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Welcome to Backstage: The TBA Blog! This is the place for Theatre Bay Area announcements, info on upcoming events, grant deadlines, ticket giveaways, shout-outs and special profiles of featured members. Visit early and often!


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The General Auditions Are Over - Now What?

Posted By TBA Staff, Wednesday, March 4, 2015
Updated: Wednesday, March 4, 2015


By Dale Albright and Beverly Butler


The Generals are over…now your work really begins!

Theatre Bay Area's General Auditions took place two weeks ago, and if you had the opportunity to be one of the 340 actors seen by the auditors, you've got some follow-up to do that just might increase your chances of getting a casting call!


Photo: "After work, par Franck Vervial" by Franck Vervial on Flickr. Used under Creative Commons license.


·      Visit the Theatre Bay Area website to check the list of auditors that saw you and send them each a note, a "remember me" mailing or an email letting them know a little more about you (besides your obvious good manners). Perhaps you have been cast in a show since the Generals, or there has been some other update to your resume? Let them know.

·      While you have that auditors' list handy, make a note to retire the monologue they heard. Polish up a new one for the next time you get a call from that theatre.

·      Go to the latest issue of Theatre Bay Area magazine (print or digital version) with the Spring Season preview and check which theatres are doing which shows. All the spring and summer seasons are listed for your viewing pleasure. Undoubtedly, some of these shows will not yet be cast. You know what type you can play; see who is doing your perfect show and pitch yourself for the part.

·      Grab a piece of paper, think about the experience, and jot down what went well and what you want to change for the next audition. Did you arrive on time? Were you comfortable in what you wore? Were your headshots ready? Was your monologue too long? What were your nerves like, and what will you do differently next time?

·       Even if you weren't one of the lucky ones who got a slot at the Generals, you can scope out the auditor list and send a headshot and a note to the theatres doing shows you want to be cast in. It shows them you are doing your homework, which is always a good thing.

Two weeks and no calls or call backs? This is a marathon, not a sprint. Anywhere from two days to ten years is not uncommon for the General Audition magic wand to tap you on your magnificently talented shoulder.

Get to work!



Dale Albright is program director for Theatre Bay Area. 


Beverly Butler is vice president of Theatre Bay Area's Board of Directors. 

Tags:  Acting  auditor  casting  casting director  TBA general auditions  TBA Magazine 

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Featured Member: Allison Page

Posted By TBA Staff, Tuesday, March 3, 2015
Updated: Tuesday, March 3, 2015


Need a little hilarity in your life? Let us introduce you to our latest featured member, Allison Page. A comedic jack-of-all-trades, Allison's work has been bringing smiles to faces for years. This month her first full-length production as a playwright, aptly titled Hilarity, is opening at the Exit Theatre. Producing company DivaFest was awarded a CA$H grant for the project last fall.

TBA Featured Member Allison Page.

Tell us a little about your theatre work. 

I think it's fair to say that most people who know me, know me as a comedy person. I'm the cocreative director of Killing My Lobster, so I spend most days surrounded by a pack of the funniest people I can find. There are worse ways to spend your time, definitely. Outside of KML I act, write, and direct all kinds of funny and not-at-all-funny things. I'm a huge believer in collaboration and not being precious about things. That's an aspect of comedy that carries over into everything else I do and is probably why I'm not sensitive about whether people like my work or not. I make things because I want them to exist, which is the only part I can really control anyway. 


What's one of your favorite shows that you've worked on?

It's been a few years now, but I played an alcoholic dancing bear in Megan Cohen's BEEEEEEAAAR as part of SF Theatre Pub's Pint Sized Play Festival and it was absolutely the time of my life. I still get stopped on the sidewalk by people saying, "You're the bear, right? BEER BEEEAAAR!" and it has scored me free BBQ on multiple occasions. If I can parlay a performance into ribs—that's livin' the dream to me.


What do you like about the theatre scene here in the Bay?

Just like every other theatre artist in the Bay Area (especially comedians), people are always asking me why I haven't moved to Los Angeles or New York. For me, the answer is that I feel I can do everything here. I don't feel pigeonholed. I can be an actor/writer/director/producer/comedian/dramatist/juggler* if I want to. It's a kind of freedom that I think can be hard to secure in some places. People want to be able to say, "This is _____ and they are unquestionably a _____," but I don't feel that here. I can try things out and not feel branded with them forever. 


