Boston Lyric Opera
The first objective is to gain generous contributions. The amount per donator, ration between new donators and new contacts (collection rate) and the total amount of the donators and contributions are ways to measure how this aspect is doing. Incentives for the staff should also be incorporated into these objectives, especially ones that steer the process towards multi-year support programs.
To measure the board involvement and recruitment, it is important that the reputation of the new board member is blameless and since operating in Boston, a local person with strong ties to the community would be better. To measure involvement the easiest way is to look the member’s activity, how many times they’ve …show more content…
Actually, the strategy itself was quite complex and multidimensional but the Balanced Scorecard gave it a framework that presented the new strategy clearly. BLO set three strategic themes that they felt were important in reaching their goals and they had objectives and measures of success for all of the themes. Using the Balanced Scorecard and the strategy map, BLO was also able to communicate the new strategy clearly to their staff, stakeholders, and other associates. The fact that BLO now had sufficient information of their organization and operations, it could draw new donors to them.
By using the Balanced Scorecard, BLO recognized their key success drivers and they started to focus on the activities that had the greatest impact on their goals. They all had a clear common goal and BLO’s staff worked cross-departmentally, motivationally to reach the goal of providing unique, quality opera in Boston.
However Jessica Del Sesto and Sue Dahling-Sullivan faced some difficult challenges and barriers to capture the above-mentioned benefits. There was some opposition from a few board-members of changing the organization’s governance structure, adapting the Balance Scorecard and managing an art organization by quantitative measures. These “old school” members did not understand that BLO could not compete with the great opera houses and they could not standout from the crow without differentiating in some way. Del Sesto and Dahling-Sullivan were still able