First-Person: Jacoba Knaapen on surviving a crisis at TAPA

From Here to There: A short story of the rebuilding of an arts service organization

We recently found ourselves at a critical juncture in our history.

by Jacoba Knaapen

How we reflect on our past has an impact on how we move forward. I am often asked about the past decade at TAPA, and the revitalization that has taken place at the Alliance.  TAPA was originally formed in 1977, and officially incorporated in 1979 as an arts service organization. Today, we represent nearly 200 professional theatre, dance and opera companies in the City of Toronto.  We recently found ourselves at a critical juncture in the history of our organization.  

When I started as the new Executive Director...I did not anticipate the enormity of the task that I would face.

When I started as the new Executive Director at the TTA (as the organization was then known – Toronto Theatre Alliance) eight years ago, I did not anticipate the enormity of the task that I would face. I took over the position in December 2003; the financial, administrative, organizational and identity challenges that the TTA faced presented me with a monumental challenge. Revenue sources for the TTA had come from three areas: grants, membership dues and the T.O. TIX Booth. At that time, there were no corporate sponsorships in place, and foundation funding was limited to the Dora Awards. The TTA had relied on T.O. TIX revenue for many years, and continued to believe that it was a source of sustained revenue, even as sales were declining. 

I discovered on my second day of work that the TTA deficit was being financed by money borrowed...

In my first week as the new Executive Director, I had difficulty deciphering the financial status of the TTA, or its financial history. The Board Executive was focused on the imminent cash flow crisis. I discovered on my second day of work that the TTA deficit was being financed by money borrowed from the Commercial Theatre Development Fund (CTDF). The CTDF was set up by the Ministry of Culture and administered by the TTA as a means to fund commercial theatre projects, and the TTA received an annual fee for its administration. The TTA had been borrowing from the fund without the knowledge of the Ministry or the Board for nearly two years, and such borrowing was contrary to the terms of the agreement between the Ministry and the TTA. I immediately reported this information to the TTA Board Executive. I also reported the situation to the Ministry, as well as to all of the TTA funders. Taking action, the Ministry reclaimed the remaining CTDF funds, and assigned a provincial auditor who came to the TTA for a forensic audit of the use of the funds. It was determined and confirmed that the TTA owed the CTDF $61,000. There was a serious cash flow problem, and on Tuesday January 20, 2004 the TTA Board voted to cease operations and terminate the staff. We were all issued notices of termination that would be effective February 13, 2004. These were grim days indeed!  

In talking to the members, I also recognized that the TTA was suffering from a lack of confidence within the membership.

I strongly believed that the TTA should not shut down. I consulted with a number of leading members in the performing arts community that included Sandy Tulloch, John Goddard, David Baile, Tim Jones and Jini Stolk (who was also a previous Executive Director of the Toronto Theatre Alliance). At this time, I was also working closely with Jenny Ginder who was a consultant to the TTA through the Flying Squad Program at the Canada Council. The original application for Flying Squad assistance was to work together with the new Executive Director to establish a critical path for the TTA, including an organizational review covering governance, mission, programs and financial sustainability. It was apparent that the immediacy of the TTA’s financial situation did not allow the full time necessary for such a thorough strategic and operational planning exercise. In talking to the members, I also recognized that the TTA was suffering from a lack of confidence within the membership. I asked Jenny instead to research other arts service organizations that were closest to the TTA with regards to the range of their services and the demographic of their membership. She supplied me with reports from Boston, Chicago, San Francisco and San Diego. Jenny’s expertise and guidance proved to be invaluable to me in terms of negotiating my way through this particular period of financial crisis at the TTA. 

The TTA had a dilemma. We were running out of cash. The future of T.O. TIX was a subject of extensive debate. Most of the Board believed that it could be a viable operation, but were concerned that it was crippling the organization with its ongoing monthly deficits. The projections for the Booth through the spring were for it to continue to lose money. Given the accumulated deficit, the cash flow projections and the need for the Executive Director to focus on redefining and rebuilding the TTA, the Board recommended that T.O. TIX suspend operations. I aggressively advocated to NOT close the Booth, and this decision was turned around by the Board in a narrow margin vote. I believed then, as I do now, that T.O. TIX is a vital part of TAPA, and is our single strongest marketing tool in terms of its potential to help TAPA membership to attract and build new audiences. 

