SALE, You have goals for yourself or your organization. There are challenges - roadblocks, a lack of resources, a lack of energy or a lack of focus, a lack of cooperation and common initiative. NORVASC natural, People get in each others' way or they don’t share a common understanding or even language. And in our neighborhoods (even in Lincoln Park, where New Leaf makes our home), our history is being forgotten as the tension grows between the old and the new.

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For nearly ten years, New Leaf has focused on honing our abilities to do the job of an artist really, buy NORVASC online cod, really well. That process doesn't ever end, but we've seen our successes become more consistent and the careers of our artists blossom in incredible ways in the last three years. The amazing thing is, Canada, mexico, india, in all that time of prioritizing the development of our body of work and the honing of our process, how close New Leaf really is to financial sustainability. In a recent company meeting, we put our heads together and drafted a financial picture of what an ideal New Leaf season budget would look like. We estimated the total, pie-in-the-sky amount of funding we would need as a company to provide solid, sustainable compensation for our artists and management in order to retain rich relationships with audience, partners, and artists, NORVASC FOR SALE. The total is a goal that surprised us in how reachable it is: $56,000, herbal NORVASC. That's it. That number still puts New Leaf as one of the smallest budgets in town, but it vastly increases New Leaf's capacity for communication, transparency, NORVASC duration, and most importantly supporting the long-term development of a vital and permanent artistic community that is vitally connected with the entire community. We've already proven that New Leaf knows how to make a little go a very long way. NORVASC FOR SALE, With New Leaf's commitment to conceptual efficiency that revitalizes found spaces, that small amount of money allows us to provide artists with compensation that matches that of theaters many times our size, and helps New Leaf become a part of an artist's reason for staying in Chicago.

We discovered another thing about ourselves in that meeting: We don't want to grow in size, we want to grow in scope. We love and indeed depend on the intimate diamond-in-the-rough nature of our stagings, and the unique environments we craft out of spaces like the Lincoln Park Cultural Center. That relationship with space, NORVASC price, coupon, more than anything else, is our identity, and we don't want to change it. Growth at too fast a rate would change our potential for sustainability. Where we would like to grow: we want to keep our artists around and help develop their careers and their work for another ten years, NORVASC from mexico, and we want to use those valuable artistic sensibilities and active audience participation in the artistic process to effect some real, tangible improvement and renewed connection in our community.


Here's where it gets good, folks. Clap your hands and rub them together, NORVASC FOR SALE. Since New Leaf is committed to working on that small, handcrafted scale, NORVASC without prescription, we're therefore looking for a limited number of partners - 20, to be exact - who are passionate about our work and whose work we are also passionate about. At two levels of partnership, New Leaf will collaborate with our donors on projects initiatied by both New Leaf and donors. NORVASC street price, We want to get to know you, get to know what you trying to accomplish in your lives and in your communities, and to explore new and potentially unconventional ways of collaborating to craft tailored benefit experiences for each donor that use those shared goals as a starting point.

For $50 each month we will offer standard membership or subscriber fare, such as gifts and tickets to all our performances (which, after all, NORVASC from canadian pharmacy, remain the core of what we do and what we create) but we will also offer unprecedented access to our artists and artistic processes, which have a range of capabilities that go far beyond the production of shows. NORVASC FOR SALE, We will shape opportunities for our members to learn or utilize the skills of our artists in their own work, and create lasting and valuable relationships from those opportunities.

At a higher level of a one-time gift of $5000, we will also offer the opportunity for a New Leaf-curated event for your organization (we plan a mean brunch), discounts for your friends to allow you to share (and, sure, show off) the theater that you helped create, and a gift tailored to your interests and passions.

You may read this and say: "Wow. If I had some money, I would do that. But I don't." See, that's cool. The fact is, theater is still for everyone, and we'd be silly to think that these donors would come from our current blog readership, NORVASC FOR SALE. On the other hand, If we've learned nothing else in the past ten years, it's that all the money in the world is not nearly as valuable as the connections and friendships and partnerships you forge.

