Metropolitan Ensemble Theatre
3614 Main Street
Kansas City MO 64111
Web and Phone Contact
Telephone (816) 5693226
Mission Statement
Metropolitan Ensemble Theatre, a 501c-3 not for profit professional theatre, exists to unleash the power of live theatre to extend access to the theatrical canon, inspire creativity and empower individuals, and build community through the transformational power of the arts.
 
We have four core values: Access, Artistry, Innovation and Excellence. We have three programming strands: We produce major theatre masterworks and contemporary classics in our Flagship Masterworks Series. We provide outstanding theatre programming to our community and schools through the Lighthouse component of our work. We develop new plays to grow the next generation of theatre artists and leaders through our Magellan Project.
 
At its heart, MET is committed to the art of story: yours, mine, and ours. We claim the masterworks as our cultural heritage and believe that sharing the stories of who we are creates a better and more understanding world. As the lights of the stage go up, the walls between people fall down. Through our diverse programs, we encourage a culture of inclusion and work to bring the power of theatre and its benefits to all people.
Leadership
CEO/Executive Director Ms. Karen Paisley
Board Chair Mr. Alan Tilson
Board Chair Company Affiliation Independent Actor
History and Background
Year of Incorporation 2005
Financial Summary
Revenue Expense Area Graph

Comparing revenue to expenses shows how the organizations finances fluctuate over time.

Source: IRS Form 990

 Breakdown
Net Gain/Loss:    in 
Note: When component data are not available, the graph displays the total Revenue and/or Expense values.
Statements
Mission Statement
Metropolitan Ensemble Theatre, a 501c-3 not for profit professional theatre, exists to unleash the power of live theatre to extend access to the theatrical canon, inspire creativity and empower individuals, and build community through the transformational power of the arts.
 
We have four core values: Access, Artistry, Innovation and Excellence. We have three programming strands: We produce major theatre masterworks and contemporary classics in our Flagship Masterworks Series. We provide outstanding theatre programming to our community and schools through the Lighthouse component of our work. We develop new plays to grow the next generation of theatre artists and leaders through our Magellan Project.
 
At its heart, MET is committed to the art of story: yours, mine, and ours. We claim the masterworks as our cultural heritage and believe that sharing the stories of who we are creates a better and more understanding world. As the lights of the stage go up, the walls between people fall down. Through our diverse programs, we encourage a culture of inclusion and work to bring the power of theatre and its benefits to all people.
Background Statement

 Since its inception in March 2005, MET has served over 30,000 people in the community. The only professional theatre in Kansas City committed to presenting a full season of major masterworks, contemporary classics, in an accessible and dynamic venue, MET remains committed to our founding values of creating access to great plays to all members of our community. Recent seasons have included such extraordinary works as: Rag Time, The Kentucky Cycle, Jitney, Pride and Prejudice, The Skin of Our Teeth, Cat on a Hot Tin Roof, Vincent in Brixton, Lost in Yonkers, and Parade. MET audiences revel in the extraordinary physical proximity they enjoy in MET's unique immersion style of performance. MET's outreach to the community has been consistent and strong. We continue to seek new ways to reach underserved members of our community and share the joys of live theatre.

We have developed a company culture that embodies artistry, generosity, integrity and joy, is highly creative and entrepreneurial. Our artists steward gifts wisely and work constantly to improve service and quality of artistry on stage, and well as in our community programs.  Knowing our core values and sticking to them has made us strong. We believe in the inherent value of the arts to all people and that the arts help us understand one another. We believe that our cultural heritage matters, that creating new stories counts, and that we must encourage the growth of new artists and leaders to guarantee artistic vitality.

Our integrated programming relationship reflects our approach to the art form, to one another and to our community. We began at the Arts Incubator in 2005, but out grew it, we then moved to a bus garage, and once again out grew it.  From there we migrated to our present home at 3614 Main Street. This space has been a wonderful space that allowed us to grow, however the building began to deteriorate in 2014, prompting us to look for a new, permanent home. Our search culminated with the purchase of the iconic Warwick Theatre in 2015.  A capital campaign in underway to raise funds in order to renovate this 1912 structure into a state of the art performance venue.

