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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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Featured Member: Ana-Catrina Buchser

Posted By TBA Staff, Tuesday, July 21, 2015
Updated: Wednesday, July 22, 2015

Our newest TBA featured member is Ana-Catrina Buchser, a Romanian-born director, singer, musician and mother who found her way to the Bay Area and brought her home country’s passion for the arts along with her. With a body of work that includes a translated adaptation of The Star Without a Name (Dragon 2nd Stages Series), Broadway musical Spring Awakening (San Jose Rep) and Victorian farce The Importance of Being Earnest (Santa Clara Players), Buchser has demonstrated serious directorial range. Learn more about this dynamic ATLAS graduate and CA$H Grant recipient! 

TBA featured member Ana-Catrina Buchser. 


How did you get your start as a theatre artist?

I grew up in București, Romania, going to the theatre a lot in a society where artists are revered. Although I thought I wanted to be a doctor, the artistic force that came from my mother-writer and father-painter was strong in me, so it didn’t really surprise anyone when my Stanford pre-med path turned into a master’s in directing. I have continued to direct and act in the Bay Area ever since, having a special place in my heart for plays about the theatre, such as Stephen Jeffreys’ The Libertine, which is on my bucket list. You can learn more about my work at and read my blog at

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

Two months ago—although it feels like yesterday—I closed The Star Without a Name, a play I translated and adapted from Romanian, written by Mihail Sebastian. In addition to directing it, I also produced it, with the generous support of Dragon Production’s 2nd Stages Series, as well as a CA$H grant from Theatre Bay Area. This was by far the most emotional journey I have ever taken while working on a play, partially because I was responsible for so many aspects of the production, but also because it was an offering to Bay Area audiences of the culture, humor and poetic sensibility of my birth country.

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

I appreciate the spirit of camaraderie. With very few odd-ball exceptions, individual theatre artists and companies in the Bay Area are very supportive of each other’s work and are willing to lend a helping hand when needed. I suppose there is a feeling of togetherness of all the talent in this region in the face of the dismal financial situation.

As a director, what would you say to artists trying to get their start in that role?

Read a lot, live a lot, meet a lot of people, see a lot of theatre, do a lot of theatre, get involved in every aspect of a play (act, build, paint, light, play with sound, etc.). Every experience you go through makes you a better director. Also, work on becoming an excellent communicator; you will have to explain your vision to many different people before any of your ideas can become a play.

How was the ATLAS experience for you? What did you take away from it?

I had a revelation during my ATLAS session. Before ATLAS I had been struggling for about seven years to balance my life as a theatre director—which came first—with my newer life as a mother. Dale Albright, who ran the session, had the brilliant idea of sorting the participants into several different categories, one of which was “parents.” After much conversation with actor Laura Espino—the only other parent in the room—I realized that I had been thinking of directing and parenting as two separate identities of mine, and had been frustrated whenever one demanded more attention than the other. The big realization was that my daughters are growing up very quickly, and I will still be a director when they go off to build their own lives. I am now happily both a director and a mother at the same time, I take fewer theatrical projects each year and spend more time with my daughters, and the balance just happens naturally.

Any upcoming projects you’d like to share with your fellow TBA members?

I am in the process of looking for a publisher for The Star Without a Name. Mihail Sebastian has been translated in several languages, but not English, so I am working with a Romanian foundation to look for a US publisher. I am, of course, always thinking about the next play on my bucket list, and have a few good ideas. 

There is also an exciting year of music ahead. I sing with Symphony Silicon Valley Chorale, and in August we start our new season, which will feature works by Sibelius, Gabriel Fauré and others.

If you could direct your ultimate dream show, what would it be like?

The next ultimate dream show involves lots of color; working with an excellent composer and several actors who play instruments; at least one violent, bloody scene and a kick-ass production manager. Also, reasonable wages for the entire cast, designers, crew and director.

The one after that might have elephants in tutus...


Theatre Bay Area members: Creative. Committed. Community. 

Tags:  ATLAS Program  CA$H Grants  Director  Featured Member 

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Welcome TBA's Newest Staff Member, Sal Mattos

Posted By TBA Staff, Tuesday, July 14, 2015


Sal Mattos is the newest employee at Theatre Bay Area, where he now stars in the role of “members and event associate.” Sal is one of the friendly gents who cheerfully answers the phone—and your member questions—here at TBA. 

