Form 990 for tax year 2023

Totals

Total revenue

$29,836,686

Total expenses

$31,660,019

Contributions and grants received

$9,420,441

Grants paid

$0

Program service revenue

$17,700,401

Investment income

$1,789,583

Other revenue

$926,261

Total assets, end of year

$77,731,678

Total liabilities, end of year

$6,501,365

Net assets or fund balances, end of year

$71,230,313

Program services expenses (Part IX)

$25,253,509

Management and general expenses

$3,282,442

Fundraising expenses

$3,124,068

Program service expenses (Part III)

$25,253,509

Program services were 79.8% of total expenses calculated — Part IX's program-services column over total expenses, both as filed.

Line items

Every line the filer filed in Parts VIII, IX and X, as filed and in filed order. Blank columns are left out, and the lines are not forced to add up to the totals above.

Mission and programs · 2023

• PRODUCTIONS AND PROGRAMMING:CITY CENTER'S 2023-2024 SEASON OPENED WITH THE FALL FOR DANCE FESTIVAL, ONE OF OUR FLAGSHIP PROGRAMS THAT HAS LAUNCHED THE SEASON FOR 20 YEARS. RENOWNED FOR ITS DIVERSE PROGRAMMING AND AFFORDABLE $30 TICKETS, FALL FOR DANCE BRINGS TOGETHER TOP DANCE COMPANIES FROM NEW YORK CITY, ACROSS THE U.S., AND INTERNATIONALLY, ATTRACTING A BROAD AUDIENCE WHILE NURTURING NEW DANCE LOVERS. THE FESTIVAL ALSO CONTINUES TO DRIVE INNOVATION THROUGH ITS COMMISSIONING PROGRAM, WHICH HAS PRODUCED 50 WORLD PREMIERES, 54 U.S. PREMIERES, AND 60 NEW YORK CITY PREMIERES TO DATE. THIS YEAR'S FESTIVAL RAN FROM SEPTEMBER 27 TO OCTOBER 8, 2023, WITH 10 PERFORMANCES ATTENDED BY 21,132 PEOPLE. THE 2023 FESTIVAL FEATURED A DYNAMIC LINEUP OF PERFORMERS, INCLUDING BALLET BC (CANADA), GIBNEY COMPANY, LIMON DANCE COMPANY, BIRMINGHAM ROYAL BALLET (U.K.), EPHRAT ASHERIE AND MICHELLE DORRANCE, AND GRUPO CORPO (BRAZIL). IT ALSO INCLUDED TWO CITY CENTER WORLD PREMIERES: JAM ON THE GROOVE 3 FOR 30, A RE-STAGING OF ADESOLA OSAKALUMI'S 1995 STREET DANCE PRODUCTION, AND THE CENTER WILL NOT HOLD, A COLLABORATIVE PIECE BY EPHRAT ASHERIE AND MICHELLE DORRANCE FEATURING STREET AND TAP DANCE, WITH LIVE MUSIC BY DONOVAN DORRANCE. CITY CENTER'S FALL DANCE SEASON ALSO FEATURED AN EXCITING LINEUP, STARTING WITH THE LYON OPERA BALLET'S PRESENTATION OF LUCINDA CHILD'S DANCE. THIS POST-MODERN MASTERPIECE, SET TO A MINIMALIST SCORE BY PHILIP GLASS, FEATURED WAVES OF DANCERS MOVING IN INTRICATE PATTERNS ALONGSIDE VIDEO PROJECTIONS OF THE ORIGINAL PERFORMERS DESIGNED BY SOL LEWITT. THE COMBINATION OF LIVE MOVEMENT AND FILM CREATED A VISUALLY STRIKING MEDITATION ON PERPETUAL MOTION, EARNING PRAISE AS A "STUNNING AND INVENTIVE PRESENTATION" BY BROADWAYWORLD. THE PERFORMANCE OPENED THE DANCE REFLECTIONS BY VAN CLEEF & ARPELS FESTIVAL, WITH ADDITIONAL PERFORMANCES AT VENUES LIKE THE BROOKLYN ACADEMY OF MUSIC AND PARK AVENUE ARMORY. RUNNING FROM OCTOBER 19-21, 2023, THE PRODUCTION DREW 4,241 ATTENDEES. THE FALL SEASON CONCLUDED WITH PAM TANOWITZ'S SONG OF SONGS AS PART OF THE ARTISTS AT THE CENTER SERIES. THIS LONG-AWAITED NEW YORK PREMIERE, INSPIRED BY JEWISH FOLK DANCE AND SET TO DAVID LANG'S CHORAL SETTING OF THE BIBLICAL TEXT, WAS PRAISED BY THE NEW YORK TIMES AS "REFINED, RESTRAINED, AND BREATHTAKINGLY BEAUTIFUL." IT RAN FROM NOVEMBER 9-11 AND ATTRACTED 2,345 ATTENDEES.THE SPRING DANCE SEASON BEGAN WITH THE RETURN OF THE FLAMENCO FESTIVAL, A CITY CENTER STAPLE FOR OVER TWO DECADES. IN CELEBRATION OF CITY CENTER'S 80TH ANNIVERSARY, THE FESTIVAL WAS EXPANDED TO TWO WEEKS AND FEATURED STANDOUT PERFORMANCES BY THE NATIONAL BALLET OF SPAIN, OLGA PERICET, AND GALA FLAMENCA. THE FESTIVAL RAN FROM MARCH 8-17, 2024, WITH 