Impact Statement
MET has taken root as an exciting creative environment for high quality theatre featuring outstanding local artists. Our 2016-17 season included local notables Robert Gibby Brand, Amy Attaway, Bob Paisley, John Cleary, Nicole Green, Sherri Mosley, Jeanne Averill, Logan Black, Victoria Barbee, John Story, Jake Walker, Leslie Spindler, Terry Adams, Kyle Dyck, Shawna Pena-Downing and Granvile O'Neal. MET is helping grow the next generation of artists and last season we offered over 100 roles onstage and provided technical positions to many emerging “under 30” artists. We continue to upgrade our building— turning the Lobby into a second performance space, adding a small prep kitchen for our volunteers and working to improve our shop. We improved production value by upgrading stage lighting and sound equipment. Season Renewals are over 80% this season, and several new season ticket holders have joined us. This year we offered 4 Kansas City Premieres in a 7-show season, including Picasso at the Lapine Agile, Deathtrap, Photograph 51, August Wilson’s Gem of the Ocean, Tennessee Playboy (an adaptation of the Irish masterwork Playboy of the Western World) and Dolly Parton’s musical 9 to 5. We also produced a radio play version of It’s a Wonderful Life in December of 2016. Student matinees were offered at a discount to make these works available to high school audiences in our community.
Our Donor Base is growing. Both foundations and individual donors are helping MET succeed. This past season we received several new grants & grew our donor family. MET continues to offer education and community programming – student matinees and free readings in partnership with the KC Public Library and Prep-KC. These programs have weathered the recession successfully and now are growing. We have remained committed to bringing the best productions of the best plays to our patrons.
Needs Statement
As MET gains market share in Kansas City we need to grow our annual budget. To do so, we will need to increase staff size, grow reserves and increase earned revenue while keeping our community atmosphere through intimate performances and educational initiatives. Thus, our five most pressing needs include:
  • Funding for our three main programs and operations. We are in a growth stage and need to cover the basics to better serve our constituents in the metropolitan area.
  • MET seeks to hire a General Manager to help streamline the business side of productions.
  • Upgrading from our current space, moving into The Warwick Theatre at 3927 Main Street.
  • Continuing to strengthen and diversify our board and implement our strategic plan to carry us through the next three years.
  • Growing our community and education programs in the inner city, and increasing our service to communities on both sides of the state line. Support is needed to help underwrite our Student Matinee Program. Many schools have cut theatre education from their budgets and cannot afford to bring MET at cost. Ticket sales only cover 50% of artistic costs. Donations are critical to helping employ gifted artistic professionals, making Kansas City and exciting place to live, work, and play.
Service Categories
Theater
Areas of Service
International
National
MO - Jackson County
MO - Clay County
MO - Platte County
KS - Wyandotte County
KS - Johnson County
MO - Eastern Jackson Co
MO - Jackson County Urban Core
KS - Wyandotte County Urban Core
CEO/Executive Director/Board Chair Statement Successes: MET continues to refine its vision and mission through analysis and strategic planning. We have demonstrated strong artistic caliber garnering excellent reviews, and continue to offer outstanding education and community work. The Kansas City Star regularly rates MET performances among the top citywide. KC Stage magazine rated the MET performance, Frankie and Johnnie at the Claire De Lune as the top performances of the year in Kansas City in 2008. In 2015, The Pitch Critic's Awarded three Best of KC citations. These achievements grow our artistic reputation, serve our city, and garner the respect of businesses and civic groups. Met is committed to employing local actors and theatre artist in great plays. We offer exciting ideas like The Galileo Project - Placing Science Center Stage and the Library Reading Series. Our vision goes farther than the edge of the stage; it reaches into the community and our schools. MET is working to offer focused artistry, and is committed to making Kansas City an outstanding arts community. From a dedicated few, our Board has expanded to include business, civic, professional, and artistic leaders reflecting geographic diversity. We recognize our need to bring additional ethnic diversity to the board and core company and we seek to do so. Our volunteer base is growing, offering time, talent, in-kind support and willing hands to help. They are key members of the Ensemble. Our donor family continues to grow and today there are nearly 300. Our educational work is top notch; our community partnerships are strong. Our program with the KC Library has served over 13,000 people since its inception. Our success in new play development has resulted in recognition from national theatre leaders and brought us recognition locally, regionally and nationally as leaders in the arts. At present, we have one full time employee. We need a second staff member to direct our business plan. Although we have significantly enhanced our financial base, we remain under funded; we must continue to grow our fundraising and revenue streams. As we continue to grow, moving to our new home at The Warwick, we must make sure our foundation is strong and solid.
