SOCIAL

 PURPOSE  
BUSINESS  FINAL    
 
 

London  Opera  Ballet  and  

Centre  for  the  Arts    
Queen’s  Building   +16514927262  
London  E1  4NS,  UK     ecd2136@columbia.edu  
 

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Social Purpose Business—The Importance
In 1963, USA President John F. Kennedy aptly said the following. “I see little of more

importance to the future of our country and our civilization than full recognition of the place of

the artist. If art is to nourish the roots of our culture, society must set the artist free to follow

his vision wherever it takes him … art establishes the basic human truths which must serve

as the touchstones of our judgment”. An early Rockefeller Panel Report from 1965 also noted

that the arts “tend to make both wiser and happier—inwardly healthier, outwardly more alive.

The arts are a source of simple enjoyment and delight, hence, of refreshment and renewal.

They are also educating and civilizing, can provide a sense of the grace, power,

enchantment, and beauty of which the creative impulse is capable. And, at their greatest, the

arts are exalting, with some of religion’s moral and mystical power.”

As productivity advanced in the western world, the 1965 Rockefeller Panel Report also

observed “Increased leisure also creates a social imperative for the development of the arts.

It has been clearly demonstrated that the use of this leisure can be both an individual and a

community problem if it is not channeled into constructive and satisfying ranges of activity

such as the arts afford. As stated by Thomas J. Watson, Jr., chairman of the board of

International Business Machines Corporation1 ‘… the greater our skills in the humanities—in

literature and the arts—the greater our capacity for the constructive use of leisure time, which

is bound to increase as machines lift old burdens from men’s shoulders and minds’” [1].

VISION AND VALUES

The proposed justification for the company, London Opera Ballet and Centre for the

Arts CIC, aims to present performance art that inspires the population and serves as a

                                                                                             
1
2. International Business Machines Corporation was a radio and audio equipment distributor that also carried electronic data proceing
systems, clocks, typewriters, timers and meters. By 1969, the reached #5 on the Fortune 500 list [2].
 
 
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touchstone of its judgment. This analysis illustrates an organizing process to create and

produce ballets for seasonal subscribers and new audiences at performances around the

globe. London Ballet recognizes that achievement in the performing arts begins with the

expensive and extensive training of skilled performers, composers, choreographers, etc. who

need time to prepare works for performance and a reasonable measure of economic security.

For those reasons and others, London Opera Ballet endeavors to add value for many

constituents including audiences, performing artists, and the performing arts at large.

The company’s productions would add value for audiences by giving patrons

something they want to see, content that is important and entertaining, and performances

that are exalting. The organization would aim to present work that adds value for its artists as

well, who should find the content of their performances interesting and professionally

challenging. Perhaps most importantly, London Ballet would prioritize its ability to stay in

business and to sustain the company’s operations. Creating value for each market, i.e., the

organization, its audiences, and its performing artists is the overarching vision of London

Opera Ballet and Centre for the Arts, CIC.

THE MISSION

• To train the next generation of ballerinas at the highest levels of achievement

• To pursue research at the forefront of Dance Medicine and Science2

• To cultivate a workforce with job security, which fuses the best in ballet, dance, opera,

and orchestral music

• To preserve work from the classical repertoire while developing new work that speaks

to the time and cultural achievement in which it is made

                                                                                             
2
“The Brazil-United Kingdom Dance Medicine & Science Network was created in 2016 with the aim of broadening the discussions, research
and professional partnerships in DMS, through the exchange of information and technologies between these two regions,” [22] [23].
 
 
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• To commercially exploit innovations and core competences under appropriate

circumstances to not only bring elements of the performing arts to a wider audience

but also to develop and expand sources of earned revenue that will ensure long-run

financial stability for the performing arts

• To expand the organization’s audience with international tours, education programs,

and cultural exchanges to facilitate innovative collaborations, to stimulate demand in

multiple markets, to alleviate transaction costs, and to control knowledge silos for the

organization and its classical artists.

THE PROBLEM
Many performing arts organizations have struggled to turn a profit, and a number of

tax-exempt, nonprofit performing arts organizations have been subject to severe budget cuts.

On Broadway, for example, the historical statistics have indicated that only one in five

productions will turn a profit [3]. Furthermore, performing arts attendance has declined in both

the United Kingdom and United States. In the United Kingdom, theatre attendance declined

by 11.6%, and ballet attendance likewise declined by 15.1% from 1986 to 1998. In the United

States, attendance at performing art events reached its lowest point in 2012 with 74.94

million attendees between 2003 and 2012 [4]. In addition to problems that have related to

lower attendance, the United States’ National Endowment for the Arts recently reduced its

budget by nearly $30 million from 2010 to 2013 [5] and there have been proposals to

eliminate the agency altogether [6].

THEORY OF CHANGE
The theory of change at London Opera Ballet believes that if the brightest industry

professionals were to capitalize on their talents in commercial markets and reduce

investment risks in the performing arts, then the industry would benefit from stronger

 
 
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financing. Improved access to finance would not only strengthen arts and culture preservation

funds, it would extend research opportunities at the forefront of music, dance medicine and

science, composition, and motion picture arts and sciences, leading to an inspired, highly

influential repertoire.

To capitalize on commercial opportunities, London Ballet’s strategy would target

current subscribers and new audiences with domestic seasons and international tours to

maximize the ROI’s of existing repertoire while introducing original works as well. Marketers

have reductively summarized such tactics in a framework that depicts “four basic types of

opportunity,” i.e., market penetration, market development, product development and

diversification, as depicted in the figure below [7].

Present products New products

Present
markets Market penetration Product development
New
markets Market development Diversification

Market penetration and/or market development opportunities typically guide the marketing

strategies that pertain to existing repertoire and current audiences. In conjunction with a

market penetration strategy, for example, firms identify opportunities near to the markets with

which they are most familiar. Many of those firms think first to increase market penetration

and aim to increase revenues while building customer equity where they have developed

core competencies and already have experience. In addition, many firms manage to

profitably maximize their current strengths with market development strategies that pursue

expansion opportunities in overseas markets.

Where many firms in the performing arts have fallen short, is product development and

diversification strategy. Although several organizations have begun to quantify consumer

preferences for new works versus existing repertoire [8], firms are rarely positioned for the
 
 
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new-product development process (if and when) research indicates their audiences prefer

innovative new work.

The insufficiency that exists in the performing arts has had a significant effect on

business in the industry because products, consumer behavior and competition change over

time. That dynamism creates opportunities for organizations and poses challenges as well.

To effectively manage those challenges, it is critical for a firm to have an effective new-

product development process.

One approach in particular, i.e., the new-product development process described in

marketing academia, has been useful for a number of organizations [7]. In the new-product

development process, companies follow an organized, multi-step process that can be broken

down into five manageable phases, i.e., idea generation, screening, idea evaluation, product

and marketing mix development, and commercialization, to evaluate new prospectuses. This

strategic plan would aim to maximize the ROIs of existing repertoire while the company

simultaneously pursues product development and diversification strategies as well.

The Opportunity
Prior to the preliminary research that preceded this proposal, many administrators at

organizations in the performing arts had not developed objective measures for the

assessment of consumers’ artistic tastes or integrated objective measures of consumer taste

in a performing arts organization’s planning process [9]. Failing to account for consumer taste

in the economic models of performing arts organizations had inhibited analysis in the

industry. As explained by authors James Heilbrun and Charles M. Gray in their second

edition of The Economics of Art and Culture, “taste is obviously one of the most important

variables determining the level of consumer demand for art … If the public’s taste for art

increases, the demand curve for art shifts to the right along the supply curve,” (Mel Gray,
 
 
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2001) [4]. The initial studies included herein addressed those shortcomings with a review of

the economic theories that underpinned business strategy in competitive markets and the

performing arts. In the research that followed, the studies created Conventionality Metrics©

and developed economic models to analyze the artistic tastes of various consumers.

Along with that framework, the proliferation of technology has made it possible to

monitor many market indicators and to develop benchmarks for a number of artistically

meaningful trends in consumer taste [9]. This is particularly true for musical tastes, as many

streaming platforms, copyright offices, and record labels have digitized sizable music

catalogs. As a result, organizations now have multiple resources at their disposal to help

them identify consumer tastes in performing arts industries. By identifying the artistic tastes of

various audiences, London Ballet endeavors to enhance the success of new works by

integrating artistic tastes that are found to be most popular with consumers in real-time3 and

to expedite the market research phases of the new-product development process.

Idea Generation: New-Product Development Process

First, organizations must gather a set of prospectuses from which to choose. To

initiate the brainstorming phase, London Ballet would look to its currently employed

stage/product managers with distinct areas of expertise, e.g., Greek and Roman Arts, the

American Wing, Ancient Near Eastern Arts, Arts of Africa, Oceania, and the Americas, Asian

Arts, Egyptian Arts, European Decorative Arts, Islamic Arts, Medieval Arts, Modern and

Contemporary Arts, etc. All prospectuses for new productions would be an extension of any

                                                                                             
3
Matching new works to the tastes of consumers not only improves the likelihood of financial success, it improves a firm’s ability to predict
demand and plan accordingly. For example, if market trends illustrate a strong consumer response to the dissonant use of dominant-
seventh chords, then firms could produce works with that popular jazz sound. However, if market trends illustrate a strong consumer
response to minor-seventh chords, then firms could develop new works with 1970s funk and disco music themes to increase the likelihood
that new audiences will enjoy the material. My family’s theatre (Chanhassen Dinner Theatres), for example, presented a new version of
Sister Act after a group of writers reset the original 1990s plot in the 1970s with a music score featuring 1970s funk and disco themes. The
show was a hit at the time since it coincided with other works that were relevant to our community and reminiscent of the 1970s sound, e.g.,
the film American Hustle featuring Chanhassen Dinner Theatre actress Amy Adams and two album releases from Chanhassen resident
Prince Rogers Nelson.

 
 
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for-hire work 4 assignments assigned to the organization’s stage managers, who would

occasionally take on a role similar to that of a traditional product manager. After generating

ideas, each phase of the marketing process for new-product development would evaluate the

strengths and weaknesses of a prospectus and either identify an appropriate remedy for its

weaknesses or shelve the prospectus for another time.

Screening: New-Product Development Process

The screening criteria for new-product development at London Opera Ballet would

establish financial objectives, artistic objectives and safety standards provided by the labor

unions involved with London Ballet productions including AGMA, AEA, AAAA, AFM, IATSE,

WGA, SAG-AFTRA, and so forth5. Although many firms establish financial screening criteria

that assess an opportunity’s scale of development6, market growth does not necessarily

affect London Ballet’s bottom line and/or financial position because performing arts industries

are best classified as monopolistic markets and inelastic demand affects monopolistic

markets more than economies of scale affect monopolistic markets. Instead, the firm relies on

its ability to stimulate inelastic demand and subsequently markup ticket prices above
                                                                                             
4
“In some situations, the person who creates a work will not be considered the work ’ s author and therefore not the initial copyright owner.
Such situations can occur when a person creates a work on another ’ s behalf. The work for hire doctrine is an exception to the general rule
that copyright ownership vests initially in the work ’ s creator. Instead, the person or party on whose behalf the work is created is considered
to be the author and initial copyright owner. Section 201(b) of the Copyright Act provides that: “In the case of a work made for hire, the
employer or other person for whom the work was prepared is considered the author for purposes of this title and, unless the parties have
expressly agreed otherwise in a written instrument signed by them, owns all of the rights comprised in the copyright.” Under the work made
for hire doctrine, an author does not have to be a human being. A corporation or other business entity can qualify as an author. The
copyright owner of a work made for hire, whether an individual or a business, will have the same rights in the work that any author would
have, with a few exceptions (such as the duration of copyright protection), and can exercise any of the exclusive rights or authorize others to
do so. The actual creator of a work made for hire has no ownership rights in the work. A work ’ s classification as a work made for hire is
important for several reasons. First, the initial ownership of a work made for hire belongs to the employer or commissioning party rather than
the person who actually creates the work. Second, works made for hire have a different copyright term than other works (95 years from
publication or 120 years from creation, whichever expires first). Third, there is no termination right applicable to works made for hire,” [10] .
5
 
As a Community Interest Company, London Opera Ballet would have the unique ability to consider artistic criteria that shareholders might
not permit at a for-profit organization. In addition to artistic criteria, London Opera Ballet would also have the ability to assess commercial
and financial criteria that traditional non-profits would be reluctant to embrace.
6
Much of the discourse pertaining to product life cycles (and the sizable market growth that occurs in a product’s life cycle) is strictly
applicable to perfectly competitive markets [7]. Sizable market growth is an effective financial strategy when products exhibit diminishing
marginal utility. In the revenue models for perfectly competitive markets, firms often identify and develop cost leadership strategies, i.e., they
develop the ability to offer a product or service to consumers more efficiently or at a better price than competitors, in order to acquire market
share and thereby realize profits. Moreover, as competitors vie for market share with low-cost positions, a firm might attempt to drive its
competitors out of business with its cost leadership strategies to attain monopolistic price discretion, i.e., the firm attempts to become a
monopoly and monopolizes its industry. Unlike perfectly competitive markets characterized by numerous competitors vying for cost
leadership, monopolistic activity characterizes the performing arts sector, where there are several differentiated firms and each differentiated
firm is its own monopolistic market with copyright protections, e.g., consumers differentiate the musical South Pacific from the musical
Carousel by virtue of two different scripts and plots; the musicals are from the same genre, however.

 
 
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overhead costs. Maximizing inelasticity of demand yields the most competitive ROI and

revenue margin available to a monopolistic market.

The subjective values of consumers affect the extent to which inelastic demand exists

and the willingness with which consumers purchase tickets at a higher price. In an industrial

organization with elastic demand, a change in quantity dominates any change in price, so a

larger quantity at a lower price increases total revenue. Firms in that predicament develop

low-cost positions with greater productivity in various factors of production in order to acquire

market share and thereby realize profits. In a monopolistic firm with inelastic demand,

however, a change in price dominates a change in quantity, so a smaller quantity at a higher

price increases total revenue [11]. That dynamic can occur when firms attain pricing power

with differentiated or high-quality products as well as services.

Whereas the neoclassical model for perfect competition with diminishing marginal

utility can describe consumer behavior that responds to cost leadership, it can fail to account

for trends in consumer taste7 that influence the elasticities by which firms calculate price

markups in a monopolistic performing arts environment. As a result, the lens through which

neoclassical economists examine efficient expansion does not sufficiently account for shifts in

demand that influence inelasticity, pricing-power, and revenue in firms characterized by

monopolistic market activity.

In response to that insufficiency, early literature [12] [13] began to describe a link

between the dynamic survival of various enterprises and the selections of the market. That

literature claimed the characteristics in each set of surviving firms evolve as a representative

firm8 and quantitatively represent a vector of attributes for each quality that is present in the

population. Studies that are more recent have continued to elaborate on the early theories of
                                                                                             
7
Or rather, the subjective consumer values that drive inelasticity and its subsequent pricing power
8
A “representative firm” is a statistical concept

 
 
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Alchain and others with consumer preference functions (hedonic models)9 that allow firms to

examine differentiated product-markets and their pricing-power.

When demand is unresponsive to cost leadership and the sources of a firm's pricing-

power are nondescript, it is appropriate to use the methodologies described by Alchian.