So, Sal, where are you from, and how long have you been in the Bay Area?

I am a rare San Francisco native and have lived here my entire life. This no doubt explains my decidedly Californian demeanor (read: why I’m always running late and why my words have extra syllables.)

How long have you been involved in theatre? Any specialized training or experience?

I’ve always been a performer and a storyteller, making short movies with my parents’ camcorder and directing my toys in elaborate storylines, but it wasn’t until high school that I really tapped into the world of theatre. The bulk of my training came during high school where my director, Francine Torres Kelly, treated us with (and expected from us) professional standards from day one. She trained us in improvisational technique, both long and short form, which to this day I count as one of my most valuable skills both on stage and off. Some might call me a “character actor” but I’m genuinely just fascinated with the strange, the odd and the extraordinary people in our world and how they tick. I’m also really into stage combat and jump at any chance to wield a sword or wrestle across a stage. 

What do you consider your specialty in theatre-making now? 

When not performing, I’ve spent the last five and a half years studying play and screen writing at San Francisco State. While I undeniably spend more time on stage than I do behind the scenes, it is ultimately the telling of stories that I find most fulfilling in life. I hope to grow my writer’s resume as much as my actor’s, and create as many, if not more, characters as I have had the privilege to embody. 

What's the biggest theatre catastrophe you've ever faced?

The biggest theatrical catastrophe I have ever faced was without a doubt my first professional audition. Being quite the Spring Awakening fanboy, I was ecstatic to learn that during the national tour’s SF leg they would be holding open auditions. I chose to sing a song from Rent, not realizing that the producers were so tired of hearing Rent that they had explicitly requested that no one ever sing Rent for them ever again. So I sang Rent…and badly. Very badly. Great start to my career.

If you could collaborate on a project with any theatre artists, living or dead, whom would you choose, and why?

So many brilliant playwrights I’d love to work with. Paul Rudnick is, for me, one of the funniest writers of all time. I quote The Addams Family almost daily. For all of his crazy, I’d love to just sit in a room with David Mamet and watch him work; his plays were some of the first ones to really grab me. Suzan-Lori Parks is another one whom I’d jump just to meet, but to collaborate with her would be a literal dream come true. It’s not even just her brilliant writing, but the way she speaks about writing that I find so inspiring. And if I can ever sneak my way into a production of Dreamgirls I will consider all of my theatrical career goals fulfilled.  

Do you have membership or event questions, or just want to say hello? Contact Sal at

Tags:  Actor 

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From the Executive Director: June’s Big Advocacy Wins: What Went Right?

Posted By TBA Staff, Monday, July 6, 2015
Updated: Tuesday, July 7, 2015

By Brad Erickson

This past month saw important victories for the arts in Sacramento and San Francisco, with Governor Brown signing an allocation of $7.1 million from the state’s general fund for the California Arts Council (up from $1 million just two years ago), and SF’s City Hall allocating an additional $7 million to the arts over the next two years. With arts budgets stuck for so long at both the state and local level, what happened this year that went so right?

On the surface, the advocacy approaches in San Francisco and Sacramento this past year appear very different—but a closer look uncovers shared strategies that led to success.

In San Francisco, the newly-formed Arts for a Better Bay Area (ABBA) created an “Arts Budget Coalition” by convening a large number of artists and arts groups to discuss and debate arts funding. Led by Ebony McKinney and Lex Leifheit, ABBA’s was a broad, inclusive effort that combined “Town Hall”-type meetings, small working groups and widely distributed surveys sent to the SF arts community. ABBA met with the staffs of San Francisco’s arts agencies, the offices of key members of the Board of Supervisors and Mayor Lee—gathering historical data on arts funding and getting a broader picture of the city’s finances and funding priorities. They coordinated a letter and email writing campaign, and lined up speakers to testify at key budget hearings this spring. Months of this work allowed ABBA to build an ambitious and detailed request on appropriations for the San Francisco Arts Commission and Grants for the Arts, complete with specific line-item recommendations on budget allocations. ABBA’s approach: a coordinated, grassroots effort that encouraged a broad range of input, then distilled the community conversations into succinct policy recommendations.

