CHOREOGRAPHY SEPTIME WEBRE MUSIC MATTHEW PIERCE OCTOBER 12-21, 2018 Kauffman Center for the Performing Arts Story lines and visual elements from the MGM Motion Picture THE WIZARD OF OZ provided by Warner Bros, Theatre Ventures. Dancer: Danielle Bausinger. Photography: Kenny Johnson.
THE WIZARD OF OZ PRESENTING SPONSORSHIP Muriel Kauffman Theatre Kauffman Center for the Performing Arts October 12-21, 2018 Stunning sets, imaginative costumes, puppetry, projections, all-new music, and a classic story - The Wizard of Oz premieres October 12, 2018 by the outstanding dancers of Kansas City Ballet. This all-new, $1 million production is a unique partnership between Kansas City Ballet, Canada s Royal Winnipeg Ballet and Colorado Ballet. The world premiere of The Wizard of Oz will be in Kansas City at the Kauffman Center for the Performing Arts. Please consider the Presenting Sponsorship of the fantastical interpretation of this muchanticipated, family event. Presenting Sponsorship Benefits As The Wizard of Oz Presenting Sponsor, your company will be visible to Kansas City Ballet s constituency of subscribers, individual and corporate donors, school parents and the general public during KC Ballet s The Wizard of Oz performances, October 12-21, 2018, as well as and in marketing of the production. Your support will also help impact the Greater Kansas City community as we reach more than 100,000 people annually through outreach, dance education and training, and professional performances all season, October 2018 through May 2019. 1
Presenting Sponsor Marketing and Entertainment Benefits Premium program book recognition as Presenting Sponsor (12,600 books) Profile advertisement featured in The Wizard of Oz program book Business profile included on KC Ballet s website all season 10 Orchestra-level The Wizard of Oz tickets (valued at approximately $1,728) Access to Patron Society Intermission Reception during The Wizard of Oz Pre-performance reception option for up to 20 guests (based on availability) Premium recognition on Kauffman Center monitors during The Wizard of Oz Listing as Presenting Sponsor on Figaro seat backs during performances Print Ads - Recognition for three months as Presenting Sponsor in Kansas City Ballet s The Wizard of Oz KC Star advertisements. Marketing Deadline: 8-1-18 Thu, 08/16/18 4.9 x 9.75 Preview Thu, 08/23/18 4.9 x 9.75 Preview Thu, 08/30/18 4.9 x 9.75 Preview Thu, 09/06/18 4.9 x 9.75 Preview Thu, 09/13/18 4.9 x 9.75 Preview Thu, 09/20/18 4.9 x 9.75 Preview Sun, 09/23/18 9.94 x 20 A&E Thu, 09/27/18 4.9 x 9.75 Preview Sun, 09/30/18 9.94 x 20 A&E Thu, 10/04/18 4.9 x 9.75 Preview Sun, 10/07/18 9.94 x 20 A&E Thu, 10/11/18 4.9 x 9.75 Preview Sun, 10/14/18 9.94 x 20 A&E Radio Advertising - Mention in The Wizard of Oz radio schedule of :30 and :60 second commercials professionally recorded. Radio ad runs on local radio, including on: KCMO-FM 94.9; 102.1 FM; 104.3 FM; Mix 93.3 FM Television Advertising - Mention in The Wizard of Oz TV & Online Video Professionally shot :10, :15, :30 and :60 commercials for runs on local television and online, including: KSHB-TV, KMBC-TV, YouTube, Facebook 2
Online Marketing - Inclusion in The Wizard of Oz 5,000,000 impressions of online ads in Kansas City DMA. August-October 3,00,000 impressions of online ads in communities within 75-200 miles of Metro KC (including Wichita KS, Lincoln NE, Omaha NE, St Joseph MO, Columbia Mo, Springfield MO, Des Moines IA, Tulsa OK) Landing Pages, Contests and Offers. E-mail Marketing - Mention in Emails to Ballet Customers most include videos 4 The Wizard of Oz-only sales messages 60,000 each Pre-performance reminders to ticket holders 13,000 Post-performance to ticket holders 13,000 Social Media Marketing - Inclusion in The Wizard of Oz Social Media KC Ballet Blog 1-2 postings per week Facebook daily postings (29,528 followers) Twitter daily postings Public Relations - Mention as Presenting Sponsor in PR for The Wizard of Oz Media Photo and Interview opportunity Media Alert blasts Misc. and Special Offers Direct mail postcards, brochures and flyers INVESTMENT $ 40,000 (tax-deductible, less ticket value) Value estimate: $125,000 Your consideration of an investment as Presenting Sponsor of Kansas City Ballet and Septime Webre s World Premiere of The Wizard of Oz would be appreciated and valued. FOR MORE INFORMATION, please contact Director of Corporate Relations Patty Bowen at pbowen@kcballet.org or 816-216-5584. 3
