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czsz
07-31-2007, 11:51 AM
Speaking of the death of theatre arts in Boston...

Amid struggles, arts center chief got $1.2m bonus
By Geoff Edgers, Globe Staff | July 31, 2007

Not long before the Citi Performing Arts Center decided to make drastic cuts to its popular summer production of Shakespeare on the Boston Common, its board agreed to pay president and CEO Josiah Spaulding Jr., a $1.265 million bonus.

That payment came on top of Spaulding's annual compensation of $409,000, plus $23,135 in benefits. Spaulding's salary alone already makes him one of the highest-paid leaders of a performing arts center in the country.

"Spaulding's salary seems extraordinarily high compared to the activity level at the [Center]," said Richard Johnson, former chief financial officer of Boston Ballet and current CFO of Washington National Opera. "It seems to be entirely out of scale with what that organization does."

Spaulding has presided over five straight years of budget deficits, cuts to programming, and a dramatic drop in performances at the Wang and Shubert theaters, which the Citi Center operates. The decision to slash the Shakespeare production that ended on Sunday -- the budget was sliced in half, to $481,027, and the free production's run from three weeks to one -- has brought renewed criticism of Spaulding and the Citi Center.

The Globe examined Citi Center documents recently filed with the Internal Revenue Service and provided by the center, and conducted interviews about the organization's practices. Along with details about Spaulding's compensation, the examination found that the organization has installed Spaulding's wife as its website manager, and employed companies either owned by or managed by some of the group's trustees.

http://cache.boston.com/bonzai-fba/Globe_Graphic/2007/07/31/1185875757_2714.gif

Citi officials sat down for a four-plus hour interview on July 10, but in recent weeks have declined to answer questions about the operation of the center.

In the interview, Spaulding confirmed that he had gotten a bonus from the Citi board. But he pointed out that, because of wider cutbacks, he volunteered to take a $100,000 pay cut. His salary declined from $504,000 in the fiscal year that ended May 31, 2005, to $409,000 for the fiscal year that ended in 2006.

"I wanted to contribute what I could," said Spaulding.

"It was viewed as a very responsible thing for Joe to do that," said board chairman John William Poduska Sr.

There are other performing arts center leaders who are paid more than Spaulding. But they preside over centers with operations, in some cases, nearly 20 times larger than that of the Citi Center. According to the most recent records on file, Michael Kaiser of the John F. Kennedy Center for the Performing Arts in Washington, D.C., earns $1,029,691 a year. The Kennedy Center has a $141 million budget, meaning Kaiser's salary is 0.7 percent of the organization's budget.

The Citi Center's budget for fiscal year 2006 was $6.3 million. That makes Spaulding's salary 6.5 percent of the organization's budget. Spaulding is also paid a higher percentage of his organization's operating budget than leaders of the premiere performing arts centers in Los Angeles, New York, Minneapolis, Chicago, New Jersey, and Cleveland.

The son of a former Republican State Committee chairman who founded the Spaulding Rehabilitation Hospital, Josiah Spaulding Jr. was hired by the Wang Center in 1987 to serve as general manager. A year later, he was named president. He is credited with reviving the once run-down hall, and making it one of Boston's most successful arts centers during the 1990s.

Spaulding's bonus was actually set in motion in 2001, when the then-Wang Center's trustees created what they called a "retention program . . . to maintain continuity of key positions within the organization," according to documents filed with the IRS. At the time, the center was coming off several years of surpluses.

In 2005, after announcing they had extended Spaulding's contract until 2008, center trustees said that Spaulding would be eligible on May 31, 2006, for a $1 million bonus for contract completion. In fact, the total was $1.265 million, the organization's government filing stated. The center declined to say when the payment was made, and where it came from the budget.

The document did not name Spaulding as the beneficiary of the "retention program." But Lynne Kortenhaus, the trustee serving as spokesperson, confirmed the bonus in a July 12 e-mail. Kortenhaus declined to say whether any other center employees were made part of the retention program.

In a phone interview on July 18, board chairman Poduska said the bonus was created to keep Spaulding at the center. "Was it justified or not? Boy, I'll tell you it was," he said. "Joe was being courted by everyone under the sun. . . . He stayed and did a heck of a job."

