NOW HIRING: Technical Facilities Manager



Job Description: Technical Facilities Manager

Part time, Non-exempt | Reports to: Executive Director | Location: Seattle Center Compensation: $23/hour, 30 hours per week.

Theatre Puget Sound (TPS) is a leadership and service organization founded in 1997 which advocates for the region’s growing theatre community and administers much-needed services to the members. As part of the mission to foster and advocate for a robust and equitable theatre community, TPS supports 7 rehearsal rooms and 3 performance venues in partnership with the Seattle Center Armory.


The organization is currently seeking a Technical Facility Manager, a position that supports both regular facility maintenance projects while also serving as technical director for the performance spaces. This position will work in tandem with Seattle Center Staff in order to ensure regular maintenance and upkeep of all spaces and equipment. The ideal candidate will have knowledge of both regular facility maintenance processes as well as understanding of technical theatrical equipment. The ability to project manage and support individual productions within the TPS performance spaces is also a plus.


This position is split into two categories of need. While we hope to have one individual fulfill this position, individuals with direct experience in only once category may apply. Hours will be split accordingly between two entities, if necessary.


  • Manage and maintain all non-production related facility infrastructure, assets, systems and fixtures
    • “Non-Production” facility systems include management of facilities which are not related to the technical theatre production needs. This excludes theatrical production specific facility matters, technical production equipment, systems, and assets (sound, lights, intercom systems, etc)
    • “Infrastructure” includes: Electrical, plumbing, mechanical, fixtures, floors, walls, doors, windows, fire extinguishers, and exit/safety lighting
    • “Assets” include: Furniture, appliances, pianos, carts and dollies, fans, portable lighting, tools, studio specific items and equipment (including rehearsal cubes, screens, blackboards, storage cabinets, fans, bulletin and white boards, cleaning tools, drapes and mirrors).
  • Manage and maintain facility wide garbage management, coordination of cleaning schedule with Seattle Center custodians, general cleaning
  • Plan, supervise and conduct special facility/asset development projects (floor refinish or replacement, lighting fixture maintenance, etc.)
  • Maintain inventory of TPS provided facility supplies including research of alternatives as needed.
  • Replenish supplies as needed, to include: facility light bulbs, cleaning equipment and supplies, dressing room supplies such as paper towels, toilet paper and hand soap.
  • Ensure compliance with all fire and life safety requirements and regulations
  • Serve as the primary contact and liaison for all facility maintenance/development activities undertaken by Seattle Center crews and other personnel.


  • Manage and maintain all production related assets, systems and fixtures in three performance venues including lights, sound, etc.
  • Oversee, coordinate and support the activities of all production companies/clients in all three venues
    • Assess, troubleshoot and resolve issues with facility, equipment and systems during client production tech and performance
    • Provide training and guidance on use of venue systems and equipment as needed
    • Enforce “House Rules” on use of facility, systems and equipment by all clients
    • May include production specific tasks or support, as required/requested, including: design, construction, lighting, sound, projections and show operation.
  • Maintain performance facility, equipment and systems in production ready condition
    • Conduct routine and regular maintenance and repair of performance facilities, systems and equipment including: lighting dimming and control and distribution; lighting fixtures; sound equipment and systems, intercom equipment and systems, monitor (audio and video) equipment and systems, projection equipment and systems.
  • Maintain inventory of TPS provided production supplies. Research and purchase supplies as needed including: lighting fixture lamps; lighting fixture parts and repair supplies; lighting cables; sound adaptors and cable; projector lamps, adaptors and cable; expendable goods (tape, hardware, solvents, etc.)
  • Plan, supervise and conduct special infrastructure/system/asset development projects
  • Provide technical support for TPS managed/sponsored events in venues and rehearsal studios
  • Serve as Production Manager/Technical Director/Designer for the TPS stage at Bumbershoot and any other TPS sponsored production activities
  • Serve as primary contact for priority clients in order to ensure efficient transitions between productions
  • Serve as primary contact for Seattle Center Staff for projects, emergency management, or other performance related matters

Please send resumes and cover letters to

TPS values a diverse workforce and inclusive culture. We are committed to diversity in all areas of our work and encourage applications from all qualified individuals without regard to race, ethnicity, religion, gender identity or expression, sexual orientation, age, national origin, citizenship, disability, and/or veteran status. We strongly encourage those from groups not normally represented, to apply.