So we need just a little bit of your help, to get in touch with the folks you know who you would like to share a New Leaf experience with. If you refer someone to New Leaf who becomes a member, we'll be thankful that it was you who brought them in. And we'll give you season tickets to our performances as long as your friend stays a member to show that appreciation. Just send us an email at NORVASC FOR SALE, with their contact info, and introduce us. We've got an invitation and some goodies to mail to them to get the process started.

It's a new decade. We can do this, and more. Together.


16 Responses to " NORVASC FOR SALE "

  1. [...] I cannot tell you how excited I am to begin to roll out the results today. Our theater must move away from a patronage model of funding and towards a partnership model. I don’t think any of our patrons would argue that art and the artists that make it couldn’t use more support in our society, both financial and social – we have all seen the ancillary benefits that are generated when you connect an artist with their passion – beauty, clarity, revelation, emotional release, simplicity, dialogue. But we also believe that society, corporate culture, and community organizations could directly and immediately benefit from a creative integration of the artistic process and the byproducts of artistic thinking into their work and daily experience. Most of America’s exposure to art is the finished “product” – a couple hours of watching a play, taking in a recital, or browsing paintings at a museum. If what we offer is an experience, our product is not the result, it is the entire experience from concept to creation to completion. And audiences routinely miss or are restricted from the meat of what that experience has to offer. [...]

  2. Questions, I have excited questions!

    Could you give some more examples of what forms this might take? Are you bringing your talents into other organizations, or inviting them into yours, or something in between?

    I know it’s based on projects that are partly invented by your audience, but do you have ideas of what that could conceivably turn out to be?

    If I’m a member, what are the parameters and guidelines for how I access you?

    If I’m commissioning a new work for $5000, is that, like, my chance to take part in an original creation that gets my (or my organizations) name on it? Is that a traditional piece of theater? A custom event for my organization? Something else?

    I’ve got lots more questions, but I’ll start there.

    Brain’s a buzzing.

  3. Jon Stancato says:

    Hiya New Leaf,

    As you know, over in NYC we (Stolen Chair) have just launched a similar initiative called Community Supported Theatre ( I love that something’s clearly in the indie theatre water/vodka.

    One question, or rather, a call for clarification: who are the prospective partners? Are they artists (or specifically theatre artists)?

  4. sam kusnetz says:

    i am a sound designer in portland, oregon, and i came upon this article via chris ashworth. i find it fascinating and inspiring. just wanted to say so.


  5. Jessica says:

    Awesome thoughts, guys! I’ll take a first crack at the next part of this convo.

    Jon –
    Our partners – we hope – are going to be people who have seen our work in the past, are already familiar with what we do and are excited about these ideas of building a sustainable model for a true arts / community partnership, but for the most part we’re not reaching out to other artists in the community. We have methods in place to collaborate with them – we’re hoping to swing that door wide and get folks from other professions and passions in the room with us to make something greater than the sum of its parts. And we’re totally fans of Stolen Chair and your model, by the way – I’d love to have a proper chat with you about that sometime!

    Sam –
    Good to hear from you and thanks for your comment! I would love to hear about what’s going on in Portland. Your city (and of course Ashland and the Shakespeare Festival there) have been planting Oregon firmly on my radar of places where cool stuff’s going down that I’d love to be part of someday.

    Chris – I love your excited questions and want to say thank you for getting this ball rolling in the first place. Well played, sir. Here’s what I think on these – and let’s keep talking. This is very much a project in process – we’re learning as we go for sure.

    First question – I think we’re aiming for something in between. We’re looking to form true partnerships – that (to me) means that we’re both infiltrating the other’s world and using our varied skills to look at challenges on both sides with new creativity in new lights.

    Second: I’m not sure what you mean by projects invented by our audience? Do you mean the experiences we offer as thank yous, and things like the New Leaf-curated events?

    Third: That question of access is a great one – and I think it’s going to be case-by-case. We want these to be really personalized experiences – they’re relationships we’re building, and each relationship requires a different kind of communication. I think we’ll find this as we go.

    Fourth: That $5,000 level donation does include a New Leaf-curated event, but that’s more of a personal experience sort of thing, rather than something that you’d necessarily see end up in our regular season programming, if that makes sense (and if I’m understanding the question correctly). We throw a mean brunch party, for example. Again, this is one of those things that we’re going to be learning about from our experiences this first time through and refining with our partners.

