Loading...
The URL can be used to link to this page
Your browser does not support the video tag.
Home
My WebLink
About
02-08-2023 City Arts Commission Regular Monthly Meeting - Agenda Packet
CITY OF NEWPORT BEACH CITY ARTS COMMISSION AGENDA Newport Beach Public Library 1000 Avocado Avenue, Newport Beach, CA 92660 Wednesday, February 8, 2023 –Study Session 4:00 PM / Regular Meeting 5:00 PM City Arts Commission Members: Arlene Greer, Chair Maureen Flanagan, Vice Chair Leonard Simon, Secretary Wayan Kaufman, Commissioner Marie Little, Commissioner Barbara George, Commissioner Staff Members: Melissa Hartson, Library Services Director Camille Escareal-Garcia, Cultural Arts Assistant The City Arts Commission meeting is subject to the Ralph M. Brown Act. Among other things, the Brown Act requires that the City Arts Commission agenda be posted at least seventy-two (72) hours in advance of each regular meeting and that the public be allowed to comment on agenda items before the Commission and items not on the agenda but are within the subject matter jurisdiction of the City Arts Commission. The Chair may limit public comments to a reasonable amount of time, generally three (3) minutes per person. The public can submit questions and comments in writing for the City Arts Commission to consider. Please send them by email to the Library Services Department at ArtsCommission@newportbeachca.gov by Tuesday, February 7, 2023, at 4:00 p.m. to give the City Arts Commissioners time to consider your comments. All emails will be made part of the record. The City of Newport Beach’s goal is to comply with the Americans with Disabilities Act (ADA) in all respects. If, as an attendee or a participant at this meeting, you will need special assistance beyond what is normally provided, we will attempt to accommodate you in every reasonable manner. Please contact Melissa Hartson, Library Services Director, at least forty-eight (48) hours prior to the meeting to inform us of your particular needs and to determine if accommodation is feasible at (949) 717-3801 or mhartson@newportbeachca.gov. NOTICE REGARDING PRESENTATIONS REQUIRING USE OF CITY EQUIPMENT Any presentation requiring the use of the City of Newport Beach’s equipment must be submitted to the Library Services Department 24 hours prior to the scheduled meeting. Page 1 I. ROLL CALL – 4:00 P.M. II. CURRENT BUSINESS 1. Discussion of bands for consideration of the 2023 Newport Beach Summer Concert Series / Concert at Marina Park. 1 City Arts Commission Meeting February 8, 2023 Page 2 III. PUBLIC COMMENTS Public comments are invited on agenda items. Speakers must limit comments to three (3) minutes. Before speaking, we invite, but do not require, you to state your name for the record. The City Arts Commission has the discretion to extend or shorten the speakers’ time limit on agenda items, provided the time limit adjustment is applied equally to all speakers. As a courtesy, please turn cell phones off or set them in the silent mode. IV. RECESS V. RECONVENE AT 5:00 P.M. FOR REGULAR MEETING VI. ROLL CALL VII. PUBLIC COMMENTS Public comments are invited on agenda items. Speakers must limit comments to three (3) minutes. Before speaking, we invite, but do not require, you to state your name for the record. The City Arts Commission has the discretion to extend or shorten the speakers’ time limit on agenda items, provided the time limit adjustment is applied equally to all speakers. As a courtesy, please turn cell phones off or set them in the silent mode. VIII. NOTICE TO THE PUBLIC The City provides a yellow sign-in card to assist in the preparation of the minutes. The completion of the card is not required in order to address the City Arts Commission. If the optional sign-in card has been completed, it should be placed in the tray provided. 2 City Arts Commission Meeting February 8, 2023 Page 3 The City Arts Commission of Newport Beach welcomes and encourages community participation. Public comments are generally limited to three (3) minutes per person to allow everyone to speak. Written comments are encouraged as well. The City Arts Commission has the discretion to extend or shorten the time limit on agenda or non-agenda items. As a courtesy, please turn cell phones off or set them in the silent mode. IX. CONSENT CALENDAR All matters listed under CONSENT CALENDAR are considered to be routine and will all be enacted by one motion in the form listed below. City Arts Commissioners have received detailed staff reports on each of the items recommending an action. There will be no separate discussion of these items prior to the time the City Arts Commission votes on the motion unless members of the City Arts Commission request specific items to be discussed and/or removed from the Consent Calendar for separate action. Members of the public who wish to discuss a Consent Calendar item should come forward to the lectern upon invitation by the Chair. A. Approval of Minutes of the January 12, 2023, City Arts Commission Meeting 2. Draft of 01/12/2023 Minutes B. Consent Calendar Items 3. Financial Report Review of financial information. 4. Cultural Arts Activities Monthly review of cultural arts activities from the Library Administrative Office for upcoming Library and City arts events and services. 3 City Arts Commission Meeting February 8, 2023 Page 4 X. CURRENT BUSINESS A. Items for Review and Possible Action 5. 2023 Concerts on the Green and Marina Park Concert Staff recommends that the City Arts Commission select bands for the summer 2023 Concerts on the Green series and the fall Marina Park Concert. 6. 2023 Cultural Arts Grants Staff recommends that the City Arts Commission review grant applications and approve the recipients for recommendation to City Council for the 2023 Cultural Arts Grants in accordance with City Council Policy I-10 – Financial Support for Culture and Arts. 7. Exhibition of Art at the Central Library The Art in Public Spaces Library Gallery Ad Hoc Subcommittee recommends that the City Arts Commission approve exhibitions by artists Colleen Johns and Sherry Marger in the gallery space in the Central Library lobby. B. Monthly Reports 8. Newport Beach Art Exhibition Ad Hoc Subcommittee Commissioners Arlene Greer and Maureen Flanagan 9. Newport Beach Arts Foundation Liaison Ad Hoc Subcommittee Commissioners Maureen Flanagan, and Arlene Greer 4 City Arts Commission Meeting February 8, 2023 Page 5 XI.CITY ARTS COMMISSION ANNOUNCEMENTS OR MATTERS WHICH MEMBERS WOULD LIKE PLACED ON A FUTURE AGENDA FOR DISCUSSION, ACTION, OR REPORT (NON-DISCUSSION ITEM) XII.PUBLIC COMMENTS ON NON-AGENDA ITEMS Public comments are invited on non-agenda items generally considered to be within the subject matter jurisdiction of the City Arts Commission. Speakers must limit comments to three (3) minutes. Before speaking, we invite, but do not require, you to state your name for the record. The City Arts Commission has the discretion to extend or shorten the speakers’ time limit on agenda or non-agenda items, provided the time limit adjustment is applied equally to all speakers. As a courtesy, please turn cell phones off or set them in the silent mode. XIII.ADJOURNMENT 5 Newport Beach City Arts Commission Meeting Minutes Thursday, January 12, 2023 Regular Meeting – 5:00 PM 100 Civic Center Drive Newport Beach, CA 92660 I.CALL MEETING TO ORDER – 5:01 p.m. II.ROLL CALL Commissioners Present: Arlene Greer, Chair Maureen Flanagan, Vice Chair Leonard Simon, Secretary (left at 6:00 p.m.) Marie Little, Commissioner Wayan Kaufman, Commissioner Barbara George, Commissioner Commissioners Absent: Meghan McNulty, Commissioner (excused) Staff Present: Melissa Hartson, Library Services Director Camille Escareal-Garcia, Cultural Arts Assistant Staff Absent: Guests: Richard Stein, Arts Orange County Nicholas Thurkettle, Arts Orange County III.PRESENTATION A.2022 Student Art Exhibition Award Ceremony Chair Greer introduced Commissioner George, Chair of the Student Art Exhibition Committee, and Secretary Simon, Vice Chair of the Committee, and requested they present the awards. Commissioner George thanked everyone for coming and stated it was an honor and privilege to review and judge the children’s artwork. She encouraged all to go to the Central Library to see the artwork. The CAC hoped to see new and repeat submissions next year. She thanked all participants. Pre-K through 3rd Grade • 1st Prize - Josephine Bergougnan, Snuggling Puppies• 2nd Prize - Dean Brown, The American Flag• 3rd Prize - Shirley Gu, I Love Beach • Honorable Mention - Deborah Jung, Chameleons with Their Favorite Books Secretary Simon stated it was difficult to judge the Pre-K through 3rd Grade entries because there were more than half of the 183 total entries from that group. 6 DRAFT 4th Grade - 7th Grade • 1st Prize - Milana Dederich, Running Wild • 2nd Prize - Berkley Jacobsen, A Girl’s Best Friend • 3rd Prize - Sara Shaw, Pink Player • Honorable Mention – Claire Hong, Sunset’s Plumeria 8th Grade - 12th Grade • 1st Prize - Marina Zive, Untitled • 2nd Prize - Reese Holladay, Rwanda • 3rd Prize - Hannah Lieberman, Bangers n’ Mash • Honorable Mention – Kiara Cortez, You(re) Picasso Commissioner George thanked all participants again, encouraged future participation, and the CAC took a group photograph with the winners. Chair Greer congratulated the winners and encouraged everyone go to the Library to see the Exhibition. She called meeting back to order. IV. NOTICE TO THE PUBLIC V. PUBLIC COMMENTS None. VI. CONSENT CALENDAR A. Approval of Minutes of the December 8, 2022, City Arts Commission Meeting 1. Draft of 12/08/2022 Minutes Chair Greer called for comments/revisions to the minutes and heard none. Motion made by Secretary Leonard Simon, seconded by Chair Greer, and carried (6-0-0-1) to approve the December 8, 2022, meeting minutes as presented. AYES: Kaufman, Little, Simon, Flanagan, George, Greer NOES: None ABSTENTIONS: None ABSENT: McNulty B. Consent Calendar Items 2. Financial Report – Review of financial information Library Services Director Melissa Hartson reported there was not much movement and the budget remained stable. They purchased materials for the Student Art Exhibition in December. Nothing else posted other than some funds for Professional Services. 7 3. Cultural Arts Activities – Monthly review of cultural arts activities from the Library Administrative Office for upcoming Library and City arts events and services Library Services Director Hartson reported that the Sculpture Exhibition Phase VIII Online Survey was opened to the public in mid-December and closed this past week. Helen Polins-Jones works were up in the Central Library Lobby Gallery but had been removed. The Student Art Exhibition exhibit is up on the second floor of the Central Library through Friday, February 10, 2023. She encouraged all to view the exhibition. Chair Greer called for the public comment on the Consent Calendar but there was none. Motion made by Vice Chair Flanagan, seconded by Secretary Simon, and carried (6-0-0-1) to approve the Consent Calendar. AYES: Greer, Flanagan, Simon, Little, George, Kaufman NOES: None ABSTENTIONS: None ABSENT: McNulty VII. CURRENT BUSINESS A. Items for Review and Possible Action 4. Review of Sculpture Exhibition in Civic Center Park Public Online Survey Results, Phase VIII Chair Greer stated that the City Arts Commission (CAC) would review the results of the public online survey for Phase VIII of the Sculpture Exhibition in Civic Center Park and select 10 sculptures and three alternates for approval by City Council at their regular meeting on February 14, 2023. Pending approval, the selected works would be exhibited in Civic Center Park for a two-year period. She introduced Richard Stein. Richard Stein, President and CEO of Arts Orange County (Arts OC), thanked the CAC and stated it was a pleasure to present the results of the public survey. Mr. Stein introduced Nicholas Thurkettle to provide the presentation. Nicholas Thurkettle of Arts OC enjoyed watching the awards for the Student Art Exhibition and hoped that in 10 years in the future, one of the student artists would contribute their own art to the Sculpture Exhibition. The purpose of the item was for the CAC to make 10 recommended selections and several alternate pieces for installation. The call for artists suggested that there would be three alternates, but in the past the Commission had recommended four. He reviewed the public poll process to-date. Only residents of Newport Beach were eligible to vote. The upgraded polling software automatically shuffled the entries for every visitor, so no one saw works in the same order. The 10 official selections were subject to vote by City Council. When sculptures reached recommended selection status, they underwent a thorough review process. The installation consultant, Joe Lewis, would work with artists to ensure the work was available and eligible according to entry guidelines, in an installation-ready state, and see that was the work delivered properly. There was difficulty in the past with artists 8 attempting to make substitutions, which was not allowed under the call rules. Once the works were confirmed as available, eligible, and installable under terms of the Honorarium, they would be recommended to City Council for final approval. In nearly every cycle, at least 1 alternate ended up being installed in the park either because of the eligibility review or because the work was damaged in delivery and was no longer exhibitable. The final vote would come from the City Council. Mr. Thurkettle explained that Arts OC spent the last 48 hours after the public poll closed auditing the results of the survey. He reviewed the security measures for the CAC’s information. They received 726 total votes from 264 entries, as participants could vote for up to 3. There were 1,084 votes in Phase VII and 1,091 in Phase VI. There was a drop in participation this cycle. He was unsure of what factors caused the drop but was happy to see people invested in the Exhibition. Arts OC vetted the eligibility and tried to err on the side of allowing votes unless they had strong concerns over its integrity. One vote could and did make a difference in the survey. He provided an example of a potential trigger that would cause a red flag. Arts OC ended up with a validated total of 253 out of 264. He displayed slides of the raw results and noted that every work received votes. He reviewed the 33 works quickly and noted that the spreadsheet included the Jury Average Score, Jury Ranking, Number of Public Votes, and Public Ranking. The works were rated by number of votes received from the public as follows: • Tulip the Rockfish by Peter Hazel (63 votes, tied for first place) • Pearl Infinity by Plamen Yordanov (63 votes, tied for first place) • Efram by James Burnes (54 votes) • Be Kind by Matthew Hoffman (46 votes) • The Memory of Sailing by Zan Knecht (31 votes) • Kissing Bench by Matt Cartwright (29 votes) • The Goddess Sol by Jackie Braitman (28 votes) • Newport Glider by Ilya Idelchick (sub. by Naomi Nussbaum) (27 votes) • Confluence #102 by Catherine Daley (26 votes) • Inchoate by Luke Achterberg (24 votes, tied for tenth place) • One Another by Maxwell Carraher (24 votes, tied for tenth place) • Got Juice by Steven Landis (Work was an official selection in Phase VII and was not exhibited as it was damaged in transit. 23 votes, twelfth place in public ranking, first place with the jury) • The Seagull Has Landed by David Holz (22 votes, tied for thirteenth place) • Metal Tree by Pontus Willfors (22 votes, tied for thirteenth place) Mr. Thurkettle paused to explain that it might be advantageous to select 4 alternates instead of 3 due to the ties. The list continued as follows: The White Queen by Cheryl Tall (19 votes) One World by Lynne Streeter (19 votes) Why by Ron Whitacre (18 votes) Miseria Justorum by Bilhenry Walker (16 votes) Directions by Rachel Slick (16 votes) Umbel Series: A Feast of Flowers by Jeni Ward (15 votes) Balthazar the Bulldog by Patricia Vader (14 votes) Cosmic Tan by Sergey Gornushkin (14 votes) 9 Lockdown by David Tanych (14 votes) Magnify by Kirk Seese (13 votes) Invertadude by Carrie Fischer (11 votes) Namaste by Robert Jordan (11 votes) PALMZILLA by Heather Langle (8 votes) Date Dial by Melanie Piech (8 votes) Divergent (with I) by Andrew Light (6 votes) Fish in the Sky by Adrian Susnea Litman (5 votes) Alexander the Great by Andy Marquez (5 votes) Seasons by Norman Moore (4 votes) ROGUE by Billy Criswell (4 votes) Mr. Thurkettle explained he would cycle back through the top 14, and then start the discussion about alternates. There was a clear cut off from the two-way tie for thirteenth with 22 votes for both Metal Tree and The Seagull has Landed, followed by The White Queen with 19 votes. It was very tight between the top contenders. There was diversity in the top 3 works in both style and subject matter. With the tie at tenth place one work would become a recommended selection and the other would end up as an alternate. Stephen Landis, Got Juice, was number 1 with the jury, and was one vote out of the tie for tenth place. He invited Chair Greer to conduct a discussion about the public’s results. Chair Greer asked for public comment. Jim Mosher, Newport Beach resident, stated he had little time to think about his comments. With respect to the decline in participation he noted that the poll was conducted December 10 thru January 10. He stated that it was not an opportune time to get the public's attention, as City Hall was not open during at least one of the weeks to publicize the survey. He asked if the CAC recalled the time of year when the previous polls were held. Mr. Stein said they'd been on same schedule for past three years. Mr. Mosher noted there was no overwhelming favorite as no work got more than 63 votes, which was less than 10% of people agreeing on any one work. He did not recall in previous phases if any sculptures had been more popular with an overwhelming majority of the vote. Third, and most important, he stated that the poll itself was not the final result - if one asked another 700 people to take the poll, they would get a slightly different voting. Usually, polls are said to be accurate plus or minus some percent. He suggested that there was some discretion in the results since the difference between 23 votes and 24 votes was not significant in terms of polling. Chair Greer thanked Mr. Mosher and called for other public comments but heard none. Mr. Thurkettle wanted to clarify that 702 votes did not represent 702 people. It was 253 people who had the opportunity to make up to three selections. The 702 votes were the result of 253 people. So, 63 votes would represent roughly a quarter of the poll participants. He did not think any of that bears on Mr. Mosher’s excellent observations, but he wanted to provide clarification. 10 Chair Greer felt strongly about including Got Juice and Ron Whitacre's work, Why, as she felt it was a unique piece that would stand out from previous works that have exhibited in the Garden. Commissioner George concurred with Chair Greer. In the last round, Got Juice was the top choice for Phase VII, and because of no fault of anyone it wasn't able to be part of the last phase. She felt it should get special priority since it was already chosen as a top choice. The jury from Phase VII agreed on that and she wanted Got Juice not to miss its opportunity, Vice Chair Flanagan agreed with Commissioner George. She also liked Ron Whitacre’s piece, but he had exhibited in the Sculpture Garden before, so she was not as inclined to include it in Phase VIII. She stressed that Got Juice should be included. Secretary Simon was puzzled by jury ranking versus public ranking. Some were quite similar, if not the same, but some were really out in left field. He asked a rhetorical question whether the CAC should take the public ranking over the jury ranking. For example, Matthew Hoffman‘s Be Kind had a public ranking of 4 and jury ranking of 24. That was an aberration and aberrations should be thrown out. Commission Little agreed that Got Juice should be selected. She also agreed with Chair Greer about Ron Whitacre's piece, Why, and would like to see it selected. She also agreed with Secretary Simon’s thought about the jury versus public ranking. Commissioner Kaufman felt there was enough diversity in subject matter and materials within top 14. She felt comfortable working with the top 14 and shuffling them around. To Secretary Simon's point, Be Kind and Kissing Bench had large variances, and so she was open to shifting those down to alternates and potentially moving up Got Juice into a top spot. Chair Greer asked if the photos could be viewed in a grid to show all 14 works. She stated there was a general majority consensus within the CAC regarding Got Juice, and Ron Whitacre’s Why. Chair Greer said to shift down a sculpture from the top 10 and push Got Juice up. Mr. Thurkettle and Cultural Arts Assistant Escareal-Garcia displayed the photos. Chair Greer wanted to make sure Got Juice was in the top 10 and that Ron Whitacre’s sculpture was as close to being included as possible. Mr. Thurkettle confirmed Got Juice scored number 1 in the public poll in Phase VII. Chair Greer confirmed that if they left Kissing Bench in and included Got Juice, they would not be able to include The White Queen, One World, and Why. Mr. Thurkettle said that was correct. Chair Greer called for strong feelings on the three that would be left out. 11 Chair Greer called for a vote on moving down the Kissing Bench and including Got Juice. She called for a Motion to include Got Juice in top 10. Motion made by Chair Greer, seconded by Vice Chair Flanagan, and carried (6-0-0-1) to approve Got Juice being moved into top 10. AYES: Greer, Flanagan, Simon, Little, George, Kaufman NOES: None ABSTENTIONS: None ABSENT: McNulty Mr. Thurkettle asked if Kissing Bench would be an alternate. Commissioner Kaufman requested clarification on the alternate list. Chair Greer said if they moved Kissing Bench down the list would change and end at Metal Tree. She requested Mr. Thurkettle move Kissing Bench down. The top 10 needed to be shuffled to include Got Juice. Mr. Thurkettle asked how far down Kissing Bench goes and asked for clarification if it should be placed into alternate status or removed completely. Chair Greer asked if there was consensus to add it to the top 10. Mr. Thurkettle asked if Chair Greer was referring to Got Juice and if Kissing Bench was being removed from the top 10 to an alternate or out of consideration completely. Chair Greer thought it needed to be in the top 10. Mr. Thurkettle said anything below the top 10 that was still part of the 14 was an alternate. Chair Greer asked if the consensus was to move Kissing Bench out and put Got Juice in. She thought that might not be a good idea. Commissioner Kaufman thought it would be simpler to look at everything above the line as a top 10 or an alternate. Chair Greer instructed Arts OC to move Got Juice to the top 10. Mr. Thurkettle explained he could not edit the document in real time but would move Got Juice into the top 10 recommended selections. Chair Greer explained it was a problem because there were two works tied with 24 votes to keep in the top 10. Mr. Thurkettle explained the recommended selections did not need to be presented as ranked. Vice Chair Flanagan said she thinks that's better. 12 Chair Greer agreed. Mr. Thurkettle said that currently the four alternates would be Metal Tree, The Seagull Has Landed, Kissing Bench, and then either Inchoate or One Another since they were tied in the public vote. Commissioner Little asked if the CAC was bound to include all top selections from the public. Mr. Thurkettle said that as the exhibition evolved, they had gone back and forth on the primacy of the public voice. In the past it was underlined very strongly that the public voice was advisory only and public poll would actually proceed the Arts Commission jury vote. The current process was first instituted in the previous cycle, Phase VII, and had the jury serve as a curatorial panel so that the public voice would have stronger emphasis on the process. The language in the call for artists was not binding on the CAC to strictly obey the public poll results. The intent was to give the public a stronger voice in the process. Commissioner Little said she was hoping for a yes or no answer. Mr. Thurkettle said the CAC had the burden of freedom poll. Chair Greer said Secretary Simon was leaving in one minute. Secretary Simon said there might be aberrations in the vote. From the top down, Be Kind, which was 4th place in the public ranking was 24th place in the jury ranking. Memory of Sailing similarly, public ranked it 5th, jury ranked it 15th. Kissing Bench, public ranked it 6th while the jury ranked it 17th. One Another, public ranked it 10th (tied for 10th) but the jury ranked it 15th. Commissioner Simon proposed that if the CAC removed those sculptures, the order would be different. He suggested to continue along the line of eliminating those that are so far away from where the jury was to get closer to a consensus between what public saw and what jury saw. Library Services Director Hartson reminded the Commissioners that public ranking was a priority to City Council and that the CAC needed to have very good reasons for providing an alternative list than the results of the public ranking. Secretary Simon asked if public ranking is higher a ranking than jury ranking. Library Services Director Hartson said she thought public was Council-driven and did not think there was strong justification for such changes. Chair Greer said Council did vote in the recommendation for Got Juice in Phase VII Chair Greer thanked and then excused Secretary Simon. Chair Greer agreed that Got Juice should stay in top 10 and asked if there were other changes. 