PDF of Job Listing: Technical Facility Manager Position

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FREE Self-Defense Class for Female-Identifying People

Wednesday, December 12 6-8pm
Free (donations will be gladly accepted: all proceeds will go to Mary’s Place)

TPS is pleased to offer this free self-defense class to female-identifying people. Because we are limited to 20 participants, we ask that you cancel 24 hours in advance so we can fill your spot from our waiting list. This may be the first of a series of classes; if you are interested but unable to join us on December 12, please indicate that on the registration form.

The class will focus on physical skills you can use to defend yourself in close proximity.

Instructor Lyam White is an NASM Certified Personal Trainer and has trained extensively in Goju-Ryu Karate, Capoeira, Kali, and several forms of kickboxing. A member of renowned physical theater company UMO Ensemble, he has taught martial arts, physical theater, and other disciplines to youth and adults throughout the Seattle area.

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Celebrating Rex Carleton — everyone’s favorite TD retires!

Rex Carleton will be retiring from Theatre Puget Sound at the end of this year after nearly 15 years. We at TPS are thankful for all of his work he has done in our community and for TPS, including building the Center Theater (among other spaces around the city still standing today).

A job listing for the position of Technical Director and Facilities Manager for all of our spaces, including the Center Theater, the Blackbox, and Theatre4 will be open soon.

Theatre Puget Sound will be hosting a party in acknowledgement of all of Rex’s incredible work in the theatre community on Tuesday December 4th, 2018 at a location TBA.

Complete Biography
(pulled from his 2003 Gregory A Falls Sustained Achievement Award)

Rex Carleton is a unique presence on the Seattle theater scene. Most know him as the genial long-time technical and production director for the late, great Group Theatre, the seminal multicultural firebrand that operated locally from 1978 -1998, and whose influence is reflected in theaters locally and nationally. There, Rex collaborated with founder Rubén Sierra and with hundreds of artists and technicians whose careers have been enhanced and advanced through their association with Mr. Carleton.

But Rex’s career in the Pacific Northwest didn’t start with The Group. He earned his Master of Arts degree from the University of Washington in 1975 with a major in directing. He immediately landed a job stage-managing a touring production directed by Bathhouse Theatre founder Arne Zaslov as part of the Rep’s Mobile Outreach program, touring for nine months to high schools in four states. Upon his return he was hired as Artistic Director of Theatre East in Kirkland, where he directed and led the artistic development of the company until, at Rex’s urging, it moved to Capitol Hill in Seattle and was re-christened as the Conservatory Theatre Company (CTC). In between his many directing assignments there, Rex found time to design and manage the conversion of a turn-of-the-century mortuary into a theatre complex with main stage performance space, rehearsal hall, lobby, and administrative and technical support spaces. He was also instrumental is facilitating the private investment/donor arrangement that ultimately granted full ownership of the property to the Conservatory Theatre Company.Rex Carleton - 1976

In 1982 Rex left CTC to accept his new post with The Group, while the CTC board hired John Kazanjian to assume the artistic leadership of the company. Renamed the New City Theatre, the company enjoyed a long and productive tenure in the building. The facility is now owned and managed as The Richard Hugo House – as a resource center for all aspects of the literary arts. The original theatre space, remodeled during the New City years, continues to be used as a performance facility.

