Burbank City Council
October 4, 2023

P .O. Box 3832, Valley Village, CA 91617
T: 818 392 4886
[email protected]
www.greenhouseproductions.com
a 501(c)(3) nonpro/f_it organization
February 6, 2023
To Whom It May Concern,
It is with great pleasure that The Greenhouse Arts & Media, a 501(c)(3) nonprofit organization, offers to the City of Burbank its proposal for a new Center for Creative Arts to be located at the Burbank Center Stage Theater at 555 N. 3rd Street, Burbank, California 91582.

The proposed Center will serve the educational, cultural, social, and recreational needs of the general public in the local community and the larger Los Angeles area with professional performances and projects in the various arts, including theater, music, film, comedy & spoken word, dance, and the visual arts.

The Center for Creative Arts will also serve as a venue for workshops, labs, and continuing professional education in the creative arts and media. It will provide dedicated space for creative artists and professionals from across the city to meet, collaborate, and work on their craft.

The Center will also be a venue for the various arts-related live events and programs The Greenhouse has developed over the past 16 years, including workshops, continuing professional education, mentoring, writers groups, participation labs, artist community events, performances, and more, as described further in this proposal. These events and programs have served thousands of creative artists since The Greenhouse’s inception in 2007.

The space will be managed and maintained by The Greenhouse for the benefit of both creative artists and for the larger local community, and will offer opportunities for other community, civic, charitable, and private activities through the rental of various parts of the space.

Thank you for your consideration of this proposal, and we look forward to sharing our vision for The Center for Creative Arts with you.

All my best,
Shun Lee Fong
President & Creative Director
[email protected]
Attachment 3
The Center for Creative Arts

PROPOSAL
RFP No. PR2023-45025-1019

TABLE OF CONTENTS
Table of Contents
Executive Summary
Mission Statement
Introduction
3roposer Identification
Previous Experience
Industry Accolades
Previous Sponsors
President & Creative Director
Board of Directors
Leadership Team
The Greenhouse Studios
Performances
The Spotlight Workshops
Greenhouse Programs
Creative Community Space
Community Engagement
Art Gallery
Photo Gallery
Financial Information
Financial Statement & Proposed Terms
Proposed Business Plan Summary
Anticipated Calendar of Events
Estimated Total Attendance
Target 9isitor 3rofile
Governance Board & Structure
Estimated Admission Prices
Rental Rates & Fees
i
1 3
4 5
6 7
9 10
11 14
18 20
22 24
27 28
29 30
31 31
32 33
33 34
34 35
36 i

TABLE OF CONTENTS
General 6taffing & 6ecurity 3lan
2rganizational &hart
&oncessions & 6ervices
Maintenance & 4uality 6tandards
MarNeting 3lan
Assumptions
6ublease & 2perating Agreement
3roposal ([ecution
&ontact Information
Attachments:
6ecretary of 6tate &ertificate of 6tatus
I56 /etter of 1onprofit 'esignation
([hibit (
Anticipated &alendar
([hibit )
(stimated Total Attendance
([hibit G
6ublease & 2perating Agreement
Addendum 1o 3
3
3
3 3

40 41
3
44 45
ii

EXECUTIVE SUMMARY
It is with great pleasure that The
Greenhouse Arts & Media, Inc. proposes
to the City of Burbank a new Center for
Creative Arts to be located at the
Burbank Center Stage Theater at 555 N.
3rd Street, Burbank, California, 91682.

Since The Greenhouse’s establishment
as a 501(c)(3) nonprofit arts organization
in 2007, it has worked with thousands of
creative artists in the Los Angeles area
and across the country through creative
projects & performances, mentoring,
community events, and continuing
professional education.

The Greenhouse’s commitment to
equipping and mentoring creatives of all
disciplines has garnered recognition by
and relationships with some of the most
successful professionals and companies
in the arts & entertainment industries.

And with that growth comes the
opportunity to create a new Center for
Creative Arts where The Greenhouse will
serve the educational, cultural, social,
and recreational needs of both creative
artists and members of the general
public.

As part of its management and
maintenance of this proposed Center,
and led by its team of creative
professionals, The Greenhouse will serve
the local community and the larger Los
Angeles area through a wide variety of
activities, as we will describe in further
detail in this proposal.

At the Center, The Greenhouse will
create and promote professional
performances and projects in the various
arts to be displayed for the benefit and
enjoyment of the general public. These
performances and projects will include
live theater, music, film, comedy &
spoken word, dance, and the visual arts.

These events will be fully accessible to
the local community and will include
discounted ticket prices for youth and
senior citizens
The Center will also be a venue for the
numerous arts-related events and
programs The Greenhouse has
developed for the local community over
the last sixteen years, and which have
served thousands of creative artists since
The Greenhouse’s inception. These
events and programs include the
Creative Lab, the Filmmakers Lab, The
Greenhouse Studios, Hollywood
Connect, The Spotlight Workshops, and
other labs, workshops, and continuing
professional education for the various
disciplines in the creative arts and
entertainment.

The Greenhouse will host networking
events, open-mic nights, and art gallery
exhibitions that will showcase the works
of local musicians, painters, sculptors,
photographers, and other artists. It will
also host events at which the local
community has the opportunity to meet
local creative artists.

The Greenhouse will provide creative
working space for artists and
professionals from across the city to
meet, collaborate, and work on their
craft and in community with one another.
1 EXECUTIVE SUMMARY
The Center for Creative Arts will include
a creative community space that will be
open to the public on weekdays, where
creative artists from across the city can
meet, write, collaborate, and work on
their projects, as well as purchase books,
magazines, and other resources geared
toward creatives. This community space
will cultivate a comfortable environment
that enhances creativity, drawing artists
from all over.

As part of its management of the Center,
The Greenhouse will also make the
facilities available for other creative
organizations, charitable nonprofits, and
civic & community groups to rent at
reasonable rates, including discounted
rates for organizations that meet
nonprofit and civic Tualifications
And with The Greenhouse’s expanding
work with high schools, universities, and
colleges, the Center will serve as a home
base for students – not only from the Los
Angeles area, but also those who come
from across the country for short-term
experiences of what is needed to thrive
in this creative center of the world.

Every time there is an event at the
Center, it will draw hundreds of people
to the area’s downtown shops,
restaurants, movie theaters, and other
businesses, boosting the Burbank
economy and local business owners.

As part of this proposal, The Greenhouse
intends to share revenue from the
activities at the facilities with the City of
Burbank. The Greenhouse also intends
to provide various improvements to the
space Ŋ for the benefit of its programs
and performances, as well as to enhance
the property’s value and prolong its
useful life.

Through the Center for Creative Arts,
The Greenhouse will make full and
proper use of the facilities on behalf of
the local community, opening its doors
once again to bring value and revenue
to the &ity of %urbanN, to eTuip the
community’s creative artists and
performers, and to provide the general
public with exceptional cultural
opportunities.
2 MISSION STATEMENT
The Greenhouse exists to bring creative artists to life.

Its mission is to maximize the potential and productivity of individuals engaged in the creative arts by equipping
them in all areas of life through relationships, mentoring, group discussions, and artistic projects & performances. It seeks to engage and enhance culture locally and globally through superior artwork and entertainment.

By seeking to value, serve, and equip artists and the artistic community, and by maintaining a commitment to
creativity and artistic excellence, The Greenhouse
provides people with the opportunity to create quality art & entertainment that explores meaning, moves emotion,
sparks imagination, and enlightens the soul.
3 INTRODUCTION
The Greenhouse Arts & Media is a 501(c)(3) nonprofit organization dedicated to the development and eTuipping of creative artists in the various disciplines of film, theater, music, the visual arts, and more :ith an emphasis on artistic e[cellence, collaboration, mentoring, and community, The Greenhouse is committed to developing artists who are prepared to create projects and performances that e[plore and display truth and beauty, effecting change in the arts & entertainment industries and benefitting both the local and global culture
The Greenhouse was created in -une 00 as an organization for /os Angeles creative artists and entertainment professionals of all disciplines to engage in collaboration, community, and continuing professional training in art, entertainment, creativity, and life
The Greenhouse started as a group of artists who wanted to collaborate creatively, to e[plore the intersection of their own talents with the broader arts & entertainment industries, and to serve one another and their communities :ith the support of companies and organizations such as &%6 6tudios, 1etŴi[, &anon, and significant industry professionals, the group TuicNly e[panded, attracting creative artists of all sorts from around the world with an environment that intentionally fosters artistic e[cellence, creativity, encouragement, generosity, service, and mentoring As of today, there have been over
,500 creative artists from all over the
world who have been a part of or have been impacted by The Greenhouse, its programs, and its projects & performances That number continues to grow as the organization e[pands
+ere you will find The Greenhouseōs proposal for its ne[t step of growth a
&enter for &reative Arts that not only continues its accomplishments in professional training and mentoring in the arts & entertainment, but also provides the local community with e[ceptional performances and projects through film, theater, music, and more
4 THE GREENHOUSE ARTS & MEDIA, INC
The Greenhouse Arts & Media, Inc. (”The Greenhouse”) is a 501(c)(3) nonprofit organization established in 00 and registered as a public charity in the 6tate of &alifornia on April 5, 00 (6ee ([hibits ; & <) It has been in continuous business since 00, that is, si[teen years The Greenhouseōs employer identification number ((I1) is 333 Its website is at www.greenhouseproductions.com.

Its social media accounts are as follows (or see the 45 codes below)

)acebooN
facebooNcomgroupsgreenhousearts
Instagram
instagramcomgreenhousearts
<ouTube
youtubecom#thegreenhouse
Twitter
twittercomgreenhousearts
/inNedIn
linNedincomcompany1315
The Greenhouse has no conŴicts of interest, past or pending litigation with the &ity of %urbanN or any other public or private entity, or any past or pending civil or criminal investigations, including any past or pending litigation related to the %urbanN &enter 6tage, 211I %85%A1. T2:1 &(1T(5 //&, &A35() %urbanN //&, or the %urbanN Town &enter The Greenhouse has no previous contract awards or amendments with the &ity of %urbanN in the last three years
Website
Facebook
Instagram
YouTube
Twitter
LinkedIn
5 PREVIOUS VENUE EXPERIENCE
Since its establishment in 2007, The Greenhouse has had the opportunity to work with other organizations’ properties and facilities as venues to run its various programs. Some properties involved leasing the space, while others were donated spaces given The Greenhouseōs nonprofit status Please see the list below and information for owners, managers, and/or primary contacts.

CBS Studios-Radford
Michael Klausman
President of Television Center
323-575-4200
[email protected]
The Shakespeare Club of Pasadena
Marco Barman
626-675-522
[email protected]
Liz Barman
626-423-3322
[email protected]
Netflix
Sommerly Simser-Roe, Production Finance
702-577-8894
[email protected]
First Presbyterian Church of Hollywood
Karen Covell
Director of Hollywood Prayer Network
818-508-6385
[email protected]
Orrill‘s Auction:

Chris Orrill, Owner
818-209-2088
[email protected]
Awaken Church
Alex Prokopchik
(323) 270-9662
[email protected]
6 INDUSTRY ACCOLADES
The value that The Greenhouse brings to the
Hollywood community is crucial to artists as
they strive to create their best work. Finding
one's tribe in the vast sea of the entertainment
industry is paramount to success and sanity.

The Greenhouse provides this and so much
more.

Kirstin Swanson Wilder
Vice President/Managing Edito r
Variety Magazine (1992-2016 )
David McFadzean
Film & TV Produce r/Write r
Home Improvement, Rosann e
What Women Wan t
If you have the passion to be an artist,
The Greenhouse will help you bring it to
life with its thriving community of
talented professionals interacting with
emerging artists. Their impressive
lineup of industry professionals leads to
the highest level of creative
development and hands-on experience.

If you intend to develop a career in
Hollywood, I truly believe The
Greenhouse needs to be on your
resume.

Shawn Broe s
Editor & Visual Effects Artis t
Blade Runner 2049, Dunkirk, I-Robo t
The Greenhouse Arts & Media community is
one of a kind in our industry. It's the best
networking, educational, and mentoring
group I've yet seen.

Brian Godaw a
Screenwriter & Novelis t
To End All Wars, The Visitatio n
The Greenhouse is a source of great help for artists like me, not only in craft, but also in guidance and mentorship.

Its approach is holistic: professional, practical, and
personal. I have taught at some sessions and I have been taught — and I can honestly say there is nothing quite like it out there.

Mark Joseph
Film Produce r
Reagan, The Vesse l
The Greenhouse is a very important part of the
Hollywood community because it provides
guidance especially to young people who are
making their way through the labyrinth that is
Hollywood. The Greenhouse also provides a sound
ethical framework so that young people don't have
to sell their souls to succeed. They're doing
important work.

The impact of The Greenhouse on
the culture of Hollywood is
remarkable. Shun Lee Fong and The
Greenhouse team have done a
brilliant job bringing in the most
innovative, creative, and successful
voices in the industry to speak into a
new generation of filmmakers,
producers, and creative leaders. The
Greenhouse is filling a critical role in
Hollywood, by providing continuing
education, production opportunities,
and networking to thousands of
up-and-coming filmmakers,
producers, and creative leaders.

Phil Cooke, Ph.D.

Filmmaker, Autho r
& Medi a Co nsultan t
7 Ralph Winte r
Film Produce r
X-Men, Fantastic Fou r
Planet of the Ape s
The Greenhouse is a great place to
start and connect into Hollywood; go
there to do the work of figuring out
how \ou fit and use \our Eest skills 7he
leadership and experts you meet are
telling it straight
John Ove r
Emmy Award-Winnin g
Producer, Director & Designe r
Animaniacs, Tiny Toon s
The Greenhouse is a shining example of
what the creative community in Los Angeles
could and should Ee doing to nurture and
support new talent in the Eusiness of
stor\telling 6hun /ee and the memEers of
his creative team put a warm and responsive
face on a Eusiness that often seems faceless
and unresponsiYe 7here is no limit to how
effectiYe 7he Greenhouse could Ee +ow we
tell our stories is eYolYing, Tuickl\ Ŋ come Ee
a part of defining this new world with \our
creatiYe famil\ at 7he Greenhouse
Erik Kritze r
Talent Manage r
LINK Entertainmen t
The Greenhouse acts like a training
program for an\one that wants to Ee
in the Eusiness or has Eeen in the
Eusiness Eut needs to learn, find
mentors, and meet more people
that the\ can team up with 2ur
Eusiness can get Yer\ frustrating
without haYing access to the aEoYe
The Greenhouse is the perfect
organi]ation to make things happen
Dan Ruppl e
Producer & Write r
Comedia n
CEO of Mastermedi a
For all aspiring storytellers, The Greenhouse is essential! The resources The Greenhouse team proYides goes Ee\ond fueling e[cellence of craft the\ create
a communit\ where collaEoration and relationships thriYe Peggy Ruppl e
Associate Directo r
Windrider Foru m
Sundance Film Festiva l
&
Sean Gaffne y
Film & TV Write r
Story Administrato r
Warner Bros. Feature s
$ ke\ to finding success in +oll\wood ŋ Eoth
personal and professional success ŋ is finding
a communit\ ŋ one that gets \ou, that pushes
\ou to grow, that celeErates \ou, that refreshes
\ou 7he Greenhouse is the place to find that
communit\ ,t is not Must an oasis ŋ it is a Yital
aspect of the fulfilled life of an artist

INDUSTRY ACCOLADES
8 PREVIOUS SPONSORS
The Greenhouse has had the honor of being sponsored and/or supported by a number of prestigious and established organizations throughout the arts & entertainment industry, including the following:
9 PRESIDENT & CREATIVE DIRECTOR
animated series The Dead Sea Squirrels and the feature films Sketch, Crosspoint, and Sun Moon, and spends time as a musician on stage and in the studio. He has written a number of articles, screenplays, and other worNs and is the author of The Saints & The Poets A popular speaNer on creativity & leadership, he teaches entertainment law at (lon 8niversity, -ohn 3aul the Great 8niversity, Asbury 8niversity, and /ipscomb 8niversity 6hun /ee has served as the 3resident and &reative 'irector of The Greenhouse Arts & Media since its inception in -une 00 6ince then, he has successfully guided and e[panded the organization by creating a number of acclaimed programs, performances, and projects, including The Greenhouse 6tudios, The Greenhouse 3roduction 3rogram, The &reative /ab, The 6potlight :orNshops, The )ilmmaNers /ab, The (ntertainment Alliance Mentoring 3rogram, The Greenhouse
Music, and more 8nder his leadership, The Greenhouse and its team have mentored and impacted over
,500 creative artists from around the world 'uring that time, he has produced andor directed over 10 short films, produced numerous music concerts and other entertainment community events, and led interviews of some of the industryōs most successful creative professionals Added to these creative endeavors, he has regularly taught worNshops on entertainment law, copyright & intellectual property, and film financing & distribution.
:ith his bacNground in business, law, and the arts, and as an accomplished actor, writer, musician, and filmmaNer himself, 6hun /ee has deep insight and vision for eTuipping and mentoring artists, identifying and cultivating talent, leading effective creative teams, and developing high Tuality projects and performances that shape community and culture 13
 (office)
3103515 (mobile)
shunlee#greenhouseproductionscom