At the state level, this year’s advocacy initiative was almost entirely behind the scenes, focusing entirely on the budget process, as in San Francisco, rather than legislation, as had been the case in past years. The sister advocacy groups Californians for the Arts and California Arts Advocates (CAA) opted not to engage in a massive grassroots campaign, focusing instead on letters from key arts leaders; select testimony at a handful of budget hearings; an upbeat “Arts Advocacy Day” event with 200 advocates visiting legislators at the Capitol and constant suasion from CAA’s lobbying firm, which met regularly with pivotal lawmakers and the governor’s office. The result: substantial increases to the appropriation for the California Arts Council (CAC) for the third year in a row, replacing the $1 million allocation that had been in place for more than a decade with a new “baseline” allocation of $7 million from the state’s general fund.

At first glance, it may seem like San Francisco advocates took a grassroots approach, while the statewide advocates in Sacramento opted for what Americans for the Arts likes to call a “grasstops” strategy. Actually, the behind-the-scenes initiative taken this year by advocates at the state level followed an aggressive grassroots campaign in 2004 that featured hundreds of letters, thousands of emails and even more telephone calls to Sacramento lawmakers—so many that state legislators begged for the action to stop. That grassroots blitz—along with savvy persuasion from well-connected insiders—led to last year’s breakthrough in arts funding: a 500% increase to the CAC from the state’s general fund, and a strong sense among Sacramento policy makers that more needed to be done.

Characteristic of both the San Francisco and Sacramento initiatives was an uncharacteristic (for the arts) unity of message. For years, arts advocacy in San Francisco and California has been riven with a multiplicity of messages and messengers that have been not just distinct, but too often contradictory—and even outright hostile.

This year in San Francisco and the past two years in Sacramento have been different. There was a strong determination among advocacy leaders to speak with one voice. Differences were discussed and debated within advocacy circles—not in front of lawmakers. Compromises were hashed out, agency and legislative staffs were consulted privately, and when it came time to go public, the speakers from all vantage points sang from the same song sheet. The results are clear: big wins at both city and state levels.

Other factors contributed to June’s victories: friendly lawmakers who took bold leadership positions and were not afraid to expend political capital; good economic times that made it possible to open wider the public purse; and years of advocacy and education that laid a firm foundation of relationships and case-making upon which this year’s campaigns could build.

Despite the significance of June’s big wins, there is far more to achieve. California still ranks towards the bottom of all 50 states in terms of per capita investment in the arts—at 25 cents per person, far below the national median of one dollar. In San Francisco, the ABBA coalition had requested $8 million in additional arts funding for this year; what it got was $7 million over two years. Beyond Sacramento and San Francisco, there are many other localities that could—and should—be investing so much more: Oakland, San Jose, San Rafael, and so on.

As arts advocates gear up for the 2016 funding campaigns, let’s be clear about one strategy from 2015 to keep in next year’s playbook: work together on the song sheet and learn to sing in unison.

Brad Erickson is executive director of Theatre Bay Area.

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2015 Titan Award Winners!

Posted By TBA Staff, Tuesday, June 30, 2015

It is with enormous pride that we announce the winners of the 2015 Titan Awards: Bobby August, Jr., Caitlin Evenson and Justin Gillman

Each of these fabulous actors has completed TBA's ATLAS (Advanced Training Leading Artists to Success) program, where they created a career map that would guide them in their next professional steps. August, Evenson and Gillman will each receive an award of $1000 and a yearlong professional mentorship to implement this career map.

Read more about our amazing Titans below!

Bobby August, Jr. (Fremont) has a MFA in Acting from University of California, Davis, where he was seen in The Bacchae, Rosencrantz and Guildenstern are Dead and The Way of Water. In the Bay Area, he has appeared with Shady Shakespeare, Savage Wilde Players and others. He is a non-Equity actor and is currently a cast member of Made Up Theatre. Visit

August will use his Titan Award funds for training costs. 
His professional mentor is L. Peter Callender.

Caitlin Evenson (Berkeley) has performed at California Shakespeare Theater, San Francisco Shakespeare Festival, Cutting Ball Theater, Ragged Wing Ensemble, Town Hall Theatre, Tides Theatre, Douglas Morrison Theatre and many others, and will be appearing with the Breadbox in Medea later this fall. A non-Equity actor, Caitlin has a BA from University of California, Berkeley.