From 1982 through 1998 Rex Carleton served in a leadership position with the Group Theatre, as technical director, and resident scenic and lighting designer. From 1992-1995, he also served as the construction manager for The Group’s ambitious relocation project, spearheading the design and construction of a 15000 sq. ft. theatre facility at Seattle Center. Although an architectural design firm was engaged for the project, in the end Rex designed virtually all aspects of the space. Rex served as the Group’s primary representative in all construction project related discussions, negotiations, and coordination with Seattle Center staff. In addition, he supervised the work of all sub-contractors and work crews. In 1993, the Group Theatre honored him at the opening of the new theatre by officially naming the facility “The Carleton Playhouse”.

Rex Carleton - 1977 @ Theatre East "Pierre Patelin" Rex, Roger Westberg, Richard EsterbrookRex Carleton - 1977 @ Theatre East Park Tour Rex as "Sganarelle"Rex Carleton - 1977 @ Theatre East "The Miser" Rex, Roger Westberg

A short list of Rex’s achievements as an artist at the Group include scenic designs for: Never Whistle While You’re Pissing, Harvest Moon, Buffalo Soldier, Lady Day at Emerson’s Bar and Grill, Meetings, Fraternity, Latins Anonymous, Real Women Have Curves, Yankee Dawg You Die, T Bone N Weasel, The Meeting, Changing Faces, Kiss of the Spiderwoman, and lighting designs for Falsettos, A Language of Their Own, Extremities, Tracers, Changing Faces, Kiss of the Spiderwoman, Rap Master Ronnie, A My Name is Alice, Two Can Play, Orphans, Jacques Brel, Fifth Sun, Sizwe Bansi is Dead, Orinoco, I Am Celso, Desert Fire, Division Street, and Talking With.

Close to Rex’s heart is The Group’s multicultural holiday show, Voices of Christmas. Rex contributed lighting and/or scenic designs to many editions of Voices at The Group between 1982 and 1998. Rex played an essential role in resurrecting Voices after The Group closed in 1998, by carefully saving all the sets, props, costumes, research documents and production books – and by collaborating with Michael Harris in relocating Voices to ArtsWest Playhouse in West Seattle in 2001.Rex Carleton - 1977 @ Theatre East Rex in "The Grumbler"

Born in Massachusetts in 1948, Rex grew up in New England, and attended St. Lawrence University where he majored in Comparative Religion and began his theatrical career. His first professional experience came with The Fisherman’s Players, a social issues-oriented touring company based on Cape Cod. He moved to Seattle in September of 1973, and lived in Kirkland for 10 years, later moving to Woodinville in 1983. He’s is a family man, having married Mary Hannigan in 1984. They live in on a small farm in Woodinville with their son Sean Carleton (now 18 yrs), 5 dogs, two horses and one very old cat named Iris (who, once upon a time, was one of the two shop cats at the Group Theatre scene shop). Daughter Cathy (Mary’s first marriage) now lives in Colorado and has two beautiful children (that’s right…Rex’s grandchildren) Callie and Eleanor.

Rex Carleton - 1980 @ CTC on set of "A Mans A Man"Reflecting on his accomplishments and the honor of receiving the Falls Award, Rex says, “If I’ve done anything in my career to deserve this award, I’d like to think it’s because I’ve had a positive impact on the people I’ve had the good fortune to work with – people who came with open arms and went away richer for the experience, and who in turn have enriched me by sharing their energy, skill, and enthusiasm. It’s the ‘give and take’ of working with dedicated people that I value the most. And I am grateful to have had the opportunity to work with so many remarkable artists, technicians and administrators during my career. 

I am also grateful to have had the chance to develop two performance spaces that remain in service to the arts today – the spaces now known as Richard Hugo House, on Capitol Hill – and the Center House Theater at Seattle Center. It is my sincere hope that they will continue to afford artists and audience alike the intimate performance experience for which they were designed in the years to come.”

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2018 Gregory Awards Round-Up

Thanks to everyone who came out to be a part of the 10th Annual Gregory Awards hosted by Don Darryl Rivera! The ceremony was wildly successful, and we are so thankful to everyone who made the ceremony, as well as this amazing season of theatre, a success.

