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HomeMy WebLinkAboutresolution.council.032-05Series of 2005 A RESOLUTION OF THE CITY COUNCIL OF THE CITY OF ASPEN, COLORADO, APPROVING A PROFESSIONAL SERVICES AGREEMENT BETWEEN GENOVESE VANDERHOOF & ASSOCIATES, AND THE CITY OF ASPEN, COLORADO FOR A SEARCH PROCESS FOR A NEW EXECUTIVE DIRECTOR OF THE WHEELER OPERA HOUSE, AND AUTHORIZING THE CITY MANAGER TO EXECUTE SAID AGREEMENT ON BEHALF OF THE CITY OF ASPEN, COLORADO. WHEREAS, there has been submitted to the City Council a professional services agreement between Genovese Vanderhoof & Associates and the City of Aspen, a true and accurate copy of which is attached hereto as Exhibit "A"; NOW, THEREFORE BE IT RESOLVED BY THE CITY COLrNCIL OF THE CITY OF ASPEN, COLORADO: That the City Council of the City of Aspen hereby approves that lease agreement between Genovese Vanderhoof & Associates and the City of Aspen, a copy of which is annexed hereto and incorporated herein, and does hereby authorize the City Manager of the City of Aspen to execute said agreement on behalf of the City of Aspen. INTRODUCED, READ AND ADOPTED by the City Council of the City of Aspen on the ~ day of~, 2005. I, Kathryn S. Koch, duly appointed and acting City Clerk do certify that the foregoing is a tree and accurate copy of that resolution adopted by the City Council of the City of Aspen, Colorado, at a meeting held on the day here!na~ove stated. · / Kathry(c~. Koch, City Clerk AGRF. FMENT FOR PROFESSIONAL SERVICES This Agreement made and entered on the date hereinafter stated, between the CITY OF ASPEN, Colorado, ("City") and Genovese Vanderhoof & Associates_("Professional"). For and in consideration of the mutual covenants contained herein, the parties agree as follows: 1. Scope of Work. Professional shall perform in a competent and professional manner the Scope of Work as set forth at Exhibit "A" attached hereto and by this reference incorporated herein. 2. Completion. Professional shall commence work immediately upon receipt of a written Notice to Proceed from the City and complete all phases of the Scope of Work as expeditiously as is consistent with professional skill and care and the orderly progress of the Work in a timely manner. The parties anticipate that all work pursuant to this agreement shall be completed no later than August 15, 2005. Upon request of the City, Professional shall submit, for the City's approval, a schedule for the performance of Professional's services which shall be adjusted as required as the project proceeds, and which shall include allowances for periods of time required by the City's project engineer for review and approval of submissions and for approvals of authorities having jurisdiction over the project. This schedule, when approved by the City, shall not, except for reasonable cause, be exceeded by the Professional. 3. Payment. In consideration of the work performed, City shall pay Professional $32,000 plus costs related to the search that have been pre-approved by the City. Professional shall submit, in timely fashion, invoices for work performed. The City shall review such invoices and, if they are considered incorrect or untimely, the City shall review the matter with Professional within ten days from receipt of the Professional's billing, the City understanding of the disposition of the issue. Professional's invoices shall be per the terms of the attached contract terms in Exhibit A. 4. Non-Assignability. Both parties recognize that this contract is one for personal services and cannot be transferred, assigned, or sublet by either party without prior written consent of the other. Sub-Contracting, if authorized, shall not relieve the Professional of any of the responsibilities or obligations under this agreement. Professional shall be and remain solely responsible to the City for the acts, errors, omissions or neglect of any subcontractor's officers, agents and employees, each of whom shall, for this purpose be deemed to be an agent or employee of the Professional to the extent of the subcontract. The City shall not be obligated to pay or be liable for payment of any sums due which may be due to any sub-contractor. 5. Termination. The Professional or the City may terminate this Agreement, without specifying the mason therefor, by giving notice, in writing, addressed to the other party, specifying the effective date of the termination. No fees shall be earned after the effective date of the termination. Upon any termination, all finished or unfinished documents, data, studies, surveys, drawings, maps, models, photographs, reports or other material prepared by the Professional shall become the property of the City. Notwithstanding the above, Professional shall not be relieved of any liability to the City for damages sustained by the City by virtue of any breach of this Agreement by the Professional, and the City may withhold any payments to the Professional for the purposes of set-off until such time as the exact amount of damages due the City from the Professional may be determined. 6. Covenant Against Contingent Fees. The Professional warrants that s/he has not employed or retained any company or person, other than a bona fide employee working for the Professional, to solicit or secure this contract, that s/he has not paid or agreed to pay any company or person, other than a bona fide employee, any fee, commission, percentage, brokerage fee, gifts or any other consideration contingent upon or resulting from the award or making of this contract. 7. Independent Contractor Status. It is expressly acknowledged and understood by the parties that nothing contained in this agreement shall result in, or be construed as establishing an employment relationship. Professional shall be, and shall perform as, an independent Contractor who agrees to use his or her best efforts to provide the said services on behalf of the City. No agent, employee, or servant of Professional shall be, or shall be deemed to be, the employee, agent or servant of the City. City is interested only in the results obtained under this contract. The manner and means of conducting the work are under the sole control of Professional. None of the benefits provided by City to its employees including, but not limited to, workers' compensation insurance and unemployment insurance, are available from City to the employees, agents or servants of Professional. Professional shall be solely and entirely responsible for its acts and for the acts of Professional's agents, employees, servants and subcontractors during the performance of this contract. Professional shall indemnify City against all liability and loss in connection with, and shall assume full responsibility for payment of all federal, state and local taxes or contributions imposed or required under unemployment insurance, social security and income tax law, with respect to Professional and/or Professional's employees engaged in the performance of the services agreed to herein. 8. Indemnification. Professional agrees to indemnify and hold harmless the City, its officers, employees, insurers, and self-insurance pool, from and against all liability, claims, and demands, on account of injury, loss, or damage, including without limitation claims arising from bodily injury, personal injury, sickness, disease, death, property loss or damage, or any other loss of any kind whatsoever, which arise out of or are in any manner connected with this contract, if such injury, loss, or damage is caused in whole or in part by, or is claimed to be caused in whole or in part by, the act, omission, error, professional error, mistake, negligence, or other fault of the Professional, any subcontractor of the Professional, or any officer, employee, representative, or agent of the Professional or of any subcontractor of the Professional, or which arises out of any workmen's compensation claim of any employee of the Professional or of any employee of any subcontractor of the Professional. The Professional agrees to investigate, handle, respond to, and to provide defense for and defend against, any such liability, claims or demands at the sole expense of the Professional, or at the option of the City, agrees to pay the City or reimburse the City for the defense costs incurred by the City in connection with, any such liability, claims, or demands. The Professional also agrees to bear all other costs and expenses related thereto, including court costs and attorney fees, whether or not any such liability, claims, or demands alleged are groundless, false, or fraudulent. If it is determined by the final judgment of a court of competent jurisdiction that such injury, loss, or damage was caused in whole or in part by the act, omission, or other fault of the City, its officers, or its employees, the City shall reimburse the Professional for the portion of the judgment attributable to such act, omission, or other fault of the City, its officers, or employees. 