ABOUT THE PRODUCTION GOALS AND OBJECTIVES This project fits directly within Kansas City Ballet s larger goals and strategies, as it addresses our need for diversified funding and creative use of resources to bring world premieres and story ballets to the Kansas City and regional audience. The unique collaboration presents several opportunities for long-term sustainability both for Kansas City Ballet as an arts organization, and for the production itself. First, we will have exclusive rights to produce The Wizard of Oz for the five years following the world premiere. This will create significant revenue for our agency and bring new audience members. Second, the strategic goal of this partnership is to create new ballets at reduced cost. It is not at all unusual for a new full-length story ballet such as Swan Lake or The Sleeping Beauty to cost between $2 and $4 million. This production has a total cost of $1 million, yet we are responsible for just one-third. If a company can add to its story ballet repertory through strategic partnerships every other year, three high-value revenue-generating productions can be added to the inventory over a decade. Finally, the sets and costumes created for The Wizard of Oz will be available for rental to other ballets nationwide following the five-year exclusivity period, which will potentially generate income in support of our other programming and productions. NEED As we observe the future of Kansas City Ballet, we see challenges attendant with our growth. Our box office revenues will not likely enjoy the exponential increases they have experienced the past few years. We are seeing a narrowing of ticket revenue expansion due to the natural limitations of a fixed number of seats, a limited ability to increase performances even with high audience demand, and the need to keep tickets priced in alignment with demand. At the same time, of course, operational costs continue to grow (health insurance premiums, union demands, workers compensation costs, etc.). Similarly, philanthropy is experiencing a plateau a reflection of national trends and local philanthropic demand. In the coming years we will clearly need to ask more of our community, our Board of Directors, our volunteer Guild and our patrons to maintain a positive year-end operating budget and not retreat from the extremely important programmatic enhancements currently in place or planned. Our growth plans include a broadening of our community engagement and education commitment. To address these needs, and to continue fulfilling our mission of dance excellence for Kansas City and the surrounding region, it is unique collaborations such as this one for The Wizard of Oz that are imperative. Through combined efforts, we can create new productions of excellent caliber at a fraction of the cost delivering a product in demand from our audience, and simultaneously creating future revenue streams for the long-term. 4
OUTCOMES Success in the short-term for this one-time collaboration will be measured in ticket sales and audience numbers. We have projected gross revenue for The Wizard of Oz at $650,000. In the long-term, we anticipate the measurement of success to come from future productions by Kansas City Ballet of The Wizard of Oz. Our agreement includes a fiveyear period of exclusivity during which only the original partner group can produce the work. Following that time, it will then be made available for rental, resulting in a potential opportunity for the partner group to generate a secondary revenue stream through rental of sets and costumes. Based on the success of this first collaboration, Kansas City Ballet may seek additional opportunities to partner with other arts organizations. This certainly could become a national model for new productions. Indeed, early conversations with at least one other ballet company are centered around a future new production of Dr. Jekyll and Mr. Hyde. PROGRAM BUDGET The budget for creating The Wizard of Oz is estimated at $1,008,525. Choreographic fees/license...$165,000 Music composition and orchestration...$55,000 Design fees and expenses (scenery/props, costumes, lighting)...$189,000 Scenery/props build...$250,000 Costumes build...$200,000 Additional lighting equipment and specialty items...$22,500 Additional rigging expenses in theater...$79,000 5 percent contingency...$48,025 TOTAL...$1,008,525 KEY STAFF AND PARTNERSHIPS Choreographer Septime Webre is an internationally recognized ballet director, choreographer, educator and advocate. This season he joins Hong Kong Ballet as its Artistic Director after 17 years as Artistic Director of The Washington Ballet in Washington DC. As a choreographer, Webre s works appear in the repertoires of ballet companies throughout North America, including Pacific Northwest Ballet, Les Grands Ballets Canadiens, Colorado Ballet, Ballet West, Atlanta Ballet, Cincinnati Ballet, Ballet Austin, Ballet Memphis, Milwaukee Ballet, Kansas City Ballet, Ballet Concierto de Puerto Rico, and many others. Composer Matthew Pierce, celebrated for his classical scores commissioned by major American ballet companies. Lauded by media and musicians alike, Pierce s scores have been described as new, tuneful, dancey (Voice of Dance), the ideal musical vessel (San Francisco Chronicle), and possibly the best commissioned score in Houston Ballet s history (Houston Chronicle). 5