Poduska said he did not know specifically what other organizations had offered positions to Spaulding.

In the latest fiscal year for which figures are available, which ended May 31, 2006, the Citi Center had a $2.7 million deficit, according to figures provided by chief financial officer Peter D. Fifield.

For fiscal 2007, Fifield projects, the center will have a narrower, $354,716 deficit, largely because of severe programming cuts and a $1.3 million infusion from New York-based Citigroup, which purchased naming rights for the institution last year.

The former Wang Center has struggled in recent years due to increased competition, which has caused difficulty in finding profitable touring shows to fill its theaters. To reduce potential losses, the center cut the number of shows it presents. Over the last year, the Wang Theatre, Citi Center's main venue, held 131 performances, a Globe examination of performance records supplied by the center has found. The theater has been open for business only a third of available nights. This is down from the 96 percent rate that Spaulding touted throughout the 1990s.

Citi Center's struggles make Spaulding's bonus questionable, said Marcus S. Owens, the former head of the IRS's exempt organizations division who is now practicing law with the Washington, D.C., office of Caplin & Drysdale.

"Any compensation at these levels is one that would undoubtedly raise eyebrows," said Owens. "Completing one's contract doesn't sound like extraordinary performance. It sounds like expected performance. Bonuses typically award extraordinary performance."

Trent Stamp, president of the New Jersey-based nonprofit watchdog group Charity Navigator, criticized not just the bonus but the way it was reported.

"At best, they're trying to be cute," he said. "At worst, they're being evasive. If this is a bonus for one particular person, why not say that? And the reason they won't say that is because people will be outraged."

Charity experts also raised questions about the hiring of Spaulding's wife, Joyce Spinney, for a key position.

Spinney is Citi Center's website manager, the center confirmed July 12. The center declined to provide her salary, nor would it discuss the process that led to her hiring. The organization is not required to list her status on government filings, but charity experts say the center should do so in the spirit of transparency, and to remove the perception that Spinney's relationship with Spaulding led to her position.

Spinney was director of theater services at the Wang when she and Spaulding were married in 1998. The couple have homes in Charlestown and Hobe Sound, Fla., and a 42-acre property in Vinalhaven, Maine, according to property records.

Center leaders also declined to discuss the hiring of Kortenhaus Communications, which is operated by trustee Kortenhaus. The center disclosed the hiring of Kortenhaus in its most recent IRS filing.

While neither hiring is illegal, charity experts say that a nonprofit board should explain how the insider hired provides a special service, or special price, to avoid the appearance that the person or firm received an unfair advantage.

"Certainly, hiring a relative or a trustee is an area where there needs to be great care taken to make sure it's the right thing for the charity," said Richard Allen, a Boston attorney who was chief of the state attorney general's Division of Public Charities from 1987 through 1999.

The Citi Center paid Kortenhaus Communications $43,109 for public-relations work for the fiscal year that ended in May 2006, according to the same IRS filings. In addition, the center paid DLA Piper $99,441 for legal services during the same fiscal year. Elliot Surkin, a managing partner at the firm, is a Citi Center trustee.

Surkin, Kortenhaus, and the center's leaders declined to answer questions about payments to the firms, though Kortenhaus remains the public-relations person.

Following the July 10 interview, Kortenhaus asked the Globe to submit any further questions via e-mail.

After receiving a list of 35 questions on July 25, she and the other Citi officials declined to answer any of them.

Instead, Poduska sent a statement that read, in part:

"As is common practice in both profit and nonprofit organizations, we do not comment on internal operations, personnel issues or proprietary information on employees, outside vendors or consultants beyond what is required by law. . . . We have complete confidence and fully support the institution's senior management team and the leadership of its President & CEO, Josiah Spaulding, Jr."

Ron Newman
07-31-2007, 11:54 AM
(apologies to those of you who have read this reply two other places this morning)

The article says that the Wang Theatre has been open for "only a third of available nights", with 131 performances last year. That's a lot of dark time.