Those realities aptly describe monopolistic markets in which a relationship between price and

quantity produced is negligible. A case in point arises on Broadway, where subjective values

have considerable influence on total revenue, and attendance tends to be static since

Broadway Theatre producers often stage copyrighted works in venues with inflexible seat

capacities10. Unlike firms in perfectly competitive industries that supply specific quantities at

various prices, theatres in legally protected monopolistic markets 11 might offer the same

quantity at different prices if the subjective values of consumers shift12 [17]. As such, the

revenue margin that a Broadway Theatre monopolist13 acquires is subject to those shifts in

demand and the pricing-power of each licensed performance it chooses to present11. With

each shift in demand, the prices of differentiated products and the characteristics associated

with those products reveal hedonic prices, or rather the implicit prices of attributes in a

population of monopolistic markets [15].

Selecting hedonic variables to maximize profit usually falls outside the purview of the

neoclassical model in monopolistic markets. Not only are hedonic specifications difficult to

                                                                                             
9
Preference functions delineate the subjective values that consumers ascribe to various attributes in differentiated products. Those
subjective assessments can enhance pricing-power and influence demand.
10
Those performance venues usually offer one quantity (their seat capacity) at different prices depending on the consumer response to
each production.
11
Copyright licenses allow performance organizations to exploit a monopolistic market for a specified period [14].
12
Entertainment consumption is relatively static due to time constraints, so diminishing marginal utility theory can fail to describe consumer
demand [15]. That is, consumers cannot consume indefinite quantities of recreation and/or entertainment in a given time period [16], e.g., it
is not possible for someone to consume 500 weeklong vacations in a month. However, consumers might demand higher quality
entertainment at a higher price.
13
The term “Broadway Theatre monopolist” could apply to a licensing or performance house. The revenue margin that a licensing house
acquires is subject to the inelastic demand and subsequent pricing-power of each performance it licenses to a given theatre. The revenue
margin afforded to a performance venue (who is also a “Broadway Theatre monopolist" since they deal in licensed monopolies) is subject to
the inelastic demand and subsequent pricing-power of each licensed performance it chooses to present. It is also important to note,
however, that venues forgo a portion of their revenue margins, i.e., consumer surplus that is lost to a sold out house, when their selections
are successful. For all intensive purposes, this analysis will consider the pricing-power (revenue margin) of licensing and performance
houses collectively, and will assume performance houses have exclusive discretion of the copyrighted material they present.
 
 
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reproduce, but also differences in perspective can bias the manner in which firms use

preference functions to discretize hedonic prices among attributes. The focus on innovation

that prevails in creative industries, for example, often provides a basis for audience

segmentation without taking into account virtuosic attributes that might also shift consumer

demand14. Those approaches neglect the concept of pluralism, and they can be problematic

in monopolistic markets because differentiated firms are innovative in some regards—that is

their monopolistic aspect—but they are similar in others15. “To center attention upon either

their likeness or their unlikeness is, in either case, to give only half of the picture,”

(Chamberlin, 1936, p. 61) [14]. That is, a cultural industry's innovative and conventional

aspects do not always have mutual exclusivity since innovative aspects, e.g., songs, might be

arrangements of conventional aspects, e.g., rhythm or intonation. What is perhaps more

telling than innovation in cultural industries is an examination of evolving consumer

preferences for conventional aspects since the firms who are able to recognize those

prevailing tastes are the firms that survive in the market [18].

Conventionality Metrics© allow organizations determine if their productions are on

trend with consumers’ tastes. It is a metric that measures how closely aligned a performing

arts production is to the trends in its industry. Smaller metrics indicate a performing arts

organization is off trend and is therefore less likely to breakeven. Higher metrics, on the other

hand, indicate a performing arts organization is likely to earn larger revenues. Organizations

can calculate conventionality metrics for productions in the performing arts using any nominal

                                                                                             
14
According to a nonprofit theatre study by B. Voss, M. Weiss, and Z. Voss, “whereas relational segments seek out generalists that offer a
balanced portfolio of classics and innovations, transactional segments favor specialists that exclusively feature classical or (in sophisticated
markets) innovative portfolios,” (Voss and Weiss, 2006, p. 302) [8].
15
In cultural industries, innovative aspects include aspects that warrant copyright protection in a monopolistic market, and conventional
aspects include aspects that do not commercially exploit a legal protection, e.g., key signature in a musical score.

 
 
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variables. In my preliminary study developed for Broadway productions16, the conventionality

metrics for each Broadway theatre were expressed as follows17:

Conventionality = Σni=1 Ai x 1 \\\

n s
Variables = A1750s = Number of theatres with shows from 1750-1759
A1760s = Number of theatres with shows from 1760-1769
A1800s = Number of theatres with shows from 1800-1809
A1890s = Number of theatres with shows from 1890-1899
A1930s = Number of theatres with shows from 1930-1939
A1940s = Number of theatres with shows from 1940-1949
A1950s = Number of theatres with shows from 1950-1959
A1960s = Number of theatres with shows from 1960-1969
A1970s = Number of theatres with shows from 1970-1979
A1980s = Number of theatres with shows from 1980-1989
A1990s = Number of theatres with shows from 1990-1999
A2000s = Number of theatres with shows from 2000-2009
A2010s = Number of theatres with shows from 2010-2014
n = number of decades presented (from 2011-2013)
s = number of shows presented (from 2011-2013)

The variable Ai represented the number of performing arts organizations, i.e.,

Broadway theatres, in the sample population who produced a show that premiered within the

period in question. The n variable represented the total number of periods an organization

sampled between 2010 and 2013, and the s variable denoted the total number of productions

that organization presented. After computing conventionality metrics for each Broadway

theatre, the study regressed the index with respect to revenue and seat capacity using

ordinary least squares. The cross-sectional results indicated the Conventionality of repertoire

decisions varied between each organization, and a one-unit rise in the Conventionality Index

increased an organization’s revenue by multiple of $4 million.

The next phase of research at the London Ballet and Centre for the Arts would

continue to explore market trends in the arts. My initial study hypothesized that there would

be correlation between popular culture music trends and decade-specific Conventionality

Metrics for Broadway theatre, and a proportional correlation would exist between the use of

                                                                                             
16
Ancillary tables and figures are provided in Appendix A
17
And also cross-referenced with the figures provided in Appendix A
 
 
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popular culture music trends on Broadway18 and subsequent Broadway revenues. In the

screening phase of the new-product development process, the forthcoming market research

would assess the extent to which pop music trends correlate with the Conventionality

Metrics© and the financial success of productions in the performing arts. Moreover, the

forthcoming research would replace the 13 decades (that were of categorical importance in

the initial analysis) with 24 nominal variables pertaining to music tonality19. In the example

provided for the Broadway musical theatre industry, the Conventionality Metrics© for each

theatre would be re-tabulated as follows:

Conventionality = Σni =1 Ai X   1
n s
Variables = AA major = Number of productions with compositions in A major
AF# minor = Number of productions with compositions in F-sharp minor
AAb major = Number of productions with compositions in A-flat major
AF minor = Number of productions with compositions in F minor
AB major = Number of productions with compositions in B major
AG# minor = Number of productions with compositions in G-sharp minor
ABb major = Number of productions with compositions in B-flat major
AG minor = Number of productions with compositions in G minor
AC major = Number of productions with compositions in C major
AA minor = Number of productions with compositions in A minor
AD major = Number of productions with compositions in D major
AB minor = Number of productions with compositions in B minor
ADb major = Number of productions with compositions in D-flat major
ABb minor = Number of productions with compositions in B-flat minor
AEb major = Number of productions with compositions in E-flat major
AC minor = Number of productions with compositions in C minor
AE major = Number of productions with compositions in E major
AC# minor = Number of productions with compositions in C-sharp minor
AF major = Number of productions with compositions in F major
AD minor = Number of productions with compositions in D minor
AF# major = Number of productions with compositions in F-sharp major
AD# minor = Number of productions with compositions in D-sharp minor
AG major = Number of productions with compositions in G major
AE minor = Number of productions with compositions in E minor
n = number of key signatures presented (from 2011-2013)
s = number of productions presented (from 2011-2013)

The variable Ai would represent the number of performing arts organizations in the

sample population who presented a composition in the key signature in question. The n

variable represented the total number of key signatures an organization sampled between

2010 and 2013, and the s variable denoted the total number of compositions that
                                                                                             
18
That is, the use and frequency of pop music trends in the productions presented at each Broadway theatre
19
Tonality in music theory, i.e., key signature, is an important concept that organizes musical compositions around a central note, the tonic.
It sets the parameters for systematic relationships between notes, chords, and keys, and uses the diatonic scales, which comprise five
whole tones and two semitones, to develop melodies and arrange chords.
 
 
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organization presented. After computing conventionality metrics for each organization, the

study would, again, regress the index with respect to revenue and seat capacity using

ordinary least squares.

Screening Checklist:
1. London Ballet’s activities should continuously improve the company’s productions. The

firm will monitor and report its elasticity of demand throughout the fiscal year to

measure its success in that effort, as the firm’s activities aim to achieve inelastic

demand while increasing the magnitude of that consumer inelasticity. London Opera

Ballet should use its elasticity of demand to calculate the markup applied to ballet

tickets20. Initial prospectuses should present a revenue model with inelastic demand.

2. London Ballet should aim to reach at least 80% venue capacity at all performances.

An initial prospectus should estimate market capacities and potential.

3. Based on London Opera Ballet’s predicted elasticity of demand and salary expenses,

projections should indicate the company will, at a minimum, breakeven. Ideally,

prospectuses should plan to exceed expectations to an extent that would facilitate

either price discrimination or larger markups. All strategic plans should generate

sufficient revenue to keep accounts current the following year while providing an
                                                                                             
20
As depicted in the figure below, “the markup (P − MC)/P is equal to minus the inverse of the elasticity of demand facing the firm. If the
firm’s demand is elastic, as in (a), the markup is small and the firm has little monopoly power. The opposite is true if demand is relatively
inelastic, as in (b),” [17].

 
 
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opportunity to reinvest surplus revenues for strategic market research and program

growth. In addition, London Opera Ballet prospectuses should estimate 1-year and 5-

year ROIs21.

4. If prospectuses recommend specific artists and/or performers to hire for various roles,

those candidates should be familiar with London Ballet (or members of the Ballet

Leadership or Program Leadership Committees) and they should have ballet

technique that is comparable to the standards London Ballet has established for its

professional division.

5. Using conventionality metrics, prospectuses should determine the extent to which the

production is on trend with the tastes of London Ballet audiences and the extent to

which the production aligns to trends in the industry. Prospectuses should have a

sufficiently large conventionality metric (for London Ballet’s industry).

6. Using conventionality metrics, prospectuses should determine the extent to which its

production is on trend with the tastes of an upmarket industry, e.g., the annual

repertoires from USA symphony orchestras or the soundtracks of featured films from

Cannes Festival, and the extent to which it aligns to the trends in that upmarket

industry. Prospectuses should have a sufficiently large conventionality metric (for the

upmarket industry).

7. Using conventionality metrics, prospectuses should determine the extent to which the

production is on trend with the tastes of a mainstream industry, e.g., a top 40 chart

from the record industry, and the extent to which it aligns to the trends in that

mainstream industry. Prospectuses should have a sufficiently large conventionality

metric (for the mainstream industry).

                                                                                             
21
The ROIs should maximize a prospectus’ contribution to the company’s annual portfolio of repertoire and supplementary investments for
the year in which the prospectus would premier.
 
 
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8. Prospectuses should assess the mutual exclusivity between the most valuable

hedonic characteristics in each market segment, i.e., the ballet industry, the upmarket

industry and the mainstream industry. Using conventionality metrics, prospectuses

should assess revenue-maximizing opportunities to combine, integrate, and/or

differentiate the ballet dimensions in relation to the upmarket and/or mainstream

dimensions.

Idea Evaluation: New-Product Development Process

The third phase of the new-product development process, idea evaluation, should convene a

few of London Ballet’s leadership committees to improvise within the frameworks of selected

prospectuses and gather the committees’ reactions and insights to develop ROI estimates

with additional precision. London Ballet should also consult its shortlist of industry contacts if

necessary. In addition, London Ballet should evaluate the fit of any prospectuses’ preferred,

for-hire candidates with the strategic artistic direction that beings to take shape as well as the

company’s standards for its professional division and the organization’s shared beliefs

concerning ballet technique and the professional division’s foundation of movement.

Ballet Leadership:

1. Monique Kampa (based out of Apple Valley, MN) was a Russian Prima Ballerina and my

first ballet mentor. Monique opened dance studios in my home state of MN with the help

of her daughter, Cindy Kampa. Cindy was a company director and was recognized for

musical connections by way of her longtime UK boyfriend, a storied producer and

musician. Miss Monique’s faculty members, Liz Haze and Allen Shannon (my original

ballet instructor and a college theatre director in New York), taught the Cecchetti Method.

However, Monique helped to arrange an audition and professional placement for me with

the Royal Winnipeg Ballet, a professional company that trained ballerinas in a variation of

 
 
17  
 

 
the Russian Method.1 Monique believed dance was an art form and not a sport. Her

dancers did not compete at dance competitions for that reason. Each spring, Monique

hosted performances at the O’Shaughnessy Auditorium in the Twin Cities. Throughout the

year, she sent her company captains to audition for the Macy’s Thanksgiving Day Parade

in NYC, international pop music tours, entertainment productions aboard the Royal

Caribbean Cruise Lines, and various opportunities with Bob Fosse’s people, James

Kinney, and Broadway Dance Center, a studio which features prominently in the cinema

film Center Stage.

2. Suzette André was my ballet instructor in the Professional Division of the Royal Winnipeg

Ballet. She is currently a Professional Division Principal in the Royal Winnipeg Ballet’s

Professional Division. Suzette studied ballet under former RWB Company Principal

dancer Lynette Fry Abra in Calgary, AB, at the National Ballet School in Toronto and for

five years with the RWB School Professional Division. She graduated with distinction from

the RWB School’s Teacher Training Program in 1999. Since joining the RWB School

Artistic Faculty in 1998, Miss Suzette has taught in the Professional Division and the

Teacher Training program. She has also visited and observed classes at both the

National Ballet of Cuba and Royal Ballet School in London, England.

3. Arlene Minkhorst adjudicated summer evaluations during my time in the Professional

Division of the Royal Winnipeg Ballet between 2000 and 2002. She graduated from the

National Ballet School of Canada in 1976 and from Canada’s Royal Winnipeg Ballet

School in 1979. She performed in numerous productions with the RWB Company before

directing her energies into teaching full-time. Minkhorst first joined the RWB School faculty

in 1979, and RWB appointed her as Vice-Principal in 1991. At the commencement of the

2002 season, she was appointed Associate Director, and in July 2004, she took over the

 
 
18  
 

 
Directorship of the RWB School from Founding Director, David Moroni. Minkhorst has

taught all levels of ballet and pointe technique, repertoire classes, conducted rehearsals

for performances, and taught in the Teacher Training Program.2 She has been a member

of the jury for the Youth America Grand Prix in New York, the Prix de Lausanne, the

Japan Grand Prix, and the Tanzolymp in Berlin, Germany.