13 Mr. Thurkettle suggested that 13 to 15 total sculptures (10 recommended and 3-5 alternate selections) be chosen to crystalize the discussion. Chair Greer asked the Commissioners for recommendations. Commissioner Kaufman was not comfortable moving the cut-off line. Commissioner Little wished Why remained as a selection. She said it was not a great idea to shuffle the order. She agreed it was a valid justification to have Got Juice in the top 10 recommended for installation. She felt they should revisit the conversation regarding public rankings and jury rankings with City Council in the future. Chair Greer agreed with that. She suggested to move Got Juice into top 10 and suggested to have a fifth alternate. Mr. Thurkettle said moving Got Juice up two spots would make it a recommended selection. Chair Greer asked if Commissioner George agreed with that since she felt strongly about the Ron Whitacre work. Richard Stein said moving Got Juice up established Inchoate, One Another, Seagull Has Landed, and Metal Tree as four alternates before moving Kissing Bench down. Chair Greer asked for comments on moving Got Juice up to tenth place and Kissing Bench staying where it is was. Commissioner George said she felt strongly about Got Juice since it was ranked number one by the jury number and the public last time. Got Juice was unable to install in Phase VII due to no fault of the artist. She did not want the artist to feel disenfranchised when they submitted a beautiful piece. She agreed that that would be a happy medium to bring Got Juice into the top 10. Chair Greer clarified that the order would be: • Tulip the Rockfish by Peter Hazel (63 votes) • Pearl Infinity by Plamen Yordanov (63 votes) • Efram by James Burnes (54 votes) • Be Kind by Matthew Hoffman (46 votes) • The Memory of Sailing by Zan Knecht (31 votes) • Kissing Bench by Matt Cartwright (29 votes) • The Goddess Sol by Jackie Braitman (28 votes) • Newport Glider by Ilya Idelchick (27 votes) • Confluence #102 by Catherine Daley (26 votes) • Got Juice by Steven Landis (23 votes) The alternates would be: • Inchoate by Luke Achterberg 14 • One Another by Maxwell Carraher • The Seagull Has Landed by David Holz • Metal Tree by Pontus Willfors Chair Greer called for public comment. Mr. Mosher acknowledged that Mr. Thurkettle was correct about the popularity of the top works. Two of the four alternates are tied, and they need to choose which is the first alternate and which is the second alternate. Chair Greer thanked Mr. Mosher for his public comment. Chair Greer said that they would need to do the same thing for The Seagull Has Landed and Metal Tree because they are tied for 22nd, if they decided on having four alternates. Mr. Thurkettle stated he does not know if they have a rigid process in place for selecting alternates. He said it would be useful to rank them but probably not binding to do so. He said that Mr. Mosher pointed out that both Inchoate and One Another received 24 votes in the poll. The jury had ranked Inchoate higher than One Another and said that could be the determining factor if the CAC wanted to rank alternates. Chair Greer said if that is done then Inchoate would become first alternate. She said then they did not need to worry about the other two, The Seagull Has Landed and Metal Tree, so there was consistency. Mr. Thurkettle confirmed that would be the order and that using that same factor would mean The Seagull Has Landed would become the third alternate. Chair Greer said there should be consistency and that would change the order of Metal Tree to where Seagull is if it is the fourth alternate based on the jury. Mr. Thurkettle made a correction that The Seagull Has Landed had the higher jury vote. Chair Greer confirmed that they would simply reorder and slot in Got Juice starting with number 10: • Got Juice by Steven Landis • Inchoate by Luke Achterberg • One Another by Maxwell Carraher • The Seagull Has Landed by David Holz • Metal Tree by Pontus Willfors Mr. Thurkettle agreed. Motion made by Chair Greer, seconded by Commissioner George, and carried (5-0-0-2) to approve Number 10 Got Juice, Number 11 Inchoate, Number 12 One Another, Number 13 The Seagull Has Landed, and 14 would be Metal Tree. 15 AYES: Greer, Flanagan, Little, George, Kaufman NOES: None ABSTENTIONS: None ABSENT: McNulty, Simon Chair Greer asked if there is anything else that needs to be covered. Mr. Stein thanked the CAC for a useful discussion and review. He stated they will speak with all artists to ensure they're all available and prepare them for the final presentation at the February 14 City Council meeting. Chair Greer thanked Mr. Stein and Mr. Thurkettle for all their hard work. She suggested having the poll next year at time more convenient for people to respond. Mr. Stein recommend the whole process begin earlier to avoid having a public poll during a holiday period. Chair Greer said for Phase VI they were able to do start earlier in the summer because they had the state grant. Chair Greer stated, off the record, that her and Vice Chair Flanagan attended the Foundation meeting last night and mentioned starting in July when new Fiscal Year starts. Mr. Stein stated the possibility of softening the role of the public poll in decision making, giving the CAC more flexibility in making final recommendations. Chair Greer agreed and said the CAC is ultimately responsible for the aesthetic look of Sculpture Garden and that should remain consistent through all phases. Mr. Stein stated that generally the jury and the public were fairly in sync with the top ranked, with a few exceptions that either the jury or public liked better, and that argument can be made to the City Council if you choose to go in that direction. Chair Greer thanked Mr. Stein and Mr. Thurkettle and asked them to keep us informed of programming and changes. 5. 2023 Concerts on the Green and Marina Park Concert Chair Greer stated that staff recommends the CAC review different music genres for consideration of the summer 2023 Concerts on the Green series and the fall Marina Park Concert. Library Services Director Hartson stated they have a considerable number of bands that expressed interest in performing for this upcoming season for Concerts on the Green and Marina Park. The packet shows groups that have performed over the last couple of years. Since the list is large, she recommended the Commission have a study session before the February meeting to consider genres and review bands. 16 Chair Greer requested a study session before the February meeting to review bands and hear from public with our bands. Library Services Director Hartson stated they would look into scheduling a study session. Chair Greer asked if there needed a Motion to have study session before the February CAC meeting to discuss bands. Library Services Director Hartson asked Mr. Mosher if a Motion to call a study session was needed. Mr. Mosher made no verbal response. Library Services Director Hartson thanked Mr. Mosher for his expertise. Chair Greer stated that all Commissioners in attendance agreed to have study session. Chair Greer reminded the CAC that former City Manager, Homer Bludau, attended a meeting in fall 2022 and asked the Commission to consider having the Marine 1/1 Foundation band perform in the 2023 Summer Concert Series on the Green. Cultural Arts Assistant Escareal-Garcia clarified she would reach out to Mr. Bludau to see the band’s availability. Chair Greer stated it would be wonderful to have the Marine 1/1 Foundation band perform. The CAC would look for three bands and one alternate, for a total of four. Chair Greer wanted to review the bands that performed in the past and to return to a previous decision in 2022 to not have bands that have performed in the past two years. Bands in 2022 • Mark Wood and Parrot Head Band (Jimmy Buffet tribute) • Catch a Wave (surf band) • Billy Nation (Billy Joel tribute) • Young Guns (country band) • Britain's Finest (Beatles tribute) • Stone Soul (Motown tribute) at Marina Park Bands in 2021 • Sully Band (R&B band) • Don't Stop Believing (Journey tribute) • SantanaWays (Santana tribute) • Shelley Rusk (Singer/songwriter) at Marina Park Bands in 2020 • No concert season due to the pandemic. Bands in 2019 17 • Side Deal (Rock, country, and alternative cover band) • The Smith Band (Modern country rock) • Queen Nation (Queen tribute) • Flashback Heart Attack ('80s music) • Neil Diamond and Jason Lohrke at Marina Park Bands in 2018 • Matt Mouser and Tijuana Dogs (Frank Sinatra tribute) • The Springsteen Experience (Bruce Springsteen tribute • Tijuana Dogs (Rock, Jazz, and Country cover) • Desperado (Eagles tribute) • Southland Sings in Peninsula Park (live opera and musical theatre). o Chair Greer noted that Peninsula Park not a good place to have concerts because it was very hard to hear music with waves crashing, so it was moved to Marina Park. Bands in 2017 • Flashback Heart Attack (80s cover band) • Pacific Symphony (Youth orchestra) • Tijuana Dogs (Rock/Dance/Party band) • Citrus College Night Shift (Classic Rock, R&B, and contemporary cover band) Bands in 2016 • Hollywood Stones (Rolling Stones tribute) • Rumours (Fleetwood Mac tribute) • Springsteen Experience (Bruce Springsteen tribute) Bands in 2015 • Stone Soul at Marina Park (Classic, Soul, Motown) • Sligo Rags (Celtic Bluegrass Fusion) • Kelly Rae Band (Country cover band) • Britain's Finest (Beatles tribute) Bands in 2014 • Hutchins Consort (Virtuoso violinist, Renaissance to Rock) • All-American Boys Chorus • Desperado (Eagles tribute) Commissioner Kaufman stated she did not have strong feelings about this, other than to not have repeating genres. Chair Greer said there were 135 entries this year. Chair Greer stated the genres for 2023: • Classic rock (classic, contemporary, and alternative rock) • Country (bluegrass and rockabilly) • Latin 18 • Classic pop, pop rock, and dance rock • R&B, soul, funk • Jazz, big band, swing • Disco • Folk, folk rock • Singer/songwriters • Multiple genres with brass, surf music, or classic mix Chair Greer asked if there were any genres that were suggested to be eliminated. Commissioner Kaufman felt that only the Beatles tribute bands should be eliminated at this point. She liked the comprehensive list of submissions. She suggested for future meetings, everyone to make a list of the genres they want and to consider currently popular movies and bands. Chair Greer suggested everyone to come back with their top five bands. She suggested having Elvis since the movie was popular and they never had Elvis perform in the past. She said Queen Nation had tremendous outreach; 7,500 people attended Queen Nation. She mentioned they could not find anything for Latin in the past couple of years, so that was an issue. She thought rock could be good, as well as surf music. Vice Chair Flanagan stated that for 2023 they should not have any of the surf bands or the Beatles bands due to recent performances in 2022, which would remove quite a few bands on the list. Chair Greer asked if there was more to eliminate. She stated that there was consensus to eliminate Britain's Finest, Neil Diamond, and surf bands. Commissioner Little asked about whether an Eagles tribute band had recently performed for the concert series. Chair Greer stated she did not think so. Cultural Arts Assistant Escareal-Garcia stated they had the Desperado (Eagles songs), Rumours (Fleetwood Mac songs) and Springsteen bands had not performed in a few years so they can be considered. Chair Greer stated SantanaWays had performed. Commissioner Little stated Tijuana Dogs had performed several times and they should not keep repeating certain bands just because they were liked. She said they needed to be more open minded and look at different groups within a genre. Chair Greer said Santana and Don't Stop Believing performed in the last few years so they should not choose them again too soon. She said Queen Nation performed in 2019, so that band is on the edge to perform this year. She stated that Tijuana Dogs, Desperado, and Springsteen all performed in 2018 so they could be considered again. 19 Commissioner Little suggested they get some fresh bands to perform. She said maybe to take Tijuana Dogs off. Chair Greer stated that the Eagles were off. Vice Chair Flanagan asked how people felt about including country music this year. Chair Greer said she hadn't seen anything in the country genre that she would want. Vice Chair Flanagan stated she is not a country person. Chair Greer said they tried country with Young Guns last year and didn't see anything that moved her this year. Commissioner Kaufman stated they needed to keep the public in mind. She wondered how the public would feel about repeating something after four years if that's not stale. She also stated people are not going to every concert. Chair Greer suggested genres stayed in for now and they would talk more about it at the February meeting. Commissioner Kaufman suggested looking at what bands performed in surrounding cities during the past few couple of years and use that as a starting point because they were already vetted, and their popularity could be looked at. Chair Greer agreed that they should be looking at other cities due to competition with contracts. Chair Greer stated genres and research on other cities is a topic for the February meeting. Everyone had funding from federal government last year, so there were a lot of concerts that weren't done before. Commissioner George stated she regularly volunteers at Oasis Center and observed two local bands. She said it would be a great opportunity for bands in Newport Beach to address the community. She wanted to learn how to facilitate having them apply for an opportunity to be heard. Chair Greer said bands apply to the City online. Cultural Arts Assistant Escareal-Garcia said bands apply on the City's website under Concerts on the Green. She stated that any band, including prior bands, local bands, or generally any band that is not under that the age of 18, is included on the list. Chair Greer asked about Tom Petty and the Heartbreakers, stated it was on the list again and everyone was excited. She asked to revisit the recommended bands from 2020. Cultural Arts Assistant Escareal-Garcia stated the 2020 band list included Don't Stop Believing, Yachty by Nature, Rumours, and Paperback Writer, which is a Beatles tribute. 20 Chair Greer stated that they could check off the Beatles. Vice Chair Flanagan included Yachty by Nature to be eliminated. Chair Greer agreed. Chair Greer restated that Tom Petty should be considered. She asked if they were contracted and were lost because there were no concerts in 2020. Cultural Arts Assistant Escareal-Garcia stated she did not know, as that was right before she started working in the Cultural Arts department. Chair Greer stated that was a question she shouldn’t have asked in open forum, so she took the question back. She reminded everyone to have five band suggestions for the February meeting. She asked if someone would let Commission McNulty know that country was considered again and that some others were eliminated. She said it would be helpful if Cultural Arts Assistant Escareal-Garcia would provide a list of eliminated bands based on minutes. Cultural Arts Assistant Escareal-Garcia said she would provide an updated list. Chair Greer called for public comment on bands. Mr. Mosher stated he liked Library Services Director Hartson's suggestion of picking four genres instead of specific bands. He said it would be even better if there was more audience there. He suggested to publicize that they were planning concerts for the coming year. He said it would be totally unscientific and not necessarily demonstrative of what the public in general wants, but at least it would be some input and some public reaction to go by. He said his long-range suggestion was to have bands apply on website, and to include a suggestion box at concerts for the public to leave suggestions. Chair Greer stated they are not eliminating other genres right now because it would take extensive review and not everyone has had opportunity to review all 135. She stated having a suggestion box at concerts and maybe online was a good idea. Commissioner George asked if they would continue to have face painting and balloon sculpting at concerts since it was very well received, and the children loved it. Chair Greer stated they will continue to have children's activities like face painting and balloon sculpting at concerts. She said the budget is $24,000 and that they were going to be looking for children's activities and food trucks like last year. She asked if staff are recommending that again. Library Services Director Hartson stated yes that it is noted at the bottom of the staff report. 21 B. Monthly Reports 6. Newport Beach Art Exhibition Ad Hoc Sub Committee Chair Greer reported that the ad hoc subcommittee is meeting next week to talk about a few things with leadership. She said the call for entries for the Newport Beach Art Exhibition is on the website. She thanked the CAC for giving excellent input with entry guidelines and said everything looks great. She congratulated Cultural Arts Assistant Escareal-Garcia on her work. Cultural Arts Assistant Escareal-Garcia stated the Library’s Marketing Specialist has a great eye for picking the right art pieces. She stated she sent out an e-blast to past participants and that they're working on marketing for that. Chair Greer said she expected all Commissioners to be involved with personally getting in touch with the artists from past years, but that the Newport Beach Art Exhibition Ad Hoc Subcommittee would need to discuss with staff in more detail at a later time so as not to be in violation with the Brown Act. Vice Chair Flanagan had nothing to add. 7. Newport Beach Arts Foundation Chair Greer reported the liaison is absent. She said that the Newport Beach Arts Foundation (NBAF) is discussing the possibility of holding an Art in the Park in 2023 and are looking within their foundation for people who are interested in chairing it. She stated that if any of the Commissioners knew someone interested in volunteering with the Foundation as a consultant or in a volunteer capacity, to please contact Carmen Smith and Pat Jorgensen at the Foundation. Vice Chair Flanagan had nothing to add. Chair Greer called for public comment on Monthly reports, but there were none. VIII. CITY ARTS COMMISSION ANNOUNCEMENTS OR MATTERS WHICH MEMBERS WOULD LIKE PLACED ON A FUTURE AGENDA FOR DISCUSSION, ACTION OR REPORT (NON-DISCUSSION ITEM) Chair Greer suggested that the Marine 1/1 Foundation band be added to the next agenda once details were provided by Mr. Bludau. She said she hoped by next agenda they'd know something more about the film Echo Park and the potential with the Newport Beach Arts Foundation. She said they will get back to Commissioner Little on that matter. • Announcements: None. • Future Agenda: None. 22 IX. PUBLIC COMMENTS ON NON-AGENDA ITEMS Chair Greer called for public comments and heard none. Chair Greer stated the next meeting is on February 9th. Chair Greer reminded the CAC that the recommendation for City Council for Phase VIII will be on the agenda for the February meeting. X. ADJOURNMENT – 6:56 p.m. 23 As of January 31, 2023 ACCT NAME / #BUDGET DATE VENDOR EXPENSES BALANCE NOTES Programming 60,500.00 01060603-841004 07/08 DJE Sound & Lighting, Inc.3,646.25 56,853.75 COTG Sound (Billy Nation) 07/08 Tracy Kiggen / ARTovator 629.00 56,224.75 COTG Children's activities (Billy Nation) 07/15 Adam Shapiro 3,250.00 52,974.75 COTG Billy Nation 07/29 Tracy Kiggen / ARTovator 629.00 52,345.75 COTG children's activities (Young Guns) 07/31 LA Times Media Group 200.10 52,145.65 COTG marketing ads 07/31 Gotprint.com 223.12 51,922.53 Concert at Marina Park banners 08/05 Office Depot 27.13 51,895.40 Student Art Exhibition supplies 08/05 Office Depot 115.92 51,779.48 Student Art Exhibition supplies 08/05 DJE Sound & Lighting, Inc.3,646.25 48,133.23 COTG Sound (Young Guns) 08/05 Eric David Sage 3,250.00 44,883.23 COTG Young Guns 08/05 DJE Sound & Lighting, Inc.3,646.25 41,236.98 COTG Sound (Britain's Finest) 08/31 Gotprint.com 497.92 40,739.06 Sculpture Exhibition Brochures 08/31 Stu News Newport 225.00 40,514.06 Sculpture Grand Opening Ads 08/31 Stu News Newport 100.00 40,414.06 COTG marketing ads 08/31 Stu News Laguna 100.00 40,314.06 COTG marketing ads 08/31 Stu News Laguna 300.00 40,014.06 COTG marketing ads 08/31 Stu News Newport 150.00 39,864.06 COTG marketing ads 08/31 LA Times Media Group 200.10 39,663.96 COTG marketing ads 08/31 Stu News Laguna 150.00 39,513.96 COTG marketing ads 08/31 Stu News Laguna 300.00 39,213.96 COTG marketing ads 08/31 Gotprint.com 81.41 39,132.55 Marina Park rack cards 08/31 Gotprint.com 81.41 39,051.14 Marina Park rack cards 09/02 Robert John Bielma 2,200.00 36,851.14 COTG Britain's Finest 09/02 Tracy Kiggen / ARTovator 631.00 36,220.14 COTG children's activities (Britain's Finest) 09/16 Amazon.com 186.77 36,033.37 Student Art Exhibition supplies 09/30 Gotprint.com 140.10 35,893.27 Banners for Concert at Marina Park 09/30 Stu News - Laguna 100.00 35,793.27 COTG marketing ads 09/30 Stu News - Laguna 100.00 35,693.27 Marina Park Concert Ad 09/30 LA Times Media Group 200.10 35,493.17 COTG marketing ads 09/30 LA Times Media Group 200.10 35,293.07 Marina Park Concert Ad 10/03 Amazon.com 18.63 35,274.44 Student Art Exhibition supplies 10/28 Amazon.com 14.57 35,259.87 Student Art Exhibition supplies 11/30 Amazon.com 74.91 35,184.96 Student Art Exhibition supplies 11/30 Amazon.com 14.64 35,170.32 Student Art Exhibition supplies 11/30 Amazon.com 16.17 35,154.15 Student Art Exhibition supplies 11/30 WESTAF (Paypal)150.00 35,004.15 CallforEntry (CaFE) Renewal Fee 12/16 Amazon.com 29.20 34,974.95 Student Art Exhibition supplies 12/16 Amazon.com 21.41 34,953.54 Student Art Exhibition supplies TOTAL 34,953.54 FY 2022-23Cultural Arts Division 02/02/2023 1 of 2 24 As of January 31, 2023 ACCT NAME / #BUDGET DATE VENDOR EXPENSES BALANCE NOTES FY 2022-23Cultural Arts Division Professional Services 22,000.00 01060603-811008 07/29 Svartifoss Corp.340.00 21,660.00 Art Installation (Rob Williams) 08/19 TAVD Visual Assistant 204.75 21,455.25 Transcription Minutes (07/14) 08/26 Crown Building Services Inc.825.00 20,630.25 Ben Carlson & Sphere 112 cleaning 09/16 TAVD Visual Assistant 83.25 20,547.00 Transcription of Minutes (08/11) 09/23 Svartifoss Corp.325.00 20,222.00 Art Installation (Shant Beudjekian) 10/21 Restoration ARTechs 900.00 19,322.00 Cleaning of Bronze Sculptures 10/21 TAVD Visual Assistant 90.00 19,232.00 Transcription of Minutes (09/08) 10/28 Universal Building Maintenanc 600.00 18,632.00 COTG Maintenance (July-September) 11/07 TAVD Visual Assistant 117.00 18,515.00 Transcription of Minutes (10/10) 11/11 Crown Building Services Inc.825.00 17,690.00 Ben Carlson & Sphere 112 cleaning 11/18 Svartifoss Corp.250.00 17,440.00 Art Installation (Helen Polins-Jones 12/23 TAVD Visual Assistant 216.00 17,224.00 Transcription of Minutes (11/10) 01/20 Svartifoss Corp.350.00 16,874.00 Art Installation (Sandra Pipkin) 01/27 TAVD Visual Assistant 258.75 16,615.25 Transcription of Minutes (12/08) TOTAL 16,615.25 City Grants 30,000.00 01060603-821006 30,000.00 TOTAL 30,000.00 Sculpture Garden 135,000.00 1800012-811059 11/21 Fund Adjustment (10,000.00)145,000.00 NBAF Gift Added 12/16 Arts Orange County 3,888.88 141,111.12 Phase VIII Management (1 of 9) 12/16 Arts Orange County 3,888.88 137,222.24 Phase VIII Management (2 of 9) 02/03 Arts Orange County 3,888.88 133,333.36 Phase VIII Management (3 of 9) TOTAL 133,333.36 Special Events (NBAE)0.00 01060603-521450 TOTAL 0.00 Advertising 1340.00 01060603-871002 10/31 Firebrand Media LLC 380.00 960.00 COTG marketing ads 10/31 Stu News Laguna 100.00 860.00 COTG marketing ads 11/30 Firebrand Media LLC 530.00 330.00 COTG marketing ads TOTAL 330.00 02/02/2023 2 of 2 25 TO Newport Beach City Arts Commission FROM: Library Services Department Melissa Hartson, Library Services Director 949-717-3810, mhartson@newportbeachca.gov PREPARED BY: Melissa Hartson and Camille Escareal-Garcia TITLE: Cultural Arts Activities for January 2023 CENTRAL LIBRARY GALLERY EXHIBITS The creative process, for artist Sandra Pipken, extends far beyond the mere act of clicking a button on her camera--it is in altering the images and emotionally intensifying each captured moment through technology to create something more meaningful. Her art is meant to evoke a new sensibility by presenting a moment from different angles and aspects, reconstructed into a new composition of forms. The color of a flower expresses affection, emotion, compassion, and empathy, thereby provoking an emotional response and enabling a sense of connection through its symmetry and geometry. Every piece of artwork she creates begins with a flower, in hope of creating that which moves something from within the viewer. Ms. Pipken’s art has been exhibited at numerous arts shows throughout Southern California, such as the Beverly Hills Art Show, the 2019 and 2021 City of Laguna Beach Art-A-Fair, and the 7th Annual Waterscapes International Online Juried Art Exhibition. The Technology and Color exhibit is on display at the Central Library Gallery from January 11 through March 5, 2023. UPCOMING 2023 CENTRAL LIBRARY GALLERY EXHIBITS: •Janice Steele (Oil paintings): March 6 - April 28 •Jane Shehane (Watercolors): May 1 - June 23 •Tim Musso (Woodprints): June 26 - August 18 2022 STUDENT ART EXHIBITION The 2022 Student Art Exhibition display opened on Monday, January 9 at the Newport Beach Central Library. The display features all 183 entries from grades Pre-K through 12th. Students submitted drawings, paintings, and mixed media two-dimensional art. Artwork will remain on display until Friday, February 10, and afterwards students will be able to pick up their work and a certificate of participation. 26 The award ceremony for the winners of the 2022 Student Art Exhibition was held in Council Chambers during the January 12, 2023 City Arts Commission Meeting. Winners for each category received certificates for their accomplishments, and the 1st, 2nd, and 3rd prize winners received gift card prizes. CULTURAL ARTS CALENDER OF EVENTS: City Arts Commission (CAC) meetings are held at 5 p.m. on the second Thursday of each month. •Next meeting – Thursday, March 9, 2023 SCULPTURE EXHIBITION IN CIVIC CENTER PARK (PHASE VIII) •Tuesday, February 14, 2023 – City Council reviews CAC recommendations and Public Online Survey results •Thursday, June 1 – Friday, June 16, 2023 - De-installation of Phase VI artwork / Installation of Phase VIII artwork CULTURAL ARTS GRANTS •Thursday, June 8, 2023 – Grant Award Ceremony NEWPORT BEACH ART EXHIBITION •Monday, January 10 – Friday, May 26, 2023 – Call for Entries •Saturday, June 24, 2023 – Event Date 27 TO Newport Beach City Arts Commission FROM: Library Services Department Melissa Hartson, Library Services Director 949-717-3810, mhartson@newportbeachca.gov PREPARED BY: Melissa Hartson TITLE: 2023 Concerts on the Green and Marina Park Concert RECOMMENDATION: Staff recommends that the City Arts Commission select performers for the summer 2023 Concerts on the Green series and the fall Marina Park Concert. FUNDING REQUIREMENTS: Performance fees and sound engineering for three summer concerts is estimated at approximately $24,000. These funds will be expensed from the City Arts Commission FY 2023-24 programming budget, account # 01060603-841004. Additionally, performance fees, staging, security, rentals, children’s activities, and sound engineering, estimated at $10,000 for the Marina Park concert will be expensed from the City Arts Commission programming budget. DISCUSSION: The City Arts Commission presents live music in the Civic Center Green during the summer months. For Summer 2023 and the Marina Park Concert in the fall, the Commission will not use an ad hoc subcommittee to recommend performers. Rather, the Commission will review music genres at the January monthly meeting and approve performers at the February meeting. Staff negotiates a fee with the performers, coordinates the use of the Civic Center Green and Marina Park, publicizes the events, and hires a sound engineering contractor for the performances. The Commission typically selects 5 performers in the eventuality that an alternate is required. Performers are paid $3,250. The sound engineering firm, DJE Sound & Lighting Inc., provides the sound engineering and equipment at $3,700 per concert on the Civic Center Green and $5,700 for the concert at Marina Park. Each concert will again feature food trucks and children’s activities. NOTICING: This agenda item has been noticed according to the Brown Act (72 hours in advance of the meeting at which the City Arts Commission considers the item). ATTACHMENT A: 2023 Concerts on the Green – Band Submissions 28 CONCERTS ON THE GREEN – BAND INFORMATION GENRE: CLASSIC ROCK / CONTEMPORARY ROCK / ALTERNATIVE ROCK Back in Black AC/DC tribute https://aveofthestarsent.com/ac-dc- back-in-black/ Crazy Babies Black Sabbath / Ozzy Osbourne tribute https://aveofthestarsent.com/update- crazy-babies-black-sabbath/ Living on a Bad Name Bon Jovi tribute https://aveofthestarsent.com/living-on- a-bad-name/ Don’t Look Back Boston tribute https://aveofthestarsent.com/dont-look- back/ ITEM X.A.5. 