Long Wharf Theatre’s mission is to create theatre of the highest quality that inspires reflection and discourse about each of us and the world in which we live.
Established in 1965, Long Wharf has developed a legacy
of sustained artistic achievement and a commitment to emerging and established
playwrights and the production of their work. During Artistic Director Gordon
Edelstein’s 13 seasons alone, Long Wharf has produced more than 30 world,
American, and regional premieres of new work, which keeps the Theatre
competitive in the field and brings the best new plays and musicals to New
Haven. One in seven Long Wharf productions has gone on to a future life in New
York or at another regional theatre, and more than 30 productions have
transferred to Broadway or Off-Broadway. Most recently, Long Wharf transferred
its productions of SATCHMO AT THE WALDORF and MY NAME IS ASHER LEV to commercial
runs. SATCHMO received the 2014 Outer
Critics Circle Award and 2014 Drama Desk Award for Outstanding Solo Performance.
Long Wharf elastically applies the themes of each production to conversations with its audiences and the community at large, which allow for meaningful interactions across a wide spectrum of the general public. We also partner with the New Haven Free Public Library (NHFPL) to create Community Conversations, inspired by our plays, in each of the Library’s 5 city-wide branches. Long Wharf is a micro-branch of NHFPL; books related to our plays’ themes may be borrowed at the Theatre. New Haven residents may also “borrow” tickets from any NHFPL branch for their personal use.
Our education department designs programs that encourage individual expression, facilitate life-long learning and inspiration, and establish the audiences and artists of tomorrow. For schools, Long Wharf offers the Student Theatre Series, which uses Long Wharf productions to explore literary, historical, political, and social perspectives of a script through video study guides, teacher information packets, in-classroom residencies, and attendance at a performance of the play; and Educators’ Laboratory, an arts-based professional development program for teachers. Long Wharf also offers year-long internships and residencies to recent college graduates, as well as group and private acting lessons.
July 2014 marks the beginning of Long Wharf’s 50th
anniversary season. We plan to use our golden anniversary to accomplish four
objectives: reaffirm our primacy as a key cultural asset in the region;
celebrate our legacy; establish ongoing investments and initiatives in artistic
content, education, and community development; and reinforce our connection to
the community. To inaugurate this milestone year, we will produce a reimagined
OUR TOWN for the 21st century that is a tribute to the city we call
home. Artistic Director Gordon Edelstein will direct a cast that reflects the
melting pot of cultures that make New Haven unique and includes community
members from the Greater New Haven area as townspeople in the fictional
The other productions are modern classics and new plays, all of which speak to our current moment in history. They include FOREVER, a world premiere one-woman show performed by playwright Dael Orlandersmith about the family we’re born into in the family we create; BAD JEWS, Joshua Harmon’s play about one Jewish family’s relationship with legacy and tradition; BROWNSVILLE SONG, a new play by Kimber Lee about a youth’s uncertain present and hopeful future set amid urban violence; THE SECOND MRS. WILSON, the world premiere of Joe DiPietro’s play based on the episode in history when First Lady Edith Wilson hid President Woodrow Wilson’s ailing health; and Steve Martin’s modern classic PICASSO AT THE LAPIN AGILE, an imagined meeting between Albert Einstein and Pablo Picasso in a Parisian bar
Audiences will engage in lively discussions with our artists and staff through post-show discussions, which follow most performances. Long Wharf’s education department will reach thousands of Connecticut’s elementary, middle, and high school students and teachers through programs that complement already existing curricula. Finally, theatre artists of tomorrow will be developed through the competitive Next Stage program, which brings eight recent college graduates to Long Wharf for a year of mentorship in a specific theatrical discipline.
1. Annual Operating Support: General
operating contributions directly support all of Long Wharf’s activities,
including its mainstage productions, new play development, community engagement
initiatives, and educational programs.
2. Artist Development Initiatives: Continued identification of and investment in emerging and established playwrights. Artistic development funding supports commissions of plays and musicals, productions of world and regional premieres, and the education of Long Wharf audiences about the importance of new work.
3. Facility Improvements: While Long Wharf experienced a major renovation of its mainstage in 2012, more investment is needed in its aging facility. In particular, replacement of HVAC system is needed throughout entire facility to improve efficiency and maintenance costs.
4. Endowment: Contributions to Long Wharf’s endowment ensure the long-term financial health of the institution and the Theatre’s continued artistic excellence and investment in the Greater New Haven community.