Evenson will use her Titan Award funds for training costs. 
Her professional mentor is Jennifer Le Blanc.

Justin Gillman (San Francisco) - In the four years since arriving in the Bay Area, Justin has appeared with San Francisco Playhouse, 42nd Street Moon, Custom Made Theatre Co., New Conservatory Theatre, the Breadbox and others. He has an MFA in acting from Columbia University, is a non-Equity actor and will appear later this year in The Rover with Shotgun Players. 

Gillman will use his Titan Award funds for marketing costs.
His professional mentor is Liam Vincent.

Titan Finalists: In addition to the winners noted above, the Titan panel also selected two finalists, each of whom will receives a professional mentorship, Teressa Foss and Rowan Rivers.

Congratulations to all of our Titans, and best wishes for career success!

Tags:  Acting  ATLAS Program  Titan Award 

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Program Director's Note: Tip of the Iceberg

Posted By TBA Staff, Tuesday, June 23, 2015
Updated: Wednesday, June 24, 2015

By Dale Albright, TBA program director 

TBA program director Dale Albright.

What a community we have.

I had the pleasure of attending the Lemonade Fund Variety Show sponsored by Theatre Bay Area’s Individual Services Committee (ISC) at PianoFight a few weeks ago. It has already been reported far and wide that the event raised over $700 toward supporting the Lemonade Fund, Theatre Bay Area’s fund for theatre workers that are critically ill or facing a catastrophic life situation.

It struck me as yet another reminder of the generosity that abounds in our community. Members of TBA's Individual Services Committee, particularly the event’s organizers, Megan Briggs and Alan Olejniczak, donated considerable time and energy in putting together the event. PianoFight donated the space, the performers donated their time and talent—the servers even donated their tips! This is just another example of how extraordinary our community can be in support of each other and this field we all love so much.

Our new strategic plan articulates something that has been in TBA’s DNA for a long time, but never really said in this way: “acting for the good of the entire Bay Area theatre ecosystem.” While the Lemonade Fund is a perfect example of this, it is also an example of something that TBA, as an organization, can’t do on our own. Sure, we can put the pieces in place (we make guidelines, draft the application forms, put them all on the website and process those applications), based on our belief that this fund acts for the good of people who make up this ecosystem. But without community involvement and support such as this recent event, the Lemonade Fund is just a page on a website without any real connection or benefit to anyone.

This is true of almost all of the programs that we do. They are here for you—and they need you. The General and Regional Auditions are useful because of the actors and companies that participate. The TBA Awards program owes its ongoing existence to community adjudicators, participating companies and artists. Every CA$H Grant selection panel is made of artists from our community who want to make sure others get support for their work. The list goes on and on.

How can you join us in our efforts to continue to strengthen, unite, promote and advance Bay Area theatre? There are oh so many ways!

You might read that and think that I am asking for time or for money. And while yes, those things are important (and would certainly be utilized!), I am also thinking of the simple act of staying in touch with us. We are constantly reaching out to our members and the community at large via our Annual Conference and other events, as well as emails and surveys. Do you speak up? Or do you leave someone else to make decisions on your behalf? Do you assume that “surely TBA knows (insert issue here)”? All of our online journalism and blog posts have the option for you to share or post a comment. Have you shared an article or commented? Will you comment on this? Is TBA on your email list when you promote your shows (and I mean this for individual artists as well as companies!)? Have you gotten involved in the social media aspects of the TBA website—groups and forums—to find resources and like-minded allies? Your involvement makes our work possible.

An image has been circulating around Facebook recently with a picture of an iceberg. The top of the iceberg is labeled as “the show” and the vastly larger underside is labeled as “what the audience doesn’t see.” What’s great about this image is that it is so transferrable to TBA’s work. For instance, I love the tip of the “TBA membership” iceberg, those folks who actively participate in community building and professional activities. I really, really do.

But I can’t help but think about what we as an organization, a theatre community and a field would accomplish if we were able to count on the whole darn iceberg that is sitting just out of sight.

Dale Albright is program director for Theatre Bay Area, and a Bay Area actor and director.

