Speaking in Draft is an interview series in which Intermission staff writer Nathaniel Hanula-James speaks with some of the artistic voices shaping Canadian theatre today. In a mixture of lighthearted banter and deep dives into artistic practice, this column invites artists to share nascent manifestoes, ask difficult questions, and throw down the gauntlet at the feet of a glorious, frustrating art form.
For the recently graduated theatre artist determined to make their own work, the word “fundraising” can be terror-inducing. One minute, you’re doing roll-downs or pulling all-nighters with Vectorworks. The next, you’re falling down the rabbit hole of grant and foundation portals, your life transformed into a Tim Burton film called The Nightmare Before the Artistic Catalysts Deadline. Every time you visit an arts institution, you scan the walls and programs for the names of funders. How did these relationships come to be? How does one maintain them? And where is an indie theatre-maker to start when it comes to the financial side of theatremaking?
With these questions in mind, I invited a trio of experts to share advice, geared toward anyone just starting to navigate the world of grants, foundations, and donors. Anne Rawn, Cherise Solomon, and Josh Marchesini each bring a different perspective to fundraising and development. (Though these two terms overlap, the former focuses on procuring funding itself, while the latter refers to cultivating ongoing relationships with granting bodies, foundations, and private donors.) In a Zoom conversation, they generously offered a multi-year commitment’s worth of tips and tricks, as well as a wealth of valuable resources.
Can you say what organization you currently work for, and a little bit about your path into this work?
Anne Rawn: I’ve been director of development at Soulpepper Theatre since October 2024, and I’ve worked in arts fundraising for over 10 years now. I have a background in visual arts.
Cherise Solomon: I’ve been the marketing and development officer at Obsidian Theatre since October 2023. How I started out was as a teenager in Scarborough, working for a grassroots youth arts festival called StArt Youth Presenting Art, and learning how to get grants. Previous to my role at Obsidian, I worked at the National Ballet School in brand engagement and oversaw the development side of things as well. I’m still learning!
Josh Marchesini: I’m currently the client success coordinator at Imagine Canada, [an organization that seeks to strengthen the nation’s nonprofits through research, advocacy, and resource-sharing], and I’ve also been working in theatre on and off for about five years now.
I think so many artists can get nervous when talking about fundraising and development. Is there an aspect of this work that you really love?
AR: It’s been a great year in the stock market! There are people who have made a ton of money this year, and it’s in everyone’s best interest if they spend some of it on philanthropy. They’ll do better on their tax returns and we’ll have more money. What I love about fundraising is when — and it sounds so cheesy — but when you connect a funder with an opportunity, and they fall in love with your organization. Maybe they’ll give you a multi-year commitment. It’s the Robin Hood work that we’re doing!
CS: I’m the first development-focused staff member at Obsidian. The organization had largely been surviving off government grants. During the pandemic, we had a foundation donate to us for the first time. We were able to support our mission even further and support more Black theatre artists. To see our vision and the dreams of others come true through our programming, and that support, is so exciting.
JM: Imagine Canada has a research platform called Grant Connect where people can look for different funders, whether government, corporate, or foundations. I love helping people build the confidence to reach out to funders, and being that support person.
That’s wonderful. And to the indie theatre artists out there, you can access Grant Connect for free through the Toronto Public Library!
JM: And people can always reach out to me if they want a quick demo.
There are so many different perspectives in this virtual room. If someone who’s new to fundraising were to approach you today and ask for advice, what would you say to them?
CS: Reach out to grant officers and program officers, because you can explain your idea to them and see if it’s a good match. Research, ask all the questions, and be as detailed about your program as you can.
JM: I think about marketing and fundraising as related. Developing donor communications is important, for instance with an end-of-year giving campaign email.
AR: Fundraising is a hard thing to get professional experience in. Find mentors and colleagues who you can get a coffee with, and who can help you talk through ideas.
How do you ensure that your organization’s goals align with a funder’s?
AR: The best way is to sit down and have that conversation. It’s about listening for value alignment, not just talking about yourself and where your organization is coming from.
CS: I second that. Recently, I spoke with two different foundations and just listened to what their mission is, who they fund, and what projects excite them. I barely talked about our projects.
JM: I used to work at The Theatre Centre as social media and content coordinator. Hypothetically, if I was meeting with a donor or funder about The Theatre Centre, I’d be listening for their interests: Are they more interested in the Theatre Centre’s artistic programming, or in its role as a community space or third space?
Have you noticed any broad shifts in giving in the past few years, specifically in the wake of the pandemic?
AR: In corporate giving, there’s such an emphasis on community impact now. You can’t fake it with corporations. It’s really statistics driven, and you have to be collecting information.
CS: Giving has dwindled. In the wake of [the racial reckoning sparked by George Floyd’s death in 2020], we received an increase in donations, but that’s pretty much ended. Now we’re looking more toward private foundations and, slowly, corporate funders.