2023 CONCERTS ON THE GREEN / MARINA PARK CONCERT - ATTACHMENT A 29 The Buddy Holly Story Buddy Holly tribute https://aveofthestarsent.com/buddy- holly/ Brass Transit Chicago tribute https://aveofthestarsent.com/brass- transit/ Creedence 4 Ever Credence Clearwater Revival tribute https://aveofthestarsent.com/creedence -4-ever/ Listen to the Music Doobie Brothers tribute https://aveofthestarsent.com/listen-to- the-music/ The Doors Alive The Doors tribute https://aveofthestarsent.com/the- doors-alive/ 30 Mr. Blue Sky Electric Light Orchestra tribute https://aveofthestarsent.com/mr-blue- sky/ A New World Record Electric Light Orchestra tribute https://aveofthestarsent.com/elo/ Gypsy Dreams Fleetwood Mac tribute https://fleetwoodmaccoverband.com/ Mirage Fleetwood Mac tribute https://aveofthestarsent.com/mirage- visions-of-fleetwood-mac/ Fooz Fighters Foo Fighters tribute band http://www.foozfighters.com/ 31 The Heart of Rock and Roll Huey Lewis tribute https://aveofthestarsent.com/the-heart- of-rock-roll/ Anthony Aquarius Jimmy Hendrix tribute https://aveofthestarsent.com/anthony- aquarius/ Jimy Bleu Jimmy Hendrix tribute https://aveofthestarsent.com/jimy-bleu/ Joker’s Hand Rock https://www.jokershand.com/ Mr. Speed KISS tribute https://aveofthestarsent.com/mr-speed/ 32 Sweet Home Alabama Lynyrd Skynyrd tribute https://aveofthestarsent.com/sweet- home-alabama/ Matchbox Twenty Too Matchbox 22 tribute http://www.matchboxtwentytoo.com/ All Revved Up Meat Loaf tribute https://aveofthestarsent.com/meat-loaf- all-revved-up/ Monkeemani a The Monkees tribute http://www.monkeemaniatribute.com/u ntitled1.html The Purple Xperience Prince tribute https://aveofthestarsent.com/the- purple-experience/ 33 Richrath Project 3:13 REO Speed Wagon tribute https://aveofthestarsent.com/richrath- reo-speed-wagon/ Jumping Jack Flash Rolling Stones tribute https://aveofthestarsent.com/jumping- jack-flash/ Brian McCollough Roy Orbison tribute https://aveofthestarsent.com/roy- orbison/ Time Traveler The Moody Blues tribute https://aveofthestarsent.com/time- traveller/ Petty and the Heartshakers Tom Petty and the Heartbreakers tribute https://aveofthestarsent.com/petty- and-the-heartshakers/ 34 Bill Cherry Elvis Presley tribute https://aveofthestarsent.com/bill- cherry/ Jay Depuis Elvis Presley tribute https://aveofthestarsent.com/jay- dupuis/ Ben Portsmouth Elvis Presley tribute https://aveofthestarsent.com/ben- portsmouth-elvis-tribute/ Forever Seger Bob Seger tribute https://aveofthestarsent.com/forever- seger/ 35 The Springsteen Experience Bruce Springsteen tribute https://aveofthestarsent.com/the- springsteen-experience/ Rob Caudill Rod Stewart tribute https://aveofthestarsent.com/rob- caudill/ Start Making Sense Talking Heads tribute https://aveofthestarsent.com/start- making-sense/ Temple Monarc Rock band https://templemonarc.com/ Three Dog Night Experience 3DN https://aveofthestarsent.com/3dn-3/ 36 Child’s Anthem Toto tribute https://aveofthestarsent.com/childs- anthem/ The Traveling Milburys The Traveling Wilburys tribute https://aveofthestarsent.com/the- traveling-milburys/ Unforgettable Fire U2 tribute https://aveofthestarsent.com/unforgett able-fire/ The Who Generation The Who tribute https://aveofthestarsent.com/the-who- generation/ ZZ – KC ZZ Top tribute https://aveofthestarsent.com/zz-kc/ 37 The Classic Rock Experience Classic rock cover band https://aveofthestarsent.com/classic- rock-experience/ Electric Vinyl Classic rock cover band https://www.electricvinyl.net/ Heavy Cream Classic rock cover band https://aveofthestarsent.com/heavy- cream/ GENRE: CLASSIC POP / POP ROCK / DANCE POP Abbacadabra Abba tribute https://aveofthestarsent.com/the- magic-of-abba/ Bee Gees Gold Bee Gees tribute https://aveofthestarsent.com/bee-gees- gold/ 38 Top of the World Carpenters tribute https://aveofthestarsent.com/top-of- the-world/ The Beat Goes On Cher tribute https://aveofthestarsent.com/the-beat- goes-on-2/ Re-Visited The Four Seasons tribute https://aveofthestarsent.com/ragdoll-3/ Connie Francis Story, “America’s Sweetheart” Connie Francis tribute https://aveofthestarsent.com/the- connie-francis-story/ Sergio Cortes Michael Jackson tribute https://aveofthestarsent.com/sergio- cortes/ 39 Steve McCoy Tom Jones tribute https://aveofthestarsent.com/tom- jones/ The Marin & Lewis Tribute Show Dean Martin and Jerry Lewis tribute https://aveofthestarsent.com/dean- martin-jerry-lewis/ The MVPs Contemporary https://themvps.net/#top Frankie Scinta Oldies cover https://aveofthestarsent.com/frankie- scinta/ Dawn Turlington Linda Ronstadt/Kare n Carpenter https://aveofthestarsent.com/dawn- turlington/ 40 Gary Anthony Frank Sinatra tribute https://aveofthestarsent.com/gary- anthony/ Ron Vincent Cat Stevens tribute https://aveofthestarsent.com/ron- vincent/ GENRE: R&B / SOUL / FUNK Jourdan Carroll Barry White tribute https://aveofthestarsent.com/youre-my- everything/ The Sully Band R&B cover band https://sullyband.com/ The Supremes Legacy The Supremes tribute https://aveofthestarsent.com/the- supremes-legacy/ 41 GENRE: JAZZ / BIG BAND / SWING All to You Michael Buble tribute https://aveofthestarsent.com/the-true- michael-buble-experience/ Feelin’ Good Michael Bublé tribute https://www.youtube.com/watch?v=UB Nx1qLA6oI Matt Cordell Bobby Darin tribute https://aveofthestarsent.com/bobby- darin/ Shining Star Earth, Wind, & Fire tribute https://aveofthestarsent.com/shining- star/ Lao Tizer band Contemporary jazz, new age https://www.laotizer.com/home 42 The Las Vegas Rat Pack Rat Pack tribute https://aveofthestarsent.com/rat-pack/ For Once in My Life Stevie Wonder tribute https://aveofthestarsent.com/stevie- wonder/ GENRE: DISCO Boogie Wonder Band Disco Hits https://aveofthestarsent.com/boogie- wonder-band-2/ Dancin’ Machine Disco cover band https://aveofthestarsent.com/dancin- machine/ 43 GENRE: FOLK / FOLK ROCK CSN Express Crosby, Stills, and Nash tribute https://aveofthestarsent.com/csn- express/ Feelin’ Groovy Simon & Garfunkel cover http://www.simongarfunkelsimon.com/i ndex.html Old Friends Simon & Garfunkel tribute https://aveofthestarsent.com/old- friends/ Peter, Paul, and Mary Alive Peter, Paul, and Mary tribute https://aveofthestarsent.com/peter- paul-and-mary/ 44 GENRE: DECADES The Dreamboats 50s and 60s cover band https://www.thedreamboatsband.com/ home The Sixties Bootleg 60s cover band https://aveofthestarsent.com/the- sixties-bootleg/ The Sixties Invasion 60s cover band https://aveofthestarsent.com/the- sixties-invasion/ The Revolvers 60s and British Invasion tribute https://aveofthestarsent.com/british- invasion/ Soul3Sixty 60s pop and soul https://www.soul3sixty.com/ 45 Sixties Mania 60s and 70s cover band https://aveofthestarsent.com/sixties- mania/ 80s Daze 80s cover band http://www.80sdaze.com/ The Reagan Years 80s hits cover band https://aveofthestarsent.com/the- reagan-years/ GENRE: SINGER/SONG WRITERS Tiffany Dennis and Cruise Control Singer, Songwriter, keyboardist https://tiffanydennis.com/ Jehlad Hickson Singer/Songwr iter https://linktr.ee/Jehlad 46 GENRE: OTHER / MULTIPLE GENRES Alias Brass Brass ensemble https://www.jeanschreibermanagement. com/aliasbrass Band X Classic Rock, Motown, R&B https://bandx949.com/home The Flux Capacitors Back to the Future inspired https://www.thefluxcapacitors.com/ 47 ABSTRACT: The sum of $30,000 is provided for specific cultural or artistic planning or projects as approved by the City Council. The City Arts Commission has the responsibility to review all programs and requests for support from arts groups and make recommendations for funding to the City Council for final approval. RECOMMENDATION: Staff recommends that the City Arts Commission review the grant applications and approve the recipients for recommendation to City Council for the 2023 Cultural Arts Grants in accordance with City Council Policy I-10 – Financial Support for Culture and the Arts. FUNDING REQUIREMENTS: The current adopted budget includes sufficient funding for this expenditure from Cultural Arts Grants, Account #01060603-821006. DISCUSSION: City Council Policy I-10 recognizes the importance of promoting culture and the arts within the City. The sum of $30,000 has been provided in Fiscal Year 2022-23 for specific cultural or artistic planning or projects as approved by the City Council. The City Arts Commission has the responsibility to review all programs and requests for support from arts groups and make recommendations for funding to the City Council for final approval. The Commission received written grant proposals from ten organizations for funding of approximately $35,000.00 in free cultural arts programming for the Newport Beach community in 2023. Grant applicants include: TO: Newport Beach City Arts Commission FROM: Library Services Department Melissa Hartson, Library Services Director 949-717-3810, mhartson@newportbeachca.gov PREPARED BY: Melissa Hartson and Camille Escareal-Garcia TITLE: 2023 Cultural Arts Grants 48 ORGANIZATION NAME AMOUNT REQUESTED ATTACHMENT Backhausdance $4,000 A Balboa Island Improvement Association (BIIA) $3,000 B Baroque Music Festival, CdM $6,000 C Kontrapunktus $2,000 D Laguna Playhouse $5,000 E Pacific Chorale $5,000 F Pacific Symphony $5,000 G South Coast Repertory $5,000 H NOTICING: The agenda item has been noticed according to the Brown Act (72 hours in advance of the meeting at which the City Arts Commission considers the item). ATTACHMENT I: 2023 Preliminary Cultural Arts Grant Allocation Report ATTACHMENT J: City Council Policy I-10 – Financial Support for Culture and the Arts 49 NEWPORT BEACH CITY ARTS COMMISSION 2023 CULTURAL ARTS GRANT APPLICATION (Applications must be typed or word-processed- you may reformat on the computer as long as it appears the same: i.e. use Times New Roman 12 point and the same pagination.) Backhausdance Popular Name of Organization Backhaus Dance 05-0575068 Legal Name (if different)Federal Tax ID No. P. O. Box 5890 Mailing Address Orange 92863 City Zip Nancy Warzer-Brady 949-751-7874 Contact Name Telephone __none______________________nancy@backhausdance.org______ _backhausdance.org____ Fax E-mail Web Site Newport Beach, Orange County, CA; Southern CA; nationwide Geographical Area Served Have you received a City of Newport Beach Cultural Arts Grant before? _yes_ If so, when? __2022__ Year organization was founded 2003 Number of paid staff _15_# of active volunteers ___20___ Total amount requested:(from request line of project budget)$4,000.00 Estimated number of people in Newport Beach that the proposed project(s) will serve:__750+ 1 ITEM X.A.6. 2023 CULTURAL ARTS GRANTS - ATTACHMENT A 50 CULTURAL ARTS GRANT APPLICATION 1. Briefly describe below your organization’s purpose, mission, and goals. Backhausdance, celebrating its 20th anniversary this season (22-23), was founded in 2003 as a non-profit organization by Jennifer Backhaus, Newport Beach resident, award-winning choreographer, and Chapman University dance faculty member. Backhausdance has grown steadily, received numerous honors, and is widely recognized as a leader in performing and advocating for the art and education of contemporary dance in schools and communities in Orange County, Southern CA, and nationally. Our mission is to engage and educate diverse audiences about the relevance and vitality of contemporary concert dance, both as an art form and for creative expression and communication, connecting to literacy and academic learning, professional pursuits, and for physical and mental health, joy, and well-being. The company’s passion remains consistent: to expand the landscape of dance in Newport Beach, throughout Orange County and Southern California with the creativity and joyful expression of contemporary/modern movement. The goal of our education programs is to introduce students and our community to the beauty and athleticism of contemporary dance, to build cultural understanding and to celebrate our common humanity. We are committed to empowering the next generation of dancers and to providing scholarships for our annual three-week Summer Dance Intensive program, a life-changing experience for teens, emerging, and professionals. We have forged long-term partnerships and alliances with higher education institutions, city and county governmental agencies, Title 1 schools and districts, and dance studios, theaters, museums and community organizations to provide the highest quality and meaningful experiences to enrich and unify our communities. Annually, Backhausdance presents performances with original choreography and work of guest choreographers at theaters and outdoor spaces throughout Orange County (including Sherman Library and Gardens, Corona del Mar) and Southern California. Woven into the fabric and soul of Backhausdance is being a champion for inclusivity, equity and diversity, honoring all perspectives and ideas, and providing accessibility to dance for all ages and abilities. Backhausdance vision: dance every day for every body! 2. Identify and describe why there is a need in the Newport Beach Community for your proposed project/program. In the Newport-Mesa Unified School District (NMUSD), contemporary dance instruction is generally not included in K-12 curricula, and students are lacking access to the everlasting benefits of this expressive and physical art form. Working in close collaboration with Tamara Fairbanks, Visual and Performing Arts (VAPA) Coordinator, high school teachers and principals from NMUSD, Scott Fitzpatrick, Arts Coordinator at the Orange County Department of Education (OCDE), and with the generous support of the Newport Beach City Arts Commission, Backhausdance is filling a void in elementary to secondary level curriculum. With heightened mental health struggles from the intense impact of the pandemic and especially during this post-pandemic ‘era,’the residency provides students with creative outlets and movement experiences to open up and communicate their inner feelings, many having ongoing severe anxiety, depression and social-emotional issues, broken homes/families, coping issues with bullying, and academic pressures to get good grades and graduate, apply for college and/or search for a job as they transition into a new phase of their lives.Our proposed program,Dance Expressions: Creativity and Choreography Residency is aligned with a major goal of NMUSD: to prepare students for 21st century readiness, creativity, and career pathways and to prioritize social and emotional learning (SEL).Dance Expressions provides 125 students in grades 7-12 with exceptional opportunities to engage with the art of contemporary dance through in-depth study with professional dancers/teaching artists and attend performances, many for the first time. Ongoing research studies conducted by the National Dance Education Association and National Endowment for the Arts reflect the positive impact that dance has on students’ social-emotional and physical health and well-being, academic skill development in speaking, reading, comprehension, writing, math, sciences and history as well as improvement in memory, focus, school attendance, self-confidence, empathy, spatial reasoning, critical and creative thinking. 2 51 3. Describe the specific project/program that will be funded by a cultural grant. Include how the proposed project/program will be implemented and outline a schedule or project timeline, with planned dates and locations. Identify individuals and groups involved, particularly artists and performers, and describe their roles and responsibilities. Describe the background and qualifications of your organization and key personnel to be involved in the program.Remember: the City funds only projects and programs- not operating expenses. These projects and programs must promote community involvement and awareness of the arts in Newport Beach. Is this a new_____or existing __X__project/program? Backhausdance proposes to present Dance Expressions: Creativity and Choreography, an in-depth dance education partnership with Newport-Mesa Unified School District (NMUSD) schools: Corona del Mar Middle/High School (CDM) and Back Bay Continuation High School (BB), during September - December 2023.Dance Expressions, launched in fall 2021, is a unique and valuable artist-in-residence experience for middle and high school students. The program offers an immersion into working with a professional dance company while learning Backhausdance movement vocabulary, choreography and technique from professional dancers/teaching artists, gaining understanding on how to express emotions, tell stories and communicate through dance, and exploring career pathways into professions in the performing arts.Dance Expressions consists of a total of twenty-six (26) 60-75-minute workshops reaching 125 students and two (2) 60-minute assemblies performed by Backhausdance company dancers at CDM followed by a question and answer period (reaching approximately 675 additional students, teachers and community members). Dance Expressions Workshops Schedule,September - December 2023: CDM:For students new to dance (level 1, grades 7-8 and 9-11): a series of six (6) 60-75 minute workshops for 2 classes (12 total) on Fridays, September 8, 15, 22, 29, October 6, and 13, period 1- 8:30am-9:45am and period 3 - 10:30am - 11:45am. For dance students in levels 2 and 3, a series of 3 (three) 60-75 minute workshops (6 total) on Tuesdays, November 28, December 5, and 12, periods 1 and 3. BB:A series of eight (8) 60-minute workshops for one class of students in grades 10-12, Tuesdays (or Thursdays), 11:30am-12:30pm - Sept. 5, 12, 19, 25, Oct. 3, 10, and 17. Dance Expressions Performances/Assemblies:Held in the Sea King Theatre at CDM on Thursday, September 28, 9am - 10 am and 10:15am - 11:15am, Backhausdance company members perform new repertory with facilitated discussion by Jennifer Backhaus, artistic director, to break down the dance movement phrases, production, lighting, costumes and musical elements, with question & answer session between dancers and audience. Invitations will be extended to additional CDM, BB and NMUSD high schools. Depending on the schedule, an internationally renowned guest choreographer/dancer working with Backhausdance, such as Alice Klock or Peter Chu may participate. An artistic team will plan, implement/teach, and evaluate the program, including Jennifer Backhaus, artistic director; Amanda Kay White, associate artistic director, experienced dancers/teaching artists Anne Elise Garrison, Chihiro Sano and Kaitlin Regan, and Nancy Warzer-Brady, director of education and community engagement. School partners are Morgan Beckman, director of dance at CDM and Cami Marseilles, director of dance and fitness at BB. Principals at both schools endorse this program. Additionally, Jennifer Backhaus is receiving the Outstanding Art Advocate Award (February 2023) from the OC Music and Arts Administrators group for her work specifically with NMUSD for Dance Expressions and The Dance for Kindness Project. 4. Define or describe the segment of the population in Newport Beach that you intend to serve by your project/program. Include such things as age, location, numbers served, etc. Dance Expressions will serve approximately 750 students in grades 7 -12, ages 13-18 from CDM, BB and other NMUSD high schools. Most students have had little to no involvement with a professional dance company. The experience will engage students’ critical thinking abilities and imaginations in a safe environment while they develop new artistic skills to balance their academic and socio-emotional stressors. 3 52 5.PROJECT BUDGET Funding from the City of Newport Beach Funding from Other Sources EXPENSES-Personnel Artistic $4,000.00 $750.00 Administrative $1,000.00 Technical Production $500.00 EXPENSES-Operating Facility Expense/Space Rental $300.00 Marketing Production/Exhibition Expense Touring/Presentation Expense $200.00 Educational Materials Transportation $1800.000 Equipment Other (if greater than 10%, annotate below) GRAND TOTAL $4,000.00 $4,550.00 Breakdown of Expenses - Personnel - Artistic a.Workshops:CDM: 18, 60-75 minute workshops taught by 2 dancers/teaching artists per workshop at $40 each = $1,440; Back Bay Continuation High School – 8, 60-minute workshops taught by 1 dancer/teaching artist at $40 per session = $320.(subtotal: $1,760) b.Performances,Q & A sessions, 2 performances, 60 minutes, 6 dancers at $75 each = $900.(subtotal:$2,660) c.Artistic director/choreography fee:$380 (subtotal: $3,040) d. Preparation and rehearsals -6 dancers/teaching artists x 4 rehearsals at $40/each = $960 (total: $4,000) Funding from Other Sources;Backhausdance 23-24 operating budget; CDM in-kind and NMUSD VAPA transportation to CDM for district high schools to attend performances 6.Describe the expected quantifiable outcomes of your project/program and how you will evaluate the results. Be very specific in addressing the ways that you will determine that your project/program met the needs that you identified and accomplishes the goals you set out to achieve (i.e. you provide 50 hours of musical instruction and instruments to the 100 children at Newport Elementary school as measured by music store rental receipts and logs of instructors.) Dance Expressions:Creativity and Choreography is developed in alignment with California Department of Education content standards for Dance, Universal Design for Learning curriculum guidelines, and Social-Emotional Learning (SEL concepts). The creative team will meet prior to the program’s launch and on a regular basis to ensure the program’s overall success. Quantitative and qualitative data will be collected through online pre-and post surveys, essays and classroom discussions. We will measure students’ knowledge in order to prepare and conduct the workshops and performances. The overall assessment will support the project’s goal of providing over 26 hours of instruction to approximately 125 middle and high school students and performances to an additional 675 students.A student comment from fall 2022 evaluation form:“The performance was suspenseful. I loved the way they broke it down and explained the dance. It taught me so many different ways to begin to choreograph a dance. It also taught me new perspectives on how I can portray emotion and storylines through movement I was foreign to. I appreciate Backhausdance for the collaborative and positive experience, and a stunning, informative performance. The dance workshops helped me gain confidence and express my inner self. Thank you!” 4 53 7. Attachments Requested A list of Board Members and their affiliations ●A recent list of individuals, corporations and foundations that provide organizational support- not to exceed one page. ●If you are a 501(c) (3) organization attach a copy of your IRS determination letter (or your fiscal agent’s) indicating tax exempt status. ●One brochure and/or one press clipping. Do not send photos, videos, CDs or any other extraneous material. It will not be presented to the City Arts Commission. 8. Please complete this operating budget form for 2022/2023 and 2023/2024. This is not the project/program budget for which you are applying, but your overall organizational budget. You may annotate at the bottom if there are details critical to the proposal. OPERATING BUDGET 2022/23 Budget (current)2023/24 Budget (projected) I. Income (cash only) Contributed 166,400 169,728 Earned 178,500 183,855 Total Income 344,900 353,583 II. Expenses Program 250,320 255,326 General and Administrative 72,520 73,970 Marketing and Development 16,400 16,728 Total Expenses 339,240 346,024 III. Operating Surplus/Deficit (Income minus Expenses) 5,660 7,559 IV. Fund Balance at Beginning of Year 43,856 44,733 V. Accumulated Surplus (Deficit) (Add lines III and IV) 49,516 52,292 VI. In-Kind Contributions (attach schedule if greater than 10% of total income) n/a n/a 9. I verify that the information submitted in this application is true and correct to the best of my knowledge. Name Nancy Warzer-Brady Title Director of Education and Community Engagement Signature Date January 6, 2023 5 54 55 56 57 58 59 60 11/14/22, 12:37 PM Backhausdance Launches 20th Season – An Interview with Jennifer Backhaus | L.A. Dance Chronicle Home About Us Articles Reviews This Week in Dance BACKHAUSDANCE LAUNCHES 20TH SEASON – AN INTERVIEW WITH JENNIFER BACKHAUS Posted by Jeff Slayton | Nov 9, 2022 SEARCH … Having just been named the resident dance company for Temecula Presents,Backhausdance will celebrate the beginning of its 20th Anniversary on Saturday, November 19, 2022 at the Old Town Temecula Community Theater. The program will include a work created in 2019 by Founder and Artistic Director Jennifer Backhaus, and three World Premieres by Associate Artistic director Amanda Kay White, and guest choreographers Ching Ching Wong and Tommie Waheed Evans. Jennifer Backhaus will also be teaching a free Master Class on Sunday, November 20, 2022. The Temecula Theater is located at 42051 Main Street, Temecula, CA 92590 and tickets are on sale HERE. Backhaus and I met on Zoom just prior to her going into rehearsal to discuss the new residency for Temecula Presents, the concert and what is on the program, the guest choreographers, how it feels to be celebrating the 20th anniversary of Backhausdance, and the hurdles the company has faced throughout the years. 1 61 Jennifer Backhaus – Photo by Jack Hartin The company will be performing Backhaus’s One Continuous Line, set to music by Christopher Cerrone and Robert Honstein. The work which is dedicated to the memory of dancer, choreographer and teacher Nancy Dickson-Lewis, had its premiere at the Irvine Barclay Theatre in 2019. She explained that this work is a love letter to all the women that have performed with Backhausdance over the years; some of them 5, 10, or like Amanda Kay White, for 20 years. “They have dedicated so much of their time and their dance life with the company,” Backhaus said. She added that she did not feel that the work was finished in 2019, so now had time to re-do it. “It’s a homage to the women,” she added. “Basically, the idea one line of energy coming through multiple people, spreading out and coming back together, and how that happened.” To hear Backhaus speak about One Continuous Line, please click HERE. This will be Amanda Kay White’s first full proscenium work for Backhausdance titled The Emergent Self (World Premiere) to a score that White has compiled including music by Rival Consoles. “It’s about finding out who you are in the world and letting that come out,” Backhaus explain. “The movement is fun and a little bit quirky just like she is.” To hear White speak about her dance, click HERE. The two guests are Ching Ching Wong and Tommie-Waheed Evans, both who have had a working relationship with Backhausdance before. “The interesting thing about them,” Backhaus said, “is that both of them grew up in Southern California. Ching Ching went to UCI. Tommie danced with Lula Washington.” Both artists left the area, Evans working with Complexions Contemporary Ballet and Philadanco. He now runs his own Philadelphia-based company waheedworks. Ching Ching went on to work with Northwest Dance Project, as and répétiteur for Swiss based choreographer Ihsan Rustem, and now one of the repeteurs and rehearsal directors for Ballet Jazz Montreal. 2 62 Jennifer described Wong’s work,Fate and Fantasy (World Premiere), as “dance theater” with characterizations. It is about Wong remembering her life in the early 1990s growing up in Orange County with her grandmother. “The idea of immigration and how immigrants look at the world a little differently than people who live here. It is very stylized 1991 and the backdrop is the Wheel of Fortune,” Backhaus said. Fate and Fantasy is set to Sound Design by Noelle Kayser with music by Tomaso Albinoni, soundscape samples from Wheel of Fortune, advertisements, and Santee Alley Market. “The way Ching Ching talks about her piece is very poetic. How as immigrants we always keep the idea of fate and the idea of fantasy of what we want the world to be like and why we came here so close to us all the time,” Backhaus added. “The world we hope it is, the world we think it’s going to be, and how the world really is.” To listen to Wong speak about Fate and Fantasy, please click HERE. Backhausdance in “Hive” choreography by Jennifer BackhausPhoto by Shawna Sarnowski Evans’ new work,Everywhere, But Here (World Premiere), is more introspective and about his love life set to music by various songwriters including The Flamingos and Anne Müller. While describing Evans’s work, Backhaus said that “it keeps going into this dreamland, this dreamscape where you keep going into loops in a really big movement sort of way. It’s fun. There is a diverse approach to moving in a nice container of athletic dancing. Some things are very abstracted and some are postmodern.” To listen to Evans talking about Everywhere, But Here please click HERE. I asked her to explain what led up Backhausdance becoming the resident company at Temecula Presents. “We had been booked to do a performance before the pandemic through our agent Rachel Cohen with Cadence Arts Network. Then the pandemic happened and we were in conversation about how to get it back online.” 3 63 Backhausdance had performed there before but the person in charge of booking the theater is no longer there so, they had to rebuild the relationship with the new person, Chariss Turner, and the company wasinvited to perform there. “They were really receptive to the work andreceptive to us as a company, and our professionalism.” Prior to the pandemic there had been a dance scholar and a small dancecompany in residence that not only performed but who did a lot of communityoutreach and audience development work which included talks, teachingworkshops and master classes. It was Turner who wanted to restore this program and asked Backhaus if she would be interested in Backhausdancetaking over the position of company in residence. Backhaus said yes. “To be honest, one of the things that has been a struggle in Orange County,” Backhaus said, “is a place to perform consistently.” Her company has triedpartnering with a couple of theaters, one of them being the Musco Theatre inOrange, California and the Irvine Barclay Theatre but their management teamshave changed since Covid hit and are going in a different direction. “One of the things that we have been trying to do over the past 20 years – especially thelast 5 years – is bring in guest choreographers. It is very hard to book guestswithout a consistent season.” Backhausdance in rehearsal for “One ContinuousLine” choreography by Jennifer Backhaus – Photoby Adrien Padilla As I have heard from several dance artists, self-producing their companies in theaters both in Orange and Los Angeles Counties is often cost prohibitive. As Backhaus confirmed, “Extremely rough!” The residency with Temecula Presents help to solve those problems. The company will be helping with dance curation, arranging talks with the companies performing there and audience building, all of which Backhaus says that she truly enjoys. In exchange, Backhausdance will have an annual concert on the same day every year. “And” she said with excitement, “time in the theater to tech and to create new work! As you know that time to develop something that’s great is so cost prohibitive if you’re going into a theater that costs you an arm and a leg to be there.” 