Here’s the full list of recipients…

Seattle Public Theater

Hand to God, Seattle Public Theater

Dragon Lady, Intiman Theatre

Silhouette by Scotto Moore (Annex Theatre)

Ben Burris, Hand To God (Seattle Public Theater)

E.J. Cardona and Joshua Castille, The Hunchback of Notre Dame (The 5th Avenue Theatre)

Aishe Keita, I Know Why The Caged Bird Sings (Book-It Repertory Theatre)

Sara Porkalob, Dragon Lady (Intiman Theatre)

Reginald Andre Jackson, Two Trains Running (Seattle Repertory Theatre)

Lamar Legend, Howl’s Moving Castle (Book-It Repertory Theatre)

Sunam Ellis,  Hand To God (Seattle Public Theater)

Shaunyce Omar, Hairspray (Village Theatre)

Hand to God, Seattle Public Theater

Katy Tabb, Disney’s Newsies (Village Theatre)

Kelly Kitchens, Hand To God (Seattle Public Theater)

Tristan Roberson, Teh Internet Is Serious Business (Washington Ensemble Theatre)

Catherine Cornell, MAC BETH (Seattle Repertory Theatre)

Alex Jaeger, Hairspray (Village Theatre)

Erin Bednarz, Pete Irving, Matt Starritt, Dragon Lady (Intiman)

Billy Seago & Howie Seago

Ruth Eitemiller

PRODUCTION (PLAY): ASL Midsummer Night’s Dream (Sound Theatre Company)
PRODUCTION (MUSICAL): Little Shop of Horrors (Reboot Theatre Company)
PRODUCTION (IMPROV): 8 to 6 (Jet City Improv)
NEW PLAY: Deers by Marcus Gorman (Annex Theatre)
ENSEMBLE: Deers (Annex Theatre)
DIRECTOR: Harry Turpin, Little Shop of Horrors (Reboot Theatre Company)
DESIGNER: Julia Hayes Welch
PERFORMANCE (PLAY): Tony Magaña Jr., Welcome to Arroyo’s (Theater Schmeater)
PERFORMANCE (PLAY): Pilar O’Connell, The Nether (Washington Ensemble Theatre)
PERFORMANCE (MUSICAL): Dani Hobbs, Little Shop of Horrors (Reboot Theatre Company)
PERFORMANCE (MUSICAL): Gabriel Ponce, Dirty Rotten Scoundrels (Edmonds Driftwood Players)
THEATRE: Edmonds Driftwood Players

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ADOPT-A-STUDIO: Accepting Submissions!

TPS’s Adopt A Studio (AAS) program is now currently accepting submissions!

About Adopt-A-Studio:
Individuals and groups can “adopt” one of our rehearsal studios. Help us keep the studios in good shape for the community, and you’ll receive studio rental credit and advertising opportunities!

We currently have two studios (Studio D and T4) open for Adopt-A-Studio opportunities starting January 2019.

One Deep Cleaning per month (2 hours).
Deep Cleanings are scheduled for 2 hours.  In exchange, you receive 2 hours of free rental time. Hours earned may be used in anystudio in the $10-$12 range. They may not be used for classes, techs, or performances.

*Volunteers can also elect to add One Light Cleaning per month:
o Light Cleanings are scheduled for 1 hour, and you earn 1 hour of free rental time.

For more information, contact Libby Barnard at

Adopt A Studio Program Details

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Request for Proposals: TPS Website Design and Development

Website Design & Development
Request for Proposal


Theatre Puget Sound is requesting proposals for design and development services for a new  website.

Send proposals and questions on the RFP to:​ Ariel Bradler, Executive Director,

Budget for new website: ​We anticipate this project to be completed in three phases. The  budget for phase 1, to be completed by the date below, is $30,000.  