*I am not a juggler. 


Do you have a resource or piece of advice you'd like to share?

Don't wait around for people to validate your talent. They won't do it when you need them to. Do it yourself. Feel good about that. Shut up. Do it again.


Anything coming up soon that you're excited about?

My first full-length play to be fully produced is opening March 5 at the Exit Theatre. It's called Hilarity, and DivaFest is doing the awesome task of producing it. I'm not a nervous or anxious person by any stretch of the imagination but this premiere makes me feel all kinds of stuff. Thinking of myself as a playwright is sometimes bananas to me, but I think most of us suffer from Impostor Syndrome anyway. It comes with the territory. Hilarity is really important to me for a lot of reasons. It's a play about a comedian who happens to be a woman. (Hey, write what ya know!) Even just at that level, I've not seen a play about that. Actually, how many stories about comedians who aren't middle aged white guys are there? (Look, I've done a lot of Googling. It's a tiny baby number.) She's also an antihero and a general nightmare. Again, that's sort of man territory when it comes to main characters. The play isn't about her being a woman, she just is one. That alone breaks the standard and I can't wait to bring her chaos to life.


Tags:  DivaFest  Featured Member  Killing My Lobster 

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Arts Action Alert: Write Your Congress Today!

Posted By TBA Staff, Thursday, February 26, 2015

Dear Arts Advocate:

Tonight it was confirmed that the U.S. House of Representatives is scheduled to consider on Friday three dozen amendments to "The Student Success Act" (HR 5), a bill to reauthorize federal education programs. This is a legislative effort last completed 13 years ago through the No Child Left Behind Act. There is a great need to improve upon that outdated legislation.

Through Friday's floor consideration in the House, members of Congress will have an opportunity to vote on HR 5, and a Bill imageDemocratic alternative - but both bills are expected to receive partisan vote outcomes.


Please visit our E-Advocacy Center to send a customizable message today!

Americans for the Arts strongly prefers the Democratic legislative alternative, although there are a few elements of the GOP bill that would be advantageous for arts education, especially for teachers of music, dance, theater and the visual arts. In general, we are concerned that any reduction of federal leadership in supporting the arts as essential to a complete education is detrimental to addressing the equity gap that currently exists.

We hope that you will contact your member of Congress about the provisions in both bills that would benefit the arts education communityAs the House holds its vote on Friday, and Senate legislation is considered in a few months, it is valuable to convey to lawmakers now the provisions that should be supported in a final bipartisan approach.

Summary of Arts-Related Provisions
Subject HR 5 Student Success Act Democratic Substitute Bill Arts Education Position
Core Academic Subjects XTerminates 'core academic subject' definition, including the arts Retains the arts in 'core academic subject' definition There is a critical need for federal law to include the arts as a core academic subject. Without this leadership, states and school districts have less incentive to support the arts as part of a student's complete education.
Grant Program Support Proposes consolidation of 65 programs, but retains arts education as a priority, listed among others, for a new local competitive grant program. A new Well-Rounded Subjects grant program is proposed, that includes the arts. The arts are included as an eligible grant activity in both legislative proposals, but neither are as dedicated as the current federal Arts In Education grant program
Professional Development Includes new specific language including arts educators as eligible for professional development support. Maintains pre-existing professional development eligibility thatincludes arts educators. Supporting arts educators with professional development funding is a priority item.
Funding for Disadvantaged Students XReallocates Title I funding decisions to primarily state and local levels and reduces arts education eligibility. Arts education remains as an eligible use of Title I funds to support academic success for disadvantaged students. In terms of direct federal funding support, nothing is larger than Title I. In order to support equity for disadvantaged students explicit federal Title I eligibility is a priority need.
After-School Programs XThe 21st Century Community Learning Centers is consolidated with 64 other programs into a new funding initiative. 21st Century Community Learning Centers program is retained. The arts are a substantial activity in any after-school program. With 1.6 million young people impacted by this $1 billion program, we believe there is bipartisan support for a discrete after-school program.
Please visit our E-Advocacy Center to send a customizable message,including the points made above, to your member of Congress in advance of Friday's vote - and to let them know how you think these policies will impact arts education.