4 64 Founding and maintaining a dance company is difficult no matter who one is or where one is located, but I was interested to hear how Backhaus had kept an Orange County-based company going for 20 years. Backhausdance in rehearsal for Amanda Kay White’s “The Emergent Self” –Photo by Morgan Goodfellow “I think that the biggest thing is that we tend to skew with the big ballet companies that come into Segerstrom (The Segerstrom Center for the Arts). Like name recognition is everything,” Backhaus said. “A little more classical and a little less experimental. I think that it’s changing a little bit.” She also thinks that people have too many choices in Orange County. Too much to do and so many options, and because her company tends to have only a one night performance that it is hard to maintain an audience. “I know that there is an audience,” she continued. “I know who they are. The big challenge for us is to replicate a season over and over again where people know where to find us.” Backhaus said that this is because her company is so nomadic. They don’t have a dance school. Dancers in Backhausdance teach at schools like Orange County School of the Arts (OCSA), South Coast Conservatory, Orange County Music and Dance, and Impact Dance Center, as well as in university dance departments such as Chapman University. These dancers are running some of those places but the company does not have its own central hub. In spite of this the company has managed to perform at the Joyce Theatre in New York, a European tour, performing in Italy and Poland, as well as cities in the state of Wyoming and in Canada. 5 65 Backhausdance in rehearsal for Tommie-WaheedEvans’s “Everywhere But Here” – Photo byMatthew Evans Right now her focus is on performing regionally. Performing in Orange County, and Los Angeles venues like L.A. Dance Project Studio or Stomping Ground L.A., the Martha B. Knoebel Dance Theater in Long Beach, and in San Diego. “I’m very grateful that we have lasted 20 years and to the audience that we have and who have supported us, to the people that come to see us and for the people who it really matters that we’re making the new work,” Backhaus said at the end of our interview. “I think that I’m proud that there’s a company in Orange County that is making work in Orange County with Orange County artists. It has been 20 years and I’m very proud of that.” Backhausdance has made an enormous contribution to dance, education and to the culture of Orange County. I hope that if you are in the area of the Old Town Temecula Community Theater on Saturday, November 19, 2022 that you go see this beautiful company. For more information on Backhausdance, please visit their website. For more information on Temecula Presents and the Old Town Temecula Community Theater, please visit their website. Written by Jeff Slayton for LA Dance Chronicle. https://www.ladancechronicle.com/backhausdance-launches-20th-season-an-interview-with-jennifer -backhaus/ 9/13 11/14/22, 12:37 PM Backhausdance Launches 20th Season – An Interview with Jennifer Backhaus L.A. Dance Chronicle 6 66 ITEM X.A.6. 2023 CULTURAL ARTS GRANTS - ATTACHMENT B 67 68 69 70 71 72 73 74 75 76 77 ITEM X.A.6. 2023 CULTURAL ARTS GRANTS - ATTACHMENT C 78 79 80 81 82 83 84 85 86 87 88 89 1 NEWPORT BEACH CITY ARTS COMMISSION 2023 CULTURAL ARTS GRANT APPLICATION (Applications must be typed or word-processed- you may reformat on the computer as long as it appears the same: i.e. use Times New Roman 12 point and the same pagination.) KONTRAPUNKTUS Popular Name of Organization KONTRAPUNKTUS NEO-BAROQUE CHAMBER ORCHESTRA 81-1056502 Legal Name (if different) Federal Tax ID No. PO Box 2959 Mailing Address Seal Beach 90740 City Zip Raymond Jacobs_____________________________________________________________________ Contact Name Telephone __________________________rdjpublishing2014@gmail.com_______www.kontrapunktus.com____ FAX E-mail Web Site Newport Beach Geographical Area Served Have you received a City of Newport Beach Cultural Arts Grant before? _YES If so, when? _2019_ Year organization was founded 2015 Number of paid staff __2__ # of active volunteers 4_ Total amount requested: (from request line of project budget) $ _2,000.00_ Estimated number of people in Newport Beach that the proposed project(s) will serve: _250+_ ITEM X.A.6. 2023 CULTURAL ARTS GRANTS - ATTACHMENT D 90 2 CULTURAL ARTS GRANT APPLICATION 1.Briefly describe below your organization’s purpose, mission, and goals. Founded in 2015, Kontrapunktus has emerged from the Los Angeles and Orange County classical music scene as one of the most promisingly robust chamber orchestras that has won the hearts and minds of audiences over. Featuring some of the finest young musicians the “classical” world has to offer, many of whom hail from the prestigious Colburn and Juilliard music conservatories spanning the continental United States, Kontrapunktus continues to redefine the conventions of what it means to be a chamber orchestra amid a musical demographic landscape that is getting younger by the day. Our concert productions leave an indelible impression by virtue of our technical execution, which is divine in unearthing 17th and 18th century musical relics and turning them into lost treasures. Kontrapunktus is a chamber orchestra that performs a unique repertoire of Baroque music intended to inspire people from al walks through their exemplary execution and sublime artistry. Our growth brings communities together and serves to motivate individuals to re-imagine their own musical talents in the context of our inspirational performances so that their newly discovered appreciation for classical music can then be passed on to future generations. 2. Identify and describe why there is a need in the Newport Beach Community for your proposed project/program. Include a quantitative description of the need and on what you based your findings (i.e. “Based on a study done by the PTA, there are one hundred children in the 4th-6th grades at Newport Elementary who have had no training with musical instruments.” ) Describe how you have determined that your organization is the best organization for the proposed project/program. Kontrapunktus strongly believes that there is a need to cultivate the interest of classical music among a younger generation of music enthusiasts, particularly those teenagers in the Newport Beach community who have not been adequately exposed to classical music. A report published in 2010 by Susan Hallam of the University of London, Institute of Education, concludes that the "active engagement" of music helps develop the brain. For example, the report cites a 1994 study in the U.S. where the National Centre for Educational Statistics sampled over 13,000 high school students and found that those who participated in music reported higher grades in English, math, history and science than those who did not participate. Moreover, it was established that a student who learned to play an instrument improved their spatial reasoning by more than double the margin of students who did not. You can learn more about this study by visiting: https://www.laphil.com/sites/default/files/media/pdfs/shared/education/yola/susan-hallam-music- development_research.pdf Kontrapunktus believes that it can connect with younger concertgoers because it's a classical orchestra comprised of its peers. No other local classical orchestra or ensemble can make this claim. For this reason, we not only perform to entertain audiences, but to also inspire the youth of today. 91 3 3. Describe the specific project/program that will be funded by a cultural grant. Include how the proposed project/program will be implemented and outline a schedule or project timeline, with planned dates and locations. Identify individuals and groups involved, particularly artists and performers, and describe their roles and responsibilities. Describe the background and qualifications of your organization and key personnel to be involved in the program. Remember: the City funds only projects and programs- not operating expenses. These projects and programs must promote community involvement and awareness of the arts in Newport Beach. Is this a new__X__ or existing ___ _ project/program? Kontrapunktus plans to allocate the funds derived from the grant to help produce a classical concert at Our Lady Queen of Angels Catholic Church in Newport Beach on Saturday, November 18, 2023. Our classical production, named Emanuel, will be a rare, yet exquisite musical extravaganza commemorating the music of Johann Sebastian Bach’s son who was a prolific composer in his own right-Carl Philipp Emanual Bach. This performance will likely serve as one of two Orange County engagements. Led by one of the most talented young African-American violinists in the United States, Hannah White, and one of the finest young cellists in the world, Osheen Manukyan, Kontrapunktus is a nine-piece chamber orchestra offering an innovative interpretation of Baroque music that is exhilarating and indelible. The group also features one of the fastest rising stars in classical music-soloist Aubree Oliverson. Both Ms. White and Ms. Oliverson are students of the esteemed violin instructor, Mr. Robert Lipsett. Kontrapunktus will be in communication with the music directors of both Corona del Mar High School and Newport Harbor High School and will provide them each with concert fliers serving as vouchers to distribute to their students. These fliers will be redeemable at the entrance to provide us with a tally as to how many students attended our concert from each school. We will then provide these music directors with the names of the students who attended for they can then give these students the option to write an essay about their concert-going experience for extra class credit. 4. Define or describe the segment of the population in Newport Beach that you intend to serve by your project/program. Include such things as age, location, numbers served, etc. We intend to focus our marketing efforts to attract children in the Newport Beach community under the age of 18 living with their parents (17.3% of population) and the 45-64 demographic age group (29.7% of population) representing most parents. Our Lady Queen of Angels Catholic Church seats more than 1,000 people and offers plenty of free parking. 92 4 5. Complete the project budget form. Address only the budget for the specific project, not your annual operating budget. For multi-project proposals, please duplicate and fill out a budget for each project. Please annotate the budget at the bottom if there are details (such as a breakdown of personnel or a marketing budget) critical to the proposal. PROJECT BUDGET Funding from the City of Newport Beach Funding from Other Sources EXPENSES-Personnel Artistic $1,000 $1,000 Administrative Technical Production EXPENSES-Operating Facility Expense/Space Rental $250 $250 Marketing $275 $275 Production/Exhibition Expense $250 $250 Touring/Presentation Expense Educational Materials $75 $75 Transportation $50 $50 Equipment $100 $100 Other (if greater than 10%, annotate below) GRAND TOTAL $2,000 $2,000 6. Describe the expected quantifiable outcomes of your project/program and how you will evaluate the results. Be very specific in addressing the ways that you will determine that your project/program met the needs that you identified and accomplishes the goals you set out to achieve (i.e. you provide 50 hours of musical instruction and instruments to the 100 children at Newport Elementary school as measured by music store rental receipts and logs of instructors.) Our objective will be to collect and redeem 150 vouchers from students, which we will then report to the music directors for both high schools. A month later we intend to reach out to Mr. Val Jamora, the instrumental director for Corona del Mar High School, and Mr. Andrew Julian, the music director for Newport Harbor High School, to learn how many essays were, in fact, turned in and what the overall consensus was as a result of our concert. If either teacher feels strongly that our concert had a positive impact in cultivating the musical palate of their students, we will then explore the possibility of making student participation to future concerts an ancillary fixture to their class curriculum. Kontrapunktus would then look to strengthen it working relationship with the City of Newport Beach Arts and Cultural Services Division to integrate cross-promotional opportunities as a means to introduce these students to extracurricular artistic programs the City sponsors. We can do this by distributing literature the City provides us in support of these programs at our concerts. 93 5 7. Attachments Requested Please do not send material in excess of what is requested; it will not be seen by the City Arts Commission. •A list of Board Members and their affiliations •A recent list of individuals, corporations and foundations that provide organizational support- not to exceed one page. •If you are a 501(c) (3) organization attach a copy of your IRS determination letter (or your fiscal agent’s) indicating tax exempt status. •One brochure and/or one press clipping. Do not send photos, videos, CDs or any other extraneous material. It will not be presented to the City Arts Commission. 8.Please complete this operating budget form for 2023 and 2024. This is not the project/program budget for which you are applying, but your overall organizational budget. You may annotate at the bottom if there are details critical to the proposal. OPERATING BUDGET 2023 Budget (current) 2024 Budget (projected) I. Income (cash only) Contributed $151,680 $92,000 Earned $19,951 $42,000 Total Income $171,631 $134,000 II.Expenses Program $27,967 $74,200 General and Administrative $20,950 $28,200 Marketing and Development $24,902 $25,500 Total Expenses $73,819 $127,900 III. Operating Surplus/Deficit (Income minus Expenses) $97,812 $6,100 IV.Fund Balance at Beginning of Year $40,665 $138,477 V. Accumulated Surplus (Deficit) (Add lines III and IV) $138,477 $144,577 VI. In-Kind Contributions (attach schedule if greater than 10% of total income) 0 0 9. I verify that the information submitted in this application is true and correct to the best of my knowledge. Name: Raymond D. Jacobs Title: Executive Director Signature __________________________________________ Date: 01/03/23 94 OUR founder & executive director R. Douglas Jacobs About kontrapunktus Founded in 2015, KONTRAPUNKTUS has emerged from the Los Angeles and Orange County classical music scene as one of the most promisingly robust chamber orchestras that has won the hearts and minds of audiences over. Featuring some of the finest young musicians the “classical” world has to offer, many of whom hail from the prestigious Colburn and Juilliard music conservatories spanning the continental United States, KONTRAPUNKTUS continues to redefine the conventions of what it means to be a chamber orchestra amid a musical demographic landscape that is getting young by the day. KONTRAPUNKTUS is a chamber orchestra that performs a unique repertoire of Baroque music intended to inspire people from all walks through their exemplary execution and sublime artistry. Our concert productions leave an indelible impression by virtue of our technical execution, which is divine in unearthing 17th and 18th century musical relics and turning them into lost treasures. Our mission through our growth brings communities together and serves to motivate individuals to re-imagine their own musical talents in the context of our inspirational performances so that their newly discovered appreciation for classical music can be passed on to future generations for the sake of preserving the artform. In Memoriam Charles Roger Khoury, Jr. June 26, 1939 – November 15, 2022 FOR PROOFING ONLY DO NOT EDIT THIS PAGE = trim= bleed= safe area = trim = bleed = safe area 95 OUR staff R. DOUGLAS JACOBS EXECUTIVE DIRECTOR GERMAINE JACOBS-TAYLOR VICE PRESIDENT GARY MURPHY MARKETING & PUBLICITY MATTHEW SNYDER AUDIO/VISUAL PRODUCTION ENGINEER OUR ADVISORY BOARD JOHN P. NUCKOLS Executive Vice President & Chief Strategic Officer, LA OPERA ALLISON SAMPSON Vice President, Board of Directors and Executive Director, COLBURN FOUNDATION BARBARA M. GRAHAM Community Relations Manager, TORRANCE REFINING COMPANY TANIA FLEISCHER Sr. Lecturer & Applied Instructor of Music (Piano) and Director of Chamber Ensembles, LOYOLA MARYMOUNT UNIVERSITY H. SCOTT WEDGBURY Certified Financial Planner, CERTIFIED FINANCIAL PARTNERS FOR PROOFING ONLY - DO NOT EDIT THIS PAGE = trim= bleed= safe area = trim = bleed = safe area 96 Kontrapunktus OUR STATE CULTURAL ARTS SPONSORS (via Awarded Grant) California Arts Council OUR CIVIC CULTURAL ARTS SPONSORS (via Awarded Grants) The Arts Council for Long Beach in conjunction with the City of Long Beach The City of Culver City in conjunction with Sony Pictures Entertainment The City of Laguna Beach The City of Newport Beach The City of West Hollywood The Los Angeles County Arts Commission The Port of Long Beach OUR PRIVATE FOUNDATION SPONSORS (via Awarded Grants) OC Arts and Culture Resilience Fund The Colburn Foundation The O.L. Halsell Foundation The RuMBa Foundation OUR CORPORATE SPONSORS Salerno & Associates, A Law Firm The Torrance Refining Company 97 98 99 JANUARY 7-8th & 13-15th, 2023 West Hollywood | city of orange Long beach | LAGUNA BEACH PASADENA FOR PROOFING ONLY - DO NOT EDIT THIS PAGE = trim= bleed= safe area = trim = bleed = safe area 100 The Program GEORGE FRIDERIC HANDEL (1685-1759) Overture from Admeto, HWV 22 HANDEL Trio Sonata in G Minor, Op. 2 No. 5, HWV 390 I. Larghetto II. Allegro III. Adagio IV. Allegro HANNAH WHITE & CAMERON ALAN-LEE, Violins OSHEEN MANUKYAN, Cello BOGANG HWANG, Harpsichord JOHANN SEBASTIAN BACH (1685-1750) Violin Concerto No. 1 in A Minor, BWV 1041 I. Allegro moderato II. Andante III. Allegro assai AUBREE OLIVERSON, Violin INTERMISSION BACH Harpsichord Concerto No. 5 in F Minor, BWV 1056 I. Allegro II. Largo III. Presto BOGANG HWANG, Harpsichord BACH Viola da Gamba Sonata No. 2 in D Major, BWV 1028 I. Adagio II. Allegro III. Andante IV. Allegro OSHEEN MANUKYAN, Cello BOGANG HWANG, Harpsichord HANDEL Concerto Grosso in G Major, Op. 6 No. 1, HWV 319 I. A tempo giusto II. Allegro III. Adagio IV. Allegro V. Allegro FOR PROOFING ONLY - DO NOT EDIT THIS PAGE = trim= bleed= safe area = trim = bleed = safe area 101 Program Notes GEORGE FRIDERIC HANDEL (1685-1759) Overture from Admeto, HWV 22 Handel was the first composer to introduce Italian operas to audiences in London. Following the tremendous successes of these works, Handel was appointed as the musical director of the Royal Academy of Music (not related to the present-day conservatory with the same name). While working in this organization, he was tasked with producing Italian operas on a regular basis. London audiences became captivated by all things Italian, so Handel invited famous virtuoso singers from Italy to take part in his operas. Admeto was written in 1726 for the Royal Academy and is one of Handel’s most successful operas. The story is based on Alcestis by the ancient Greek tragedian Euripides. In the story, King Admeto is dying, but is advised that he will be able to escape his imminent demise if he can find someone who is willing to die in his place. His wife Alcestis bravely sacrifices herself to save him, and King Admeto quickly realizes how worthless his life has become without her. In the meantime, the demigod Heracles had been a guest in the king’s palace, and he descends to the Underworld to rescue Alcestis. Heracles confronts Death and successfully brings Alcestis back to her husband. This is an example of a Greek tragedy that actually ends happily, making it very suitable as an opera subject during Handel’s time. The opera begins with a majestic French overture, which is comprised of two parts: a slow introduction with characteristic dotted rhythms, followed by a brisk fugal section. The dying king’s pain and anguish is brilliantly conveyed through the jolting rhythms presented by the orchestra. Trio Sonata G Minor, Op. 2 No. 5, HWV 390 The chamber ensemble combination of two melody instruments with continuo originated in Italy during the early 17th century and became a very popular Baroque genre known as the trio sonata. The top two parts of this particular piece are given to a pair of violins. In the trio sonata genre, it’s also common for a pair of flutes or recorders to play the melodies.The third part is designated for the basso continuo, which has two components: an instrument which can fulfill the fundamental bass line (such as a cello or bassoon) and an instrument capable of playing chords (such as an organ, harpsichord, or theorbo). Since two players are usually required in order to play the basso continuo, there are a total of four players in the ensemble. This particular piece belongs to a set of six sonatas which were written in London and published in 1733, though they were likely written as early as 1718. Handel later reused the outer movements of this trio sonata in his Organ Concerto in G Minor, Op. 4 No. 3. FOR PROOFING ONLY - DO NOT EDIT THIS PAGE = trim= bleed= safe area = trim = bleed = safe area 102 The movements of this sonata are in the slow-fast-slow-fast arrangement. This four-movement form was popular even before Handel and was known as the “sonata da chiesa” (church sonata). The form got its name because in 17th century Italy, ensemble music became more favorable during church services, and eventually replaced the organ. However, Handel likely never intended for these pieces to be played in a religious context. His trio sonatas were probably performed at small parties, dinners, or at the various pleasure gardens in London. JOHANN SEBASTIAN BACH (1685- 1750) Violin Concerto No. 1 in A Minor, BWV 1041 Considered a cornerstone of the violin repertoire, there are few works of classical music which are as universally loved as this piece. Despite its popularity, little is known about the origins of the A Minor Violin Concerto. We can assume that it was composed in Leipzig, since the earliest surviving manuscript of the concerto is dated at around 1730, not long after Bach became the director of Leipzig’s Collegium Musicum. The Collegium was a collective of singers and instrumentalists (largely comprised of students) and was founded in 1701 by the composer Georg Philipp Telemann. The organization partnered with Zimmerman’s famous coffeehouse in Leipzig and performed a weekly concert series there. Up to 150 coffee lovers would gather at the establishment to listen to music! It’s likely that the A Minor Violin Concerto was first performed at Zimmerman’s, along with many other important instrumental works by Bach. Bach was a renowned keyboard player, but he was also a highly skilled violin- ist. It’s reasonable to assume that Bach himself would have performed as the soloist of his own violin pieces. His son Carl Philipp Emmanuel Bach recalled of his father: “From his youth up to fairly old age he played the violin purely and with a penetrating tone and thus kept the orchestra in top form, much better than he could have from the harpsichord. He completely understood the possibilities of all stringed instruments.” The virtuosic flair of this piece is reminiscent of the violin concertos by Antonio Vivaldi, who Bach respected immensely. However, Bach’s harmonic language and his ingenious use of counterpoint is unique and unmistakable. The first movement begins with a grand orchestral ritornello (refrain), followed by nimble and graceful passages from the solo violin. The returns of the ritornello theme later in the movement are fragmented by commentary from the violin, and this gives the impression that the violin and orchestra are in a dialogue with one another. In the slow movement, Bach makes use of an ostinato, which means “obstinate” or “persistent” in Italian. In music, this term is used to describe a phrase or rhythm which is repeated continuously. In this movement, the ostinato is in the basso continuo, and it repeats over and over again. Yet each iteration has a very different feeling behind it. At times, the FOR PROOFING ONLY - DO NOT EDIT THIS PAGE = trim= bleed= safe area = trim = bleed = safe area 103 music is relaxed and easygoing, but there are also moments of great pain and sorrow. Bach also thins out the orchestral texture in certain moments to allow the solo violin to soar. The final movement is a lively jig and uses a subject derived from the opening of the first movement as its theme. Harpsichord Concerto No. 5 in F Minor, BWV 1056 As with many of Bach’s works, the exact date of this composition is unknown, but it is estimated to have been written between 1733 and 1746 in Leipzig. The piece is quite compact compared with other concertos by Bach, and it begins with burst of turbulent energy. The gorgeous slow movement has a fascinating history. Its musical material is derived from an earlier work by Bach: the introductory Sinfonia of Cantata 156 Ich steh mit einem Fuß im Grabe (“I stand with one foot in the grave”). In the cantata, the oboe plays the melody, but the harpsichord version of that same melody includes many delicious embellishments. However, the origin of this musical material can be traced back even further to a piece by Georg Philipp Telemann: the Andante from the Flute Concerto in G Major, TWV 51:G2. Bach and Telemann were good friends, and Telemann was godfather to Bach’s son, Carl Philipp Emmanuel. It was common practice at the time to recycle older works and use them to create new ones, and it’s obvious that Bach admired Telemann’s music by choosing to incorporate it into his own piece. The final Presto movement features whimsical echo effects, which are perfect examples of Bach’s musical humor. Viola da Gamba Sonata No. 2 in D Major, BWV 1028 Written between 1737 and 1739 in Leipzig, this Sonata is speculated to have been written for the highly skilled viola da gamba player Carl Friedrich Abel, though this cannot be proven. However, it is certain that Bach and Abel had close ties. Bach mentored him and even helped him secure a job in a court chapel in Dresden. Abel later traveled to London where he worked alongside Bach’s son, Johann Christian. During Bach’s lifetime, the viola da gamba had slowly begun to fall out of favor as a solo instrument. Yet Bach remained a champion of the viola da gamba, featuring it prominently in three sonatas, as well as numerous concertos, cantatas, and the St. Matthew and St. John passions. Bach often transcribed his own music (and the music of others) for different instruments, and this tradition is continued by performers today. The viola da gamba sonatas are commonly played on the cello, since the two instruments have comparable timbres and possess a similar range. This piece is, in essence, a trio sonata. The two melody parts are given to the viola da gamba and to the right hand of the harpsichord, while the left hand of the harpsichord fulfills the bass. Like the Handel Trio Sonata, the Viola da gamba Sonata also adheres to the four movement “sonata da chiesa” form: FOR PROOFING ONLY - DO NOT EDIT THIS PAGE = trim= bleed= safe area = trim = bleed = safe area 104 slow-fast-slow-fast. Following a gentle and tender introduction, Bach launches into the celebratory Allegro. The third movement is an introspective Andante in the relative key of B Minor, which is then followed by a highly positive Allegro. This final movement is filled with intricate canonical elements, and it showcases Bach’s complete mastery of contrapuntal writing. HANDEL Concerto Grosso in G Major, Op. 6 No. 1, HWV 319 The concerto grosso is a genre in which the musical material is passed between a small group of soloists and the orchestra. The term was first used by the Italian composer Arcangelo Corelli, who