9. Professional's Insurance. (a) Professional agrees to procure and maintain, at its own expense, a policy or policies of insurance sufficient to insure against all liability, claims, demands, and other obligations assumed by the Professional pursuant to Section 8 above. Such insurance shall be in addition to any other insurance requirements imposed by this contract or by law. The Professional shall not be relieved of any liability, claims, demands, or other obligations assumed pursuant to Section 6 above by reason of its failure to procure or maintain insurance, or by reason of its failure to procure or maintain insurance in sufficient amounts, duration, or types. (b) Professional shall procure and maintain, and shall cause any subcontractor of the Professional to procure and maintain, the minimum insurance coverages listed below. Such coverages shall be procured and maintained with forms and insurance acceptable to the City. All coverages shall be continuously maintained to cover all liability, claims, demands, and other obligations assumed by the Professional pursuant to Section 8 above. In the case of any claims- made policy, the necessary retroactive dates and extended reporting periods shall be procured to maintain such continuous coverage. (i) Worlenen's Compensation insurance to cover obligations imposed by applicable laws for any employee engaged in the performance of work under this contract, and Employers' Liability insurance with minimum limits of FIVE HUNDRED THOUSAND DOLLARS ($500,000.00) for each accident, FIVE HUNDRED THOUSAND DOLLARS ($500,000.00) disease - policy limit, and FIVE HUNDRED THOUSAND DOLLARS ($500,000.00) disease - each employee. Evidence of qualified self-insured status may be substituted for the Workmen's Compensation requirements of this paragraph. (ii) Commercial General Liability insurance with minimum combined single limits of ONE MILLION DOLLARS ($1,000,000.00) each occurrence and ONE MILLION DOLLARS ($1,000,000.00) aggregate. The policy shall be applicable to all premises and operations. The policy shall include coverage for bodily injury, broad form property damage (including completed operations), personal injury (including coverage for contractual and employee acts), blanket contractual, independent contractors, products, and completed operations. The policy shall contain a severability of interests provision. (iii) Comprehensive Automobile Liability insurance with minimum combined single limits for bodily injury and property damage of not less than ONE MILLION DOLLARS ($1,000,000.00) each occurrence and ONE MiLLION DOLLARS ($1,000,000.00) aggregate with respect to each Professional's owned, hired and non-owned vehicles assigned to or used in performance of the Scope of Work. The policy shall contain a severability of interests provision. If the Professional has no owned automobiles, the requirements of this Section shall be met by each employee of the Professional providing services to the City under this contract. (c) The policy or policies required above shall be endorsed to include the City and the City's officers and employees as additional insureds. Every policy required above shall be primary insurance, and any insurance carried by the City, its officers or employees, or carried by or provided through any insurance pool of the City, shall be excess and not contributory insurance to that provided by Professional. No additional insured endorsement to the policy required above shall contain any exclusion for bodily injury or property damage arising from completed operations. The Professional shall be solely responsible for any deductible losses under any policy required above. (d) The certificate of insurance provided by the City shall be completed by the ProfessionaPs insurance agent as evidence that policies providing the required coverages, conditions, and minimum limits are in full force and effect, and shall be reviewed and approved by the City prior to commencement of the contract. No other form of certificate shall be used. The certificate shall identify this contract and shall provide that the coverages afforded under the policies shall not be cancelled, terminated or materially changed until at least thirty (30) days prior written notice has been given to the City. (e) Failure on the part of the Professional to procure or maintain policies providing the required coverages, conditions, and minimum limits shall constitute a material breach of contract upon which City may immediately terminate this contract, or at its discretion City may procure or renew any such policy or any extended reporting period thereto and may pay any and all premiums in connection therewith, and all monies so paid by City shall be repaid by Professional to City upon demand, or City may offset the cost of the premiums against monies due to Professional from City. (f) City reserves the right to request and receive a certified copy of any policy and any endorsement thereto. (g) The parties hereto understand and agree that City is relying on, and does not waive or intend to waive by any provision of this contract, the monetary limitations (presently $150,000.00 per person and $600,000 per occurrence) or any other rights, immunities, and protections provided by the Colorado Governmental Immunity Act, Section 24-10-101 et seq., C.R.S., as from time to time amended, or otherwise available to City, its officers, or its employees. 10. City's Insurance. The parties hereto understand that the City is a member of the Colorado Intergovernmental Risk Sharing Agency (CIRSA) and as such participates in the CIRSA Property/Casualty Pool. Copies of the CIRSA policies and manual are kept at the City of Aspen Finance Department and are available to Professional for inspection during normal 'business hours. City makes no representations whatsoever with respect to specific coverages offered by CIRSA. City shall provide Professional reasonable notice of any changes in its membership or participation in CIRSA. 11. Completeness of Agreement. It is expressly agreed that this agreement contains the entire undertaking of the parties relevant to the subject matter thereof and there are no verbal or written representations, agreements, warranties or promises pertaining to the project matter thereof not expressly incorporated in this writing. 12. Notice. Any written notices as called for herein may be hand delivered to the respective persons and/or addresses listed below or mailed by certified mail return receipt requested, to: City: Stephen H. Barwick, City Manager City of Aspen 130 South Galena Street Aspen, Colorado 81611 Professional: Dory Vanderhoof Genovese Vanderhoof & Associates 77 Carlton St., Suite 1103 Toronto, ON, M5B 2J7 Canada 13. Non-Discrimination; penalty. No discrimination because of race, color, creed, sex, marital status, affectional or sexual orientation, family responsibility, national origin, ancestry, handicap, or religion shall be made in the employment of persons to perform services under this contract. Professional agrees to meet all of the requirements of City's municipal code, section 13- 98, pertaining to non-discrimination in employment. 14: Waiver. The waiver by the City of any term, covenant, or condition hereof shall not operate as a waiver of any subsequent breach of the same or any other term. No term, covenant, or condition of this Agreement can be waived except by the written consent of the City, and forebearance or indulgence by the City in any regard whatsoeyer shall not constitute a waiver of any term, covenant, or condition to be performed by Professional to which the same may apply and, until complete performance by Professional of said term, covenant or condition, the City shall be entitled to invoke any remedy available to it under this Agreement or by law despite any such forbearance or indulgence. 15. Execution of Agreement by City. This agreement shall be binding upon all parties hereto and their respective heirs, executors, administrators, successors, and assigns. Notwithstanding anything to the contrary contained herein, this agreement shall not be binding upon the City unless duly executed by the Mayor of the City of Aspen (or a duly authorized official in his absence) following a Motion or Resolution of the Council of the City of Aspen authorizing the Mayor (or a duly authorized official in his absence) to execute the same. 16. General Terms. (a) It is agreed that neither this agreement nor any of its terms, provisions, conditions, representations or covenants can be modified, changed, terminated or amended, waived, superseded or extended except by appropriate written instrument fully executed by the parties. (b) If any of the provisions of this agreement shall be held invalid, illegal or unenfomeable it shall not affect or impair the validity, legality or enforceability of any other provision. (c) The parties acknowledge and understand that there are no conditions or limitations to this understanding except those as contained herein at the time of the execution GV~ 41G34058?G ~.? hereof and that after execution no alteration, change or modification shall be made except upon a writing signed by the parties. (d) This agreement shall be governed by the laws of the State of Colorado as from time to time in effect. IN WITNESS WHEREOF, the parties hereto have executed, or caused to be executed by their duly authorized officials, this Agreement in three copies each of which shall be deemed an original on the date hereinafter written. ATTESTED BY: By: Title: ~" Date: CITY OF ASPEN, COLORADO: WITNESSED BY: PROFESSIONAL: Genove~ Vanderhoof3 Associates [ Printed Name: _ ~:,.,f~ (, 0.1~"4~ t% Title: f;~,'v'~ 'r re ~ ~, APPROVED AS TO FORM BY: GENOVESE VANDERHOOF & ASSOCIATES A Cultural Management Consulting Firm Wheeler Opera House Aspen, Colorado PROPOSAL TO UNDERTAKE AN EXECUTIVE SEARCH May 1, 2005 77 Carlton Street, Suite1103, Toronto, ON, M5B2J7, Canada, (416) 340-2762 Email:qvasearch(~aol,com www.genovesevanderhoof.com BACKGROUND ON FIRM: Genovese, Vanderhoof & Associates is an Arts Management Consulting Firm, offering services in executive search, development and fund-raising, marketing, strategic and operational planning, board development, and related income development and