SHUN LEE FONG
Shun Lee is an actor, writer, director, and the
creative principal of Genuine 3roductions, //&
He graduated summa cum laude from
&reighton 8niversity with a degree in journalism
& mass communications After obtaining a -uris
'octorate at the 8niversity of Iowa, he practiced
law for 5 years, focusing on intellectual property,
media law, and corporate transactions, before
pursuing his professional creative career A
member of 6AGA)T5A, he has performed in
numerous film, theater, commercial, voiceover,
and print projects +e is a producer of the
10 BOARD OF DIRECTORS
is a multi-award winning actor with a long
career in memorable roles for
blockbuster movies. He starred as the
goofy zombie ‘Billy Butcherson’ in Hocus
Pocus, and then was thrust to the
forefront as the fishman sideNicN, ŌAbe
Sapien’, in Hellboy. He rose to new
heights with his iconic roles as the
ŌAmphibian Manō in Guillermo del Toroōs
Academy Award 01 %est 3icture The
Shape of Water, and as Ō3anō and the Ō3ale
Manō in the multi2scar winning Pan’s
Labyrinth. He was the ‘Silver Surfer’ in
Fantastic 4: Rise of the Silver Surfer, and
reprised ŌAbe 6apienō in Hellboy II: The
Golden Army. He played roles in Legion,
Crimson Peak, and Nosferatu T9 critics
loved his award-winning work in the
highly praised CBS series Star Trek:

Discovery as Commander Saru. He also
appeared in Fear Itself, Buffy the Vampire
Slayer, The Neighbors, The Strain, Arrow,
The Flash, and as the helpful alien
‘Cochise’ in Steven Spielberg’s series
Falling Skies.
has been a series regular on si[ T9 series,
including five years as Andy Griffithōs law
partner on Matlock and three years on
the Emmy-winning St. Elsewhere. Her
many episodic roles include Frasier, The
Mentalist, and a recurring role in Scandal.
+er films include First Lady and Faith,
Hope & Love, Heritage Falls, Heaven
Bound, I’m Not Ashamed, and Hallmark’s
Christmas with a Capital C, Christmas for
a Dollar, and Christmas Oranges. She
directed her first feature film, Damaged
Goods, and is producing and writing
several film and T9 projects The
best-selling author of two books
published by 3enguin 5andom +ouse,
The Wonder of His Love and Beauty by
the Book, she is a frequent and popular
speaker at conferences, colleges, and
corporations nationwide. She serves on
%iola 8niversity 6tudio TasN )orce, 'ove
)oundation Advisory %oard, and 6AT
satellite T9 broadcasting in the
Middle (ast and 1orth Africa

DOUG JONES NANCY STAFFORD
11 BOARD OF DIRECTORS
is a 'irectors Guild of America first
assistant director, mentor, and lecturer.

His TV credits include Salem, The Player,
A to Z, Murder In the First, Nashville,
Rizzoli & Isles, Lie to Me, Life, Monk,
Deadwood, House M.D., Grey’s Anatomy,
CSI and Boomtown. Film credits include
Once Upon a Time in Mexico, Spy Kids 2,
Thirteen Days, Waterworld, Clear &
Present Danger, G.I. Jane, That Thing You
Do, and Stand By Me, among many
others +e coproduced his first film, The
List, in 2006, and recently produced What
Remains, starring the late Anne Heche.

He has been a guest lecturer at University
of Texas; Branford College-Yale, Belmont
University, Biola University, Lipscomb
University, Eastern University, Azusa
3acific 8niversity, &hapman 8niversity,
Vanguard University, Compass College of
Cinematic Arts, and L.A. Film Studies
Center. He was on the advistory board of
Compass College of Cinematic Arts and
holds a position on the 1st Assistant
Director/Unit Production Manager
Committee of the DGA.
is an award-winning actor, photographer
and director. He’s internationally known
for his headshot, advertising &
documentary photography. His clients
include CAA, ICM, WME, NBC, CBS, A&E,
Bravo, and more. Voted as one of the
“Best Headshot Photographers in L.A.” by
BackStage West magazine, he was
honored by the Photography for Social
Change Foundation as one of the top
100 documentary photographers in the
world. His acting credits include Gone
Girl, The Hulk, For The People (putting
him in contention for an Emmy
nomination), SWAT, Grace & Frankie,
Agents of SHIELD, Code Black, Scandal,
Black-ish, Grey’s Anatomy, CSI: Cyber, The
Newsroom, Bones, Criminal Minds,
Dexter, House M.D., 24, Rules of
Engagement, -ustified, and more. He
lectures regularly for SAG-AFTRA and
other organizations on image & type and
acting. He’s written several books,
including The Working Actor’s Guide to
LA. He is the founder of Be A Working
Actor Studios.

KOREY POLLARD

MARK ATTEBERRY
12 BOARD OF DIRECTORS
grew up in South Central Pennsylvania
and attended school in upstate New York,
including several months at the New York
School of Urban Ministry in New York
City. Among her many travels, she
studied in Sydney, Australia, exploring
film production +er wide range of
interests has connected her love for
serving people in the inner city,
theological studies, and her ability to
create film and other media productions
After serving in an administrative position
in Pennsylvania for a few years, she
pursued her long-time dream of living
and working as a producer in the
+ollywood film industry 6he loves to
enable others to put their dreams into
motion and to encourage and challenge
people to use their creative abilities to
transform culture in +ollywood and
around the world. After her time in Los
Angeles she returned to her home state,
3ennsylvania, continuing in film
production and property management.

She currently is the associate producer
on the feature film Crosspoint and a
producer on the feature film Frustration.
is an actor, writer, director, and the
creative principal of Genuine
3roductions, //& +e graduated summa
cum laude from Creighton University with
a degree in journalism & mass
communications. After obtaining a Juris
Doctorate at the University of Iowa, he
practiced law for five years, focusing on
intellectual property, media law, and
corporate transactions, before pursuing
his professional creative career. A
member of SAG-AFTRA, he has
performed in numerous film, theater,
commercial, voiceover, and print
projects +e is a producer of the
animated series The Dead Sea Squirrels
and the feature films, Sketch, Crosspoint
and Sun Moon, and spends time as a
musician on stage and in the studio +eōs
written a number of screenplays, articles,
and other works and is the author of The
Saints & The Poets. A popular speaker on
creativity & leadership, he teaches
entertainment law at Elon University,
John Paul the Great University, Asbury
University, and Lipscomb University.

CAREN KELLY

SHUN LEE FONG
13 KEY LEADERSHIP
Sheryl Anderson leads The Greenhouse’s Catalyst Writers Group. She is a television writer/producer; she is currently the showrunner of Sweet Magnolias on 1etŴi[ +er credits include Parker Lewis Can't Lose, Charmed (the first one), Flash Gordon, and Ties That Bind. She has sold pilots to SyFy, Lifetime, and NBC, and written movies for /ifetime, +allmarN, and 83tv
Abbie Cobb leads The Greenhouse’s Creative Lab. She is an actress and acting coach, with roles in theater, films, and T9 shows, including NCIS: Los Angeles, Suburgatory, American Horror Story, Grey’s Anatomy, The Mentalist, True Blood, 90210, The Secret Life of the American Teenager, and feature films liNe Moms’ Night Out and The Umbrella Man 6he landed her first role on 'isneyōs StarStruck and continued worNing on shows liNe Pair of Kings, Good Luck Charlie, It’s Christmas!, Jonas, and Imagination Movers. She spends time mentoring and coaching actors at The AFA Studio, an acting studio she cofounded A popular Neynote speaNer at conferences & worNshops, she shares her booN, Stuck on a Ferris Wheel, to inform and encourage actors.

Colleen Darling is a voiceover actress, theater director, and the 'irector of 2perations for The Greenhouse +er e[perience is multifaceted and includes stage, film, and T9 6he has done everything from travel with a repertory theater company to worNing at :arner %ros 6tudios +er theatrical e[perience encompasses acting, producing, directing and stage managing. An abbreviated list of her theatrical projects includes Gypsy, The King and I, Watch on the Rhine, The Wizard of Oz, and Cinderella &olleen also has an e[tensive bacNground in film & television production and has worNed in front of and behind the camera 6he spent seven years worNing at :arner %ros and gained invaluable e[perience regarding the inner worNings of an international production and distribution company.

Marianne Haaland is an actress, director, and producer who moved to the 8nited 6tates from 1orway Marianne has studied acting e[tensively, and she also produced and wrote a few short films before recently venturing into directing 6he plans to continue directing, as she loves the creative process involved, and especially loves worNing with and mentoring actors Marianne stays busy as a mom to two sweet little boys, and is always up for collaborating creatively +er goal is to provide a little bit of joy to the world with wholesome family comedies and content.

Dan Hook is a cameraman, editor, and motion graphics artist. Originally from Australia, his passion for film started in 001 through his local church There he was able to grow his sNills, which led to him picNing up crew positions for local feature films That started his venture into writing and directing his own short films, with his first short winning first prize in the 6hort 2n &ompassion film festival 6ince 001, he has worNed in Australia, the 8., and the 86A on multiple projects spanning feature films, short films, commercials, television shows, web series, and news casts +e moved to /os Angeles in 01, where he has furthered his passion for film, and continues to worN for local media houses, including 9ariety Magazine, Anti9illain Media, and Filmpool.
1

KEY LEADERSHIP
Chuck Hayes is a writer, actor, grip, and electric technician for the film industry, as well as a freelance information technician +e is from the Maryland'&9irginia area and moved to /os Angeles in 00 to pursue writing, acting, and other creative opportunities +e has performed in various childrenōs theatrical pieces, live standup comedy, improv and television & screen acting +e has written fulllength features, Greenhouse short films, and childrenōs animation
Gary Planté has worNed in the entertainment industry for more than 30 years +is multifaceted e[perience started with lighting design for off%roadway theater productions in 1ew <orN After moving to /os Angeles, he became a freelance photographer & videographer A partial list of photography credits include Teen Beat, Teen Machine and Tiger Beat, as well as shooting behindthescenes production stills for commercials +is videography e[perience led him into producing -unior & Miss Teen 3ageants for two years :hile his e[perience is mostly behind the camera, he ventures in front of the camera occasionally as well Most recently, he was a photo double on Sons of Anarchy and a guest star on Ryan’s Mystery Playdate Stephanie Purcell is the chapter director for The Greenhouse Atlanta :ith a degree
in communications and a bacNground in journalism, she uses her sNills in award winning documentary filmmaNing with credits including worN on two (mmywinning documentaries
The Inaugural Ride to Freedom with Barack Obama and Madagascar:

Conservation vs. Survival 6he has produced and directed her own documentary passion project, To Love & Support: The American Military Spouse, which aired on 3%6 and won her awards at the +ollywood International Independent 'ocumentary Awards 6he had the pleasure of worNing on the %%& & 6howtime documentary, Whitney: Can I Be Me?, chronicling the life of :hitney +ouston 6he worNed on several shows including The Late Show with David Letterman, Wahlburger’s, Pit Bulls and Parolees, American Idol, and So You Think You Can Dance 6he also produced international events liNe the The 1ew <orNer )estival, (uropean &hampionships, 6pecial 2lympics :orld Games, and Artistic Gymnastic :orld &hampionships 6tephanie is a member of the 3roducers Guild of America and is the /ead )acilitator for the 3GA 1ational (mployment 6peed 1etworNing (vents Sommerly Simser-Roe is a /as 9egas native who started her career as a reporter for 135, while still in college in Te[as 6he attended grad school in 9irginia, receiving an M)A in 3roducing for &inema & Television %efore finishing her degree, she moved to /os Angeles, where she landed an internship on a &%6 show that rolled into a job 6ince then, she has worNed for a few of the industryōs titans Ŋ 3aramount 3ictures, 6ony 3ictures, and Imagine (ntertainment Ŋ before landing in her current role at 1etŴi[ 6he also volunteers with the Miss America 2rganization, the %oys 6couts of America and the Girl 6couts of the 86A In 2ctober 01, 6ommerly was listed as one of the ŏ10 Assistants to :atchŐ by Variety Magazine
15 KEY LEADERSHIP
Drew Lahat started his path in production at the TeleNoar, a youth group that produced a national cable TV magazine in Israel. This opportunity turned into four exciting years and over a hundred productions, shooting and editing news items, comedy sNits, live multicamera shoots, and short films After completing a film & video degree at &olumbia &ollege &hicago, 'rew moved to /os Angeles and worNed for Homerun Media as a systems integration specialist, and spent three years at Precision Productions+Post, providing engineering, camera, post, and color grading services for broadcast and commercial clients such as 0th &entury )2;, Adidas, and +onda A few of his projects include filming (pson commercials, editing the feature documentary Santiago Files (narrated by Malcolm McDowell), and color grading the Back to the Future official documentary Outtatime: Restoring the DeLorean.

Rich Renken has spent a lifetime in music, working professionally in a dizzying number of areas of the industry. His incredible depth of experience starts from an early age, from mixing live sound (among others, his mom had a classic rock band!) to playing rock and roll (his college band featured Bryan Carlstrom, future producerengineer for Alice in &hains and 2ffspring), to attending the 'icN Grove School of Music (for bass and music engineering), to building guitars with luthier e[traordinaire -ames Tyler, to mi[ing andor mastering projects for artists, broadcast, and '9' in music and film +e is a member of A6&A3 and the 5ecording Academy (Grammys)
Paul Rose has been a storyteller for most of his life 3rior to moving to /os Angeles, he split his time between artistic and professional endeavors, serving as a sheriff’s deputy, forensic investigator, train conductor, and TV producer. He spent 17 years as a stage actor and playwright, as well as writing, editing & producing commercials, promos, and industrial training videos In 01, he produced & directed Not Safe in My Own Backyard, an awardwinning training film about domestic human trafficNing for the 86 'epartment of -ustice +e currently serves on The Greenhouse leadership team, utilizing his 20 years of expertise in creating live TV to produce the live Greenhouse e[perience +e is also the founder of 1330 3roductions, a company dedicated to helping small businesses and nonprofits tell their stories in a variety of mediums.

Michael Mitchell is a graduate of (mory & +enry &ollege, after which he worNed as the 2vernight 3roducer for the morning news for 1%& affiliate :&<% 1ews&enter 5 +e moved to /A in 00 to pursue his career in film and television and has worNed on numerous projects from feature films to music videos in a variety of positions, including as the Audience &oordinator for Wheel of Fortune and Jeopardy. He coproduced two awardwinning claymation projects, Stranded and Dragon Season, and is also coowner of <ou1iTue 3roductions, which currently produces the children’s book series, Charlie The Short Necked Giraffe. He also teaches classes on film & television production for high school students in the /os Angeles 8nified School District.
16 KEY LEADERSHIP
Yolente McPherson is an actress born and raised in the 1etherlands 6he first became interested in pursuing acting as a career when she moved to the 86 as a high school e[change student in Iowa and won an All6tate competition for acting 6he studied acting in college, a theater conservatory, and the 6anford Meisner &enter <olente has appeared in 'utch and American commercials, theater, film, and television %esides acting she loves hiNing, photography, traveling and is passionate about ecological and zero-waste strategies.

Brent Trotter is a professional commercial, promotional media, and film writer & producer from Indianapolis In addition to producing content for brands such as /A Metro, 1iNe, and /A&TMA, he is a freelance writer for Comic Book Resources, a premiere comicsrelated site, and Spinoff Online, a T9 and film daily news website %rent also has film credits to his name, including as writerproducer for the feature films Lucifer and Bodysnatch.