AAD logoWant to take further action? Plan to join Arts Advocacy Day on March 23-24and bring your arts education advocacy directly to Capitol Hill! Learn more about this event here.

Help us also continue this important work by also becoming an official member of the Arts Action Fund. If you are not already a member,play your part by joining the Arts Action Fund today- it's free and easy to join.

Thank you for your support for arts education!

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Tags:  Americans for the Arts 

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TBA Supporters Go "Behind the Curtain" at 2015 General Auditions

Posted By TBA Staff, Tuesday, February 24, 2015
Updated: Tuesday, February 24, 2015



On Sunday, February 22, members of Theatre Bay Area's community of supporters were invited to join TBA staffers for a VIP reception and "Behind-the-Curtain" viewing of the 2015 General Auditions. Attendees included TBA Board Members, longtime donors, and prospective supporters just getting to know the Bay Area theatre community and Theatre Bay Area. 


Photo: "Audition" by Dan Cox on Flickr. Used under Creative Commons license.


During the reception, attendees were treated to conversations about the General Auditions experience. Leslie Martinson (associate artistic director, TheatreWorks), and Lesley Currier (managing director, Marin Shakespeare Company) presented the auditor's point of view, while Kendra Oberhauser (actor—and Theatre Bay Area staffer!) described the actor's perspective​. 
Martinson and Currier emphasized that, for auditors, the General Auditions is not necessarily a "best actor" competition. Rather, each theatre representative auditing the auditions is looking for actors suited for the specific productions they have coming up. 

They also affirmed the extraordinary value of the General Auditions; both Martinson and Currier have developed long-term artistic associations with artists that they first saw at the Generals. 

As an actor, Oberhauser discussed the unique opportunity—as well as the pressure—actors encounter at the Generals: to showcase everything they can do for the who's-who of the Bay Area theatre two minutes. She noted several different approaches actors take in order to stand out, from selecting monologues by lesser-known playwrights to belting tried-and-true Broadway songs. 

Naturally, the reception began as a friendly gathering, but by the end, there was real excitement in the air. It was clear that this insider look at why the General Auditions exist and how they serve the theatre community had been inspiring for those in attendance—almost as inspiring as the actors showing their work on the audition stage.

Join us next year for General Auditions 2016!




Tags:  Acting  auditor  casting  casting director  donor  TBA general auditions 

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Volunteers Still Needed for General Auditions this Weekend

Posted By TBA Staff, Tuesday, February 17, 2015

Theatre Bay Area still needs dedicated volunteers to help run the General Auditions, which will take place at Marines' Memorial Theatre in San Francisco, on February 21-23, 2015.


Volunteers will be asked to organize and distribute headshots to auditors, set up and clean, run concessions and registration and assist auditioning actors. Volunteers might be able to watch some of the auditions as work duties allow.


This is a great opportunity for actors who want to learn more about auditioning in the Bay Area!

Available shifts: 

Saturday, February 21: 8:15 a.m.-1:15 p.m. or 2-5:30 p.m.
Sunday, February 22: 8:30 a.m.-1:15 p.m. or 2-5:30 p.m.
Monday, February 23: 8:30 a.m.-1:15 p.m. or 2-4:30 p.m.

Email the membership staff at to get more information or sign up.


See you there!

Tags:  Acting  TBA general auditions  volunteer 

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Theatre-Makers, Speak Out!

Posted By TBA Staff, Tuesday, February 10, 2015
Updated: Tuesday, February 17, 2015



Hello, Bay Area theatre-makers!



We want to learn more about your engagement in the theatre community. Please take 10-15 minutes to complete the survey linked below.

Five lucky survey participants will receive a $75 VISA gift card, but HURRY - Survey ends at 10 a.m. Monday, February 16! 


Thanks—we look forward to hearing what you have to say!

Tags:  Membership 

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Playwright Cabaret at the 2015 TBA Annual Conference

Posted By TBA Staff, Friday, February 6, 2015

Want to present your work in the Playwright Cabaret?

Submit your script today!