14,821 AUDIENCE MEMBERS ATTENDING EIGHT PERFORMANCES. OTHER HIGHLIGHTS OF THE SPRING SEASON INCLUDED NEDERLANDS DANS THEATER, WHICH RETURNED AFTER A HIATUS WITH A THREE-PIECE PROGRAM THAT INCLUDED WILLIAM FORSYTHE'S N.N.N.N., AND THE U.S. PREMIERES OF THE POINT BEING AND JAKIE. THIS PROGRAM RAN FROM APRIL 3-6 AND WAS ATTENDED BY 8,879 AUDIENCE MEMBERS. THE SEASON CONCLUDED WITH MESSAGE IN A BOTTLE, A CONTEMPORARY DANCE-THEATER PIECE BY KATE PRINCE SET TO THE MUSIC OF STING. THIS PRODUCTION, PART OF A U.S. TOUR, RAN FOR 14 PERFORMANCES FROM APRIL 30-MAY 12, 2024, DRAWING 17,667 ATTENDEES AND RECEIVING ENTHUSIASTIC AUDIENCE RESPONSE FOR ITS DYNAMIC FUSION OF STREET, HIP-HOP, AND CONTEMPORARY DANCE STYLES.MAINSTAGE MUSICAL THEATRE PRODUCTIONS:CITY CENTER'S ANNUAL GALA PRESENTED A REVIVAL OF RODGERS AND HART'S PAL JOEY, REIMAGINED BY CO-DIRECTORS TONY GOLDWYN AND SAVION GLOVER. THIS NEW VERSION FRAMED JOEY AS A BLACK MUSICIAN STRUGGLING IN 1920S CHICAGO, WITH A REVISED BOOK BY RICHARD LAGRAVANESE AND DANIEL 'KOA' BEATY, AND ADDITIONAL RODGERS AND HART SONGS. TONY NOMINEE EPHRAIM SYKES LED AS JOEY, ALONGSIDE LORETTA DEVINE, AISHA JACKSON, AND ELIZABETH STANLEY. THE PRODUCTION RECEIVED PRAISE, WITH THE NEW YORK TIMES CALLING IT "VIVID AND REVITALIZED. RUNNING FROM NOVEMBER 1 TO 5, THE SHOW WAS SEEN BY 10,683 PEOPLE. THE 2024 ENCORES! SEASON CELEBRATED ITS 30TH ANNIVERSARY WITH THREE REVIVALS NOT STAGED IN NEW YORK IN OVER 25 YEARS. CURATED BY ARTISTIC DIRECTOR LEAR DEBESSONET, CREATIVE DIRECTOR CLINT RAMOS, MUSIC DIRECTOR MARY-MITCHELL CAMPBELL, AND VP AND PRODUCER JENNY GERSTON, THE SEASON INCLUDED TWO-WEEK RUNS FOR EACH SHOW, WITH THE FIRST-EVER ENCORES! STUDENT MATINEES. THE SEASON OPENED WITH ONCE UPON A MATTRESS, THE BELOVED MUSICAL COMEDY BASED ON THE "PRINCESS AND THE PEA" FAIRYTALE. SUTTON FOSTER STARRED AS PRINCESS WINNIFRED, BRINGING HER UNIQUE CHARM TO THE ROLE, WHILE DAVID PATRICK HENRY AND HARRIET HARRIS PLAYED THE KING AND QUEEN. THE PRODUCTION WAS WIDELY PRAISED, WITH THE NEW YORK TIMES CALLING IT A "BANQUET" OF MUSICAL COMEDY. IT PLAYED TO NEARLY SOLD-OUT HOUSES FROM JANUARY 24 TO FEBRUARY 4 AND DREW 28,407 ATTENDEES ACROSS 14 PERFORMANCES. ITS SUCCESS LED TO A BROADWAY TRANSFER STARRING FOSTER AT THE HUDSON THEATRE IN AUGUST, WITH A LOS ANGELES RUN PLANNED LATER IN THE YEAR. NEXT, JELLY'S LAST JAM GRACED THE STAGE, PORTRAYING THE LIFE OF JAZZ LEGEND JELLY ROLL MORTON. NICHOLAS CHRISTOPHER'S PORTRAYAL OF MORTON WAS WIDELY PRAISED, SUPPORTED BY STANDOUT PERFORMANCES FROM LESLIE UGGAMS AS HIS GRANDMOTHER, JOAQUINA KALUKANGO AS HIS LOVER ANITA, AND BILLY PORTER AS THE OMINOUS CHIMNEY MAN. THE SHOW RECEIVED CRITICAL ACCLAIM FOR ITS EXPLORATION OF RACE, IDENTITY, AND MUSIC IN AMERICA, EARNING ANOTHER "CRITIC'S PICK" FROM THE NEW YORK TIMES. COMMUNITY ENGAGEMENT EFFORTS INCLUDED DISCOUNTED AND COMPLIMENTARY TICKETS AND A BLACK THEATER LEGACY NIGHT WITH A POST-SHOW DISCUSSION FEATURING CREATORS GEORGE C. WOLFE AND SUSAN BIRKENHEAD. RUNNING FROM FEBRUARY 21 TO MARCH 3, JELLY'S LAST JAM DREW 24,353 ATTENDEES ACROSS 14 PERFORMANCES. THE SEASON CONCLUDED WITH TITANIC; THE EPIC MUSICAL INSPIRED BY THE INFAMOUS OCEAN LINER. THE PRODUCTION WAS A GRAND ACHIEVEMENT, FEATURING A 32-PERSON CAST AND A 30-PIECE ORCHESTRA. HIGHLIGHTS INCLUDED BONNIE MILLIGAN AS ALICE BEANE, ALEXANDER JOSEPH GRAYSON AS HAROLD BRIDE, AND CHIP ZIEN AND JUDY KUHN AS ISIDOR AND IDA STRAUS, WHOSE DUET "STILL" WAS A STANDOUT MOMENT. THE NEW YORK TIMES PRAISED THE PRODUCTION'S EMOTIONAL DEPTH, AWARDING IT ANOTHER "CRITIC'S PICK." FROM JUNE 11 TO JUNE 23, IT DREW 26,059 ATTENDEES ACROSS 14 PERFORMANCES.