Cameron Dunbar is a cinematographer and photographer )rom &leveland, 2hio, he became obsessed with cinema, music, and theatre, finding any opportunity to engage in those pursuits +is interest in cinema led him to photography, worNing for his Midwest university, creating images to use for promotion and documentation +e relocated to 1ew <orN &ity to hone his sNills, producing multiple avantgarde short films, collaborating with the /ee 6trasberg Institute, and worNing with successful commercial and cinema production companies :hile living in 1ew <orN, he produced the bulN of his street photography that would later be e[hibited in %everly Hills under the title Finding Light After selfproducing the independent film That’s Why You Don’t Want Me, he transitioned to /os Angeles, with an emphasis on fashion and portrait photography 6ince then, &ameron has collaborated with and created content for The American )ilm Institute, The 6undance Institute, 9enia &ollection, %etsy )lores -ewlery, and numerous other designer brands, in addition to being commissioned to produce and direct worN for multibillion dollar corporations Joel McCrary has worNed in arts & entertainment for over 35 years as an actor, writer, and director +is film credits includebThe Princess Diaries (1&2),bAmerican Beauty, Mystery Men, Best In Show, Alien Raiders,bandbThorb+is T9 roles includeb-ustified, Cold Case, Kickin’ It, Boston Legal, The Middle, Seinfeld, The Bernie Mac Show, 3rd Rock From The Sun, Malcolm in the Middle, Dwight in Shining Armor, Trial & Errorbandb The Big Bang Theory +is voiceover roles includebThe Smurfs (1&2), Over the Hedge, Howl’s Moving Castle, Charlotte’s Web, The StarbandbSmallfoot +e has been the voice of ŏ%alooŐ (from 'isne\ōsb-ungle %ook) for over 0 years +e is an original member of the critically acclaimed comedyimprov group +ouseful of +onNeys and was director of InŴatable %ettyōs improvcomedy showsbTruth or DarebandbThe Rainbow Squad Rides Again +e is the cowriter, director, and producer ofbFellowship! The Musical Parody of “The Fellowship of the Ring”bwhich has won a 6aturn Award andbLA Weeklyōs Musical of the <ear +e also was a writer on 'isney ;'ōsbKickin’ It!bfor four seasons and a producer, writer, and director forbGamer’s Guide to Pretty Much Everything! 17 THE GREENHOUSE STUDIOS
The Greenhouse will utilize the Center for Creative Arts to continue its longstanding Greenhouse Studios series – hour-long interviews with well-established creative professionals from across the arts & entertainment industries, covering a broad range of topics pertaining to what it takes to be effective as an artist or entertainment professional.

These interviews are geared towards creatives and are also open to the local community. Because of the Studios’ unique atmosphere of generosity and open dialogue, these presentations have attracted all sorts of creative artists, from people new to the industry to long-time veterans.

The Greenhouse Studios are also taped and recorded as a multi-camera shoot, giving great opportunities for the creative artists in the community to collaborate, contribute, and advance their skills in production, camera work, set & lighting design, acting, hosting, music, and more. These opportunities also help them to build their professional résumés and demo reels and obtain production credits. The recordings are then made available through The Greenhouse YouTube Channel and other platforms, including live streaming. This original content helps to mentor and instruct creative artists not only in Los Angeles, but across the country and around the world.

The typical attendance of a Greenhouse Studio is in the range of 175 to 250 people, and often more.

The Greenhouse Studios with Shun Lee Fong.

Clockwise from left: With guests Chris Buck
(Academy Award-winning director, Frozen,
Tarzan), Lou Diamond Phillips (actor, Longmire,
La Bamba), Rod Roddenberry (producer, Star
Trek), Michael Rooker (actor, Guardians of the
Galaxy, The Walking Dead). See sample videos
by scanning the codes below.
18 PREVIOUS STUDIO SPEAKERS
The following are just a few of the speakers who have been guests at The Greenhouse Studios:

Chris Buck
Academy Award-winning director, Frozen, Tarzan
Ralph Winter
producer, X-Men, Wolverine, Fantastic Four, Planet of the Apes Michael Rooker
actor, Guardians of the Galaxy, The Walking Dead
David McFadzean
writer & producer, Home Improvement, What Women Want
Bill Farmer
actor & Disney Legend, The Goofy Movie, Toy Story, A Bug’s Life Tony Hale
actor, Arrested Development, Veep, Stranger Than Fiction Dan Rupple
producer & comedy writer, The Price Is Right
Larry Nicholas
stunts & coordinator, Home Alone, The Truman Show, Matrix 3 Jen Lilley
actress, Days of Our Lives, General Hospital
Lou Diamond Phillips
actor & director, Young Guns, La Bamba, Longmire
Sean Gaffney
writer & Warner Bros. feature film story analyst
Melissa Glenn
writer & producer, Leverage, Hawaii Five-O
Steven Williams
Director of Sound Operations, NBC/Universal, The Book of Eli Dawn O’Keeffe
film producer, Go Public, Science of Star Wars
Dr. Stan Williams
author & story consultant, The Karate Kid, Men In Black 3 Shawn Broes
visual FX artist, Thor, 3:10 to Yuma, O Brother, Where Art Thou? John Over
Emmy Award-winning writer & director, Animaniacs, Tiny Toons Harry Friedman
Emmy Award-winning producer, Wheel of Fortune, Jeopardy! Doug & Debbie Schwartz
producers & writers, Baywatch, Soul Surfer
Doug Jones
actor, The Fantastic Four, Pan’s Labyrinth, The Shape of Water Brian Godawa
screenwriter & director, To End All Wars, The Visitation Allen Covert
writer & producer, Happy Gilmore, 50 First Dates
Rod Roddenberry
executive producer, Star Trek: Discovery, Trek Nation
Billy Weber
Academy Award-winning film editor, Top Gun, Thin Red Line Terry Botwick
producer & former Vice President of CBS Entertainment
Dean Batali
writer & producer, That 70s Show, Buffy the Vampire Slayer Erik Kritzer
talent manager, LINK Entertainment
Tom Strahle
guitarist & songwriter, Justin Beiber, Taylor Swift, John Tesh Felicia Linskey
Emmy-nominated hair/makeup, Arrested Development
Kirstin Wilder
managing editor of Variety Magazine
Lita Minger
props master, Fuller House, The Odd Couple, Cold Case
Bobette Buster
Pixar story consultant
Mark Joseph
film & music producer, The Chronicles of Narnia, Holes, Ray Phil Cooke
film producer, The Better Hour, Let Hope Rise
Candi Milo
voiceover actor, Dexter’s Laboratory, Spirited Away
Sharif Atkins
actor, The Good Doctor, White Collar, E.R.

Charles Baker
actor, Breaking Bad, The Blacklist, Ain’t Them Bodies Saints Edwina Findley Dickerson
actress, Get Hard, If Loving You Is Wrong
Paul Ozzimo
special FX designer, Star Trek, Jurassic World, The Avengers Jim Thornton
announcer & voiceover actor, Wheel of Fortune
Paul Pearson
prop designer, The Aviator, Men In Black, 24, Lost
Michael Shawver
film editor, Black Panther, Creed, Godzilla
19 PERFORMANCES
The Greenhouse is dedicated to enriching the lives of audiences and participants through entertainment, thoughtprovoNing stories, and firsthand involvement It is our firm belief that a community is enhanced through the Tuality of its performing arts Ŋ bringing people together to e[plore ideas, meaning, imagination, and emotion through wonder and storytelling
As such, we will utilize The Center for Creative Arts as a venue to showcase original productions and performances in theater, standup comedy, spoNen word, film, multimedia, music, and more for the benefit of the community :ith a commitment to professionalTuality productions, high ethical standards, diversity in representation, and technical innovation, The Greenhouse will worN to create a nationally recognized performance space that will offer the best in talent, both from the local /os Angeles area and beyond, and drawing audiences to the venue and surrounding businesses
The Greenhouse will also work with local high schools, colleges, and universities to invite the top up-and-coming performers from the surrounding schools to engage in the larger arts & entertainment community
Photos are representations of proposed types of performances & projects. 20 PERFORMANCES
Photos are representations of proposed types of performances & projects. 21 THE SPOTLIGHT WORKSHOPS
The Greenhouse will utilize the full space of
the Center for Creative Arts to continue The
Spotlight Workshops, its series of
professional education and training
workshops for the creative community. This
program offers classes and workshops from
working and successful professionals across
the artistic disciplines nearly every weekend.

With the constantly changing nature and
technology of the arts & entertainment
world, our goal is to give creative artists a
comprehensive and continuing education in
their professions by encouraging them to
take classes across multiple disciplines. Each
three-hour workshop focuses on a different
area of the creative professions, including
film financing, distribution, auditions,
pitching, branding, emerging technology,
and much more.

We keep the cost to attend these workshops
low in order to provide access no matter the
attendee’s economic background. We also
provide membership opportunities and
other discounts to enable as many people as
possible to attend. The attendance of a
Spotlight Workshop often depends on the
topic, with typical numbers ranging
anywhere from 30 to over 100.

With the additional space, The Greenhouse
will be able to offer even more classes and
workshops to students and the community
in the various artistic disciplines, including,
but not limited to:

Film & Television
Theater & Acting
Music Performance/ Recording
Dance & Movement
Writing & Screenwriting
Photography/Cinematography
Above
Sheryl Anderson
NetŴix
television showrunner, Sweet
Magnolias
teaches a Spotlight
WorNshop on story structure for
television.

Above: John Over (Emmy
Award-winning director &
storyboard artist
teaches a
Spotlight WorNshop on visual
storytelling.

Left
Phil CooNe
film producer

teaches a Spotlight WorNshop on
branding and marNeting for
creative artists.
22 PREVIOUS WORKSHOPS
The following are just a few of the professional workshops held at The Greenhouse:

THE ART OF VISUAL STORYTELLING: How do you tell a powerful story visually? How do you build powerful interest or momentum in a scene without changing a word of your script? These are the creative questions directors and storyboard artists get to wrangle with in film production.

PRODUCING YOUR FIRST LOW-BUDGET FEATURE: In this session, we'll break down the low-budget indie feature into its most basic elements - pre-production, production, and post - and provide first-time feature producers simple tips and resources for navigating each of these stages successfully.

UNDERSTANDING THE MINDS OF HEROES & VILLAINS: Whether you’re a writer, filmmaNer, actor, or other type of storyteller, every story you create is ultimately about heroes & villains, protagonists & antagonists. +ow those characters thinN determines their motivations, their actions & their choices.

CREATING THE BUDGET FOR YOUR FILM: Creating a budget and production plan for a proMect is no small tasN. These are critical elements, fundamental building blocNs to move financing & production forward. Learn both the theory & techniTue of building your budget and production plan.

THE DIRECTOR’S TOOLBOX: A director’s level of creative leadership is what can maNe or breaN a film. Itōs a complex Mob, and only those who are fully prepared and equipped — artistically, professionally, emotionally, and relationally ŋ stand out in this competitive field.

DISTRIBUTION FOR INDEPENDENT FILMS: LetŌs cover the essentials of film distribution and the steps to take to make sure your movie gets out there to the theaters, the streaming platforms, and other outlets.

CINEMATOGRAPHY & THE CAMERA: The most important thing is what shows up on screen. A master cinematographer who has worNed on some of the biggest films in cinema history covers all the elements of effective cinematography.

THE SKILLS & SECRETS TO WRITING ONE-HOUR TELEVISION: A TV showrunner shows you the process of getting into a writers’ room, with a discussion on what it takes to be a successful candidate, how to present yourself to a showrunner & how to maNe yourself invaluable once youōre in.

HOW TO CREATE THE PERFECT HOLLYWOOD PITCH: Effective pitching is a crucial sNill. +ere weōll walN through the components of a strong pitch, provide you with tips on pitching effectively, and offer you an opportunity to practice and get feedbacN.

HOW TO GET AND KEEP THE RIGHT TALENT AGENT: What is an agent evaluating when considering you for representation? It's not just strictly talent! In this seminar you'll learn to understand the marketplace, the money, where your talent fits in, and how to promote what you uniTuely have to offer.

HOW TO BOOK YOUR AUDITION: Get the gig! Here we address topics such as your characterōs wants vs. needs, exercises for learning your lines, being prepared for adMustments, and studio/networN testing.

TAXES FOR CREATIVE & ENTERTAINMENT PROFESSIONALS: In this workshop, you’ll learn how to take advantage of the new changes and intricacies of the tax laws ŋ and how you can use the tax laws to taNe control of your creative career.

CINEMATIC SCREENWRITING: PROFESSIONAL PAGECRAFT: Have you ever struggled to get your brilliant, compelling, emotional vision for a scene onto the page" Learn how to get the words to do what you want with page craft that will set your writing apart!
PROFESSIONAL COMEDY SKETCH WRITING: Learn how the pros add humor and uniTue creativity to every comedy script or sNetch they worN on.

Learn how to play to the top of your audienceōs intelligence by writing set-ups, characters, and jokes that are accessible, nuanced & positive – and very funny.

THE MUSIC ADVANTAGE: MAKING MEDIA STAND OUT: Learn the best practices in using music in media – how to simplify this aspect as a content creator, with an understanding of the practicalities and artistic considerations around music choices to make your projects more impactful and successful.

MAKING YOUR MARK AS A VOICEOVER ACTOR: Learn all the ins and outs of the voiceover acting world: the most effective ways to break down a voiceover script, how to develop your talent to stand out, how to find voiceover jobs, and how to do the killer audition to help you book the gig! FILM FINANCING, PRE-SALES & COMPLETION BONDS: Every movie involves multiple agreements with financiers, investors, distributors, and insurance guarantors. *ain a worNing understanding of how all of the parties fit together and the agreements that will be reTuired.

LEGAL ISSUES FOR FILM PRODUCERS & SCREENWRITERS: Movies involve multiple agreements with writers. Learn to negotiate this process and have a working knowledge of the various contracts that are used for story development.

THE BUSINESS SIDE OF ACTING: If you want a successful acting career, you need more than just talent – you have to understand how the acting business works! This workshop provides a basic understanding of everything in the acting business Ŋ from getting an agent to landing an audition.

FILM BUSINESS PLAN BREAKTHROUGH: A concise, thorough and compelling business plan is the essential document necessary to raise the funding to maNe your film. This worNshop will be a step-by-step guide of all necessary sections for a winning business plan.

TWENTY SECRETS OF SUCCESSFUL SCREENPLAYS: Focus on a simple, logical and structured system of structuring a story that organically connects characters and audience by premises characters’ arcs, goals, subplots, metaphors and conŴicts.

VOCAL HEALTH FOR ACTORS & SINGERS: A professional vocal coach offers all the tips & exercises needed to Neep a voice strong and overcome tension. 23 The Creative Lab is an intensive course that brings
committed actors and writers together to conceive and
create short films, all while being coached and mentored by industry professionals. At the end of each month-long
program, the lab participants leave with I0Db credits, hard copies of their short films, and the ability to use the material in their demo reels. The actors get personali]ed attention from the coach and with an emphasis on scene worN, while the writers construct multiple scenes, creating characters and stories tailored to the strengths of their individual actors, with the guidance of an industry writing mentor. The scripts are honed and worNshopped before being produced into finished short films by a professional film crew.

Together the actors & writers translate the in-class growth experience into developing their short films. Each lab
student leaves with a networN of liNe-minded artists,
newfound sNills, and a better understanding of the creative process.
+ollywood Connect started in  as a resource for people who are Must starting or considering a professional career in the entertainment industry. Since then, thousands of people have made +ollywood Connect their career launch pad.
+ollywood Connect provides resources that are accessible and useful for creative artists coming from all disciplines and bacNgrounds. With worNshops, mentoring, and other
resources, it offers a wealth of information that leads entertainment professionals toward healthy careers and
community in Los Angeles, helping them succeed creatively, relationally, and professionally. It also helps college students & graduates explore the transition from college life to the industry. So no matter where you are coming from, arrive, survive, and thrive with +ollywood Connect.
24 The Catalyst Writers Group is made up of talented and experienced writers who are dedicated to helping each
other grow creatively and to taking their writing skills and projects to the next level. We believe every writer has a voice and something important to say. Every writer needs and
deserves encouragement and support in doing so. In this collaborative group, writers work together, submitting their written pages each month, providing feedback for one
another, and getting the entire group’s recommendations and input. Led by NetŴix showrunner Sheryl Anderson
(Sweet Magnolias), Catalyst Writers Group is where writers attain excellence and accountability.

The Filmmakers Lab is a unique experience that joins
filmmaNers to create short films while being mentored by
industry professionals. The Greenhouse teamed up with
Canon to create an exclusive eight-week workshop to equip and instruct selected participants in film production, giving them the opportunity to produce an entire short film while attending a series of workshops in which instructors take them deep into the key standards, fundamentals, and
practices of producing, directing, cinematography, and
editing. Each participant works with a collaborative team to create their short film using high-end Canon cameras and equipment.
25 The Greenhouse Improv Group is set to launch in March 2023, offering six-week improv courses for actors at all levels of experience. It’s led by the accomplished comedic actor, Joel McCrary (Dwight in Shining Armor), who will teach players all the fundamentals and principles of
collaborative spontaneous performing. At the end of each six-week course, the players will host performances for the general public to attend and join in on the fun!
Universities and colleges from across the country have
worked with The Greenhouse’s Hollywood Experience to
create study abroad programs. The Greenhouse hosts
students from film, theater, and mass media departments
from various schools, bringing speakers from all over the arts & entertainment industries who offer an encouraging, yet realistic, view of what life as a creative professional is like in the Los Angeles area. The Greenhouse even works with the students in putting together short films. With the advice and relationships the students receive through The +ollywood Experience, they find themselves prepared to
make good career decisions as they graduate from school.