Tags:  Annual Conference  discussion  journalism  TBA general auditions  volunteer 

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Arts Advocacy Victory

Posted By TBA Staff, Tuesday, June 16, 2015
Updated: Tuesday, June 16, 2015

The new and improved appropriation for the California Arts Council (CAC) passed both Houses yesterday, and was included in the budget sent to the Governor's desk, with $7 million from the State's General Fund for the CAC, which the Governor's office says will serve as the new "base line" for future years (the base line has been at just $1 million since the huge cuts of 2003; the increases of the past two years were one-time-only). 

The CAC receives additional funds from other sources as well, including the NEA and sales of arts license plates. With the new $7M appropriation, the total estimated budget for the CAC will reach more than $11 million for FY16.   

Tags:  advocacy 

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Give Your Grad a Career Boost with TBA

Posted By TBA Staff, Tuesday, June 9, 2015
Updated: Monday, June 8, 2015


June is so exciting—all over the country, students are graduating from high schools and colleges, ready to take their next steps toward the future. 

But it's a tough market for budding artists. Even though live theatre is alive and well, it can be tough for grads to transition from being a student to working as a professional in theatre. 

TBA is here to help! We are the country's third largest organization dedicated to serving theatre artists and promoting their work. And we're offering a discount on individual membership that will get your grad access to information on auditions and behind-the-scenes jobs, free tickets to productions around the Bay Area, networking opportunities and events, professional resources and more. 

So sign up your young artist for a full year of TBA individual membership today—at a cost of only $50 when you use the discount code 2015SpringSale! It's the first step toward a thriving professional future in the performing arts.

A one-year TBA individual membership includes:

• TBA's weekly e-newsletter, “The Insider,” packed with theatre news, free tickets, and info on upcoming events!
• Discounts of up to 50% off TBA gatherings like the Annual Conference, where the Bay Area theatre community meets up to share ideas and excitement!
• Eligibility to see shows as a TBA Awards adjudicator—for free! 

New individual membership only $50 with this promo code: 2015SpringSale. (Offer good for new or lapsed TBA individual members only.) Act now—offer ends June 30!

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Featured Member: Radhika Rao

Posted By TBA Staff, Tuesday, June 9, 2015
Updated: Monday, June 8, 2015

Radhika Rao is next on the slate of awesome Theatre Bay Area members you should know about. We’ve been watching her work since she participated in Theatre Bay Area’s ATLAS program, and since then she’s been flexing her acting muscles for theatres such as the San Francisco Shakespeare Festival and New Conservatory Theatre Center. In addition to her work onstage, Radhika passes her skills off to others through her work as a teaching artist. Catch her right now in The Skin of Our Teeth at the Douglas Morrison Theatre!

 TBA Featured Member Radhika Rao.


Tell us a little about your theatre work.

I’m an actor and theatre teaching artist. I’m also a storyteller and improviser, and a resident artist at the SF Shakespeare Festival. I’ve lived and trained in New Delhi, India, Boston, San Diego and now the San Francisco Bay Area. I’m passionate about engaging in theatre that helps spark dialogue and social change. More details about my work can be found at website:

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

New Conservatory Theatre Center, led by Ed Decker, is my favorite place to work. Last year, I was cast in Mike Bartlett’s Cock, directed by the incomparable Stephen Rupsch. It has to be one of the best artistic experiences of my life. 

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

I like that it is a very kind, warm, and welcoming theatre community. I’m especially thrilled that the Bay Area is emerging as a national leader in sparking conversations about gender and race equity in the theatre. I admire initiatives such as the “Yeah, I Said Feminist” Salon, as well as organizations such as the SF Shakespeare Festival that have committed to race/gender-conscious casting. I’m also very excited about Magic Theatre and Shotgun Players’ all-female playwright seasons, as well as the Bay Area’s Femprov Fest produced by Leela Improv. I also love all the local playwright forums in the Bay Area, and the opportunities for actors and directors to be part of new work developed by local playwrights. 

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

Keep your TBA membership active because it’s the quickest way to tap into the wonderful theatre community here! Apply for the ATLAS program if you haven’t already—it’s a great training program to learn about the business of acting. If you’re not cast in a full production, you can still play by taking an improv class, doing staged readings, participating in 24-hr playwright festivals, applying to be a “standardized patient” at medical schools, etc. Spend time building friendships with other artists who inspire you and don’t be afraid to ask for support—this is a great community!