wrote a large collection of pieces with this title. Soon, other composers began writing concerti grossi of their own, such as Francesco Geminiani and Pietro Locatelli. These Italian concertos made their way to audiences in England and became extremely popular there. The English publisher John Walsh encouraged Handel to compose a set of concertos in the style of the Italians. In 1739, Han- del began composing his own twelve concerti grossi at an astonishingly rap- id pace, completing the entire set within a month. In other words, it only took him two or three days to compose this piece! At the time, Handel had also just begun to write English oratorios, and he later featured his concerti grossi as background music during the intermissions of his oratorio concerts. In the Concerto Grosso in G Major, Handel incorporates thematic material based on earlier pieces. The stately first movement is based on a draft of the overture to his opera Imeneo, HWV 41. In the final dance-like Allegro movement, Handel draws inspiration from Domenico Scarlatti’s Keyboard Sonata in G Major, K. 2, which had been published in London only a year before. Handel takes various motives from the Sonata and gives them his own unique twist. Written by Osheen Manukyan, Co-Artistic Director BACH & HANDEL: Soli Deo gloria FOR PROOFING ONLY - DO NOT EDIT THIS PAGE = trim= bleed= safe area = trim = bleed = safe area 105 HANNAH WHITE – First Violin Concertmaster and Co-Artistic Director Ms. White started playing the violin at age 7 and soon came into her own as a child protégé when she performed with the Milwaukee Symphony Orchestra at the tender age of 9. Over the years, Hannah has performed as a soloist for the Cleveland Symphony Orchestra, Dallas Symphony Orchestra, New World Symphony Orchestra, Albany Symphony Orchestra, Hudson Valley Philharmonic, Madison Symphony Orchestra, South Bend Symphony Orchestra, Ann Arbor Symphony Orchestra, Buffalo Philharmonic Orchestra, Milwaukee Symphony Orchestra, Symphoria Orchestra, Sphinx Symphony Or- chestra, San Francisco Chamber Orchestra, and Orchestra Noir among many oth- ers. Ms. White cemented her stature as one of the preeminent young African American violinists in the United States by receiving 1st Prize at dozens of esteemed regional. National, and international competitions including Isaac Stern Award at Carnegie Hall, Ambassador of Doublestop Foundation, Jack Kent Cooke Scholarship, Musicians Club of Women of Chicago’s Farwell Trust Scholarship, MPower Grant, Puth Foundation Scholarship, and William Warfield Scholarship. Hannah was appointed Concertmaster of Kontrapunktus before premiering with the chamber orchestra in the summer 2022 and was appointed the co-Artistic Director of Kontrapunktus afterwards. Ms. White is now pursuing her master’s degree at the Colburn School under the tutelage of renowned violin teacher, Robert Lipsett. Ms. White’s violin is on generous loan from Kenneth Warren and Son, Ltd. FOR PROOFING ONLY - DO NOT EDIT THIS PAGE = trim= bleed= safe area = trim = bleed = safe area 106 OSHEEN MANUKYAN – Cello Co-Artistic Director Osheen Manukyan is a native of Los Angeles, and currently studies at the Juilliard School in New York under the tutelage of Timothy Eddy. Prior to his conservatory training, he was a student of Richard Naill at the Colburn School in Los Angeles. Osheen is a recipient of numerous scholarships from Juilliard, as well as a scholarship from the Armenian General Benevolent Union. He has appeared as a guest on NPR’s From the Top, and as a soloist with the Colburn Chamber Orchestra. He has also given performances at the Aspen Music Festival in Colorado and the Sarasota Music Festival in Florida. In addition to his activities as a soloist, Osheen is a dedicated ensemble musician. He and his various chamber music groups were mentored by members of the Emerson, Juilliard, and Orion String Quartets. His experiences as an orchestral player include collaborations with conductors such as Marin Alsop, Gustavo Dudamel, Barbara Hannigan, Jeffrey Kahane, Nicholas McGegan, and Sir Mark Elder. Osheen first performed with Kontrapunktus in the winter of 2020, and rejoined the orchestra this past summer while assisting with the programming. Shortly thereafter, he was appointed as the co-Artistic Director of Kontrapunktus. FOR PROOFING ONLY - DO NOT EDIT THIS PAGE = trim= bleed= safe area = trim = bleed = safe area 107 AUBREE OLIVERSON - Violin and Featured Soloist Praised for her evocative lyricism and joyful, genuine approach, young American violinist Ms. Oliverson is proving to be one of the most compelling artists of her generation, distinguishing herself with clear, honest, and colorful interpretations. Her performances have been described by the Miami New Times as “powerful… brimming with confidence and joy” and “masterful” by the San Diego Story. Aubree won the ‘2021 Special Prize of Merit’ for violin at the prestigious Verbier Festival Academy in Switzerland, a National YoungArts Foundation award, was honored as a United States Presidential Scholar in the Arts and was selected for the Dorothy DeLay Fellowship and concerto performance at the Aspen Music Festival She made her solo debut with the Utah Symphony at age eleven, her Carnegie Hall Weill Hall recital debut at age twelve as winner of the American Protégé International Strings Competition and has been featured on NPR’s hit radio show From The Top several times. A dynamic and sensitive chamber musician, Aubree has collaborated with artists such as Stefan Jackiw and Robert McDuffie in Harris Hall at the Aspen Music Festival and School, with Gil Shaham on tour in Mexico, and with Lynn Harrell, Jean-Yves Thibaudet, Orli Shaham, Robert Chen, Andrew Marriner, and Clive Greensmith as part of the Colburn Chamber Music Society in Los Angeles. Aubree also performed a movement of Bach’s Double Violin Concerto with Joseph Silverstein and the Gifted Music School Orchestra in Salt Lake City. Ms. Oliverson graduated from the Colburn Music Academy in Los Angeles in 2016 and is a former student of Debbie Moench, Eugene Watanabe, Danielle Belen, and Boris Kuschnir at the Musik und Kunst Privatuniversität der Stadt Wien. She currently studies with Robert Lipsett, the Jascha Heifetz Distinguished Violin Chair at the Colburn Conservatory of Music in Los Angeles. Ms. Oliverson plays on a 1743 Sanctus Seraphin violin thanks to the generous loan of Dr. James Stewart. FOR PROOFING ONLY - DO NOT EDIT THIS PAGE = trim= bleed= safe area = trim = bleed = safe area 108 CAMERON ALAN-LEE – FIRST VIOLIN With a refreshing mix of thoughtfulness and spontaneity, Cameron Alan- Lee has captivated audiences around the world with his unique ways of music making. From the young age of 4, Cameron began his musical studies and spent many of his formative years performing in public at farmers markets, senior living facilities, as well as throughout Europe. While attending the Colburn School from 2009-2016, he studied privately with Chan Ho Yun and Aimee Kreston and was also a founding member of the award-winning Chimera Quartet. In 2016 he and his quartet were awarded top prizes at the St. Paul String Quartet Competition, WDAV Young Chamber Musicians Competition, as well as the inaugural MPrize Chamber Music Competition. In addition to competing, Cameron has also participated and performed at summer festivals such as The Montecito Summer Music Festival, Yellow Barn Young Artists Program, Aspen Music Festival and Encore Chamber Music. Cameron continued his music making at the Cleveland Institute of Music in 2016 where he earned his undergraduate degree in violin performance while under the tutelage of Jinjoo Cho, Stephen Rose, and Jaime Laredo. He will be receiving his masters of music degree from New England Conservatory in 2023 under the guidance of Ayano Ninomiya. Cameron performs on a 2015 copy of a Jean Baptiste Vuillaume violin generously on loan from Douglas Cox as well as a bow made by Delphine Petitjean. FOR PROOFING ONLY - DO NOT EDIT THIS PAGE = trim= bleed= safe area = trim = bleed = safe area 109 DAVID CHANG – Principal Second Violin David Chang’s profound musical journey became in earnest after the seventh grade and under the guidance of his teacher, Margaret Batjer, Concertmaster of Los Angeles Chamber. In 2008, he was soloist with the All-Southern Middle School Honor Orchestra and also performed in the IUSD honor’s music concert. During 2011-12 seasons, David served as a co-concertmaster for the Pacific Symphony Youth Orchestra and was chosen to perform with them as soloist at the Renee & Henry Segerstrom Concert Hall in the spring of 2012 where he performed Mendelssohn violin Concerto under the direction of Maxime Eshkenazy. During this time, he was also invited to participate as a young artist in the master class series at the La Jolla Chamber Music Festival. In 2014, David was chosen to be a part of Juilliard’s honors chamber music program in its inaugural year and studied with Roger Tapping and Laurie Smukler and was the recipient of the New Horizon Fellowship (2014-2016) at the Aspen Music Festival. David’s accomplishments include VOCE, IKPA music competitions, Southern Youth Music Festival, and Pacif- ic Symphony Youth Orchestra concerto competition. In 2019, he competed and won his category in the 13th Cecilia International Music Competition in Japan. A Southern California native, David has performed in masterclasses with Ruggiero Ricci, Li Lin, Jennifer Koh, Abram Stern, Bing Wang, Lyndon Taylor, Glenn Dicterow, Aaron Rosand, Ken Aiso, Martin Beaver, Tong Wei Dong, Robert Levin, Sean Lee, Daniel Austrich, Franz Helmerson, and Glenn Dicterow. In 2022, he was appointed Second Principal Violin to Kontrapunktus. FOR PROOFING ONLY - DO NOT EDIT THIS PAGE = trim= bleed= safe area = trim = bleed = safe area 110 HAESOL LEE - Second Violin A South Korean violinist, Haesol Lee started playing the violin at the age of 3 after seeing her older brothers play violin and piano. In 2004, she immigrated to United States with her family and continued her violin studies at the Colburn School. Being interested in exploring life outside of music, she decided to do her bachelor’s degree at Rice University where she studied with Paul Kantor on full scholarship. Then she deepened her musical knowledge at The Juilliard School with Li Lin during her master’s degree program. She recently came back to California to work actively as a freelancer while studying at USC with Bing Wang. Since August 2022, she has subbed in LA Philharmonic and joined Long Beach Symphony as a section violinist. She also appeared as a guest associate concertmaster of CMI Orchestra with San Antonio Ballet and joined the Whole Soul quartet that brings classical music closer to the audience by integrating hip hop and R&B music with classical music. While being an active performer, she’s also passionate about sharing her knowledge and experience with her students and her students have gotten into renowned schools like MSM Precollege and Crossroads School. FOR PROOFING ONLY - DO NOT EDIT THIS PAGE = trim= bleed= safe area = trim = bleed = safe area 111 CASSIA DRAKE – VIOLA Cassia Drake has won top prizes in competitions throughout the world, such as National YoungArts Foundation, Berlin Philharmonie Competition, and Debut International Mu- sic Competition. As a soloist, she has appeared with the Arits-Naples Philharmonic, Sara- sota Music Festival Orchestra and the Bravo Summer Music Festival, among others. An avid chamber musician, Cassia has toured throughout North America, the Middle East, and Europe playing recitals, chamber music, and masterclasses. She has collaborated with members of the Tokyo, Calidore, Aviv, and New Orford String Quartet, as well as Antonio Lysy, Shmuel Ashkenazi, and Timothy Eddy. Cassia has also performed in numerous music festivals and most recently participated in festivals and institutes such as Accademia Isola Classica, Keshet Eilon, Accademia Chigiana, Gstaad Menuhin Festival, and Heifetz Ashkenazi/Kirbaum Chamber Music Institute. Cassia previously studied at the Colburn School where she received her Bachelor and Masters degrees un- der the tutelage of Paul Coletti and Yura Lee. While there, she maintained an active teaching studio through the Jumpstart Strings program, giving lessons to underprivileged elementary students. Cassia was also involved in the inaugural year of Stories & Strings, a program dedicated to bring- ing music to young children in low-income schools in downtown Los An- geles. Cassia is now pursuing a Masters of Musical Arts degree at the Yale School of Music, studying with Ettore Causa. FOR PROOFING ONLY - DO NOT EDIT THIS PAGE = trim= bleed= safe area = trim = bleed = safe area 112 bogang hwang – harpsichord South Korean keyboardist Bogang Hwang began playing piano at the age of six. She graduated from the Sunhwa Arts High School, where she had won the excellence performance award for three co secutive years. She also got a scholarship from the Sunhwa Piano Society. She earned her bachelor’s degree at Seoul National University under the tutelage of Ick-choo Moon. She is a prize winner in many competitions in Korea such as the Eumag Chunchu Competition, Eumyoun Piano Competition, The Korean Liszt Competition, and The Seoul Orchestra Competition. She has also participated in several festivals, including Aspen Music Festival, SNU International Piano Academy, SNU International Chamber Music Festival and Rebecca Penneys Piano Festival. Recently, she has appeared as a soloist with the Pasadena Symphony Orchestra under the baton of Nicholas McGegan. She is currently pursuing her Master of Music degree with Fabio Bidini at the Colburn School, where she earned an Artist Diploma degree as well. FOR PROOFING ONLY - DO NOT EDIT THIS PAGE = trim= bleed= safe area = trim = bleed = safe area 113 HARRISON DEARMAN – DOUBLE BASS Harrison Dearman was born in Austin, Texas and grew up in thriving arts town of Denton, Texas. Harry played guitar from a young age and transitioned to the bass at theage of eleven in his local school orchestra program. He went on to pursue an undergraduate degree in his hometown at the University of North Texas and graduated with honors under bassist Jeff Bradetich. Harry has played concerts all over North America, Europe and Asia in some of the world’s finest concert halls such as Carnegie Hall, the Royal Concertgebouw and LA’s Walt Disney Hall. He has also had the fortune to participate in many fantastic music gatherings such as the Aspen Music Festival, the New York String Orchestra Seminar, the Verbier Festival and the Tsinandali festival in Tbilisi, Georgia, among others. Additionally, he won the Denton Bach Society, Tuesday Musical Club Young Artist, and Louisiana Bass Festi- val solo competitions. As a baroque musician, Harry studied with Anner Byls- ma disciple Allen Whear while at UNT. Furthermore, he served as the bassist of the Fantasmi Ensemble, under the direction of Paul Leenhouts, the American Baroque Opera Company, and the Orchestra of New Spain. Harry’s other major teach- ers include Joel Quarrington and Xavier Foley. Harry now works with Peter Lloyd as a Master’s student at the Colburn School in Los Angeles, California and looks forward to returning to Verbier this summer. FOR PROOFING ONLY - DO NOT EDIT THIS PAGE = trim= bleed= safe area = trim = bleed = safe area 114 FOR PROOFING ONLY - DO NOT EDIT THIS PAGE = trim= bleed= safe area = trim = bleed = safe area 115 OUR SPONSORS We needed to extend our heartfelt gratitude to the following whose support made this season possible: We also would like to thank the Association of California Symphony Orchestras for their invaluable guidance and, last but not least, you, our fans! Kontrapunktus will be returning this May with a exhilarating new concert season, which includes concerts at Cal State Dominguez Hills University Theatre on Wednesday, May 17th and the El Camino College Campus Theatre on Friday, May 26th. Both concerts start at 8 PM. Please subscribe to our website for future concert announcements by visiting: www.kontrapunktus.com FOR PROOFING ONLY - DO NOT EDIT THIS PAGE = trim= bleed= safe area = trim = bleed = safe area 116 To donate via credit card, please visit our website at: https://www.kontrapunktus.com/donate or to donate a check, please mail us at: PO Box 2959, Seal Beach, CA 90740 As a 501(c)(3) non-profit performing arts organization., we depend on the generosity of our supporters to ensure the future of our mission to inspire people “from all walks and future generations” through our musical artistry. FOR PROOFING ONLY - DO NOT EDIT THIS PAGE = trim= bleed= safe area = trim = bleed = safe area 117 NEWPORT BEACH CITY ARTS COMMISSION 2023 CULTURAL ARTS GRANT APPLICATION (Applications must be typed or word-processed- you may reformat on the computer as long as it appears the same: i.e. use Times New Roman 12 point and the same pagination.) Laguna Playhouse Popular Name of Organization The Laguna Playhouse 95-1509841 Legal Name (if different) Federal Tax ID No. 606 Laguna Canyon Road Mailing Address Laguna Beach 92651 City Zip Erin O’Flaherty______________________________________________________(949) 500 – 0508____ Contact Name Telephone N/A__________________Eoflaherty@Lagunaplayhouse.com____https//: Lagunaplayhouse.com_______ FAX E-mail Web Site Orange County Geographical Area Served Have you received a City of Newport Beach Cultural Arts Grant before? _YES___ If so, when? 2020, 2021, & 2022_____ Year organization was founded 1920 Number of paid FT staff __20___ # of active volunteers _30 Total amount requested: (from request line of project budget) $ ____5,000_____ Estimated number of people in Newport Beach that the proposed project(s) will serve: __500_____ ITEM X.A.6. 2023 CULTURAL ARTS GRANTS - ATTACHMENT E 118 CULTURAL ARTS GRANT APPLICATION 1. Briefly describe below your organization’s purpose, mission, and goals Founded in 1920, the historic Laguna Playhouse is an integral part of the celebrated Laguna Beach Arts community as one of the oldest continuously operating theatres on the West Coast. The Playhouse has established itself as a landmark in the arts and culture community, bringing the transcendent experience of live theatre to more than 100,000 patrons each year. Our Community-Driven Mission On stage, in the classroom, or in the audience, engagement in the performing arts can make a profoundly positive impact on an individual’s life. Laguna Playhouse’s community outreach is rooted in our mission to help underserved families harness the performing arts as a powerful resource for enrichment, inspiration, and self-sufficiency. The Laguna Playhouse has long recognized the need for outreach and engagement programs in our community. Specifically, the Playhouse has worked to support individuals who exist below the poverty line with programs that provide inspiration and catalyst for change through the Arts. Playhouse Youth Education Programs serve more than 4,000 students across Orange County each year. For over 20 years, our youth education programs have developed the creative, artistic and communications skills of thousands of Orange County children and teens and supported and encouraged reading and literacy for thousands of schoolchildren. Laguna Playhouse offers extensive opportunities for children and teens to study theatre and perform in a professional setting, through hands-on learning experiences with industry professionals and fully staged performances before live community audiences. For our students, the benefits of this program reach far beyond the stage. Programs include: Youth Theatre offers two inspiring Main Stage productions each season of classic children’s literature performed for family audiences. Our Stories outreach program provides inspiration and empowerment for individuals to share their story through the arts Laguna Playhouse Conservatory/Repertory offers professional theatre training for youth, ages 6 – 18, with scholarships provided for underserved youth TheatreReach: Bringing Books to Life! provides theatrical presentations of California approved curriculum literature for youth from local Title 1 schools 2.Identify and describe why there is a need in the Newport Beach Community for your proposedproject/program. Include a quantitative description of the need and on what you based yourfindings (i.e. “Based on a study done by the PTA, there are one hundred children in the 4th-6thgrades at Newport Elementary who have had no training with musical instruments.” ) Describe 119 how you have determined that your organization is the best organization for the proposed project/program. Youth in our community are facing a unprecedented mental health crisis. The events of the past few years along with the negative social and mental health impacts of social media use have sparked a dramatic increase in mental health issues, including depression, anxiety, self-harm and suicidal tendencies. The Laguna Playhouse launched the Our Stories program to meet this need and to provide a safe haven for youth to grow, heal, and learn more about free mental health resources that are available to them. Our Stories is a cultural arts-based mental wellness program designed to inspire and engage youth through workshops, intensives, panel discussions, and special events. The program was initiated through a contracted collaboration with Orange County Healthcare Agency, Proposition 63, and the Office of Suicide Prevention as an Arts and mental wellness initiative. Launched in early 2020, the program was designed to reach at-risk youth in Orange County, including those experiencing food insecurity, homelessness, foster care, domestic violence, drug addiction, juvenile incarceration, and surviving below the poverty line. A majority of these youth served face dire life circumstances, including providing for their families, keeping up with their education, and experiencing lack of access to valuable mental health resources. Mental health issues are even more pronounced in ethnic minority communities. Ethnic, gender, and sexual orientation minorities often suffer from poor mental health outcomes. Such outcomes include the examples below: • African Americans living below the poverty level, as compared to those over twice the poverty level, are twice as likely to report serious psychological distress. • Asian Americans are 60 percent less likely to use mental health services as compared to non-Hispanic whites. • Among young adults ages 18 to 24, Native Americans have higher rates of suicide than any other ethnicity and higher rates than the general population. • More than 1 in 5 women in the United States experienced a mental health condition in the past year, such as depression or anxiety. • LGBTQ individuals are more than twice as likely as heterosexual men and women to have a mental health disorder in their lifetime. • These poor mental outcomes are due to multiple factors including inaccessibility of high-quality mental health care services, cultural stigma surrounding mental health care, discrimination, and overall lack of awareness about mental health. *According to statistics from the Newport Mesa School District website, 56% of students in the district are Hispanic, 12% are Asian, 5% are Black, and 22% are white. Our Stories employs an average of 5 Teaching Artists to conduct programming, qualified creative professionals that guide workshops, develop and implement new curriculums, and work on-on-one with participants on projects. This program has proven crucial, especially in the last year few years as the youth mental health crisis has risen in intensity. The program provides a safe space for participants to discuss important topics such as depression, anxiety, financial issues, family dynamics, and peer relationships, and sexual identity.. The workshops have created documented improvement within 120 participant counseling sessions and sleep patterns, demonstrating marked decrease in depression and anxiety. Additionally, the program also provides writing, music, and theatre improv workshops for underserved youth in community organization settings. Our Stories youth are encouraged to explore self-expression through arts and theatrical exercises in workshops, leading to stronger peer relationships and mental health discussions. It has been shown that the act of self-expression through the Arts can deter this age group, especially those that have endured trauma, from becoming withdrawn and using detrimental coping mechanisms. As the Program Director from one of the Domestic Violence shelters the Playhouse serves said: “The Art creation empowers those enduring trauma to express themselves when do not yet have the words” The Playhouse seeks to provide this vital programming in 2023 for youth in the Newport Mesa School District, continuing outreach funded by the Newport Beach Arts Commission in 2021 and 2022. 3. Describe the specific project/program that will be funded by a cultural grant. Include how the proposed project/program will be implemented and outline a schedule or project timeline, with planned dates and locations. Identify individuals and groups involved, particularly artists and performers, and describe their roles and responsibilities. Describe the background and qualifications of your organization and key personnel to be involved in the program. Remember: the City funds only projects and programs- not operating expenses. These projects and programs must promote community involvement and awareness of the arts in Newport Beach. Is this a new_____ or existing __x_ _ project/program? The program to be funded by the Newport Beach Arts Commission is the Our Stories Program, specifically shared with youth within the boundaries of the Newport Mesa School District. This innovative program for youth and young adults provides cultural arts programs as a platform for mental wellness and as a catalyst for healing and self-empowerment. The Laguna Playhouse engaged with students and youth in the area of the Newport Mesa School District in the Summer and Fall of 2022 through the innovative Our Stories program. The Our Stories program is an interactive creative arts-based program that provides events and mental health resources for underserved youth in Orange County. The program includes youth theatre performances, mental health panel discussions and theatre and fine arts workshops. The Our Stories program was launched with the purpose of serving hard to reach transitional age youth, or TAY, aged 15 to 24. These individuals, categorized as TAY are at higher risk of falling into opioid use, depression, and suicidal tendencies. The Playhouse team has formed partnerships with schools and community organizations that serve youth since the inception of the Our Stories program in early 2020. The Playhouse employs a special focus of program services for youth who have endured dire life circumstances such as domestic violence, homelessness, foster care, debilitating illnesses, and existing beneath the poverty line. For use of the funding through the Newport Beach Arts Commission Cultural Arts Grant the Playhouse partnered with the organization Save Our Youth. Save Our Youth is an incredible organization that serves middle and high school aged youth from the Newport Mesa School District. The majority of the 121 students served by Save Our Youth are from low-income areas and are at a greater risk for falling into detrimental behaviors. Through continued funding from the Newport Beach Arts Commission the Playhouse will once again share the Fine Arts and Theatre workshops with Save Our Youth. The Playhouse has received positive feedback from the Director of Save Our Youth, Mary Capellini saying “The Arts workshops are our most popular events of the week, they really are a big draw for the youth to come in to our facility and participate, this provides essential peer communication and relationships that improve their mental health and overall potential for success.” The Playhouse will provide Fine Art and Music Appreciation workshops with Save Our Youth in the early Spring of 2023 through weekly workshop session with an average attendance of 15 to 20 participants in each session. The Playhouse will also again provide two weeks of Fine Art and Theatre camps in the Summer of 2023. These week-long camps were a resounding success when shared in the Summer of 2022 and will even improve in attendance and impact when initiated in July of 2023. The specialty trained teaching artists of the Laguna Playhouse will once again lead the camps with respect, optimism, and appreciation of each individual’s journey and method of self-expression. The Playhouse will also endeavor to share the Our Stories program with two other organizations that serve youth in the Newport Mesa geographical area: Project Hope Alliance and Girl’s Inc.. Project Hope Alliance is an organization located in Costa Mesa that serves children and youth who have experienced homelessness and works to keep them on track with their education and life goals. Girls Inc is an organization that seeks to empower young girls as the grow into adulthood and to equip them to live fulfilling and self-sufficient lives. The Playhouse will also provide Art workshops at these locations in 2023, serving approximately 250 individuals over the span of 3 months. 