Why not fill some of it by bringing back the classic film series that the Wang discontinued a few years ago? The Ohio Theatre in Columbus, which is every bit as grand as the Wang, has been doing this quite successfully every summer. Here's this summer's schedule (http://www.capa.com/columbus/news/news_article.php?id=22).

czsz
07-31-2007, 12:15 PM
It's a great idea, though only in the short term. Boston should be able to support a fuller and richer theatre calendar than Columbus, especially at a space like the Wang. What gives?

Ron Newman
07-31-2007, 12:23 PM
I was thinking of the film series as a way to get people into the theatre, who would hopefully return for more expensive live performances. It seems to work for the Ohio.

ablarc
07-31-2007, 05:49 PM
Having euthanized the patient, nepotist Spaulding is now harvesting the organs.

Theatre in Boston has long been a sad and bedraggled affair, with Wang and Shubert leading the march down the drain.

Do we really need the Modern restored? What? So it can sit empty most of the time like the Wang?

Boston's Theatre District is a joke.

Beton Brut
07-31-2007, 06:29 PM
Do we really need the Modern restored? What? So it can sit empty most of the time like the Wang?

They'll need someplace to open Legally Blond (http://www.ticketsnow.com/Theater_Tickets/Legally_Blonde_Tickets.html?GCID=S16598x008-thgo_legbl&keyword=legally+blonde). Surely future generations will find this theatrical spectacular on their AP Literature reading list.

I say leave the Modern in its currently dodgy state, and set up Nick Cave & the Bad Seeds as the house band.

And by the way, as a trustee of a non-profit, Spaulding and his cronies ought to be publicly humiliated. A disgrace.

czsz
08-01-2007, 11:49 AM
Citi Center chairman defends chief's bonus
By Geoff Edgers, Globe Staff | August 1, 2007

Responding to a Globe report Monday on a $1.3 million bonus paid to the Citi Performing Arts Center's president and chief executive, the organization's board chairman posted a four-paragraph defense on its Internet home page yesterday.

The statement from John William Poduska Sr. said that chief executive Josiah Spaulding Jr.'s compensation, which included a $409,000 salary for the most recent year covered in government documents, "in no way affects existing or future programming initiatives."

In addition, Poduska labeled "absurd" concerns raised by charity specialists over the Citi Center's decision to hire Spaulding's wife as website manager and to employ companies either owned by or managed by some of the group's trustees.

Lynne Kortenhaus, the trustee who also is serving as the center's spokeswoman, did not return an e-mail request and phone call asking for comment. Reached by telephone, Poduska declined to comment further.

The Globe report came as the Citi Center, formerly the Wang Center, has faced five straight years of budget deficits, programming cuts, and a dramatic drop in performances at the Wang and Shubert theaters.

In addition, Citi Center leaders have been criticized for slashing the budget and performance schedule of the Shakespeare on the Common production that ended on Sunday.

Ron Newman
08-01-2007, 11:52 AM
Was Shakespeare on the Common cut back because of financial problems at the Wang Center, or because the Boston Parks Department had closed the Parade Ground for resodding? Initially I had heard the latter.

czsz
08-01-2007, 11:54 AM
I think they'd be pretty quick to mention it if the latter were the case. In fact, it's odd that they haven't brought it up anyway.

Ron Newman
08-01-2007, 11:59 AM
A number of other events that normally use the Parade Ground have had to move elsewhere this year, such as Boston Landmarks Orchestra concerts and Gay Pride Day. When the reseeding project was first announced, the city mentioned that they had made a special arrangement to let Shakespeare go on, though on a reduced schedule at a different site on the Common.

PerfectHandle
08-01-2007, 12:28 PM
My impression was that Shakespeare on the Common was shortened because of budget issues. I'm not sure where I heard/read that, but I know I did.

czsz
08-01-2007, 12:33 PM
Bets on how much more info/outrage we would have if this involved a cut in the Red Sox' budget/programming?

JimboJones
08-02-2007, 03:41 AM
I don't know for sure if that's correct.

What I seem to remember is that the Shakespeare on the Common performances were always at Parkman, until a year or two ago.