Costume designer Liz Vandal, who has brought her originality to dance, circus, cinema and special projects worldwide. Among her ballet partners: Compagnie Marie Chouinard; Le Ballet National du Canada; The Washington Ballet; Stuttgart Ballet; l Opéra de Paris and Göteborg Theater. She has created costumes for The Backstreet Boys and Cirque du Soleil. Lighting designer Trad A. Burns work has spanned theatre, dance and amusement parks, as well as architectural and retail lighting. Designing more than 400 productions during the last two decades, his creations have been seen around the world. He regularly lights Kansas City Ballet performances, including our new The Nutcracker. Canada s Royal Winnipeg Ballet is one of the world s premier dance companies. Based in Winnipeg, Manitoba, it is Canada s oldest ballet company and the longest continuously operating ballet company in North America. The facilities of Royal Winnipeg Ballet will be utilized for set and costume construction. Colorado Ballet encompasses a 30-member professional performing ballet company, a second company and school, and an education and outreach department. It is based in Denver. The three companies will split evenly the costs associated with this new ballet. A separate LLC was created so that one company would not bear all risks or returns. COMPANY OVERVIEW Kansas City Ballet, a professional company of 30 dancers (plus KCB II a second company of six and Trainee group of 10) is celebrating its 60th Anniversary Diamond Jubilee season in 2017-2018. Tatiana Dokoudovska incorporated The Ballet in 1957 to serve Greater Kansas City. Under the direction of Artistic Director Devon Carney and Executive Director Jeffrey J. Bentley, the Ballet is one of the most artistically dynamic and financially sound performing- arts institutions of its size in the country. Besides a series of performances for nearly 62,000 people a year at the Kauffman Center for the Performing Arts and the Todd Bolender Center for Dance & Creativity, we are proud of our Kansas City Ballet School (about 2,000 youth and adult students) and our community-education program, which reaches more than 24,000 annually. Kansas City Ballet has earned the respect of the national dance community as well as the city and region as an organization devoted to excellence, committed to the best interests of its artists and willing to take artistic risks even as it protects and secures its financial resources. The late Todd Bolender, a former dancer with the New York City Ballet and protégé of George Balanchine, established Kansas City Ballet s artistic focus. Artistic Director Devon Carney joined the company in July 2013, replacing William Whitener, who spent the previous 17 years with the company. 6
2017-18 BOARD OF DIRECTORS Julia I. Kauffman, Chairman Muriel McBrien Kauffman Foundation Kathy Stepp, President Stepp & Rothwell Michael D. Frost, PhD, Vice President Susan Lordi Marker, Secretary Artist Jack Rowe, J.D., Vice President Lathrop Gage Kent Stallard, J.D., Treasurer Stinson Morrison Hecker LLP Claire Brand, Immediate Past President Hallmark Cards, Inc. Jeffrey J. Bentley, Executive Director Kansas City Ballet Devon Carney, Artistic Director Kansas City Ballet Anna Allen Michael J. Bray XLRight, LLC Kirsten A. Byrd, J. D. Husch Blackwell LLP Vince Clark Creative Planning, Inc. Dr. Thomas Curran Children s Mercy Hospital Steve Doyal Hallmark Cards, Retired Shirley Bush Helzberg Steve McDowell BNIM Siobhan McLaughlin Lesley Gilda s Club Kansas City Kathleen Nemechek, J.D. Berkowitz Oliver LLP Stephen Peppes, BARRE KC President Delta Dental Rick Poccia Great Western Bank Beth Radke Commerce Bank Cindy Rock Dex Media Cici Rojas Tico Productions LLC / Tico Sports Gigi Rose Kansas City Ballet Guild President G. Mark Sappington J.D. Kutak Rock LLP Linda Shoare Challenger Sports Barbara Storm Angela Walker Thomas F. Whittaker J. E. Dunn Construction Company Jean-Paul Wong Pure Workplace Solution Dancer: Tempe Ostergren. Photography: Kenny Johnson. 7