In the late summer of 2016, The Dallas Morning News took a long, hard look at local arts boards. Those are the people who make up the governing bodies of the city’s six biggest arts organizations. And what we found was surprising.
The boards were beginning to veer younger and more corporate, and although older, white men continued to dominate, their once-fierce hold — some would say stranglehold — was beginning to fade. Seven years ago, for the first time, boards were inching toward becoming more diverse, albeit slowly.
Women were commanding a more powerful presence than ever before, with four of the city’s six biggest arts groups placing female leaders at the helm. The city took the progression a step further in 2018, when the City Council voted 14-0 to adopt a radically new Cultural Plan.
But that was then and this is now.
In the first quarter of 2020, we entered what was called “a national emergency,” as COVID-19 began its march around the world. And suddenly, Dallas’ six biggest arts companies — and in particular, their boards — were faced with a new mission: survival.
As their focus has changed, each of the nonprofit companies — Dallas Symphony Orchestra, Dallas Museum of Art, AT&T Performing Arts Center, the Dallas Opera, Dallas Theater Center, and Broadway Dallas (known seven years ago as Dallas Summer Musicals) — has moved on.
At the moment, they are juggling the need to continue embracing the tenets of diversity, equity, and inclusion, while at the same time navigating the economic perils of staying alive as arts organizations in the challenging world of 2023.
Taken as a whole, however, the “Big 6” have improved dramatically in the area of diversity since we took our first poll in 2016.
Kenneth T. Novice, who became the president of Broadway Dallas in 2017, said the primary change affecting boards across the country in the last seven years comes down to a single word: desire.
“There is a desire,” Novice says, “to make changes to boards when it comes to diversity and inclusion. There’s a lot of conversation about that and people discussing ‘How can we do more than just make a statement? And what would that look like?’ ”
Soon after his arrival, Novice’s company adopted a new strategic plan, which contained five pillars, one of which is EDIA (equity, diversity, inclusion, access).
“However, since that time,” he says, Novice and two board members “went through the Dallas Truth, Racial Healing & Transformation program.
“And it opened our eyes,” he says, to making diversity, equity and inclusion “a larger plan of the organization.” And not just a separate adjunct. “In other words, we need to have this running through the entire organization to make it have the kind of effect we need to have.”
And that, he says, is the single biggest change in the approach arts companies are taking toward diversity since 2016.
During his years as an arts executive, Novice once worked with Sheldon Epps, an American theater and television producer and the artistic director of The Pasadena Playhouse, who believed that diversifying artistic boards would not lessen or compromise the economic power of such groups but rather do the opposite.
“Sheldon’s view is that there is an economic benefit in a commitment to EDIA — by expanding your base of ticket buyers, your base of donors, by reaching people who may not have been patrons of your theater before.”
In other words, Epps believed that reaching out to communities of color in California “was going to be good for the organization financially, as well as being beneficial from a social perspective.”
The Epps doctrine has, for the most part, become a national trend.
So, where does it stand in Dallas? With that context in mind, we offer a detailed look at the “Big 6” and how they’re faring culturally and financially in what may be the most challenging era arts organizations have seen at any point in their history.
Broadway Dallas
Board president: Tom Watson
Board size: 36 (in 2016, the board had 146 general members, with 15 officers and 40 on its executive committee. That is a reduction in board size of more than 75%).
Diversity: 80.5% white, 19.4% non-white. (In 2016, it was three Hispanics, one Black American board member and one Asian American). That is an increase in diversity of 40%.
Gender: 24 male, 12 female (in 2016, it was 78 men, 68 women). That is an increase since 2016 of slightly more than 3%.
Term limits: The board member elected as chair serves in that role for two years. However, they can potentially continue as a board member after their service as chair. Each board member (including the chair) serves on the board for three years, with an opportunity to potentially serve a consecutive three-year term.
Giving and participating guidelines: Each board member must give a minimum of $5,000.
Noteworthy mentions: Board member Vicki D. Blanton recently achieved a career milestone when she was admitted to the U.S. Supreme Court bar, meaning that she is eligible to argue cases in front of the U.S. Supreme Court.