Programs
Description There is no dead theatre. It is the nature of theatre to be eternally alive. In presenting great masterworks and Contemporary Classics, MET creates terrific performances and experiences that entertain, move, inspire questions and delight. Our intimate and highly present experiential style encourages audiences to relate to each play, enjoy them, discover, and rediscover them. Audience members often say that in attending a MET play, they feel that the "fourth wall" has been removed completely, and that they are part of the play. As though the "wall" moved behind them and they are in the play too. This experience creates great excitement and encourages them to relax and have fun, and to reach out to one another and talk about the play, the story and get to know one another. When the lights of the stage go up, the walls between people fall down. and the messages that they have for us in this and all times.
Program Budget $120,000.00
Category Arts, Culture & Humanities, General/Other Theater
Population Served US, ,
Short-Term Success One of the best ways to judge short term results in this program is to note audience growth and audience retention. Audience members who return do so because they had a positive experience on their first visit. Our audience base is very loyal; they both return themselves, and also bring new guests with them regularly. It may seem simple but one of the marks of success that we look for is the number of intermission and post show conversations that we observe. It is exciting to watch audience members discover the great play, and in the process, discover each other too.
Long-Term Success The loss of our cultural heritage is a grave danger to each of us and to the fabric of our community. By sharing great stories with one another, we create a common sense of who we are and are able to deepen our understanding of one another. These aren't the only stories that matter, but give us a place of common reference. One of the most exciting observable outcomes from our work in providing access to the Theatre Masterworks is the growing audience base we have witnessed. We are seeing the audience grow, and seeing significant change in audience age, economic and ethnic diversity. Audience retention is increasing too. Three yeas ago, we were a tiny organization starting from the ground up. Now our mailing list includes over 1500 regular patrons. It's enormously exciting to see and share. As the audience continues to grow, we believe that our community will be strengthened by their individual experiences and through the common experiences of theatre.
Program Success Monitored By Because we sell tickets, many of which are reserved, we are able to track the attendance of audience members. Also, because we're a young and growing organization, we are able to identify newcomers very quickly. This agility allows us to note growth patterns, and stasis too. We note audience conversations and speak with audience members nightly. In short, we do a great deal of listening and communicating. We believe that all the participants in the company, including all audience members and supporters, are members of the Ensemble. This value creates a mode of communication that is vibrant and responsive. It is highly active. When one of our patrons is quiet too long, we notice, and we seek them out. This approach has grown our audience, donor and volunteer bases. We actively nurture our relationships to keep them strong.
Examples of Program Success This year, the audience base has grown consistently in all performances. We have had several sell outs this year for each mainstage show. Audiences for the Library Projects are also packed. The support of our audience base is also an important detail to observe. When the company presented its first play over 15 months ago, there were approx 23 individuals who had contributed $30 or more in support of its work. In the past 15 months, that figure has increased to 143 individuals. Their support has been critical to our growth and success The participation of volunteers is also a key feature by which to measure growth. We are blessed by extraordinary volunteers this past year. Their commitment to our organization is outstanding. They regularly give significant time and talents to serve MET. This Spring a new FRIENDS OF MET group has formed. We are most excited about this. Their talents, energy, support and enthusiasm bears well for the future.