4. David Lee Moroni is a former Canadian dancer and teacher. Moroni was born in Ottawa,

Ontario, Canada. He studied dance at the Classical Ballet Company with Nesta Toumine

and performed with her local company where he also taught. He also taught at the

Lindenlea Municipal Ballet. In 1964, he joined the Royal Winnipeg Ballet, and RWB

promoted him to soloist in 1966 before he became principal dancer in 1967. In 1970, he

joined the staff at the Royal Winnipeg Ballet School where he helped to establish the

Professional Division program and became its principle. He also served as Associate

Artistic Director of the Royal Winnipeg Ballet from 1976 to 1988. He retired in 2003.

Moroni received the Order of Canada in 1990 and received an Honorary Doctor of Letters

from the University of Winnipeg in 2014.

5. Svetlana Zakharova is a Prima Ballerina that my network might reach out to if possible,

since she is one of the most talented ballerinas in the world and came from a similar

background as my original ballet mentor, Monique Kampa. Svetlana Zakharova was born

in Lutsk, Ukrainian SSR, Soviet Union in1979. At the age of six, her mother took her to

learn folk dancing at a local studio. At the age of 10, she auditioned and joined the Kyiv

Choreography School. After attending a pre-eminent Russian ballet school in Saint

Petersburg, Zakharova then joined the Mariinsky ballet in 1996. In 1997, after her first

year with the Mariinsky, at 18, Zakharova was promoted to principal dancer. By 2003,

Zakharova moved to the Bolshoi Ballet, where she is now a Prima Ballerina.

 
 
19  
 

 
6. Maureya Lebowitz (originally from Derby, Montana, USA) is an old friend, a First Soloist

with the Birmingham Royal Ballet in England and a former Soloist with Canada’s Royal

Winnipeg Ballet. She and I trained together in the professional division of the Royal

Winnipeg Ballet many years ago. A handful of international dignitaries have recognized

Maureya’s stature in the ballet world and have affixed several achievements to her career

as a youth American Grand Prix 2007 finalist and Prince Edward Award 2007 recipient.

Maureya, via the Royal Winnipeg Ballet and the Birmingham Royal Ballet, has received

members of the British Royal Family at various public events.

Music Leadership:

1. Tom Mustachio was the resident Musical Director at my family’s theatre in MN, i.e., CDT,

for 10 years where he oversaw over 50 productions. He was the Musical Arranger and

Musical Director for the World Premiere production of Irving Berlin's Easter Parade. Other

favorites include Cats, Beauty and the Beast, West Side Story, Oklahoma!, Forever Plaid.

National Tour: The Full Monty. Regional: Hair, Grease, Nunsense A-men!, Tony-n-Tina's

Wedding. Tom is also a member of the American Guild of Organists.

2. Manon Gimlett was a friend of my maternal grandparents and my private vocal coach.

She is also the founder of the singer-actor performance lab in which I performed known as

MN’s Prelude Program at MacPhail Center for Music and the Tony Award winning

Children’s Theatre Company. I later worked with Manon when I returned to accept a

position at MacPhail immediately following graduation with her nomination. Manon has a

Bachelor of Arts in voice and theater from Occidental College in Los Angeles and a

Master of Fine Arts from the University of Minnesota. Her own performance career

includes playing the leading role of Carmen and Cleopatra in Minnesota Opera Regional

Tours; performing in The Voice of Bertolt Brecht at the Southern Theater; and more than

 
 
20  
 

 
10 years of leading roles at Minnesota Festival Theater and the Chanhassen Dinner

Theatres, a theatrical organization my maternal grandparents founded in 1968.

3. Thaxter Cunio was my Music Director in MN’s Prelude Program. I later worked with him

after I accepted a position with MacPhail in 2015. Thax was a resident artist at Tri Cities

Opera Company in Binghamton, New York. He has performed in numerous operas,

oratorios, and recitals in the United States, Canada, and Europe, most notably as Tenor

soloist in Dvorak’s Stabat Mater and Bach’s St. John Passion in Stuttgart and Freiburg,

Germany and as Don Jose in Carmen in the Minnesota Opera Tour. He holds a Bachelor

of Music in vocal performance from the University of Wisconsin, a Master of Music in

opera performance from the State University of New York (SUNY), and a performer’s

certificate in opera from Eastman School of Music. In addition, he was the recipient of a

Fulbright Scholarship in Germany. SUNY Binghamton and the Eastman School of Music

awarded him fellowships, and he furthered his studies at Indiana University, Bloomington.

4. Caitlin “Cat” Brindisi-Darrow is one of my oldest friends from CDT, a theatre where we

grew up working, which her parents purchased from my family in 2013. Cat is the

daughter of Michael Brindisi, CDT’s CEO and Artistic Director, and actress Michelle

Barber-Brindisi. Michelle’s paternal grandmother, Ermal Barber, was a piano player for

silent movies in Chicago with a penchant for Ragtime. Her grandfathers, Charlie Barber

and Alton Ellingson, were also musical virtuosos. Charlie Barber was a professional

trombone player, and Alton Ellingson played violin and fiddle. Michelle’s father, Bill

Barber, was an accomplished jazz pianist of special note. Michelle’s mother, recently

deceased Rosita Barber, played the piano and performed on MN’s KTRF and WCCO

radio as a singer. Michelle’s brother, Billy Barber, composed music for daytime dramas

and films and worked with the Oak Ridge Boys and Ray Charles. Michelle’s other brother,

 
 
21  
 

 
Matt Barber, is a percussionist with CDT and the MN Opera. Michelle’s sister, Beth

Barber-Doty, is a classically trained pianist who teaches at Schmitt Music.

5. Chris Morrissey is a songwriter, a bassist and a singer. His father, Joe Morrissey, was the

Music Director at my family’s MN theatre and worked with my mom, a former Actors’

Equity actress, during that time. Along with Cat, I also grew up working with Chris’

younger brother, Pat Morrissey (a musician and tap dancer), at CDT for many years. As a

bassist, he's toured five continents with the Jim Campilongo Trio, Mark Guiliana Jazz

Quartet, Beat Music, Dave King Trucking Company, Margaret Glaspy, Boy George, Ben

Kweller, Andrew Bird, Dosh, Mason Jennings, Gretchen Parlato, Trixie Whitley, Rosanne

Cash, Matisyahu, Gabriel Kahane, Amy Helm, and Tony Scherr. While touring with five-

time Grammy nominee and multi-platinum selling artist Sara Bareilles, he also acted as

music director. In his time in that role, he's shared the stage with Sir Elton John, recorded

with Cyndi Lauper, coproduced Jackie Wilson's "Higher and Higher" for the Oprah Winfrey

Network, and penned the arrangement of Charlie Chaplin's "Smile" for the in memoriam

segment of The 66th Annual Emmy Awards.

6. Matthew Howe was the Choreographer/Music Director for MN’s Prelude Program. He

graduated with Honors from the University of Victoria in 1985. Through 1997, he taught

extensively in high school theatre and music programs, directed and choreographed for a

variety of theatre companies, served on church worship teams and performed

professionally in the Victoria region. In 1994, Mr. Howe was Choral Director of the 1200

member ensemble for the Commonwealth Games Opening Ceremonies.5 Following

additional training at Circle in the Square Theatre School in New York, Mr. Howe became

Resident Director/Choreographer and Master Teacher at the Tony Award-winning

Children’s Theatre Company in Minneapolis, Minnesota. In 2005, he was named Twin

 
 
22  
 

 
Cities Director of the Year. He returned to Victoria to join the staff of The Canadian

College of Performing Arts in August 2007.

7. Norah Long is a former colleague from the Chanhassen Dinner Theatres. She was born in

Hollywood to a musically inclined family, including cousin Richard Crooks who was a

leading Metropolitan Opera tenor in the 1940s, and father Ron Long who preformed in a

trio with Stephen Stills and Peter Tork in the 1960s. Long’s career began when, after

moving to Minneapolis from Columbia MO, she was hired still in college as the youngest-

ever member of The Dale Warland Singers, a professional choral ensemble. She has

since performed over 60 leading roles in regional theaters across the country, including

Florida Stage, Arvada Center, Arts Garage Delray Beach, Riverside Theatre, and Paper

Mill Playhouse.6 In the Twin Cities where she resides, Long has established ongoing

working relationships with the Guthrie Theater, Nautilus Music-Theater, History Theatre,

and Chanhassen Dinner Theatres. For St. Paul’s Skylark Opera, she has performed 16

roles and recorded Jeanette MacDonald/Nelson Eddy duets for a CD.

Development: New-Product Development Process

After the screening and idea evaluation phases, a select group of prospectuses would

receive small investments for research and development to determine the training,

equipment, staff and contacts that London Ballet would need to put a prospectus into full-

scale production, at which point London Ballet would consult its Professional Services

Committee. In addition, London Opera Ballet would also develop prototypes and use full-

scale market testing to establish all elements of the marketing mix, i.e., product, place, price,

and promotion. To specify a marketing mix, London Ballet would also consult its committees

for executive leadership, international influencer leadership and program leadership.

Professional Services Committee:

 
 
23  
 

 
1. Clayton Johnson was my late maternal grandparents’ accountant and the Business

Manager for my mother’s immediate family while she was growing up as a child.

Throughout grade school and middle school, he also prepared my taxes on occasion.

Moreover, Clayton has been the accountant for the companies held by my maternal family

for several decades.

2. John Rice was my late maternal grandparents’ business attorney. For several decades,

he has also been the business and commercial real estate attorney for various land,

construction and property management companies held by my maternal family.

3. Peter Hofrenning is the husband of my undergraduate Faculty Advisor, Stella

(Koutroumanes) Hofrenning, and is Senior Associate General Counsel for Allina Health.

He holds a Master’s degree in Public Policy (M.P.P.) from Harvard’s Kennedy School for

Public Administration and a Juris Doctor degree (J.D.) from Columbia Law School in New

York City, NY. Stella (Koutroumanes) Hofrenning was my Faculty Advisor and a Summa

Confirmation Committee Member for the Oral Defense of my thesis at Augsburg College,

where I received my bachelor’s degree, summa cum laude. Moreover, Stella is the Chair

of the Economics Department at Augsburg. She obtained her PhD in Economics from the

University of Illinois at Chicago.

4. Dr. Brian Lukie, M.D., is a Canadian physician specializing in dance and sport medicine.

5. Darric Honnold was my strength coach at the University of Kansas. If it were feasible, my

network might reach out to him to partner with London Ballet to weigh in on our curriculum

in a research and advisory capacity. Darric is in his first season as the director of strength

and conditioning for the Charlotte 49ers men’s basketball program after spending the last

five seasons as the strength and conditioning director for Clemson University’s basketball

program (2011-16). Honnold joined the Clemson strength and conditioning staff after nine-

 
 
24  
 

 
years as assistant strength & conditioning coordinator at the University of Kansas (2002-

11). During his time at Kansas, Honnold was directly responsible for the strength &

conditioning efforts for baseball. He also worked with the women’s basketball team from

2002-04, during which time he assisted with the men’s program as well.

6. Dr. James A. Bentley was my eye doctor in Texas. He is certified as an eye surgeon and

ear, nose and throat surgeon, a specialty that also includes the human vocal cords. Dr.

Bentley founded the Cataract Institute in Dallas, TX. He has been in practice since 1976.

He is a graduate of Vanderbilt University & Vanderbilt School of Medicine. Certified by the

American board of Ophthalmology, Dr. Bentley treats cases of Cataract, Advanced

Glaucoma, Macular Degeneration, Diabetic Retinopathy and many other eye diseases.

His assistant, Dr. Herman is a renowned innovator in the field of ophthalmic microsurgery

with over 20 years of experience. He is one of a select group of North Texas surgeons

who are fellowship-trained in corneal and anterior segment surgery.

Executive Leadership:

1. James O'Shaughnessy, “Jim,” is a USA investor and founder, Chairman, and CIO of

O'Shaughnessy Asset Management, LLC (OSAM), an asset management firm

headquartered in Stamford, Connecticut. O’Shaughnessy served on the Boards of the

Saint Paul Chamber Orchestra and Lincoln Center for the Performing Arts and was

Chairman of the Board at the Chamber Music Society of Lincoln Center. My cousin

married to Jim’s nephew, Brian Duggan, the son of Teresa “Terri” O’Shaughnessy-

Duggan, whom I grew up living down the street in MN. Brian put me in touch with Jim a

few years after he had become Chairman of the Board at the Chamber Music Society of

Lincoln Center. Jim along with Terri and Brian Duggan, are descendants of I. A.

O’Shaughnessy, a philanthropist whose explorations for oil earned him the title “King of

 
 
25  
 

 
the Wildcatters,” who went into the insurance business in TX after graduating from St.

Thomas in 1907 and later established the Globe Oil and Refining Company, which he

headed from 1917 until his death. I.A. also proceeded to organize the Globe Pipeline

Company and the Lario Oil and Gas Company. As a noted philanthropist, I. A.

O'Shaughnessy gave millions of dollars to educational and other institutions and to

medical research in St. Paul and around the world. I. A.’s gifts helped to build the library at

St. Thomas College in St. Paul, an auditorium at the College of St. Catherine, a memorial

at the University of Notre Dame and an ecumenical Christian center in Jerusalem. Notre

Dame awarded I. A. O’Shaughnessy an honorary law doctorate in 1947 and, in 1953,

Notre Dame also gave him its Laetare Medal, an annual award given by the University of

Notre Dame in recognition of outstanding service to the Catholic Church and society that

is the oldest and most prestigious award for American Catholics. Pope Paul VI made I. A.

O’Shaughnessy papal count in 1967, and the National Conference of Christians and Jews

gave him its Brotherhood Award in 1971.

2. Francesca Pagliai and my mother were roommates in boarding school at the Orme

School, an institution to which my maternal grandfather was a trustee. Moreover,

Francesca and Bruno Pagliai Jr. are the children of Indian actress Merle Oberon (known

for many leading roles including her portrayal of Cathy in the highly acclaimed 1939 film

Wuthering Heights opposite Laurence Olivier) and Bruno Pagliai, an Italian-born Mexican

steel magnate and the wealthiest man in Mexico during the time my mother boarded with

Francesca. Bruno Pagliai Jr. also attended boarding school at the Orme School with my

mom and her siblings.

3. Amy Adams is an American-Italian actress who received an Academy Award for Best

Supporting Actress in Junebug and has received two Golden Globes for Best Actress in a

 
 
26  
 

 
Motion Picture. Amy got her start at the Chanhassen Dinner Theatres Corporation that my

maternal grandparents founded and owned in MN, where I had also started to appear in

professional theatre productions shortly before she moved to Hollywood, CA. Amy is

married to Darren Le Gallo with whom she has one daughter.

4. Jeffery and Nancy Fichtner reside in Newport Beach, California and have two sons.

Nancy went to school with my mother. She is my younger sister’s godmother, and Jeffery

is my family’s stockbroker, based out of the Newport Beach, CA branch of Merrill Lynch.

He is the President of Merrill Lynch, Newport Beach. Nancy recently shared with me that

she was a huge fan of classical composer Eric Whitacre and that her son had received

the opportunity to perform with him in concert.

5. Kris Scheffer is one of my mother’s best friends and a former ballerina from San

Francisco Ballet. For over two decades, she has also held and arranged the season

tickets to the ballet for her group with my mother (and myself on occasion) in MN.

6. Marilyn Carlson-Nelson and her parents Curtis and Arlene Carlson were Swedish friends

of my maternal grandparents, Herb and Carol Bloomberg. Curtis became the sole owner

of the Carlson Companies, an international conglomerate with 150,000 employees and

$20 billion in annual revenue. My maternal grandfather, a student of Frank Lloyd Wright

and Swede heir to USA lumber industry, built homes for Curtis, Arlene and their family.