A TTA ACTION PLAN was put into place: 

A notice that was sent out to all members strongly urging them to place tickets at the T.O. TIX BOOTH (if they had a show running). Members were also asked to send letters of support to all funders and to city councilors. 

An “All Funders” meeting was held in January 2004. The situation was revealed to them, and they made it clear that they needed to know that the TTA Membership was in agreement with the closure of the TTA. I passionately did not want the TTA to close its doors, and from the many TTA members with whom I had been in contact, I knew that the majority of the membership agreed on this point.

A T.O. TIX Awareness Campaign was implemented, and I succeeded in gaining sponsorship support for print advertising to promote T.O. TIX; a MEDIA CAMPAIGN was launched with the Globe and Mail (weekly listings), EYE Magazine, NOW Weekly, and Metro News. All of these papers provided complimentary ad space. The artwork for the ads was also created free of charge and generously donated by Artshouse Communications. Furthermore, Artshouse agreed to print 5000 complimentary flyers and 2000 posters for T.O. TIX. The T.O. TIX Awareness Campaign was further supported with complimentary distribution by Grassroots (poster) and CTM Brochures (flyer). In addition, the Toronto Arts Council mailed out T.O. TIX posters to their client base at no charge to the TTA.  

On Tuesday January 20, 2004 the news story of the TTA’s financial crisis broke, and was published in the Toronto Star. Other editorial articles followed in the National Post, The Toronto Sun, EYE Weekly and NOW Magazine as well on CBC Radio on “The Arts Report”. I was anxious (and eager) to spin a positive story that would evoke support rather than criticism from the membership.  The Board Buddy system was reinstated. I partnered TTA Board members with member companies and, as a result, all TTA members were contacted by Board members to apprise them of the situation, and to once again encourage their participation and support.  Permission was given by the Ministry of Culture to disclose the CTDF activity, and a Special Meeting of the Membership was held at the St.Lawrence Centre for the Arts on February 9, 2004. Members asked a few difficult questions at the meeting, but primarily focused on how, as a community, they could save the TTA. When a straw vote was called by one of the members, the majority indicated a willingness to renew their membership immediately. The TTA Board announced that they would be resigning at the AGM in early March. In the interim, I assembled an Advisory Committee to provide me with assistance to select a new Board slate. The Advisory Committee was: Tim Jones, Jini Stolk, Sandy Tulloch, John Goddard and Camilla Holland. 

They also provided critical assistance with the casting of a new Board of Directors, which helped me to move the organization out of crisis and into transition.

There was a 100% staff turnover, with the exception of the Manager and (singular) Box office staff person at the T.O. TIX Booth. A new financial administrator was hired to work just one day a week as of February 13, 2004. That left me with essentially no staff, but a strong Advisory Committee who was committed to assisting me, helping with administrative duties such as processing membership cheques and updating database information. They also provided critical assistance with the casting of a new Board of Directors, which helped me to move the organization out of crisis and into transition. 

It had become very clear to me throughout the crisis that most of the membership and the community did not want to see the doors of the TTA close. “Closing down” seemed reactionary, and sounded alarmingly permanent. It was impossible for me to ignore the passionate voices in over 100 letters written in support of the growth and development of the “New TTA”. Every city is unique, and every service organization has its own mandate to serve its members. At this point in our history, there are lessons to be learned from the successes and failures of past actions. On March 8, 2004 the TTA’s AGM was held at CanStage, and the membership voted in the new Board of Directors led by Jane Marsland. In consultation with Jane, each proposed Board member had been asked to focus on a particular area of need, and to accomplish a specific task during that interim period. Their joint task was to put together an expanded Board for approval by the members at the October 2004 AGM.  The “TTA Action Plan” was created – essentially a crisis plan that helped the TTA not only to keep our doors open, but also to move the organization forward.