Description The MET Lighthouse Initiative serves K-12 students and learners of all ages across the KC Metro. In classroom settings, projects fuse theatre & core curriculum to develop critical thinking, artistry, literacy, creativity, self respect and diversity. Developed by MET's artistic director with participating classroom teacher(s) to identify goals and objectives and customized for each site, curriculum ties and pre- and post assessment are part of each. This level of service/partnership results in outstanding returns for students. MET Community Programming provides theatre engagement opportunities through partnerships with community organizations serving diverse audiences. We work to assist them in integrating the art of theatre to meet their missions and to offer professional theatre experiences to the community for free or at very low cost. Goals and outcomes of these customized projects are created with the partner. Partners include KCMO Schools, KCK Schools, Notre Dame de Sion, KCMO & KCK Public Library, YWCA, Longview College and the Brown Foundation of Topeka Kansas.
Program Budget $65,000.00
Category Arts, Culture & Humanities Theater Arts Instruction
Population Served Children and Youth (infants - 19 years.), Adults,
Short-Term Success Short-term successes are readily observable in the Lighthouse program. In schools, we see students begin to attend classes more regularly. Quiet kids begin to speak up. Students speak up more clearly and more often. Students with learning challenges find motivation to continue to try, despite the challenges because the pay off is coming and the team needs them. Work in theatre nets dramatic classroom results. We see an "I can do that" effect that pays dividends across the curriculum. We encourage students to read and express themselves, to love learning and creating, to become more literate and empowered in their own learning works. Continued positive audience response is an exciting way that we see short term success in the community. Bigger,even more enthusiastic audiences testify to success. Growing attendance and verbal participation in pre/post show talk backs reveal increased engagement. Great stories inspire literacy & learning. People come because great stories are great fun.
Long-Term Success Long-term success of the Lighthouse Education Initiative translates into broader creative and audience participation in theatre, literacy and creative endeavors across the community. It is our goal to extend broad based access to the theatre canon through this program, to encourage the lively exchange of creative ideas and deepened critical thinking, and serves to empower the individual to think for themselves and build community by fostering an environment that models and encourages a culture of inclusion, respect for others and self within the school and community setting. We believe that by sharing the great stories of our culture we will know one another better, and by helping each person understand the creative spark and "great story" that is their own to write, we can encourage a more positive community for all.
Program Success Monitored By We have found that measured outcomes frequently work most effectively in school settings allowing repeated participant contact. Working with partner teachers, we develop working lesson plans which include a pre-assessment component tied to measurable objectives; i.e., subject comprehension (for instance--the plot and symbolism of Romeo and Juliet). Students engage in customized theatre activity designed to meet the teacher's curriculum and our artistic goals, and produce artistic work which serves as evidence of their achievement. Students participate in a post-assessment created to determine growth in comprehension and submit short journal entries. This data, testimonial and noted verbal participation, is compared to the first measures and a percentage of increase is determined. We have also found that tracking attendance data--particularly in the at risk student community--is a helpful assessment method for determining student engagement. For more information, see KCMO report.
Examples of Program Success Audiences attending Community Programming have grown steadily. This year nearly 2800 have attended and all performances received standing ovations. Re: school- "Today, I experienced one of the most inspirational things! One of my students, who has a very serious attendance problem, said he wants to have a significant part in our production. This project has gotten his attention so he comes to school in order take part. For this particular hour I have at least 90% attendance daily. I have watched my students go from complaining about having to get on stage and and speak to excitement and desire to perform. They are fighting for parts now. You are on to something with this program. It has given me a chance to not only encourage students, but to prove to them that they are smart, creative, filled with important things to say and that there is a Big world out there just waiting to be their audience. You have helped me a great deal in my efforts." Sheila Witt, Central High
Description The Magellan New Plays and New Artists Program fosters new plays and encourages new artists. In playwriting, before a stick of scenery is built, or a light is focused, an actor cast or a ticket sold, someone enters a room and creates a story. This person is the playwright, the unsung hero of the theatre. While we celebrate the heritage of the great masterworks, the search for excellence in playwriting must be ongoing. There is no dead theatre. It is the nature of the art form to be eternally alive. The MET Magellan Project is an ongoing new play development program actively searching for and developing the work of new playwrights and emerging artists to encourage ongoing excellence and artistry in the theatre. Through the Magellan Project we offer the Playwright's Intensive, have created our Early Career Artists program mentoring performers, designers and writers. This year we will offer a series of master classes for theatre professionals to support their ongoing growth.