Since our founding in 1965, Long Wharf Theatre has
developed, nurtured, and supported a renowned theatre in a small yet vibrant
metropolitan community. One of the few local and nationally recognized
institutions without an affiliation with Yale, Long Wharf dedicates itself to
producing plays at the highest artistic level that tell the human story—stories
that underscore and reinforce our commonality and stories that tell us what
it’s like to be alive today. We aim to integrate our work into the fabric of
our community, both locally and globally, in order to stimulate dialogue,
become a springboard for discourse within our community, and be an educational
resource for students of all ages.
Despite trying economic times, Long Wharf remains committed to producing the same quality and caliber of work that the Greater New Haven community has come to expect during our 49-year-history and has expanded its programs for the community. Long Wharf’s productions bring world-class actors, directors, designers, and playwrights to New Haven, enriching the cultural fabric of our community and attracting out-of-county and out-of-state visitors every season. One in seven Long Wharf productions has gone on to a subsequent production at another regional theatre, Off-Broadway, or on Broadway, including three Pulitzer Prize-winning plays. Our education programs invest in students and teachers and enhance curricula in Connecticut schools. And our community partnerships provide lifelong learning opportunities for the community at large.
Your generous support of Long Wharf Theatre will have a significant impact on both our organization and the tens of thousands of artists, students, teachers, community members, and patrons who participate in our programs each year. Thank you for your kind consideration of Long Wharf Theatre in your charitable giving plans.
Gordon Edelstein, Artistic Director
Established at the start of the regional theatre movement, Long Wharf is an important cultural asset to both Greater New Haven and the national theatre community. Our institution is led by the dynamic team of Artistic Director Gordon Edelstein and Managing Director Joshua Borenstein. Gordon has been as Artistic Director for 12 seasons, and has developed a critically acclaimed balance between a commitment to the living writer and a fresh approach to the theatrical cannon. In Josh, the Board has found someone who combines wisdom, strength, practical theatre knowhow with strategic savvy. Together, they engage multiple constituencies in our community, have led our theatre into fiscal stability, and ensure our organization remains an important cultural voice in the 21st century.
We recently completed a strategic plan, which will guide our institution through its 50th season in 2015. The strategy is devised to insure that Long Wharf is relevant to New Haven and the national theatre communities. It also helps us balance our investment in community and educational programs with the staff and infrastructure needed to implement these initiatives. To maintain fiscal stability, Long Wharf will initiate new partnerships and develop revenue streams to support the overall fiscal health of the institution.
Long Wharf has historically invested its resources, time, and energy into work on stage and in the community without making comparable investments in its facility. To address this, in November 2012 we completed a $3.9 million investment in our main performance space. In addition to technical upgrades, the renovated The Claire Tow Stage in the C. Newton Schenck III Theatre features new seats with increased legroom; a comfortable temperature from a new (and quiet!) HVAC system; shorter lines for the restrooms; and an expanded lobby. With easy access to highways and abundant free parking, the entire Long Wharf experience is exciting and refreshed—and world-class theatre may now be enjoyed in equally outstanding comfort.
While artistic quality is paramount, Long Wharf recognizes that serving the community through the arts means more than attracting an audience to a show. We have increased our investment in education and community programs that allow for the greatest mission-based impact possible. During our 2012-13 season, we quadrupled in-school residencies and the number of students served has increased by 20%. These education programs are available to schools across the state, including those in the 20 town and city area that CFGNH serves. We are expanding the reach of theatre through our partnership with the New Haven Free Public Library and through increased productions for families with young children next season.
Long Wharf relies equally upon ticket sales and charitable giving from its audience members, corporations, foundations, government, and individual donors like you. In recognition of our service to the artistic field and the community, I hope you will make a tax-deductible donation in support of Long Wharf’s legacy and its annual season of work.
R. Sanford Stoddard
Chair, Board of Trustees
July 2014 marks the beginning of Long Wharf Theatre’s 50th
season. It plans to use this occasion to accomplish four objectives: reaffirm
its primacy as a key cultural asset in the region; celebrate its legacy;
establish ongoing investments in artistic content, education, and community
development; and reinforce its connection to the community.