Changing the name from the Toronto Theatre Alliance to the Toronto Alliance for the Performing Arts (TAPA) was a simple action that sent out a clear message to funders, members, constituents and partners that a change was taking place at the organization.

From that point forward I began moving decisively from crisis to opportunity. With the assistance of a new Board who shared my passion and commitment to the renewal of the TTA, I started to re-vision, re-build and re-new. One of the first things I did was change the name of the organization. Changing the name from the Toronto Theatre Alliance to the Toronto Alliance for the Performing Arts (TAPA) was a simple action that sent out a clear message to funders, members, constituents and partners that a change was taking place at the organization. Moreover, the new name more accurately reflected the scope of membership, which is not limited to theatre, but also includes dance and opera. 

The T.O. TIX dilemma was initially addressed by bringing the Booth into the 21st century and introducing online ticket sales. This was a significant step forward, and marked a distinct change in the way that T.O. TIX was able to reach the public, increasing the value for producers who used the Booth to sell their shows. This involved a steep learning curve for us and the T.O. TIX Booth Manager (at that time Michael Wiley) and I underwent an intense and complete investigation into ticket software systems analysis to determine what would be easiest and affordable for TAPA, the TAPA membership and the buying public. This was indeed a major step forward in the evolution of T.O. TIX; Toronto was one of the first ticketing booths in North America to offer online ticket sales. 

The job of rebuilding TAPA was beyond the ability of a single person and I relied on the assistance of a remarkable Board of Directors and inspiring staff team.

TAPA has changed considerably since then, and under my leadership has re-emerged as a vital arts service organization. I never backed away from advice during this period and was never afraid of asking for help. The job of rebuilding TAPA was beyond the ability of a single person and I relied on the assistance of a remarkable Board of Directors and inspiring staff team. The current stability and strength provided us with the timely opportunity to develop a new Strategic Plan that was launched a couple of years ago, and helped to set a roadmap for the Alliance for the next three years. TAPA has successfully created new programs and initiatives; secured new funding from government, private and corporate sectors (where it did not exist before); and restored support from the membership. TAPA still exists because it has the power to speak with one voice on behalf of many, and we aim to provide a wide range of programs and services that meet the needs of our diverse membership. 

Successful people and successful organizations are constantly gathering information, challenging assumptions and making better decisions.  At TAPA the Board and staff work  collectively and together we educate, analyze, advocate, rally, convene, promote, trouble-shoot, mediate, strategize and champion on behalf of 178 (at end of last fiscal year) theatre, dance and opera organizations in Toronto, including thousands of artists, cultural workers, volunteers and audience members every year. TAPA values flexibility and fluidity as core organizational strengths. Working closely with our highly involved Board of Directors, as well as with an active membership is critical to our success. TAPA’s many committees are either chaired by a TAPA Board member, or have a TAPA Board representative who sits on the committee. The casting of the committees has also included deliberate outreach to the community; this has been critical in providing individual TAPA members the opportunity to voice their perspectives, and bring their expertise to the various discussions and issues at hand.  TAPA believes that a city and the lives of its citizens are enriched by public participation in culture. We remain committed to this, and we work closely with our Board, our members, and our committees to be responsive to the ever-changing needs of our industry. It is no secret that this work is exhausting, but I am buoyed by what we have achieved, as well as the new programs we have established. The current climate and financial challenges our industry faces are daunting. More than ever before, we need the solidarity of working cohesively together toward a common vision that enables artistic growth, exploration and diversity. I look forward to the next decade of working together with a new generation, hearing their fresh ideas, and finding positive solutions that will INSPIRE cultural growth and participation.

Jacoba Knaapen in Executive Director of the Toronto Alliance for The Performing Arts

You can hear her discussing the TAPA operation in episode 4 of This Is The CPC, also available on iTunes.