The Commonwealth Shakespeare Company had to downsize and reduce the number of shows because they put on performances which no one was interested in seeing.

statler
08-02-2007, 04:16 AM
You are right about the Parkman bandstand but it looks like it was fairly popular:

http://mike.kruckenberg.com/images/common.jpg

Ron Newman
08-02-2007, 07:28 AM
Shakespeare was displaced to the Parkman Bandstand this year from its usual location at the Parade Ground. I believe this required scaling down the production, since the stage is much smaller. I don't know why it required reducing the number of performances, but that is what was reported several months ago.

statler
08-02-2007, 07:39 AM
^^ I seem to remember seeing the stage over at the Bandstand last year too and maybe even the year before..

Ron Newman
08-02-2007, 07:46 AM
Last year was the North End-themed Taming of the Shrew, which was definitely at the Parade Ground.

underground
08-02-2007, 08:17 AM
^ I thought that was a North End themed 10 Things I Hate About You! I guess that's what a public school education will get you.

czsz
08-02-2007, 10:59 AM
Haha, it was Taming. And it drew a huge crowd, or at least it seemed huge when I was in it.

czsz
08-03-2007, 11:48 AM
Stealing the show
August 3, 2007

WHENEVER I ordered tickets to a show at the Citi Performing Arts Center, I never understood why the public was being charged "a restoration charge." Now that I have read your article about Josiah Spaulding's compensation ("Amid struggles, arts center chief got $1.2m bonus," Page A1, July 31), I now know what we were restoring: Mr. Spaulding's wallet! Shame on the board. It is time for a change at the top of that great hall, before we have to put the locks on the bankrupt doors.

DAN SAYCE
Norwood

ablarc
08-04-2007, 05:43 PM
^ take the money, Josiah, and run! (Don't let the door hit you on the way out.)

czsz
08-05-2007, 07:01 PM
Not sure why this thread got moved to existing development. It's not really about development/urbanism in Boston at all...

Anyway, the leading editorial in today's Globe:

Tough times at Citi Center
August 5, 2007

THERE NEEDS to be a course correction at the Citi Performing Arts Center. The nonprofit center has suffered from financial troubles and made tin-eared decisions that have cut programming and raised questions about its operations. Center president Josiah Spaulding is at least part of the problem. Now it falls to the center's board of directors to figure out how to move the organization toward greater transparency as well as prosperity.

This summer, one casualty was Shakespeare on the Common. Last year the popular series of free performances had a three-week run. This year it was reduced to a one-week sprint. Center officials say the cut was a matter of space limitations and fiscal prudence.

But cries of poverty ring hollow. Last year the center paid Spaulding a $1.2 million retention bonus, making it appear that the center's priority was rewarding Spaulding and not presenting Shakespeare.

The bonus program was set up in 2001, when financial times were better. It offered Spaulding $200,000 a year plus interest for five years if he stayed for the full term of his contract. The board paid the money as part of a contractual obligation. But as the head of a nonprofit organization facing tough financial times, Spaulding might have donated some of the bonus money so that it could be reinvested in programming. He did take a $100,000 pay cut that has lowered his salary to its current $409,000, but this seems like a small step given the large size of his bonus.

The main challenge for the center is how it can prosper and grow. Even if Spaulding had turned over his entire bonus, the money might have paid for more weeks of Shakespeare, but it would not have shored up the center, which had a 2006 gross operating budget of $22.9 million. The center has unmet technology and infrastructure needs. It should be able to offer more programming, including longer runs of free Shakespeare in Boston and other locations.

John William Poduska, the chairman of the center's board, says it has a strategic plan and that in June it completed a reorganization that should strengthen operations. A new director of development is in charge of fundraising, filling a key position that was open for two years. And the center is working to hire a director of marketing. The goal is to establish long-term financial sustainability for programs and performances.

After the disappointing public pruning of Shakespeare, the center should also repair its image, reassuring the public and potential cultural partners of the sincerity of its commitments to the future of Shakespeare and the arts.

To do all this, the board should look for a new president who has a fresh vision and experience revitalizing organizations. Boston deserves a compelling and innovative nonprofit center for the performing arts.

czsz
08-10-2007, 11:02 AM
Struggling Citi Center seeks collaborations
By Geoff Edgers, Globe Staff | August 10, 2007

The Citi Performing Arts Center has launched talks with First Night, which organizes Boston's popular New Year's celebration, and other local arts and culture groups with the aim of merging or partnering with them.