My maternal grandmother helped put the finishing touches those projects as the Carlsons’

interior designer. The arrangement led to an on-going, loyal relationship with the Carlson

Family as they began calling upon my grandmother several times annually to assist with

the installation of Christmas décor and to provide design expertise for various remodels

and routine upkeep. Today, Marilyn is Chair Elect of the MN Orchestra board of directors,

where her engagement with MN Orchestra has been a testament to her leadership in the

 
 
27  
 

 
classical music arena, particularly in the aftermath of a publicized lockout that ended in

2014 following a two-year period in which MN Orchestra could not reach a new collective

bargaining agreement. Marilyn chaired the Orchestra’s Symphony Ball in 1973 and later

that year joined the board; she was named a Life Director in 2006. In 2015, her husband

Glen Nelson, CEO of Medtronic, generously funded the Orchestra’s historic tour to Cuba.

Marilyn has been active with many of MN’s performing arts and entertainment activities,

which have included everything from her support of the MN Orchestra and Tony Award

winning Children’s Theatre Company to her leadership as MN’s Super Bowl Host

Committee Chair alongside co-host & U.S. Bancorp CEO, R. Davis. Forbes magazine has

recognized her as one of “The World’s 100 Most Powerful Women,” and the U.S. News

and World Report has featured her as one of “America’s Best Leaders.” Marilyn graduated

with honors from Smith College with a degree in International Economics and a minor in

Theater. She also attended the Sorbonne in Paris and the Institute Des Hautes Etudes

Economiques Politiques in Geneva, Switzerland, where she studied political science and

international economics. Recognized as a worldwide business leader, Marilyn currently

serves on the boards of Exxon Mobil Corporation as well as the Federal Reserve and has

been a member of the World Economic Forum since 1997. Marilyn has served as

President of the United Way of Minneapolis, Board Member of United Way of America,

and Chair of New Sweden '88. In addition, Marilyn chaired the nine-month long

"Scandinavia Today" celebration in the U.S., where the King of Sweden bestowed upon

Marilyn the Royal Order of the North Star, First Class, and the President of Finland

presented her with the Order of the White Rose, Officer First Class.

International Influencer Leadership:

1. James O'Shaughnessy.

 
 
28  
 

 
2. Francesca Pagliai and/or Bruno Pagliai.

3. Marilyn Carlson-Nelson.

4. Olav Njølstad, Director of the Norwegian Nobel Institute, is a professor at the University of

Oslo who has written several books including some acclaimed biographies. He also

serves as secretary to the Norwegian Nobel Committee, which chooses the Nobel Peace

Prize every October. Njølstad, age 57, has a PhD in history and is a fellow of the

Norwegian Research Council. He’s also worked as a research fellow at Ohio State

University in the US, been a senior researcher at the Norwegian Institute for Defence

Studies and been research director at the Nobel Institute in Oslo. Now he’ll succeed the

retiring Geir Lundestad as the institute’s top administrator. In addition to writing several

textbooks and articles on topics such as the Cold War, the nuclear arms race and postwar

history in Norway, Njølstad has authored two biographies, one on resistance hero and

politician Jens Christian Hauge and the other on professor Leif Tronstad. He’s currently

working on a biography of former Norwegian Prime Minister Gro Harlem Brundtland. He’s

also edited a book on Norwegian Nobel Prize laureates and his doctoral thesis in 1994

covered US policies towards the former Soviet Union during the presidency of Jimmy

Carter, with emphasis on human rights. On the lighter side, he’s also written two thrillers.

5. Maureya Lebowitz.

6. Caitlin McCaslin is a TX friend and former colleague from the Collectors’ division at

Nordstrom. She holds a bachelor’s degree from SMU with double majors in Italian as well

as Markets and Cultures along with a European Studies minor from SMU-in-Paris, where

she studied French & European Art. She spent part of her high school career living with

an Italian family and attending schools in Italy, i.e., Liceo Scientifico M.G. Agnesi for

Italian Area Studies and the International School of Antibes to enhance knowledge of

 
 
29  
 

 
French from an Italian perspective. She went on to accept a PR position with the Italian

Chamber of Commerce that worked to enhance networking among members within the

European and American business community, as she translated corporate literature and

linked Italian Companies to business opportunities within TX. Caitlin was previously the

PR Chair for the TX women’s league known as the “Slipper Club.”

Program Leadership22:

1. Evelyn Hart, OM, FRSC, a 1976 Ballet Academic Program graduate, was a Principal

Dancer with the Royal Winnipeg Ballet and a graduate of the RWB Professional Division

Ballet Academic Program. She graduated from the Ballet Academic Program in 1976, was

promoted to soloist in 1978, and to Principal Dancer in 1979. She was the first Canadian

to win gold at the Varna International Ballet Competition in Varna, Bulgaria in 1980 for the

pas de deux Belong choreographed by Norbert Vesak. In 2000, she was inducted into

Canada’s Walk of Fame. In 2001, Hart received a Governor General’s Performing Arts

Award for Lifetime Artistic Achievement, Canada’s highest honor in the performing arts. In

2006, she was made a Fellow of the Royal Society of Canada.

2. Justine Panas (from the greater Vancouver area) is an old friend and a Ballerina with the

Royal Winnipeg Ballet. She and I trained together in RWB’s professional division several

years ago. Justine began her training in the professional division of the National Ballet of

Canada at the age of nine. After a year of professional training with National Ballet of

Canada, Justine was transferred to the professional division of the Royal Winnipeg Ballet

in Winnipeg, Manitoba.

3. Livvy Coneys is a friend and former colleague from the professional division of the Royal

Winnipeg Ballet. After nearly completing Royal Winnipeg Ballet’s professional track, she

                                                                                             
22
Generational lifecycles and program continuity
 
 
30  
 

 
turned her professional focus to the field of physical therapy and earned a Bachelor’s

Degree in Medical Rehabilitation and a Master’s Degree in the Physicians Assistant

program at the University of Manitoba. Upon graduation, Livvy accepted a Physical

Therapist position with Canada’s Royal Winnipeg Ballet School.

4. Jodie Tipple is an old friend and a Canadian ballerina who is originally from the United

Kingdom and currently resides in New York City. Jodie and I trained together in the

professional division of the Royal Winnipeg Ballet. Jodie most recently partnered Paul

Destrooper, principal dancer of the Royal Winnipeg ballet, in Alice, which premiered at

Victoria's McPherson Playhouse.

5. Jo Sundermeier was my resident assistant (RA) at RWB’s residence hall in Winnipeg,

Manitoba. At the time, she was also a senior apprentice in RWB’s professional division.

She is currently a Principal Dancer with the Royal Winnipeg Ballet. Born in Pompano

Beach, Florida, Joann Sundermeier began ballet lessons with Liana Navarro in Miami,

Florida before joining the Professional Division in Canada’s Royal Winnipeg Ballet School.

She became an Apprentice with the Company in 2003, and, in 2012, she was promoted to

Principal Dancer. Her repertoire includes numerous lead roles including Odette/Odile

(Swan Lake), Princess Aurora (The Sleeping Beauty), Giselle (Giselle), Myrta (Giselle),

Clara (Nutcracker), Tinkerbell (Peter Pan) and Fairy Godmother (Val Caniparoli’s A

Cinderella Story). Some roles created on Sundermeier include La Goulue (Moulin

Rouge® – The Ballet) and Mother (Svengali).

6. Sarah Davey is an old friend and a Second Soloist with the Royal Winnipeg Ballet. Sarah

Davey began dancing at the age of three. In 2004, Davey attended the Royal Winnipeg

Ballet School Professional Division and graduated in 2007. On top of her training at the

RWB School, Davey has also attended summer intensives at the Banff Summer

 
 
31  
 

 
Professional Dance Program. Davey joined Royal Winnipeg Ballet as an Apprentice in

2009, and the company promoted her to Second Soloist in 2014. Since joining the

Company, Davey has performed in Moulin Rouge – The Ballet®, Nutcracker, Swan Lake,

Dracula, The Ecstasy of Rita Joe, Carmina Burana, Romeo & Juliet, Serenade, Four

Temperaments, Concerto Berroco, The Sleeping Beauty, and Q DANCE. Along with

members of the Company, Davey performed Itzik Galili’s Hikarizatto and Mark Godden’s

As Above, So Below before an international audience at the 2010 Vancouver Winter

Olympic Games Cultural Olympiad.

Commercialization: New-Product Development Process

In the final stage of the new-product development process, one or two prospectuses would

go to market. At this stage, London Opera Ballet might hire additional performers and

professional staff. If the prospectus were a good match for the organization, however, London

Ballet should have the majority of the resources it needs and should not hire too many

additional individuals as internal employees. Since introductory promotion is expensive and

the company must arrange a multi-channel communications plan for repertoire in any given

fiscal year, London Ballet should plan promotional efforts for the entire annual repertoire

collectively. Moreover, London Ballet would plan the prospectuses’ initial promotion in

conjunction with the full repertoire it selects for each year.

Organizing Plan
With the fictional creation of a London Ballet and Centre for the Arts CIC, the contents

herein illustrate the organizing process for a Community Interest Company (CIC) Limited by

Shares that elects to be governed by the provisions of the new United Kingdom Companies

Act 2006 governing community interest companies limited by shares not otherwise applicable

 
 
32  
 

 
to the Company under said law. This entity has opted for public regulation by way of the

legislatively approved CIC form and has not chosen the Certified B Corporation form

available in the United States due to its private regulation. By providing public regulation,

CICs have proven to be a useful vehicle for enterprises of all sizes from a small community

care project to a large organization that provides international fair-trade tariff systems for the

benefit of overseas producers. CICs have also been a useful legal form for holding local

assets such as community halls and facilities and for trading through the provision of goods

and services, either directly or through contracts with service providers. In addition to those

advantages, the CIC form has prevented de-demutualization through its asset-lock feature

and has conferred additional benefits including the ability to pursue social enterprise activities

and revenue from trading endeavors that are not social enterprise activities [19].

Companies House designed the CIC form as a new type structure for limited

companies that either trade with a social purpose or pursue activities that benefit the

community. As a limited company, a CIC maintains a separate legal identity that permits the

organization’s continued existence during changes in ownership or management and an

ability to enter into contracts and to own assets in its own name. Beyond that, CICs have

benefited from greater flexibility in borrowing and fund raising as well. Unlike traditional

limited companies, entities that have organized under the CIC form are not obligated to select

either for-profit or charity status. Although a CIC cannot claim both the for-profit status and

the charity status, the organization can operate trading activities for the benefit of various

charities and it can allocate its revenues to charitable funds that finance philanthropic

activities. As such, there are a number of capital structure options available to help meet the

CIC’s internal needs along with the needs of its members. The caveat, however, is that a CIC

must retain its assets within the organization to support the CIC’s activities or the CIC’s

 
 
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community amenities since the CIC must dedicate its assets and income to community

benefits. Due to the asset lock feature, a CIC cannot transfer its assets at less than full

market value unless the organization assigns the assets to another asset-locked body or

community benefit, and CIC assets are subject to a cap on interest payments for loans in

which the CIC’s performance affects the rate of interest on the organization’s debt.

Furthermore, the organization must transfer its retained earnings to another asset locked

body upon dissolution [20].

While the parties to any given CIC have maintained similar governance and decision-

making roles as the parties to any given traditional company, those of the CIC must honor a

significant obligation to stakeholders and the community served as well. As a result, a CIC

must file accounts and annual returns in addition to an annual CIC Report with a £15 fee that

it produces and delivers to Companies House for public record. The Public Record that a CIC

submits to Companies House must describe how the organization met obligations and

delivered community benefits in the preceding year by recording its activities, each activity’s

benefit to the community, and the CIC’s efforts to involve stakeholders. The publicly recorded

report must also contain financial information on payments to directors, whom the Board

might have compensated at its discretion.

Aside from the requirements of the community interest test, the CIC Regulator has

imposed very few restrictions on the purposes for which an organization can establish a CIC.

To define the parameters of community, a CIC can embrace the population as a whole, a

definable sector from a geographic location, or a group of individuals that share a common

characteristic that distinguishes them from other members of the community. Although many

CICs have pursued social purpose activities or have provided a benefit to an entire

community, a few CICs have traded outside of the social sector and have dedicated a portion

 
 
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of the profits from those endeavors to various communities as well. Moreover, some

organizations have pursued both social enterprise activities and for-profit trading endeavors

outside of the social sector in unrelated industries. In those instances, the CIC format has

proven particularly suitable. For those reasons and others, this endeavor selected the CIC

form to fictionally establish the London Opera Ballet and Centre for the Arts, CIC [20].

The Program
LONDON BALLET AND CENTRE FOR THE ARTS
The Professional Division at the London Ballet and Centre for the Arts would be listed

in the United Kingdom, Canada and the United States as a post-secondary education

institute, so students would be encouraged early on to seek funding from all possible sources

in their home province or state, including federal and provincial student loans. The London

Ballet would select ballerinas long before their performance contracts commence. From time

to time, however, the Company would select Professional Division students to perform in

various productions, and there would be occasions when that would entail paid work. Since

international students must have an International Tax Number (ITN) in order to receive

payment, London Ballet would advise parents acquire an ITN (from the Italian tax agency) for

their child as soon as they are able and to include it on the student’s Registration Form.

PROFESSIONAL DIVISION OBJECTIVES BY LEVEL

Objectives of Levels One and Two:

• Students begin classical music studies in level I, including music games, theory,

composition, and rhythm.

• Students will strive to obtain perfect ballet technique by the end of year in level I.

• Students begin training for partnered ballet choreography, pas de deux, in level II.

Objectives of Levels Three through Six:

 
 
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• Students begin training on pointe in level III.

• Students master technical skills on pointe during level V in preparation for level VI

adjudication panels with directors.

Objectives of Levels Seven and Eight:

• Students learn and perform ballets at domestic performances.

Objectives of Level Nine:

• Directors select ballerinas for the London Ballet Company

• Directors arrange performance contracts and external placements if requested.

• Students spend their first year with the company, performing classical repertoire on

domestic and international tours.

• Students begin to experiment with movement composition and choreography set to

new orchestral arrangements.

TUITION FEES—U.K. CITIZENS & IMMIGRANT VISA STUDENTS

• Training in levels one through three includes ballet instruction and private school

tuition totaling $5,130.

• Training in levels four through nine includes ballet instruction and private school and/or

University tuition totaling $10,400.

RESIDENCE FEES—U.K. CITIZENS & IMMIGRANT VISA STUDENTS

• Boarding and accommodations at the London Ballet amounts to $27,800 annually.

• The cost of Residence includes:

o A furnished bedroom

o Communal washrooms

o On-site laundry

o Damage deposit

 
 
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o Student Lounge/Locker Damage Deposit at the Opera House

o Three meals per day

o A laptop (owned and monitored by the London Ballet)

o Wireless Internet service in the Residence building and Royal Opera House

o Transportation to and from our off-site, academic partner institutions

TECHNOLOGY POLICIES—U.K. IMMIGRANT VISA STUDENTS

In levels one through three, young students are ready for more independence in their

technological lives, but they also need supervision and support. Technology learning for

students in grades five through eight develops students' academic technology skills while

teaching them about online privacy, safety, and digital citizenship. Moreover, students in

grades five through eight have a 1:1 laptop program in which the school assigns every

student a school-owned laptop computer for classroom work and study at home. The school

phases in the program gradually beginning in Grade 5, when the school assigns individual

laptops to students for use at school only. When the Grade 5 teaching team feels students

are sufficiently prepared for 1:1 use beyond the school day, students begin using the

computers at home. In Grade 6, the school introduces students to our Acceptable Use Policy

and begins discussions of personal privacy in terms of technology and the Internet. In Grade

7, the school teaches strategies encouraging Internet safety and responsible behavior, both

personally and academically. Our residence life staff reinforces this in Grade 8 as students

begin the transition from using school-owned technology to using personal technology more

independently beginning in Grade 9.