4. Define or describe the segment of the population in Newport Beach that you intend to serve by your project/program. Include such things as age, location, numbers served, etc. The Playhouse aims to serve approximately 500 youth in the areas of the Newport Mesa School District in the Spring and Summer of 2023 through the Our Stories Program. The playhouse will accomplish this goal through a continued partnership with the Organization Save Our Youth and with new partnerships with the Costa Mesa based organizations Project Hope Alliance and Girl’s Inc. Through the provision of 8 weeks each of Fine Art and Music Appreciation workshops with each organization and through the Summer Camps for Theatre and Fine Art shared in July of 2023 these impact numbers will be readily obtained. The Playhouse is eager for the opportunity to continue this important program for youth in the Newport Mesa School District. 5. Complete the project budget form. Address only the budget for the specific project, not your annual operating budget. For multi-project proposals, please duplicate and fill out a budget for each project. Please annotate the budget at the bottom if there are details (such as a breakdown of personnel or a marketing budget) critical to the proposal. 122 PROJECT BUDGET Funding from the City of Newport Beach Funding from Other Sources EXPENSES-Personnel Artistic $2,000 $17,000 Administrative $6,000 Technical Production $1,200 EXPENSES-Operating Facility Expense/Space Rental N/A Marketing $3,000 Production/Exhibition Expense N/A Touring/Presentation Expense $1,000 $8,000 Educational Materials $1,000 $3,700 Transportation $5,650 Equipment $1,000 $2,800 Other (if greater than 10%, annotate below) $1,950 GRAND TOTAL $5,000 $49,300 6. Describe the expected quantifiable outcomes of your project/program and how you will evaluate the results. Be very specific in addressing the ways that you will determine that your project/program met the needs that you identified and accomplishes the goals you set out to achieve To measure the success of this program for youth, the Playhouse distributes surveys at the completion of each workshop series or camp. These surveys are anonymous, and the questions pertain to the participant’s enjoyment of the workshop, their increase in mental wellness, their strength of developing coping mechanisms against anxiety and depression, and their knowledge of free mental health resources available to them in their area. The Main areas of anticipated improvement with quantifiable percentages are: FY 2023 Performance Outcomes: By December 30, 2023, participants will report a significant improvement in quality of life. By December 30, 2023, on average, Participants will demonstrate a significant increase in behavioral health competencies in at least one area. By December 30, 2023, on average, Participants will demonstrate a significant decrease in the severity of behavioral health symptoms. By December 30, 2023, a minimum of thirty (30) percent of referrals will result in a linkage to a supportive service. 123 The Playhouse team also relies on the feedback of the Program Directors and Managers of the partner organizations to evaluate the impact of this program on Newport Mesa youth. As noted previously, the feedback from Program Leadership has been overwhelmingly positive and this keeps the Playhouse team focused on expanding the program for as many youth in this area as possible. 7. Attachments Requested Please do not send material in excess of what is requested; it will not be seen by the City Arts Commission. • A list of Board Members and their affiliations • A recent list of individuals, corporations and foundations that provide organizational support- not to exceed one page. • If you are a 501(c) (3) organization attach a copy of your IRS determination letter (or your fiscal agent’s) indicating tax exempt status. • One brochure and/or one press clipping. Do not send photos, videos, CDs or any other extraneous material. It will not be presented to the City Arts Commission. 8. Please complete this operating budget form for 2023 and 2024. This is not the project/program budget for which you are applying, but your overall organizational budget. You may annotate at the bottom if there are details critical to the proposal. OPERATING BUDGET 2023 Budget (current) 2024 Budget (projected) I. Income (cash only) Contributed $2,060,000.00 $2,083,000.00 Earned $3,810,000.00 $3,430,000.00 Total Income $5,870,000.00 $5,513,000.00 II. Expenses Program $285,000.00 $250,000.00 General and Administrative $1,311,737.00 $1,198,000.00 Marketing and Development $647,000.00 $647,600.00 Total Expenses $6,643,216.00 6,563,983.60 III. Operating Surplus/Deficit (Income minus Expenses) ($773,216.00) ($1,050,983.60) IV. Fund Balance at Beginning of Year $0 $0 V. Accumulated Surplus (Deficit) (Add lines III and IV) (773,216.00) ($1,050,983.60) VI. In-Kind Contributions (attach schedule if greater than 10% of total income) 124 9. I verify that the information submitted in this application is true and correct to the best of my knowledge. Name: Erin O’Flaherty Title: Grants & Community Outreach Manager Signature: Erin O’Flaherty. Date: December 26, 2022 125 Laguna Playhouse Board of Trustees 2022/2023 Lisa Hale Partner, Parallax Capital Partners, LLC Co-Chair Jared K. Mathis CEO, Moulton Company Co-Chair Paul Singarella Developer, TBT Capital Retired Partner, Latham & Watkins LLC Immediate Past Chair Kate E. Phelan-Lowen Senior Vice President, US Bank Private Wealth Management Secretary James Hale Managing Partner, Parallax Capital Partners, LLC Treasurer Scott Armanini Assistant Professor at USC Harley Bassman Managing Partner at Simplify Asset Management Joe Hanauer Principal, Combined Investments, LLC 126 Robert Harper VP of Operations, Agiliti Health Mo Honarkar 4-G Ventures Dr. Gary Jenkins Retired Pediatrician Barbara MacGillivray Executive, MacGillivray Freeman Films Greg MacGillivray Chairman, MacGillivray Freeman Films James R. Mellor Retired Chairman, CEO General Dynamics Corp. Heidi Miller Owner, Tight Assets, The World Newstand Justin Myers Entrepreneur Xiaohong Rose Entrepreneur Christa Lee Canaday Steurer Real Estate Professional Sasha Talebi Managing Director, Sequence Venture Group Chris Webb Founding Partner, Energy Capital LLP Christopher "Skip" Wilson V.P. Brand & Creative, Shutterstock 127 Jeff Winston Retired, Chief Technology Officer, Allergan, Inc. Sandra Wirta Entrepreneur Ellen Richard Executive Producing Director, Laguna Playhouse Emeritus Trustees Otis Healy Sr Vice President and Western Regional Director, Smith Barney & Co (retired) Ilona Martin Artist Melinda Masson CEO, Masson Strategic Advisors LLC 128 DONORS FOR 2022/2023 DISTINGUISHED BENEFACTORS ($175,000 +) Lisa Hale Suzanne and James Mellor The Moulton Company Laguna Beach Business Improvement District BENEFACTORS CIRCLE ($100,000 +) Barbara Steele Williams Foundation Harry & Grace Steele Foundation Maggie R. Murdy Trust The Miki F. Young Charitable Trust Center Stage Circle ($50,000+): John & Ann Clark District 5 Related Small Business & Nonprofit Grant Relief Program Judi Gorski Lisa Hale Joe & Jane Hanauer Otis & Joann Healy Hearst Foundation Hans & Valerie Imhof Laguna Beach Business Improvement District Greg & Barbara MacGillivray Jared & Kate Mathis The Miki F. Young Charitable Trust O.L. Halsell Foundation Dewayne & Kelly Roberts Anonymous The Shubert Foundation Ray & Sandra Wirta Hearst Foundation Barbara Roberts 129 auEasTssv e:nsoTcsTc- Nvg\nrEvg '1 -+xtnf; T '.f,1e:acu1s ':aqunu auoqdalal ro-ssa:ppe aaoqe eql xp acTJJo :no ece?uoc aseald 'acuelslssP :aq?:n; paau no.f, JI 'lcaJJa uT aq oa "".u11,rJ Bt6I xggl€tass ur panssT ral?aT uoTleuTuua?ap aq1 :oJ snle?s lduaxa ?,{& '(Z) (e) eOS uoTlcas uT paqT:csap uoTlezlue6:o uE sT ?T asnPcaq 'apoC aq+ Jo (e) eog uoTlcas uT pauTJap se uoT?EpunoJ e1ea1:d e ?ou sT ?PqX uoTlezlue6:o ue sE paTJTssETc :eql:n3 sT ?r '(g) (c)ros uoT?3es apoc anuaaau TEU:a?ur uT paqTrcsap se g?5I Ugexg1,ags uT xee auocuT Te:apa.{ uo:J lduaxa aq 01 pazTu6oca: seA uoTlezlue6ro sTt{? 1eq1 e?€oTpuT sp:oca: rno uoTlezTueb:o peuPu aloqe aql :oJ :el1aT uoTleuTmralap aq? Jo .ddoc e JoJ Xsanba: :no.f, oX asuodsa: uT sT :aleaT sTt{,1 ::a.f,edxeJ, :Pag I'85OEI-E5 : NI3'9NI SUelYla llrNills{o3 v|Leg\n :3u E55r 'gT Uggl€lA3S :eleo s6t1L0 0?:o141deg.re1eg g|ez-t68 (C1Z) :JaquJnN euoqdalea lsctYllFPg "1 :l3PluOC Ol uOSJed 89035 ';rlPl 'seletuv so'] oggz xo8 'o'd A.lnseo: t atll Jo luartrl:eda6; /c8I-1E926 Y3 'H3Y!s YNn9Yl'o8 NO.LI$3 YN,U9Y',] 909' 3NI SU3.LV'la Ll:iit$.iOf, YNII3Y'I " JOlsAr rO :SrJlslc est^Jas enuaAaH leuJalul130 AU6 5 0 t9e5 The undersigned cerEify E,haE: 1. ?hey are che presidenc, .and Secre.Eary,respec E, ivety, of I*AGUNA coHMUNrry ii.nyens , rNc . 2. ArEicle FrRsT of Ehe ArEicles of rncorporaEion ofthis corr)oraE,ion is amended eo i"ia-"" folrows: FrRsT: The name of t,his corporacion is THE r,AGuNAPT.AYHOUSE. 3. The fore,going amendmenE, of Art,icles ofTncorporat,ion has been-duty appi"rr"a uv rtre -uoiia ofdirect,ors. 4: The foregoing amendmenE, of ArEicles ofrncorporaE,ion has been-duly appi"rr.J uv-ir,"-i"q.rired voE,e ofmernbers $le further declare ulder-penaley of perjury und,er Ehelaws of r,he sE,ate of californii-irrii'trr" maE.E,ers seE forr,hin t'his certificate are Erue and, correcE of our ownknowledge. .< DaE,e , Atr,1t,<+ ?-a , 1995 "///t*a--e.7* /qa- A{65239 cBRrrtrctTE or ^!GErUlGlrl OF rRtIcLlS OP tti3coRPORlTroN OF ENDCRS iD FILED ln lhe dlice :l rhe Srcretar/ 0f Slrteol fhe Stils cl Catilornra Carl E. Schwab, PresidenE 131 A{65239 t_ F ,t t/.Stotg c8[iro, SECRETARY OF n|o STATE'S OFFICE COR PORATION DI \,'ISION hereby certify That the annexed transcript has been compared with the corporate record on file in this office, of which it purports to be a copy, and that same is full, true and correct. lN WITNESS WHEREOF, I execute this certificate and affix the Great Seal of the State of California this I, BILE"IONES, SecreFaryof State of thtl State of California, AUG 5 | 1995 SccrctarY of Stctc -+'*:f *,._ef ' 132 133 134 ITEM X.A.6. 2023 CULTURAL ARTS GRANTS - ATTACHMENT F 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 NEWPORT BEACH CITY ARTS COMMISSION 2023 CULTURAL ARTS GRANT APPLICATION (Applications must be typed or word-processed- you may reformat on the computer as long as it appears the same: i.e. use Times New Roman 12 point and the same pagination.) Pacific Symphony_____________________________________________________________ Popular Name of Organization Pacific Symphony Association_________________________________95-3635496________ Legal Name (if different) Federal Tax ID No. 17620 Fitch, Suite 100 ______________________________________________________ Mailing Address Irvine, CA 92614-6081 City Zip Luisa Cariaga, Director of Institutional Giving 714-876-2369Contact Name Telephone 714-755-5789 LCariaga@PacificSymphony.org www.PacificSymphony.org FAX E-mail Web Site Orange County Geographical Area Served Have you received a City of Newport Beach Cultural Arts Grant before? Yes If so, when? June 2022 Year organization was founded 1978 Number of paid staff 50 # of active volunteers 2,420 Total amount requested: (from request line of project budget) $ 5,000 Estimated number of people in Newport Beach the proposed project(s) will serve: 727 ITEM X.A.6. 2023 CULTURAL ARTS GRANTS - ATTACHMENT G 151 CULTURAL ARTS GRANT APPLICATION 1. Briefly describe below your organization’s purpose, mission, and goals. Pacific Symphony inspires, engages and serves Orange County through exceptional music performances and education and community programming. It was founded in 1978 to produce classical music concerts in Orange County and is the largest American music ensemble formed in the last 50 years. Despite setbacks due to the pandemic, Pacific Symphony’s organizational goals for 2023 remain the same, to: 1) Establish itself as a beacon of artistic achievement and Orange County’s artistic ambassador; 2) Attract, engage and serve a larger and more diverse audience in the county and the surrounding region; 3) Engage its diverse community to inspire curiosity, improve well-being and to connect with citizens through a deeper appreciation and love of classical music; and 4) Develop an optimal mix of philanthropic, earned and capital resources to ensure long-term capacity and achieve strategic goals. In a normal year, the orchestra presents more than 100 performances for the public, serving 275,000 residents and visitors. Its education and community engagement programs produce more than 3,000 distinct learning and arts participation opportunities annually. Now operating in-person again, programs and services provide interactive music enrichment for K-12 students through Class Act (the focus of this request), and also serve under-represented and vulnerable populations through the Heartstrings initiative and other specially-designed and tailored programs for residents 2. Identify and describe why there is a need in the Newport Beach Community for your proposed project/program. Include a quantitative description of the need and on what you based your findings (i.e.“Based on a study done by the PTA, there are one hundred children in the 4th-6th grades at NewportElementary who have had no training with musical instruments.”) Describe how you have determined thatyour organization is the best organization for the proposed project/program Unmatched in the county, Class Act offers opportunities for students to learn from members of the Pacific Symphony orchestra. Musicians serve as teaching artists, coaches and mentors, making students feel distinct and special. Now operating fully in-person, Class Act inspires schoolchildren to achieve their academic goals through music enrichment, helping them acquire key life skills and gain benefits from studying the arts, which is proven to advance student scholastic performance. For example, The National Science Foundation researched connections between musical instruction and attention span in 2014 and 2016, and found that music education is associated with improvements in math, reading, cognitive ability, critical thinking, creativity and communication skills. Music has also been shown to improve motivation, concentration, confidence, empath and teamwork. Two Newport Beach schools are participating again in 2023: Andersen and Newport Coast Elementary Schools. Both are 14-year program veterans and can affirm to the multiple-year effectiveness of their student participants in the program. Specifically, a University of Florida study found that: 1) students who study the arts for four years in high school score 98 pints higher on SAT tests compared to those who studied six months or less; and 2) music appreciation students scored 61 points higher in verbal and 42 points higher in math on SAT tests. Class Act enhances arts learning for students in the district and has served as an inspiration to expand music programs in Newport Beach schools. Class Act is the only arts education program in Orange County which offers the expertise of Symphony-affiliated musicians. 152 3. Describe the specific project/program that will be funded by a cultural grant. Include how the proposed project/program will be implemented and outline a schedule or project timeline, with planned dates and locations. Identify individuals and groups involved, particularly artists and performers, and describe their roles and responsibilities. Describe the background and qualifications of your organization and key personnel to be involved in the program. Remember: the City funds only projects and programs- not operating expenses. These projects and programs must promote community involvement and awareness of the arts in Newport Beach. Is this a new_____ or existing __X__ project/program? Grant funds are requested for the Class Act Music Education Program in two Newport Beach schools. For 28 years, Class Act has met the need for professional music education to help Orange Cunty schools advance student achievement. Class Act trains and places Pacific Symphony union musicians into local schools where students receive the value of music learning from teaching artists. Musicians serve in year-long residencies focused on the fundamentals of music through age-appropriate classroom instruction, on-site school performances and a trip to the concert hall for full Symphony performance. Class Act runs from September to June each year, with school and student participation beginning in February 2023. The program staff designs Common Core curriculum-based workshop materials and lesson plans for all schools. The 2022-23 composer is Johann Sebastian Bach with the theme “Musical Conversations.” Materials are delivered to classroom teachers during professional development and training workshops where they learn to integrate music into all areas of learning. In-person student activities and workshops run from February to June, with Youth Concerts presented in May. Assessments and evaluation are conducted during and after all student activities. Staff measures program effectiveness throughout the year to monitor student progress and to ensure outcomes and goals are met. Class Act engages the entire student body at Andersen and Newport Coast Elementary Schools, as well as the teachers, principals, parent coordinators, administrators and volunteers. There are five Pacific Symphony musicians who serve fourteen schools in the 2023 Class Act program, with schools assigned a different musician each year. The program is led by Vice President of Education and Community Engagement Susan Kotses, who has fifteen years of experience with the Symphony and in the education field. Class Act utilizes a staff of seven, led for seven years by Director of Education Jonathan Terry, with the staff managing, coordinating and overseeing program components and activities. Since its beginning, Class Act has served more than 335,000 students, teachers and principals in Orange County over a 28-year history. 4. Define or describe the segment of the population in Newport Beach that you intend to serve by your project/program. Include such things as age, location, numbers served, etc. In 2023, Class Act will serve 690 children in two Newport Beach elementary schools: Andersen with 320 students and Newport Coast with 370 students; together with 35 teachers and 2 principals (727 total). Each school serves Kindergarten to 6th grade students, ages 5-11. Both schools have partnered with Class Act for fourteen years each and have seen great progress and benefits for their students over the years and with the support of a 2022 grant from the Newport Beach City Arts Commission. 153 5. Complete the project budget form. Address only the budget for the specific project, not your annual operating budget. For multi-project proposals, please duplicate and fill out a budget for each project. Please annotate the budget at the bottom if there are details (such as a breakdown of personnel or a marketing budget) critical to the proposal. PROJECT BUDGET Funding from the Funding from EXPENSES-Personnel City of Newport Beach Other Sources Artistic 2,000 25,000 Administrative 1,000 9,250 Technical Production 1,000 3,000 EXPENSES-Operating Facility Exp./Space Rental Marketing Production/Exhibition Expense Touring/Presentation Expense Educational Materials 1,000 4,520 Transportation Equipment Other (if greater than 10%, annotate below) GRAND TOTAL $5,000 $41,770 6. Describe the expected quantifiable outcomes of your project/program and how you will evaluate the results. Be very specific in addressing the ways that you will determine that your project/program met the needs that you identified and accomplishes the goals you set out to achieve (i.e. you provide 50 hours of musical instruction and instruments to the 100 children at Newport Elementary school as measured by music store rental receipts and logs of instructors.) The overall desired outcome is for K-6 children in each elementary school to improve their academic achievement through the Class Act music education program. The overarching outcome for educators is to improve their music aptitude in order to teach the arts more effectively, and augment student learning in music. The quantifiable outcomes for 690 Newport Beach students and 35 teachers in 2023 are: a. A total of 75% or 518 of the estimated 690 students will demonstrate increased knowledge about the Class Act composer of the year and their music. Outcomes are measured through pre- and post-program testing, questionnaires and teacher surveys. b. A total of 449 students out of 690 will express their desire to further engage in music and the arts, representing 65% of all Class Act students. Results are quantified through pre- and post-program surveys, along with parent/teacher comments and feedback, and student enrollment in subsequent music and arts programs. c. A total of 80% or 28 of the 35 Class Act teachers will increase their capacity to teach the arts more effectively and better support the Common Core in their classroom. The results are measured from teacher and principal surveys, individual interviews, one-on-one follow-up and Zoom/in-person meetings with teachers. 154 7. Attachments Requested Please do not send material in excess of what is requested; it will not be seen by the City Arts Commission. • A list of Board Members and their affiliations • A recent list of individuals, corporations and foundations that provide organizational support- not to exceed one page. • If you are a 501(c) (3) organization attach a copy of your IRS determination letter (or your fiscal agent’s) indicating tax exempt status. • One brochure and/or one press clipping. Do not send photos, videos, CDs or any other extraneous material. It will not be presented to the City Arts Commission. 8. Please complete this operating budget form for 2022/2023 and 2023/2024. This is not the project/program budget for which you are applying, but your overall organizational budget. You may annotate at the bottom if there are details critical to the proposal. OPERATING BUDGET 2022/2023 Budget (current) 2023/2024 Budget (projected) I.Income (cash only) Contributed 14,224,494 14,225,750 Earned 9,464,571 9,520,195 Total Income 23,689,065 23,745,945 II.Expenses Program 15,761,255 15,761,300 General and Administrative 2,611,353 2,612,200 Marketing and Development 5,299,077 5,300,595 Total Expenses 23,671,685 23,674,095 III.Operating Surplus/Deficit (Income minus Expenses) 17,380 71,850 IV.Fund Balance at Beginning of Year (2,083,624) (2,066,244) V.Accumulated Surplus (Deficit) (Add lines III and IV) (2,066,244) (1,994,394) VI.In-Kind Contributions (attach schedule if greater than 10% of total income) 0 0 Notes: Pacific Symphony experienced its first deficit in FY21 due to the pandemic, which is noted under IV. Fund Balance. With the concert hall re-opened, ticket sales/earned income fluctuates while contributed income fills the gap to balance the budget. Projections for 2023/2024 remain the same as audiences slowly return. 9. I verify that the information submitted in this application is true and correct to the best of my knowledge. Name Luisa Cariaga ______ Title Director of Institutional Giving Signature___Luisa Cariaga___________________________ Date January 3, 2023 155 Board of Directors 2022-23 Sally Anderson, Community Leader *Susan Anderson, Vice Chair/Philanthropist *Leona Aronoff-Sadacca, Retired Lindsay A. Ayers, Carothers DiSante LLP Eric B. Chamberlain, Bank of America *Jo Ellen Chatham, Retired Patrick Chen, JETCC Investments *Carol Choi, United Exchange Corporation Robert F. Davey, Retired Ginny Davies, Community Leader William Dolan, U.S. Bank Lucy Dunn. Orange County Business Council Cynthia Ellis, Musician Representative Catherine Emmi, Community Leader *John R. Evans, Chair/Retired *John E. Forsyte, President and CEO *Barbara Foster, Insights Worldwide Maria Francis, Community Leader *Michael S. Gordon, First Q Capital Nick Guanzon-Greenko, Tangram Interiors *Rondell B. Hanson, Community Leader Donald Hecht, Calif. Southern University Michelle M. Horowitz, Community Leader James Newton Howard, JNH Studios Donald Hu, JDH Pacific *Jerry Huang, Vizio Inc. Scharrell Jackson, Lendistry Reza Jahangiri, American Advisors Group Hon. John Mark Jennings, In-N-Out Burger *Seth R. Johnson, Community Leader Edward Kim , Chief Physician, City of Hope *Joann Leatherby, Secretary/Leatherby Fdn Agnes Lew, East West Bank Marilyn Liu, Community Leader Robin Liu, President, Cabinetry 1 Inc. *Phillip N. Lyons, Pinecreek Investment Co. *Diana Martin, Diana Martin Gifts Brian Maryott, Politician *Patricia McAuley, Community Leader David V. Melilli, David Melilli Company Louise Merage, Merage Family Foundation Laszlo Mezo, Musician Representative Abbas Mohaddes, Econolite Timothy J. Molnar, Wealth Mgmt Advisor Maurice Murray, J.P. Morgan Private Bank Tawni Nguyen, Merrill Lynch Wealth Mgmt Stacey E. Nicholas, Philanthropist *Mark Nielsen, Treasurer, TextPower, Inc. *Arthur Ong, Executive Vice Chair/PIMCO David A. Ontko, Disneyland Resorts *Anoosheh Oskouian, Ship & Shore Environ. Karin Pearson, Capital Group John B. Peller, Community Leader *Judith Posnikoff, Martlet Asset Mgmt, LLC Michelle Rohé, Community Leader Chiyo Rowe, Community Leader Ed Sachs, City of Mission Viejo Councilman Scott Seigel, California Closets Ronna Shipman, Retired Evan B. Siegel, Ground Zero Pharma Hon. Warren Siegel, OC Sup Court (ret) Ron Simon, RSI Holding Corporation Elizabeth D. Stahr, Community Leader Walter Stahr, Author/Community Leader *M.C. Sungaila, Buchalter Law Firm *CarolAnn Tassios, Community Leader Andy Thorburn, Community Leader *Christopher Tower, BDO Seidman LLP David H. Troob, Troob Capital Management *Bart Van Aardenne, Terranet Framroze Virjee, CSU Fullerton President Robert Vos, Musician Representative W. Henry Walker, F&M Bank *Judy Whitmore, Community Leader Jennifer Wilson, Bohm Wildish Matsen LLP Nancy Wong, Real Estate Investor Jane Fujishige Yada, Fujishige Farms, Inc. *Charles Zhang, Zion Enterprises LLC Officers in Bold *Executive Committee Rev. 11/18/2022 156 Pacific SymphonyContributed Income 2021-22 for fiscal year ending June 30, 2022 Foundations and Corporations 2021-22 Hal and Jeanette Segerstrom Family Foundation 650,000$ Ahmanson Charitable Community Trust 280,000$ Zion Charity Foundation 255,000$ Jewish Community Foundation of Orange County 228,000$ The Nicholas Endowment 214,000$ Orange County Community Foundation 212,500$ Lyons Share Foundation 211,000$ Kohl Family Foundation 200,000$ William and Nancy Thompson Foundation 200,000$ Fidelilty Charitable Gift Fund 137,500$ Joe MacPherson Foundation 125,000$ Palm Springs Friends of Philharmonic 120,000$ Farmers and Merchants Bank 120,000$ Schwab Charitable Fund 101,000$ Simon Education Foundation 100,000$ Orco Block Company 65,000$ Bank of America Foundation 65,000$ Janet Curci Family Foundation 62,500$ Loftus Family Foundation 60,000$ California Community Foundation 60,000$ Palm Foundation 50,000$ Argyros Family Foundation 50,000$ National Christian Foundation California 50,000$ Merage Family Foundation 50,000$ The Colburn Foundation 50,000$ US Bank 46,000$ SchoolsFirst Federal Credit Union 44,000$ California Closets 40,000$ Capital Group 38,700$ Isidore and Penny Myers Foundation 36,100$ Chapman University 35,000$ Wilfred and Janet Roof Foundation 35,000$ JETCC International, Inc.30,000$ California Southern University 30,000$ Troob Family Foundation 25,000$ Green Foundation 25,000$ Prezents, Inc.25,000$ East West Bank 20,000$ Cunard 20,000$ The UCI Foundation 20,000$ Ernest and Irma Rose Foundation 20,000$ Asian Pacific Community Fund 20,000$ Margolis Family Foundation 20,000$ League of American Orchestras 18,760$ Pacific Life Foundation 15,000$ Blossom Siegel Family Foundation 15,000$ Greenburg Gross LLP 15,000$ St. Louis Community Foundation 15,000$ Shanbron Family Foundation 10,000$ BNY Mellon 