New York City Ballet Company Swot Analysis

MGCR 423
Group Project

Caileigh Rendek - 260511107
Deana Cappelli - 260458567
Nada Almaghrawi – 260481264
Ali Shah Khawaja - 260473146

Pirouetting from the Past to the Present and Into the Future: The New York City Ballet
Company
THE PAST AND PRESENT
Introduction - Caileigh
The New York City Ballet Company (NYCB) is one of the foremost dance companies in the world with a roster of spectacular dances and an unparalleled repertory. As the largest dance organization in America with 90 dancers, 350 artistic and administrative forces, and over 350 volunteers, the NYCB maintains an active repertory of over 150 works, principally choreographed by
George Balanchine (“Our History”). An icon of the world’s cultural capital, the NYCB is primarily
based
Based on data from the IRS Form 990 filed by the NYCB for the years 2002-2013, it can be seen that the total revenues have been increasing at an average annual rate of 3.3% with the growth rate falling between the range of 15.4% (2006) and -7.4% (2009). Revenue from its core program services has also been increasing at an average rate of 3.4% with the range falling between 14.6%
(2012) and -6.4% (2006) (IRS, “Form 990”). Contributions from donors have been increasing at an at average rate of 3.5%, the range for which has historically been between an increase of as much as
23.1% (2009) and a decrease of as much as 32.73% in 2010 (IRS, “Form 990”). This segmented information has been excluded of any unrealized gains on the NYCB’s investment holdings, which as we shall see further in our discussion, holds tremendous value behind the organization’s financial stability. Segments and Trends in Total Expenses
This agreement, which gives the NYCB a permanent performance and rehearsal space as well as a location to hold its various programs, allows them to benefit from rentfree accommodation within a prime location in one of the world’s most expensive real estate markets. The effective use of this space is pertinent to fully capture this advantage. Thus, we can see that the bargaining power of suppliers is moderate.
There are two forms of buyers for the NYCB, the first being those who buy tickets, and the other being the donors that offer contributions. Many people have a strong dedication to the art form, and feel a personal commitment for its continual survival. The NYCB and its historical value within the ballet community have garnered strong loyalties through the years. An example of the commitment to its audience is demonstrated in 2004, when then-President of the Saratoga
Performing Arts Center (SPAC) wanted to drop NYCB summer residency due to the center’s inability to financially support these performances. This led to a community-wide protest and

MGCR 423
Group Project

Caileigh Rendek -