Program Budget $25,000.00
Category Arts, Culture & Humanities, General/Other Arts, Culture & Humanities, General/Other
Population Served Adults, ,
Short-Term Success Our Playwright's Intensive, now in its fourth year, partners 12 promising playwrights from across KS, MO and the nation with a master playwright for a three-day intensive workshop resulting in the creation of new, original short plays that are presented to the public at the close of the workshop.
Long-Term Success By encouraging ongoing excellence in artistry in our field, we expect to see a growing talent pool with ever increasing skills that will deepen excellence and creativity in our work and extend service to the community. Master playwrights and great artists aren't only born, they must also be grown through the opportunity of training and experience. We believe that it is important to seek what we hope to find and to move intentionally to encourage ongoing excellence in our field. Hence, long term success will grow the next generation of writers and theatre artists, who represent all demographics of the population, and whose skills are equal to the challenges of the stage and the needs of the communities in which they live.
Program Success Monitored By All of the workshops and intensives feature significant planning and preparation to achieve results. Because we are a performance medium, the new plays created through Magellan are themselves testament of the progress made. Moreover, follow up assessment is a regular part of the post intensive process. Our mentoring of our writers doesn't stop when the workshop ends. The relationship is ongoing. We are creating a creative community that grows one another and inspires excellence in our work. In the performing community, we also work to encourage excellence through lifelong learning opportunities. Actors work on their craft together in a masterclass setting. Participants find that growing artistry serves to grow the artist, but also improves castability and the likelihood of working in our industry. In short, growing one's artistry as a professional, pays. Many participants in our workshops work more regularly in other theatres and find that their stronger skills serve them well.
Examples of Program Success The Playwright's Intensive has filled every year without fail, drawing progressively higher caliber participants and has resulted in the creation of 36 new short plays over three years and inspired the growth of participating writers, several of whom have gone on to complete full length works. Last summer, the success of this program led to our invitation to present a new play for Mr. Edward Albee at the Great Plains Theatre Conference. This was a tremendous honor. Then, last August, two-time Pulitzer Nominee, Arthur Kopit, joined us to lead the intensive and to workshop his own new play, Discovery of America, with MET. That Mr. Kopit chose to workshop his play in partnership with MET is significant testament to the caliber of the work we offer. Our new Young Artists Ensemble was created at the request of promising young artists desiring a deeper relationship with MET. This interest speaks to their talent, need and sense that we can help and have the integrity and skill to do so.
CEO Comments All of our programs include assessment and outcomes measurements. However, because all of our school and community programs are customized to each partner/client, each assessment measure is created to dove tail specifically to that project and the goals established relative to it. Hence, the assessments are as customized as the programs themselves. There are some general outcomes measures however that we use with regularity. They include: pre-and post student comprehension grids, student and teacher journal and teaching artist journal logs. We have also found, especially in the at risk school setting that student attendance data is a significant data tool that helps us determine success. With each educational community partner project, we create a report that speaks to the success of that project. Please feel free to give us a call to discuss these. Projects this year are still underway. A full report will be available after the close of the school year.