IMPROV ...

GH

EXPERIENC E
The Holl ywood
26 CREATIVE COMMUNITY SPACE
As part of The Greenhouse’s commitment to
the community, it also proposes including in
the Center a creative community working
space – a central location where creative
artists from across the city can meet, write,
collaborate, and work on their projects.

The Center’s Creative Community Space will
be managed and maintained by The
Greenhouse for the benefit of both creative
artists and the local community. It will also
provide for purchase books, magazines,
resources, and other merchandise geared
toward creative artists, and will cultivate an
environment that enhances creativity, drawing
artists from all over.

The Creative Community Space will be open
during the weekdays, and it will also offer the
opportunity for singer/songwriter showcases,
spoken word performances, and other small
recitals and shows by local artists.
27 COMMUNITY ENGAGEMENT
An important part of The Greenhouse’s use of
the new Center for Creative Arts will be
engaging directly with and forming strong
ties to the local community – its organizations,
its businesses, and its economy – with a
commitment to participation with people in
local neighborhoods.

So not only will the Center provide
entertainment and workshops for creative
artists in the area, but it will also develop
meaningful community events that local
people can get involved in themselves. Such
opportunities for engagement and interaction
are endless.

As part of its commitment to the local
community, The Greenhouse will also set
aside a specified number of days each year to
be made available to local schools, colleges,
arts & theater groups, and other civic &
community organizations to utilize the Center
for Creative Arts facilities for events that
benefit %urbanN and the surrounding
communities. Such events would be
coordinated with The Greenhouse staff and
calendar, and could include concerts, theater,
film screenings and festivals, showcases and
talent shows, school assemblies and
graduations, seminars, social events,
corporate training events, and more.
• The Center will have quarterly open houses to invite people from the local community to attend, with opportunities to meet local artists, to learn about available workshops, attend artists’ networking events, and more. • The Greenhouse will host various community and holiday events throughout the year.
• The Center will host open-mic nights and art galleries, showcasing the works of local musicians, painters, photographers, sculptors, and other visual artists. • We will work with the educational community by providing students with programs, mentoring, and events created specifically for their age groups, and by providing teachers with classes to meet their continuing education requirements.
• Every time there is an event, the Center will be drawing hundreds of people to local downtown shops, restaurants, movie theaters & other businesses. 28 ART GALLERY
The Greenhouse supports and equips
creative artists of all disciplines, including
photographers and visual artists.

With that in mind, the Center for Creative Arts
will include exhibition space throughout the
building for the display of works by both
emerging and established artists – including
paintings, watercolors, sculptures, pastels,
photographs, prints, and installation pieces.

The Greenhouse will also work with the local
art community to curate both collections and
individual pieces for the enjoyment of art
lovers and will make those works readily
available to the general public.

This gallery will serve as a further beneficial
use of the property and will focus on themes
and content that will be intended to draw
community members of all ages.
29 GALLERY
From top: Wayne Watson in concert; Shun Lee
interviewing Doug and Debbie Schwartz,
producers & writers of Baywatch; Shun Lee
with actors Victoria & Grant Hansen; utilizing
greenscreen technology for a film proMect

creating a Mail cell set for the Creative Lab

Stephanie Purcell, producer for The Green-
house Studio and member of the Producers
Guild of America; Raychel McKelvy as director
of +ollywood Connect
actor Doug Jones
The
Shape of Water) performing.
30 FINANCIAL INFORMATION & STATEMENT
The Greenhouse has submitted the required Financial Information and Financial Statement & Proposed Terms for this proposal in a separate envelope per the RFP instructions.
31 SUMMARY BUSINESS STATEMENT
The Greenhouse will manage and operate the facilities in four primary ways over the coming years, providing educational, cultural, social, and recreational activities to the general public:

A. As a professional venue for providing high-quality live productions by The Greenhouse for public enjoyment, including (but not limited to) theater, concerts, comedy & spoNen word performances, film screenings, dance recitals, visual art exhibitions, and other cultural presentations;
B. As a venue for providing arts-related workshops, labs, seminars, and continuing professional education for creative artists in the general public; C. As a venue available for rent by charitable, cultural, and community organizations for activities, including theater, concerts, comedy & spoNen word performances, film screenings, dance recitals, visual art e[hibitions, benefits, and lectures and
D. As a creative community working space that is open daily for members of the public to meet, write, create, share ideas, and collaborate.
2ver the first five years of operation, The Greenhouse intends to shape the &enter for Creative Arts into a home for the creative arts of all disciplines, a place where artists and the general public meet and interact, and a cultural hub for the local community.

And given the current national and international growth of The Greenhouse, its programs, and its content, over the following 10 to 15 years, the Center for Creative Arts will expand as well, becoming a destination for creative artists from across the country and overseas. It will see a remarkable increase in the number of quality productions and educational opportunities, which will lead to increased ticket sales, revenue, and most importantly, overall community involvement.

The following pages provide details for the objectives and goals of The Greenhouse for the Center for Creative Arts.
32 ANTICIPATED CALENDAR
2ver the first five years of operation, The Greenhouse anticipates a significant usage of the various parts of the facilities Ŋ the main stage & auditorium, the upstairs rehearsal studio, and the gallery & lobby
3lease see Exhibit E attached to this proposal for a breaNdown of those events These events will include 1) The Greenhouseōs own productions and programming for the general public as described in this proposal
) those events done in support
of or in partnership with other organizations
and 3) those events produced by other
civic, community, private, and commercial groups that rent any parts of the facilities ([hibit ( also includes the daily use of the gallery & lobby for the creative community worNing space, as proposed herein
Many of these events will happen simultaneously or overlapping with other events, which gives the opportunity to maNe full use of the facilities

ESTIMATED TOTAL ATTENDANCE
2ver the first five years of operation, The Greenhouse estimates a significant amount of attendance for the various events it anticipates will be held at the facilities %ased on previous attendance numbers for the various productions and programming The Greenhouse has held over the last fifteen years, along with the estimated attendance for the diverse types of events anticipated to be held at the facilities by both The Greenhouse and other organizations, it estimates a total of 130,00 uniTue visits to the facilities during those first five years of operation 3lease see Exhibit F attached to this proposal for a breaNdown of those attendance numbers
The total attendance listed, however, does not include the daily visitors who will taNe advantage of the proposed creative community worNing space that will be available to the general public
33 TARGET VISITOR PROFILE
The Greenhouse’s Center for Creative Arts will have several types of visitors that will be the target demographics for its programming:
• For workshops & educational opportunities: creative artists, including (but not limited to) actors, screenwriters & playwrights, comedy & spoken word, visual artists, musicians, filmmaNers, and dancers These will primarily be adults (ages 1), but there will be opportunities for high school students (131) as well • For performances & productions: the general public, which will be primarily adults (1), but also including families with children
• A certain percentage of tickets for each performance will be reserved for senior citizens () and high school students (131) at discounted prices • For the creative community working space: the general public, writers, and collaborative creative artists

BOARD STRUCTURE
The Greenhouse will continue to develop the governance and support reTuired to fulfill the mission of the organization and the &enter for &reative Arts The Greenhouse currently has a si[member %oard of 'irectors which provides active and direct oversight for the implementation of the organizationōs mission and vision All the 'irectors are successful and respected professionals in the arts & entertainment industries, in education, and in community service The %oard meets Tuarterly to create and initiate organizational and programming strategies and to direct The Greenhouse’s management and operation by the Executive Staff, the Leadership Team, and other staff and volunteer members (3lease see the 2rganizational &hart on page 3 herein) With the growth that will be advanced by the proposed Center for Creative Arts, The Greenhouse will taNe steps to significantly increase the number of 'irectors on the %oard to a size commensurate to an organization of that scale All new 'irectors will be approached on the basis of their contributive areas of expertise, their shared vision for the advancement of the creative arts, and their commitment to community development The Greenhouse will also establish an Advisory %oard made up of Tualified individuals with e[pertise in areas such as nonprofit management, live theater management & event production, educational programming, marketing & public relations, fundraising & grant writing, finance, and community relations
3

ADMISSION PRICES
'uring the first year of operation of the &enter for &reative Arts, The Greenhouse anticipates the following admission prices for the various productions, worNshops, and other programming, with the amounts to escalate as fiscally appropriate in the subseTuent years

The Greenhouse Studios
General
10
Members
5
6enior &itizen
5
6tudents
5
The Spotlight Workshops
General
5
Members
30
6enior &itizens
30
The Creative Lab (Two-Week Program)
General
00
Members
550
The Filmmakers Lab (Eight-Week Program)
General
00
Members
550
Hollywood Connect Navigation Sessions
General
15
Members
10
6enior &itizens
10
GH Improv (Six-Week Program)
General
50
Members
00
Concerts & Performances
'ependent upon type and production costs
General
5  50
6enior &itizens
0  0
&hildren<outh
15  30
The Hollywood Experience (One- to Three-Week Program)
'ependent upon schoolōs length of program and desired content 35 RENTAL RATES & FEES
As part of its management of the Center for Creative Arts, The Greenhouse will also make the facilities available for other creative organizations, charitable nonprofits, and civic & community groups to rent at reasonable rates, including discounted rates for organizations that meet nonprofit Tualifications
Main Auditorium
General
300 per full day ( hours ma[)  custodialsupply fees 300 partial day (up to 5 hours)  custodialsupply fees Additional time over  hours incurs a 350 per hour fee Additional time over 1 hours incurs a 50 per hour fee 1onprofit
00 per day ( hours ma[)  custodialsupply fees
100 partial day (up to 5 hours)  custodialsupply fees Additional time over  hours incurs a 300 per hour fee Additional time over 1 hours incurs a 00 per hour fee &ustodial
50
6upply
150
Rehearsal Room
General
1000 per full day ( hours ma[)  custodialsupply fees 150 per hour ( hour minimum)  custodialsupply fees
1onprofit
50 per full day ( hours ma[)  custodialsupply fees 15 per hour ( hour minimum)  custodialsupply fees
&ustodial
150
6upply
150
Lobby & Art Gallery
General
100000 per full day ( hours ma[)  custodialsupply fees 50350 per hour ( hour minimum)  custodialsupply fees 1onprofit
00100 per full day ( hours ma[)  custodialsupply fees 15050 per hour ( hour minimum)  custodialsupply fees &ustodial
150
6upply
150
6tDIƓQJ
5ental Manager
35 per hour
Tech Director: $40 per hour
Front of House: $30 per hour
%o[ 2ffice
5 per hour
For any rental space, 25% deposit of the total rental fee will be due upon execution of rental agreement. 1onprofit rentals must show proof of 
c


status
3

GENERAL STAFFING & SECURITY
The Greenhouse will develop the staff and support necessary to completely fulfill the four primary purposes of the Center for Creative Arts.

As can be seen in the Organizational Chart on the following page, the Board of Directors oversees the Executive Staff members, each of whom has responsibilities to direct and grow the various programs and personnel under his/her purview.

To meet The Greenhouse’s goals, the Board of Directors and Executive Staff will review and evaluate each necessary staff position and ensure that each position is filled by an individual who is wellsuited and Tualified for the job responsibilities at hand And as additional roles are created or identified, the %oard of 'irectors and ([ecutive 6taff will hire andor contract with additional personnel to fill those roles as well
The Greenhouse anticipates that during the first year of managing the facilities, as the operational responsibilities expand, it will create additional staff positions for grant writing, marNeting & public relations, booNing & bo[ office, and janitorial & custodial duties The Greenhouse will also expand and continue its extensive volunteer program, incorporating Tualified individuals who believe in the mission of The Greenhouse and the positive impact the organization will have upon culture and the community. Such volunteers will play an important role in helping to administrate and carry out live productions and performances.

The Greenhouse will also continue its work with universities & colleges through its internship program, giving opportunities to students to grow in their own disciplines and areas of study. The Greenhouse will utilize such interns not only in the production and operation of live performances, but also in areas such marketing and public relations, entertainment management, nonprofit fundraising, and other fields The Greenhouse will also develop and implement effective security plans for ensuring the safety and well-being of all who utilize the facilities. This will include hiring and/or contracting with individuals who are well-trained in respectfully interacting with members of the public, handling evacuation or other high-pressure situations, and creating a positive environment, all in manners that fully comply with the mission of The Greenhouse and the law. The security plan will also include the development of policies for dealing with potentially hazardous situations that may reTuire cooperating with fire & rescue personnel and/or law enforcement.
37 ORGANIZATIONAL CHART
Board of Directors
Executive Staff
President & Creative Director
Shun Lee Fong
Oversees the core functions of the organization to enable it to achieve its long-term vision, including strategy, finance, board management, strengthening structure & operations, fundraising, and program delivery.

Vice President & Treasurer
Caren Kelly
Oversees organizational policies & objectives, creates and promotes public awareness & engagement initiatives,
coordination of leadership team, volunteers & interns,
maintenance of financial budgets & booNNeeping,
operational & financial reporting
Director of Operations
Colleen Darling
0aintains facility and event calendar, scheduling worNshops, box office, social media administrative, ordering supplies, oversight of janitorial & technical staff, oversight of leasing & rental of facilities
Leadership Team
Janitorial/Custodial
Creative Lab
Abbie Cobb
Filmmakers Lab
Brent Trotter
Catalyst Writers Group
Sheryl Anderson & Anthony Epling
Technical Supervisor
Front of house operations & sound,
lighting & electrical, stage
management & design
Website Admin
David Stein
Creative Community Space
Manager
Additional Staff
Volunteers & Interns
GH Improv
Joel McCrary
Security
38 CONCESSIONS & SERVICES
The Greenhouse may offer concessions at its events. It does not currently intend to sell beer, wine, or other alcoholic beverages. If it or a third-party renter does sell alcoholic beverages at an event, an appropriate liquor license and alcohol liability insurance will be required.

The Greenhouse may offer its concessions services for third-party use of the facilities, and all income from such operations shall be and remain The Greenhouse’s income. Otherwise, the third party may operate its own concessions, subject to the required licenses and insurance policies.

In The Greenhouse’s creative community working space, it will display and sell books, magazines, and other resources for creative artists, as well as merchandise such as t-shirts and other memorabilia.

The Greenhouse will also provide support services for third parties that rent the facilities, including
a bo[ office during business hours for reservation & advance ticNeting services related to performances at the facilities; use of lighting, sound, projection, headset, and audio/video systems under the supervision of the Greenhouse’s technical director and staff; when using the main auditorium, use of bacNstage areas, set, props & wardrobe space, and designated greenrooms; and maintenance, janitorial, and lockup services per a use agreement with The Greenhouse.

MAINTENANCE & QUALITY STANDARDS
The Greenhouse will maintain the facilities and create a clean, professional, and high-quality appearance consistent with all of its prosposed uses. It will be responsible for non-capital repair, replacements, and upkeep, as well as general cleaning and maintenance in the facilities of such interior items as carpet, seat covers, and paint, as necessary to maintain that clean and professional appearance.

The Greenhouse also will be responsible for repair, replacement, and maintenance of all improvements it makes to the facilities, whether of a capital or non-capital nature, except capital repair of any improvements which are the responsibility of the City. The Greenhouse also will provide timely notice to the City of any repairs The Greenhouse is aware is the responsibility of the City or the Landlord.

The Greenhouse will employ or contract with such individuals or companies as required to maintain a clean and professional appearance of all aspects of the facilities. This will include janitorial & custodial staff and Tualified contractors
The Greenhouse will carry public liability insurance per the terms of a sublease agreement.

Additionally, third-party groups that rent the facilities will be required to carry and submit proof of liability insurance per the terms of a sublease agreement, naming The Greenhouse, the City, and the Mall Group as additional insureds.
39 MARKETING PLAN
The Greenhouse will raise the visibility of The Greenhouse and the facilities as a venue for superior-quality programs and productions.