management areas. Headquartered in Toronto, the firm has undertaken projects on behalf of arts clients in 33 American states, all 10 Canadian provinces, the District of Columbia, Yukon Territory, and the United Kingdom. Genovese, Vanderhoof & Associates has had the pleasure of working with more than 200 arts institutions. Its diverse client base ranges from some of North America's largest omhestras, theatres, museums, performing arts centers, opera and ballet companies (the Cleveland Orchestra, the National Gallery of Canada, Orange County Performing Arts Center, the San Francisco Opera, and The Houston Ballet, among many others) to highly specialized cultural activities such as modern dance companies, folk festivals, children's theatres, science centers, arts service organizations, and government agencies. Their current clients include: The Fox Theatre, Atlanta, GA (executive search) Glimmerglass Opera Festival (executive search) Houston Grand Opera (executive search) Manitoba Arts Council (client marketing assistance) Pittsburgh Ballet Theatre, Pittsburgh, PA (executive search) Sarasota Opera (theatre operations consultant and capital campaign) World Wildlife Fund (executive recruitment). The firm's spectrum of activities includes executive search, operational plans, capital campaign studies, strategic planning, marketing and fund-raising audits, market research, and economic impact reports. The firm became involved in executive recruitment in 1989 and has placed more than 135 senior managers in the cultural sector since then. The partners have found executive directors, artistic directors for ballet and opera companies, senior development and marketing personnel, programming heads, and chief financial officers. Performing arts centers with which the firm have worked for include the Portland Center for the Performing Arts, Artpark, Orange County Performing Arts Center, Centre in the Square, the Glenn Gould Studio of the Canadian Broadcasting Centre, the Guelph Civic Centre, Hummingbird Centre for the Performing Arts, the Mississauga Living Arts Centre, the Markham Theatre for Performing Arts, the Samuel and Saidye Bronfman Centre, the National Arts Centre, Spirit Square for the Arts, the Toledo Cultural Arts Center, Confederation Centre of the Arts, the Yukon Arts Centre, and the Corporation of Massey Hall and Roy Thomson Hall. The partners belong to the International Society for Performing Arts (ISPA) and have participated as faculty at the International Association of Assembly Managers' Winter Training Program for Performing Arts Facilities Administrators. Margaret was on the board of the League of Historic American Theatres (LHAT) for six years; Dory is currently on the LHAT board. Dory and Margaret are welt known as teachers and trainers in arts fund-raising and marketing, having directed the Income Managers Program, in conjunction with the Centre for Cultural Management at the University of Waterloo, Canada Council, and Cultural Careers Council Ontario. They are responsible for training and placing over two hundred development and marketing professionals in the cultural sector. Because of the firm's vast network resulting from its consulting projects, its involvement in arts management training, and its work as management consultants, Genovese, Vanderhoof & Associates offers a unique perspective on searches. The partners are very aware of the difficulties institutions experience with poor hiring decisions. The firm advertises broadly, does wide-ranging telephone sourcing, and undertakes extensive reference checking. Additional background materials on the firm and its partners are included with this proposal. THE SEARCH: The Wheeler Opera House is a civic owned, historic theatre serving the Aspen community, professional presenters and producers, and Aspen professional and amateur arts organizations. Recently the Wheeler's Executive Director announced her departure. It is an opportunity to re-evaluate how this senior position is structured and how it relates to and serves the Aspen community. PROPOSAL: Genovese, Vanderhoof & Associates proposes to undertake the search process for the position of Executive Director of Wheeler Opera House. The search process would include the following activities: (NOTE: Already contained as part of the Wheeler Opera House Study currently underway and not included in the search activity pricing) Interviewing the Wheeler's management team, board members, and other stakeholders. Under-taking an organizational review including programming, governance, staffing, marketing, and fiscal policies and concerns in order to understand better the challenges and opportunities facing the facility's management. The interviews help the consultants learn more about the Wheeler's internal and external culture, and the dynamics of its operation. The institutional overview helps to define the skills and experience needed in the new person and to shape the job description (Executive Director versus General Manager). It is important that a candidate "fits" well in terms of leadership style and personality, as well as having the appropriate managerial skills and expertise. 2. (NOTE: Already contained as part of the Wheeler Opera House Study currently underway and not included in the search activity pricinq) Preparing the job description 3. Developing the advertising strategy for the position. 4. Preparing a direct mail and email package and information packets to entice interest in the position. 5. Placing a series of advertisements in industry newsletters, web sites, publications and job banks. Mailing and/or emailing appropriate information to Genovese, Vanderhoof & Associates' in -house list of industry professionals. The firm maintains its own data base of senior performing arts facility managers in North America. Initiating a series of phone inquiries with industry leaders and specific contacts within the field of professional performing arts facility managers to search out appropriate candidates for the position. (This is called "phone sourcing.".) 8. Screening all applicants and developing a working list of appropriate candidates. 9. Conducting preliminary screening interviews over the telephone with working list candidates. 10. Re-evaluating applicants in light of their phone interviews and developing a recommended short list of candidates. 11. Developing and distributing a resume booklet of all applicants for review by the City of Aspen's Assistant City Manager and Human Resources Manager. 12. In consultation with the Assistant City Manager and Human Resources Manager, develop a list of candidates for face-to-face interviews. 13. Organizing, orchestrating, and attending on-site final interviews for short list candidates. 14. Checking references and probing the backgrounds of all short list candidates and preparing background reports. 15. Assisting (if desired) in negotiating the final contract for the successful candidate. TIME TABLE: A thorough executive search process takes approximately 90 to 120 days. While most organizations would prefer a faster search, it is unlikely that a suitable candidate can be located, courted, interviewed, and contracted within a shorter time frame~ Once the advertising has been placed and the mailings sent, the telephone sourcing can begin. Likely candidates can be screened by phone as soon as their materials are received. However, it is difficult to hasten a search process without compromising the quality of the search. It takes time to locate, interview, and research suitable candidates. If chosen to undertake the search, the firm could begin the search process upon receipt of the initial deposit. STAFFING: The search process would be managed by Senior Partner Dory Vanderhoof. Biographical information on the members of the firm is included with this proposal, as well as a list of clients and other searches and major projects they have undertaken. COST: The firm's rates are based on an estimation of the actual hours/days it will take to locate a list of viable candidates and work through the decision process. A ceiling figure is quoted; the firm is prepared to absorb any and all consultant time over and above this figure. As arts professionals, Genovese, Vanderhoof & Associates are well acquainted with the financial constraints of the sector. Executive search work is time-consuming and, therefore, expensive. A good match, however, is less expensive than a poor hiring decision and the organizational stress caused by an inappropriate choice. COST FOR FULL SEARCH: $40,000 US, less a discount for overlapping search preparation work already performed as part of the Wheeler Opera House operational audit of $8,000. PROPOSED SEARCH COST $32,000 US, plus expenses. EXPENSES: Any expenses incurred by Genovese, Vanderhoof & Associates on behalf of the Wheeler Opera House (such as advertising, mailings, long distance telephone, photocopying, deliveries, travel, lodging, and so forth) will be billed at cost. There would also be the cost of candidate lodging, travel, and meals during the interview process. In addition to transportation, housing and meals for the consultant and candidates, typical expenses include about $800 for candidate's mailing, $500 for job bank, newsletter and web listings, and $250 for material deliveries of candidate preparation packages. CONTRACT TERMS: An initial deposit of $10,000 is sufficient to begin the search process. A second installment of $10,000 would be billed when the candidate's book is delivered. A third payment of $6,000 is due upon the selection of the final candidate and a final hold back of $6,000 would be