This profile of Anne Bogart’s ensemble of teacher-performers follows the group as its members strategize a transition from traveling troupe to New York resident company. As a touring ensemble company that had neither a theater facility nor a fixed performance season, SITI established organic relationships with numerous presenting/producing theaters across the country. This model was often described as a successful example in the field. SITI had created and performed almost 30 productions and conducted its widely recognized trainings (Suzuki Method of Actor Training and Bogart’s Viewpoints) in 78 cities in 30 States and in 19 countries on 5 continents. With a modest annual budget of $1M, SITI had managed its financial resources without deficit thus far. But success as a touring company meant SITI was vulnerable to the demands of presenting/producing theater organizations. Lack of control over programming, unpredictable annual tour schedules, and each member’s balancing of other commitments had increased Company members’ frustrations and concerns. As the Company matured and ensemble members got older, they reached the realization that they would not be able to take SITI to the next level under the current circumstances. They felt an urgency to find a way to secure autonomy in planning SITI’s progression.
This case provides background for discussions of organizational growth, strategy, and change management.Publication Date: 2012-02-09
Suggested Citation: Jaeeun Joo, "SITI Company (2010)," Yale Theater Management Knowledge Base Case 10-33, February 9, 2012
Keywords: Theater, Performing Arts, New York City, Growth Trajectories, Organizational Direction, Mission, Organizational Culture, Organizational Design, Strategy
Teaching Notes: Yes (please contact email@example.com)
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