By the time they reach Grade 9, students are knowledgeable users and consumers of

technology and online content. The older students use their school-issued laptop computer

for their coursework, which supports their curriculum as a tool for research, organization,

 
 
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production, and collaboration between teachers and peers. Students abide by the School's

Acceptable Use Policy, which provides a clear framework for the use of devices and online

behavior. Technology is a particularly important collaborative tool for the older students. Our

off-site academic partner institutions excuse professional division students from a portion of

the academic school day to permit additional ballet and dance training classes on-site at

London Ballet. As such, students often rely on their laptops and online spaces to

communicate with academic teachers and to evaluate the work of other students as they

submit assignments and complete important projects.

INTRODUCTION TO THE RUSSIAN METHOD FOR BALLET TRAINING

The Russian training system is a carefully structured program of study that requires a

commitment to years of slow growth and evolution that is at the root of the Russian System’s

successful method of training. This system introduces students to intensive work in ballet

technique classes, pointe classes, pas de deux, and variations. In addition to classical

training, students receive a comprehensive education in character and modern dance.

Classes in historical dance, conditioning, music, repertoire, Spanish, improvisation,

choreography, art and dance history classes, creative movement, strength training, and

nutrition and performance enhancement augment the curriculum.

The Russian Syllabus espouses the underlying principles of ballet education, namely

choreography based on basic movement. The curriculum focuses on the key principles of

movement in ballet as opposed to specific steps and, therefore, emphasizes correct

placement, alignment, and épaulement, which are elements that arise as students begin to

develop the Russian System’s strong sense of movement. Precision of movement with clarity

of line characterizes the Russian Syllabus. The Russian Method urges ballerinas to find the

efficiency and the deep physical experience to which the body is capable, through its highly

 
 
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developed system for training of young professionals. In contrast, many dance schools

employ a philosophy, which assumes that if a teacher introduces a dancer to a complicated

step like a turn or a jump and the dancer attempts it for many years, he or she will “eventually

get it right.” Schools following the Russian Syllabus take a much different approach to ensure

that when a dancer is introduced to a step, he or she will have developed the strong

foundation and strength that paves the way for success with progressive training that helps to

prevent ballerinas from accruing bad or dangerous habits along the way.

In a traditional ballet class, the Russian Method establishes the basic principles of

movement and the manner in which ballerinas align and move their bodies in the space. A

ballerina’s barre exercises aim to produce a dependable and strong turn out, so her feet will

form themselves into the precise, correct positions during exercises away from the barre, in

the center. The following exercises are taught at the barre in a traditional ballet class.

Ballerinas repeat each exercise a handful of times on either side with music, i.e., with the left

hand on the barre and then with the right hand on the barre. After completing the exercise

with music, the instructor offers a correction for the entire class and the exercise is executed

once more with music to apply the instructor’s correction. All exercises are completed with

music twice and include brief lecture in between. The following sequence for barre exercises

reflects my personal preference to warm up the “length and speed” of the leg extension

before completing the warm up of my turnout during rond de jambe. I also like to combine

frappe, petit battement and pirouette and to place them earlier in the barre sequence, as it

helps to keep the class moving and sets an efficient, intellectual pace.

Standard warm up exercises at the ballet barre

1. Warm up stretches 6. Rond de jambe
2. Plié 7. Frappé, petit battement, and pirouettes
3. Tendu (slow) 8. Fondu
4. Tendu (quicker) 9. Adage

 
 
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5. Dégagé (quicker) 10. Grand battement

Instructors should make every effort to correct their students in a sequence that provides

consistency and an opportunity for students to master the correct execution of any

misalignment to which the instructor remarked before the instructor makes additional

unrelated, or indirectly related, corrections. When young students receive multiple unrelated

corrections from their instructor, they are likely to abandon their focus on an initial correction

before mastering its correct placement or developing the strength for its correct placement.

Instructors must be consistent (or at least strategic) in regards to the directions and

corrections given to students, so there is continuity in the students’ foundation of movement

that enables them to focus on technical improvements.

When instructors work with young students, it is often helpful to explain muscle

memory by discussing “good habits” and “bad habits” to illustrate the point that if they work

diligently on something for several weeks, it will become a “good habit” that they will not need

to actively think about anymore. In practice, this is actually the case. Prima Ballerinas, for

example, no longer need to think about pointing their feet. They have had years of

experience with repeated exercises in ballet that have trained them to point their feet in every

position and now their bodies automatically execute all of those small perfected movements

so they can focus on the performance of ballet choreography.

That is true because teaching the body how to execute a skill creates a blueprint, i.e.,

muscle memory, which is a collection of memories stored in the brain of frequently executed

movements. Moreover, ballerinas have taught their muscles to execute ballet movements by

rehearsing exercises on a muscle group repeatedly. The more ballerinas practice an exercise

with correct placement, the more they build up their brain’s procedural memory so their brain

can quickly instruct their muscles to perform an exercise with the correct placement and

 
 
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quality of movement. “Your brain creates pathways through your central nervous system, and

movements become automatic,” says Wayne Westcott, Ph.D., fitness research director at

Quincy College in MA [21]. Those well-worn pathways become a ballerina’s muscle memory.

As an example of sequenced corrections and instruction based on the Russian

Method’s teachings, instructors might observe the following sequence of corrections for

young students entering the first level of professional training.

First correction. Students should correct the sway in their back by tucking their
derrieres under to lift up the pelvis and elongate the front of the legs, hips, and inner
thighs. Students should aim to get the back of their bodies as flat as a wall. Tucking the
derriere and elongating the hips and front of the legs helps to down-regulate the
quadriceps during the early stages of a ballerina’s training, as she will need to be able to
up-regulate her inner thighs and down-regulate her quadriceps in the development of
turnout. Preparing the body to develop turnout correctly is important because turnout is
the cornerstone of ballet technique and the foundation for a ballerina’s quality of
movement.
Correct Incorrect

Second correction. When young students stand in a turned-out ballet position, they
often allow their ankles to pronate or sink inwards. Instructors should explain this to their
students by having them start in a flat foot, first position. From first position, instructors
should then direct students to fix their pronation by lifting the inner arches of their feet,
which subsequently helps them distribute their weight evenly on their feet while
engaging their inner thigh muscles to support the development of their turnout for later
on when they advance in the curriculum.
Correcting for pronation can restore movement integrity for a number of
variations, exercises, and choreographic works. While executing a tendu variation, for
example, students should learn to lead with their heel in a tendu to the front from fifth
position and they should lead with their toes in the tendu to the back from fifth position,
and, in the second stance, instructors should carefully observe and correct students who
begin to pronate or sickle their feet. To return to a fifth position from a tendu to the front,
students should lead with the pinky toe, reinforcing the principles of a lifted arch in the
foot and supporting the mechanics of turnout. If an instructor has previously instructed a
ballerina to focus on lifting the arches of her feet in first position to correct for pronation,
then it is even more important for the instructor to follow up with further instruction that
describes the correct placement of the foot and ankle in each direction of the exercise.
The students’ ability to master their movement throughout the class and in different
positions engages their focus and motivation en route to stronger results.

 
 
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Incorrect Correct

Incorrect Correct

Photo demonstrates the incorrect placement

of the foot in a standing position, i.e., a
pronated foot also described as a “rolled in”
foot. A pronated foot in a standing position is
different from a “winged” foot that a ballerina
fully stretches.
Photo demonstrates the correct placement
of the foot in a standing position, i.e., a
lifted arch with weight distributed evenly on
the foot.

Third Correction. Students should fully straighten and extend their legs through the
backs of the knees. Students would execute the exercises featured below in their
strength and conditioning class and apply that progress to their ballet classes.
Incorrect Correct

Photo demonstrates incorrect placement Photo demonstrates the correct placement

because the backs of her knees are not because the backs of her knees are closer

 
 
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touching the ground. In the correct execution
of this exercise, the backs of the knees
should drive into the ground. If an instructor
were to place her fingers under the dancers’
knees in this exercise, the dancers’ execution
of this exercise should hurt the instructors’
fingers.
to the ground. Also, notice that by driving
the backs of the knees into the ground, the
heels of this dancer rise off the ground.
Instructors refer to this as hyperextension
of the legs. At this point in a ballerina’s
training, hyperextension is okay because
developing turnout later on in a ballerina’s
training will correct for any hyperextension
that exists.

Fourth Correction: Instructors should teach students how to turn out their legs “from
the hip.”
View from the front View from the back

The energy from the front of the legs

To develop turnout, ballerinas must think
about bringing their inner thighs forward and
then wrapping that energy around to the
back.
wraps around to the back. From behind,
the strength of the motion should force the
inner thighs together. If executed correctly,
there should not be space between the
thighs.

Instructors would then teach the following exercises in the center. In addition to jumps and

pirouettes, an instructor should include a few of the exercises the students received at the

barre, namely the exercises with which the instructor noticed her students making the most

progress. Repeating exercises from the barre in the center helps to reduce the amount of

content that students are expected to memorize throughout the class and instills confidence

with a familiar exercise that encourages students to retain the technical foundation they

warmed up at the barre, as advanced skills are introduced in the center without the support of

 
 
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a ballet barre. Ballerinas typically execute the barre exercises that they repeat in the center

with a slower tempo, before jumps and pirouettes.

Standard warm up exercises in the center

1. Rond de jambe 6. Assembles
2. Tendu 7. Balances
3. Dégagé 8. Grand allegro
4. Petit allegro 9. Pirouettes
5. Medium allegro 10. Reverence

The Russian Method also introduces exercises on pointé, beginning first at the barre, facing

it, and holding it with both hands. At the barre, the exercises on pointé include the following.

Standard warm up exercises on pointé

1. Demi plié
2. Grand plié
3. Battement tendu en croix, pour le pied
4. Battement tendu jeté en croix
5. Rond de jambe par térre
6. Fondu en croix à terre, off the floor
7. Battement soutenu en croix à tere
8. Soutenu en tournant with half turn en
dehors, en dedans
9. Frappé a tere, double, off the floor
10. Rond de jambe en l’air
11. Petit battement
12. Adagio; developpé passé, relevé lent
13. Grand battement en croix, piqué
14. Relevé (I., II. V. positions)
15. First and third port de bras. The 3rd
16. port de bras is done with the leg
extended forward and/or back with the
toe on the floor, often as a conclusion
to the rond de jambe par terre exercise

INTRODUCTION TO THE ITALIAN METHOD FOR VOCAL TRAINING

Within the first year of training, London Ballet would introduce music appreciation

programming for ballerinas in the professional division by teaching them to sing in Italian. The

pure and sonorous tone of the many vowel sounds in Italian language allows ballerinas to

acquire a fine voice-production and a clear and distinct enunciation in any language they may

have to sing.

The general plan of the Italian “Practical Method” is to provide easy studies that do not

omit essentials. No exercise exceeds the limit of an octave and a fourth. The 15 lessons

provided in what follows do not use solfeggio on single vowels or syllables. Instead, each of

 
 
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the 15 lessons is a melodic exercise written to smooth Italian verses. Each lesson should

assist with scale practice, i.e., for skips of thirds, fourths, etc., up to octaves. In addition, the

exercises should help vocalists strengthen and equalize the medium register to enforce

precise and distinct articulation with phrasing.

Lesson I. The Diatonic Scale and intervals of the Third.

Lesson II. Intervals of the Fourth and intervals of the Fifth.

Lesson III. Intervals of the Sixth.

Lesson IV. Intervals of the Seventh and intervals of the Eighth, or Octave.

Lesson V. Half-tones, or Semitones.

Lesson VI. Syncopation.

Lesson VII. Runs and Scale-Passages.

Lesson VIII. The Appoggiatura taken from above or below and the Acciaccatura.

Lesson IX. The Mordent and different ways of executing the Mordent.

Lesson X. Introduction to the Gruppetto or Turn and the Gruppetto or Turn.

Lesson XI. Introduction of the Trill or Shake.

Lesson XII. Runs and Scale-Passages.

Lesson XIII. The Portamento.

Lesson XIV. Nowhere is a clear enunciation of each word and syllable of more importance

than in Recitative, a common feature in Opera. When students come across two similar notes

at the end of a phrase, or several repeated notes in the body of a phrase, the note on which

the word-accent falls should be entirely converted into an appoggiatura of the following note.

Lesson XV. A Recapitulation of all the Rules given in the foregoing lessons.

 
 
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LONDON BALLET REPERTOIRE
A sample of selections for fall season, spring season, and international tour repertoire

Giselle
Duke Albrecht of Silesia, a young nobleman, falls in love with a shy, beautiful peasant girl,
Giselle, despite his betrothal to Bathilde, the daughter of the Duke of Courtland.

Anna Karenina
Anna Karenina is an eponymous ballet set in Russia. At a high society ball, Anna meets a
dashing young officer Count Vronsky. Anna and Vronsky meet again at the horse races and
fall deeply in love. At a long-awaited assignation, passion overcomes the lovers’ rational
thoughts. After a confrontation with her husband Karenin, Anna is overcome with dark
thoughts foreboding. After a meeting at the Karenins` home, Anna leaves her husband. At a
Carnival in Venice, the affection between Anna and Vronsky begins to break down. High
society turns its back on Anna and she becomes shunned and isolated in St. Petersburg. In
final despair, Anna commits suicide.

Sleeping Beauty
Sleeping Beauty shares the beloved childhood fairy tale, which features a cast of storybook
characters including Princess Aurora and Prince Désiré. The Sleeping Beauty marries the
soaring music of Tchaikovsky with the stunning choreography of Marius Petipa, one of
ballet’s most gifted creators. With lavish sets, stunning costumes and thrilling classical dance,
this ballet is intended to enchant audiences of all ages.

Romeo and Juliet

Romeo and Juliet is a ballet by Sergei Prokofiev based on Shakespeare's tragic love story.
Prokofiev composed the music in 1935 or 1936 for the Kirov Ballet. The incredible ballet
score has inspired many great choreographers to try their hand at Shakespeare's story.

Cléopâtre
Set in Egypt, the ballet tells the story of two young lovers, Ta-Hor and Amoun. They meet in
the grounds of a temple, when the high priest interrupts them, announcing the arrival of the
Queen Cleopatra and her court. Amoun falls in love with the Queen’s beauty, and declares
his love with a message. Cleopatra accepts to spend a night with him, but, in return, he must
drink poison the following morning. Ta-Hor tries to dissuade Amoun, but his passion is too
strong. The ballet closes with Ta-Hor going back to the temple, to find the dead body of her
lover.

Moulin Rouge
Along with a rousing French orchestra, the ballet features burlesque choreography and a
passionate story of love, ambition, and heartbreak. Drawn to Paris by the city’s passion, a
flame fuelled by the hearts of lovers and the souls of poets, Matthew and Nathalie tempt fate
as they seek love and destiny at the infamous cabaret, the Moulin Rouge.