MarNeting outlets for The Greenhouseōs various events and performances during the first five years will include, but not be limited to

• Marquee & signage on the building for current and upcoming events Ř 6ocial media platforms, currently reaching over 5,000 followers Ř 3ress releases to trade magazines & local newspapers (online & print), radio (incl 36As), television, local bloggers
Ř &ommunications and partnerships with the %urbanN Arts &ouncil & other local arts councils
Ř &ommunications and partnerships with local colleges & universities, and specifically theater, arts, music & film programs
Ř &ommunications and partnerships with local nonprofit groups Ř &ommunications and partnerships with senior citizen & youth groups, with campaigns specifically targeting those demographics
• Outreach campaigns targeting public school teachers for required continuing professional education
Ř (mail blasts (currently reaching a database of over ,100 contacts) • Membership program
• Creative Life magazine, The Greenhouseōs Tuarterly magazine for creatives Ř 8pgraded website to highlight the facilities and planned events, with increase in customized Search Engine Optimization (SEO)
• Creating original videos for marketing and sharing through social media • Creating a podcast with cast & crew from performances at the facilities • Utilizing brand and marketing opportunities through the creative community working space
TicNet sales for The Greenhouseōs performances and concerts will offer early bird discounts, senior citizen discounts, and youth discounts
MarNeting goals

Ř %ring the &enter for &reative Arts to the forefront of The Greenhouseōs brand, website, and social media
Ř Increase The Greenhouseōs social media followers by at least 10 every 1 months Ř Increase The Greenhouseōs email database contacts by at least 10 every 1 months Ř Increase The Greenhouseōs membership base by at least 10 every 1 months Ř ([plore and implement new marNeting initiatives, including targeted donor campaigns Ř ([pand The Greenhouseōs roster of colleges & universities, nonprofit groups, senior citizen & youth groups, and local arts councils, and e[ecute specific campaigns targeting the various demographics
0

ASSUMPTIONS
As of January 1, 2022, the total population
of Los Angeles County was 9,861,224
people. (California Department of Finance
Press Release, May 2, 2022). And throughout
2022, a substantial number of that
population – 434,708 people – were directly
employed in the creative industries of L.A.

County. (The Creative Economy: 2022 Otis
College Report on the Creative Economy,
52).

In particular, independent artists, writers,
and performers in L.A. County numbered
31,946, or 10.4 percent of all employment
in the entertainment and digital media
fields (Ibid, 55) Given all these facts,
creative artists make up not only a
significant percentage of the &ounty
population, but also an essential part of its
overall economy.

However, since 2020 and the recession that
followed the sudden COVID-19 outbreak,
there has been a pronounced drop of
employment in the creative community – a
decline of roughly 15 percent. (Ibid., 36)
This decline was even more drastic in the
fine and performing arts, which e[perienced
a massive 35 percent loss of jobs. (Ibid.)
As a result, many Los Angeles creative artists
have found themselves in the unanticipated
position requiring them to 1) reestablish
their professional education in their
respective crafts and in the continuously
changing business, legal, and technological
aspects of the industries; 2) build fresh
business relationships; 3) develop new
creative opportunities; and 4) discover new
ways to connect with the broader Los
Angeles community.

This has created a strong demand for
nonprofit organizations that provide
opportunities through workshops & labs,
continuing professional education, creative
projects and performances, and community
engagement. There is a strong and
important relationship between nonprofit
arts organizations, the creative business, and
the artists that make up that business. (Ibid.,
11) And the economic constraints on
commercial creative space have severely
impacted both nonprofit arts organizations
and the independent entrepreneurs of the
creative industries. (Ibid.)
It falls to the local government to lead the
way in activating and syncing the e[isting
current infrastructure in ways that will help
develop and utilize the talents of the
creative artists in the community. There must
be an ongoing investment by the city
leadership to provide the means of both
cultivating the local creative artists and
connecting them with the community in
meaningful and mutually beneficial ways
(Ibid.)
Along with the reports of this market
demand for such opportunities as referred
to above, The Greenhouse has analyzed and
relied upon the information and data from
other Los Angeles-area theater venues (of
various sizes) to determine the rental fees,
admission prices, and other programming
details set forth in this proposal. Those
details regarding other venues can be
found on the following page.
41 ASSUMPTIONS
The following are similar venues in the /os Angeles area, along with their rental, staffing, and ticNet prices West Valley Playhouse – 50 Seats
Ř TicNet 3rices
General (3) 6enior (30) Group 10 (5)
Ř Main Auditorium 5ental
3 more per seat (ie, 3  3 35)
or day rate
1500
Ř 5ehearsal space
50 per hour (3 hours minimum)
Ř 6taffing
1o e[tra charge for tech director, bo[ office, sound, etc Victory Theater Center Ŋ
3 6eats
Ř TicNet 3rices
6tudent (15) General (5) General 6enior (3) 3referred (0) 3referred 6enior (3) Ř Main Auditorium 5ental
5000 for  hrs, plus 00hr
Ř 6taffing
([tra personnel not included, but offers tech session one weeN prior to the event or performance Gary Marshall Theatre Ŋ 110 6eats
Ř Main Auditorium 5ental

&ommercial
)ull day ( hrs)
300  custodialsupply fee (00)
3artial day (up to 5 hrs)
100  custodialsupply fee (00)
(ach addōl hr
350
1onprofit
)ull day ( hrs)
00  custodialsupply fee (00)
3artial day (up to 5 hrs)
100  custodialsupply fee (00)
(ach addōl hr
300
Ř 5ehearsal 6pace

&ommercial
1000 ( hrs) or 150hr (hr minimum)  custodialsupply fee (150) 1onprofit
00 (hrs) or 15hr (hr minimum)  custodialsupply fee (150) Ř 6taffing

5ental Manager
3500hr
Tech 'irector
3500hr
)ront of +ouse
500hr
3arNing 6taff
000hr
%o[ 2ffice
500hr
The El Portal Theatre Ŋ 30 6eats
Ř Main Auditorium 5ental

1 day
3500 plus staffing fees
 consecutive days
000 plus staffing fees
3 consecutive days
500 plus staffing fees
)ull day weeN
1,000 plus staffing fees
50 nonrefundable deposit reTuired to hold dates
Ř 6taffing
+ouse eTuipment reTuires hiring house technicians
Tech 'irector
35hr
/ight %oard 2perator
5hr
Audio %oard 2perator
5hr
+ouse Manager
35hr
Soraya Center for the Performing Arts Ŋ 11 6eats
Ř Main Auditorium 5ental
&ommercial
000
1onprofit
5000
Ř 5ehearsal 6pace
&ommercial
500
1onprofit
1500
Ř /obby
&ommercial
3500
1onprofit
500
Ř &ustodial supply fee
00 per event
Ř 6taffing

Tech 6upervisor
hr
Technicians
35hr
+ouse Manager
1hr
8shers
hr


SUBLEASE & OPERATING AGREEMENT
The Greenhouse has reviewed the proposed Sublease and Operating Agreement between the selected Operator and the City as provided.

The only proposed e[ceptions or modifications can be found highlighted in green in the version attached Exhibit G and relate solely to the following

• The proposed term (Section 2(a))
• The proposed base rent and participation rent (Section 4) Ř The proposed days of operation (6ection (d))
Ř Inserting a description of The Greenhouseōs management of the facilities (6ection (e)) 6pecifically, the definition of Gross 5evenue was slightly adjusted to comply with the The Greenhouseōs proposed participation rent
1o other e[ceptions or modifications are proposed
43 PROPOSAL EXECUTION
This proposal is hereby signed and submitted by the President and &reative 'irector as an official of The Greenhouse Arts & Media, Inc The proposal is valid for ninety (
0) consecutive calendar days
Signed:

Printed: Shun Lee Fong
3resident & &reative 'irector
The Greenhouse Arts & Media, Inc
Address
50 6aint &lair Ave 105
9alley 9illage, &A
10
Mailing
3 2 %o[ 33
9alley 9illage, &A
11
44 CONTACT INFORMATION
The Greenhouse Arts & Media
P .O. Box 3832
Valley Village, CA 91617
818.392.4886
[email protected]
www.greenhouseproductions.com
Contact:

Shun Lee Fong
President & Creative Director
45 Secretary of State
Certificate of Status
I, SHIRLEY N. WEBER, PH.D., California Secretary of State, hereby certify:

Entity Name: THE GREENHOUSE ARTS & MEDIA, INC.

Entity No.: 3083417
Registration Date: 04/25/2008
Entity Type: Nonprofit Corporation - CA - Public Benefit Formed In: CALIFORNIA
Status: Active
The above referenced entity is active on the Secretary of State's records and is authorized to exercise all its powers, rights and privileges in California.

This certificate relates to the status of the entity on the Secretary of State’s records as of the date of this certificate and does not reflect documents that are pending review or other events that may impact status.

No information is available from this office regarding the financial condition, status of licenses, if any, business activities or practices of the entity.

IN WITNESS WHEREOF, I execute this certificate and affix the Great Seal of the State of California this day of January 19, 2023.

SHIRLEY N. WEBER, PH.D.

Secretary of State
Certificate No.:

To verify the issuance of this Certificate, use the Certificate No. above with the Secretary of State Certification Verification Search available atbizfileOnline.sos.ca.gov. 074902527

The Center for Creative Arts YEAR 1 YEAR 2 YEAR 3 YEAR 4 YEAR 5 Main Stage Rehearsal Studio Gallery & Lobby Main Stage Rehearsal Studio Gallery & Lobby Main Stage Rehearsal Studio Gallery & Lobby Main Stage Rehearsal Studio Gallery & Lobby Main Stage Rehearsal Studio Gallery & Lobby Days for events produced by The Greenhouse 18 108 23 20 158 27 24 158 27 24 158 27 24 182 27 Days for events presented or promoted by The Greenhouse, produced by the renter 4 10 2 6 10 2 6 10 2 6 10 2 6 10 2 Rental days for community & civic groups 12 24 20 16 30 20 16 30 20 20 30 20 20 30 20 Rental days for private & commercial clients 6 12 10 10 14 12 10 16 14 10 18 16 12 20 18 The Greenhouse Creative Community Space 0 0 205 0 0 199 0 0 197 0 0 195 0 0 193 TOTAL EVENTS 40 154 260 42 212 260 56 214 260 60 216 260 62 242 260

EXHIBIT E

ANTICIPATED CALENDAR
The Center for Creative Arts YEAR 1 YEAR 2 YEAR 3 YEAR 4 YEAR 5 Main Stage Rehearsal Studio Gallery & Lobby Main Stage Rehearsal Studio Gallery & Lobby Main Stage Rehearsal Studio Gallery & Lobby Main Stage Rehearsal Studio Gallery & Lobby Main Stage Rehearsal Studio Gallery & Lobby Events produced by The Greenhouse 3600 5400 1840 4000 7900 2180 4800 7900 2160 4800 7900 2160 4800 9100 2160 Events presented or promoted by The Greenhouse, produced by the renter 800 500 160 1200 500 160 1200 500 160 1200 500 160 1200 500 160 Events by community & civic groups 2400 1200 1600 3200 1500 1600 3200 1500 1600 4000 1500 1600 4000 1500 1600 Events by private & commercial clients 1200 600 800 2000 700 960 2000 800 1120 2000 900 1280 2400 1000 1440 TOTAL EVENTS 8000 7700 4400 10400 10600 4900 11200 10700 5040 12000 10800 5200 12400 12100 5360