payable upon the successful conclusion of negotiations for the engagement of the new Executive Director. Expenses would be invoiced monthly. WARRANTY Two-year "warranty"- If the individual selected terminates employment for any reason (except for personal medical conditions which prohibit continuing employment) within 24 months from the hire date, GVA will at its own expense, upon notice from the City of Aspen, immediately execute a new recruitment and selection process as described herein until a suitable replacement is hired. ADDITIONAL INFORMATION: A copy of the firm's Background and Experience is included in this proposal. The firm would be pleased to provide any additional information that might be needed. GENOVESE VANDERHOOF & ASSOCIATES A Cultural Management Consulting Firm CLIENT SERVICES, CLIENTS, & BIOGRAPHICAL INFORMATION 77 Carlton Street, Suite 1103 Toronto, Ontario M5B 2J7 Canada (416) 340-2762 Email: ,qvasearch~,aol.com www.genovesevanderhoof, com GENOVESE VANDERHOOF & ASSOCIATES A Cultural Management Consulting Firm Assisting Organizations To Become the Best That They Can Be Over the past twenty years, Senior Partners Margaret Genovese and Dory Vanderhoof have built one of North America's leading arts/cultural management consulting firms. GV&A has an unparalleled record of success in assisting their clients in executive search, effective planning, capital campaigns, successful facility development, and dramatic improvement to contributed and earned revenue. The firm's clients range from the continent's largest ballet and opera companies, theaters, museums, art galleries and omhestras, to highly specialized cultural organizations such as modern dance companies, folk festivals, theaters for young audiences, science museums, performing arts facilities, historic theaters, living history museums, arts service organizations and government agencies. All partners and associates have been on the front lines and have impressive personal track records managing cultural institutions, bringing to clients an invaluable breadth and depth of practical experience with strong strategic focus. The firm has a comprehensive knowledge of the North American cultural industry's best practices, balanced by practical understanding of what is realistically achievable for each unique client institution in its specific operating environment. Here's how GV&A can help your organization: EXECUTIVE SEARCH GV&A has an outstanding record in the placement of artistic and administrative leadership based on a thorough understanding of how cultural institutions function and of the relationship between artists, management and trustees. Searches include: · Executive Directors/Managing Directors · Artistic Directors/General Directors · Museum/Gallery Directors · Directors of Finance/Chief Financial Officers · Directors of Development/Campaign Directors · Directors of Marketing. PLANNING AND ORGANIZATIONAL DEVELOPMENT Experience demonstrates that the organizations that achieve the greatest success, artistically and financially, are those with the most effective planning functions. Services in this area include: · Strategic and long term operational plans · Organizational review and program evaluation · Business and operational plans and financial analysis · Project, program and new business feasibility studies · Management and governance structure, planning and design · Governance issues and Board/Trustee development. FACILITY DEVELOPMENT AND HISTORIC PROPERTY/THEATER RESTORATIONS Extensive knowledge and understanding of the dynamics and nuances of the industry and the intricacies of organizations have provided a sound and practical understanding of the outcomes that can realistically be anticipated. Facility-related work includes: · Feasibility studies for performing arts organizations, museums, heritage and historic restorations, attractions and mixed-use cultural developments · Operating financial models and pro-forma business plan development · Site evaluation and space programming · Capital cost estimates · Funding strategies and capital campaign plans · Project developmentJadministration · Facilitation of architect selection · Economic impact studies. MARKETING AND AUDIENCE/MEMBERSHIP DEVELOPMENT GV&A has helped maximize earned revenue for clients with programs ranging from $100,000 to $28 million. Clients interested in increasing their earned revenue call on GV&A for marketing assistance in the form of: · Marketing audits · Market research · Market demand analysis and audience/visitor potential · Membership & audience analysis · Geo-demographic market segmentation research · Marketing plan development, execution and monitoring · Marketing, attendance and revenue generetion strategies · Marketing program development: subscription, membership and single ticket · Stafftreining and organizationaldevelopment · Predictive marketing systems and techniques · Ticketing system analysis and recommendations. FUND RAISING AND CONTRIBUTED INCOME DEVELOPMENT GV&A has assisted organizations with fund raising programs and campaigns ranging from $125,000 to $250 million to develop strategically focused, comprehensive, integrated approaches to maximizing contributed income. Development services include: · Development audits · Annual, capital and endowment campaign planning · Staff training and organizational development · Capital and endowment campaign feasibility studies · Periodic counsel Genovese Vanderhoof & Associates 77 Carlton Street, Suite 1103 Toronto, Ontario Canada M5B 2J7 416/340-2762, fax: 416/340-6276 email: qvasearch~,aol.com www.genovesevanderhoof, com CLIENT LIST Updated: 10/12/04 Alberta Bair Theatre, Billings, Montana. (1999) Alberta Theatre Projects, Calgary, Alberta. (1999) Al and Malka Green Artists' Health Centre, Toronto, Ontario. (2004) Archives Association of Ontario, Toronto, Ontario. (1998-99) Architectural Conservancy of Ontario, Toronto, Ontario. (1994, 1999, 2002, 2003) Arizona Opera, Phoenix, Arizona. (1997-98, 1999, 2000) Art Gallery of Hamilton, Hamilton, Ontario. (1995) Art Gallery of Ontario, Toronto, Ontario. (1995) Artpark, Lewiston, New York. (1991, 1992, 1993) Arts and Communications (The National Ballet School of Canada, Toronto, Ontario. 1997) (Burlington Arts Centre/Bateman Museum, Burlington, Ontario. 1998) (The School of Dance, Ottawa, Ottawa, Ontario. 1999) (Opera Mississauga, Mississauga, Ontario. 2000) Arts Club Theatre, Vancouver, British Columbia. (2001) Artsmarketing Services, Inc., Toronto, Ontario. (1995) Arts & Science Council of Charlotte-Mecklenburg, Charlotte, North Carolina. (2001,2002) Atlantic Theatre Festival, Wolfville, Nova Scotia. (1995, 1996) Austin Lyric Opera, Austin, Texas. (1990, 2000, 2002, 2003) Ballet British Columbia, Vancouver, British Columbia. (1993, 2004) The Banff Centre, Banff, Alberta. (2003-04) Berkshire Opera Company, Groat Barrington, Massachusetts. (2000-01) Beverly Hills Cultural Center, Beverly Hills, California. (2001,2002, 2003) Binghamton Summer Music Festival, Binghamton, New York. (1994) Boston Ballet, Boston, Massachusetts. (2000-04) Boston Lyric Opera, Boston, Massachusetts. (1999-00) Branksome Hall, Toronto, Ontario. (1999-00) Calgary Opera Association, Calgary, Alberta. (1993) Canada Council Art Bank, Ottawa, Ontario. (1997) Canada Council Music Section, Ottawa, Ontario. (2001) Canadian Association of Professional Dance Organizations, Ottawa, Ontario. (1993) Canadian Film Centre, Toronto, Ontario. (1993, 1997-99) Canadian Music Centre, Toronto, Ontario. (1989) Canadian Stage Company, Toronto, Ontario. (1991, 1994) Centaur Theatre Company, Montreal, Quebec. (1995) Central City Opera, Denver, Colorado. (2004) Centre Canadien al'Architecture, Montreal, Quebec. (1990, 1993) Centre for Addiction and Mental Health Foundation, Toronto, Ontario. (1999-00, 2002-04) Centre in the Square, Kitchener, Ontario. (1995) Chatham-Kent Business & Community Development Corporation (Chatham Capitol Theatre Association), Chatham, Ontario. (1997-98) Children's Theatre of Charlotte, Charlotte, North Carolina. (1993) Cincinnati Opera, Cincinnati, Ohio. (1989, 1999, 2000-01) City of Etobicoke, Etobicoke, Ontario. (1997) City of North York Arts Unit, North York, Ontario. (1990) Gibson House, North York Concert Band, Insight Theatre, Leah Poslun$ Theatre, The Puppet Centre, Magic Unlimited, Solar Stage, Koffler Gallery, Yorkminstrels, Northdale Concert Band, North York Concert Orchestra. Cleveland Orchestra, Cleveland, Ohio. (1995,1998, 2003) Colorado Opera Festival, Colorado Springs, Colorado. (2000) Confederation Centre ofthe Arts, Charlottetown, Prince Edward Island. (2000,2001-02) Confederation College Resource Development Office, Thunder Bay, Ontario. (1991) The Corporation of Massey Hall and Roy Thomson Hall, Toronto, Ontario. (2003-04) Cultural Careers Council Ontario, Toronto, Ontario. (1999) Connecticut Opera, Hartford, Connecticut. (2000-01) Dance Umbrella of Ontario, Toronto, Ontario. (2002) Danny Grossman Dance Company, Toronto, Ontario. (1989-90, 2003) Dayton Opera, Dayton, Ohio. (1988, 1991, 1993, 1994, 1995, 2003) Discovery Place, Charlotte, North Carolina. (1993) Edmonton Opera, Edmonton, Alberta. (1989, 1991, 1992, 1993) Eugene O'Neill Theater Center, Waterford, Connecticut. (1999) Festival of Festivals, Toronto, Ontario. (1992, 1993) Florentine Opera of Milwaukee, Milwaukee, Wisconsin. (1990-92, 2004) Fort Worth Dallas Ballet. (2003) The Fox Theatre, Atlanta, Georgia. (2004) Franklin Performing Arts Company, Franklin, Massachusetts. (2001) Frederick Horsman Varley Art Gallery, Unionville, Ontario. (2002) Friends of the Stratford