 
 
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LONDON OPERA REPERTOIRE
Abu Hassan Attila Carmen Dictator’s Wife, The
Acis and Galatea Atys Carmina Burana Dido and Aeneas
Adelia Babar the Elephant Carousel Difficulty of Crossing a Field, The
Adelson e Salvini Ballad of Baby Doe, The Carry Nation Dimitrij
Adina, o Il califfo di Bagdad Ballo delle Ingrate, Il Casanova's Homecoming Dinorah
Admeto, re di Tessaglia Ballo in maschera, Un Cassandra Djamileh
Adriana Lecouvreur Bánk Bán Castor et Pollux Docteur Miracle, Le
Adriana Mater Barbier von Bagdad, Der Caterina Cornaro Dog Days
Africaine, L’ (African Maid, The) barbiere di Siviglia, Il Cavalleria Rusticana Doktor Faust
Again Bartered Bride, The (Prodana Cendrillon Dolores Claiborne
Agrippina Nevesta) Cenerentola, La domino noir, Le
Ägyptische Helena, Die Bassarids, The Champion Don Carlos
Aida Bastianello chanson de Fortunio, La Don Giovanni
Ainadamar Bastien und Bastienne Charlie Parker's Yardbird Don Pasquale
ajo nell’imbarazzo, L' battaglia di Legnano, La Chatterton Don Quichotte
Akhnaten Bear, The Chérubin Don Rodrigo
Albert Herring Béatrice Christmas Carol, A Doña Francisquita
Alceste Beatrice di Tenda Christmas Eve donna del lago, La
Alceste Béatrice et Bénédict Christopher Columbus donne curiose, Le
Alcina Beatrix Cenci Christopher Sly Doriclea, La
Aleko Beautiful Galatea, The chute de la maison Usher, La Dr. Atomic
Alessandro Becoming Santa Claus Cid, Le Dr. Sun Yat-Sen
Alexandre bis Before Night Falls Cimarrón, El Dream of the Red Chamber
Alice in Wonderland Bel Canto Cinq-Mars Dream of Valentino, The
Alina, la regina di Golconda Belfagor Ciro in Babilonia, ossia La caduta di due Foscari, I
Almira, Königin von Castilien Belisario Baldassare (Cyrus in Babylon, or Dulce Rosa
Alzira Belle Hélène, La The Fall of Belshazzar) Dybbuk, The
Amadigi di Gaula - Bellérophon Clemency Echo et Narcisse
Amadis Benvenuto Cellini clemenza di Tito, La Edgar
Amahl and the Night Visitors Berenice Cléopâtre éducation manquée, Une
Amelia Betly, ossia La capanna svizzera Coffin in Egypt, A Elegy for Young Lovers
Amelia al Ballo (Amelia Goes to the Betrothal in a Dream Cold Mountain Elektra
Ball) Betrothal in a Monastery (The Cold Sassy Tree elementos, Los
American Dream, An Duenna) combattimento di Tancredi e Eliogabalo
American Soldier, An Better Gods Clorinda, Il elisir d'amore, L'
Amica Betulia liberata, La (The Liberation of Comte Ory, Le Elizabeth Cree
Amico Fritz, L' Bethulia) Consul, The Elmer Gantry
Amistad Bianca e Falliero Contes D'Hoffmann, Les (Tales of Emmeline
Amore dei tre re, L' Bianca e Fernando Hoffmann) Enchanted Wanderer, The
Amore medico, L' (Doctor Cupid) Billy Budd Coq D'or, Le (The Golden Cockerel – Ende einer Welt, Das
Amour de loin, L' Black Widow Zolotoy Petushok) Endimione
Ancêtre, L’ Bluebeard's Castle, Duke (A corsaro, Il Enfant et les Sortilèges, L'
Andrea Chenier Kékszakállú Herceg Vára) Cosi fan tutte (ossia La scuola degli enlèvement d’Europe, L'
Angels in America Bohème, La amanti) entführung aus dem Serail, Die
Anna Bolena Bohemian Girl, The Countess Maritza épreuve villageoise, L’
Anna Karenina Bomarzo Cox and Box, or The Long-Lost Ermione
Anna Nicole Bon Appétit! Brothers Ernani
Another Brick in the Wall: The Opera Bonesetter's Daughter, The Cradle Will Rock, The Erwartung
Anoush Boris Godounov Crossing Esclarmonde
Antony & Cleopatra Boyarïnya Vera Sheloga (The Crucible, The Etoile, L'
Apollo et Hyachinthus Noblewoman Vera Sheloga) Cruzar la cara de la luna Eugene Onegin
Appomattox Brautwahl, Die (The Bridal Choice) Csárdásfürstin, Die Euryanthe
Approaching Ali Bravo, Il; ossia La veneziana [The Cunning Little Vixen, The Everest
Arbore di Diana, L’ Assassin, or the Venetian Woman] Curlew River Ezio
Ariadne auf Naxos Breaking the Waves Cyrano Face on the Barroom Floor, The
Ariane Brief Encounter Cyrano de Bergerac Fair at Sorochintsk, The
Ariane et Barbe-bleue ***Brigadoon Dalibor Fairy Queen, The [revised version]
Arianna in Creta briganti, I Damnation de Faust, La Fall of the House of Usher, The
Ariodante Brokeback Mountain Danaïdes, Les Fallujah
Arizona Lady Burning Fiery Furnace, The Dantons Tod Falstaff
Arjuna’s Dilemma Cadmus et Hermione Daphne Fanciulla del West, La
Arlecchino, oder Die Fenster Calisto, La Dark Sisters Fantastic Mr. Fox
(Harlequin, or The Windows) cambiale di matrimonio, La Dead Man Walking Faramondo
Arlesiana, L' campana sommersa, La [revised Death and the Powers Faust
Armida version] Death in Venice Favorite, La
Armide campanello di notte, Il Death of Klinghoffer, The Fedora
Aroldo campiello, Il Deidamia Feen, Die
As One Candide Demon, The Fellow Travelers
Ascanio Candide [Opera House Version descente d’Orphée aux enfers, La Fiddler on the Roof
Ascanio in Alba (1982 rev. 2016)] Desert Song, The Fidelio
Aspern Papers, The Canterville Ghost, The Devil and Daniel Webster, The Fierrabras
Argento Assassinio nella Cattedrale Capriccio Devil and Kate, The Fiery Angel, The
At the Statue of Venus Capuleti e i Montecchi, I Dialogues des Carmélites fille du régiment, La
Atalanta Cardillac Diary of One Who Vanished, The finta giardiniera, La
finta semplice, La heure espagnole, L' Little Prince, The Midsummer Night's Dream, A
First Emperor, The Hija de Rappaccini, La Little Women Mighty Casey, The
Flavio, Re de' Longobardi Hin und zurück Livietta e Tracollo Mignon
Fledermaus, Die House without a Christmas Tree, The Lizzie Borden Mikado, The
Fliegende Holländer, Der (The Flying Hugh the Drover Lohengrin Miranda and the Dark Young Man
Dutchman) I Have No Stories to Tell You Lombardi alla prima crociata, I Mirandolina
Flight Ice Break, The Long Christmas Dinner, The Mireille

 
 
47  
 

 
Florencia en el Amazonas Idomeneo, re di Creta Long Walk, The Miserly Knight, The
florentinische Tragödie, Eine Importance of Being Earnest, The Loss of Eden Miss Haversham's Fire
Floridante Impresario, The Lost in the Stars Mitridate, Re di Ponto
Flowering Tree, A In the Penal Colony Lotario Mlada
Fly, The Incoronazione di Poppea, L' Louise Moby-Dick
forza del destino, La Inspector, The Love for Three Oranges, The mondo della luna, Il
Four Saints in Three Acts Intermezzo Lucia di Lammermoor Montezuma
Fra Diavolo Invention of Morel, The Lucio Silla Mörder, Hoffnung der Frauen
Francesca da Rimini Iolanta Lucrezia Borgia Morning Star
Frau ohne Schatten, Die Iolanthe Luisa Fernanda Moscow, Cheryomushki
Freischütz, Der Iphigénie en Aulide Luisa Miller Mosè in Egitto
Frida Iphigénie en Tauride Lulu Moses und Aron
Gabriel's Daughter Iris Lysistrata, or The Nude Goddess Mother of Us All, The
Galileo Galilei Isabeau M. Choufleuri Mourning Becomes Electra
Gallantry isola disabitata, L’ Macbeth Mozart and Salieri
Gambler, The (Igrok) It’s a Wonderful Life Madama Butterfly muette de Portici, La
Gato con Botas, El (Puss-in-Boots) italiana in Algeri, L' Madame Mao My Fair Lady
Gato Montés, El taliana in Londra, L’ Madame Sans-Gêne Nabucco (Nabucodonosor)
gazza ladra, La Ivanhoe Maddalena Naughty Marietta
Gemma di Vergy Jakobín mage, Le Navarraise, La
Gezeichneten, Die Jakobsleiter, Die (Jacob’s latter/ Mahagonny Songspiel nave, La
Ghosts of Versailles, The Cat’s cradle) Mahagonny, Aufstieg und Fall der Nefarious, Immoral, but Highly
Gianni Schicchi Jane Eyre Stadt Profitable Enterprise of Mr. Burke
Giasone, Il Jason and the Argonauts Maid of Orleans, The and Mr. Hare, The
Gioconda, La Jenůfa Maid of Pskov, The Nerone
Gioielli della Madonna, I Jephtha Making of the Representative for Nixon in China
Giorno di regno, Un / ossia Il finto Jérusalem Planet 8, The No Exit
Stanislao Jesus Christ Superstar Makropulos Affair, The nonne sanglante, La
Giovanna D’Arco John Brown Mala vita Norma
Girls of the Golden West Jongleur de Notre Dame, Le malheurs d’Orphée, Les Nose, The
giuramento, Il Jonny spielt auf mamelles de Tirésias, Les Noye's Fludde
Giustino Juive, La Man of La Mancha nozze di Figaro, Le
Gloriana Julius Caesar Man Who Mistook His Wife for a Hat, Nusch-nuschi, Das
Golden Slippers, The Jumping Frog of Calaveras County, The Oberto, Conte di San Bonifacio
Golden Ticket, The The Manon occasione fa il ladro, ossia Il cambio
Gondoliers, The junge Lord, Der Manon Lescaut della valigia, L’ *
Good Soldier Schweik, The Kaiser von Atlantis, Der Maometto Secondo Oedipe
Goplana Kashchey the Immortal Margaret Garner Oedipus Rex
Götterdämmerung Kátya Kabanová Margot la rouge Of Mice and Men
Goya Khovanshchina Maria de Buenos Aires Oklahoma!
Goyescas King and I, The Maria de Rudenz Old Maid and the Thief, The
Grand Macabre, Le King Priam Maria di Rohan Opernball, Der
grand'tante, La King’s Henchman, The Maria Padilla oracolo, L’
Grande-Duchesse de Gérolstein, La Kiss Me, Kate Maria Stuarda Oresteia
Grapes of Wrath, The Kiss, The (Hubička) Marino Faliero Orfeo ed Euridice / Orphée et
Great Gatsby, The Kluge, Die Markheim Eurydice*
Great Scott Knot Garden, The Mârouf, savetier du Caire Orfeo, la favola d'
Greek Koanga Martha Orlando
Griselda Königskinder martyrs, Les Orlando Paladino
Griselidis Król Roger Mary, Queen of Scots Ormindo, L'
Guarany, Il Kullervo maschere, Le Orphée
Guglielmo Ratcliff Lady Macbeth of Mtsensk Maskarade Orpheus and Euridice
Guillaume Tell Lakmé masnadieri, I Orpheus in the Underworld
Guntram Lalla-Roukh Mathis der Maler Oscar
Gwendoline larmes du couteau, Les matrimonio segreto, Il Otello
Hagars Klage Last Savage, The Mavra Otello, ossia Il moro di Venezia
Hagith Legend of the Invisible City of Kitezh May Night Ottone, re di Germania
Halka and the Maiden Fevroniya Mazeppa Our Town
Hamlet leggenda di Sakùntala, La McTeague Owen Wingrave
Hand of Bridge, A Leonore, oder der Triumph der Medea Pagliacci
Handmaid’s Tale, The ehelichen Liebe Médée Pan Voyevoda
Heiling Libuše Medici, I Parisina
Hänsel und Gretel Liebe der Danae, Die Medium, The Parsifal
Harmonie der Welt, Die Liebesverbot, Das Menotti Mefistofele Partenope
Harvey Milk Life is a Dream Meistersinger von Nürnberg, Die Pasado Nunca Se Termina, El
Help, Help the Globolinks Lighthouse, The Merchant and the Pauper, The Passenger, The
Henry Clifford Lilith Merlin Passion of Jonathan Wade, The
Henry VIII Linda di Chamounix Merry Widow, The Patience or Bunthorne's Bride
Hercules Lion, the Unicorn and Me, The Merry Wives of Windsor, The Paul Bunyan
Hercules vs Vampires Little Match Girl Passion, The Mese Mariano pauvre matelot, Le
Hérodiade Little Night Music, A Midsummer Marriage, The Pêcheurs de Perles, Les
Pelléas et Mélisande Rossignol, Le (The Nightingale) Svadba War and Peace
Pénélope Ruddigore Sweeney Todd The Demon Barber Water Bird Talk, A
Penny Rusalka Of Fleet Street We Shall Not Be Moved
Pépito 66, Le 27 Werther
Perfect American, The Sadko Tabarro, Il West Side Story
Périchole, La Saffo Tabasco: A Burlesque Opera What Next?
Persée Saint François d'Assise Tale for a Deaf Ear Where the Wild Things Are
Perséphone Saint of Bleeker Street, The Tale of Tsar Saltan, The Wiener Blut
Peter Grimes Salomé Tamerlano Willie Stark
Peter Ibbetson Samson Taming of the Shrew, The Wings of the Dove
Phaedra Samson et Dalila Tancrède Winterreise
Phaëton San Giovanni Battista Tancredi Wozzeck

 
 