EXHIBIT F

ESTIMATED TOTAL ATTENDANCE
DRAFT SUBLEASE AND OPERATING AGREEMENT This Sublease and Operating Agreement (“Sublease”), is made and entered into as of this ## day of *****************, 2023 (“Effective Date”) by and between the CITY OF BURBANK, a municipal corporation and charter city, (“City”), and The Greenhouse Arts & Media, Inc., a California nonprofit public benefit corporation (“Sublessee”) (collectively, the “Parties”), on the following terms and conditions: RECITALS A. City is the “Tenant” under that certain Lease dated April 7, 1992 (the “Master Lease”), with HAAGEN-BURBANK PARTNERSHIP, a California general partnership, predecessor-in-interest to CAPREF Burbank LLC, as “Landlord,” (“Mall”) for certain real property located in the City of Burbank and more fully described as the “Premises” (the “Premises”) in the Master Lease. B. Pursuant to Section 7.01 of the Master Lease, City is granted “the right to use the Premises for the operation of a cultural facility of the City of Burbank which provides educational, cultural, social and recreational activities to the general public [...]” C. [Additional information to be inserted] D. Sublessee desires to sublease from City the Premises for the purpose of providing educational, cultural, and recreational programming to the general public, and more specifically by operating, maintaining, and managing the Premises as a professional venue for providing high-quality live productions by The Greenhouse for public enjoyment, including (but not limited to) theater, concerts, comedy & spoken sord performances, film screenings, dance recitals, visual art exhibitions, and other cultural presentations; as a venue for providing arts-related workshops, labs, seminars, and continuing professional education for creative artists in the general public; as a venue available for rent by charitable, cultural, and community organization for activities, including theater, concerts, comedy & spoken word performances, film screenings, dance recitals, visual art exhibitions, benefits, and lectures; and as a creative community working space that is open for members of the public to meet and collaborate. For valuable consideration, the sufficiency of which is hereby acknowledged, the Parties agree as follows: AGREEMENT 1. Sublease. City hereby subleases to Sublessee, and Sublessee hereby subleases from City, the Premises under the terms and conditions of this Sublease. This Sublease is subject to all of the terms and conditions of the Master Lease, attached and incorporated herein as Exhibit A, as may be amended, and, except as provided in this Sublease, Sublessee will assume and perform the obligations of City as “Tenant” in the Master Lease, and comply with all of the terms and conditions of the Master Lease (including any amendments thereto) as if it were the “Tenant” thereunder. Further, this Sublease is subject to that certain First Amended and Restated Construction, Operation and Reciprocal Easement Agreement dated December 6, 1990 by and among Haagen-Burbank Partnership and various tenants of the shopping center in which the Premises is located (the “Reciprocal Easement Agreement”), and the provisions of the Burbank Municipal Code, including but not limited to, zoning restrictions. 2. Term of Sublease; Extension of Term; Right to Terminate. (a) Term. The term of this Sublease (the “Term”) will commence on August 1, 2023 (“Term Commencement Date”), and will end five (5) years thereafter (the “Term”), subject to early termination or extension as provided in this Sublease. (b) Extension of Term. Sublessee will have the right to request to extend the Term for three (3) separate and successive periods of five (5) years each from the date upon which the Term would otherwise expire, provided that Sublessee is in compliance with all provisions in this Sublease. If Sublessee is not in compliance with all provisions of this Sublease, Sublessee will not have the right to request an extension of the Term as provided herein. An extension will only be effective upon the occurrence of the following events: (i) Sublessee must give City written notice of Sublessee’s request for an extension at least six (6) months prior to the date this Sublease would otherwise expire. (ii) Once Sublessee makes a request for any extension of the Term, the extension will be administratively granted upon determination by the City’s Parks and Recreation Director (“Director”), in the Director’s sole discretion, that Sublessee is in substantial compliance with the Goals and Objectives outlined in Exhibit B (“Goals”). (iii) Prior to granting an extension of the Term, the Parties must agree to new Goals for the extension period. Furthermore, prior to extending the Term the Parties may agree to amend the terms of this Sublease subject to approval by the City Council. (c) Notice of Director’s Determination. The Director will give written notice to Sublessee within 30 calendar days after receipt of Sublessee’s request for extension whether or not, in the Director’s sole discretion, Sublessee is in substantial compliance with the Goals. If the Director determines Sublessee is in substantial compliance with the Goals, the extension will be granted. If the Director determines that Sublessee is not in substantial compliance with the Goals and Sublessee disagrees, Sublessee shall have the right, within three (3) calendar days of receipt of the Director’s determination, to make a written request, for a meeting with the Director. The meeting will be held within twenty-one (21) calendar days of the Director’s receipt of the request. During this meeting, Sublessee and Director will specifically discuss why Director believes Sublessee is not in substantial compliance with the Goals, and attempt to reach a compromise, including, but not limited to, allowing Sublessee a reasonable period to cure any deficiencies. Following such meeting, the Director may issue a new determination or establish conditions upon which an extension may be granted. The Director’s determination will be final. (d) Right to Terminate. Notwithstanding the foregoing, Sublessee and the City will each have the right to terminate this Sublease at any time upon delivery to the other party of at least 90 days’ notice of the terminating party’s election to do so, and the Sublease will terminate on the termination date set forth in any such notice. (e) Month-to-month. If City remains in negotiations with a future sublessee at the end of the Term and any extensions thereof, in the Director’s sole discretion and subject to approval by Sublessee, City and Sublessee may continue performance under this Sublease on a month-to-month basis not to exceed six months unless a longer time is mutually agreed to by the Parties. 3. Acceptance and Suitability of the Premises. Sublessee acknowledges that neither City nor any agent of the City has made any representation or warranty with respect to the Premises or the suitability or fitness thereof for the conduct of Sublessee's use. The taking of possession or use of the Premises by Sublessee for any purpose will conclusively establish that the Premises were then in satisfactory condition and in conformity with the Sublease in all respects. 4. Rent. (a) Rent. All sums payable by Sublessee pursuant to this Sublease shall be considered “Rent.” (b) Base Rent. Sublessee will pay the sum of One Thousand Five Hundred and 00/100 Dollars ($1500.00) per month (“Base Rent”) to City. Base Rent payable to City shall be paid monthly, in advance on the first day of each calendar month for which Base Rent is due, without deduction or offset. (c) Participation/Percentage Rent. Percentage Rent will be Five Percent (5%) of the difference between the base monthly Gross Revenues of $20,000 and Sublessee’s monthly Gross Revenue directly realized from the use of the Premises. “Gross Revenues” shall be calculated based on the difference between all earned revenues from the sale of goods and the provision of services from the operation of the Premises or its various components, as well as all earned revenues from the temporary rental of the Premises to third-parties, minus operating expenses, cash gifts, donations and grants made to Sublessee where no return consideration is given by Sublessee. 4. (d) Escalation. [to be inserted] 5. (e) Late Charge; Interest. City may at its option impose a 5% late charge for payments made more than 7 days late, without waiving any other remedies available for default. Notwithstanding the foregoing, no late charge will accrue on the first such delinquency in any calendar year until the expiration of a ten (10) day written notice from City to Sublessee stating that Sublessee is so overdue. Failure to impose a late charge will not be a waiver of City's rights hereunder. In addition, any Rent not paid when due will bear interest at the rate of 10% per annum until paid. (f) Reserved 5. Transfer of Personal Property. On the Term Commencement Date, City may transfer and convey to Sublessee certain personal property consisting of furniture, fixtures, equipment, machinery, and other personal property utilized in the operation of the Premises that Sublessee has agreed to lease from City (“Personal Property”). Sublessee agrees to accept all Personal Property as is and acknowledges that all ongoing expenses related to maintain and replacing the Personal Property will be an operational expense to Sublessee. 6. Management, Use and Operation. (a) Sublessee may use the Premises as a community arts and/or performance center for the purpose of providing a venue for community groups and individuals to showcase educational, cultural, social or recreational activities, as limited pursuant to the terms hereof. Use of the Premises may include, but will not necessarily be limited to, live theatre productions including joint ventures between the Sublessee and third-party theatre groups, cabaret, readings, workshops, seminars, exhibits, children’s theater, benefits, classes and lectures, and will entail extensive use of the auditorium and multi-purpose room. Furthermore, Sublessee’s use will be consistent with use of the Premises by the “Tenant” in accordance with the Master Lease. (b) Basic Service Obligations. (i) Provide first class customer service to all visitors, audiences, and rental clients (as applicable). (ii) Establish pricing levels for all proposed programming including in-house events and third-party rentals (as applicable). (iii) Establish, maintain, and pay for the telephone and website, with up-to-date information about the programs and events, contact information, access instructions, etc. (iv) Maintain consistent online commerce and office hours as necessary to accommodate visitors, phone calls, and meetings that may arise. (v) Establish requirements for use by third-party rentals, including but not limited to a rental or occupancy agreement, the basic form shall be provided to the Director upon request, which must be executed by all third-parties desiring to rent the Premises. At a minimum, the rental or occupancy agreement shall (1) establish box office and Premises hours; (2) enumerate specific services to be provided by Sublessee; (3) require renters to exercise safe and reasonable care in the use of the Premises and its fixtures and equipment; (4) require renters to be fully responsible for damage to the Premises and its fixtures caused by such renters or their audiences, ordinary wear and tear excluded; (5) require renters to furnish proof of liability insurance for all of the renter’s activities and audiences, affording protection to a limit of at least One Million Dollars ($1,000,000) combined single limit for bodily injury and property damage, naming Sublessee, the City, the Mall and the Mall’s lender if requested by the Mall, as additional insureds on a separate endorsement to the insurance policy; and (6) immediately terminate upon the expiration or other termination of this Sublease. (c) [Reserved] (d) Operational Guidelines. Sublessee will develop a set of guidelines ("Operational Guidelines") for the Premises. The Operational Guidelines will include hours of operation and other policies relating to the operation of the Premises. Sublessee must comply with the Operational Guidelines at all times. At a minimum, the Premises must be operated on business weekdays throughout the year and may only be closed on holidays specified in the Operational Guidelines. The Premises must be kept open during all hours necessary to adequately serve the public. Any changes in the days and hours for operation will be subject to approval by the Director. (e) Management and Operations. The Premises shall be managed by the Sublessee’s Executive Staff, consisting of a President & Creative Director, a Vice President & Treasurer, and a Director of Operations. The Executive Staff is overseen by Sublessee’s Board of Directors. The Board of Directors and Executive Staff will evaluate all other necessary staff positions and ensure that each position is filled by an individual who is well-suited and qualified for the job responsibilities. As additional roles are created or identified, the Board of Directors and Executive Staff will hire or contract with additional personnel to fill those roles. (i) Premises Personnel. Sublessee will, in its sole discretion, hire Premises staff, including all on-site management personnel, to oversee all rentals, programming and production, janitorial staff, administrative staff and others deemed by Sublessee to be appropriate for the efficient operation of the Premises. Such personnel may be hired as qualified independent contractors rather than employees to perform specified services. If Sublessee contracts with an independent contractor to provide such services, Sublessee shall ensure that the independent contractor complies with all provisions contained in this Sublease relating to the management, use, and operation of the Premises. Upon request by City, Sublessee shall submit a copy of its most recent agreement with any such independent contractor to the Director. At a minimum, the agreement shall require the independent contractor to comply with all terms and provisions contained in this Sublease. Sublessee’s failure to ensure compliance by its independent contractor in accordance with this section shall constitute a breach of this Sublease. (ii) Live Scan Fingerprinting and Background Check by the US Department of Justice (DOJ). All employees, independent contractors, and volunteers of Sublessee interacting with minors or who have supervisory or disciplinary authority over minors must complete and pass the City of Burbank Live Scan Fingerprinting and background check clearance by DOJ prior to performing work or other services for Sublessee in such a capacity. Sublessee will be responsible for paying all applicable fees related to the Live Scan fingerprinting and background check. (f) Management and Operations Plan; Proposed Annual Budget. Sublessee must submit to the City for review, by [Date] of each year, a Management and Operations Plan that includes a detailed proposal for providing Management and Operations services at the Premises. In addition, Sublessee must submit a proposed operating budget (the "Proposed Annual Budget") to the City for the upcoming calendar year. The Proposed Annual Budget must specify the amount of working capital required to continue operations of the Premises for the upcoming fiscal year (defined as July 1 through June 30) in light of all major policy decisions, specify all anticipated expenses required to operate the Premises and all projected expenses for long term improvements at the Premises. City will have the right to comment upon and make suggestions with respect to the Management and Operations Plan and Proposed Annual Budget, provided, however, while Sublessee must consider all of City’s suggestions and comments, Sublessee will not be obligated to implement the same. Such annual review will take place at a meeting between the Sublessee, the Director and such other persons, as the parties consider necessary. (g) Goals and Objectives. Sublessee agrees to manage, use, and operate the Premises at all times in compliance with the Goals. The Goals will be subject to annual review to occur no later than one year following the Term Commencement Date, and continuing on or about that anniversary throughout the Term. As part of this review, Sublessee will submit a financial statement for the most recently completed fiscal year in a form approved by the City. The annual review will occur at a meeting between Sublessee’s representative(s) and the Director, and other individuals the Parties consider necessary. As a result of this review and with the approval of the members of the City’s Park, Recreation and Community Services Board, the Parties may agree to amend, modify, or eliminate any of the goals or objectives in light of changing conditions and in furtherance of the best interests of the community. (h) Safety and Processing Claims. Sublessee must maintain safety standards that are consistent with acceptable industry practices for similar facilities. Sublessee will investigate and process all claims including those for property damage or personal injury. Sublessee will cooperate fully with City in the investigation of any property damage, accidental injury or death occurring on the Premises, including a prompt report to the Director. (i) License, Permits, Business Taxes and Accreditations. Sublessee will apply and use its commercially reasonable efforts to obtain and maintain, all licenses, permits, business taxes and accreditations required in connection with the management and operations of the Premises, the cost of which will be an operating expense incurred by the Sublessee. City will cooperate with Sublessee in applying for, obtaining, and maintaining such licenses, permits, and accreditations, as applicable. (j) In connection with its use of the Premises, Sublessee must comply with all applicable laws and ordinances concerning such use. Sublessee agrees not to commit or suffer to be committed any waste or nuisance in, or about the Premises (including allowing any offensive odors to carry outside of the Premises). Sublessee will comply in all material respects with all governmental laws, ordinances and regulations which pertain to or apply to the use of the Premises, now or subsequently imposed, concerning the use or operation of the Premises. 7. Maintenance and Repair; Alterations. (a) Sublessee’s Maintenance and Repair Obligations. (i) Sublessee hereby acknowledges and represents that Sublessee has inspected the Premises and agrees to sublease the Premises in its present condition. In that condition, Sublessee agrees, at Sublessee’s sole cost and expense and without right of reimbursement from the City, but subject to the provisions of this section, to make such repairs and improvements to the interior, non-structural portions of the Premises as may be necessary for Sublessee’s use, and to maintain the Premises in good and sanitary order and repair; provided, however, that any such repairs, improvements, or maintenance will be subject to the terms and conditions imposed upon “Tenant” in the Master Lease unless otherwise provided herein. Sublessee will be responsible for non-capital repair and replacement, and general cleaning and maintenance of the interior of the Premises, as well as all repair obligations of “Tenant” under the Master Lease unless otherwise provided herein. During Sublessee’s occupancy of the Premises under this Sublease, Sublessee will be responsible for repair, replacement and maintenance of all improvements made in and to the Premises by Sublessee (whether of a capital or non-capital nature). Sublessee will obtain City’s approval prior to completing any repair, replacement, or maintenance to the Premises, which approval will not be unreasonably withheld. In the event any repairs, improvements, or maintenance require approval by the Mall under the Master Lease, Sublessee will first obtain City’s approval of such repairs, improvements, or maintenance to the Premises. Sublessee will provide timely notice to City and/or Mall, as applicable, of any repairs that are the responsibility of City or Mall of which Sublessee is aware of. Upon the expiration or termination of this Sublease, Sublessee agrees to surrender the Premises in good and sanitary order, condition and repair; permitted or approved alterations, improvements, additions, and reasonable wear and tear excepted. (ii) Janitorial Service. Sublessee will be responsible for complete janitorial services and the furnishing of janitorial supplies, lamps and tubes for the proper maintenance of all facilities at the Premises. (b) City’s Maintenance and Repair Obligations. City will be responsible for any and all improvements and maintenance necessary for compliance with applicable laws (including, without limitation, the Americans with Disabilities Act), and for maintenance related to the HVAC and heating equipment, for the pipes and conduits serving the Premises (including those contained between the exterior and interior walls), and for maintenance related to the elevator. City will be responsible for capital repair of the Tenant Improvements at the Premises listed on Exhibit C. (c) Mall’s Maintenance and Repair Obligations. The Parties acknowledge that the Mall is responsible for certain maintenance and repairs to the Premises as outlined in the Master Lease, and will provide Mall with notice of any outstanding repairs or maintenance that is the responsibility of the Mall. (d) Capital Improvements. Except as otherwise provided herein or as stated in the Goals and Objectives, neither Sublessee nor City will be obligated to construct any capital improvements to the Premises unless required by the Master Lease, nor will Sublessee or City be obligated to perform any repairs or maintenance to the roof (including the roof membrane), building systems, or structural components of the Premises (including the foundation), or replace any portion of the Premises, unless the cause for such repairs is due to the negligence or willful misconduct of Sublessee, its agents or employees or caused by alterations, addition or improvements made by Sublessee or anyone claiming under Sublessee, in which case Sublessee is required under this Sublease to make such repairs. (e) Insurance Rates. Sublessee will not do or permit activities on or in the Premises, nor bring or keep anything in the Premises, that will in any way invalidate, increase the existing premium rate of, or otherwise affect, any insurance upon the Premises, and if such activities should result in any increase in the existing premium rate of insurance, then Sublessee shall be liable for such additional cost. (f) Alterations. (i) General. Except as otherwise provided in this paragraph, Sublessee will not make any alterations, additions, or improvements to the Premises, without City's prior written approval, which approval will not unreasonably be withheld or delayed. Furthermore, if such alterations, additions, or improvements require approval by the Mall under the Master Lease, Sublessee will obtain the Mall’s approval prior to making such alterations, additions, or improvements. If Sublessee desires to make any such alterations, additions or improvements, Sublessee will provide to City at least 10 calendar days’ written notice prior to commencement of construction. City will have the right to approve the contractor used by Sublessee for any work in the Premises, and to post notices of non-responsibility in connection with work being performed by Sublessee in the Premises. Sublessee agrees to indemnify and hold the City, Mall, and the Premises free and harmless from any and all liabilities, claims, liens, encumbrances and judgments created or suffered in connection with labor, services or materials furnished in connection with any alterations or additions which Sublessee causes to be made to the Premises. Sublessee will not permit any mechanic’s lien or stop order or other encumbrance as outlined in Section 2.04 of the Master Lease to be recorded against the Premises. If any mechanic's lien or stop order or other encumbrance is recorded against the Premises, Sublessee will either cause the same to be discharged of record within ten (10) days after the date of recordation, or, if Sublessee in its discretion determines to contest the lien, Sublessee must furnish such security and bond as may be reasonably necessary to prevent any foreclosure proceedings against the Premises during the pendency of such contest. Work by Sublessee shall comply with all laws then applicable to the Premises. The foregoing will not be deemed a waiver of the police powers of the City of Burbank to review and approve all applications for building permits to confirm that the proposed improvements comply with applicable building codes. (ii) Signs. Sublessee will pay for and perform removal of all exterior signs and other advertising features installed at the Premises as of the Term Commencement Date, including but not limited to the marquee sign. Such removal will be subject to approval by the Mall. If Sublessee chooses not to replace such signs or advertisements with new signage/advertisements, Sublessee agrees to restore the exterior of the Premises to a condition reasonably satisfactory to the City and the Mall following such removal. Sublessee may also pay for and perform installation of new exterior signage that advertises Sublessee’s use of the Premises, subject to approval by the City and the Mall. All signage will be subject to the terms and conditions of the Master Lease and REA. At Sublessee’s sole cost and within 30 days of the expiration or other termination of this Sublease, Sublessee must remove all exterior signs and other advertising features installed by Sublessee, and restore the Premises to a condition reasonably satisfactory to City and the Mall. (g) Ownership of Improvements. All improvements (which will be anything affixed to the Premises, unless determined otherwise by the City) made to the Premises will be owned by City upon expiration of the Term or sooner termination of this Sublease. Sublessee will not, however, remove any other improvements from the Premises nor waste, destroy, or modify any improvements on the Premises, except as permitted by this Sublease. All improvements on the Premises at the expiration of the Term or sooner termination of the Sublease will without compensation to Sublessee, then become City property free and clear of all claims to or against them by Sublessee or any third person, and Sublessee will defend and indemnify City against all liability and loss arising from such claims or from City’s exercise of the rights conferred by this paragraph. 8. Utilities and Services. (a) Utilities. Sublessee will pay all utility charges for the Premises. If City or Mall incurs any costs for utilities, including but not limited to water, electric and/or gas, then Sublessee will reimburse City or Mall within 5 days after being billed therefor. Upon request of City, Sublessee will provide to City proof of payment of any or all utilities in a manner acceptable to City in its reasonable discretion. (b) Regulations. Sublessee must comply with all government laws or regulations regarding the use or reduction of use of utilities on the Premises. Interruption of services or utilities will not be deemed an eviction or disturbance of Sublessee's use and possession of the Premises, render City or Mall liable to Sublessee for damages, or relieve Sublessee from performance of Sublessee's obligations under this Sublease. (c) Security. City will not provide security service or adopt security measures regarding the Premises. 9. Taxes and Assessments. (a) Possessory Interest Taxes. Sublessee recognizes and understands that this Sublease may create a possessory interest subject to property taxation levied on such interest. Sublessee agrees to pay promptly, prior to delinquency, all such taxes, if any, directly to the tax collector. (b) Real Estate and Other Ad Valorem Taxes and Assessments. To the extent Sublessee, or its subtenants or assigns, is not a tax-exempt entity with regard to property taxes or otherwise fails to maintain its tax-exempt status with regard to property taxes, Sublessee will pay during each year of the Term, all real estate and other ad valorem taxes and assessments of every kind (including general and special assessments, foreseen and unforeseen) with respect to all land, buildings and improvements on the Premises (collectively, “Taxes”) that may be charged directly by the Mall against Sublessee or otherwise charged against the City pursuant to the Master Lease. For purposes of this paragraph, the provisions in the Master Lease will govern Sublessee’s rights and obligations with regard to such Taxes. (c) Other Taxes. Sublessee will pay all taxes, license fees or other governmental charges assessed or imposed on the Personal Property owned by Sublessee located on the Premises or upon the business operations of Sublessee conducted on the Premises. 10. Accounting Systems and Audits. (a) Accounting Systems and Business Records. Sublessee must maintain an accurate accounting of all receipts and disbursements in connection with the Premises. The method of accounting and bank accounts established for the Premises will be separate from the accounting system used by Sublessee for any other matters. Sublessee’s accounting system will be in accordance with Generally Accepted Accounting Principles (“GAAP”). Such methods include the keeping of the following documents: 1. (i) Regular books of accounting such as general ledgers. 2. (ii) Journals including any supporting and underlying documents such as vouchers, checks, tickets, bank statements, etc. (iii) State and Federal income tax returns, sales tax returns and checks and other documents proving payment of sums shown. (iv) Internal controls on the receipt and recording of all cash receipts, and all other operational financial accounting controls and procedures as they relate to gross revenues are subject to the approval of the City. At a minimum, the internal control of cash must include an electronic cash register Point of Sale (“POS”) with an auditable daily tape, daily reconciliation of the cash deposit and sales, issuance of physical dated receipt to every patron, a daily activity report listing number of patrons, total collection, merchandise sold (if applicable) and a monthly summary report. (v) Any other accounting records that City, in its reasonable discretion deems necessary for proper reporting of receipts. (b) Retention of Financial Records. Sublessee will maintain, at its principal offices, its financial records pertaining to such books of account, records, cash receipts, and other pertinent data pertaining to the Premises, which must be kept for a period of at least four (4) years after the conclusion of any fiscal year. The receipt by City of any statement, or any payment of additional rent for any period, will not bind City as to the correctness of the statement or the payment. (c) Audit. City reserves the right during the Term on an annual basis and within four (4) years after expiration or termination of this Sublease to inspect and examine all Sublessee’s books of account, records, cash receipts, and other pertinent data relevant to the operation, maintenance, and management of the Premises at City’s expense, except as provided in this section. Specifically: (i) An annual audited statement prepared by a certified public accountant, in accordance with general GAAP detailing all income may be requested to be submitted within ninety (90) days of the closing of the fiscal year. The annual statement must include all Gross Revenues (including itemized calculations of such Gross Revenues) and itemized operating expenses, in addition to any other items set forth in this Sublease for the preceding fiscal year. Additionally, the Sublessee may be asked to provide tax return prepared by an independent certified public accountant. If Sublessee fails to deliver such statement and/or tax returns to City within said ninety (90) day period, City will have the right thereafter to audit or cause an audit to be performed, at the Sublessee’s expense. (ii) The City’s right to audit will extend during the length of this Sublease and for a period of four (4) years, or longer if required by law, following the date of final payment under this Sublease. Sublessee agrees to retain all necessary records/documentation for the entire length of the City’s right to audit. (iii) An audit may be accomplished, in the City’s sole discretion, by either City forces or an outside auditing firm. In addition, City retains the right to perform spot check audits no more than once a year and upon providing notice to Sublessee at least forty-eight (48) hours in advance; this limitation does not apply to audits required to investigate criminal or suspicious behavior. (iv) Sublessee will be notified in writing of any exception taken as a result of an audit. Any adjustments and/or payments which Sublessee agrees must be made as a result of any such audit or inspection of Sublessee’s invoices and/or records will be made within thirty (30) days from presentation of City’s findings to Sublessee. If Sublessee fails to make such payment, Sublessee agrees to pay interest, accruing monthly, at the maximum legal rate. Interest will be computed from the date of written notification of exception(s) to the date Sublessee reimburses City for any exception(s). If audit inspection or examination in accordance with this section, discloses underpayments (of any nature) by Sublessee to City in excess of one percent (1%) of the value of that portion of the Sublease that was audited, the actual cost of City’s audit will be reimbursed to City by Sublessee. (v) To the extent legally possible, City will keep information gained from such statements, inspection, or audit confidential (subject to applicable laws, including but not limited, to the California Public Records Act and the Ralph M. Brown Act), and will only disclose such information for the purpose of administering or otherwise carrying out the purposes of this Sublease.