Goal for new website launch:​ January 2019 

Project Timeline Details  
RFP release date: August 22, 2018 
Responses Due: by midnight September 21st  
Project Kick-off : between October 8​th​ and November 1st  New Website Launch Target Date: January 2019

About Theatre Puget Sound 
Theatre Puget Sound is a leading performing arts service organization in the Puget Sound.  Founded in 1997, TPS seeks to provide resources and programming to strengthen the diverse  theatre community present in our region and to be a leader in advocacy efforts for topics which  affect our cultural infrastructure. TPS currently serves 1,500 organizations and individual artists  in and around King County.  

Our Audience 
Our current audience consists of organizational members representing theatre and performing  arts organizations and individuals working independently as actors, directors, choreographers,  designers, playwrights and students. This demographic ranges widely from individuals new in  their careers to seasoned arts professionals, and organizations ranging from small fringe  companies to larger organizations with multi-million dollar annual operating budgets. The  website offers networking and promotional opportunities for both through individualized  profiles and discount opportunities and rental space reservations. 

New Website Objectives 
Our website must perform two key functions: to serve as a rental platform, including a calendar  of current bookings or events, and as a networking tool for our individuals and organizations. 

Networking can include activities such as demographic search, promotion notices, audition or  job postings, or community meet-up notices. Members should be able to update their profiles  independently with both images or PDF’s. Key-word search functionality should also be  available for casting or employment purposes or for organizational event search. TPS should  be able to add or subtract search field functionality in order to grow and change with our  shifting community and clientele.  

Rental functions must be immediate and paid for at the time of booking for most rental types.  TPS must maintain the option to approve certain categories of activity or performance types  before booking is confirmed. TPS has invested in development of a new rental site which can  either be integrated into the current development or used as a structural example for the new  site. More information regarding current rental website needs is available upon request. 

TPS seeks to expand upon our services to include members of our community not currently  participating in our services such as teaching artists, arts administrators, and patrons. The  website should be an integral part of that expansion with flexibility to grow and adapt as  needed for an individual membership group. 

Current Website  
Built in 2002, our current website helped individuals and organizations collaborate on a  meaningful level at a time when social media was not yet part of the community framework.  The current website no longer supports upgrades or changes making new membership models  or new product and programming additions impossible to advertise online. The older  technology no longer meets current standards for security and infrastructure making us  susceptible to potential cyber-attacks.  

With our small staff, website interruptions become work-stopping as needs for updates often  occur outside of that person’s job scope and bandwidth. Easy updates and maintenance  schedules on the new website are a must.

Phase 1 New Website Functionality Requirements 
Our new website will need: 