Fundraising expectations: “Board members must give a minimum of $5,000 annually, plus hold a season subscription. They are required to serve as ambassadors of Broadway Dallas and participate in ‘friend-raising’ and fund-raising activities.”
Annual budget: $35 million (in 2016, it was $19.5 million. Between then and now, that is an increase of more than 79%.)
Endowment: $250,000 (in 2016, there was no endowment fund).
Debt: $0
How has the pandemic impacted diversity efforts and the organization’s financial standing?
“The pandemic did not impact our commitment or activities related to EDIA and our financial standing remains strong. We are grateful for the support we received through SVOG and the enthusiasm of our Broadway audiences who helped bring us through the pandemic. It was, of course, not without pain, like many of our sister arts organizations, we had to make difficult choices, but we’re pleased with our current attendance and the wonderful experiences audiences are having with Broadway shows.”
AT&T Performing Arts Center
(Data covers fiscal year 2024, which begins Aug. 1)
Board president: Danny Tobey, partner at the law firm DLA Piper
Board size: 70 (“Our total number has stayed in the 60-70 range. We have term limits and some ‘retirements,’ so the membership is not static.) That is an increase of more than 27% since 2016.
Diversity: 43% non-white, 57% white (That is an increase of almost 114% in seven years.)
Gender: 46% male, 54% female (“It has generally hovered around 50-50 for years.”)
Term limits: “Each term is three years. A director may serve two consecutive terms. When terms are through, board members who want to stay engaged but not with board service move to our emeritus board. We also have an auxiliary board of young professionals. We have five lifetime directors: Matrice Ellis-Kirk, Bess Enloe, Caren Prothro, Deedie Rose and Howard Hallam.”
Giving and participating guidelines: “While there is an expectation of giving, we do not have a minimum give. We ask all to make a gift that is personally significant for them. We have 100% participation. Average gift is $10,000. In addition to regular attendance at board meetings, they need to serve on at least one of our standing committees (annual fund, marketing, education and community engagement, nominations and Governance, finance, etc.)
Noteworthy mentions: “We recently added our first artist to the board, singer/producer/actress Denise Lee!”
Annual budget: $23 million (in 2016, it was $35 million).
Endowment: $3.9 million
Debt: $15 million, which is targeted to be paid down by 2026. (Seven years ago, it was $95 million.)
How has the pandemic impacted diversity efforts and the organization’s financial standing? “In about 2015, when Matrice Ellis-Kirk became our chair-elect, we built a long-term strategy to diversify our board on a range of fronts, with a strong focus on ethnicity, but also LGBTQ status, geography and profession.
“We have adhered to this strategy [even through the pandemic] and have seen our ethnic and LGBT percentage continue to grow. While I haven’t looked in a while, I believe the Center’s board membership has one of the highest ethnic percentage numbers among major non-ethnic arts organizations in Dallas.
Financially, we are healthy. We are ending fiscal year 2023 with a small surplus which is targeted for deferred maintenance and repairs. Our board has approved a balanced budget for fiscal year 2024.”
Dallas Museum of Art
Board president: Gowri N. Sharma
Board size: 65
Diversity: 62% white, 38 non-white. That is an increase of more than 171% in the diversity category.
Gender: 38% male, 62% female. That is an increase of almost 32% in the number of female trustees.
Term limits and/or length of service requirement:
Officers: president, chairman: 6-year total with three, 2-year terms
Elected trustees: 6-year total with two, 3-year terms
Representative trustees: term varies, minimum of one year
Ex-Officios: term varies, minimum of one year
Giving and participating guidelines: “There is no minimum entry fee. Requirements include attendance at every board meeting and service on a standing committee or task force.”
Fundraising expectations: “We would consider our board to be both. Although there is no financial requirement, we are thankful for a board that prioritizes financial support as part of their service.”
Noteworthy mentions: “Gowri N. Sharma is the first BIPOC chair in the history of the Dallas Museum of Art. The 2022-23 board of trustees was the most diverse board in museum history.
Annual budget: $31,132,298 in fiscal year 2022. That is an increase of more than $9 million since 2016.
Endowment: $234,247,198 in fiscal year 2022. That is an increase of more than $46 million since 2016.
Debt: $5,083,280 (That is an increase of almost $1.6 million since 2016)
How has the pandemic impacted diversity efforts and the organization’s financial standing?