Festival, Stratford, Ontario. (1995) Fulton Opera House, Lancaster, Pennsylvania. (2001-02) Garde Arts Center, New London, Connecticut. (1999) Gardiner Museum of Ceramic Art, Toronto, Ontario. (2003-04) Geffen Playhouse, Los Angeles, California. (1996, 1998-99) Georgian Bay Folk Society, Owen Sound, Ontario. (1995, 1997) Glenn Gould Studio, Canadian Broadcasting Centre, Toronto, Ontario. (1993) Glimmerglass Opera, Cooperstown, New York. (1998, 1999) Government of Yukon, Whitehorse, Yukon. (2001) The Grand Theatre, London, Ontario. (1995) Grande Prairie Regional College Theatre, Grande Prairie, Alberta. (1992) Guelph Civic Centre, Guelph, Ontario. (1996) Hawaii Opera Theatre, Honolulu, Hawaii. (2002) Hamilton Music Research Taskforce/Ernst & Young, Hamilton, Ontario. (1996) Hamilton Philharmonic Orchestra, Hamilton, Ontario. (1990) Hummingbird Centre, Toronto, Ontario. (2003-04) Harbourfront Centre, Toronto, Ontario. (1991, 1992, 1996) Havergal College, Toronto, Ontario. (1996-98) Houston Ballet, Houston, Texas. (2002). Houston Grand Opera, Houston, Texas. (1996) Hubbard Street Dance Chicago, Chicago, Illinois. (1999-00) International Council of Fine Arts Deans, Toronto, Ontario. (2002) Irish Classical Theatre Company, Buffalo, New York. (2004) The Jewish Museum in Toronto, Toronto, Ontario. (1998) Kansas City Ballet, Kansas City, Missouri. (2004) Kentucky Opera, Louisville, Kentucky. (1998-00) Kitchener-Waterloo Symphony Orchestra, Kitchener, Ontario. (1991, 1998) Lake George Opera Festival, Glens Falls, New York. (1994) Lehman Center for the Performing Arts, Bronx, New York. (2001,02) Les Grands Ballets Canadiens, Montreal, Quebec. (1995, 1999) Lynnwood Arts Centre, Simcoe, Ontario. (1997-98) Lyric Opera of Kansas City, Kansas City, Missouri. (1996, 1998) Manhattan School of Music, New York City, New York. (1990) Manitoba Arts Council / Canada Council, Winnipeg, Manitoba. (1999, 2004) Manitoba Theatre Centre, Winnipeg, Manitoba. (1990-91, 1995) Mariposa Folk Foundation, Toronto, Ontario. (1991) Markham Museum and Historic Village, Markham, Ontario. (2002) Markham Theatre for Performing Arts, Markham, Ontario. (1995, 2004) McMichael Canadian Art Collection, Kleinburg, Ontario. (1989-91, 1993, 1994) Metropolitan Theatre Preservation Foundation, Morgantown, West Virginia. (1998-99) Michigan Opera Theatre, Detroit, Michigan. (1988-89) Mississauga Living Arts Centre, Mississauga, Ontario. (1995-96) Mississauga Music Education Foundation, Mississauga, Ontario. (1990) Nashville Opera, Nashville, Tennessee. (1999) National Association of Health Education Centers, Milwaukee, Wisconsin. (2002) The National Ballet of Canada, Toronto, Ontario. (1991, 1992, 1995, 1996, 2000) The National Gallery of Canada, Ottawa, Ontario. (1997-98) Nevada Opera, Reno, Nevada. (1996-97) New Dixie Theatre, Staunton, Virginia. (2001) Niagara College of Applied Arts & Technology, Welland, Ontario. (1991) Ocean State Lyric Opera, Providence, Rhode Island. (2001) Office of the Auditor General of Canada, (National Arts Centre Marketing Audit), Ottawa, Ontario. (1998) Ohio Arts Council, Columbus, Ohio. (1990) Old Town School of Folk Music, Chicago, Illinois. (2000) Ontario Arts Council/Theatrs Office, Toronto, Ontario. (1991) Canadian Stage Company, Grand Theatre, Nightwood Theatre, Buddies in Bad Times. Ontario Crafts Council, Toronto, Ontario. (2001,2004) Ontario Choral Federation, Toronto, Ontario. (1991) Ontario Cultural Human Resources Council, Toronto, Ontario. (1997-98) Ontario Heritage Foundation, Toronto, Ontario. (1995) Ontario Historical Society, Toronto, Ontario. (1991) Ontario Science Centre, Toronto, Ontario. (1996,1999-00) OPERA America, Washington, DC. (2003-04) Opera Atelier, Toronto, Ontario. (1989, 1992) Opera.ca, Toronto, Ontario. (2003-04) Opera Carolina, Charlotte, North Carolina. (1998) Opera Hamilton, Hamilton, Ontario. (1991, 1992, 1993) Opera Lyra Ottawa, Ottawa, Ontario. (1993, 1994, 2002) L'Op~ra de Montreal, Montr6al, Queb6c. (1993, 2001) Opera Ontario, Hamilton, Ontario. (2004) Opera Pacific, Irvine, California. (1988-90 1997) Opera Theatre at Wildwood, Little Rock, Arkansas. (1990) Oregon Ballet Theatre, Portland, Oregon. (2002) Orlando Opera Company, Orlando, Florida. (1991, 1998, 2001) Orange County Performing Arts Center, Costa Mesa, California. (1997, 1999, 2001,2003) Pacific Opera Victoria, Victoria, British Columbia. (1994, 2004) Pikes Peak Opera League, Colorado Springs, Colorado. (2001) Pittsburgh Ballet Theatre, Pittsburgh, Pennsylvania. (2004) Pittsburgh Opera, Pittsburgh, Pennsylvania. (1992) Portland Center for the Performing Arts, Portland, Oregon. (2000) Portland Opera, Portland, Oregon. (1998) The Power Plant, Toronto, Ontario. (1992) Professional Association of Canadian Theatres, Theatre Ontario, Toronto Theatre Alliance, [joint project] Toronto, Ontario. (1991) Prologue to the Performing Arts, Toronto, Ontario. (1991) The Royal Conservatory of Music, Toronto, Ontario. (1991-92, 2002) Royal Ontario Museum, Toronto, Ontario. (1999) Royal Ontario Museum Foundation, Toronto, Ontario. (1999) Royal Winnipeg Ballet, Winnipeg, Manitoba. (1991, 1992, 1993) St. George's Church Restoration Fund, Halifax, Nova Scotia. (1995) Samuel and Saidye Bronfman Centre, Montreal, Quebec. (1993, 1994) San Diego Opera, San Diego, California. (1990-91, 1997, 2001) Sandusky State Theatre, Sandusky, Ohio. (1999-00) San Francisco Opera, San Francisco, California. (1988-92, 1995, 1996, 1997, 1998, 2000) Sarasota Film Society, Sarasota, Florida (2003) Sarasota Opera, Sarasota, Florida. (2000, 2004) Science Alberta Foundation, Calgary, Alberta. (2003) Seattle Symphony Orchestra, Seattle, Washington. (1998) The Shaw Festival, Niagara-on-the-Lake, Ontario. (1993, 2000-04) Skylight Opera Theatre, Milwaukee, Wisconsin. (1991, 1993, 1996) Soundstreams Canada, Toronto, Ontario. (2004) Spirit Square for the Arts, Charlotte, North Carolina. (1993-94) State Ballet of Missouri, Kansas City, Missouri. (1996-97, 1998) Studio Arena Theatre, Buffalo, New York. (2001) Summer Music, Inc., Waterford, Connecticut. (1998, 2000) Symphony Nova Scotia, Halifax, Nova Scotia. (1996) Syracuse Opera, Syracuse, New York. (1992, 1994, 1996, 2000) Tafelmusik Baroque Orchestra, Toronto, Ontario. (1989, 1996, 2000, 2001,2003, 2004) Textile Museum of Canada, Toronto, Ontario. (2003) Theatre Columbus, Toronto, Ontario. (1997) Theatre New Brunswick, Fredericton, New Brunswick. (1997) Theatre Plus, Toronto, Ontario. (1989-90) Toledo Cultural Arts Center, Toledo, Ohio. (1997) Toronto Centre for the Arts, Toronto, Ontario. (2000) Toronto Dance Theatre, Toronto, Ontario. (1993, 1994) Toronto International Festival, Toronto, Ontario. (1988) Toronto International Film Festival Group, Toronto, Ontario. (1998, 2001, 2002, 2003-04) Toronto Philharmonic Orchestra, Toronto, Ontario. (1989) Toronto Symphony Orchestra, Toronto, Ontario. (1996, 1998-99) Town of Markham, Markham, Ontario. (2003-04) Tulsa Opera, Tulsa, Oklahoma. (1999-00) TVOntario, Toronto, Ontario. (2000) United Arts of Central Florida, Orlando, Florida. (1993-94) Utah Opera Company, Salt Lake City, Utah. (1990) Utah Symphony & Opera, Salt Lake City, Utah (2002-03) Vancouver Art Gallery, Vancouver, British Columbia. (2003) Vancouver Opera, Vancouver, British Columbia. (1991, 1994, 1995) The Vancouver Playhouse, Vancouver, British Columbia. (1992) The Washington Ballet, Washington, DC. (1998) Windsor Symphony, Windsor, Ontario. (1994, 1998, 2000, 2002, 2004) Winnipeg Art Gallery, Winnipeg, Manitoba. (1992) Winnipeg's Contemporary Dancers, Winnipeg, Manitoba. (1992) Winnipeg Symphony Orchestra, Winnipeg, Manitoba. (1998) Women's Musical Club of Toronto, Toronto, Ontario. (1999) World Wildlife Fund, Toronto, Ontario. (2004) Writers' Trust, Toronto, Ontario. (1998) Young People's Theatre, Toronto, Ontario. (1990-91) Yukon Arts Centre, Whitehorse, Yukon. (1991, 1992, 2000) CLIENT SERVICES EXECUTIVE SEARCH CHIEF EXECUTIVE OFFICER POSITIONS: Artistic Director, Austin Lyric Opera Artistic Director, Boston Ballet Artistic Director, Houston Ballet Artistic Director, Hubbard Street Dance Chicago Artistic Director, Les Grands Ballets Canadiens Artistic Director, Oregon Ballet Theatre Artistic Director, The Washington Ballet Director, Winnipeg Art Gallery Director, Frederick Horsman Varley Art Gallery Executive Director Executive Director Executive Director Executive Director Executive Director Executive Director Executive Director Executive Director Executive Director Executive Director Executive Director Executive Director Executive Director Boston Ballet Canadian Association of Professional Dance Organizations Cultural Careers Council Ontario Dance Umbrella of Ontario Old Town School of Folk Music Ontario Cultural Human Resources Council Pittsburgh Ballet Theatre Portland Center for the Performing Arts The Power Plant [Toronto] Sarasota Film Society Summer Music, Inc. Toledo Cultural Arts Center Yukon Arts Centre General Director, Arizona Opera General Director, Dayton Opera General Director, Edmonton Opera General Director, Florentine Opera of Milwaukee General Director, Nevada Opera General Director, Syracuse Opera General Director, Utah Opera Company General Director, Vancouver Opera General Manager, Toronto Dance Theatre Manager, Markham Museum and Historic Village Managing Director, Austin Lyric Opera Managing Director, Danny Grossman Dance Company Managing Director, Royal Winnipeg Ballet Managing Director, San Francisco Opera Managing Director, Tafelmusik Baroque Orchestra President & Executive Director, Royal Ontario Museum Foundation SENIOR ADMINISTRATIVE/ARTISTIC POSITIONS: Chief Operating