  • An easy-to-use content management system (CMS)
    • The CMS does not necessarily need to be custom built
    • Existing CMS interface options such as WordPress are recommended
    • CMS updates and/or plugins must be easily maintained by staff with ability to update or add pages, email templates, membership levels, etc.
  • Intuitive navigation for all membership types
  • Clean and focused design which conveys the mission, vision, and key stakeholders of the organization
  • Flexible means of recognizing funders, donors, or major contributors on home page and in content pages
  • Optimized with SEO best practices in mind
  • Optimized for ecommerce best practices
  • Social media integration (share buttons, follow buttons, etc.)
  • TPS “upcoming events” page
  • Email sign-up form with permission marketing opt-ins
    • This will act as a “free membership” for individuals to see basic information with the opportunity to purchase a membership in order to fully interact with the website. (see membership needs below for more details)
  • Advanced Search functionality with custom field flexibility
  • Connectivity with Little Green Light, CRM
  • Full access and rights to the customized site code, data, and image
  • Membership Portal
    • Flexible design to meet needs of different organization/individual membership types with varying membership levels within each category (i.e. student vs umbrella vs. patron or small vs large orgs)
    • Member “add-ons” for document and media (photo, video, sound) storage and display
      • This would involve the ability for members to create “micro-transactions” within their profiles and select from a menu of display types not offered in a basic profile which would enhance their profile, depending on their discipline or body of work
    • Privacy settings for public viewing opportunities based on login type.
      • Members should be able to opt in to allow certain personal information to be made viewable in a public setting
    • Bio information
    • Social media/external website links
    • Messaging platform or contact information with privacy settings
    • Annual registration options based on date of purchase rather than calendar year
    • Ecommerce integration for membership dues/donations
  • Donor management
    • Ability to take donations both one time and recurring.
    • Donor pages with easy management for additions and subtractions
    • Ability to highlight key donors
    • Logo and media placement for donor recognition initiatives
  • Discounts Portal including
    • Special offers for different membership sub groups
    • Messaging platform to convey new offers or last-minute deals
    • Advertising system to highlight individual businesses
  • Job listing, call board, or forum page
    • Multi-view to allow for membership to see details and non-members to see basic information for auditions, gigs, job postings, freelance opportunities, volunteer opportunities
    • Ability to filter by posting type (i.e. auditions vs job postings)
    • Ability for members to receive email alerts for specific posting criteria
    • Ability for non-members to “pay to post”
  • Rental portal (more detailed information regarding current and ongoing rental system progress can be provided if requested)
    • Room reservation and payment system with email templates and confirmations as needed.
    • Rate discounts and display
    • Calendar view functionality
    • Opt-in privacy settings for specific event or activity display
    • Room description and image display
    • Opportunities to advertise discounts for room use or special savings for members versus non-members.
    • Rate discount options for TPS members upon login
    • Storage or item rental “add-ons”
    • Donation opt-in
    • Compatibility with membership cart should an individual wish to rent and purchase a membership at the same time.

Phase 2 Functionalities/Wish List 
The following items we intend to add soon after the initial website launch however are not  required in the initial build phase.  

  • Customizable profile display
  • Individual member blogs or latest update section
    • Like Howlround, the individual would be able to post articles which can then be shared by TPS staff for general consumption, given the permission dictated by the individual
  • Connection to our existing blog, UGA, and Gregory Award sites with easy navigation to and from
  • Volunteer management system
  • “News” section to allow members to post articles or community needs
  • Ticket sales platform for internal and external events
  • TPS member calendar listing
    • This would be a go-to place to identify what is happening in the city. Members could search by keyword to find shows running in their neighborhood or by interest type (i.e. comedies, running today, within 5 miles of me)
    • Individuals would be directed to the theatre or community partner for ticket purchase or be able to purchase tickets directly through TPS should the producing entity not have a ticketing service software.

Budget Details 
As listed in the summary, our budget for phase 1 is $30,000 which must include conversation  from the existing SQL database to Little Green Light CRM. TPS is seeking individuals who may  be able to offer in-kind support or flexible billing. While we are unable to exceed this project  budget for any reason in FY18, we encourage proposals that offer solutions or suggestions to  non-required elements added to the website after initial launch. Fundraising for additional  phases and website updates will occur in fiscal years 19 and 20.

Proposal Requirements 
Please include the following in your proposal response: 

  • Overview of your company
  • Overview of successful initiatives with small non-profits or small businesses
  • A short explanation of your desire to work with Theatre Puget Sound
  • Explanation of your proposed platform/CMS
  • Outline of your website design & development strategy
  • Proposed website timeline from kickoff to launch
  • Details about your team
  • Recent design & development examples
  • References
  • Pricing with optional elements line-itemed
  • Terms & conditions

Thank you for your interest in this RFP. We look forward to your response with a proposal for  our new website. 

For a downloadable PDF version of the RFP:
Theatre Puget Sound – Website Phase 1 Request for Proposal

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Board Spotlight: Liisa Spink

You’ve met our staff, now it’s time to get to know the board! This week, we have the wonderful Liisa Spink, Affiliate Manager at Dress for Success.