The 50th season will begin with an ambitious production of Thornton Wilder’s OUR TOWN, reimagined for the 21st century as a tribute to the city it calls home. Artistic Director Gordon Edelstein will direct a cast that reflects the melting pot of cultures that make New Haven unique and includes community members from the Greater New Haven area as townspeople in the fictional Grover’s Corners. The other five productions are modern classics and new plays, all of which speak to our current moment in history. They include FOREVER, a world premiere one-woman show performed by playwright Dael Orlandersmith about the ways we form powerful bonds with unrelated strangers; BAD JEWS, Joshua Harmon’s play about one Jewish family’s relationship with legacy and tradition; BROWNSVILLE SONG, a new play by Kimber Lee about a youth’s uncertain present and hopeful future set amid urban violence; THE SECOND MRS. WILSON, the world premiere of Joe DiPietro’s play based on the episode in history when First Lady Edith Wilson hid President Woodrow Wilson’s ailing health; and Steve Martin’s modern classic PICASSO AT THE LAPIN AGILE, an imagined meeting between Albert Einstein and Pablo Picasso in a Parisian bar.
Long Wharf’s 2014-15 productions are brought to life by the finest
actors, directors, and designers in the field. Its productions regularly garner
feature stories and rave reviews in local and national press, including The New
York Times, The Wall Street Journal, National Public Radio, The New Haven
Register, and Hartford Courant, among other publications.
Long Wharf Theatre dedicates itself to producing plays at the highest artistic level that tell the human story, stories that underscore and reinforce our commonality and stories that tell us what it’s like to be alive today. Its 50th season includes six productions that tell diverse and compelling stories that inform our 21st century existence and allow the Theatre to integrate the performing arts into the Greater New Haven community by using its productions as a springboard for discourse for its patrons and Elm City residents.
Long Wharf utilizes a number of criteria to
determine the success of each of its seasons. First and foremost, the Theatre
looks to ensure that the creative artists found the development and production
process to be nurturing and supportive of their artistry. Second, informal
responses are gathered from audience reactions during the production and patron
feedback during post-show conversations with Long Wharf staff and through
e-mail surveys. Third, the Theatre evaluates the quantity and quality of
critical response for each production. Fourth, Long Wharf reviews the number of
subscription and single tickets sold and compares it to its own sales goals as
well as sales at peer institutions as a quantitative measure of success. Finally,
an in-house, post-production review of the entire production process allows
staff members to discuss and learn from the accomplishments of, and obstacles
in, each play of the season.
As a result of its dynamic programming and recently completed renovation project, Long Wharf’s subscribers have increased for the first time in ten years. During its 2012-13 season, Long Wharf's production of SATCHMO AT THE WALDORF extended beyond its original run and became the highest grossing play on Stage II since it opened in the 1977-78 season. Following its close at Long Wharf, SATCHMO transferred to The Wilma Theatre in Philadelphia. In addition, Long Wharf’s world premiere of JANUARY JOINER received an award from the National Endowment for the Arts, the federal agency that supports artistic excellence.
The Boston Globe said SATCHMO AT THE WALDORF was “extraordinary…tour de force would be an understatement” and The New York Times said John Douglas Thompson gave “a top-notch performance.” The Connecticut Post said CURSE OF THE STARVING CLASS was “Sam Shepard done right…a triumph for Edelstein and Long Wharf.”
Long Wharf Theatre serves as a laboratory for playwrights to craft and
refine new work, fostering the kind of collaboration among writers, directors,
dramaturgs, designers, and actors that results in well-developed, thoughtful,
provocative, and highly engaging productions. Long Wharf’s new play program is
intended to develop each writer through the development of their work. The
Theatre also supports playwrights through productions of plays that have
recently received their premiere, allowing writers to continue exploring and
refining their scripts.
Recent new plays that were developed and/or produced by Long Wharf
include JANUARY JOINER by Laura Jacqmin (2012-13 season), SATCHMO AT THE
WALDORF by Terry Teachout (2012-13 season; moved to an Off-Broadway run); RIDE
THE TIGER by William Mastrosimone; THE CONSULTANT by Heidi Schreck (World
Premiere, 2013-14 season); and THE SHADOW OF THE HUMMINGBIRD by Athol Fugard
(World Premiere, 2013-14 season). The 2014-15 season includes FOREVER, written
by and starring Dael Orlandersmith; BAD JEWS by Joshua Harmon; BROWNSVILLE SONG
(B-SIDE FOR TRAY) by Kimber Lee; and THE SECOND MRS. WILSON by Joe DiPietro
(World Premiere). During the 2014-15
season, Long Wharf will also continue to develop TABLE, a new musical by
composer David Shire (BIG, BABY, CLOSER THAN EVER; original music for SATURDAY
NIGHT FEVER) and librettist Adam Gopnik, essayist and writer for The New
Yorker, which the Theatre plans to produce in a future season.