Officer, Utah Symphony & Opera Director of Programming, Corporation of Massey Hall and Roy Thomson Hall SENIOR FINANCIAL POSITIONS: Director of Finance & Administration, Garde Arts Center Chief Financial Officer, Boston Ballet Chief Financial Officer, Opera Pacific Chief Financial Officer, Orange County Performing Arts Center SENIOR FUND-RAISING POSITIONS: Director of Development, Boston Ballet Director of Development, Boston Lyric Opera Director of DevelopmentJCommunications, Canadian Film Centre Director of Development, Dayton Opera Director of Development, Edmonton Opera Director of Development, Festival of Festivals Director of Development, Geffen Playhouse Director of Development, Manitoba Theatre Centre Director of Development, The National Ballet of Canada Director of Development, Niagara College Director of Development, Opera Pacific Director of Development, Portland Opera Director of Development, San Diego Opera Director of Development, San Francisco Opera Director of Development, Toronto International Film Festival Group Director of Development, Vancouver Art Gallery Director of Development, Vancouver Opera Director of Development and Marketing, Tafelmusik Baroque Orchestra Executive Director of Development, Branksome Hall Head of Development, Marketing, and Visitor Services, Art Gallery of Hamilton Vice-President Conservation Advancement, World Wildlife Fund Canada MID-LEVEL FUND-RAISING POSITIONS: Corporate Development & Foundations Manager, Art Gallery of Ontario Individual Giving Manager, Art Gallery of Ontario Membership Manager, Art Gallery of Ontario Director of Annual Giving, Austin Lyric Opera Major Gifts Officer, Banff Centre Capital Campaign Manager, Canadian Film Centre Associate Director, Capital/Endowment Campaign, Havergal College Manager, Patrons Council, The National Ballet of Canada Development Manager, Opera Hamilton Associate Director of Development, San Francisco Opera Associate Director of DevelopmentJIndividual Giving, San Francisco Opera Associate Director of DevelopmentJlnstitutional Giving, San Associate Director- Capital Campaign, The Shaw Festival Director of Individual Giving, Seattle Symphony Francisco Opera SENIOR MARKETING POSITIONS: Director of Marketing, Artsmarketing Services, Inc. Director of Marketing, Edmonton Opera Director of Marketing, Garde Arts Center Director of Marketing, Kentucky Opera Director of Marketing, Toronto Symphony Orchestra Director of Marketing, Opera Hamilton Director of Marketing, The Royal Conservatory of Music Director of Marketing, San Francisco Opera Director of Marketing, San Diego Opera Director of Marketing, Seattle Symphony Orchestra Director of Marketing, Vancouver Opera Director of Marketing & Communications, Harbourfront Centre Director of Marketing & Public Relations, San Diego Opera Tour Marketing Manager, For Dance and Opera (a consortium of Danny Grossman Dance Company, Dancemakers, Toronto Dance Theatre, Peggy Baker, and Opera Atelier) Vice-President, Marketing, The Living Arts Centre of Mississauga Vice-President, Marketing and Communications, Orange County Performing Arts Center MID-LEVEL MARKETING POSITIONS: Director of Marketing, Orange County Performing Arts Center Director of Ticketing & Customer Services, Orange County Performing Arts Center Marketing Manager, Cleveland Orchestra Marketing Manager, Kitchener-Waterloo Symphony Orchestra SEARCH ASSISTANCE: Architectural Conservancy of Ontario Archives Association of Ontario Hawaii Opera Theatre League of Historic American Theatres Opera Canada Publications Executive Director McMichael Canadian Art Collection: Manager, Corporate Development Corporate Development Associate Museum for Textiles Executive Director Curator Development Manager The National Ballet of Canada Assistant Director of Development Architectural Conservancy of Ontario Manager Opera Lyra Ottawa Pacific Opera Victoria Director of Marketing & Development Royal Ontario Museum Director, Marketing Canadian Film Centre McMichael Canadian Art Collection Opera Pacific Prospect Researcher Science Alberta Foundation Director of Development Studio Arena Theatre Director of Development Director of Marketing The Royal Conservatory of Music Prospect Researcher Tafelmusik Baroque Orchestra Director of Development Operations Manager Windsor Symphony Director of Operations MAJOR STUDIES/REPORTS Arts & Science Council of Charlotte-Mecklenburg, Charlotte, North Carolina. (2001). Geo- demographic marketing research study of council & its 28 funded affiliates. Metropolitan Theatre Preservation Foundation, Morgantown, West Virginia. (1998) Market analysis, operational and capital campaign feasibility plan. Archives Association of Ontario. (1998) Revenue Generation Feasibility Study, Chatham-Kent Business & Community Development Corporation (Chatham Capitol Theatre Association). (1998) Theatre operational business plan. Hamilton Music Research Taskforce Report. (1996) Sub-contractee of Ernst & Young, Hamilton, Ontario. Study on the future of symphonic music in Hamilton. Income Managers Program, Association of Canadian Orchestras, Centre for Cultural Management. (1995). "Revenue and Performance Activity of the Not-for- Profit Performing Arts Industry in Comparable Markets in the United States and Canada." Les Grands Ballets Canadiens, The National Ballet of Canada, Royal Winnipeg Ballet. (1995) A Comparison of American and Canadian Ballet Companies. Canadian Association of Professional Dance Companies, Professional Association of Canadian Theatres, Association of Canadian Orchestras, Professional Opera Companies of Canada. (1994) "Request to the Government of Canada from the Not-for- Profit Performing Arts Industry." Architectural Conservancy of Ontario, Toronto, Ontario. (1994) Fiscal Development Study. United Arts Fund of Central Florida--Study Commission on Symphonic Music, Orlando, Florida. (1994) Assessment of options for the reinstatement of symphonic music in the Central Florida region Royal Winnipeg Ballet, Winnipeg, Manitoba. (1993) Plan for $20 Million Capital Campaign for New Dormitory and Endowment Artpark, Lewiston, New York. (1993) "Artpark Tomorrow": Assessment of options for the future. Association of Canadian Orchestras/Professional Association of Canadian Theatres/Canadian Association of Professional Dance Organizations/Professional Opera Companies of Canada (1993) Study on the Economic Impact of Federal Budget Reductions to the Canada Council. The National Ballet of Canada, Toronto, Ontario. (1992) Marketing Development Study. The Royal Conservatory of Music, Toronto, Ontario. (1991-92) Income Development Assessment. Ontario Choral Federation, Toronto, Ontario. (1991) Marketing and Fiscal Development Study. Skylight Opera Theatre, Milwaukee, Wisconsin. (1991) Capital Campaign Readiness Audit Report. Manhattan School of Music, New York City, New York. (1990) Preliminary Campaign Plan for $20 Million Capital Campaign and Audit of Current Fund-Raising Capability. McMichael Canadian Art Collection, Kleinburg, Ontario. (1989) Preliminary Campaign Plan for $54 Million Capital Campaign and Audit of Current Fund-Raising Capability. Toronto International Festival, Toronto, Ontario. (1988) Marketing portion of Project Feasibility Study. CAPITAL/ENDOWMENT CAMPAIGNS Project Consulting San Francisco Opera: $100 million Opera House renovation and Operating campaign (completed); (in progress) $250 million endowment campaign. The Shaw Festival: (in progress) $50 million capital/endowment campaign. Royal Conservatory of Music: (in progress) $50 million building campaign. Beverly Hills Cultural Center: (in progress) $30 million building campaign. New England Center for the Performing Arts: (in progress) $20 million building Havergal College: $18 million building campaign. Canadian Film Centre: $15 million building and endowment campaign. Royal Winnipeg Ballet: $8 million building and endowment campaign. Skylight Opera Theatre: (completed Spring 1995) $6 million theatre building campaign; $2 million lead gift. Centre for Addiction and Mental Health: (in progress) Capital Campaign CAPITAL/ENDOWMENT CAMPAIGNS Feasibility Studies Metropolitan Theatre Preservation Foundation, Morgantown, West Virginia. (98-99) The National Ballet of Canada, Toronto, Ontario. (1997) Sandusky State Theatre, Sandusky, Ohio. (1999-2000) Shaw Festival, Niagara-on-the-Lake, Ontario. (2000) Toronto International Film Festival Group, Toronto, Ontario. (2002-03) Centre for Addition and Mental Health Foundation, Toronto, Ontario. (2002-03) STRATEGIC PLANNING PROCESSES Arizona Opera, Phoenix, Arizona. (1999-00) Cincinnati Opera, Cincinnati, Ohio. (1999-00) Connecticut Opera, Hartford, Connecticut. (2000) Florentine Opera of Milwaukee, Milwaukee, Wisconsin. (1991) (Plan Through the Year 2000) Fulton Opera House, Lancaster, Pennsylvania. (2001-2002) Kansas City Ballet, Kansas City, Missouri. (2004) Kentucky Opera, Louisville, Kentucky. (1999-00) The National Ballet of Canada, Toronto, Ontario. (1996-97) Opera Hamilton, Hamilton, Ontario. (1992-93) Opera Ontario, Hamilton, Ontario. (2004) State Ballet of Missouri, Kansas City, Missouri. (1996-97) Tulsa Opera, Tulsa, Oklahoma. (2000) FUND-RAISING AUDITS Alberta Theatre Projects, Calgary, Alberta. (1999) The Banff Centre, Banff, Alberta (2003) Branksome Hall, Toronto, Ontario. (1999) Calgary Opera Association, Calgary, Alberta. (1993) Canadian Centre for Architecture, Montreal, Quebec. (1993) Canadian Stage Company, Toronto, Ontario. (1994) Central City Opera, Denver, Colorado. (2004) Confederation Centre of the Arts, Charlottetown, Prince Edward Island. (1999, 2000) Edmonton