Executive Director/CEO
Executive Director Ms. Karen Paisley
Term Start July 2007
Experience Karen Paisley is the founding Artistic Director of Metropolitan Ensemble Theatre. As Artistic Director, she established MET’s Flagship program, created the Magellan New Plays and New Artists Project seeking the next great master writer and supporting the development of new plays and continued growth of professional performing artists. She implemented MET’s Lighthouse Education and Community Initiative providing arts integration programs to schools and communities across the Kansas City metro area. As a director and play-wright, she works extensively with new and emerging writers serving as judge and panelist for the MATC New Plays Symposium 2005, and regularly collaborates with colleges and universities through site visits and workshops.  A veteran professional director, performer, writer, award-winning educator, and arts advocate, she enjoys both established masterworks and creating original works that explore language, movement and symbol systems. Karen has many directing projects and acting roles to her credit: Death of a Salesman, Babel Revisited, For Whom the Southern Belle Tolls, West Side Story, Facing Forty in Sensible Shoes and Skin of Our Teeth. The former chair of North Carolina’s K-12 Theatre Division and the Director of Education for KC Rep, Karen is a “theatre missionary” who spent 12 years developing theatre programs in underserved communities. A former teacher of the year nominee, she serves on numerous boards and panels, has authored multiple K-12 arts integration curriculums, holds a BFA from the University of North Carolina at Greensboro, and an M.F.A. from Sarah Lawrence College. Deeply committed to the creation of new theatrical work and to extending arts access to all people, she is passionate about the power of story, the development of new work and the critical place of the arts in our lives.
Co-CEO/Executive Director
Term Start 0
Compensation Last Year
Senior Staff
Title General Manager
Staff
Paid Full-Time Staff 1
Paid Part-Time Staff 6
Volunteers 75
Paid Contractors 145
Retention Rate 100%
Formal Evaluations
CEO Formal Evaluation No
Senior Management Formal Evaluation Yes
Senior Management Formal Evaluation Frequency Annually
Non-Management Formal Evaluation No
Plans & Policies
Organization Has a Fundraising Plan Yes
Organization Has a Strategic Plan Yes
Management Succession Plan Under Development
Organization Policy and Procedures Under Development
Nondiscrimination Policy No
Whistleblower Policy No
Document Destruction Policy No
Collaborations
Metropolitan Ensemble Theatre currently participates in multiple collaborations. Annually we partner with organizations like Central Standard Theatre, KC Library, KCK Library, KCMO Schools, YMCA, YWCA KCK, KC Literacy, The KC Fringe, and Prep-KC, among others. All of our education and community work is developed collaborately with our partners. This approach is mutually beneficial & has brought us success. We are currently exploring new partnerships for the coming year and look forward to expanding our partnership work.
Awards
Award/RecognitionOrganizationYear
One of the Best Small Arts Organizations in KCFrancis Families Foundation2007
Mainstay AwardMaincor - Main Street Corridor2012
Government Licenses
Is your organization licensed by the government? No
CEO Comments The Metropolitan Ensemble Theatre is growing and meeting many of its challenges. Our artistry continues to strengthen, garnering progressively better reviews. Audiences are growing. We are also working hard to improve our facility.The theater has a good location which we have improved, and is attracting more and more audience members and donors, is attracting the attention and support of many of our city's fine foundations. We are excited at the addition of some excellent and enthusiastic board members, and terrific audience and media response to our productions.  And that's what first got me involved -- quite simply, the excellence of the company's work.  All of our other successes flow from that.  Kansas City is blessed with several fine theater companies, and this company is taking its place among the top rank of those.  Of course, all of this must continue to be done with a keen eye to financial discipline, which has our constant attention.