JM: There’s a certain aging donor base that’s just not giving any more. A lot of charities are trying to figure out how to maintain their donor base and diversify it. Imagine Canada recently did two different reports based on multicultural Canadian giving. In this context, ‘multicultural Canadians’ means anyone who has immigrated to Canada, and who has some interest in donating to charities. Of the people surveyed, 44 per cent said that a barrier to increased giving was affordability. Nineteen per cent said that there was a lack of clarity around where to donate. Ten per cent said they were not being asked to give to a charity at all. So there’s a gap that’s happening, even though there’s a clear willingness to contribute to the charitable sector.
What are some strategies that you’ve experimented with or noticed others using to expand an organization’s donor base, and attract a more diverse range of donors?
CS: It’s Obsidian’s 25th anniversary year. We got together 18 artists for individual interviews — founding members as well as artists who have gone through the company — and we’ve been posting them on socials. Our goal is to share their stories as reasons why Black theatre is vital in Canada. As a company, we’d never shown artists’ personal testimonies in that way. In philanthropy and development, that kind of storytelling helps.
JM: I agree. That person-centred perspective is not only insightful, but gives me context for the rich history of a theatre company. Whenever I get an email from Obsidian or Soulpepper or anywhere else, it’s nice to read about other people who care about these companies and have a deep relationship with them.
AR: It’s about looking outside the usual suspects of arts supporters. If we imagine fundraising as a pie, and someone’s giving a bit to Obsidian and a bit to Soulpepper, I’m not trying to steal from Obsidian; I’m trying to expand that circle of people who support the arts. How can we get those foundations who don’t see themselves in the arts inside this circle? Community engagement, for instance, is something that everyone in the arts is doing, whether they’re owning it or not. If a company does summer programs for youth, they could zero in on finding foundations who support youth programs outside the arts.
Are there fundraising strategies from outside the performing arts that you think the sector could learn from?
AR: I would say impact reporting. We could be better at recording the impact of our work. It’s what Cherise was saying about storytelling, which is so important. How many artists did we employ last year? How much money did we put back into the economy? We need to own that information more.
JM: I see in some impact reports that organizations include digital marketing stats, but the focus has shifted in terms of what funders are looking for. It used to be views on a page, but now it’s more about how many people click through to the website and actually make a donation. The numbers you’re looking for are constantly changing.
How do you navigate changes in priorities from funders?
CS: I’ll go way back in time with this, to when I was working for that festival in Scarborough. A lot of our funders loved youth arts — but then all of a sudden they wanted intergenerational programming connecting older adults with younger folks. So we switched our programming just to get the grants. However, this also opened the door to new ideas. We’d never thought of having programs bringing both age groups together in the same room, collaborating. So, sometimes, navigating those changes can lead to new ideas for your organization.
AR: Just to add to that, it’s also okay to say no. So many times in the arts we put ourselves in a situation where we go, ‘Oh my gosh, we can get free money if we create this exciting new program [outside of our core activities]?’ Then you create this program — and you end up paying for it 50 per cent out-of-pocket. So yes, try new things and let it push you in new directions, but you can also say no if it’s too much, or not the right time, or not the right project.
JM: Sometimes, with shifts in priorities from funders, charities have to shift as well in order to keep the doors open. For charities exploring new potential funders, sometimes ethical concerns might come up. Those are interesting and honest questions to have. What I’ve seen charities outside the arts do is put out a little explainer about why they’re accepting certain funding. The people who engage with you will appreciate that honesty, directness, and context.
AR: Multi-year commitments are so important. That’s the first work I’ve done at Soulpepper: If a funder has supported us every year, but we’re just hoping they’ll keep renewing, why can’t we ask them to lock in that support for three years? That way we can plan ahead. It makes everyone more successful. Being proactive about conversation[s] is vital too. If we’re shifting directions as an organization, I need to communicate that clearly.
On the subject of conversation, what are some practical tips for stewarding an ongoing relationship with a donor or funder?
JM: If you’re using Grant Connect, a practical tip is to read all the information available about any impact or grant reports that a funder needs. If there’s a contact person, get in touch to clarify what they’re expecting from the reports, so you can give them all that context and information.
AR: Really take the time to build trust. Having an open line of communication and building individual relationships is really great. If all of a sudden it’s Friday, and you wanted to invite a funder to an event, and you’re rushing out a message, I wouldn’t be afraid to sleep on it. Patience, and quality versus quantity of communications, is key to individualized stewardship.
CS: I do regular Zoom meetings with funders, just to say thank you, and to go over any changes in guidelines or agreements for the upcoming year.
What about an organization’s relationships with more grassroots donors? The ones who are just giving, say, 20 bucks a month? How do you ensure that they feel appreciated too?
CS: We have certain thresholds depending on how much money an individual donor gives within the year. Some donors might get their name written in our programs, or be featured on our website, or they might get a little invite to a preview or dress rehearsal. These tiny incentives show that we care: We want to bring you behind the scenes and show you where your money is going.
I’m trying to talk about donations as more of an investment nowadays. What you’re investing in is honestly just society, because theatre is necessary.
WRITTEN BY
Nathaniel Hanula-James
Nathaniel Hanula-James is a multidisciplinary theatre artist who has worked across Canada as a dramaturg, playwright, performer, and administrator.
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