10,000$ Cisco Corporate Social Responsibility 10,000$ Crean Foundation 10,000$ Nellie Leaman Taft Foundation 10,000$ David And Molly Pyott Foundation 10,000$ Ueberroth Family Foundation 10,000$ St. Paul & Minnesota Foundation 7,500$ Mark Chapin Johnson Foundation 5,500$ AYCO Charitable Foundation 5,500$ The PIMCO Foundation 5,000$ Vanguard Charitable Endowment 5,000$ O.L. Halsell Foundation 5,000$ Alaska Airlines 5,000$ Labowe Family Foundation 5,000$ Roosters Foundation 2,500$ PepsiCo 2,500$ Miracle Fund Foundation/OCCF 2,500$ Robinson Foundation 2,500$ D'Addario Foundation 2,000$ Total Foundation and Corporate Support 4,450,560$ Government National Endowment for the Arts 25,000$ California COVID Relief Grant 25,000$ County of Orange COVID Relief Grant 16,200$ City of Mission Viejo 60,000$ City of Newport Beach 5,000$ Total Government Support*131,200$ Total Institutional Funding 4,581,760$ *Excludes PPP and SBA federal relief grants 157 158 159 PACIFIC SYMPHONY CLASS ACT PROGRAM 160 PAGE | 11 TESTIMONIALS CLASS ACT “Class Act has been a wonderful tradition that I look forward to every year. From getting to know the musicians, learning about the composers and seeing the joy on the children’s faces when they learn something new, the program is very near and dear to my heart. It is a true treasure!” Erin C., PFO Co-President, Harbor View Elementary, Corona Del Mar “I have learned so much about the variety of composers through the last 7 years of being in the program. The historical information gained has been beneficial in my recent travels throughout Europe which allowed me to see firsthand some of the historic sites mentioned in the Class Act program.” Dr. Shannon B., Principal, Roy O. Andersen Elementary, Newport Beach “Through Class Act, I’ve learned so much about the composers. Of course we’ve all heard about the famous names, but we learned about the history, lives, and music in an entertaining, interactive way which catches the students’ attention.” Lisa K., Parent Coordinator, A. E. Arnold Elementary, Cypress “My children program the new composer every year on our home Pandora channel - for a student to be impacted that much to add a channel to listen to classical music at home is amazing! Well done Class Act!” Natalie P., Parent Volunteer, Montevideo Elementary, Mission Viejo “Class Act stimulated my interest and love for music, as now I want to be a music major in college. I also found out about the Pacific Symphony Youth En-sembles through this and have been in PSYWE for 4 years.” Kyle G., Former Class Act student “Our students would probably not be exposed to great com-posers and symphonies if it weren’t for our partnership with Class Act. Getting to know one musician and his/her instru-ment is a great experience for our students. Class Act truly ties in with our music program. Dr. Maggie B., Principal, Patrick Henry Elementary, Anaheim “Class Act has set the stage for a strong music program at Stoddard. Students learn about the composers and at the same time, learn about and from the musicians. This has positive re-verberations across the school and the curriculum.” Wayne O., Parent Coordinator, Alexander Stoddard Elementary, Anaheim “Class Act has brought musical knowledge and the love for it to our school. The students love learning about the music and that they are capable to learn to play an instrument.” Michelle K., Teacher, Loara Elementary, Anaheim “Through Class Act there is a connection our students can make with music about our past, present and future world.” Belen G., Principal, Adelaide Price Elementary, Anaheim 161 PAGE | 12 TESTIMONIALS CLASS ACT “My favorite part of the Class Act Year are the Youth Concerts at Segerstrom. The students got to hear professional musicians and got to see what it looks like to pursue music at a high level.” Ben H., Instrumental Music Teacher, Red Hill Lutheran School, Tustin “I have loved being involved with the symphony. I feel a personal connection when I go to see a performance and recognize our Class Act musicians.” Sue S., Teacher, Victoria Elementary, Costa Mesa Through Class Act I have learned more about each composer. Not only do I read and hear about the lives of the composer, I am teaching about the composer and creating performances for the Bravo assembly that help me integrate more information.” Christina F., Music Teacher, Sunkist and Loara Elementary, Anaheim“ “Class Act has impacted our school by introducing students to classical music that they have never heard before and be able to learn the music on multiple instruments.” EJ V., Music Teacher, Orange Grove Elementary, Anaheim “My granddaughter has Down Syn-drome and when we listen to KUSC she recognizes all the Tchaikovsky pieces because that was the com-poser they studied this year. She also knew that the piece was part of the Nutcracker and would sing along with the music.” Mia B., Grandmother and volunteer, Montevideo Elementary, Mission Viejo “As a parent in Class Act, I learned about all the programs available to students with an interest in pur-suing music at a higher level. I also learned that most professional musicians (at the symphony and elsewhere) are very encouraging and willing to help students make their way into broader musical experiences.” Melanie G., Former Parent Coordinator 162 NEWPORT BEACH CITY ARTS COMMISSION 2022-2023 CULTURAL ARTS GRANT APPLICATION (Applications must be typed or word-processed- you may reformat on the computer as long as it appears the same: i.e. use Times New Roman 12 point and the same pagination.) South Coast Repertory (SCR) Popular Name of Organization South Coast Repertory, Inc. 95-6122708 Legal Name Federal Tax ID No. 655 Town Center Drive, PO Box 2197 Mailing Address Costa Mesa 92628-2197 City Zip Domenick Ietto____________________________________________________714-708-5574________ Contact Name Telephone 714-708-5529___________________domenick@scr.org______________________scr.org__________FAX e-mail Web Site Orange County, CA Geographical Area Served Have you received a City of Newport Beach Cultural Arts Grant before? _Yes_ If so, when? Numerous grants beginning decades ago, most recently in 2016, 2019, 2021 Year organization was founded 1964 Number of paid staff __97 __ # of active volunteers 400 Total amount requested: (from request line of project budget) $5,000__ Estimated number of people in Newport Beach that the proposed project(s) will serve: The project was available to all. We estimate that 1,800 residents of Newport Beach attended performances (see response to question 4) ITEM X.A.6. 2023 CULTURAL ARTS GRANTS - ATTACHMENT H 163 2 CULTURAL ARTS GRANT APPLICATION 1. Briefly describe below your organization’s purpose, mission, and goals. Purpose: South Coast Repertory serves its home community of Orange County and advances the American theatre art form by presenting plays that meet the highest standards of artistic and literary excellence. SCR offers live performances of full professional productions on two stages at The David Emmes/Martin Benson Theatre Center. Programming reflects classic and modern repertoires as well as new work by America’s finest playwrights. SCR also serves the community by providing a wide array of education and outreach programs, including fully staged Theatre for Young Audiences productions, which bring the vitality and magic of professional theatre to students of all ages, especially those from underserved areas, along with a full range of theatre training classes ranging from young beginners to aspiring professionals taught by renowned theatre professionals. In 2021, our theatre introduced Outside SCR, as a new summertime series of fully staged outdoor productions, presented at Mission San Juan Capistrano, partially in response to the COVID-19 pandemic. The series continues this summer with a musical production soon to be announced. Mission & Goals: SCR was founded in the belief that theatre is an art form with a unique power to illuminate the human experience. We commit ourselves to exploring urgent human and social issues of our time, and to merging literature, design, and performance in ways that test the bounds of theatre's artistic possibilities. We undertake to advance the art of theatre in the service of our community and aim to extend that service through educational, intercultural, and community engagement programs that harmonize with our artistic mission. 2. Identify and describe why there is a need in the Newport Beach Community for your proposed project/program. Include a quantitative description of the need and on what you based your findings (i.e. “Based on a study done by the PTA, there are one hundred children in the 4th-6th grades at Newport Elementary who have had no training with musical instruments.” ) Describe how you have determined that your organization is the best organization for the proposed project/program. Regional theatres such as South Coast Repertory have significant economic and social-progress impact in the communities they serve. Currently, SCR reaches approximately 60,000 audience members from throughout Orange County through performances and arts-education programs and has an economic impact of approximately $50 million, as estimated by using multipliers that include direct and indirect spending (restaurants, hotels, transportation, etc.) in addition to the cost of theatre tickets. Another positive outcome of an arts organization like SCR in the community is strongly expressed in the quote below from a 2019 study from the John S. and James L. Knight Foundation entitled Community Ties: Understanding What Attaches People to the Place Where They Live: "Of all of the amenities explored in the survey, only one - access to arts and cultural activities -stood out for its potential to enhance both feelings of attachment and concrete actions, having the potential to boost feelings of satisfaction and lifestyle fit, and also correlating with greater investment of time and resources in the community." 164 3 In order that those from all economic backgrounds may participate, SCR offers free or deeply discounted tickets to numerous performances through programs such as Theatre Access and MyStage. SCR also provides arts experiences and theatre-related training programs to young people in Orange County. We offer award-winning programs such as Theatre for Young Audiences and Neighborhood Conservatory that directly serve students from economically disadvantaged backgrounds through innovative partnerships with Title 1 schools. These students are given free tickets and their schools receive transportation subsidies (primarily for buses) in order to remove any obstacles for those who wish to participate. Due largely to restrictions on live performances during the COVID-19 pandemic, recent SCR seasons have also offered digital online programming. In the current 2022/23 season, our theatre is returning fully to live performances for in-person audiences. 3. Describe the specific project/program that will be funded by a cultural grant. Include how the proposed project/program will be implemented and outline a schedule or project timeline, with planned dates and locations. Identify individuals and groups involved, particularly artists and performers, and describe their roles and responsibilities. Describe the background and qualifications of your organization and key personnel to be involved in the program. Remember: the City funds only projects and programs- not operating expenses. These projects and programs must promote community involvement and awareness of the arts in Newport Beach. Is this a new_____ or existing __X_ _ project/program? For the current season, South Coast Repertory requests a Cultural Arts Grant to assist as we happily (and cautiously) return fully to the classic Theatre for Young Audiences format of free school-day matinees for elementary school students, augmented with daytime and evening performances for the general public. The play selected for TYA in our 22/23 season is a thoughtful, often-humorous retelling of the Brothers Grimm fable, Snow White, as adapted by Greg Banks, whose earlier takes on other children’s favorites, Pinocchio and Robin Hood, have also been seen at SCR. In total, twenty-five live performances of Snow White took place in November 2022, including ten free weekday matinee shows for students and teachers, mostly from low-income Title 1 schools; two paid matinee school-day performance; and thirteen “family friendly” weekend performances for the general public. SCR provided bus transportation subsidies to Title 1 schools to assist those attending matinee performances. Approximately 5,800 individuals attended this season’s live TYA performances, the majority being elementary school students from the Newport Mesa and Santa Ana Unified School Districts. Snow White was directed by H. Adam Harris, SCR’s Artistic/Audience Engagement Associate, who had appeared as an actor in a 2019 production of the play at Children’s Theatre in Minneapolis. which had commissioned the work. In reimagining this classic tale for the stage, playwright Greg Banks has two actors playing all fourteen characters in the story including - in a dazzling display of energy and creativity - each of the Seven Dwarves! (Cast members and creative team of SCR’s production of Snow White are highlighted in the attached Performance Guide.) 165 4 Banks’ version still retains the evil and greedy “dysfunctional family” of the original tale, but in his approach, the gentle yet fearless Snow White makes her own choices, forms a new family, and through kindness and intelligence, achieves a happy ending, mostly of her own making. It is an engaging, humorous, fun to watch production and it is particularly inspiring to young people who are striving to overcome adversity with positivity. Since its inception, SCR has now brought 49 distinctive plays to the Julianne Argyros Stage for TYA, including such favorites as: James and the Giant Peach; The Borrowers; The Night Fairy; The Wind in the Willows; The Little Prince; The Stinky Cheese Man and Other Fairly Stupid Tales; Junie B. Jones and a Little Monkey Business; A Wrinkle in Time; Charlotte’s Web; The Miraculous Journey of Edward Tulane; OZ 2.5; A Year With Frog and Toad; Pinocchio; The Light Princess; Amos & Boris; Nate the Great; Naked Mole Rat Gets Dressed: The Rock Experience; The Velveteen Rabbit; Alexander and the Terrible, Horrible, No Good, Very Bad Day; Where the Mountain Meets the Moon; Red Riding Hood (filmed and presented online); and last season’s Last Stop on Market Street (presented in both live and online formats). What sets TYA productions apart from many other works designed specifically for children is that they are held to the same exacting standards as SCR’s adult shows, using professional actors, designers, and directors. We believe strongly that a high-quality introduction to theatre, utilizing the latest technological tools for the stage, is the best means of creating interest and enthusiasm among young people and may lead them to a lifelong appreciation of the performing arts. 4. Define or describe the segment of the population in Newport Beach that you intend to serve by your project/program. Include such things as age, location, numbers served, etc. SCR’s 2022/23 season TYA production of Snow White was offered free-of-charge to elementary schools in the Newport Mesa Unified and Santa Ana Unified School Districts and there were paid performances available to all members of the general public. Approximately 5,800 individuals attended this season’s live TYA performances in November 2022, the majority being elementary school students from the Newport Mesa and Santa Ana Unified School Districts. 5. Complete the project budget form. Address only the budget for the specific project, not your annual operating budget. For multi-project proposals, please duplicate and fill out a budget for each project. Please annotate the budget at the bottom if there are details (such as a breakdown of personnel or a marketing budget) critical to the proposal. PROJECT BUDGET Funding from the City of Newport Beach Funding from Other Sources EXPENSES-Personnel Artistic 5,000 141,000 Administrative 37,000 Technical Production 116,000 EXPENSES-Operating Facility Expense/Space Rental n/a Marketing 98,000 166 5 Production/Exhibition Expense 18,000 Touring/Presentation Expense 6,000 (royalties) Educational Materials Included in marketing expenses Transportation 7,000 (bus subsidies) Equipment Included in tech/production expenses Other (if greater than 10%, annotate below) 38,000 (ticket subsidies) GRAND TOTAL $466,000 6. Describe the expected quantifiable outcomes of your project/program and how you will evaluate the results. Be very specific in addressing the ways that you will determine that your project/program met the needs that you identified and accomplishes the goals you set out to achieve (i.e. you provide 50 hours of musical instruction and instruments to the 100 children at Newport Elementary school as measured by music store rental receipts and logs of instructors.) SCR will present the professionally-staged theatrical production of Snow White, designed to appeal to young people and family audiences as part of its Theatre for Young Audiences (TYA) series. The following outcomes are expected: • provide a meaningful introduction to the theatrical arts for school children through engaging theatre experiences, • incorporate theatre into the educational experience of elementary school children with an entertaining, thematically-appropriate play with subject matter supported by on-line study guides • expand the range of educational tools available to teachers through an intellectually stimulating musical play which can act as a reinforcing supplement to classroom instruction. SCR collects the following qualitative and quantitative feedback to help evaluate each TYA production: • number of students attending or viewing TYA presentations • feedback from students and teachers recounting their experiences • surveys to teachers from participating schools • total number of subscriptions and single tickets utilized for each public performance 7. Attachments Requested Please do not send material in excess of what is requested; it will not be seen by the City Arts Commission. • A list of Board Members and their affiliations • A recent list of individuals, corporations and foundations that provide organizational support- not to exceed one page. • If you are a 501(c) (3) organization attach a copy of your IRS determination letter (or your fiscal agent’s) indicating tax exempt status. 167 6 • One brochure and/or one press clipping. Do not send photos, videos, CDs or any other extraneous material. It will not be presented to the City Arts Commission. 8. Please complete this operating budget form for 2022/2023 and 2023/2024. This is not the project/program budget for which you are applying, but your overall organizational budget. You may annotate at the bottom if there are details critical to the proposal. OPERATING BUDGET FY21/22 Budget FY 22/23 Budget (projected) I. Income (cash only) Contributed 4,316,000 5,403,000 Earned 5,842,000 6,307,000 Total Income 10,158,000 11,710,000 II. Expenses Program 8,203,000 8,773,000 General and Administrative 1,049,000 1,557,000 Marketing and Development 906,000 1,380,000 Total Expenses 10,158,000 11,710,000 III. Operating Surplus/Deficit (Income minus Expenses) 0 0 IV. Fund Balance at Beginning of Year V. Accumulated Surplus (Deficit) (Add lines III and IV) 0 0 VI. In-Kind Contributions (attach schedule if greater than 10% of total income) NOTE: South Coast Repertory operates on a fiscal year that runs from September 1 through August 31. 9. I verify that the information submitted in this application is true and correct to the best of my knowledge. Name: Domenick Ietto Title: Grants Manager Signature Date: December 29, 2022 168 SOUTH COAST REPERTORY BOARD OF TRUSTEES 2022-2023 SEASON J. Steven Duncan PRESIDENT; Community Leader, Newport Beach Talya Nevo-Hacohen VICE PRESIDENT, Advancement, Chief Investment Officer & E.V.P., Sabra Health Care REIT, Irvine Michael R. Hards VICE PRESIDENT, Development; Community Leader, Orange Adrian S. Griggs VICE PRESIDENT, Finance; Executive V.P. & COO, Pacific Life Insurance Company, Newport Beach Michael C. Ray VICE PRESIDENT, Community Relations; Executive V.P., Western Digital Corporation, Irvine Leona Aronoff-Sadacca CEO, Aronoff Capital, Costa Mesa Martin E. Benson Founding Artistic Director, SCR, Costa Mesa Sophia Hall Cripe Community Leader, Newport Beach Rita H. Dailey Community Leader, Newport Beach David M. Emmes, Ph.D. Founding Artistic Director, SCR, Costa Mesa Carla Furuno Regional President, BNY Mellon Wealth Management, Newport Beach David Ivers Artistic Director, SCR, Costa Mesa Timothy J. Kay Partner, Snell & Wilmer LLP Deirdre Kelly Director of Career Services, Chapman University, Orange Lea Kong Community Leader, Foothill Ranch Joseph A. Lobe Senior Vice President, Wells Fargo Private Bank, Irvine Deepak Nanda Partner, Gibson, Dunn & Crutcher LLP, Irvine Tara Netherton Relationship Manager, Commercial Banking, U.S. Bank, Newport Beach Giulia Newton Community Leader, Irvine Mark Peterson Partner, O’Melveny & Myers LLP, Newport Beach Susan Shieldkret-Dull Community Leader, Los Angeles Samuel Tang Co-Founder & Managing Partner, TriGuard Management LLC, Irvine Paula Tomei Managing Director, SCR, Costa Mesa Ernesto M. Vasquez Partner & CEO, SVA Architects, Santa Ana Bruce Wagner Director & Senior Administrator, Commercial Banking Credit Administration, Union Bank, Irvine Felix Yan Executive Director, JP Morgan Private Bank, Irvine HONORARY TRUSTEES EMERITUS TRUSTEES Julianne Argyros Barbara Glabman Barbara Roberts Paul F. Folino Lydia Wang Himes Laurie Smits Staude Timothy Weiss Betty Eu Huang Sue Stern Olivia A. Johnson Mrs. DeLane J. Thyen Teri Kennady Socorro Vasquez Ann L. Mound Elaine J. Weinberg Carl Neisser Tod White 655 Town Center Drive, P.O. Box 2197, Costa Mesa, CA 92628 (714) 708-5500 169 12 • South CoaSt RepeRtoRy • FALL 2022 FRIENDS OF SCR • THE ANNUAL FUNDFRIENDS OF SCR • THE ANNUAL FUND LEADERSHIP The Shubert Foundation • The Nicholas Endowment • The Segerstrom Foundation SEGERSTROM STAGE PRODUCERS Julianne & George Argyros/Argyros Family Foundation* Sophie & Larry Cripe and John & Laura Drachman* • Michael Ray JULIANNE ARGYROS STAGE PRODUCERS Timothy & Marianne Kay*/Argyros Family Foundation U.S. Bank Foundation • Mickey & Nickie Williams* OUTSIDE SCR PRODUCERS Apriem Advisors* • Michael Ray Lisa & Richard de Lorimier • Bill & Carolyn Klein* Susan Shieldkret & David Dull* • Judy & Wes Whitmore NEW WORK SPONSORS Elizabeth George Foundation • National Endowment for the Arts THEATRE FOR YOUNG AUDIENCES PRODUCERS Leona Aronoff-Sadacca* EDUCATION SPONSORS Bank of America Foundation • Capital Group • John & Mabelle Hueston Hans & Valerie Imhof • Olivia & A. Andrew Johnson • The Kobrin Family Pacific Life Foundation PLAYWRIGHTS CIRCLE Sandy Segerstrom Daniels* • Dr. and Mrs. Robert Davey • David Emmes & Paula Tomei Laurie Smits Staude* • Julia Voce* and one anonymous donor *First Nights subscriber South Coast Repertory is honored and grateful to have more than 2,000 Friends of SCR who support our Annual Fund. Every year, the Friends contribute critical dollars to help us make up the difference between the income we receive from ticket revenue and the actual cost of producing plays, commissioning new works, bringing theatre to school children and all the other services that SCR provides to Orange County and beyond. Friends’ gifts range from $75 to more than $100,000. Each and every Friend of SCR plays a valuable role in the life of this theatre. 170 171 172 Newport Beach News South Coast Repertory’s ‘Snow White’ Adds New Wrinkles to the Classic Children’s Story November 17, 2022 Candace Nicholas-Lippman and Derek Manson in “Snow White” at South Coast Rep By Eric Marchese | Special to the NB Indy Many a contemporary playwright and screenwriter have returned to fairy tales for inspiration, creating new ways to tell stories we’ve all our lives. Greg Banks is a great example. An all-purpose theater guy (actor, director, playwright and scenic designer), Banks has specialized in creating stage adaptations of children’s classics such as “Pinocchio,” “Huck Finn,” “Sleeping Beauty,” “Robin Hood,” “Charlotte’s Web” and “The Jungle Book.” 173 South Coast Repertory has already produced Banks’ “Pinocchio” and “Robin Hood.” Now, and just in time for the holidays, the company brings his “Snow White” to the SCR Julianne Argyros Stage. The Banks versions of “The Jungle Book” and “The Hobbit” feature the use of smaller casts – in both cases, five actors. His “Snow White” really pares things down, with a cast of two playing all 14 of the story’s characters. If you think that’s a tall order, you see things as “Dwarf Four” does. SCR’s staging starts with Candace Nicholas-Lippman getting the ball rolling before castmate Derek Manson interrupts the play, protesting that “you can’t tell the story on your own.” To be more exact, the tale can’t be told by just two thespians. The pair next engage in a dispute as to whether this is possible, agreeing to leave the decision up to the audience. Naturally, our vote is a resounding “yes.” Nicholas-Lippman then assures us we’ll be seeing “what really happened” and insists this “is not a fairy tale – it’s real.” Derek Manson and Candace Nicholas-Lippman in “Snow White” at South Coast Rep 174 And so the two actors, under the direction of H. Adam Harris, take us back to the birth of the girl whose hair is black, lips are red, and has a heart “as pure as snow.” Her mother’s abrupt death leads dad to remarry a woman who’s “proud and arrogant,” with Lippman-Harris showing us the gleeful vanity of Snow’s new stepmom, who indulges in her own beauty. The evil queen also uses a magic mirror, asking the same question – “Who’s the fairest one of all?” – and always expecting the same answer (herself). Shocked to learn that her lovely stepdaughter is the land’s most beautiful person, she confines her to the castle and later sets out to have her killed. In Harris’ tight, fast-moving staging, Nicholas-Lippman and Manson hold our interest by offering broad sketches of the story’s many characters. Nicholas-Lippman’s plucky Snow White smiles and demonstrates good cheer even when lonely or discouraged. By contrast, the actress depicts the evil stepmother’s imperious, regal bearing, defining the character’s “rage” toward Snow White less as anger and more as moxie and a stubborn defiance of reality. Other personas emerge, as when the queen disguises herself as an ancient peddler roaming the woods selling apples, Nicholas-Lippman adopting an exotic accent, or in her portrayal of the boisterous, cocky prince who happens upon the cabin in the woods. In his actor persona, Manson at first shows trepidation at the seemingly impossible undertaking this version poses. His reluctance resurfaces when Snow White finds the cottage of the seven dwarfs deep in the forest, with Manson breaking the action and refusing to try to portray all seven of the little men. In scenes requiring Snow White and the queen, Manson takes over as the girl opposite Nicholas-Lippman as her stepmother. Gentle humor is a hallmark of playwright Banks’ script, SCR’s staging and Harris’ direction. The witty script keeps things moving while offering solid lines, as when the queen insists, “I don’t have to be nice – I’m beautiful,” and kids will enjoy the script’s plethora of knock-knock jokes. 