48  
 

 
Philémon et Baucis Sancta Susanna Tannhäuser Wreckers, The
piccolo Marat, Il Sapho Tarare Written on Skin
Pigmalione, Il Satyagraha Tea: A Mirror of Soul Wunder der Heliane, Das
Pilgrim’s Progress, The Saul Telephone, The wunderbare Beständigkeit der Liebe
Pimpinone Saul og David Tempest Songbook, The oder Orpheus, Die
Pinafore, H.M.S. Savitri Tempest, The Wuthering Heights
Pique Dame scala di seta, La Tender Land, The Xerxes (Serse)
pirata, Il Scarlet Ibis, The Teseo Yeoman of the Guard, The
Pirates of Penzance, The Schatzgräber, Der Thaïs Zaide
Platée Schoenberg in Hollywood Theodora Zanetto
Poliuto Schweigsame Frau, Die Thérèse Zauberflöte, Die
Pomme d’api Scipione Thérèse Raquin Zazà
Porgy and Bess Scorpions’ Sting, The: An Egyptian Thésée Zelmira
Poro, re dell’Indie Myth This Is the Rill Speaking Zémire et Azor
Postcard from Morocco Seagull, The Three Decembers zerbrochene Krug, Der
Postino, Il Séance on a Wet Afternoon Threepenny Opera, The Zigeunerbaron, Der
Postman Always Rings Twice, The Second Nature Tiefland Zwerg, Der
Powder Her Face Secret Garden, The To Hell and Back
Prince Igor segreto di Susanna, Il Tobias and the Angel
Prince of Players Semele Tolomeo, re d’Egitto
Princess Ida Semiramide Torvaldo e Dorliska
Prinz von Homburg, Der Semyon Kotko Tosca
Prinzessin auf der Erbse, Die serva padrona, La Tote Stadt, Die
Prodigal Son, The Sestra Beatrisa Tragédie de Carmen, La
Property, The Shalimar the Clown Transformations
Proserpine Show Boat traviata, La
Proving Up Sieben Todsünden der Kleinbürger, Trial by Jury
puritani, I Die Trial, The
Pygmalion siège de Corinthe, Le tribut de Zamora, Le
quatro rusteghi, I Siegfried Tristan und Isolde
Queenie Pie Sigismondo Troilus and Cressida
Quiet Place, A signor Bruschino, Il Trouble in Tahiti
Radamisto Silent Night trovatore, Il
Rake's Progress, The Silvano Troyens, Les
Ramuntcho Simon Boccanegra Tsar's Bride, The
Rantzau, I Siroe, re di Persia Turandot
Rape of Lucretia, The Sky on Swings Turco in Italia, Il
Raven, The Slow Dusk Turn of the Screw, The
re pastore, Il Sly, ovvero La leggenda del Two Widows, The
Regina dormiente risvegliato Undine
Renard Snow Maiden, The Usher House
retablo de maese Pedro, El sogno di Scipione, Il Utopia, Limited
Rheingold, Das Soldaten, Die Vampyr, Der
Riccardo Primo, re d’Inghilterra Song from the Uproar: The Lives and Vanessa
Ricciardo e Zoraide Deaths of Isabelle Eberhardt Venus and Adonis
Rossini Riders of the Purple Sage Song of Majnun, The Veselohra na mostě
Riders to the Sea songe d'une nuit d'été, Le vespri siciliani, I; Les vêpres
Rienzi, der Letzte der Tribunen sonnambula, La siciliennes
Rigoletto Sophie's Choice vestale, La
Rinaldo Sorcerer, The viaggio a Reims, ossia L'albergo del
Ring des Polykrates, Der Sosarme, re di Media giglio d'oro, Il
Río de Sangre Sound of Music, The Vida breve, La
Risurrezione South Pacific View from the Bridge, A
Rita, ou Le mari battu Spectre’s Bride, The Village Romeo and Juliet, A
Ritorno d'Ulisse in patria, Il speziale, Lo Village Singer, The
Roberto Devereux Stiffelio Villi, Le
Rodelinda straniera, La vin herbé, Le
roi Arthus, Le Street Scene Violanta
roi d’Ys, Le Streetcar Named Desire, A Visitation, The
roi de Lahore, Le Student Prince, The Vögel, Die
roi malgré lui, Le Summer and Smoke Voice of Ariadne, The
Roland von Berlin, Der Summer King, The voix humaine, La
Roméo et Juliette Sonenberg Sunken Garden Wake World, The
Rondine, La Suor Angelica Walküre, Die
Rose Marie Susanna Wally, La
Rosenkavalier, Der Susannah Wandering Scholar, The

 
 
49  
 

 
The Program—Revenues
TUITION FEES
*The year-round program would select five girls per each level (for the first 5 to 7 years)
Level 1 $5,130 x 5 $25,650
Level 2 $5,130 x 5 $25,650
Level 3 $5,130 x 5 $25,650
Level 4 $10,400 x 5 $52,000
Level 5 $10,400 x 5 $52,000
Level 6 $10,400 x 5 $52,000
Level 7 $10,400 x 5 $52,000
Level 8 $10,400 x 5 $52,000
Level 9 $10,400 x 5 $52,000
Total = $388,950

BOARDING FEES — Annual Fee $27,800

• Residence fees for a total of 45 year-round students
Total = $1,251,000

FALL SEASON—Average ticket price $140

• Performed in 3000+ seat concert hall with projections earmarked for 3000 tickets sold per each performance
• Eight week season with a total of 64 performances
One performance: 3000 tickets x $140 per ticket = $420,000 total revenue
Fall Season: 64 performances x $360,000 total revenue = $26,880,000 total revenue
Total: $26,880,000

SPRING SEASON—Average ticket price $140

• Performed in 3000+ seat concert hall with projections earmarked for 3000 tickets sold per each performance
• Eight week season with a total of 64 performances
One performance: 3000 tickets x $140 per ticket = $420,000 total revenue
Fall Season: 64 performances x $360,000 total revenue = $26,880,000 total revenue
Total: $26,880,000

INTERNATIONAL TOUR—Average ticket price $140

• Performed in 3000+ seat concert hall with projections earmarked for 3000 tickets sold per each performance
• Ten week season with 64 performances
One performance: 3000 tickets x $140 per ticket = $420,000 total revenue
Fall Season: 64 performances x $360,000 total revenue = $26,880,000 total revenue
Total: $26,880,000

Student Revenue = $1,639,950

Performance Revenue = $80,640,000
TOTAL REVENUE = $82,279,950

 
 
50  
 

 
The Program—Costs
Variable costs fluctuate as the organization’s level of output changes in the short run and

represent the organization’s operating expenses beginning on opening night and continuing

for each performance. In the short run, fixed costs do not change with the level of output.

Fixed costs include the expenses incurred to mount a production before it opens. The length

of the production’s subsequent run does not affect its fixed costs.

VARIABLE COSTS
Miscellaneous expenses: $1 million
• Telephone and electric power charges
• Wages of stagehands and technical crew
• Expenses for advertising and publicity
TOTAL FIXED COST: $1 million / 576,000 tickets sold
AVERAGE VARIABLE COST (AVC): $1.74 per ticket

FIXED COSTS
Company ballerinas and dancers: $6.7 million
Teachers: $5.5 million
Orchestra: $13.2 million
Long-term salaries of general management: $15 million
• Executive Director
• Artistic Director
• Chief Financial Officer
• Director of Marketing and Sales
• School Director, Principal of Professional Division
• Dean of Residence
• Registrar/ School Office Supervisor
• Activity Coordinator/ Counselors
• Head Chef/ Sous Chefs
• Allopathic Physician (M.D.)
• Physical Therapists
• Massage Therapist
• Sports & Wellness Nutrition Consultants
Accounting and legal: $15 million
Touring: $8 million
Costumes and scenic design: $5 million
Marketing and sales: $6.8 million
TOTAL FIXED COST: $75.2 million / 576,000 tickets sold
AVERAGE FIXED COST (AFC): $131 per ticket

Average variable cost = $1.74 per ticket

Average fixed cost = $131 per ticket
Average unit cost = $132.74
*Reducing the $1.74 variable cost would not significantly affect the total $132.74 unit cost. Since there are so few variable
costs, growth would offer only a small financial advantage.

 
 
51  
 

 
The Program—Financing
As a Community Interest Company (CIC) Limited by Shares, London Ballet would look

for an angel investor to provide startup capital with a five to ten year term within which

London Ballet would need to repay the loan or issue shares of stock to the angel investor.

London Ballet and Centre for the Arts would then save its earnings until it had enough capital

to go to the next level. Upon dissolution, the company may decide to transfer its assets and

operations to another asset-locked body with stronger funding, potentially in another location.

London Ballet and Centre for the Arts would have two, eight week domestic seasons,

i.e., a fall season and a spring season, and one, ten week international tour. During

performance seasons, there would be eight shows per week. The ballet would perform in

3000-seat concert halls with ticket prices earmarked at $140. Assuming the season is

successful and sells out each performance, revenues for domestic performances would total

$54.9 million annually. Including revenues from the company’s international tour, the

company’s earned revenue for the entire year would amount to approximately $80.6 million.

In addition, the organization would generate revenues of $1.64 million from the professional

division school. As such, total annual revenue would amount to $82.3 million and would

initially operate with a surplus of approximately $510,000.

During its second year of operation, London Ballet would also rent out its costumes

and scenery to external organizations. The Company would offer a two-week rental package,

i.e., the Costume Ensemble Package, for $15,000 and a Scenic Design and Props Package

for two-week rentals valued at $20,000. The organization would plan to provide those

services for at least 30 productions throughout the year, which would bring in an additional

$1.05 million annually. In addition, London Ballet’s marketing and sales department would

begin to rent two event spaces on the organization’s property for $75,000 that would be
 
 
52  
 

 
available for private functions. The organization would plan to arrange approximately 30

events throughout the course of the fall and spring seasons in its second year, which would

generate an additional $2.25 million in revenues. By year four, that number would increase to

roughly 80 private functions at the London Ballet, bringing in revenues close to $6 million.

London Ballet and Centre for the Arts

Income Statement
Total Y1 Y2 Y3 Y4 Y5
Revenues $82,300,000 $85,600,000 $85,600,000 $89,350,000 $89,350,000
Cost of Goods Sold ($39,400,000) ($39,400,000) ($39,400,000) ($39,400,000) ($39,400,000)
Gross Margin $42,900,000 $46,200,000 $46,200,000 $49,950,000 $49,950,000

Operating Expenses ($36,800,000) ($36,800,000) ($36,800,000) ($36,800,000) ($36,800,000)

Operating Profit/ EBIT $6,100,000 $9,400,000 $9,400,000 $13,150,000 $13,150,000

Income Taxes ($1,159,000) ($1,786,000) ($1,786,000) ($2,500,000) ($2,500,000)

Income from continuing
$4,941,000 $7,614,000 $7,614,000 $10,650,000 $10,650,000
operations
Income from discontinued
— — — — —
operations
Net Income $4,941,000 $7,614,000 $7,614,000 $10,650,000 $10,650,000

MEASUREMENT AND EVALUATION

The London Ballet would have a two-part evaluation system.

1. The progress of all ballerinas would be evaluated throughout their program, with

adjudication panels organized by the organization’s Artistic Committee.

2. London Opera Ballet would be responsible for meeting its ticketing and sales goals. As

the organization sells tickets, the earnings would be automatically tracked and

accounted for in a digital system, i.e., Tessitura or AudienceView. The organization

would also track subscription sales and subscription renewals, keeping abreast of our

loyal subscribers. In addition, London Opera Ballet would work to increase the

diversity of international engagements for future seasons and international tours,

tracked by number of countries visited.

 
 
53  
 

 
The Program—Organizing Documents

ARTICLES OF INCORPORATION OF

LONDON BALLET AND CENTRE FOR THE ARTS, CIC

ONE: The name of the corporation is LONDON OPERA BALLET AND CENTRE FOR THE

ARTS, CIC.

TWO: (a) This corporation (the "Company") is a Community Interest Company Limited by

Shares and is not organized for the private gain of any person. It was organized under the

United Kingdom Companies Act 2006 on December 13, 2018. By the adoption of these

Amended Articles of Incorporation, it elects to be governed by all of the provisions of the new

United Kingdom Companies Act 2006 (effective by its terms November 8th, 2006) governing

community interest companies limited by shares not otherwise applicable to the Company

under said law. Accordingly, the Company is organized under the laws for Community

Interest Companies Limited by Shares for public and social business purposes.

(b) It is the vision of this organization to present performance art that inspires the

population and serves as a touchstone of its judgment. The organization’s work seeks to

create and produce ballets for seasonal subscribers and new audiences at performances

around the globe. London Ballet recognizes that achievement in the performing arts begins

with the expensive and extensive training of skilled performers, composers, choreographers,

etc. who need time to prepare works for performance and a reasonable measure of economic

security. While engaging a robust constituency, London Opera Ballet exists to add value for

audiences, performing artists, and the performing arts at large. The company’s productions

add value for audiences by giving patrons something they want to see, content that is

important and entertaining, and performances that are exalting. The organization aims to

 
 
54  
 

 
present work that adds value for performing artists as well, who should find the content of

their performances interesting and professionally challenging. Perhaps most importantly,

London Ballet adds value for the performing arts by prioritizing its ability to stay in business

and to sustain the company’s operations. Creating value for each market, i.e., the

organization, its audiences, and its performing artists is the overarching vision of London

Opera Ballet and Centre for the Arts, CIC. The specific purposed for which the company is

organized are to train the next generation of ballerinas at the highest levels of achievement;

to pursue research at the forefront of Dance Medicine and Science; to cultivate a workforce

with job security, which fuses the best in ballet, dance, opera, and orchestral music; to

preserve work from the classical repertoire while developing new work that speaks to the time

and cultural achievement in which it is made; to commercially exploit innovations and core

competences under appropriate circumstances to not only bring elements of the performing

arts to a wider audience but also to develop and expand sources of earned revenue that will

ensure long-run financial stability for the performing arts; and to expand the organization’s

audience with international tours, education programs, and cultural exchanges to facilitate

innovative collaborations, to stimulate demand in multiple markets, to alleviate transaction

costs, and to control knowledge silos for the organization and its classical artists. This

mission is further supported by a commitment to expand the organization’s audience and to

make ballet accessible to its community’s full constituency and extended public with

international tours, education programs, media innovations, and supplementary outreach

efforts.

 
 
55  
 

BY-LAWS

of

LONDON OPERA BALLET AND CENTRE FOR THE ARTS, CIC

(a United Kingdom Community Interest Company Limited by Shares)

ARTICLE I

OFFICES

The principal office of the corporation (the "Company") shall be located at Queen's Building,

327 Mile End Rd, London E1 4NS, UK. The Board of Trustees (the "Board") may change the

principal office to another location within the City of London, England. The Company may

establish at any time one or more other offices at any place or places within or outside of

England. At present, the company plans to open a second office in California for original film

scores and music direction activities to be outsourced to filmmakers based near and around

the Hollywood, California area.

ARTICLE II

OBJECTS AND PURPOSES

Section 2.1. Artistic Purposes. The specific purposed for which the company is organized

are to train the next generation of ballerinas at the highest levels of achievement; to pursue

research at the forefront of Dance Medicine and Science; to cultivate a workforce with job

security, which fuses the best in ballet, dance, opera, and orchestral music; to preserve work

from the classical repertoire while developing new work that speaks to the time and cultural

achievement in which it is made; to commercially exploit innovations and core competences

under appropriate circumstances to not only bring elements of the performing arts to a wider
 
 
56  
 

 
audience but also to develop and expand sources of earned revenue that will ensure long-run

financial stability for the performing arts; and to expand the organization’s audience with

international tours, education programs, and cultural exchanges to facilitate innovative

collaborations, to stimulate demand in multiple markets, to alleviate transaction costs, and to

control knowledge silos for the organization and its classical artists. This mission is further

supported by a commitment to expand the organization’s audience and to make ballet

accessible to its community’s full constituency and extended public with international tours,

education programs, media innovations, and supplementary outreach efforts.

Section 2.2. Community Interest Company Status. The property of the Company is

irrevocably dedicated to community business purposes, and no part of the net income or

assets of the Company shall ever inure to the benefit of any director ("Trustee"), officer or

Member of the Company, or to the benefit of any private individual. Upon the winding up and

dissolution of the Company, and after paying or adequately providing for the debts and

obligations of the Company, the remaining assets must be transferred to another asset

locked body.