  1. Who are you?
    Liisa Spink.

  2. How long have you been on the board of TPS?
    4 years. 
  3. In honor of our upcoming event TPS Turns 21 at Lagunitas, what is your favorite kind of beer?
    Jemima Nichols Ale from Wales. 
  4. What did you do for your 21st birthday?
    Went out in Westwood (I was going to UCLA) with friends, drank some things, ran home and ran into several lightposts on my way, and then locked everyone out of our shared apartment.
  5. Why should people come to our 21st Birthday Party?
    Because TPS has been an integral part of the interconnected theatre scene for the Puget Sound – providing accessible rehearsal room space, celebrating our community with the Gregory Awards, and providing training and services for its members. I am looking forward to raising a glass to celebrate TPS and its impact on the Puget Sound theatre community.
  6. Anything else you want to say to our membership?
    You are all awesome – thank you for the work that you do – thank you for the art that you create – and thank you for supporting TPS and by doing so supporting the wider theatre community. As a community – together we are stronger.
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TPS 21st Birthday Edition

Rex Carleton, TPS technical director and “Seattle Theatre Wikipedia” himself answers monthly questions in this regular feature of our Newsletter. 

Program Assistant Keiko Green sits down with the man.

K: In honor of TPS’s 21st Birthday Party coming up, let’s talk birthdays. What is your most memorable birthday?

Long silence.

REX: (thinking) Ahhhhhhh. 


K: Do you celebrate your birthday?

R: Not really. I mean kind of sometimes have a piece of cake or a pie or something to celebrate birthdays at home, you know. And it’s just become this thing where we all get together for about half an hour, sing happy birthday, blow out a candle, and then go on with our work… I’m trying to remember some specific thing that we did for my birthday, but… isn’t that awful?

K: It’s not awful. It just means you spend each day —

R: — I’ve had 70 of them, and I can’t remember a single thing I did on any one!


R: As a family, in my married family adult life, we don’t go out and — I remember one!

K: Okay!

R: What must have been 1998, my 50th, we were in tech for a show in what would become the last show the Group Theatre ever did, I think. I’m quite sure we were in tech for Keepers of the Dream, which was a self-created show with Jackie Moscou and several other local folk (read about that show here!) — it was a powerful exploration of what it’s like to be black in America, among other things. And we were in tech for that show. And when I’m in tech, my hair’s on fire. It’s just a given that Rex is a walking zombie. Because I’m such a stickler for detail that I never let anything go until a show opens. Right?

So we’re in the middle of tech. And all of a sudden, the whole world pulls this surprise birthday on me.


R: And I’m going, “Now, hold on. We’ve got work to do! We can’t have a moment of fun here!”

K: There’s no time!

R: There’s no time! And to make things even more aggravating for the perpetual workaholic, my family shows up! And the Group Theatre family as a whole — has purchased for us as a family — a dinner night out at one of those expensive, fancy, seafood-y kind of places in Ballard. Some place like Anthony’s. And they wouldn’t take no for an answer.

And I was out the door after putting on some nice clothes that my wife had brought, and my wife, my son, and I had a really nice dinner out in the middle of tech! And it was wonderful. It really was!

Of all the things you could give a guy who doesn’t know when to stop, the ability to stop and just breathe for a little bit — on a landmark like a 50th birthday — was cool. It was really fun.

And I was really glad to get back to tech.


E-mail Keiko at with the subject heading “ASK REX” to have your question featured in an upcoming newsletter!

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Volunteer Call: 2018 Bumbershoot


Theatre Puget Sound has a fantastic lineup of local theatre at the 2018 Bumbershoot Stage and we need your help wrangling it!  We need volunteers to help with seating, crowd management, and being a great representative of the local theatre scene.  

Please note: Your volunteer pass is good for grounds access on the entire day of your shift.  Does not include access to larger venues such as Key Arena and Memorial Stadium.

DATES: Friday August 31 through Sunday, September 2, 2018

The 2018 Bumbershoot Theatre Puget Sound Stage features a lineup of..

More details on Bumbershoot’s website!