Long Wharf has an established commitment to developing and producing work by living writers, which is supported by a highly sophisticated audience proficient in attending premiere productions. During Artistic Director Gordon Edelstein’s twelve seasons alone, Long Wharf has produced more than thirty world, American, and regional premieres of new work by emerging and established writers including Julia Cho, Noah Haidle, Laura Jacqmin, Aditi Brennan Kapil, Gabriel Kahane, James Lapine, Craig Lucas, Charles L. Mee, Dael Orlandersmith, Anna Deavere Smith, Paula Vogel, and Tracey Scott Wilson, among others. Prior to full production, Long Wharf first supported many of these new plays with developmental workshops and readings.
Long Wharf looks to ensure that it provides a
supportive, nurturing environment for each artist’s creative process,
supporting them through each stage of a play’s development—from workshop to
One in seven Long Wharf productions has gone on to a
future life in New York or at another regional theatre, many of which were
world premiere or productions of new work. This has led to a national
reputation from artists and peer theatres alike for quality development and
production of premiere plays, establishing the careers of emerging writers and
furthering the careers of established playwrights.
Recent examples include the 2012-13 production SATCHMO AT THE WALDORF, which immediately transferred to The Wilma Theatre in Pennsylvania following its close at Long Wharf Theatre and 2014 Off-Broadway run (Winner, Best Solo Show, Outer Critics Circle and Drama Desk Awards); FEBRUARY HOUSE, a co-world premiere with New York’s The Public Theater that allowed the musical to have two back-to-back productions in the same season; and the rolling world premiere of AGNES UNDER THE BIG TOP by Aditi Brennan Kapil, which had productions at Long Wharf, Mixed Blood Theatre in Minneapolis, and Borderlands Theatre in Tucson.
Arts education is critical for the development of 21st century workplace skills, especially in the areas of creative problem solving, working collaboratively in a diverse team, public speaking, and presentation skills. Long Wharf has developed a suite of school-based education programs that invest in both teachers and students and augment learning opportunities during times of budgetary stagnation. Programs include the Student Theatre Series, which incorporates age-appropriate productions into the curricula of middle and high school students through printed and video study guides, a three-day residency by a Long Wharf teaching artist, and attendance at a Long Wharf production; Educators’ Laboratory, experiential seminars that provide teachers with exposure to a wide variety of artistic perspectives that may be translated into any course of study; and In-School Residencies by teaching artists that serve as a supplement to or, in some cases, are the sole drama education in these schools.
Long Wharf’s school-based education programs help fill the gap
left by budgetary constraints of local school districts while providing unique
and engaging opportunities for learning to Greater New Haven students and
educators. In recognition of its historical success with school-based programming,
Long Wharf received an award from the Werth Family Foundation, which allowed
the Theatre to significantly expand its investment in both teacher professional
development and in-school residencies. Beginning in the 2012-13 season, teachers
who sign up for all three Educators’ Laboratory sessions receive year-long,
in-school mentorship by a Long Wharf teaching artist to help them make the leap
between theory and practice. The Theatre’s capacity to provide in-school
residencies has also increased, helping to meet the demand for programming by
school administrators and teachers alike.
Though Long Wharf’s education programs are available to schools
and educators statewide, the majority of participants come from the Greater New
Haven area. During the 2013-14 season, 92% (22) of Educators’ Laboratory
teachers and 81% (2,123) of Student Theatre Series students came from the
twenty town/city area that The Community Foundation for Greater New Haven
Over its nine years, Educators’ Laboratory has served fifty-five teachers in thirty-one Connecticut schools. These educators teach English, Reading, History, Social Studies, English as a Second Language (ESL), Science, Career Development, Drama, and Music and have exponentially reached more than 10,000 students. In-school residencies, which may last a week, a month, or an entire academic year, have been held for all grade levels at multiple sites and have fulfilled the programmatic needs of individual schools.