“The pandemic brought what National Public Radio coined the ‘summer of racial reckoning.’ Our pursuit of diversity started from the top in 2016 when Dr. Agustin Arteaga, a Mexican-born gay man, was selected through an international search to serve as the first non-white director in the history of the DMA. The DMA has worked to increase diversity since and 2020 helped us accelerate that work. In fiscal year 2023, the DMA elected its most diverse board in history — 64% of new hires were BIPOC, 64% of art purchased was created by BIPOC artists and 53% of our programs featured BIPOC performers and artists.
“The DMA, like its peers, continues to work to get back to pre-pandemic revenue numbers as we navigate the realities of post-pandemic attendance and behaviors.”
Dallas Symphony Orchestra
Board president: Cece Smith
Board size: 116 (an increase of 48 since 2016)
Diversity: 29% non-white (an increase of 19% in the non-white category since 2016)
Gender: 50% male/female (an increase of 10% in female board members since 2016)
Term limits: Three-year terms (no term limits for board of governors members)
Giving and participating guidelines (for instance, is there a minimum entry fee or annual requirements)? Suggested annual donation of $10,000
Notable Mentions: DSA Board Chair Cece Smith served as chair of the board of directors of the Federal Reserve of Dallas, the first woman in that role. The board of the DSA includes members from across the community including Zenetta Drew, executive director of the Dallas Black Dance Theatre; T.D. Jakes, the founder and senior pastor at The Potter’s House; and Geoffroy van Raemdonck, CEO of Neiman Marcus.
Annual budget: $48 million (an increase of almost $12 million since 2016)
Endowment: $136 million (an increase of $15 million since 2016)
Debt: “No debt but use line of credit to manage cash flow.”
How has the organization changed since the pandemic lockdown and how does that affect the organization in moving forward?
“Full audience engagement and ticket sales have not yet rebounded to pre-COVID levels, requiring more fundraising this and last season. While sales are trending in the right direction, we are also increasing our reach in the coming months with new marketing and message development. We have expanded our community concerts with more than 200 chamber music concerts annually throughout [Dallas-Fort Worth] including park concerts, DSO on the Go, the Concert Truck residency and DSO Cares concerts in hospitals and elder care facilities.
We have redoubled our EDI efforts as well as our music education work for Dallas ISD students. As a result of the pandemic, we expanded our digital efforts and are producing 30-40 on-demand DSO concerts each season. Several of these productions were aired on PBS and Bloomberg TV and nominated for and won Emmy and Telly awards. Due to the pandemic, the Meyerson Symphony Center was used less frequently, which allowed the DSO to do a tremendous amount of deferred maintenance to the property.”
Dallas Theater Center
Board President: Chris Luna
Board size: 53, excluding life trustees (a reduction of 13 since 2016)
Diversity: White 64%, BIPOC 36% (an increase of 26% in the latter category since 2016)
Gender: 54% female, 46% male (an increase of 7% in female board members since 2016)
Term limits: Trustees normally serve three-year terms, renewable for a total of two consecutive terms.
Giving and participating guidelines: While not all trustees will fulfill their responsibilities in exactly the same way, the responsibilities generally expected of a trustee include support of DTC’s performance program by purchasing a full-season subscription and by assisting DTC in building its base of season subscribers; provide or procure $15,000 in contributions; and attend board meetings on a regular basis.
Fundraising expectations: Maintain a minimum $2,500 benefactor membership, which will count toward the above mentioned $15,000 contributions requirement.
Noteworthy mentions: “Deedie Rose is a Linz Award winner, and Frank Risch will receive the Linz Award this year. The Linz Award honors individuals whose community and humanitarian efforts have created the greatest benefit to Dallas over the last decade. We also have as board members multiple recipients of the Silver Cup Award, given for excellence in service to the arts in Dallas.
One interesting board member (among many) is Lynn Pride Richardson, the chief public defender for Dallas County. Lynn was a theater major in college and has appeared twice onstage in the Wyly in DTC's Public Works Pageants as a featured cast member. DTC's Public Works Pageants include professional actors working alongside more than one hundred community members to present epic theater by and for all of Dallas.”
Annual budget: For fiscal year 2024, $7.5 million. (A reduction of $2.5 million since 2016).