Section 2.3. Nondiscrimination. It is the policy of the Company to support the principles of

equal opportunity in employment and artistic development and to recruit, hire, select, train

and advance all persons without regard to race, color, national or ethnic origin, religion, age

or sex, except where age or sex may be a bona fide occupational artistic qualification. From

time to time, the Board shall provide by appropriate resolution specific details to implement

the foregoing general policy statement.

ARTICLE III

TRUSTEES

Section 3.1. Management of Company’s Activities and Affairs by Board. Subject to the

 
 
57  
 

 
provisions of the United Kingdom Companies Act 2006 for Community Interest Companies

Limited by Shares, the Company shall conduct its activities under the direction of the Board.

The Board can delegate the management. The persons who are referred to as "directors"

under the United Kingdom Companies Act 2006 for Community Interest Companies Limited

by Shares are herein denominated "Trustees" as permitted by said Law. In addition to

furnishing reports, CIC directors are also responsible for ensuring that the company is run in

such a way that it will continue to satisfy the community interest test by caring for the

interests of the community, and in some cases giving more weight to those interests than to

generating financial returns. The authorized number of Trustees shall be fixed and I, Erin

Christine Devine, shall be the sole trustee. If legal matters arise requiring additional trustees,

I, Erin C. Devine, herein reserve the right to select additional trustees and to evaluate their

qualifications as I see fit. Trustees can receive compensation at the discretion of the board.

Section 3.2. Selection of Successors and Term of Office. Any Trustee may resign and

provide notice to the Chairman of the Board, the President, the Secretary or the Board. In the

absence of resignations, Trustees shall serve for an indefinite term and select their

successors with their fellow Trustees.

Section 3.3. Self-Dealing Transactions. A "self-dealing transaction" is a Company

transaction that involves a financial interest of one or more Trustees. None of the following

qualifies as a self-dealing transaction. (1) A Trustee or officer fixing the compensation of a

Trustee. (2) A Company transaction for its charitable programs that receives approval in good

faith, which benefits Trustees because they are in the community for which the company

designed the charitable program.

16. Approval of Self-Dealing Transactions. Those in favor of a transaction must prove

that the Company entered into the transaction for its own benefit; the Company

 
 
58  
 

 
entered into a fair transaction; the Company knew about the Trustee’s interest in the

transaction and authorized the transaction in good faith before the Board

consummated it; and the Board concluded it could not have obtained a better

arrangement. Alternatively, those in favor of a transaction could prove that a

committee or person authorized by the Board approved the transaction in line with

Company policy; Board approval was not available before the transaction; and the

Board ratified the transaction at its next meeting after confirming the Company had

satisfied the first two conditions.

17. Actions for Remedies and Violations. An action may be brought in court for the

remedies specified by the Company, or a Member, or a Trustee or officer of the

Company. If an unapproved transaction has occurred, the interested Trustees shall

pay damages at the discretion of the court. The court will provide an equitable and fair

remedy to the Company, taking into account any benefit received by the Company and

whether the interested Trustee or Trustees acted in good faith and with intent to further

the best interest of the Company.

Section 3.4. Transactions With Firms Having Common Directors. Except as provided in

the Section 3.11 of these By-Laws, no contract or other transaction between the Company

and any other domestic or foreign corporation, firm or association of which one or more of the

Company’s Trustees are directors is either void or voidable because such Trustee or

Trustees are present at the meeting of the Board or a Committee thereof which authorizes,

approves or ratifies the contract or transaction; if:

a) the material facts as to the transaction and as to such Trustee’s other directorship are

fully disclosed or known to the Board or Committee, and the Board or Committee

authorizes, approves or ratifies the contract or transaction in good faith by a vote

 
 
59  
 

 
sufficient without counting the vote of the common director or directors; or

b) as to contracts or transactions not approved as provided in subsection (a), the contract

or transaction is just and reasonable as to the Company at the time it is authorized,

approved or ratified.

Section 3.5. Loans, Guaranties or Advances. The Company shall not make money loans

to any Trustee or officer, unless approved by the Unite Kingdom Attorney General. However,

the Company may advance money to a Trustee or officer of the Company for expenses that

relate to the duties of such Trustee or officer, if, in the absence of such advance, such

Trustee or officer would be entitled to be reimbursed for such expenses by the Company.

ARTICLE IV

COMMITTEES OF THE BOARD

Section 4.1. Powers of Committees. Any Committee that exercises the authority of the

Board shall have all the authority of the Board, except with respect to the following, which the

Board has no power to delegate:

a) The filling of vacancies on any Committee.

b) The fixing of Trustees’ compensation for serving on the Board or on any Committee.

c) The amendment or repeal of these By-Laws or the adoption of new By-Laws.

Section 4.2. Creation of Committees.

a) Committees Exercising Board Authority. Each Committee that exercises the

authority of the Board (1) must be established by these By-Laws or by a majority of the

Trustees (not merely a majority of Trustees present at a meeting at which a quorum is

present), and (2) a majority of the Trustees (not merely a majority of Trustees present

at a meeting at which a quorum is present) must appoint the Committee members.

 
 
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b) Committees Not Exercising Board Authority. A Committee without the authority of

the Board may consist of one or more individuals none of whom need be Trustees.

Section 4.3. Standing Committees. There are hereby created thirteen Standing

Committees of the Board, as follows:

a) Executive Committee. The Executive Committee exercises Board authority and may

include the Chairman of the Board, Chairman of the Executive Committee, President,

Vice-Presidents, Secretary, Chief Financial Officer, Controller, or Co-Chairmen.

However, no one can serve on the Executive Committee unless he or she is a Trustee.

b) Finance Committee. The Finance Committee exercises Board authority and shall

consist of the CFO23 and the Controller. The committee may also include Trustees.

c) Other Standing Committees. The other Standing Committees do not exercise Board

authority. They include the Long Range Planning Committee, the Development

Committee, the Artistic Committee, the School Committee, the Facilities Committee,

the Endowment Committee, the Administrative Committee, the Building Steering

Committee, and the Community Relations Committee.

ARTICLE V

MEETINGS OF THE BOARD

Section 5.1. Place of Meetings. Meetings of the Board shall be held at the principal office of

the Company. Regular meetings of the Board may be held without notice. The Board

Chairman, Executive Committee Chairman, President, Vice-Presidents, Secretary, Chief

Financial Officer, Controller, or any five Trustees may call special meetings of the Board.

Special meetings of the Board shall be held upon four days’ notice by first-class mail or 48

hours’ notice delivered personally or by telephone or telegraph. Trustees may participate in a

                                                                                             
23
Chief Financial Officer

 
 
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meeting via conference telephone or similar communications equipment.

Section 5.2. Quorum. One-fifth (1/5) of Trustees constitutes a quorum of the Board for the

transaction of business.

Section 5.3. Adjourned Meetings. A majority of the Trustees may vote to adjourn a Board

meeting to another time and place.

Section 5.4. Action Without a Meeting. Any action required by the Board may occur without

a meeting, if all Board members individually or collectively consent in writing to such action.

Such written consent or consents shall be filed with the minutes of the Board proceedings.

ARTICLE VI

OFFICERS

Section 6.1. Selection and Qualifications. The Company shall have a President, Secretary,

and Treasurer, and other officers that are necessary for the Company to sign instruments.

The Secretary and Chief Financial Officer cannot serve as Board Chairman or President. The

Board shall choose officers and may fix officer compensation. Any officer may resign upon

written notice.

Section 6.4. Chairman of the Board. The Board Chairman shall be the senior officer of the

Company and shall preside, unless he elects to have the Executive Committee Chairman

preside, at all meetings.

Section 6.5. Chairman of the Executive Committee. The Executive Committee Chairman

shall be the next senior officer. He presides at Executive Committee meetings and will have

Board Committee Chairmen reporting to him unless he designates someone else. At the

request or absence of the Board Chairman, the Executive Committee Chairman might

perform the duties of the Board Chairman and preside at other meetings.

Section 6.6. President. The President is the Company’s CEO and supervises, directs, and

 
 
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controls the Company’s activities. He consults the Board Chairman and Executive Committee

Chairman on policy, long range planning, and day-to-day decisions. The General Manager,

Controller, Artistic Directors, School Director, and Company employees report to the

President or someone else that he designates. At the request of the Board Chairman, the

President shall preside at all meetings. In the absence of the Board Chairman and Executive

Committee Chairman, the President performs their duties.

Section 6.7. Vice Presidents. Each Vice President performs duties assigned by the Board

Chairman. In the absence, disability, or death of the Board Chairman, Executive Committee

Chairman, and President, the duties of the three officers shall fall upon the most senior Vice

President at the Company and its predecessor corporation.

Section 6.8. Secretary. The Secretary shall keep a book of minutes at the principal office of

all meetings that details the meeting time, meeting place, meeting type (regular or special),

meeting authorization, notices, meeting attendees, and the meeting proceedings. The

Secretary shall give notice of all Board meetings, shall keep the seal of the corporation in

safe custody, and shall perform duties prescribed by the Board or these By-Laws. Any

Assistant Secretary may perform the duties of the Secretary.

Section 6.9. Chief Financial Officer. The Chief Financial Officer is also the Treasurer and

shall be the principal financial officer of the Company and shall maintain adequate accounts

of the Company’s properties and business transactions, including asset accounts, liabilities,

receipts, disbursements, gains, losses, capital, and surplus. Books of account shall be open

to the inspection of any Trustee. The Chief Financial Officer deposits monies and valuables in

the Company’s name at depositories designated by the Board. At the direction of the Board

or Finance Committee, the CFO shall order accounting staff to implement budgetary controls

including controls over the Company’s receipts and fund disbursements to provide the

 
 
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President and Trustees with accounts of the CFO transactions and the Company’s financial

condition. He shall perform other duties prescribed by the Board, Finance Committee, or

these By-Laws. Any Assistant CFO may perform CFO duties.

Section 6.10. Controller. The Controller is Assistant CFO and Assistant Treasurer. The

Controller is also the Company’s principal accounting officer and maintains adequate

accounts of the Company’s properties and business transactions, including accounts of its

assets, liabilities, receipts, disbursements, gains, losses, capital, and surplus. Books of

account shall be open to the inspection of Trustees. The Controller prepares operating and

capital budgets and implements controls over the receipt and disbursement of Company

funds at the direction of the Board, Finance Committee, or CFO and renders to the CFO,

President, and Trustees an account of his Controller transactions and the Company’s

financial condition. He performs other duties as directed by the Board, President, Finance

Committee, CFO, or these By-Laws.

ARTICLE VII

MEMBERS

Section 7.1. Eligibility and Admission. Natural persons are eligible to become members of

the Company (a "Member"). In the case of a contribution in property, the value of any

accepted property shall be conclusive for membership purposes.

Section 7.2. Rights of Members in General. Incidental rights of Members created by or

under the authority of the Board, such as preferential rights to purchase tickets to

performances of the Company, rights to attend rehearsals thereof and rights to attend other

activities of the Company, may be varied by or under the authority of the Board based upon

category of membership, length of membership, or other basis.

Section 7.3. Non-Member Contributors. Foundations, trusts, corporations and partnerships

 
 
64  
 

 
contributing to the Company may be denominated "Foundation Contributors" or "Corporate

Contributors.” The Development Committee may establish other titles for such contributors,

provided the titles do not suggest they are regular Members.

Section 7.4. Multiple Memberships and Transfer of Memberships Not Permitted. No

person may hold more than one Membership, and no Member may transfer for value a

membership or any right arising therefrom.

Section 7.5. Resignation of Member; Expiration of Membership. A Member may resign

from membership at any time. All rights of membership cease upon expiration of the term

thereof or upon a Member’s death.

Section 7.6. Expulsion or Suspension of Members. No Member may be expelled or

suspended, and no membership or membership rights may be terminated or suspended,

except in accordance with applicable law.

 
 
65  
 

 
 
66  
 

Affiliated with the AFL-CIO, Branch of the Associated Actors and Artistes of America
1430 Broadway, 14th Floor New York, NY 10018-3308
Phone: (212) 265-3687, Fax: (212) 262-9088, membership@musicalartists.org
www.musicalartists.org

APPLICATION FORM

Professional Name: Social Security Number:

________________________________________________ __________-________-__________
(Print) Last First Initial

Date of Birth: _____________________________ q Female q Male

Please complete the following (Indicate one):

q Soloist q Chorister q Dancer q Choreographer

q Stage Director q Stage Manager q Actor

Singers: (List Voice Category):

_________________________________________________

Legal Name: _______________________________________ Citizen Of: _____________________________________

Mailing Address: ___________________________________ Telephone #: ___________________________________
__________________________________________________ Telephone # (alt.): _______________________________
__________________________________________________ E-mail address: _______________________________

Name & Address of Manager and/or Personal Representative (if any):

___________________________________________________________________________________________________________
___________________________________________________________________________________________________________
___________________________________________________________________________________________________________

Name of Initial Employing Company:_____________________________________________________________________________

Are you a member of any of the following organizations? If so, place “P” beside the organization that is your parent; and place “A”
beside any organizations that are affiliates.

_____SAG-AFTRA _____A.G.V.A. _____ACTORS’ EQUITY _____A.F. of M.

(For office use only)

Membership #:____________________ Date: ______/______/______

 
 
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Appendix A: Tables and Figures from Broadway Conventionality Study

Table one: conventionality derivations for three of 36 indexed theatres24

Table two: Broadway Theatre Statistics

Conventionality Seat Capacity Revenue (in millions)

Al Hirschfeld 3.4 1437 $134

Ambassador 9 1120 $90

American Airlines 1.3 740 $25

August Wilson 13 1222 $149

Belasco 1.667 1040 $19

Booth 2.4167 806 $43

Broadhurst 2.375 1218 $64

Broadway 9.25 1761 $101

Brooks Atkinson 3.83 1109 $46

Circle in the Square 10.5 776 $19

Cort 1.6875 1102 $27

                                                                                             
24
The table displays the list of shows selected by each of three theatres between 2010 and 2013 and the date each show originally
premiered on Broadway.
 
 
68  
 

 
Ethel Barrymore 1.867 1096 $41

Eugene O'Neil 11.5 1108 $227

Gershwin 13 1935 $279

Helen Hayes 11.5 597 $62

Imperial 7.667 1435 $107

Longacre 2.789 1095 $24

Lunt-Fontanne 8.25 1509 $118

Lyceum 8.25 943 $26

Lyric (Foxwoods) 33 1829 $207

Majestic 6 1609 $144

Marquis 4 1615 $81

Minskoff 6 1710 $275

Music Box 1.857 1025 $65

Nederlander 16.5 1232 $93

Neil Simon 4.2 1428 $43

New Amsterdam 13 1801 $97

Palace 5.222 1743 $108

Richard Rogers 1.629 1380 $58

Shubert 2.3 1468 $108

St. James 2.714 1710 $44

Stephen Sondheim 4.667 1055 $66

Studio 54 3.833 922 $17

Vivian Beaumont 4.625 1105 $84

Walter Kerr 1.525 947 $36

Winter Garden 13 1498 $115

 
 
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Tables three and four: regression results

 
 
70  
 

 
Figure one: Gradient shading illustrates the rate of stylistic change in Billboard Hot 100
charts; rapid stylistic changes occurred in 1964, 1983, and 1991 [9].

Figure two: Trends in timbre and harmonic topics from 1960 to 2010 plotted as frequencies of
H-topics and T-topics [9].

Figure three: Evolution of 13 musical styles from the Billboard Hot 100 [9].

 
 
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