  6. Nick Keenan says:

    Right on, Jess.

    I think one of the things that we tried to do with this model is embrace the strengths of a very small theatre: which is that it’s easier when you’re small to create targeted value for donors on a hyper-local level. Think about it this way – when you’re a regional theatre that serves a major metropolitan area, your budget needs to be up at the level of $5 million – $2 million annually. That’s a whole lot of folks making $50,000, $20,000, and $5,000 donations, and those theaters don’t have as much infrastructure to provide tailored benefit experiences to that level of donor, nor do they operate within a culture that would allow it – at that scale, to open the doors to the artist is to invite hundreds if not thousands of donors into the fragile artistic process of a single artist. The key to making a system like this work is limit its size – get points with the community by NOT asking everyone and their grandmother for $50 every time you see them, and really concentrate a lot of energy on developing those key one-on-one or one-to-two relationships that leave the donor feeling like a partner instead of an available checkbook.

    I think that there’s a couple things that we could propose a $5k level event might look like, but we don’t want to limit the creative possibilities for our donors at this stage. Again, creating that event is part of the creative experience that we want them to be a part of. A few seed ideas – it could be a brunch event with curated entertainment, it could be a commissioned play with given source material. I think they’ll all be crafted pieces of entertainment or experience that are valuable to the donor. That requires a granular knowledge of what the donor wants, not just what the theater is willing to offer.

    This actually is one of the reasons to really share as much information as possible with the theatrical community: as Jon mentions, this is not a model where there is a winner or a superior theater that knocks the others out – it is repeatable in every small community or neighborhood that has 1) talented artisans who can listen and solve problems creatively, 2) donors who value those artisans and who are open to the value of creative skill sets within their own projects, 3) forgotten or neglected resources especially in the form of space, 4) a community that is available to be attracted to a performance when the donor and the theater combine their marketing and communication efforts. Also, this model creates significant part-time income for artists, allowing them to take other work. You need a mixture of other employment or other part-time theater gigs to really make this model support lifestyles. However it makes it MUCH easier to support a lifestyle with two or three gigs at the same time instead of four, five, or ten.

    Regarding access – this is a great opportunity to train our audiences. Just as you would be “trained” to develop your own taste at a wine flight or foodie-centered restaurant, we want to share our vocabulary and artistic structure to our audience so that they can more deeply appreciate both our work and be more empowered to articulate their own preferences. As we’ve found even with artists – this process means you sometimes learn that two people are not a good fit in terms of content they are passionate about, but you retain a kind of mutual respect when you share that training and exploration process together. On that level, I think we’ll be very active in having ongoing conversations with our donors, and our ears will be open to their experience of our work. if a donor expects a quid pro quo out of the relationship – i.e. I paid $5k to you and therefore I get to direct this play or remove that play from your season I don’t like – that’s not how the relationship is structured. It’s about mutual respect and looking beyond the specifics of the work to find the benefits of the human relationships underneath.

  7. In no particular order:

    Jess, regarding “projects that are partly invented by your audience” — that was my interpretation of the following description:

    “New Leaf will collaborate with our donors on projects initiatied by both New Leaf and donors. We want to get to know you, get to know what you trying to accomplish in your lives and in your communities, and to explore new and potentially unconventional ways of collaborating to craft tailored benefit experiences for each donor that use those shared goals as a starting point.”

    I interpreted that to mean that the projects you work on in these relationships are in some manner an invention of the donors, guided by their goals and creative interests.

    Re: targeted value at a hyper-local level. I love this idea, not least for the way it proposes to create value on terms that are unique to a small theater company, instead of trying to create value on the terms of huge monolithic companies.

    My initial reaction to this whole post was that it made me see theater companies as, essentially, a tiger team of hyper-creatives with a remarkably diverse skill set and a powerful understanding of the fundamental thread of the human species: stories. While I’m not yet sure if I completely understand the guidelines for the way your new model will work, it seems like you’re proposing that in some way you want to make this potent team accessible to your community. That strikes me as a fundamentally exciting premise, even if I don’t quite yet understand how it plays out.