11. Board Reports. To ensure compliance with the terms of this Sublease the Sublessee must prepare and present annual reports to the City’s Park, Recreation, and Community Services Board, identifying all aspects of the operations as defined herein. Reporting will include but not be limited to: revenue, expenses, programming, attendance and maintenance. Sublessee will provide an initial report to the Board after the first one-hundred eighty (180) days following the Term Commencement Date. Thereafter, reports will be provided to the Board annually, on the same date that the Board reviews and approves the Goals. 12. Insurance and Indemnity. (a) Mechanics Liens. Sublessee will not allow any mechanics liens to attach to the Premises or Sublessee's interest in the Premises as a result of its activities, and Sublessee will cause any such liens to be released, by bond or otherwise, within 10 days after the filing thereof. (b) Insurance. Sublessee will keep and maintain in full force and effect, from the Term Commencement Date, the following: (i) Commercial general liability insurance with limits of not less than Two Million Dollars ($2,000,000) combined single limit for bodily injury and property damage (including loss of use thereof) arising out of Sublessee’s operations under this Sublease. (ii) All risk property insurance covering the Premises, with coverage limits not less than the full replacement cost of the Premises. Sublessee must also maintain insurance coverage on at the full replacement cost, or otherwise assume financial liability for, the Personal Property and the furnishings and equipment owned by Sublessee and any tenant improvements or betterments installed by Sublessee. (iii) Workers’ compensation and employer’s liability or other similar insurance pursuant to all applicable state and local statutes and regulations. The policy must be endorsed to waive all rights of recovery against the City, members of the City Council, and officers, employees and agents of the City. (iv) Comprehensive automobile liability coverage with combined single limit of $2,000,000 each occurrence. (v) If the Sublessee maintains broader coverage and/or higher limits than the minimums shown above, the City requires and shall be entitled to the broader coverage and/or higher limits maintained. Any available insurance proceeds in excess of the specified minimum limits of insurance and coverage shall be available to the City. (c) Additional Requirements. (i) Sublessee will provide City with a current Certificate of Insurance, including the additional insured endorsement in a form as approved by the City for the insurance required by this Sublease (except for Worker’s Compensation) evidencing coverage(s) and limits prior to the Term Commencement Date and naming the City, its City Council, City’s officers, City’s employees and City’s agents, Mall, and other entities as may be required by Mall as additional insureds (collectively, “Insureds”), as additional insureds under all insurance coverage required by this Sublease. The naming of an additional insured shall not affect any recovery to which such additional insured would be entitled under this policy if not named as such additional insured. An additional insured named herein shall not be held liable for any premium, deductible portion of any loss, or expense of any nature on this policy or any extension thereof. Any other insurance held by an additional insured shall not be required to contribute anything toward any loss or expense covered by the insurance provided by this policy. All required policies shall remain in force throughout the life of this Sublease and shall be payable on a “per occurrence” basis unless City specifically consents in writing to a “claims made” basis. Should any of the required insurance policies in this Sublease be cancelled or non-renewed, it is Sublessee’s duty to notify City immediately upon receipt of the notice of cancellation or non-renewal. Failure to provide and maintain the insurance required by this Sublease will constitute a material breach of this Sublease. (ii) Sublessee hereby grants to City a waiver of any right to subrogation which any insurer of the Sublessee may acquire against the City by virtue of the payment of any loss under such insurance. Sublessee agrees to obtain any endorsement that may be necessary to affect this waiver of subrogation, but this provision applies regardless of whether or not the City has received a waiver of subrogation endorsement from the insurer. (iii) Self-insured retentions must be declared to and approved by the City. At the option of the City, either: the Sublessee shall obtain coverage to reduce or eliminate such self-insured retentions as respects the City, its officers, officials, employees, and volunteers; or the Sublessee shall provide a financial guarantee satisfactory to the City guaranteeing payment of losses and related investigations, claim administration, and defense expenses. The policy language shall provide, or be endorsed to provide, that the self-insured retention may be satisfied by either the named insured or City. (iv) Insurance must be placed with insurers authorized to transact business (i.e. admitted) in the State of California so as to provide access to the California Guaranty Association and other state regulation or have a "Best's Guide" rating of no less than A-VII. (v) Sublessee must cause its subcontractors to obtain and maintain for the duration of this Sublease or such further period as specified herein, all of the coverages described in this Section. Sublessee warrants that it will require all its subcontractors to name both the Sublessee, the City, and the Mall as additional insureds on endorsements to the Consultants’ insurance policies, as required above. (vi) Certificate of Coverage. Sublessee must submit a certificate of coverage and proof of payment of premiums to City annually and at other times upon City’s request. Any insurance required to be carried under this Sublease may be included as part of any blanket or other policy or policies of insurance, subject to the provisions of this Sublease. (vii) If Sublessee fails to maintain any required policy of insurance, the City may obtain said policy and Sublessee shall immediately pay to the City as additional Rent, any costs and expenses incurred by the City in acquiring such policy. (viii) In addition to the above requirements, Sublessee agrees to obtain additional policies of insurance in the event such policies are required by the Mall under the Master Lease. (ix) Sublessee agrees that it shall require any third-party independent contractor(s) who utilize the Premises to comply with all insurance requirements outlined in this Section 12, including but not limited to the naming of additional insureds. (x) The City reserves the right to annually review the insurance requirements listed herein and update such requirements by providing Sublessee with written notice. (d) Indemnity. Except for City’s sole, gross negligence or willful misconduct, Sublessee shall indemnify, protect, defend and hold harmless the Premises, City and City’s representatives, council members, board members, agents, and employees from and against any and all claims, loss of rents and/or damages, liens, judgments, penalties, attorneys’ and consultants’ fees, expenses and/or liabilities arising out of, involving, or in connection with, the use and/or occupancy of the Premises by Sublessee, or resulting from Sublessee's failure to comply with any term of this Sublease. If any action or proceeding is brought against City by reason of any of the foregoing matters, Sublessee shall upon notice defend the same at Sublessee’s expense by counsel reasonably satisfactory to City and City shall cooperate with Sublessee in such defense. City need not have first paid any such claim in order to be defended or indemnified. In addition, Sublessee assumes the indemnification obligations of “Tenant” under the Master Lease and as specifically stated in Article 11 of the Master Lease. (e) Exemption of City from Liability. City shall not be liable for injury or damage to the person or goods, wares, merchandise or other property of Sublessee, Sublessee’s employees, contractors, invitees, customers, or any other person in or about the Premises, whether such damage or injury is caused by or results from fire, steam, electricity, gas, water or rain, or from the breakage, leakage, obstruction or other defects of pipes, fire sprinklers, wires, appliances, plumbing, HVAC or lighting fixtures, or from any other cause or condition or design of, or any defect in the Premises, whether the said injury or damage results from conditions arising upon the Premises or upon other portions of the Building of which the Premises are a part, or from other sources or places, or where caused by third parties (including criminal acts). City shall not be liable for any damages arising from any act or neglect of any other tenant of City or Mall. Notwithstanding City’s negligence or breach of this Sublease, City shall under no circumstances be liable for injury to Sublessee’s business or for any loss of income or profit therefrom. 13. Use by City. Throughout the Term, at least five (5) days each year shall be made available for use of the Premises by the City, at no cost. The exact dates and specific events shall be determined by Sublessee and the Director. Best efforts will be used to achieve maximum scheduling separation for duplicative productions. Dates allocated to the City, but not used by them, shall revert to the Sublessee's use. 14. Sublessee Support Services for City Use. Upon request, the Sublessee will provide the following support services for City or City-selected community groups when such are utilizing the Premises pursuant to Section 13 above (collectively, "Support Services"). City or City- selected community group shall pay Sublessee the direct costs related to such Support Services: (a) Notification on the outdoor marquee at the Premises of current and upcoming events (subject to the Sublessee’s rights of use relative to such marquee, as set forth in the Sublease). (b) Use at the Premises of the Sublessee’s lighting, sound, projection, intercom, headset, and audio/video monitoring systems under the supervision of the Sublessee’s staff. (c) Use of the theater backstage areas at the Premises for sets, props, and costumes during performance or use periods in the main auditorium. (d) Basic consulting services by the Sublessee’s Technical Director to community groups using the facilities at the Premises. (e) If requested, help and consultation by the Sublessee’s professional staff of directors, subject to availability. (f) Maintenance, janitorial and lockup services at the Premises. 15. Honoring of Existing Contracts. The Sublessee must honor existing Contracts and/or Agreements previously approved by the City and executed with the former Sublessee for the 2023 calendar year for use of the Premises for community performances. 16. Assignment and Subletting. (a) Except as otherwise authorized in this Sublease, Sublessee will not voluntarily assign, sublet, transfer, mortgage, or otherwise transfer or encumber all or any part of Sublessee's interest in this Sublease or in the Premises, or rent or sublease said Premises or any part thereof, without the prior written consent of the Director. Any attempted assignment, transfer, sublease, encumbering or renting without such consent (where such consent is required) will be void and constitute a default of this Sublease. In the event a receiver, trustee or conservator is appointed to take possession of the assets of Sublessee, or the possession of the Premises, or a general assignment is made by Sublessee for the benefit of creditors, or any action is taken by or against Sublessee under any insolvency law or bankruptcy act, the City, at its option, may forthwith terminate this Sublease. (b) Notwithstanding the foregoing, Sublessee shall be permitted to enter into short-term rental or occupancy agreements with third-parties for use of the Premises for live performance activities and other uses for limited periods of time consistent with the purposes, uses, and requirements outlined in Section 6 of this Sublease. (c) Any consent by the City to the assignment or other transfer of rights hereunder by the Sublessee will not release the Sublessee from any obligations under this Sublease, and the City's consent, unless expressly provided therein, shall not include consent to any subsequent assignment or transfer by Sublessee or the Sublessee's heirs, successors or assigns. It will be reasonable for City to disapprove any request for assignment or subletting that is to a person or entity who does not intend to the use the Premises for the purposes and uses outlined in this Sublease. Sublessee will pay any costs incurred by City in connection with a request for assignment or subletting. Any sublease authorized above will not relieve Sublessee of its obligations under this Sublease, including but not limited to requirements to indemnify and insure City and Mall. 17. Hazardous Substances. (a) Reportable Uses Require Consent. The term “Hazardous Substance” as used in this Sublease means any product, substance, or waste whose presence, use, manufacture, disposal, transportation, or release, either by itself or in combination with other materials expected to be on the Premises, is either: (i) potentially injurious to the public health, safety or welfare, the environment or the Premises, (ii) regulated or monitored by any governmental authority, or (iii) a basis for potential liability of City to any governmental entity or third party (including but not limited to the Mall) under any applicable statute or common law theory, or pursuant to the Master Lase. Hazardous Substances includes, but is not limited to, hydrocarbons, petroleum, gasoline, and/or crude oil or any products, by-products or fractions thereof. (b) Sublessee will not engage in any activity in or on the Premises which constitutes a Reportable Use of Hazardous Substances without the express prior written consent of City and timely compliance (at Sublessee’s expense) with all applicable laws. “Reportable Use” means (i) the installation or use of any above or below ground storage tank, (ii) the generation, possession, storage, use, transportation, or disposal of a Hazardous Substance that requires a permit from, or with respect to which a report, notice, registration or business plan is required to be filed with, any governmental authority, and/or (iii) the presence at the Premises of a Hazardous Substance with respect to which any applicable law requires that a notice be given to persons entering or occupying the Premises or neighboring properties. Notwithstanding the foregoing, Sublessee may use any ordinary and customary materials reasonably required to be used in the normal course of the use of the Premises permitted under this Sublease, so long as such use is in compliance with all applicable laws, is not a Reportable Use, and does not expose the Premises or neighboring property to any meaningful risk of contamination or damage or expose City to any liability therefor. (c) Duty to Inform City. If Sublessee knows, or has reasonable cause to believe, that a Hazardous Substance has come to be located in, on, under or about the Premises, other than as previously consented to by City, Sublessee must immediately give written notice of such fact to City, and provide City with a copy of any report, notice, claim or other documentation which it has concerning the presence of such Hazardous Substance. (d) Sublessee Remediation. Sublessee will not cause or permit any Hazardous Substance to be spilled or released in, on, under, or about the Premises (including through the plumbing or storm drains, drains, or any other drainage facility within the Premises or adjacent streets, or sanitary sewer system) and will promptly, at Sublessee’s expense, take all investigatory and/or remedial action reasonably recommended, whether or not formally ordered or required, for the cleanup of any contamination of, and for the maintenance, security and/or monitoring of the Premises or neighboring properties, that was caused or materially contributed to by Sublessee, or pertaining to or involving any Hazardous Substance brought onto the Premises during the Term of this Sublease, by or for Sublessee, or any third party. Sublessee must comply, at its sole cost, with all applicable laws pertaining to Hazardous Materials (the "Environmental Laws"), including but not limited to the preparation of business plans pursuant to Health & Safety Code Section 25500 et seq., to the extent applicable to Sublessee. It will be the sole obligation of Sublessee to obtain any permits and approvals required for the operation of Sublessee's business pursuant to the Environmental Laws. Sublessee will prevent any action by or on behalf of Sublessee, Sublessee's employees and agents and invitees that will cause the Premises to be in violation of, or will subject the Premises to any remedial obligations under Federal, State or Local environmental laws, rules, regulations, or ordinances. To the extent required by applicable law, Sublessee will maintain Material Safety and Date Sheets for each and every item or product containing Hazardous Material brought onto the Premises as required by applicable Environmental Laws. Such information, if required, will be kept current at all times. (e) Sublessee Indemnification. Sublessee will indemnify, defend and hold City, its agents, employees, and lenders, if any, harmless from and against any and all loss of rents and/or damages, liabilities, judgments, claims, expenses, penalties, and attorneys’ and consultants’ fees arising out of or involving any Hazardous Substance brought onto the Premises by or for Sublessee, or any third party (provided, however, that Sublessee shall have no liability under this Sublease with respect to underground migration of any Hazardous Substance under the Premises from adjacent properties). Sublessee’s obligations shall include, but not be limited to, the effects of any contamination or injury to person, property or the environment created or suffered by Sublessee, and the cost of investigation, removal, remediation, restoration and/or abatement, and shall survive the expiration or termination of this Sublease. No termination, cancellation or release agreement entered into by City and Sublessee shall release Sublessee from its obligations under this Sublease with respect to Hazardous Substances, unless specifically so agreed by City in writing at the time of such agreement. (f) City Indemnification. City and its successors and assigns will indemnify, defend, reimburse and hold Sublessee, its employees and lenders, harmless from and against any and all environmental damages, including the cost of remediation, which exist on the Premises as a result of Hazardous Substances caused by the sole gross negligence or willful misconduct of City, its agents or employees. City will not under any circumstance be liable for any Hazardous Substances for which Sublessee is liable under paragraph (e) above. City’s obligations, as and when required by applicable laws, will include, but not be limited to, the cost of investigation, removal, remediation, restoration and/or abatement, and will survive the expiration or termination of this Sublease. 18. Default. (a) Default. Any of the following will constitute a default by Sublessee under this Sublease: (i) Sublessee's failure to pay Rent or any other charge under this Sublease within 7 days after it is due. (ii) Sublessee’s failure to observe or perform any of the covenants, conditions or provisions of this Sublease to be observed or performed by Sublessee, including but not limited to obligations imposed under the Master Lease and the REA, other than described in subsection (a)(i), above, where such failure continues for a period of thirty (30) days after written notice hereof from City to Sublessee; provided, however, that if the nature of Sublessee’s default is such that more than thirty (30) days are reasonably required for its cure, then Sublessee will not be deemed to be in default if Sublessee commenced such cure within said thirty (30) day period and thereafter diligently prosecutes such cure to completion; or failure to comply with any other term or condition imposed under this Sublease, the Master Lease, or the REA, within 30 days following written notice from City specifying the noncompliance. (iii) Sublessee's insolvency, business failure or assignment for the benefit of its creditors. Sublessee's commencement of proceedings under any provision of any bankruptcy or insolvency law or failure to obtain dismissal of any petition filed against it under such laws within the time required to answer; or the appointment of a receiver for all or any portion of Sublessee's properties or financial records. (iv) Sublessee’s abandonment of the Premises. (b) Remedies. In the event of a default or breach, City may, with or without further notice or demand, and without limiting City in the exercise of any right or remedy which City may have by reason of such breach: (i) Terminate Sublessee’s right to possession of the Premises by any lawful means, in which case this Sublease will terminate and Sublessee must immediately surrender possession to City. In such event City will be entitled to recover from Sublessee: (i) the unpaid Rent which had been earned at the time of termination; (ii) the worth at the time of award of the amount by which the unpaid Rent which would have been earned after termination until the time of award exceeds the amount of such rental loss that the Sublessee proves could have been reasonably avoided; (iii) the worth at the time of award of the amount by which the unpaid rent for the balance of the Term after the time of award exceeds the amount of such rental loss that the Sublessee proves could be reasonably avoided; and (iv) any other amount necessary to compensate City for all the detriment proximately caused by the Sublessee’s failure to perform its obligations under this Sublease or which in the ordinary course of things would be likely to result therefrom, including but not limited to the cost of recovering possession of the Premises, expenses of reletting, including necessary renovation and alteration of the Premises, reasonable attorneys’ fees, and that portion of any leasing commission paid by City in connection with this Sublease applicable to the unexpired Term of this Sublease. The worth at the time of award of the amount referred to in provision (iii) of the immediately preceding sentence will be computed by discounting such amount at the discount rate of the Federal Reserve Bank of the District within which the Premises are located at the time of award plus one percent (1%). Efforts by City to mitigate damages caused by Sublessee’s breach of this Sublease will not waive City’s right to recover damages hereunder. If termination of this Sublease is obtained through the provisional remedy of unlawful detainer, City will have the right to recover in such proceeding any unpaid Rent and damages as are recoverable therein, or City may reserve the right to recover all or any part thereof in a separate suit. If a notice and grace period required above, was not previously given, a notice to pay rent or quit, or to perform or quit given to Sublessee under the unlawful detainer statute will also constitute the notice required above. In such case, the applicable grace period required above and the unlawful detainer statute will run concurrently, and the failure of Sublessee to cure the Default within the greater of the two such grace periods will constitute both an unlawful detainer and a breach of this Sublease entitling City to the remedies provided for in this Sublease and/or by said statute. (ii) Continue the Sublease and Sublessee’s right to possession and recover the Rent as it becomes due, in which event Sublessee may sublet or assign, subject only to reasonable limitations. Acts of maintenance, efforts to relet, and/or the appointment of a receiver to protect the City’s interests, will not constitute a termination of the Sublessee’s right to possession. (iii) Pursue any other remedy now or hereafter available under the laws or judicial decisions of the state of California. The expiration or termination of this Sublease and/or the termination of Sublessee’s right to possession will not relieve Sublessee from liability under any indemnity provisions of this Sublease as to matters occurring or accruing during the Term hereof or by reason of Sublessee’s occupancy of the Premises. (c) City may make any payment or perform any obligation which Sublessee has failed to perform, in which case City will be entitled to recover from Sublessee upon demand all amounts so expended, plus interest from the date of the expenditure at the rate of 10 percent per annum. Any such payment or performance by City will not waive Sublessee's default.

