Odc Theater

“Henry erlich director family justin erlich director family brenda way director/off family”

“The tax return is prepared by an outside accounting firm. After completion of said returns, the organization is sent a draft of the tax returns to be reviewed and examined. The organization makes copies of the returns and distributes to those individuals charged with governance. Those individuals at that time can review and if applicable discuss any line items in the return with the accountant who has prepared the return. The form 990 was circulated to all board members. If all items are found to be acceptable, an authorization is signed and provided to authorize the outside accounting firm to process, sign and provide copies of the returns to be filed with the designated governmental agencies. The tax returns are then signed by the organization, stamped and mailed with certified return reciept or the signed form 8879 is provided to the outside accounting firm allowing electronic filing.”

“We require employees to disclose potential conflicts begfore agreeing to any offers of employemnt, contract work, or board assignments. Odc periodically audits relevant artistic/employment and board service listings to ensure compliance.”

“The board and directors' determine the executive and founding artistic directors' compensation. The executive director determins the compensation for the rest of the staff.”

“The board and directors' determine the executive and founding artistic directors' compensation. The executive director determins the compensation for the rest of the staff.”

“Governing documents are made available to the public upon request and approval of the board.”

“Despite the significant disruptions and challenges of covid-19 that persisted in 2022, odc theater found innovative ways to deliver its mission and enhance its earned reputation as a nationally significant incubator for emerging and mid-career artists, a dynamic leader in the national dance conversation, and as a vital west coast hub of mentorship and innovation in contemporary dance. Numerous professionals who are now recognized as luminaries in the field received their debut presentations from odc theater. This roster includes: eiko & koma, bill t. Jones, sarah michelson, john heginbotham, andrea miller (gallim dance), emily johnson and bodytraffic. Shortly after covid-19 health and safety restrictions shuttered all live, in-person dance activity in mid-march of 2020, odc theater's director, julie potter, left her role to relocate to the eu. Odc took the opportunity to assess how its future leadership and curatorial structure can further odc's on-going commitment to be an instrument of equity in the bay area dance ecosystem-with impact far beyond the bay area region. Long-time theater programming & operations manager, chlo l. Zimberg, assumed the new role of creative director of the odc theater with the mandate to design and implement a new strategic approach to programming. Through 2021 chlo led implementation of strategic plans developed in 2020 to move the organization from a single curatorial viewpoint into a more inclusive model that welcomes artistic collaboration and leadership from parties outside and across odc's community as well as showcasing an increasingly dynamic array of artists who reflect the full spectrum of voices, perspectives, and experiences of regional and national dance artists and their collaborators through commissioning, presenting, mentorship, and access to discounted and in-kind dance making and performance space. Odc theater redeveloped its presenting calendar for 2021 and 2022 to accommodate the timing and creative needs of artists whose original contracts were formed and authorized pre-covid. Odc worked with these artists through 2021 (past the intended conclusion of their original residency) to ensure that each member received the full complement of intended resources. In any year, these resources constituted important support at every level of the creative process and were designed to promote long-term capacity, resilience, and sustainability. Through the pandemic, these concepts took on a fundamental new meaning and urgency. Odc theater's fulfillment of the residencies was a profound achievement in the face of extreme organizational uncertainty. Final remaining commitments were honored for this program in 2022. Odc theater concluded its writer-in-residence program, which had tested delivery vehicles including formats of blogs and interactive podcasts over a five year long trajectory. Loss of dedicated funding, and lack of response to tested formats, helped the organization determine that key resources were better directed to supporting an odc employee (garth grimball holds the inaugural role) in an in-house role as the editor of dance stories: a collection of articles about odc and the world of dance, providing coverage of artists in the odc theater and other bay area venues, themes relevant to the field, and encouraging the continuation of critical dance writing, an increasingly scarce genre with the loss of dedicated critics and arts desks at traditional papers and media outlets. In 2021, odc theater implemented its learnings from its 2020 programmatic audit and re-organization of mentorship and training programs org-wide, as well as equity and accessibility initiatives. In 2022, the organization declared success in metrics that included clearly articulated offerings, transparent and proactively communicated eligibility criteria, and greater aggregate impact on participants and ecosystem, as well as commitments to accessibility services and reparative support of the local native and indig”

“Other pro fees 11,761 0 0 guest artist fees 103,911 0 0 videographer 3,200 0 0 contract labor 15,368 0 0 video production 7,129 0 0 ticket sales release 145,367 0 0 miscellaneous production 19,749 0 0 graphic designer 3,084 0 0 total 309,569 0 0”