Opera, Edmonton, Alberta. (1992) Hamilton Philharmonic Orchestra, Hamilton, Ontario. (1990) Kitchener-Waterloo Symphony, Kitchener, Ontario. (1991) Manitoba Theatre Centre, Winnipeg, Manitoba. (1990) National Ballet of Canada, Toronto, Ontario. (2000) Ontario Science Centre, Toronto, Ontario. (1999, 2000) L'Op~ra de Montreal, Montrbal, Qubbec. (2001) Studio Arena Theatre, Buffalo, New York. (2001) Toronto Dance Theatre, Toronto, Ontario. (1993) TVOntario, Toronto, Ontario. (2000) Young People's Theatre, Toronto, Ontario. (1991) MARKETING AUDITS Centaur Theatre Company, Montreal, Quebec. (1995) Children's Theatre of Charlotte, Charlotte, North Carolina. (1994) Cleveland Orchestra, Cleveland, Ohio. (1998) Discovery Place, Charlotte, North Carolina. (1993-94) Festival of Festivals, Toronto, Ontario. (1993) The Grand Theatre, London, Ontario. (1995) Houston Grand Opera, Houston, Texas. (1996) Kitchener-Waterloo Symphony Orchestra, Kitchener, Ontario. (1998) Lyric Opera of Kansas City, Kansas City, Missouri. (1996) National Arts Centre, Ottawa, Ontario. (1998) Opera Carolina, Charlotte, North Carolina. (1998) The Shaw Festival, Niagara-on-the-Lake, Ontario. (2001) Spirit Square, Charlotte, North Carolina. (1993-94) Studio Arena Theatre, Buffalo, New York. (2001) Symphony Nova Scotia, Halifax, Nova Scotia. (1996) Toronto Symphony Orchestra, Toronto, Ontario. (1996) BOARD WORKSHOPS/RETREATS Architectural Conservancy of Ontario, Toronto, Ontario. (2003) Artpark, Lewiston, New York. (1992) Austin Lyric Opera, Austin, Texas. (1990) Ballet British Columbia, Vancouver, British Columbia. (1993) Binghamton Summer Music Festival, Binghamton, New York. (1994) Calgary Opera Association, Calgary, Alberta. (1993) Centre in the Square, Kitchener, Ontario. (1995) Children's Theatre of Charlotte, Charlotte, North Carolina. (1994) Cincinnati Opera, Cincinnati, Ohio. (1999) Contemporary Dancers of Winnipeg, Winnipeg, Manitoba. (1992) Dayton Opera, Dayton, Ohio. (1991, 1994) Edmonton Opera, Edmonton, Alberta. (1993) Georgian Bay Folk Society, Owen Sound, Ontario. (1995, 1997) Glimmerglass Opera, Cooperstown, New York. (1998) Kentucky Opera, Louisville, Kentucky. (2000) Lake George Opera Festival, Glens Falls, New York. (1994) Lynnwood Arts Centre, Simcoe, Ontario. (1997) Manitoba Theatre Centre, Winnipeg, Manitoba. (1995) Markham Museum & Historic Village, Markham, Ontario. (2002) Mariposa Folk Foundation, Toronto, Ontario. (1991) Museum for Textiles, Toronto, Ontario. (1999) Nashville Opera, Nashville, Tennessee. (1999) Ocean State Lyric Opera, Providence, Rhode Island. (2001) Ontario Crafts Council, Toronto, Ontario. (2001) Opera Atelier, Toronto, Ontario. (1989) Opera Hamilton, Hamilton, Ontario. (1993) Opera Lyra Ottawa, Ottawa, Ontario. (1993, 1994) Orlando Opera Company, Orlando, Florida. (1991, 1998) San Francisco Opera, San Francisco, California. (1990) Sarasota Opera, Sarasota, Florida. (2000) Science Alberta Foundation, Calgary, Alberta. (2003) Syracuse Opera, Syracuse, New York. (1992, 1994) Tafelmusik Baroque Orchestra, Toronto, Ontario. (2001) Toronto Dance Theatre, Toronto, Ontario. (1994) Utah Opera Company, Salt Lake City, Utah. (1990) Winnipeg Symphony Orchestra, Winnipeg, Manitoba. (1998) MEMBERSHIP PROGRAM DEVELOPMENT Harbourfront Centre, Toronto, Ontario. (1996-97) National Gallery of Canada, Ottawa, Ontario. (1997-98) Ontario Science Centre, Toronto, Ontario. (1996-97) TRAINING PROGRAMS: Program Directors, INCOME MANAGERS PROGRAM, in partnership with the Association of Canadian Orchestras and Centre for Cultural Management, University of Waterloo, Waterloo, Ontario. (1993-98.) This is a 54-week training program that includes seven weeks of classroom instruction, as well as on-site work modules. In March 1997 a two-week version of the summer course was held in Halifax, in conjunction with Aucoin/Wellard Associates. A new Income Managers Program was launched in August of 2001, under the auspices of the Cultural Careers Council of Ontario, funded by The Ontario Trillium Foundation and Human Resource Development Canada. OTHER: Genovese, Vanderhoof & Associates was cited as a consultant "recommended by arts organizations" in the Summer 1991 Arts Bulletin of the Canadian Conference of the Arts. BIOGRAPHICAL INFORMATION MARGARET GENOVESE Margaret Genovese is a Senior Partner in the consulting firm of Genovese, Vanderhoof & Associates. Margaret was the recipient of the 2001 Association of Cultural Executives Award for her "outstanding contribution and dedication to Canadian cultural management." A graduate of Brown University, she holds MBA and MFA degrees from Southern Methodist University and a Certificate in Canadian Studies from Ryerson Polytechnic University. As a graduate student, she was awarded a Fellowship to the Theatre Program of the National Endowment of the Arts in Washington, D.C. Prior to coming to Canada, Margaret worked for the Trinity Square Repertory Company, the Theatre Company of Boston, Houston's Alley Theatre, the Association of American Dance Companies, and was Marketing Director for the Houston Grand Opera. For ten years she was Director of Planning & Community Relations for the Canadian Opera Company, prior to starting her own consulting firm. She has also been Acting Marketing Director on three separate occasions for the San Francisco Opera. She is the author of HOW TO GET THE BOARD YOU NEED (Association of Canadian Orchestras, 1997) and THE ART OF THE VOLUNTEER (The Council for Business and the Arts in Canada, 1993), as well as a number of articles. She serves on the Editorial Board of the International Journal of Arts Mana,qement. Well-known as a teacher and trainer in the cultural sector, Margaret has been an adjunct faculty member at Confederation College in Thunder Bay, Ontario and has served on the advisory board for the Centre for Cultural Management at the University of Waterloo, Confederation College, and Sir Sandford Fleming College. She has taught at the University of Toronto/Scarborough, the University of Waterloo, Simon Fraser University, and the Banff Centre School of Management. With Dory Vanderhoof, Margaret has introduced the concept that multi-year strategic and operational planning is the most important ingredient for institutional success, development and growth. To this end, he has assisted numerous clients to fulfil their mission, stabilize and grow their institutions through the introduction of a planning process that combines dynamic income maximization programs with considered artistic vision and achievement. Margaret is proud of being part of the senior management team that introduced "Surtitles" to opera, a process that is currently embraced by every major opera company throughout the world and is credited for opera's ever expanding audience reach. She has served on the boards of the League of Historic American Theatres, Toronto Theatre Alliance, the Performing Arts Development Fund of Toronto, OPERA CANADA Publications, and the Association of Cultural Executives, and participated on juries for the Toronto Arts Awards, the Toronto Arts Council, Canada Council, and the National Society of Fund-Raising Executives (Toronto Chapter). Margaret chaired the Marketing Committee for the International Society for the Performing Arts planning group for ISPA's 1995 conference in Toronto. Margaret has served on the board of the Textile Museum of Canada and has recently been elected Honorary Trustee. DORYVANDERHOOF A Senior Partner for Genovese, Vanderhoof & Associates since 1989, Dory Vanderhoof has assisted more than 200 arts, culture and heritage institutions throughout North America. As a management consultant to San Francisco Opera, working for General Director Lotfi Mansouri from 1988 to 2001, Dory Vanderhoof, in partnership with Margaret Genovese, introduced a multi-year strategic and operational planning process, recruited members of the senior management team, served as interim development director, developed operating strategies for the integration of the income functions and developed the organization and growth plan for the development program, that facilitated the growth of the opera company's contributed revenue from $11 million to $28 million and the organization's growth from a $24 million to a $58 million operation. In order to increase individual philanthropy in Canada, Mr. Vanderhoof introduced reforms to the Government of Canada for the tax treatment of gifts of appreciable property. This tax reform legislation has stimulated hundreds of millions of dollars for Canadian charities and become a permanent part of the Canadian Tax code. Considered a leading executive recruiter of Ballet Artistic Directors, Opera General Directors, Museum Directors, Cultural Institution Executive Directors, Chief Financial Officers and Development and Marketing Directors, he has influenced the success of the arts through the placement of talented professionals who are capable of developing and fulfilling the organization's mission in partnership with their respective communities. With Margaret Genovese, Mr. Vanderhoof has introduced the concept that multi-year strategic and operational planning is the most important ingredient for institutional success, development and growth. To this end, he has assisted numerous clients to fulfil their mission, stabilize and grow their institutions through the introduction of a planning process that combines dynamic income maximization programs with considered artistic vision and achievement. As a recognized leading professional in the field of philanthropy, he has served as a campaign planner and periodic fundraising counsel for