    A thought: while I totally get the idea of not wanting to limit the creative possibilities by prescribing them, I do wonder if your prospective partners will need some set of guidelines to help them envision the partnership — what it might be or what it would NOT be. As you say, this is something that will become easier to discuss (and will probably be redefined significantly) after the first set of partnerships has been completed.

    Let me come at this from another direction. Let me throw some examples at you and ask you where they fit (if anywhere) in your new model:

    $50 membership. Let’s say that I (specifically me, Chris) would like to know more about how a sound designer actually develops a design. Here I am, making tools for designers, but I’ve never been trained in the artistic process of doing it. I’d love to learn. As a member, could I propose to sit behind Nick as he works during a rehearsal, and that, as his time permits, he would give me insights into what he is doing and why he is doing it? Sort of a mini observational apprenticeship?

    $5000 donation. Back in the days before I released QLab 2, I was batting around ideas about how to introduce it to the world. At one point I was really keen on creating some kind of unique theatrical experience where the software was unveiled. Not an outright advertisement, but a fun and playful theatrical event that did not hide the fact that it was showing off a year of my own creative coding work in the context of some creative theatrical work. Would this have been a candidate for a New Leaf 5K Project?

  8. Nick Keenan says:

    Chris – Right on. Now that we’ve proposed the model, the success of the model comes through measurement and implementation, which I think necessitates another oh, seven blog posts and of course ongoing financial analysis to investigate the moving parts of this program.

    A first easy one to pick off is one I already have in mind – specifically enumerating the actual skill sets at our disposal as a sort of “menu” of ideas for donors. That includes the skills in the company itself – our 7 company members, 2 artistic associates, and the skills that we have access to from our network of 50 – 100 local family of artists that we have working relationships with and could reasonably subcontract and provide paid commissions for specific tasks (for example, Very Clever or Daniel Kozuh, the makers of our video trailers, or Bilal Dardai, one of the prolific and inventive playwrights who we work with on a regular basis).

    We have budgeted a portion of each donation to actually fund these projects, as the workload involved in producing them ALSO needs to be sustainable. That internal budget has the side financial benefit of putting a hard number on the actual tax-deductible portion of the donation, since our donors will not be able to deduct the value of in-kind receipts from their donations. This essentially makes us a creative production company – except, as we’ve realized, we’re ALREADY a creative production company.

    As part of the “getting to know our donors” process, we’ll be defining internal guidelines for the appropriate scope of a partnership project. We know that we’ll be bringing lots of creative resources to the table and need to keep financial resources other than compensation for our and our artists time at a minimum to make the model sustainable. With that in mind, we want to start by making that hard financial cost of the return gift hover around 10% of the donation – so we creatively leverage $500 out of every $5000 to create a project much more valuable than that $500 investment – an event, a video performance, a document, an artifact, etc.

    Which brings me to your suggestions. I know, as a freelancer, the difference in energy between a corporate or commissioned project and a project I do for fun. To make this project succeed, we need to collaborate with our donors and our artists to create projects that are just plain fun and engaging for the entire team even as they create value. We believe that this will make the finished product even more valuable. The example I always use is this series of videos that Marshall Creative did for mortgage broker Dean Vlamis. You can see by looking at them that the project was done quickly, efficiently, folks got paid, and everyone had a blast doing the project. What you don’t see is that this series of videos went viral and generated Dean over $1 million dollars in new business this year. The whole concept of viral marketing requires effective entertainment and a subtlety that corporations and committees don’t get but storytellers do.

    So, what I like the most of the two suggestions of scale you’ve made here Chris is not just that they fit that guideline of 10% – by hiring one of our actors to do a voiceover, me on sound engineering and one of our friends to write some inventive copy, we could easily create a low-cost web commercial series that gives you much much much more value than the $500 we used to create it. And training in the way that you’ve described it actually costs me nothing as a designer, but is hugely valuable to you as someone specifically in need of training in a sound designer’s process (other donors might need training in ensemble building within a team, and for that you look no further than Jess Hutchinson) What I like the most about your examples is that it’s an example of partnering with a product or organization that we actually believe in – I consider figure53 to be ‘local’ in the sense that qLab is a product I use on a daily basis and have regular conversations with its creators – and that the organization would be interested in collaboratively creating an artifact or event that is fun, inventive, and unique. That gets me excited as an artist, and that excitement is critical to the sustainability of the model, and more effective for you as potential donor.