Throughout the academic year, Long Wharf’s Education Department meets
with teachers of participating classes to ensure that the Theatre’s school-based
education programs meets their goals and enhances already existing curricula. Participating educators also complete surveys
that assess the effectiveness of the elements of each program. If
appropriate, students complete evaluations, which helps Long Wharf gauge the
experience from multiple perspectives. During her seven years as Director
of Education, Annie DiMartino has established meaningful relationships with
school administrators and educators, which affords a significant amount of
anecdotal feedback through in-person conversations and e-mail messages. Feedback
is considered as the curricula for future seasons of education programs are
During the 2012-13 season, Long Wharf’s number of in-school residencies
has quadrupled and the total number of students served has increased by 20%. Long
Wharf Theatre sustained this level of service to students during 2013-14
To engage the community in its artistic life, Long Wharf
elastically applies the themes of each production to conversations with its
audiences and the community, which allows for meaningful interactions with
Greater New Haven residents. Post-show discussions are hosted by Long Wharf
artistic staff after nearly every performance. The Theatre extends this
dialogue beyond the stage through strategic partnerships with local
institutions, such as the New Haven Free Public Library (NHFPL). Long Wharf’s
Elder Play Project engages the senior citizen community in the creation of
memoir-based drama. Finally, Long Wharf’s Theatre for Young Audience
productions engage residents of all ages.
The 2013-14 Elder Play Program is engaging eleven residents at Tower
One/Tower East; the dramatic retelling of their oral histories will be
presented there and at Long Wharf in September 2014. 2013-14 STAGE. PAGE.
ENGAGE. programming included Community Conversations about race (inspired by
August Wilson’s FENCES) and intergenerational relationships (inspired by Amy
Herzog’s 4000 MILES).
While artistic quality is paramount, Long Wharf recognizes that
serving the community through the arts means more than attracting an audience
to a show. As a result, Long Wharf continues to increase its investment in
strategic community programs that allow for the greatest mission-based impact
possible. A significant portion of Long Wharf’s audience is comprised of
lifelong learners—those whose lives are enriched by the continual pursuit of
education through culture. Through engaging post-show conversations about the
productions on stage, community-wide conversations through the Theatre’s
partnership with the New Haven Free Public Library, and the Elder Play Project
at Tower One/Tower East, Long Wharf creates meaningful arts-based interactions
that celebrate and demonstrate the relevance of the performing arts to our
Community program success is monitored by the number of individuals
participating in each program and their level of engagement in each
conversation or program. Long Wharf also monitors changes in the demographic
composition and the geographic footprint of its audiences as a measurement of
its effective reach in the community. For its collaboration with the New Haven
Free Public Library, Long Wharf will review the quantity of materials borrowed
from its micro-lending site, the use of borrowed tickets from the NHFPL’s five
branches, and the attendance levels at the community-wide conversations.
Because of their longevity and upstanding service to the
community, the collaboration between Long Wharf and NHFPL was established
through a highly competitive award from Co-Creating Effective and Inclusive
Organizations, a New Haven institution that seeks to effect change through
Long Wharf is one of the few regional theatres in the country with a lifelong learning program for senior citizens; the Elder Play Project has provided participants with greater social engagement and an engaging retelling of their oral histories. Because of its success, this Long Wharf program will be featured in a case study commissioned by Theatre Communications Group, the national organization for the American theatre, about best practices for audience engagement.
Joshua Borenstein is in his fourth season as Long Wharf
Theatre's Managing Director. In this capacity, Borenstein co-produces the
season with Artistic Director Gordon Edelstein by leading the theatre’s
administrative and financial operations.
During his tenure, Long Wharf led an Off-Broadway transfer of Satchmo at the Waldorf to New York; completed a $4 million, award-winning
renovation of the Claire Tow Stage at the C. Newton Schenck III Theatre; and
doubled the size of its education department.
Borenstein also worked at Long Wharf from 2003 to 2007 in various
general management capacities.
Prior to Long Wharf, Borenstein was a Project Manager with AMS Planning and Research, a consulting practice focused exclusively on arts and culture. Borenstein was also at the Huntington Theatre Company in Boston through Theatre Communication Group's "New Generations: Mentoring the Leaders of Tomorrow" program. In addition, Borenstein also served in various roles at Yale Repertory Theatre in New Haven and at Trinity Repertory Company in Providence, Rhode Island.
Borenstein has been a guest lecturer at Yale University, Southern Connecticut State University, and Boston University. He has served as a grant panelist for the ArtsMidwest /National Endowment for the Arts’ “Shakespeare in American Communities” program, the Greater Hartford Arts Council, and the Community Foundation for Greater New Haven. Borenstein currently serves on the boards of National Corporate Theatre Fund, Connecticut Arts Alliance, and New Haven’s Arts Industry Coalition. Borenstein was part of Connecticut Magazine’s “40 Under 40: Class of 2014.” A graduate of Wesleyan University and Yale School of Drama, Borenstein and his family reside in North Haven.