175 Derek Manson and Candace Nicholas-Lippman in “Snow White” at South Coast Rep Banks’ stripped-down treatment of the story makes this staging less busy, so more accessible to young audiences. Family-friendly through and through, it’s sure to hold kids’ interest and even captivate them. And, by the way this version frames and depicts the violence and other dark terrors prevalent in most fairy tales, it makes them palatable and therefore less frightening to children. A subtle lesson to kids is that they should make every effort to be tolerant of and kind to each other, teaching them the value of cooperating, getting along with others, and adjusting to change and to unexpected events and situations. And, as Snow White comes to realize, the world outside of the castle isn’t the horrible, ugly place the queen has painted it to be – it’s filled with beauty, life, light and hope. 176 Fred Kinney’s all-purpose set design has a generic look that serves the story’s various locales. One of its finest effects is a great-looking full harvest moon that’s huge, deep red, and impressively realistic. Perched on the set’s upper level, keyboard player Phillip Matsuura and horn player Matthew McGraw accompany the action with music composed, arranged and directed by Leela Olesziewicz. This version of the classic is lighthearted, fun and easy to like – not too over- the-top nor excessively lively. And instead of hearing the typical, traditional storybook ending in which Snow White marries the prince and lives happily ever after, we’re instead given her side of the story – the version she wants us to hear. This is an admirably pleasant retelling of the “Snow White” story ideal for young audiences, unassailable by and impervious to any traditional criticisms. SCR’s staging shows and proves the power of imagination – what is essentially the magic of theater. That makes this a great version of “Snow White” through which to introduce your kids to the world of theater. Julianne Argyros Stage, South Coast Repertory, 655 Town Center Drive, Costa Mesa. Through November 20. Running time One hour, 20 minutes (no intermission). Tickets: $34-$46 general, $28-$40 children ages 4 to 12. Purchase/information: 714-708-5500, www.scr.org. 177 Theatre for Young Audiences & Families 2022/23 SEASON • JULIANNE ARGYROS STAGE Adapted by Greg Banks Directed by H. Adam Harris NOV. 4–20, 2022 178 presentsANNUAL SUPPORT SCR gratefully acknowledges the following donors for generously providing special underwriting support during the 2022/23 Season of Theatre for Young Audiences & Families and other educational programs. THEATRE FOR YOUNG AUDIENCES AND FAMILIES The Segerstrom Foundation Leona Aronoff-Sadacca Union Bank EDUCATION PROGRAM SPONSORS Bank of America Foundation Capital Group Pacific Life Foundation Canterbury Consulting Gibson Dunn Montauk TriGuard ENDOWMENT SUPPORT The long-term development of Theatre for Young Audiences and other educational programs at SCR is greatly assisted by the establishment of endowment funds. We deeply appreciate the following donors who have honored us with gifts: Folino Family Education & Theatre for Young Audiences Endowment General & Mrs. William Lyon Education & Outreach Endowment Camille & Eric Durand Endowment Pam & James Muzzy Endowment for Young Audiences Sue & Ralph Stern Endowment for Young Audiences William Randolph Hearst Endowed Education & Outreach Fund Yvonne & Damien Jordan Theatre for Young Audiences Endowment Draper Family Endowment THANK YOU EMMES/BENSON THEATRE CENTER • SEGERSTROM CENTER FOR THE ARTS 655 Town Center Drive, Costa Mesa, CA 92626 • (714) 708-5555 • scr.org 179 Theatre for Young Audiences & Families is made possible in part by a major grant from THE SEGERSTROM FOUNDATION DAVID IVERSArtistic Director PAULA TOMEIManaging Director DAVID EMMES & MARTIN BENSONFounding Artistic Directors presents ADAPTED BY GREG BANKS DIRECTED BY H. ADAM HARRIS SET DESIGNER FRED KINNEY COSTUME DESIGNER RAMZI JNEID LIGHTING DESIGNER ANDREA HEILMAN COMPOSER/ARRANGEMENTS/MUSICAL DIRECTION LEELA OLESZKIEWICZ CASTING JOANNE DeNAUT, csa STAGE MANAGER NATALIE FIGAREDO* HONORARY PRODUCERLeona Aronoff-Sadacca ANNUAL SUPPORT SCR gratefully acknowledges the following donors for generously providing special underwriting support during the 2022/23 Season of Theatre for Young Audiences & Families and other educational programs. THEATRE FOR YOUNG AUDIENCES AND FAMILIES The Segerstrom Foundation Leona Aronoff-Sadacca Union Bank EDUCATION PROGRAM SPONSORS Bank of America Foundation Capital Group Pacific Life Foundation Canterbury Consulting Gibson Dunn Montauk TriGuard ENDOWMENT SUPPORT The long-term development of Theatre for Young Audiences and other educational programs at SCR is greatly assisted by the establishment of endowment funds. We deeply appreciate the following donors who have honored us with gifts: Folino Family Education & Theatre for Young Audiences Endowment General & Mrs. William Lyon Education & Outreach Endowment Camille & Eric Durand Endowment Pam & James Muzzy Endowment for Young Audiences Sue & Ralph Stern Endowment for Young Audiences William Randolph Hearst Endowed Education & Outreach Fund Yvonne & Damien Jordan Theatre for Young Audiences Endowment Draper Family Endowment EMMES/BENSON THEATRE CENTER • SEGERSTROM CENTER FOR THE ARTS 655 Town Center Drive, Costa Mesa, CA 92626 • (714) 708-5555 • scr.org Produced by special arrangement with Plays for a New Audience. CORPORATE ASSOCIATE HONORARY PRODUCER 180 NO BABES IN ARMS ALLOWED. Everyone must have a ticket; children under the age of four will not be admitted to Theatre for Young Audiences & Families performances. To cause the least disruption, patrons who have not entered the theatre when the performance begins will be asked to watch the show on lobby monitors until an appropriate break in the performance. Latecomers, as well as those who leave the theatre anytime during the performance, may be assisted to alternate seats by the House Manager at an appropriate interval and may take their assigned seats at intermission. SCR accepts no liability for inconvenience. Special seating arrangements may be made in advance for disabled patrons by calling South Coast Repertory’s Ticket Services Department at (714) 708-5555. As a courtesy to all patrons and the actors, please turn off all electronic devices or switch them to non-audible mode before the performance begins. Photographing, videotaping or other video or audio recording during the performance is strictly prohibited. For Your Information Dwarf Four . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DEREK MANSON Snow White . . . . . . . . . . . . . . . .CANDACE NICHOLAS-LIPPMAN Keyboard Player . . . . . . . . . . . . . . . . . . . . . . .PHILLIP MATSUURA Horn Player . . . . . . . . . . . . . . . . . . . . . . . . . .MATTHEW MCGRAW *Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. Be sure to check out our website for the Snow White study guide, which features additional information about the play, plus a variety of other educational resources . scr.org Media Partner The Cast * * 4 181 These folks help bring all of our shows to life These folks are helping run this show backstage Gloria Perez – ASSISTANT STAGE MANAGER Maisie Chan – INTERIM PRODUCTION MANAGER Ramzi Jneid – PRODUCTION OFFICE MANAGER Erika Clark – PRODUCTION ASSISTANT Drea Little – ASSISTANT SET DESIGNER Peter Mitchell – STUDIO ASSISTANT Audrey Cook – COSTUME DESIGN ASSISTANT Jimmy Balistreri – ASSISTANT LIGHTING DESIGNER Hannah Ferla – LIGHT BOARD OPERATOR Spencer Toler – SOUND BOARD OPERATOR Ben Morrow – AUTOMATION OPERATOR Corbyjane Troya – WARDROBE SUPERVISOR/DRESSER Betsy Ruck – HOUSE MANAGER THESE FOLKS BUILT THE SCENERY Jon Lagerquist – TECHNICAL DIRECTOR John Gaddis IV – ASSISTANT TECHNICAL DIRECTOR Saskia Martinez – SCENIC CHARGE ARTIST THESE PEOPLE CREATED PROPS Jenna Scordino – INTERIM PROPS SUPERVISOR Byron Bacon – PROPS BUYER Madi Joseph – PROPS ASSISTANT THE FOLLOWING MADE THE COSTUMES Amy L. Hutto – COSTUME SHOP MANAGER Laurie Donati – FULL CHARGE COSTUMER Isabella Weiand – CUTTER/DRAPER Jordan Bridges, Lisa Lawrence – STITCHERS THIS PERSON FIXED THE HAIR & MAKEUP Allison Lowery – HAIR & MAKEUP SUPERVISOR THIS GROUP DEALT WITH LIGHTS & SOUND John Favreau – SOUND & VIDEO SUPERVISOR Kara Ramlow – LIGHTING SUPERVISOR Hannah Ferla – ELECTRICIAN And these folks helped get it ready for you DAVID IVERSArtistic Director PAULA TOMEIManaging Director BIL SCHROEDERMarketing & Communications Director HISA TAKAKUWAConservatory & Educational Programs Director DAVID EMMES & MARTIN BENSONFounding Artistic Directors KIM MARTIN-COTTENAssociate Artistic Director LORI MONNIERGeneral ManagerCLARE KIKLOWICZDirector of Development * * 5182 DEREK MANSON (Dwarf Four) I am so happy that you are here at the theatre, live and in person, to see Snow White! You might have seen me as Snoopy in SCR’s production of You’re A Good Man, Charlie Brown. In addition to chasing Red Barons and singing for suppers, I’ve also played a peach-riding centipede, a wicked aunt, and a skateboarding tiger boy, among others. I love doing theatre because it allows me to imagine how others may think and feel, and to discover their stories. In my opinion, that’s what makes theatre not only fun and exciting (which it is); it's also what makes theatre important. And one of the most important parts of the theatre is YOU, there, in the audience, watching and sharing the story we’re telling. Thanks for being part of the show! CANDACE NICHOLAS-LIPPMAN (Snow White) Now my story is a long one and you have a show to watch, so let's just skip to the good stuff, shall we? My journey really began after receiving my degree from college and taking the big leap, moving to Los Angeles to pursue my dreams of being a full-time artist! Sounds easy, but oh boy, it wasn’t! I’ve encountered a lot of hardships; but through faith and hard work, I was determined to never give up on my dreams! And I’m so happy I didn’t, cause guess what, little ones? I am doing it. I am living my dream! I get to act on TV, write and perform poetry, coach and teach young ones like yourselves; but most importantly, today, I get to bring the wonderful story of Snow White to life for you! So enough about me. Tonight is about YOU! I am performing for you. I hope you smile ‘til your cheeks hurt, laugh ‘til your belly aches and feel inspired to go after your dreams, too! Because no matter how young you are or where you come from, your dreams matter! ENJOY THE SHOW! Who’s WhoWho’s Who 10 183 PHILLIP MATSUURA (Keyboard Player) I am an Orange County-based pianist nearing the completion of a Doctor of Musical Arts at the University of Southern California. Having graduated from Northwestern University in Illinois with a Master of Music and Oberlin Conservatory in Ohio with a Bachelor of Music, I can say with confidence that cold weather is not my speed, so I decided to seek further education in a warm climate. I ended up back in my home state of California. My favorite way to make music is to do so while collaborating with others, and while my career thus far has involved considerable experience working with opera singers, instrumentalists and ballet dancers, this production is my first time collaborating with actors! MATTHEW MCGRAW (Horn Player) I have been a freelance trombonist in the Los Angeles area for over 20 years. I started band in junior high school. It was a class I didn’t even pick as an elective. After I left high school, I went to a local college and met older musicians, who showed me what I could do with music outside of school. Through music, I’ve toured the United States, Southern Europe, Japan and the Caribbean. I never thought I would make a living playing music and entertaining people of all ages, all over the world. in the Castin the Cast Artist BiosArtist Bios GREG BANKS (Adapter) I live in the UK, I’ve got four children and five chickens! I never expected to be a writer. I started out as an actor in a small company of six friends, performing our own work. As well as acting, I also directed, built scenery, designed posters and helped write the scripts, which we all did together. We performed anywhere that wasn’t a proper theatre—village halls, beaches, woods, playgrounds, quarries. Hard work, but tons of fun! Now, as I sit at my desk writing Snow White on my own, I imagine those old friends sitting on my shoulders, keeping an eye on what I do! Walk past my window and you might hear me doing crazy voices, even jumping around trying to figure out how one actor can play all seven dwarfs in the same scene! Mind boggling, but still fun! H. ADAM HARRIS (Director) My name is H. Adam Harris, but everyone calls me H! I’m an actor, teacher, and the director of this production of Snow White. This is a special production, adapted by my friend Greg Banks. I’ve acted in two of his plays: a 5-person Jungle Book (I played Baloo) and a 5-person The Hobbit (I played Smaug). 11184 I got into theatre because I had an incredible high school theatre teacher (who won a Tony Award for teaching!) who inspired me. When I graduated from college, I acted on stages, narrated family concerts with orchestras, and led story time with local libraries. As a director, I believe in telling heart-first stories that center possibility, tenderness, and grit. All things you’ll see in this tale of Snow White! When I’m not directing, I work here at SCR as the Artistic & Audience Engagement Associate – enjoy the show! FRED KINNEY (Set Designer) I build the models and create the drawings that the carpenters and the painters use to build the scenery that you see on stage. This is my 12th production at SCR. For past shows, I designed various locations such as the neighborhood for Last Stop on Market Street, and interiors and exteriors that Nate the Great traveled to in order to unravel the mystery. For A Year with Frog and Toad, a marsh, the scaffold playground that lit up for Pinocchio, the forest for Robin Hood and the Elephant for The Emperor’s New Clothes. When I was a small boy, I thought I might become a painter, sculptor or an architect. But in high school, I started to design the scenery for our school productions and really enjoyed it—and I still do. I’m the proud father of Gigi and Kate, who will be seeing Snow White. RAMZI JNEID (Costume Designer) Hi friends! My name is Ramzi and I designed the costumes for this play! When I was your age, I was enrolled in theatre classes, dance classes, voice lessons, piano lessons, etc. I was often the only boy in the dance classes, so I was always center stage which was nice! As I grew up, I thought I wanted to be a performer and always be on stage. So, I went to UC Berkeley in the Bay Area where I earned my degrees in Dance and Performance Studies (post-modern dance and questioning what is considered a performance) as well as Earth and Planetary Science (rocks, space and planets). But they wanted all their performers to understand how theatre is made, so I had to take a technical theatre class (costumes, sets, lights or sound). That’s when I first fell in love with Costume Designing! Ever since college, I’ve designed costumes for a handful of musicals and plays such as Legally Blonde for the Berkeley Playhouse, Jungle Book and The 25th Annual Putnam County Spelling Bee for Mill Mountain Theater in Roanoke, Virginia, and most recently Nicholas Nickleby, Electric Darkness, Radio Play Disaster and Snow Angel for the Youth Conservatory at South Coast Repertory. I’m so excited to be sharing my work with you and I hope you enjoy this fun, heart-warming tale! ANDREA HEILMAN (Lighting Design) (she/they/her/them) was sucked into the world of design when they helped make a tree that spun around, had lots of shelves, and could turn people into bears through the magic of theatre. The discovery of this magic and their ability to be part of the team that is honored with the quest to tell stories has led to traveling the world, eating lots of amazing food, and (best of all) sharing it with an amazing cast of humans. They hope you will find the spark of something that excites you and use that spark to guide you through life’s many twists and turns. You might have seen their work on American Idiot at the Chance Theater over the summer or had them for class at California Lutheran University, where they are the Head of Design. 12 185 LEELA OLESZKIEWICZ (Composer/ Arrangements/Musical Direction) I am a Los Angeles-based singer, songwriter, composer, and sound designer, who was born in Poland, but over the past 18 years, I've lived in New York City, Chicago, and the Bay Area. I studied piano, voice, and music composition at Mills College, where I also learned how to produce unusual sounds by doing things like placing screws on piano strings or standing bamboo chopsticks between them. I spend most of my time in theatre making beats, writing music for different instruments, and coming up with songs that will be performed by actors. My favorite part of the show? Seeing the audience clap, dance, sing along, or hum the songs as they leave the theater! NATALIE FIGAREDO (Stage Manager) I started stage managing many years ago in a school called California State University, Long Beach where I worked on musicals, plays, and Shakespeare! Then I went to school in London, England where I learned how to build sets, focus lights and production manage. Plus I got to see cool shows like Matilda and Charlie and the Chocolate Factory. I also used to work at Disneyland with Mickey, Minnie, Donald and Goofy! But my favorite thing to do is work on the Theatre for Young Audiences and Families plays here at SCR! l've worked on Amos and Boris, Tales of a 4th Grade Nothing, Junie B. Jones is Not a Crook!, Mr. Poppers Penguins, The Night Fairy and Robin Hood. Also my favorite food is mac and cheese. GLORIA PEREZ (Assistant Stage Manager) As long as I can remember, I’ve always loved the idea of storytelling. So, when I saw my first show Beauty and the Beast, I fell in love with theatre immediately. I went to California State University, Fullerton to get my B.A. so I could continue learning and growing. That’s where I found out that I enjoyed making everything happen behind the scenes. That’s me, making sure everyone is ready to go, seeing that every little prop from a cow on wheels to glittery shoes ended up on stage, or even making giant set pieces fly up and away. I am very grateful to every teacher, mentor and support system person who has helped get me here today to share the story of my favorite princess. “Remember you’re the one who can fill the world with sunshine.”— Snow White 13186 SNOWWHITEPRINCESSFORESTSEVENDWARFSCASTLEAPPLEMIRRORSTEPMOTHERDWARF SNOWWH I T E P R I N C E S S F O R E S T SEVEND W A R F S C A S T L E A P P L E MIRROR S T E P M O T H E R D W A R F SNOWWH I T E P R I N C E S S F O R E S T SEVEND W A R F S C A S T L E A P P L E MIRROR S T E P M O T H E R D W A R F SNOWWH I T E P R I N C E S S F O R E S T SEVEND W A R F S C A S T L E A P P L E MIRROR S T E P M O T H E R D W A R F SNOWWH I T E P R I N C E S S F O R E S T SEVEND W A R F S C A S T L E A P P L E MIRRORS T E P M O T H E R D W A R F SNOWW H I T E P R I N C E S S F O R E S T SEVEND W A R F S C A S T L E A P P L E MIRROR S T E P M O T H E R D W A R F SNOWWH I T E P R I N C E S S F O R E S T SEVEND W A R F S C A S T L E A P P L E MIRROR S T E P M O T H E R D W A R F ACTORS’ EQUITY ASSOCIATION, founded in 1913, is the U.S. labor union that represents more than 50,000 professional actors and stage managers. Equity endeavors to advance the careers of its members by negotiating wages, working conditions and providing a wide range of benefits (health and pension included). Member: AFL-CIO, FIA. #EquityWorks. South Coast Repertory respectfully acknowledges its presence on the traditional land of the Tongva People. With gratitude, we honor the land and the people, past and present, who have stewarded it through the generations. Word Search Key (Answers)Word Search Key (Answers) Build your own custom worksheet at education.com/worksheet-generator © 2007 - 2022 Education.com Word Search PR I NCESSAPSHMDSMAXPUEPTSQI NCPDKMQT FRCOLWZUWE P RA F E AVDHPGOSF FRQDRMRRT IWFSWOA P T L NGPOXAFORESTOGN C V C VWMMU PRINCESS MIRROR CASTLE FOREST STEPMA DWARF COFFIN APPLE ® 1414 187 From students to parents to alumni, everyone has high praise for how acting classes in the SCR Theatre Conservatory provide guidance for success both on the stage and in life. It’s no wonder that ParentingOC readers have voted SCR tops for having “The Best” acting classes seven years in a row. Each year, more than 2,000 kids, teens and adults are enrolled (fall, winter, spring and summer) in basic acting skills classes, scene study, musical theatre, improvisation and more. The benefits include better communication skills, self-confidence and self-esteem, and analytic thinking. “We tell our students that the skills it takes to succeed as an actor are the same skills that will help them enjoy a richer, fuller life,” says Hisa Takakuwa, who directs the conservatory and education programs. She and the faculty delight in seeing students have those “a-ha” moments and watching lives changed for the better. Read on to hear about the benefits of studying acting at SCR. “ SCR had a huge impact on my life. I took classes with a great teacher and the atmosphere was fun, creative and encouraging. I really discovered a passion for drama here and am thankful for the experience.” —Ryan Eggold, actor, “New Amsterdam,” “The Blacklist” and “Entourage.” “ We have seen each of our kids blossom as they developed confidence, self-esteem and skills that will help them in whatever fields they pursue. They have learned to think on their feet, to work well with others and to look within themselves for the answers.”—Laura Forbes, parent “ SCR shaped me into the person I am. I feel like I grew up, made the most incredible friends and discovered my love for acting at this theatre. I feel lucky that I had the opportunity to study acting here.” —Rachel Charny, alumna Learn more about acting classes at scr.org/classes. SCR’s Summer Players in Matilda The Musical Acting Classes 1515188 The Holiday Tradition Continues... Adapted by Jerry Patch Directed by Hisa Takakuwa Nov. 26 – Dec. 24, 2022 Ages 6+ Children under age 6 will not be admitted. scr.org (714) 708-5555 From the first “Bah humbug” to the final “Wassail,” this timeless classic is sure to rekindle your family’s holiday spirit. Richard Doyle as Ebenezer Scrooge 189 Newport Beach City Arts Commission - 2023 Preliminary Cultural Arts Grant Allocation Brief Description Programs Admn/M/D Notes 2023 Grant Reccommendation 2023 Grant Request 2023 Request 2022 Grant % Project People Served $ per person %% A Backhausdance 4,000$ 4,000$ 46.8%750 5.33 Dance education/performance-Middle & High schools 72.2%25.7%Projected surplus at YE $52,292 3,000$ 4,000$ B Balboa Island Improvement Association (BIAA)3,000$ 3,000$ 23.9%2,250 1.00 Concert series on Balboa Island 72.5%11.0%Small surplus from operations 3,000$ 3,000$ C Baroque Music Festival CDM 6,000$ 5,000$ 43.0%600 10.00 Musical performance CdM Adults 51.8%49.1%Small OP deficit -$(1,675) & large surplus $170,246 5,000$ 6,000$ D Kontrapunktus 2,000$ -$ 50.0%250 8.00 String concert 55.4%40.1%Accumulated surplus $138,477 = 80.7% of income -$ 2,000$ E Laguna Playhouse 5,000$ 5,000$ 9.2%500 10.00 Our Stories workshops for middle and high school 4.5%31.7%Large deficit forecast ($1.051MM)5,000$ 5,000$ F Pacific Corale 5,000$ 5,000$ 4.3%1,500 3.33 Chamber choir performances - free to students & social service agencies 57.1%41.0%2023/24 projected surplus $62,789 4,500$ 5,000$ G Pacific Symphony 5,000$ 5,000$ 10.7%727 6.88 Music program - 2 NMUSD elementary schools 66.4%33.3%Large accumulated deficit 5,000$ 5,000$ H South Coast Repertory 5,000$ 3,000$ 1.1%1,800 2.77 Theatre for Young Audiences - Snow White 74.9%25.1%Projects beak even 4,500$ 5,000$ REQUESTED 35,000$ 30,000$ ALLOCATION 30,000$ 35,000$ EXPLANATION OF COLUMN HEADINGS LAST Last grant amount from CAC % Project Requested grant cover _____% of project People served Number of people served as defined by grant request $ per person Cost per person served of grant request $ Programs %percentage of total income expended on programs from FY 2023-24 operating budget submitted with the grant application Admn/M/D %percentage of total income expended on Administration/Marketing/Development from FY 2023-24 operating budget submitted with grant application Requests: $35,000 Grant Budget: $30,000 Explanations of grants denied or funded below requested amount A: Backhausdance - Grant less than request because organization has large projected surplus. C: Baroque Music Festival CDM - Last year's grant was $5,000. CAC does not have increased grant budget, thus we are not able to increase their grant award. D: Kontrapunktus - Recommending no grant because organization has projected acumulated surplus of $138,477 at end of this FY which is 80.7% of income. F: Pacific Corale - Grant recommendation of $4,500 is $500 less than request. Organization has projected FY surplus of $62,789. H: South Coast Repertory - Grant recommendation of $4,500 is $500 less than request. Printed: 02/02/2023 9:54 AM City Arts Commission Ad-Hoc Committee Preliminary Cultural Arts Grant Allocation ITEM X.A.6. 2023 CULTURAL ARTS GRANTS - ATTACHMENT I 190 FINANCIAL SUPPORT FOR CULTURE AND ARTS The City Council hereby recognizes the importance of promoting culture and the arts within the City of Newport Beach. A number of individuals and groups have been organized with the express purpose of developing and promoting culture, theatre and the arts. The City would complement these efforts by establishing a Reserve Fund for Culture and Arts that can be used for a) developing a master plan for the promotion of culture and arts; b) acquiring land and/or the construction of facilities to promote culture and arts and; c) instituting other cultural promotion projects. The sum of $55,000 shall be provided each year for specific cultural or artistic planning, promotion and/or construction projects as approved by the City Council. It is the policy of the City of Newport Beach that expenditures from the reserve fund should be matched equally by the community in the form of contributions and donations. In regard to the City's role in financially sponsoring art and cultural events, the City Arts Commission shall review all programs and requests for support from arts groups. The Commission shall forward its recommendations for funding to the City Council for final approval. Any appropriation shall not exceed 50% of the Arts Commissions' annual budget. For the purpose of this policy, arts groups shall be defined as those involved in visual, musical, theatre, dance, crafts, performing and literary activities. The following priorities shall be considered by the Commission. The order of preference for granting support shall be as follows: A.Local arts groups located within the City and offering programs to City residents; B.Regional arts groups located in Orange County and offering programs to City residents; and C.Arts groups located in California and performing or offering programs to City residents. Groups not offering programs or services to local residents shall not be eligible for support from the City. ITEM X.A.6. 2023 CULTURAL ARTS GRANTS - ATTACHMENT J 191 History Adopted F-20 – 5-11-1981 (“Reserve Fund for Culture and Arts) Amended F-22 - 6-22-1981 Adopted I-20 – 1-24-1983 (“Co-Sponsorship for Cultural Arts”) Amended F-20 – 11-14-1983 Amended F-20 – 1-23-1984 Amended F-20 – 3-28-1988 Amended F-20 – 10-28-1991 Created I-12 – 1-24-1994 (incorporating I-20 & F-20, renaming “Financial Support for Culture and Arts”) Amended I-12 – 5-8-2001 Amended I-12 - 4-8-2003 (changed to I-10) Amended I-10 – 8-8-2017 192 TO Newport Beach City Arts Commission FROM: Library Services Department Melissa Hartson, Library Services Director 949-717-3810, mhartson@newportbeachca.gov PREPARED BY: Melissa Hartson TITLE: Central Library Gallery Exhibits RECOMMENDATION: The Art in Public Spaces Library Gallery Ad Hoc Subcommittee recommends that the City Arts Commission approve exhibitions by Colleen Johns and Sherry Marger in the Central Library lobby gallery space. DISCUSSION: The City of Newport Beach maintains two exhibit spaces at the Central Library. The Lobby Gallery in the Central Library has approximately 38 feet of linear wall space designed for two-dimensional pieces of art. Additionally, artists may apply to exhibit three-dimensional works in the two display cabinets that were added to the Central Library display offerings in 2010. The display cases are approximately 24” high x 24” deep x 24” wide. Artists who want their work considered for display submit a completed Application for Review and Consideration of Art. The Library Services Director manages the gallery space. The City Arts Commission’s Art in Public Places Ad Hoc Subcommittee meets periodically to review artist's submissions. Staff notifies artists of acceptance and arranges the staging of the art. At their January meeting, the Art in Public Spaces Library Gallery Ad Hoc Subcommittee recommended that the work of artists Colleen Johns and Sherry Marger be exhibited subject to City Arts Commission approval. NOTICING: This agenda item has been noticed according to the Brown Act (72 hours in advance of the meeting at which the City Arts Commission considers the item). A ATTACHMENT A: Examples of Colleen Johns’ artwork ATTACHMENT B: Examples of Sherry Marger’s artwork 193 ATTACHMENT A - Artwork by Colleen Johns 194 195 196 197 198 199 200 201 202 203 204 ATTACHMENT B - Artwork by Sherry Marger 205 206