The Playwright Cabaret is, quite simply, a place at the TBA Annual Conference (April 13, 2015) for writers to have their work read and seen by colleagues. See below for how to submit your work for consideration.



Photo: "Cafe Flambe" by user Brain Toad on Flickr. Used under Creative Commons license. 

The Playwright Cabaret "Lucky Thirteen" (i.e., how it all works):


1. Membership. Playwrights must be TBA individual members in good standing through April 30, 2015 to present their work at the conference. Monthly membership holders are eligible. There is no membership requirement for the cast or production assistant (PA). Playwrights who present their work at the Playwright Cabaret will receive free admission to the conference.

2. Selection process. All Playwright Cabaret slots will be filled by lottery, with a short waiting list in the event of cancellations, lapsed memberships, etc. Scripts must be received by by 4 p.m. on March 15, 2015. The selected and waitlisted writers will be notified via email by 5 p.m. that same day. Specific time slots cannot be guaranteed, but cabaret playwrights may trade spots with one another.

3. Venue and length. The Playwright Cabaret will be held in the Berkeley Rep bar, which will be open for business during that time (expect noise and very honest audience reactions!). Each slot is 20 minutes long. Each team has 5 minutes to set up, 10 minutes to read, and 5 minutes to reset the stage for the next team. If you set up and clear quickly you may use the rest of the time however you wish, including announcing your reading verbally to draw a crowd. Common-sense caveat: Do Not Do This During Another Writer's Reading. You Will Go To Playwright Hell, Where You Will Be Forced to Write "Disney On Ice" Adaptations of Epicoene, By Ben Jonson, For All Eternity.

4. Timeliness. If a playwright's full team fails to arrive on time, start on time, or clear the stage for the next team on time, s/he will become ineligible for the following year's Playwright Cabaret.

5. Participation. Playwrights are not to act in their own plays, read their own stage directions, or participate in any technical or logistical capacity. The whole point is to be free to feel the audience taking in your work. 

6. Stage directions. TBA will provide a production assistant (PA) to read stage directions. However, the TBA PA will not be available to rehearse or even read through the script before the reading. So if your stage directions have complex vocabulary or timing, you will want to rehearse and bring your own PA.

7. Cast. Maximum cast size is 6, plus one PA (optional). Playwrights are responsible for casting their shows, furnishing their teams with scripts, and ensuring that their teams register for the conference. Actors and PAs will receive 50% off conference admission. We encourage writers to share actors, to reduce the danger of "no-shows." (This has happened; it was an incredible drag for the playwright.)

8. Stuff on Stage. Music stands and chairs will be provided. Props are heartily discouraged; the space is tiny

9. Sound. Microphones and sound equipment will not be available (nope, not even a CD player). Unplugged singing or instrumental music is fun, sure, but remember: simplicity always wins. 

10. Choice of material. You must present the same script you send to TBA. You may send more than one script to TBA, but no writer will get more than one slot. Script format may be whatever you like: one short play, several very short plays, or an excerpt from a longer piece. It can obviously address any topic in any style. TBA will not censor, edit, or even correct the spelling in scripts we receive, unless and until the script is published. About that...

11. Publication. Cabaret playwrights may be offered the opportunity to have their short play published on the TBA website and promoted via TBA's social media channels. This is totally optional; playwrights may absolutely choose to decline. TBA may also decline to publish a script if we have concerns about super disturbing content, but only after a conversation about these concerns with the playwright.

12. Promotion. The Playwright Cabaret readings will be promoted in the conference program, likely as an insert. Please feel free to do your own promotion outside of the conference (email, social media, postcards) to invite people, but if you bring promotional materials to the conference, be prepared to carry and hand them out yourself. There will be no room for postcards at the conference registration table, which is the most hectic spot at the entire event. Postcards left there, even accidentally, will be cleared and probably recycled.

13. Share the Love. Please cross-promote and watch the other playwrights' readings! Support them the way you'd like them to support you.



Email Laura Brueckner

Tags:  #tbacon15  Annual Conference  playwright  reading 

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Featured Member: Teddy Spencer

Posted By TBA Staff, Tuesday, February 3, 2015
Updated: Tuesday, February 3, 2015

Our latest featured member has been quite the artist to watch over the last year, having enjoyed an impressive amount of acting work with some great companies. Teddy Spencer has taken the stage as Iago, Orlando, and Tybalt—and that was just since last summer! You can see his skills in action at the 2015 Theatre Bay Area General Auditions later this month.