Gordon Edelstein is
in his twelfth season as Long Wharf Theatre’s Artistic Director. In addition to
his recent work on the world premiere of Athol Fugard’s Have You Seen
Us? and his own adaptation of A Doll’s House, Edelstein
directed Coming Home at Berkeley Rep and Long Wharf’s
production of The Glass Menagerie starring Judith Ivey at
the Roundabout Theatre. As a director, he has garnered three
Connecticut Critics Circle Awards and, during his Long Wharf tenure, the
Theatre has produced world premieres by Athol Fugard, Paula Vogel, Craig Lucas,
Julia Cho, Noah Haidle, Dael Orlandersmith, and Anna Deavere Smith. Over the
course of his career, Edelstein has also directed and/or produced premieres by
Philip Glass, Arthur Miller, Donald Margulies, James Lapine, Charles Mee, Mac
Wellman, and Martin McDonagh, among many others, and has directed an extremely
diverse body of work from Sophocles to Pinter, from Shakespeare to Beckett.
Under Edelstein’s artistic leadership, Long Wharf has received fourteen additional Connecticut Critics Circle Awards, including six best actor or actress awards in plays that he directed. He was also given the organization’s Tom Killen Award, awarded annually to an individual who has made an indelible impact on the Connecticut theatrical landscape. Edelstein has directed countless plays and workshops for Long Wharf including the world premieres of BFE (transfer to Playwrights Horizons), The Day the Bronx Died (transfer to New York and London), A Dance Lesson, and The Times, as well as We Won’t Pay! We Won’t Pay!, A New War, A Moon for the Misbegotten, Anna Christie, The Front Page, and Mourning Becomes Electra, starring Jane Alexander. Prior to assuming artistic leadership of Long Wharf Theatre, Edelstein helmed Seattle’s ACT Theatre for five years. He received a B.A. with honors in History and Religious Studies from Grinnell College in 1976 and was awarded an Honorary Doctorate of Fine Arts from Grinnell College in 2003.
Through its strategic education and community
programs, Long Wharf has a myriad of Greater New Haven partners who help the
Theatre achieve the greatest mission-based impact possible. This includes
Connecticut elementary, middle, and high schools who participate in the Student
Theatre Series, Educators’ Laboratory, in-school residencies, and the Theatre
for Young Audiences program; Long Wharf’s collaboration with the New Haven Free
Public Library; and New Haven’s Tower One/Tower East where the Elder Play
Project is currently in residence.
To maximize its fundraising potential, Long Wharf collaborates with the Community Foundation for Greater New Haven on planned giving and participates in CFGNH’s “GiveGreater” initiative. Long Wharf is a member of the National Corporate Theatre Fund, which collectively raises national corporate support for ten major nonprofit theatres across the country.
Indirect Public Support HelpIndirect public support represents revenue received through solicitation campaigns. This includes funding United Way and other federated fundraising organizations, but does not include donor designated contributions.
Earned Revenue HelpEarned revenue represents income generated in direct exchange for a product or service.Earned income includes income from government contracts.
Like most nonprofit
organizations in this country, Long Wharf was significantly affected by the
2008 economic downturn. With decreased individual and corporate support and an
underperforming summer presentation, Long Wharf ended its 2009 fiscal year with
a $1.2 million deficit. This significant shortfall made the Theatre rethink its
financial model. For example, Long Wharf budgets a significant contingency each
season (approximately 5% of total expenses), which is used to cover unforeseen costs.
If any contingency remains at the end of the year, the surplus is applied to
the organization’s accumulated deficit. Using this model, Long Wharf has
paid down 28.6% of its deficit. Once Long Wharf retires the deficit, it will
continue this financial model to establish a working capital reserve to support
artistic initiatives, keep the institution on solid financial footing, and help
manage cash flow.
This profile, including the financial summaries prepared and submitted by the organization based on its own independent and/or internal audit processes and regulatory submissions, has been read by the Foundation. Financial information is inputted by Foundation staff directly from the organization’s IRS Form 990, audited financial statements or other financial documents approved by the nonprofit’s board. The Foundation has not audited the organization’s financial statements or tax filings, and makes no representations or warranties thereon. The Community Foundation is continuing to receive information submitted by the organization and may periodically update the organization’s profile to reflect the most current financial and other information available. The organization has completed the fields required by The Community Foundation and updated their profile in the last year. To see if the organization has received a competitive grant from The Community Foundation in the last five years, please go to the General Information Tab of the profile.
Greater New Haven is home to a thriving arts community that includes theatre, music, dance and the visual arts. It is invested in its museums, historic preservation and the celebration of its members’ ethnic and cultural diversity.
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