Today, nonprofit arts organizations are rushing into an elitist whirlpool of irrelevance. They're the only companies in the whole nonprofit sector where the beneficiary is also the donor. Donors donate so that donors may attend. In SCENE CHANGE, the first book in the series, we dived into the reasons that the arts have become simultaneously elitist and irrelevant in this Pre-Post-Pandemic Era in America. In SCENE CHANGE 2, we offer specific board responsibilities in order to create the space for the kind of charity for which communities are clamoring. This is a targeted list of the ways in which today's nonprofit arts organizations (theaters, symphonies, ballets, museums, operas, and all the rest) will have to significantly change their whole structure and the prism in which they do work. Companies that make these changes will be giving themselves the best chance to succeed in 2024 and beyond. Those that don't, won't.

'Alan is a visionary who believes that theatre changes lives for the better, and who creates teams who make sure that it does.' Russell Willis Taylor, Former CEO, National Arts Strategies

Nonprofit arts organizations have to place nonprofit ahead of arts in order to thrive in these pre-post-pandemic days. Most currently don't. Scene change is a phrase tied to the arts when discussing a literal change from one scene in a play to another, eliciting a new time, place, and situation. Here, however, it refers to actions made at this pivotal moment within the entire sector, where the rules that went into play over half a century ago can no longer apply for the arts to serve their nonprofit purpose. That charitable purpose - to help those who need the help - cannot exist in an environment of privilege, exclusivity, and the subjective concept of excellence. Excellence does not put food on a hungry person's table, if they even have a table. In his brilliantly unpretentious, snarky, and hilarious style, Alan Harrison pulls no punches. He identifies and addresses elitism, defines and defuses toxicity, and provides outlines for success, including a hopeful prediction for the future. This book also provides context for the pinball journeys of a 30-year adventure, leading nonprofit arts organizations in America - warts and all.

After three years infiltrating the Crown's intelligence network, followed by a long and treacherous journey home, Farris has finally arrived at Penance: the Simian City of Steam.

However, much has changed while he was away. Where he was once at the right hand of the Silverback - the leader of the Simian separatist movement - now Farris watches from afar as his old comrades whisper in the shadows about secret plans and advanced weaponry.

Meanwhile, the Sons of Seletoth, a fringe religious sect, has suddenly come to prominence. The ruined Tower of Sin, once the epicentre of Simian ingenuity, now houses these preaching fanatics and their many followers. Worse still, the once atheistic Silverback has now aligned himself with these zealots, but to what end?

Now, Farris has found himself distanced from the separatist movement at this critical time: the Human kingdom has already attacked Penance, and the Simians are ready to march. But Farris fears that even Simian technology will be no match for Human magic...

... and to the south, there are rumours that the dead have risen from their graves.

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After defeating the undead horde at Penance, the City of Steam, Simians and Humans alike celebrate their victory. Their home has been saved, and Morrígan, the leader of the invading army, has vanished.

But Farris does not share the same optimism as his people. He saw what happened the night the undead came: Morrígan killed King Diarmuid, claimed his power for herself, and transcended to demi-godhood. Now, she seeks the two other gods of the Trinity: Lady Meadhbh, who dwells deep in her underground tomb, and Lord Seletoth, a mighty, reclusive god who lives atop the lonely peak of Mount Selyth.

In order to stop Morrígan, Farris needs to convince the fragile governing body of the Triad to send their army away from the city. But Penance is still recovering from the battle with the undead, and King Diarmuid's death has left an empty throne and a council in disarray. Furthermore, law and order has broken down in the city, threatening its waning resources as winter approaches.

Now Farris must decide what is best for his people: to stay and help rebuild Penance, or to take the Triad's army south to fight a god.

Morr gan wants to become a mage, but her uncle, Yarlaith the White, refuses to train her.

Of course, he doesn't understand that the world is more dangerous than ever. Only days ago, her mother was killed by a mountain troll, and Morr gan was helpless to intervene.

Now, a small army has stationed themselves in Morr gan's village, sent by King Diarmuid. He claims that the Simian rebels to the north are threatening to attack the Human kingdom with their advanced weaponry, but there are some who question his motives.

Either way, machines are no match for magic, which is all the more reason for Morr gan to learn....

Meanwhile Farris, a Simian double-agent, uncovers plans that King Diarmuid is planning a pre-emptive strike on the Simian City of Steam. Farris embarks on an intrepid voyage across the kingdom, where he must choose between siding with his own people or preventing a brutal civil war.

For the third book in the SCENE CHANGE trilogy, you'll discover that there are, in fact, nonprofit arts organizations in America that fulfill their nonprofit charter by centering their community's needs over their own. In this book, you'll discover nonprofit arts organizations that have saved people's lives. Literally. As in, some people would be dead without their intervention. In this process, Alan Harrison studied the organizations for about a year and embedded in their operations. The result? Making your community quantifiably better can be done. It has been done. And this book will give you some ideas on how to transform your nonprofit arts organization, too.