  Expenses $21,105,155 · Revenue $16,318,178

• OFFICE TOWER AND STUDIO RENTALSTUDIO AND OFFICE RENTAL PROGRAMS ARE CONDUCTED AS PART OF THE ORGANIZATION'S EXEMPT PURPOSE. CITY CENTER'S THREE REHEARSAL STUDIOS WERE RENTED BY HUNDREDS OF DANCERS, CHOREOGRAPHERS AND COMPANIES, MANY OF THEM TAKING ADVANTAGE OF A SUBSIDIZED RATE OF $20 PER HOUR.

  Expenses $2,230,672 · Revenue $884,524

• Withheld by Nonprofiteer: this text may name a private individual.

  Expenses $1,291,102 · Revenue $250,865

• STAGES I & II:MANHATTAN THEATRE CLUB PRESENTED SEVERAL SHOWS ON CITY CENTER'S STAGES I AND II, INCLUDING THE NEW YORK PREMIERES OF POOR YELLA REDNECKS AND BROOKLYN LAUNDRY

  Expenses $626,580 · Revenue $563,291

As filed on the 2023 return. The filer continues this part on Schedule O, which is not shown here. A text marked withheld matched a screen for wording that may name a private individual, such as an honorific or "in memory of". Most of what it withholds names no one; it is withheld so that what does is never shown.

Listed in Part VII

Compensation is as filed in Part VII: reportable pay from this organization and from related organizations, other compensation, and hours per week. The total, marked calculated, is our sum of the three dollar columns, with a blank column counted as $0; the form itself has no total. On a Form 990-EZ the columns are Part IV's instead, and on a Form 990-PF Part VIII's — compensation, contributions to benefit plans, and expense account — and the total sums those. A Schedule J breakdown is as filed: base pay, bonus, other, deferred compensation and nontaxable benefits from this organization, with any from related organizations beside each, and the filer's own total. It is shown with the Part VII listing of the same name on the same return. The form gives no key between the two, so that pairing is ours, and is marked matched by us.

Schedule J

Part I's answers as filed. A line not listed was left unanswered; on lines 1a and 3 that means the box was not checked.

Grants on this return

No itemized grants to organizations on this return.

Provenance

Return type

form_990

Tax year

2023

Filed

18 March 2025

IRS schema version

2023v6.0

Source object

202511329349306476

Check it against the return as filed: the GivingTuesday Data Lake hosts a public copy of the original XML.

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