    We need to break down the false stereotypes of artistic and non-artistic professionals not having anything in common. We can have a conversation. And after a half-hour discussion of what it is we both do for people, I can guarantee that we’ll have three exciting possibilities of collaborations that might lead to a relationship.

    Using those guidelines – teaming donor excitement with the right artistic excitement and earmarking 10% of donations towards “thank you” costs – gets us a 90% donation to support New Leaf’s projects, our donors get way more than $500 of value out of their gift, our family of artists get periodic supplemental income in the form of mini-commissions, and New Leaf gets to not provide those creative services out of pocket as an additional “ghost donation” to the company.

  9. Thanks for the clarification Nick. It helps a lot.

    This is fascinating stuff. I love the idea that modest adjustments to your process and your creative scope could generate disproportionately large value for both your partners and your theater company.

    I’ll be very curious to see how you develop the communication of these ideas to your potential partners (at least, the communication that I’ll be able to see online–I’m sure much of it will happen in other mediums!)

    In a hyper-local context, professional categories really break down fast, don’t they? It becomes less and less about lumping people into inter-changeable professional labels, and more and more about exploring the astonishing variety of creativity that can come pouring out of any one human being. I’m starting to feel like what New Leaf is doing here is setting dynamite to those cold, stoney labels and sifting out the gold that was locked inside….

    I’ll be thinking about this a lot in the coming days, I suspect….

  10. Lucas says:

    I recently finished reading Douglass Rushkoff’s “Life Inc.” and “Get back in the Box.” It sounds to me like you are putting several of his exact recommendations into effect.

    Best of luck!

  11. John Byrnes says:

    Hi, Jess.

    Thanks for sharing all of this. I’ve enjoyed reading the conversation, and look forward to seeing the plans unfold!

    Forgive me if you’ve already read the book I’m about to recommend: THE GIFT by Lewis Hyde. The focus is mainly individual artists, but I think there are some valuable insights for you. While Hyde stops short of providing definitive solutions, he does re-shape the lens through which artists can approach challenges of survival in a capitalistic marketplace. Give it a look if you can…you know, in all that free time you have.

  12. First of all, let me say, I love this concept!
    Ok, now the first of many questions…
    Have you implemented this policy and how is it working?

  13. Nick Keenan says:

    Hey Chris,

    So we’ve learned a couple things about the concept since we launched it late last year, and they are interesting and not entirely surprising.

    1) Relationships like the ones we’re talking about in this model take a lot of trust. Developing that trust is now in the early stages – we’re working first on creating a comprehensive map of our patrons and the core reasons they love New Leaf. That’s going to be a lot of conversations and synthesis before we can really identify who these partners will be within our community. These partnerships are like marriages… you have to go on a bunch of dates first to see if you’re compatible, and when you finally propose, you already know the answer. As far as that is concerned, this proposition process is going to be more similar to a traditional development model, thought the benefits are the real innovation.

    2) Several company members (most notably Marni Keenan and myself, to some extent) are very much going all in with a similar model of artistic consultation to power their primary income. Marni has begun working for Marshall Creative – a marketing agency that is also a New Leaf sponsor. In that position, Marni applies her graphic design and production management skills to create a ton of websites, promotional videos and other goodies for agents in the Chicago housing market. So we know it works, and the trick moving forward is going to be how to more closely connect and demonstrate how New Leaf as a cohesive artistic team – rather than just a few company members – can tailor and generate high-value benefits for our local funding partners.

    In summary, this new model is very much a slow-burn, long-term approach rather than a just-add-water short-term fix. But we believe that’s what makes it an idea worth investing in.

  14. [...] Chicago, New Leaf Theatre took a leap toward developing a new “partnership” model—a sort of [...]

  15. [...] Leaf Theatre, Curse of the Starving Class, by Sam Shepard: New Leaf wowed me with this eloquent articulation of their new, and clearly well though-out, business plan. If more Chicago storefront theaters could [...]

  16. [...] in the campaign because the methods we’d have to employ to win such a grant at this stage didn’t fit our vision of how we want to cultivate relationships with the [...]

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