Executive Summary

Atlantic Southeast Ballet, Inc. (ASB) was incorporated in 2001 as a non-profit organization 501 (c) 3 and is located in Charleston, South Carolina.

The founders of ASB realize the importance of the leadership of its board members and their commitment, knowledge, advice and guidance pertaining to the success and artistic vision of the organization will be valued and recognized.

Employees will be treated and compensated fairly and competitively, with benefits including health insurance and pointe shoes for all company members and apprentices.

Innovative Concepts

ASB combines internationally renowned talent and innovative business concepts to create a financially viable company that will further the culture of the greater Charleston area, the southeastern United States and internationally.

The company was formed primarily to create a performing arts organization that can sustain itself while maintaining its non-profit status. Within three to five years of operation the company plans to achieve this goal and be profitable every year thereafter.

The company strives to implement a practice that merges for-profit ventures with non- profit concepts. ASB will be creating a separate entity that is charged to research and realize profitable, innovative marketing ideas and investments, donating the majority of its profits to the non-profit organization ASB.

Financially Sound

By managing the company as a for-profit business, ASB intends to create a healthy relationship between the expenses of producing performances and its earned income. Unlike most other organizations in the field of ballet, the company strives to produce an income that exceeds the expenses of its productions.

Instead of building a castle on stage, the artistic staff can inexpensively create the illusion of it and achieve the same effect for the audience. Rather than spending a hundreds of thousands of dollars on “The Nutcracker”, the company plans to earn that much in ticket sales and create the magic through the art of its employees, not through elaborate production.

Repertory and the Market

ASB will produce classical ballet performances accompanied by live music, showcasing exciting works of the 19th and 20th centuries as well as new ballets in the classical idiom. The company will perform in the greater Charleston area, throughout the Southeastern United States and abroad. 

More often than not, the repertory of a ballet company is dictated by the agenda of its artistic leadership. Such practice usually results in the neglect of the market demand and consequently, in insufficient ticket sales. ASB is committed to creating a European rolling repertoire that will be highly desirable and sought after by audiences.

Stage One Verses Rolling Repertory

The current practice for most ballet companies in the United States is to produce one program to be performed on one weekend and then not be seen again for five years. Chances of financial efficiency in this model (Stage one) are evidently not very high because a limited amount of performances will only generate a limited amount of earned income. ASB plans to create multiple programs, performed throughout the year in different locations and on a weekly basis, known as Rolling Repertory. By limiting seating capacity per performance and each program to only one showing per month in any given location, the life span of each production can be greatly prolonged and generate considerably higher ticket revenue while not incurring additional costs.

It is a proven fact that traditional classical story ballets are the most popular among the audiences worldwide. ASB will tailor its repertory to accommodate its customers’ preferences. The company will consistently seek and woo its audiences and supporters. ASB intends to offer its programs throughout the southeastern region of the United States, progressively searching, satisfying and expanding its market.

A Reason to Give, to Buy, to Enjoy

Contrary to current practices in the field, ASB strives to be worthy of the contributors’ support by diversifying its programs. The company plans to become an institution that reaches far beyond the production of performances. The activities of the organization are aimed to make a difference in the quality of life of the community. Private contributors need to be acknowledged and informed about the use of their support; they need to be proud of the positive impact their gifts are making. Before soliciting funds, ASB is prepared to answer all investors’ inquiries and prove to the potential donors that the company is worth the investment.

The emphasis of ASB is to create a reason for the customer to buy its product.

The company plans to produce programs that feature classical ballet dancers in combination and interaction with every day products such as automobiles, clothes, or jewelry, leading to partnerships with ASB for promotional purposes that would benefit all parties involved.

A Ballet Company in the 21^st Century

A ballet company in the 21^st century needs to be more than just 90 minutes of entertainment four times a year.

ASB’s outreach programs strive not only to reach underprivileged children but also plans to provide financial help for parents when needed.   Senior citizens and other underserved populations will be addressed. Once the company has become financially stable, between four to six percent of each ticket sold is planned to be dedicated to humanitarian causes.  Ticket prices are calculated to be affordable, allowing the largest number of people possible to be able to attend performances. 

Profit making ballet companies are not considered feasible in the United States. Unlike the majority of other arts organizations, ASB recognizes the need to change current business practices in today’s changing markets to attain financial stability and independence.   American artistic leaders have become complacent; counting on the support of their contributors rather than on earned income, a practice that is vulnerable to the stability of global economy and world peace.

Facing Reality

Recent events domestically and internationally have proven that the giving power of contributing individuals, corporations and foundations is highly dependent on the world’s health and stability and should not be taken for granted. The post 9/11 struggle of arts organizations, despite increasing audience numbers, indicates that it is high time to review the past, to take a step back to when no Ford Foundation grants or grants from major individuals and corporations were fertilizing the landscape of American ballet.  And yet, great art was produced. 

At the beginning of the 20^th century, Serge Diaghilev assembled the most talented artists in Les Ballets Russes, while occupying the positions of artistic director and executive director at the same time, and achieved unparalleled success throughout the world. Les Ballets Russes not only revolutionized and revitalized the art form of ballet in the western world, but also survived the Russian Revolution, World War One, and World War Two. Carrying on after Diaghilev’s death Les Ballets Russes still managed to provide for its employees and be the most sought after ballet company of its time.

At the beginning of the 21^st century, ASB strives to recreate and adapt the forgotten business model of the Les Ballet Russes to enable a company able to survive in the challenging times of the present and the future.

We Are What We Leave Behind

The school of ASB is planned to open after the company is established.  Extensive scholarship programs to train professional young artists in a safe and healthy environment will be offered.  Highly skilled professionals will instruct children and young adults. While income from tuition is vital to the health of the school, education is the primary reason for the creation of the school of ASB.  The non-professional programs for aspiring dancers will be carefully constructed to assure a healthy and loyal following of paying customers.

The founders of ASB are internationally renowned former ballet dancers who formed ASB at the request of prominent citizens in Charleston, who saw the need for a truly classical ballet company of international standards to enhance the culture of the area.