TBA Featured Member Teddy Spencer.

Tell us a little about your theatre work.
I was born and raised in the East Bay (Concord), but just recently returned to the Bay Area to pursue a professional acting career in the community I love. Since moving back to the area a little over a year ago, I've worked with the Arabian Shakespeare Festival, Capital Stage Company, Marin Shakespeare Company, the Eugene O'Neill Foundation, SF PlayGround, San Francisco Playhouse, and the Douglas Morrisson Theatre. Regionally, I've worked with the Dallas Theater Center, Milwaukee Repertory Theater, Ten Chimneys, Texas Shakespeare Festival, Theater at Monmouth, The Undermain, and Summer Repertory Theater. I earned a BA in both Musical Theatre and Psychology from California State University, Chico, and an MFA in Acting from Southern Methodist University. After graduate school, I spent a season as an acting intern with Milwaukee Repertory Theater. I'm an associate artist with the Arabian Shakespeare Festival, a company member of SF PlayGround, and a proud member of Actor's Equity Association.

What's one of your favorite shows that you've worked on?
I have been afforded some really wonderful opportunities since coming to the Bay. Getting to play alongside longtime Oregon Shakespeare Festival staple Dee Maske in 4000 Miles at Capital Stage was a joy. Spending the summer outdoors with Marin Shakespeare Festival in the beautiful Forest Meadows Amphitheater was a blast. But perhaps my favorite experience was my most recent: playing Iago in Othello with the Arabian Shakespeare Festival. Anytime you get to activate that language is special, but getting to play with the nuances of that text and character in an intimate space like the Royce Gallery with the rock-star cast we had was a dream.

What do you like about the theatre scene here in the Bay?
The people! When my partner, Lindsey Marie Schmeltzer, and I first moved to the Bay a little over a year ago, we were lucky enough to get invited to go play with SF PlayGround at Berkeley Rep. That was our first time performing in the Bay Area, and we were absolutely floored by the welcome and kindness we felt that night from the 40+ actors, directors, and playwrights involved, as well as the excitement and support from the sold-out audience. This was a defining moment for us in deciding the Bay Area was indeed the place we wanted to make our artistic home.

I also love the variety of performance you can experience here. In any given week, I can go see a kitchen-sink drama, a golden-age musical, a re-imagined classic, an improv comedy show, a burlesque/slam poetry mash-up, and a new work written by a local playwright. That's pretty cool.

Do you have a resource or piece of advice you'd like to share?
Be kind to others. Be kind to yourself. Be reliable. Make big choices. Make a mess. Breathe.

Anything coming up soon that you're excited about?
Yes! This March I begin rehearsals for the world premiere production of Max Understood, a new musical written by Nancy Carlin and Michael Rasbury, directed by David Schweizer, and produced by the Paul Dresher Ensemble. The story revolves around Max, a seven-year-old boy with autism, and will perform in the Cowell Theater at Fort Mason Center from April 16-26 in conjunction with World Autism Awareness Month. I think it is a vitally important story to tell, both on a societal and personal level, and I am excited to get to share it with the Bay Area.


Theatre Bay Area members: Creative. Committed. Community.

Tags:  Acting  Featured Member 

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Sign up for General Auditions Dress Rehearsals!

Posted By TBA Staff, Tuesday, January 27, 2015

Hone your audition skills with four amazing acting coaches in the space where the Generals will occur.

If you're not auditioning at the Generals but want tips for your own auditions, sign up as an observer!



When: February 17-18, 6:00-10:00 p.m.
Where: Marines Memorial Theatre, 609 Sutter St., SF

New: You can register online here


Session 1: Contemporary & Classical Monologues with Meryl Shaw

Tuesday, February 17, 6:00-8:15 p.m.

- Cost to participate: $30 members/$45 nonmembers
- Cost to observe: $10 members/$20 nonmembers

Session 2: Shakespeare Monologues with Gwyneth Richards

Tuesday, February 17, 7:45-10:00 p.m.