Anything coming up soon that you’re excited about?

I’m thrilled to be part of the ensemble in a production of Thornton Wilder’s The Skin of Our Teeth at the Douglas Morrison Theatre. It’s such a visually and thematically rich play that is unbelievably relevant today. I will also be performing with Eth-noh-tec Asian American Storytelling Company for the Asian American Association for Librarians on June 26/27. And through the summer, I’ll be involved in the SF Shakespeare Festival’s Parklet Series; we perform Shakespearean scenes at various public venues in Cupertino, Redwood City, and San Francisco. 

Theatre Bay Area members: Creative. Committed. Community. 

Tags:  Featured Member 

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From the Executive Director: Fast Train

Posted By TBA Staff, Tuesday, June 2, 2015
Updated: Thursday, June 4, 2015

By Brad Erickson


I’m writing this column while riding one of the famous bullet trains of Europe, in this case Spain’s AVE, traveling from Barcelona in the north of the country to Seville in the south. We’ve reached 300 kilometers an hour (more than 185 mph), and the trip crossing this nation the size of Texas will take just five hours. The train is not only super fast, it’s super modern, super clean and super punctual.

Jerry Brown dreams of a similar transport zooming between the north and south of California. Some deride it as the “crazy train,” pointing to the project’s enormous engineering challenges, the enormous cost and the state’s enormous number of competing priorities. The critics may be right, but it is the Governor who owns a vision.

A year and a half ago, Theatre Bay Area began a visioning process as part of crafting a new strategic plan. In it, we were challenged to create a view of the future that was compelling and that could be accomplished. A train that could be both imagined—and built.

We knew that TBA needed to be transformed as thoroughly as the bullet trains have transformed rail travel in Europe (and China, and Japan...). We also sensed that, like Spain’s AVE lines, our fundamental purpose would not change. The bullet trains have the same mission as their slower, chugging antecedents: to move people from one place to another. They just do it faster and more comfortably. At the end of our planning process, Theatre Bay Area’s purpose has remained unchanged: to advance theatre and theatre makers in the Bay Area—we hope, in a way that will be more streamlined and more effective. The vision is to take a nearly forty-year-old institution and transform it into a model service organization for the 21st century. To be both here—truly of the Bay Area—and now—truly of this time.

With our completed plan, we have the blueprints for this reinvented organization. In building the new Theatre Bay Area, we will concentrate our efforts in three major areas: equipping theatre makers for success, recognizing achievement, and bringing more people to connect more deeply with theatre. Our ultimate goal is to see theatre become an integral part of individual lives and diverse communities throughout the Bay Area. To bring what we call “the particular power of theatre” to everyone in this region.

That has always been our destination. Our vision for the new Theatre Bay Area is to get us there more quickly, more effectively and in a way that meets the needs of the 21st century Bay Area theatre community. Call it a vision for a bullet train TBA. All aboard! 

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MCs Announced for “A Summer Night’s Dream” Gala

Posted By TBA Staff, Tuesday, May 26, 2015
Updated: Tuesday, May 26, 2015

MCs Announced for “A Summer Night’s Dream” Gala 

We’re getting excited about A Summer Night’s Dream, the annual gala in support of Theatre Bay Area’s wide range of programs and services.

Held at Z Space on June 29 from 6:00-10:00 p.m., this gala is a fabulous “dress-to-express” soiree, where you’ll mix and mingle with fellow Bay Area theatre-makers and theatre-lovers, while sipping and noshing delicious refreshments. 

Carey Paff  L. Peter Callender

But what’s even better than having a good time out with good friends for a good cause? Being treated to exciting performances during the event! We’re thrilled to announce that the gala program will feature Carrie Paff and L. Peter Callender as emcees, who will no doubt charm us silly as they guide us through the evening of performances, acknowledgements, and auction winning!

We extend sincere and deep thanks to Ms. Paff and Mr. Callender for their meaningful support of TBA’s many programs and services. 

For more information on A Summer Night’s Dream, visit the gala main page.

To purchase tickets, visit the gala event page

Tags:  Summer Night's Dream 

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