The efforts are central to a new five-year strategic plan for the Citi Center, formerly the Wang Center for the Performing Arts. Once a key player on the Boston arts scene, the Center is now struggling as it faces financial losses, criticism from arts advocates, and an ever-decreasing slate of programming at its key venues, the Wang and Shubert theaters.

Under the plan, the Center will become what it calls a "virtual performing arts center." The idea is to reduce financial risk by relying less on revenue from the Center's hard-to-fill theaters while spreading the Center's brand across a swath of revenue-generating programming elsewhere in Boston and Massachusetts. There are no plans to sell the Wang or Shubert theaters, officials say.

"I don't think I've ever been, in my 21 years, more excited about where we're going," said Josiah Spaulding Jr., Citi Center's president and chief executive officer, in a recent interview at the Center boardroom in which he outlined the strategic plan. "It's a once-in-a-lifetime opportunity."

Spaulding said the Center has signed confidentiality agreements with groups it has approached for mergers and partnerships, but according to sources at the organizations involved, they include First Night, the Boston Cyberarts Festival, Lenox-based Shakespeare & Company, and Young Audiences of Massachusetts, a chapter of the national nonprofit that works to bring arts education programs into schools.

Leaders of the groups approached by Spaulding say it is still too early to know whether deals can be struck.

"I want to hear what Joe has to say," said George Fifield, founder of the Boston Cyberarts Festival. "I'm open to talking to anybody. The fact is, if somebody's got something good to offer to me, and if it works, great. If it doesn't, it doesn't."

The strategic plan was developed over two years and endorsed by the Center's board last year, with a second phase approved this June. In a September 2006 draft provided to the Globe, the plan calls for garnering corporate sponsorhips and philanthropic donations and creating a "technology backbone" with "E-based marketing, E-based ticket sales, and sophisticated data tracking to sell and cross-market products" for various arts organizations. The Center would also offer others its "professional theater management expertise as an outsourcing service."

As part of the plan, the Center has cut funding for its own programming, such as the free Shakespeare on the Common; downsized its board from 72 trustees to 33, who are now required to contribute a minimum of $5,000 or $10,000 a year, depending on their board status; and hired a new chief strategic officer, Sue Dahling Sullivan, and chief development officer, Nancy Sullivan Skinner. The Center's former marketing staff is gone; a new chief marketing officer, still to be hired, will build a marketing team.

The plan has its critics. After looking at a draft, William Crittenden, senior associate dean at Northeastern University's College of Business Administration, praised the Center for bringing in new management and cutting back on activity to reduce its deficit. But he questioned why other, smaller groups would want the Center to manage their operations.

"Are they really that good at ticketing and marketing and the use of technology?" Crittenden said. "If they are, why haven't they been able to be more effective over the last few years?"

Dennis R. Young, director of the nonprofit studies program at the Andrew Young School of Policy Studies in Atlanta, gave the Center credit for recognizing that changes had to be made.

"Generally, they've defined a sensible direction," said Young. "They've got a vision here. What I don't see in the plan are the specific steps they're going to take to move to that vision."

But Center trustees say the plan will reinvent the way they do business.

"We're trying to make a permanent, stable platform for the arts here in Boston out of the turmoil of the last seven years," said John William Poduska Sr., chairman of the Center's board of trustees. "We've got so many balls in the air," he said. "We can't tell you what's going to happen with mergers and acquisitions. We do seem to be getting some wins."

One of those wins came, Poduska said, last November, when New York-based Citigroup agreed to pay $34 million over 15 years for naming rights to the longtime Wang Center for the Performing Arts.

A smaller victory came in June, when the Boston Foundation announced that the Center would receive $225,000, the largest single grant in its most recent round of allocations. But the award came with a catch: The Center received only a third of the money. Each of two remaining payments would be made when the Center signs mergers, which the Boston Foundation promotes as ways to save money by cutting administrative costs.

Some arts advocates are wary of the idea of making deals with the Center. They point to the decision by Commonwealth Shakespeare Company to become part of the then-Wang Center in 2003. Under the Center umbrella, the Shakespeare on the Common program initially grew. But this summer, the Center's leaders came under fire for cutting the Shakespeare budget in half, even as they paid Spaulding a $1.2 million "retention" bonus. CSC founder Steven Maler's salary has been cut, and he remains in limbo as he waits to hear whether the Center will bring him back to direct next year's production.

