In front of the first in-person annual general meeting audience since March 2020 on Friday afternoon, Shaw Festival treasurer Greg Prince announced that the theatre company posted a record operating revenue of $35.7 million for 2022.
But for reasons largely out of Shaw’s control, that record-setting revenue translated into a meager operating surplus of only $7,000.
“Let us not forget,” reminded board chair Ian Joseph, “that we began the year still under restrictions, and the seating capacity started under maximum 50 percent restrictions, and remained that way until March. It’s not surprising that by summer we continued to face challenges.”
Ticket sales and earned revenue totalled $13.54 million last year while Shaw had its best fundraising year ever, with $11.8 million in philanthropic donations, up $4 million over 2021. In addition, federal and provincial government support to the tune of $10.3 million helped the organization set its new revenue record.
But Joseph pointed to border crossing issues under the Arrivecan app, and hesitancy of many to return to attending live events under the threat of the Omicron variant of the COVID-19 virus, as further reasons for the challenges he mentioned. In addition, the unpredictability of 2022 resulted in dramatic increases in sick time and related staff coverage, causing a strain on revenues.
“Given the amount of agility that had to be demonstrated this year,” Prince said about the small surplus, “it is truly remarkable that management was able to deliver this result. Compared to last year, when there was a surplus of about $990,000, you can already see the challenges that we’re experiencing on an operating basis this year.”
Prince added that on an accounting basis, factoring in depreciation and amortization on assets, the Shaw actually posted a deficiency of $1.1 million, reducing the total accumulated surplus to $258,000.
There was, however, much to celebrate when looking back on Shaw’s milestone 60th year. Only 28 of 811 scheduled performances were cancelled last year, a marked improvement when compared to more than 300 lost the previous year. Total attendance figures of 171,000 more than tripled 2021’s number, though it was only about 65 percent of pre-pandemic 2019 levels. As well, the festival brought education and outreach events, both live and digital, to almost 61,000 people, the most ever, while ticket sales for Shaw’s holiday shows last year far surpassed those for 2021’s performances.
Joseph and Prince both pointed to executive director and CEO Tim Jennings and artistic director Tim Carroll for their leadership in ensuring that their record of returning a surplus every year since their partnership began was not broken.
Carroll stepped to the podium and spoke about a return to “normal” for 2023.
“It’s a sort of mystic place,” he said. “We think we were there once, and we all sort of thought the past couple of years that one day we would get back there. But it turns out it’s not there any more, there might not be any such place any more.”
Carroll went on to point out that some of the initiatives begun during the pandemic, such as outdoor concerts on the BMO Stage, the Humeniuk Foundation Stage and the explosions of music, dance and poetry that were presented in the gardens, are all here to stay.
“It’s a funny thing,” Carroll added, “how emergency stop-gap measures quite quickly have become indispensable parts of our normal. It’s a new normal now, and perhaps that’s a good thing.”
Carroll gave credit to Shaw’s front-of-house staff, who were called upon often at the last minute to call ticket holders about changes to the performance schedule. He also lauded the actors for their heroic efforts, filling in as understudies when a colleague got sick and learning lines that some never had a chance to deliver for an audience.
One of those actors entertainingly interrupted Carroll’s speech. While he was attesting to the validity of the claim that every actor in 2022’s Everybody knew the lines for every role, cast member Travis Seetoo arrived from the wings, reciting lines from multiple characters from that play, to the delight of those in attendance.
Carroll added that Seetoo’s short monologue, as well as a later performance of Little Lamb from this year’s Gypsy by music director Paul Sportelli and actor Julie Lumsden at the AGM, also marked part of Shaw’s new normal.
Last to speak was Jennings, who admitted that he once again derived great satisfaction from Shaw’s ability to maintain employment and contracts for all 600 staff members and artists throughout the pandemic.
He also gave credit to the leadership of Carroll and associate artistic director Kimberley Rampersad throughout the 2022 season.
“TC (Carroll) and Kimberley led our artists and created our largest and longest season of live theatre, and the work was truly remarkable,” said Jennings. “I witnessed first-hand how hard they both worked, and I’d like to thank the whole Shaw management team, staff, artists, Guild members and all four of our amazing boards for their work and continued faith in us.”
Also announced at the AGM Friday was the addition of two new members to Shaw’s boards. Lord Mayor Gary Zelepa was officially appointed to serve on the Board of Governors as an ex-officio member. And NOTL resident Mary Mizen, an active member of the Shaw Guild since 2014 and its current president, will sit on both the Shaw Festival’s Board of Directors and Board of Governors as an ex-officio member.