During Ashland library talk, interim executive director and board chair detail financial progress, leadership goals and the path to a stronger future
By Lucie K. Scheuer for Ashland.news
Strategies geared toward shoring up Oregon Shakespeare Festival’s (OSF) recent financial deficits and securing a strong future were laid out during a community presentation at Ashland Public Library on Monday entitled “Rebuilding the Oregon Shakespeare Festival, Part II.”
Presenters Javier Dubon, OSF interim executive director, and Rudd Johnson, OSF board chair, talked about restoring balance to the Oregon Shakespeare Festival (OSF) by increasing local attendance and donor legacy giving, while decreasing dependence on endowments.
They also emphasized that curtailing production expenses and labor, without sacrificing quality, are just some of OSF’s continuing efforts to right itself, after several years of economic uncertainty due to forest fires, the pandemic and inflation.
It was once again hosted by the American Association of University Women (AAUW) Ashland Branch as part of their “Big Ideas” series along with Jackson County Library Services. Last year’s presentation highlighted marketing strategies. This year’s focused on oversight and operations and the importance of succession planning.
Local leadership
Johnson reminded attendees it all starts with comprehensive nonprofit planning and leadership, both of which, he said, have not been given full attention the past six years.
Johnson said a fully-functioning nonprofit requires a strategic plan, which was partially shelved due to the pandemic. “Our one strategic plan was to stay alive,” said Johnson. So, the board has been seriously asking, “How do we rebuild and come back to being what OSF once was and what we know OSF is becoming again?” Both presenters agreed: It starts at the top.
“OSF has had six directors since 2019,” said Dubon. “There’s actually a trap door underneath my chair,” he joked.
“Five of the six came in without prior OSF experience. Or institutional knowledge. Every day, I wake up and think, ‘if I had not worked here before, I would be so incredibly lost’ …
“Whenever you have that level of turnover, it’s very hard to stabilize, no matter who you are. Up until Bill Rauch, everyone who was artistic or executive director had had some prior experience with OSF before stepping into their role,” Dubon added. “The goal going forward is to bring on directors who have a strong familiarity with OSF and the community, not just experience in the theater and the arts.
Along those lines, Johnson did not say if the board is currently seeking a permanent executive director, but did indicate that they are very pleased with what Dubon has accomplished so far.
Johnson also emphasized how important it is that the majority of the OSF board be local. In the past this has not always been the case. “We had far too many people on the board who did not live here. Who did not have a connection to Ashland — to OSF.
“We want to make sure we have board members who represent various parts of the community. The link between OSF and Ashland is critically important … We need a vibrant Ashland and Ashland needs a vibrant OSF, and unless you understand that as a board member, it doesn’t work.”
Johnson said 60% of the board currently live in Ashland and three of the six new members coming on the board live here. He believes this is a move in the right direction.
Financial health
Dubon described trying to keep inflation at bay and balancing the budget is like “playing Whack-a-Mole,” on a regular basis. It is a constant challenge balancing variables (number and types of shows produced) with fixed expenses . For instance, a large production may increase ticket sales but cost more to produce.
He also provided statistics on how the festival has fared financially since 2020, saying the festival has run at a deficit, but also improved in 2025. He reports: For 2024 and 2023, revenue was $31.7 million each year, with roughly 39% from earned revenue sources such as ticket sales (FY23: $7M, FY24: $10.4M in ticket sales), concessions, merchandise, and events, and 61% from contributed sources. Operating expenses were $34.5 million in FY2024 and $34.1 million in FY2023, resulting in deficits of $2.3 million and $2.8 million respectively.
To address revenue losses, Dubon reported that OSF “relied heavily” on OSF endowment funds, in order to “weather the storm over the past few years.” Dubon and Johnson said it isn’t healthy for OSF to become reliant on these funds (an average current draw would be 4% of $29 million). The plan going forward is to increase earned revenue through ticket, concession and other sales, as well as through contributed revenue, e.g., increased donations and legacy giving. Both emphasized the importance of building relationships and promoting transparency with donors.
“That approach is working,” said Dubon. We’ve seen meaningful increases in giving, including a recent $5.1 million gift from one of OSF’s largest and most generous donors, Bertie Elliott, dedicated toward the 2026 season and her belief in the power of what we’re doing. Donors of all levels have been excited by this momentum and have stepped up in major ways, including increasing their giving and membership levels.”
Increased attendance
Describing them as “wins,” Dubon gave statistics on how the festival positively fared in 2025, with comments offered during and after his talk.
He emphasized in his report, that ticket sale revenue for 2025 has not been reconciled “but broadly speaking, ticket sales totaled $14.9 million. That’s a 42% increase in sales compared to 2024.”
“While 2025 isn’t finalized, I can confidently say we’re on track for our first surplus in given years, which is a huge step forward. However, that surplus is helped by an excess endowment contribution, which slightly skews the picture and underscores that we still have larger structural challenges to address. Still, it’s the most progress we’ve seen since 2020.”
Dubon said he envisions a bright future, if OSF continues to optimize earned income, price shows on demand, promote legacy giving and transparency with donors — “letting them know where we are and where we want to go.”
“Tim Bond, the artistic team, directors, actors, artisans, crews, designers, and staff have created literal magic on stage, often with limited resources,” said Dubon. “It’s easy to get distracted by big ideas during times of crisis, but there’s immense value in doing the fundamentals exceptionally well. At the end of the day, producing outstanding theater is the most powerful driver of recovery we have in this moment. When people leave saying, ‘Wow, I have to tell my friends,’ or ‘I need to see that again,’ that’s how we’re going to get the festival to a more stable place. We’re nothing without moments like that.”
Ashland resident Lucie K. Scheuer is a former copy editor and staff writer with the Los Angeles Times, where her work included features, reviews and a column on films in production. Email her at [email protected].
Correction: (Nov. 10) A previous version of this story reported that costumes, props and equipment are fixed costs. They are not. The story also reported that deficits were $2.8 million and $2.3 million, respectively. They were actually $2.3 million and $2.8 million, as shared with the reporter by Javi Dubon in an email. Also, a photo of an incorrect slide reporting that OSF was running at a deficit of $3 million in 2019 deficit has been removed. OSF actually had a surplus of $3 million, according to festival organizers.
Related stories:
Big Ideas: ‘Rebuilding the Oregon Shakespeare Festival, Part 2’ (Oct. 29, 2025)
New OSF interim executive director: A front row seat behind the curtain of world-class theater (Aug. 9, 2025)
Shakespeare Festival hires new artistic director with OSF roots (July 6, 2023)