TO APPLY: Fill out the form at the bottom of this page by August 15.  Any questions, please email

Priority will be given to Theatre Puget Sound members, those available for full day shifts, and previous volunteers.  Due to the high volume of requests not all will be used.  Thank you!

You will be notified of your participation status by Monday, August 20.

Bumbershoot 2018 Volunteer Form


FRIDAY 1pm - 3:30 pm & SUNDAY 7:00 - 9:30pm: You will help our technical team set up/clean up for the festival! Some heavy lifting may be required. You are free to enjoy the rest of Bumbershoot during the time not scheduled.
DAILY (2 pm - 7:30 pm): Assist setting up/cleaning the lobby, seating people in the Center Theatre, monitoring audience, and answering questions. You are free to enjoy the rest of Bumbershoot during time not scheduled, and breaks/lunches will be allowed during slower times.
AFTERNOON (1:45 pm - 4:45 pm): Assist with seating people in the Center Theatre, monitoring audience, and answering questions. You are free to enjoy the rest of Bumbershoot during time not scheduled.
EVENING (4:30 pm - 7:30 pm): Assist with seating people in the Center Theatre, monitoring audience, and answering questions. You are free to enjoy the rest of Bumbershoot during time not scheduled.
We will try to match you with your preferred shifts.


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Rex Carleton, TPS technical director and Seattle Theatre Wikipedia himself answers monthly questions in this regular feature of our Newsletter. 

Program Assistant Keiko Green sits down with the man himself.

(This is a continuation from last month’s conversation)

K: Have you ever had an apprentice?

REX: I tried it a couple of times. There was one period about 5 years ago or so — you know, my wife and I operate a horse farm on the side. That’s what I do when I’m not here.  So you know, I never stop working. Just because I’m not here, don’t think I’m not working.
But we had a large issue with drainage and water on our property that really had to be dealt with. So we got some support from the King County Conservation District to do some radical changes to the horse paddocks and stuff. So I took 3 months off and built fresh drain trenches, and while I was away, there was a young man who came here. And he shadowed me for a couple weeks, prior to me going off. Then kind of went on his own.
By his own admission, it was not always easy because — honestly, the two-week shadowing didn’t teach him much. But he got enough out of it, that he was able to carry on, and I was only a phone call away.

We keep trying to think of ways to share this institutional knowledge which I walk around with all the time, and we’re still working on that. It’s something that needs to be addressed, and we know that it needs to be addressed — because like I said, that bus is coming after me.


K: Why should people invest in the arts?

REX: Why not?
I mean, look — there are as many ways to feed the human spirit as there are humans. And no one of them is more important than the other. but I made a choice, 50 years ago now, to spend my life trying to build the human spirit this way. That was a conscious choice. I had options. And this is the one that when I was a 20 year old man, made sense to me. And I’ve never looked back. The unknown secret to my life, some people know this, one of the other options was — I was seriously considering going into the ministry.
I majored in the history of religion and philosophy in college. Partially because of my upbringing and a number of other things. But the ministry seemed to make a lot of sense. And that was kind of the path I was on, until I stumbled onto theatre for the first time when I was a junior in college. And it didn’t take long before I found myself sitting and making an argument to my parents that I could change the world from the pulpit or I could change the world from a stage. You know, when you’re 20 years old, you tend to make broad statements like that. But in a lot of ways, that was the choice I made. This became my pulpit.
So I’ve invested my life in it. And that’s as tangible and real as an investment as someone who donates $100,000 to cancer research.

Can you compare curing cancer to theatre? I don’t know. Maybe.

Which one has a deeper, more lasting effect on the collective human soul? Well, you can make the argument that the arts have done as much as any individual discipline or idea to uplift people and their perspectives on life. But this little tiny piece of the arts that we call TPS is trying very hard to do that on an ongoing basis. And I think that’s worth supporting.

E-mail Keiko at with the subject heading “ASK REX” to have your question featured in an upcoming newsletter!

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