- Cost to participate: $30 members/$45 nonmembers
- Cost to observe: $10 members/$20 nonmembers


Session 3: Focus on Songs and Monologues with Bobby Weinapple

with accompanist David Miotke (the Generals accompanist)

Wednesday, February 18, 6:00-8:15 p.m.

- Cost to participate: $40 members/$55 nonmembers
- Cost to observe: $10 members/$20 nonmembers


Session 4: Singing and Monologues for Actors with Bobby Weinapple

with accompanist David Miotke (the Generals accompanist)

Wednesday, February 18, 7:45-10:00 p.m.

- Cost to participate: $40 members/$55 nonmembers
- Cost to observe: $10 members/$20 nonmembers


Space is limited! To reserve your spot and pay by credit card, register online. You can also call us during business hours at (415) 430-1140, ext. 0. Payment is required at the time of registration; no refunds after February 10, 2015.


Questions? Email


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Featured Member: Queenelle Minet

Posted By TBA Staff, Tuesday, January 13, 2015
Updated: Tuesday, February 17, 2015

We're always talking about the future of Theatre Bay Area, but our latest featured member could tell you a few things about the past. Queenelle Minet, who has worked for many years as a director, actor and educator, was around for the very beginning of Theatre Bay Area's history. She continues to play an active role in the Bay Area Theatre scene today, and will direct her own world-premiere play next year!

TBA Featured Member Queenelle Minet.

You've got a unique relationship to Theatre Bay Area. Would you care to share?

I am the founder of TBA and served as the executive director for TBA's first four years. When I first came to San Francisco, I found it difficult to find out what was going on in the Bay Area theatre scene. As a result, it struck me that what the Bay Area needed was an organization to unite theatre organizations and serve Bay Area theatre artists. In order to see if I could make this happen, I sent out a letter to local theatres inviting representatives to a meeting at my flat. Thus, Theatre Bay Area (originally Theatre Communications Center of the Bay Area) was born.


I served for four years as the executive director, an unpaid job that involved coordinating volunteers to produce Callboard (now Theatre Bay Area magazine), establish a talent bank, publish the first theatre directory, create the original version of TIX, obtain nonprofit status, and apply for grants. Eventually, I also supervised our first paid staff person, supplied by CETA [the 1973 Comprehensive Employment and Training Act, an initiative that funded training for workers in public service].


During the early years the TBA office was in my home, but with the CETA employee came TBA's first real office, at the Orpheum Theatre. Finally, thank goodness, we received a grant large enough to hire a paid executive director, and I turned all my responsibilities over to the first paid executive director, secure in the knowledge that all the work I, and many, many early volunteers had done would be carried forward. Now, almost 40 years later, I'm amazed and very pleased to see how successful TBA has become. It has not only achieved the goals we envisioned when we began the organization back in the mid 1970s, it has gone beyond them. (See the January 1996 Callboard for more about TBA's early history.)

Tell us a bit about your theatre work.
I earned a master's degree in Theatre Arts at Northwestern University, and then taught theatre arts and directed at Northern Michigan University. It was at NMU that I discovered that directing was probably my strongest passion. During the summers when I was not teaching, I got a couple of acting gigs in summer stock, one at the Lincoln Opera House in New Hampshire, and another at the Wyoming Summer Theatre in Laramie. Other than that, and the years described above, when I essentially did nothing theatrically other than work on TBA, I have acted and directed here and there, where and when I had the opportunity to do so. I have also done a bit of playwriting.

Do you have a resource or piece of advice you'd like to share?
Even if the need to earn a living and other practical concerns cause you to do other things, it's important to also find some way to stay consistently connected and involved with whatever you feel passionate about.

Anything coming up soon that you're excited about?
Yes. Currently I feel excited about an invitation I've received from the Fairfax Theatre Company to direct my own original play To Catch a Kingfish. It's a historical drama that depicts the tender seventeen-year love affair between actress Nell Gwyn and Charles II, as well as the historical events that were going on in England at the time. We are going to need lots of actors, plus lots of those angels who work on all the other equally important aspects of the production. I invite anyone interested in receiving more information, including audition dates, to contact me at


Theatre Bay Area members: Creative. Committed. Community.

Tags:  Featured Member 

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