clients' capital, endowment and operating campaigns up to $250 million. His work has earned for Genovese, Vanderhoof an international reputation for its consistent track record of greatly increasing the level of client's contributed support. Prior to forming Genovese Vanderhoof & Associates, Dory Vanderhoof served as Director of Development for the Canadian Opera Company (1978-1989) where he was instrumental in the growth of the company from $2.4 to $15 million. During that period, the COC's Development Department was considered the model for the Canadian Cultural Sector, introducing new techniques and programs to Canada, which lead to the development of the largest corporate sponsorship program, individual patron and major gifts programs in the country. Dory is proud of being part of the senior management team that introduced "Surtitles" to opera, a process that is currently embraced by every major opera company throughout the world and is credited for opera's ever expanding audience reach. After receiving his BA in Music from Bucknell University and his MBA from the special arts management institute of the State University of New York, Dory worked as a Music Program Analyst Intern for the New York State Council on the Arts. Dory has served as the Director of the Professional Opera Companies of Canada (now Opera.ca), and as a board member of Opera Atelier, the Danny Grossman Dance Company, the National Society of Fund-Raising Executives (Association of Fund Raising Professionals), the Association of Cultural Executives and as a member of Canada Council's National Tax Task Force. He has been a panellist for the Ohio State Arts Council and the Canada Council and a faculty member of Confederation College and the University of Waterloo. He is proud of having trained more than 200 arts professionals through the University of Waterloo and Cultural Careers Council Ontario "Income Managers Program" which he founded with partner Margaret Genovese. He is currently a board member of the League of Historic Theatres, where he is able to pursue his interest in historic restoration and adaptive reuse. Trained as a saxophonist, music director and arranger, Dory has played back-up for many artists including, Bobby Rydell, the Coasters, the Drifters, the Platters and Little Anthony and the Imperials. He fondly recalls his time spent as music director of BJRE (Bucknell Jazz and Rock Ensemble) on the bus touring Europe and North America. ERIC OJALA Eric Ojala has 27 years of experience in accounting management. After graduating from Cornell University majoring in Business and Marketing, Mr. Ojala was employed by Sears Canada as an internal auditor traveling extensively through Ontario and Quebec. Mr. Ojala's career at Sears Canada culminated with the position of Assistant Manager of Accounting responsible for internal control of financial systems and a staff of 30. Mr. Ojala has worked for the Canadian Opera Company as Accounting Manager and during his 11 years with the COC was involved in a remarkable experience that transformed a homeless arts organization into one of the most respectable and innovative opera operations in North America. REFERENCES Ms. Tanya Collier Human Resources Manager Metropolitan Exposition-Recreation Commission 777 Martin Luther King Jr. Boulevard Portland, Oregon 97232 503/73t-7844 Mr. Cecil C. ("C.C.") Conner, Jr. Managing Director Houston Ballet Foundation 1921 West Bell Houston, Texas 77019 713/523-6300 FAX 7t3/523-4038 ccconner~,houstonballet, org Ms. Tamara Hale Managing Director Austin Lyric Opera 901 Barton Springs Road Austin, Texas 78704 512/472-5927 FAX 512/472-4143 Ms. Gail E. Kalver Executive Director Hubbard Street Dance Chicago 1147 West Jackson Boulevard Chicago, Illinois 60607 312/850-9744 FAX 312/455-8240 .qkalver~hubbardstreet.com Mr. Charles S. Cutts President and Chief Executive Officer The Corporation of Massey Hall and Roy Thomson Hall 60 Simcoe Street Toronto, Ontario Canada M5J 2H$ 416/593-4822, ext. 323 charles.cutts~,rth-mh.com DRAFT 05/02/05 EXECUTIVE DIRECTOR THE WHEELER OPERA HOUSE CITY OF ASPEN Mission: As the chief operating officer of the Wheeler Opera House, the Executive Director is responsible to ensure that the facility accomplishes three primary missions: 1. Ensure that the beautiful historic 19th century opera house, the centerpiece of the City, serves as Aspen's cultural ambassador, welcoming all citizens and visitors with diverse presentations, tours and events. 2. Welcome and support community arts groups and professional arts producers and presenters in their use of the facility as a catalyst both for their artistic growth and development, and for the community's and visitors' entertainment. 3. Schedule, manage and maintain the Wheeler Opera House in an effective and efficient professional manner with a full and diverse program of presentations and productions. Position Summary: Per[orms a variety of complex professional, supervisory, management and administrative work in the direction of the Wheeler Opera House that includes strategic and long range operational planning; program scheduling and contracting; acting as liaison to support and promote the Aspen arts community; overseeing facility operations, capital asset management, and financial management. The Director works to preserve the historical and cultural integrity of the Wheeler, nurtures artistic diversity, provides community accessibility to the arts, facilitates arts community accessibility to the Wheeler Opera House, and encourages excellence in performance and production. Supervision Received and Exercised: Works under the general direction of the Assistant City Manager and in conjunction with the appointed Wheeler Board of Directors. Exercises supervision over all staff assigned to the Wheeler Opera House. Job Responsibilities/Tasks Frequency The Executive Director promotes the theater to attract occupancy and maximize use; represents the Wheeler Opera House to the Wheeler Board, public officials, the citizens of Aspen, the arts community, public and private organizations, the media and citizens; promotes popular community support for the Wheeler; and meets regularly with the arts community, public officials and consumers to assess how the Wheeler may better serve and meet the community's needs. 40% The Executive Director establishes artistic direction for the Wheeler: plans, schedules, arranges and evaluates all programming activity; provides direction for marketing of programs and events by developing promotion strategies and overseeing advertising contracts; administers contracts; maintains schedule of bookings and leases; maximizes use of the facility. Collaborates with the arts community and manages the City's co- production fund. 30% The Executive Director provides positive and dynamic direction for and overall management of the Wheeler Opera House, is responsible for all activities related to the development, implementation and administration of all Wheeler goals, policies and regulations. Through the supervision of the Operations Manager and the Financial Manager, manages all facility and operational activity, financial activity, preparation of the annual budget, capital asset management, budget execution and control. Supervises, plans, coordinates, and directs the activities of personnel assigned to the Wheeler Opera House including hiring, orientation, establishing performance goals, delegation, problem solving, coaching and counseling, evaluating performance, and, if necessary, corrective action. 20% The Executive Director performs other duties as assigned to support the Wheeler Opera House and to position Aspen as a cultural destination. The Executive Director is responsible for feasibility analyses, planning and evaluation strategies. Conducts research and evaluates alternatives. 10% Note: Tasks and responsibilities may be added, deleted, or changed at the discretion of the management, either orally or in writing. Minimum Requirements: Graduation from college or university with a Bachelor's degree in theater management, art administration or related field. Master's degree preferred. Minimum five years increasingly responsible experience in theater management, facility operations and supervision. Minimum three years management of a performing arts facility preferred. Or any combination of experience and education that would likely provide the required knowledge, abilities and skills. Additional Requirements: Ability to work with community and diverse boards as well as with the local and professional artistic communities. Thorough knowledge cf the principles, practices, procedures and techniques used in the operation of a professional theater. Broad knowledge of budgetary and fiscal management. Organizational Relationships: See Organizational Chart. Work Hours: Minimum of 40 hours per week during the workday. Evening and weekend hours required, in addition to or instead of normal hours as schedule dictates. May be required to work more hours as necessary to meet job requirements. This position frequently requires that office hours be complemented with evening hours to keep in touch with the public attending the Wheeler and to have first hand knowledge of how the theater and building are operating when audiences are in attendance. Work Environment: Work is performed in a performing arts center environment, including standard office environment. Physical Requirements: The position requires no more than normal physical abilities. Some lifting required, up to 35 pounds. Compensation: Regular full time position with the City of Aspen benefits package. Exempt from overtime.