Board Chair
Board Chair Mr. Alan Tilson
Company Affiliation Independent Actor
Term July 2016 to June 2018
Email atilsona@yahoo.com
Board Members
NameAffiliation
Mr. Roderick Duplissie
Ms. Mamie Hayman Community Volunteer
Dr. Thelda Kestenbaum Retired Medical Doctor
Mr. Paul Moran
Ms. Karen Paisley Metropolitan Ensemble Theatre
Mr. John Robert Paisley Lee's Summit Symphony
Mr. Michael Roberts Luffland Industries
Mr. Alan Tilson Actor
Mr. Dave Walden
Mr. Jamie Walker Esq.Jamie Walker Law
Board Demographics - Ethnicity
African American/Black 1
Asian American/Pacific Islander 0
Caucasian 9
Hispanic/Latino 0
Native American/American Indian 0
Other 0
Board Demographics - Gender
Male 7
Female 3
Unspecified 0
Governance
Board Term Lengths 3
Board Term Limits 3
Board Meeting Attendance % 86%
Written Board Selection Criteria? Under Development
Written Conflict of Interest Policy? Yes
Percentage Making Monetary Contributions 100%
Percentage Making In-Kind Contributions 90%
Constituency Includes Client Representation Yes
Number of Full Board Meetings Annually 11
Standing Committees
Development / Fund Development / Fund Raising / Grant Writing / Major Gifts
Marketing
Membership
Special Events (Golf Tournament, Walk / Run, Silent Auction, Dinner / Gala)
Strategic Planning / Strategic Direction
Volunteer
Advisory Board Members
NameAffiliation
Dr. Barbara Batts Retired Physician
Mr. Jack Clifford Retired Businessman
Mr. Don Dagenais
Mr. Kelley Martin Martin Financial Group
Ms. Valerie Schlosser EAG Advertising
CEO Comments Our board is currently made up of 10 individuals from across the community and is seeking additional members to represent other segments of the community As we begin year 13, we will continue our strategic planning phase, grow our board capacity, strengthen our staff, stabilize finance, diversify the board, and fully fund MET. We are expanding our capacity to maintain outstanding artistry, community programming and enable us to expand our staff, grow our volunteer base, and increase marketing initiatives... All to help grow our audience base.
Financials
Fiscal Year Start July 01, 2016
Fiscal Year End June 30, 2017
Projected Revenue $635,700
Projected Expenses $635,000
Endowment Value $11,000
Audit Documents
2016 Audit
2015 Audit
IRS Letter of Exemption
Foundation Comments
  • FYE 6/30/2014, 2013, 2012:  Financial data reported using IRS Form 990. 
  • Foundation/corporate revenue line item may include contributions from individuals.
Detailed Financials
 
Expense Allocation
Fiscal Year201420132012
Program Expense$397,797$396,936$356,083
Administration Expense$81,737$48,966$27,359
Fundraising Expense$21,213$17,675$6,857
Payments to Affiliates--$0$0
Total Revenue/Total Expenses1.010.991.01
Program Expense/Total Expenses79%86%91%
Fundraising Expense/Contributed Revenue7%8%3%
Assets and Liabilities
Fiscal Year201420132012
Total Assets$29,630$40,648$53,902
Current Assets$1,026$6,230$28,223
Long-Term Liabilities$0$0$0
Current Liabilities$33,810$47,793$54,679
Total Net Assets($4,180)$7,145($777)
Short-Term Solvency
Fiscal Year201420132012
Current Ratio: Current Assets/Current Liabilities0.030.130.52
Long-Term Solvency
Fiscal Year201420132012
Long-Term Liabilities/Total Assets0%0%0%
Top Funding Sources
Fiscal Year201420132012
Top Funding Source & Dollar Amount --Individual $42,000 --
Second Highest Funding Source & Dollar Amount --Muriel McBrien Kauffman Foundation $25,000 --
Third Highest Funding Source & Dollar Amount --Individual $16,150 --
Capital Campaign
Currently in a Capital Campaign? Yes
Campaign Purpose Renovation of the Historic Warwick Theatre
Goal $3,000,000.00
Amount Raised to Date $250,000.00 as of Sept 2017
Capital Campaign Anticipated in Next 5 Years No
Organization Comments The MET is doing an excellent job of raising the money to fund its annual operations through a combination of ticket sales, individual donations, corporate and foundation gifts, program advertisements, volunteer fund raising projects and special events including its increasingly popular Birthday Ball that will be held in March this year.  Of course, every organization needs a longer-term financial base, and MET is working now to build up a "rainy day" reserve and establish an endowment to provide a cushion and a continuing source of annual income (respectively) in future years.  I consider those two items to be the main financial goals of the organization.  Of course, the company must encourage its donors to become regular annual contributors to the company, and we are grateful that many of them are already taking that step.
Organization Name Metropolitan Ensemble Theatre
Address 3614 Main Street
Kansas City, MO 64111
Primary Phone (816) 5693226
Contact Email boxoffice@metkc.org
CEO/Executive Director Ms. Karen Paisley
Board Chair Mr. Alan Tilson
Board Chair Company Affiliation Independent Actor
Year of Incorporation 2005