Endowment: $10.8 million. (An increase of $4.8 million since 2016). However, DTC board chair Jennifer Altabef says the endowment is composed of $8.1 million in cash and securities and that $2.7 million of the $10.8 million consists of an interest-bearing loan made to Dallas Theater Center.
Debt: “We are currently executing a plan that will eliminate all debt by the end of our fiscal year (Aug. 31, 2023), except for a loan to DTC from its endowment, which has an extended maturity date and payment schedule. (There was no debt in 2016.)”
How has the organization changed since the pandemic lockdown and how does that affect the organization in moving forward? “The pandemic has had a profound impact on audiences. Our productions of Clue, A Christmas Carol and Into the Woods had sold-out performances last season, but overall attendance remains below pre-pandemic levels and inflation-driven expenses have increased. In order to ensure balanced, sustainable budgets for the future, we have had to reduce our expenses, including painful staff layoffs in the spring.
“These industry-wide challenges are causing a re-examination of the business and artistic models for professional theaters nationwide, which ultimately presents an opportunity for reinvention. Just as the birth of the regional theater movement has deep roots in Dallas, we expect the Dallas theater community will embrace these challenges and remake theater in a more creative, collaborative and sustainable way. At DTC, we have been fortunate to have a deeply committed and engaged board throughout these difficult times. Their determination in the face of adversity and their belief in the importance of theater for our community has been inspiring.”
The Dallas Opera
Board president: Quincy Roberts, as of July 1
Board size: 45 (directors, including ex officio) (A reduction of 15 since 2016)
Diversity: 22% non-white (An increase of 17% in the latter category since 2016)
Gender: 49% female; 51% male (No change since 2016)
Term limits and/or length of service requirement: “The Dallas Opera implemented term limits for members of the executive committee in February 2020; limit is 2 consecutive 3-year terms in the same office.”
Giving and participating guidelines: “Not anymore. Candidates are evaluated on their ability to contribute in different ways: their time, their skills or talent, and financially.”
Noteworthy mentions: “Quincy Roberts, CEO of Dallas-based Roberts Trucking, Inc., is the first Black American board chair in the history of The Dallas Opera.”
Annual budget: $18.9 million (for fiscal year 2024)
Endowment: $28.9 million at the end of fiscal year 2023. (An increase of $1.1 million since 2016)
Debt: “As of the latest audited financials (June 30, 2022), the opera’s total debt was $5 million, of which $2 million was a pandemic-related loan from The Dallas Opera Foundation. That amount hasn’t changed much since then.” (There was no reported debt in 2016.)
How has the organization changed since the pandemic lockdown and how does that affect the organization in moving forward? “Many aspects of our operations have changed. To the good, enhanced and improved capabilities for remote meetings have helped in both our daily and long-term planning, especially with international creative teams. We continue to offer our staff a myriad of work-from-home options that have resulted in better work/life balance without hindering productivity. Our greatly expanded and successful online and digital offerings with over 4,000 subscribers were primarily born from the pandemic. We showcase unique free content to audiences of all ages and our low-cost livestreams provide international access and build brand awareness.
“With the rise of inflation, nearly every one of our expense lines has increased post-pandemic (travel, housing, transportation, production supplies, etc.). However, for the audience, the most evident change is not what they see in our performances, but how much. We added two free community engagement concerts (The People’s Choice and Holiday Concert at Cathedral Guadalupe) but reduced our seasonal mainstage productions from five to four with only four performances of each. The Dallas Opera is not an outlier in this; most major opera companies in the United States have implemented similar reductions. Moving forward, we feel we are better positioned to grow as audience demand increases. In fact, our mainstage capacity sold for the 2022-23 season was 71% compared to 57% for the 18/19 season.”
Arts Access is an arts journalism collaboration powered by The Dallas Morning News and KERA.
This community-funded journalism initiative is funded by the Better Together Fund, Carol & Don Glendenning, City of Dallas OAC, Communities Foundation of Texas, The Dallas Foundation, Eugene McDermott Foundation, James & Gayle Halperin Foundation, Jennifer & Peter Altabef and The Meadows Foundation. The News and KERA retain full editorial control of Arts Access’ journalism.