19. Surrender. On expiration or early termination of this Sublease Sublessee will deliver all keys to City and surrender the Premises, subject only to reasonable wear and tear from ordinary use, and the removal of any attached fixtures by Sublessee to which Sublessee is entitled under this Sublease. Sublessee must remove all of its furnishings and movable trade fixtures installed by Sublessee. 20. Holding Over. If Sublessee, without City’s consent, remains in possession of the Premises or any part thereof after the expiration of the Term hereof, then such occupancy will be a tenancy from month to month upon all the provisions of this Sublease pertaining to the obligations of Sublessee, except at a rent equal to one hundred twenty five percent (125%) of the sum of the rents otherwise due under this Sublease, if and as applicable, immediately prior to the expiration of the Term hereof. The foregoing provisions are in addition to and do not affect City’s right of re-entry or any other rights or remedies of City hereunder or as otherwise provided at law or in equity, or both. Sublessee will indemnify, defend and hold City harmless from and against any and all losses, costs, damages and liabilities (including attorneys’ fees and costs, and court costs) arising out of or in connection with any delay by Sublessee in surrendering and vacating the Premises, including, without limitation, any claims made by any succeeding tenant based on any delay and any liabilities arising out of or in connection with these claims, and City’s damages should any such succeeding tenant cancel its sublease based upon such holding over by Sublessee. Nothing in this Section will be deemed to permit Sublessee to retain possession of the Premises after the expiration or sooner termination of the Term. 21. Notices. Notices between the parties relating to this Sublease will be in writing (including but not limited to e-mail communication), effective when delivered, or if mailed, effective on the third business day following mailing, postage prepaid, to the address for the party stated in this Sublease or to such other address as either party may specify by notice to the other. Notice to Sublessee may always be delivered to the Premises. Rent is payable to City at the same address and in the same manner. 22. Dispute Resolution. The Parties agree to meet and confer concerning all claims, disputes or other matters in question between the Parties arising out of or relating to this Sublease or breach thereof prior to the institution of any litigation. 23. Successors. Notwithstanding any other provision herein, all the terms, covenants and conditions of this Sublease will be binding upon and will inure to the benefit of the successors and assigns of the Parties. 24. Estoppels. Either Party will within 15 days after notice from the other execute, acknowledge and deliver to the other Party a certificate certifying whether or not this Sublease has been modified and is in full force and effect; whether there are any modifications or alleged breaches by the other Party; the dates to which r=Rent has been paid in advance, and the amount of any prepaid Rent; and any other facts that may reasonably be requested. Failure to deliver the certificate within the specified time will be conclusive upon the Party of whom the certificate was requested that this Sublease is in full force and effect and has not been modified except as may be represented by the Party requesting the certificate. If requested by the holder of any encumbrance, Sublessee will agree to give such holder or City notice of and an opportunity to cure any default by City under this Sublease. 25. Attorneys' Fees. In any litigation arising out of this Sublease, the prevailing party will be entitled to recover reasonable attorney's fees at trial and on any appeal.

26. Master Lease; Reciprocal Easement Agreement. This Sublease is subject to the terms and conditions of the REA and the Master Lease. To the extent of any conflict between the terms and conditions in this Sublease and the terms and conditions of the Master Lease, the terms and conditions of the Master Lease will control; and to the extent of any conflict between the REA and either the Master Lease or this Sublease, the REA will control. 27. [Reserved] 28. Miscellaneous. (a) Complete Agreement; No Implied Covenants. This Sublease and attachments constitutes the entire agreement of the parties and supersede all prior written and oral agreements and representations and there are no implied covenants or other agreements between the parties except as expressly set forth in this Sublease. Neither City nor Sublessee is relying on any representations other than those expressly set forth herein. (b) Space Subleased As Is. The Premises are subleased AS IS in the condition now existing with no alterations or other work to be performed by City. (c) Time of Essence. Time is of the essence of this Sublease. (d) Counterparts. This Sublease may be executed in counterparts, each of which will be deemed an original, and all of which together will constitute one and the same instrument. (e) Captions. The titles to the sections of this Sublease are descriptive only and are not intended to change or influence the meaning of any section or to be part of this Sublease. (f) Nonwaiver. Failure by City to promptly enforce any regulation, remedy or right of any kind under this Sublease will not constitute a waiver of the same and such right or remedy may be asserted at any time after City becomes entitled to the benefit thereof notwithstanding delay in enforcement. (g) Inability to Perform; Force Majeure. This Sublease and the obligations of Sublessee hereunder will not be affected or impaired because City is unable to fulfill any of its obligations hereunder or is delayed in doing so, if such inability or delay is caused by reason of strike or other labor troubles, governmental preemption of priorities or other controls in connection with a national or other public emergency, or shortages of fuel, supplies or labor resulting therefrom, or act of God, or any other causes beyond the reasonable control of City. If this Sublease specifies a time period for performance of an obligation of City or Sublessee, that time period will be extended by the period of any delay in City’s or Sublessee’s performance caused by any of the events of force majeure described above. (h) Entry and inspection. (i) Sublessee agrees that the City, its agents and employees, may enter upon the Premises at any reasonable time, following reasonable notice to Sublessee, for the purpose of making inspections, surveys and measurements and performing other work considered necessary by the City, including but not limited to ensuring that Sublessee is in compliance with all provisions of this Sublease, all with the understanding that the same will be performed in such a manner as will cause a minimum of interference with Sublessee's use of the Premises. City agrees to provide Sublessee with reasonable prior notice of any such entry and inspection. Such inspections may be made by City employees authorized to conduct such inspections or by independent contractors engaged by City. (ii) Sublessee waives any claim for damages for any injury or inconvenience to, or interference with, Sublessee’s business, any loss of occupancy or quiet enjoyment of the Premises, and any other loss caused by the entry of the City as described herein, and Sublessee agrees that there will be no abatement of Rent by reason of the City’s entry for the purposes described in this section. (iii) The City will at all times have and retain a key with which to unlock all of the gates (if any) in the Premises and the City will have the right to use any and all means that it may deem reasonable and proper to open such doors in emergencies in order to obtain entry into the Premises. Any entry into the Premises obtained by the City by any means whatsoever will not under any circumstances be deemed a forcible or unlawful entry into, or detainer of, the Premises, nor will such entry be construed to be an eviction of Sublessee from any part of the Premises. The City will give Sublessee such notice as is reasonable under the circumstances before and after entry into the building on the Premises due to any emergency. (i) No Discrimination. Sublessee herein covenants by and for itself, its successors, and assigns, and all persons claiming under or through it, and this Sublease is made and accepted upon and subject to the conditions that there will be no discrimination against or segregation of any person or group of persons on account of race, color, creed, religion, sex, marital status, national origin or ancestry, in the leasing, subleasing, transferring, use, occupancy, tenure, or enjoyment of the Premises herein subleased nor will the Sublessee itself, or any person claiming under or through it, establish or permit any such practice or practices of discrimination or segregation with reference to the selection, location, number, use, or occupancy of tenants, lessees, subtenants, of sublessees or vendees in the Premises herein subleased. (j) No Joint Venture. Nothing contained in this Sublease will be deemed or construed by the Parties or by any third party as creating the relationship of principal and agent, a partnership or joint ventures between City and Sublessee. It is understood and agreed that neither any provisions contained in this Sublease nor any acts of City or Sublessee will be deemed to create any relationship between City and Sublessee other than the relationship of landlord and tenant. (k) Waiver of claims. Sublessee hereby irrevocably waives on behalf of itself, its successors and assigns and all persons claiming through it, any claim which Sublessee may assert against the City for inverse condemnation, relocation payment or, compensation for fixtures and equipment, and/or any other costs, expenses, or claims not specifically listed herein incurred by Sublessee in connection with any termination, either by operation of law or otherwise, of this Sublease. Sublessee specifically acknowledges that this Sublease may be pleaded as a defense and a bar to any such claim. Sublessee further specifically acknowledges that in making this waiver, Sublessee has consulted with its attorney and that this waiver is made freely and with knowledge of the character and extent of the rights thus waived. (l) Governing Law; Partial Invalidity. This Sublease and the rights and liabilities of the Parties to this Sublease will be governed by the State of California. If any term or provision of this Sublease or application of this Sublease to any person or circumstance is found to be invalid or unenforceable by a court of competent jurisdiction, the remainder of this Sublease, or the application of such term or provision to persons or circumstances other than those as to which it is invalid or unenforceable, will not be affected by such invalidity or unenforceability, and each term and provision of this Sublease will be valid and enforced to the fullest extent permitted by law. (m) No Interpretation Against Draftsman. City and Sublessee hereby agree that no provision of this Sublease will be construed against either Sublessee or City on the basis that the provision was drafted by such party or such party’s counsel. [Signatures on following page] IN WITNESS WHEREOF, the duly authorized representatives of the Parties have executed this Sublease as of the day and year first written above. CITY: THE CITY OF BURBANK, a municipal corporation and charter city By: Justin Hess Title: City Manager Attest: City Clerk Approved as to Form: Jill Vander Borght Senior Assistant City Attorney Address for Notices: SUBLESSEE: ********************************* ********************************* By: ********************************* ********************************* Address for Notices:
301 EAST OLIVE AVENUE, STE. 305 P.O. BOX 6459
BURBANK, CA 91502 BURBANK, CA 91510-6459
TEL: 8 18 238 5466 [email protected]
FAX: 818 238 5457 BURBANKCA.GOV
ADDENDUM NO. 3
January 30, 2023
RFP NO: PR2023-45025-1019
SUBJECT: SUBLEASE, MANAGEMENT AND OPERATION OF THE BURBANK

CENTER STAGE
ORIGINAL DUE DATE: February 2, 2023 @ 2:00 P.M.

REVISED DUE DATE: February 10, 2023 @ 2:00 P.M.

Please note the following additions/deletions/clarifications to the above Quotation:
•RFP due date is changed from: February 2, 2023 @ 2:00 P.M. •RFP due date is changed to: February 10, 2023 @ 2:00 P.M.

Questions / Answers
•Response to questions submitted prior to 5:00 P.M., January 20, 2023 are attached.

NOTE: Proposals already submitted on PlanetBids will become invalid. Please resubmit your proposals, acknowledge the addendum in PlanetBids and provide a signed copy of this addendum with your bid uploaded to PlanetBids.

Respectfully,
Lisa Villegas
Senior Buyer
LV:lv
The undersigned proposer acknowledges receipt of the following addendum issued for the above RFP. Failure to acknowledge receipt of addendum MAY disqualify the Bidder. IF

YOU HAVE ALREADY SENT IN YOUR PROPOSAL AND THIS ADDENDUM IS NOT ENCLOSED, PLEASE CONTACT THE PURCHASING DIVISION AT (818) 238-5466.

COMPANY NAME:

SIGNED: DATE:

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