In Re Ruth Easton Fund

680 N.W.2d 541, 2004 Minn. App. LEXIS 596, 2004 WL 1191927
CourtCourt of Appeals of Minnesota
DecidedJune 1, 2004
DocketA03-1365
StatusPublished
Cited by4 cases

This text of 680 N.W.2d 541 (In Re Ruth Easton Fund) is published on Counsel Stack Legal Research, covering Court of Appeals of Minnesota primary law. Counsel Stack provides free access to over 12 million legal documents including statutes, case law, regulations, and constitutions.

Bluebook
In Re Ruth Easton Fund, 680 N.W.2d 541, 2004 Minn. App. LEXIS 596, 2004 WL 1191927 (Mich. Ct. App. 2004).

Opinion

*544 OPINION

LANSING, Judge.

The Ordway Center for the Performing Arts (Ordway) appeals the district court’s order suspending distributions to Ordway from the Ruth Easton Fund, a segregated charitable fund within the Edelstein Family Foundation Trust, and authorizing the trustees to distribute funds instead to other charitable organizations. We conclude that the district court acted within its discretion by confirming the trustees’ suspension of distributions based on its finding, supported by the record, that Ordway curtailed its program for the development of new works. But because the conditions enumerated in Easton’s will for redirection of funds did not occur, we reverse the district court’s order authorizing the trustees to pay income and discretionary principal to an alternative charitable organization under Minn.Stat. § 501B.31 (2002).

FACTS

This litigation involves a dispute over the distribution of income and principal from a charitable fund created by Ruth Easton. Easton was a Broadway actress who was born and raised in Minnesota. Although she retired from the stage in the late 1930’s, she maintained an active interest in the theater, particularly in the production of new theatrical works.

Easton had a testamentary power of appointment over the Ruth Easton Trust, which had been created by her brother, Jacob E. Edelstein, in his 1945 will. In 1997 her longtime attorney and advisor, Thomas E. Keller III, introduced her to Kevin McCollum, then Chief Executive Officer of the Ordway, for the purpose of discussing a charitable gift. The Ordway board of directors had recently adopted a strategic plan including a stated goal of “establishing] leadership in producing and presenting new musical theater independently and in local and national partnerships.” The plan defined a “new work” as a “[p]iece of theater that has never been produced or seen by an audience before. It may be based on an existing book, an original concept or idea, or it could be the adaptation of an existing play into a musical.”

As part of this “new work” program, the Ordway joined with the 5th Avenue Musical Theater in Seattle and the Theatre Under The Stars in Houston to form a research-and-development consortium, New Musicals/Studio USA. Hot Shoe Shuffle was the only show developed by this consortium that was produced at the Ord-way. Ordway produced a different category of theatrical works, referred to as Ord-way Originals, which were not necessarily new works as defined in the Ordway strategic plan.

After meeting with McCollum, Easton agreed to support the creation of new works at the Ordway with funding from the Ruth Easton Trust. During negotiations over the structure and terms of this funding, Keller wrote Ordway representatives describing Easton’s frustrations in attempting to effectuate the purposes for which she had made a previous gift to another charitable organization. In one letter discussing the proposed Ordway gift, Keller enclosed a Wall Street Journal article that recommended a policy of designated restrictions on charitable gifts.

Easton, by codicil to her will dated September 26,1997, created a segregated fund within the Edelstein Family Foundation for the balance of assets remaining in the Ruth Easton Trust. Easton exercised her power of appointment over the trust, in *545 structing the named trustees, Keller and U.S. Bank, to pay the net income at least annually, and principal in the trustees’ discretion, to Ordway in accordance with the agreement between Easton and Ordway bearing the same date. The codicil further provided that “[i]n the event that said agreement with Ordway shall have been terminated and not replaced with any subsequent agreement governing the same subject, or Ordway shall no longer be in operation, the Trustees ... shall pay” such amounts of income and/or principal to other charitable organizations as they determine, in their discretion, to comport with her intent.

On the same day, Easton executed an agreement with Ordway. The agreement provided that she would leave binding instructions to the trustees of the foundation to hold the Easton fund as a segregated fund within the foundation “to be used exclusively to produce new full length theatrical productions” or for other purposes as approved by the trustees from time to time. The distribution of funds was to “be made ... not less frequently than annually.” The trustees “reserve[d] the right to limit or suspend (temporarily or permanently) gifts to the Ordway Easton fund ... if,” among other stated conditions, “the Ordway curtails its program to mount new productions or if the Ordway ceases to mount new productions altogether.... ” When Ruth Easton died in 1998, the Ea-ston fund was worth approximately $6 million.

The Easton fund contributed annually to Ordway from 1998-2002, distributing total gifts of approximately $1.1 million. Under the funding procedure in place, Ordway would propose a project for Easton funding, and Keller would exercise his discretion as trustee to determine whether the proposed project fit the definition of “new work” to qualify for Easton funding. He rejected a funding proposal if it appeared to be “mostly derivative of a prior work.” Applying this standard, Keller approved distributions of about $867,000 for a production of Adventures in Love, $200,000 for Ten Years Apart, and $337,000 for The Prince and the Pauper. He rejected, however, proposals for productions of Romeo and Juliet and South Pacific. The Easton fund did not contribute to every new Ordway production, and Ordway also received other funding for new works, such as a Dayton-Hudson-funded program called Ordworks, which produced a workshop reading with three Minnesota artists.

In September 1999, Ordway requested information from Keller about the process of interpreting the agreement with Easton. Keller wrote back that only the agreement governed the terms and Ordway must refer to that written agreement.

In 2001 McCollum approached Keller about Easton funding for Plaid Tidings, a musical revue derived from Forever Plaid that had originally been produced at the Pasadena Playhouse. Keller declined to distribute Easton funds for Plaid Tidings and expressed concern to McCollum that Ordway was not financially committed to the program for new works. Keller also declined Ordway’s proposal for Easton funding for 8-Track, the Sounds of the '70’s, a revue of music from the 1970’s that had premiered at the Milwaukee Repertory Theater and had an eighteen-week run in Detroit before it was produced at Ord-way.

McCollum left Ordway as CEO in 2002; Ordway reorganized with David Galligan as the new president and CEO. Galligan, the former chief operating officer of the Walker Art Center, did not have direct theater experience equivalent to McCol-lum’s, and he had no experience developing new, full-length theatrical productions. McCollum maintained contact with Ord- *546 way as artistic advisor but had no formal contract that defined the relationship.

In August 2002 Galligan wrote to Keller requesting Easton money to cover a loss of $284,926.54 sustained by the Easton-fund-ed Ordway production of

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Bluebook (online)
680 N.W.2d 541, 2004 Minn. App. LEXIS 596, 2004 WL 1191927, Counsel Stack Legal Research, https://law.counselstack.com/opinion/in-re-ruth-easton-fund-minnctapp-2004.