Joan Moynagh, one of CSC's cofounders and a Citi Center trustee until June, criticized the Boston Foundation for giving the Center the grant.

"I think anyone would rather see that go to a company that's actually producing something," she said. "Don't give it to [Spaulding] to pay his consultants to figure out a way to partner with smaller organizations. Give it to the smaller organizations. This virtual arts institution model, I don't think anyone gets."

Martha H. Jones, president of the Celebrity Series of Boston, also has questions. For a decade, she and Spaulding collaborated to bring prominent dance companies to the Wang Theatre. Last fall, Spaulding told Jones the Center would no longer partner with the Celebrity Series for the project.

"It's a mystery," Jones said of plans at the Center, where the lack of activity has been surprising. "People say, 'Hey, Marti, do you know what's going on at the [Center?]' I say, 'I don't see a lot coming out of there.' "

Peg Golden, a theater producer and former Citi Center trustee, calls the current lack of activity "embarrassing."

In fact, the slowdown at the Center has been by design, as leaders cut expenses so they can balance their budget after years of deficits. In the 1990s, the Wang Center's glory days, Spaulding boasted of holding performances 96 percent of the nights possible. But over the last year, the 3,600-seat Wang Theatre has hosted performances less than 30 percent of the time. And of the 131 performances there, 54 were the "Radio City Christmas Spectacular" and 44 were Boston Ballet performances.

On nights the theater is dark, the Center has been increasingly open to renting out spaces for private functions, said Lynne Kortenhaus, a trustee who serves as the Center's spokeswoman. Those events, she says, can help in the long run as the Center works to build its audience.

"Yes, we have weddings, we have parties, but guess what, that's the public that maybe is taking its first step into our institution," she said.

Robert Sachs, the trustee who chaired the strategic planning committee, said he is excited about the future.

"We think we've been totally honest with ourselves about our shortcomings and our needs, and we are taking steps to address those needs and to leverage our strengths," he said. "We feel we kind of have our arms around the issues and we've made some excellent hires over the last year. If anybody can accomplish this, we believe we have a team in place. It's going to take more work and continued commitment on the part of trustees and management alike."

ablarc
08-14-2007, 05:58 AM
^ How about just putting on some shows somebody actually wants to see?
Or is Boston theatre really dead?

"Hard-to-fill theaters"? And we're proposing to add to that roster with the Modern and the Paramount? Something is seriously wrong.

To revitalize Boston's theatre scene: concentrate on product, not venue.

whighlander
09-11-2007, 07:21 AM
Same problem with making cinema

UNIONS

Boston's theater related unions want the same pay scale as those in NYC

Teamsters stymie all the attempts to do more cinema filming

Get rid of the power of the UNIONS and Boston would be much better

The single most productive thing to do to improve the city -- pass a right to work law and enforce it when UNION THUGS try to stop non-union activity

Westy

Ron Newman
09-11-2007, 08:03 AM
Plenty of Hollywood filiming is happening right now in Boston. Unions exist to protect the legitimate interest of their members in safe working conditions and fair pay.

BostonObserver
09-11-2007, 08:36 AM
Same problem with making cinema

UNIONS

Boston's theater related unions want the same pay scale as those in NYC

Teamsters stymie all the attempts to do more cinema filming

Get rid of the power of the UNIONS and Boston would be much better

The single most productive thing to do to improve the city -- pass a right to work law and enforce it when UNION THUGS try to stop non-union activity

Westy

I always get a kick out of hearing that Massachusetts is a liberal state. It's a union state. Unions have way too much power over the government at all levels.

http://en.wikipedia.org/wiki/Jimmy_Flynn

czsz
09-11-2007, 04:24 PM
Plenty of Hollywood filiming is happening right now in Boston.

...thanks to huge tax incentives to compensate for deterrent costs that would otherwise be associate with filming here.

Unions exist to protect the legitimate interest of their members in safe working conditions and fair pay.

...and some force needs to protect the legitimate interest of the public from the monopoly of unions over the labour force.