*NEW* TPS Business Memberships

TPS is proud to announce our new Business Membership program, available to both Non-Profit and For-Profit businesses/individuals.

Your membership helps support TPS and our mission to serve the theatre community of Puget Sound. You provide a discount or special access to a service to our TPS members. In return, you will have access to our nearly 1,500 artists and organizations via the TPS website and other promotional opportunities! 

For-Profit Business Membership: $250
Non-Profit Business Membership: $150

Your membership includes one Individual Membership, and all the benefits that comes with it, like ticket discounts and member-only opportunities!

To apply, please fill out the form (available below). If you have questions or would like to learn about other opportunities to support TPS, contact Eron Huenefeld, our Development Manager at eron@tpsonline.org or 206.770.0370 x 107

TPS Business Membership Form

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Guest Post: “More Than A Margarita”

"More Than A Margarita" by Ana Maria Campoy

My name is Ana Maria Campoy, and I am a first generation Mexican-American, working throughout the Puget Sound as an actor, teaching artist, translator, and dramaturg.

I grapple with being an engaged citizen and theatre artist when the news is filled with stories of deportations, DACA, and police violence increasing every day. How does one go on performing, knowing that Puerto Rico lost power again or Flint, MI,  still doesn’t have clean water? To top it off, those news stories are constantly interrupted by problematic beer commercials about Cinco de Mayo, a holiday that overlooks Mexican culture and Latinx people entirely. When your entire history, culture, and people get reduced to tacos, tequila, and cheap beer, it minimizes the value and beauty of the stories and artists in an industry that rarely wants to tell stories of Latinx people outside violence and trauma.

So before you order that extra guacamole or margarita this weekend, try to keep in mind:

  1. Cinco de Mayo is not Mexican Independence Day. Cinco de Mayo is about La Batalla de Puebla (the Battle of Puebla) where the small Mexican army defeated the large French army, inspiring future battles as Mexico fought to prevent France and Napoleon from establishing a puppet regime in place of the Spanish colonizers that were kicked out 30 years before.
  2. Dressing “like a Mexican” for the day is racist. Be better.
  3. My  sorrow and anger concerning this holiday are plentiful but not productive. This is productive: The average price of a fancy margarita (with tip) is like $10. Maybe give the cost of one margarita to an organization that helps Latinx folx? #margaritasforacause
  4. Are you sitting there thinking, “But I don’t know any!” Well, here’s a list:
  • Hispanic Federation is doing incredible work in Puerto Rico and Mexico City to help those people recover from natural disasters. (http://hispanicfederation.org/)
  • NALAC (National Association of Latino Arts and Culture)  works to support Latinx artists in the US and abroad. (https://www.nalac.org/)
  • Voto Latino helps get the Latinx vote out– we have an election coming up, and over 27 million Latinx young people will be eligible to vote between this election and the next one.. (http://votolatino.org/)
  • United Farm Workers Union (UFW) is a union for migrant workers, founded by civil rights activists Dolores Huerta and Cesar Chavez, who advocate for migrant workers’ rights to safe living and working conditions with fair pay and housing rights. Every single fruit and vegetable we see is because of these workers. They deserve the damn world in my opinion. (http://ufw.org/)

If you want to support local organizations here in Seattle:

  • El Centro de la Raza does SO MANY different things, I can’t even list them all. They are a huge part of Seattle’s civil rights history–Google “Gang of Four Seattle” and discover the history of intersectionationality, community organizing, and progress. It’s awesome. (http://www.elcentrodelaraza.org/).
  • Casa Latina works on protecting and informing workers of their rights, advocating for immigrants, and much more. (http://casa-latina.org/)

If you want to support Latinx theatre artists:

  • First off, HIRE THEM. There are so many talented, interesting Latinx artists who deserve a seat at the table. Then consider checking out these organizations:
  • Thriving Artists is spearheaded by the amazing Arlene Martínez-Vázquez. I love this woman and would follow her anywhere. She brings Latinx plays to the US that haven’t been done here before, translates them into English, and brings many aspects of our varied culture and histories to the stage. Arlene is thoughtful, passionate, and resourceful. (https://www.thrivingartists.org/)
  • Teatro Milagro is the longest-running PNW Latinx theatre company! Roy Antonio Arauz (former Seattle resident) does awesome work in Portland, bringing up important conversations within the Latinx community and transferring them to the stage. (Shout out to Latinx playwright and former Seattle resident, Benjamin Benne, whose work got read there last month!)  (http://milagro.org/)
  • eSe Teatro: Seattle Latinos Take Stage is Seattle’s Teatro Milagro, founded by Rose Cano. Rose is unflinching, brave, and ambitious. Through her, I stumbled into bilingual theatre for the first time, and I found a part of my artistic self I didn’t know I was missing. It is now my life’s work. Her work demands space and is always layered. Thank you, Rose, for giving me a seat at the table and for demanding that we all have a seat.  (http://eseteatro.org/)
  • Latino Theatre Projects has Fernando Luna and Robert Harkins at the helm. They work continuously to remind Seattle of the breadth and depth of Latinx playwrights in the US, nudging us all to remember that Latinx stories are American stories and that we have been here a damn long time.  (http://latinotheatreprojects.org/)

I have nothing else to say but give a damn about us. Latinx folx (in all colors, types and documentation) matter. At least the price of one margarita. Aquí estamos y no nos vamos.

ANA MARIA CAMPOY is a first generation Mexican-American theatre artist who works as an actor, teaching artist, translator, and dramaturg throughout Puget Sound. As an actor, her notable roles include Rayna in Above Between Below (Seattle Children’s Theater), Susanna in Blood/Water/Paint (LiveGirls! Theatre); Nemesis in The Gifts of War (Directed by Gin Hammond); Player 1 in Shipwrecked! (Key City Public Theatre); and most recently, as Catherine in the critically acclaimed bilingual production Proof (Proof Porch Project), this past summer. For the past two years, she has worked with Seattle Shakespeare where she has developed bilingual scripts for The Taming of the Shrew and Twelfth Night for their Educational Tour. Additionally, she tours nationwide in Living Voices’ solo show, La Causa, as Marta Hernandez. She teaches with Arts Impact and Seattle Repertory Theatre, in addition to being the Director of Education & Community Engagement at Seattle Public Theater. She is a passionate and proud advocate of the performing arts and believes that the arts provide communities a voice and individuals self-exploration. At the center of her work lives the driving desire to create opportunities for artists of color, to remove economic and geographical barriers for audiences and students, and to expand and deepen our American identity.

Interested in writing a guest post? Contact Keiko Green at keiko@tpsonline.org for details.

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TPS Member Benefit: Ad Discounts in “The Stranger”

 TPS Member Organizations with annual budgets of $100k and less are eligible for ad discounts in  thestranger.com? Qualifying TPS member theaters receive:

  • 26x non-profit rate and discounted color
  • free inclusion in one of our promo e-newsletters that goes out to 13k+ subscribers
  • $6/1k rate for ROS digital impressions on thestranger.com (regularly priced at $8/1k)
  • super discounted ROS add-on package ($50 for 20k ROS) for advertisers who purchase space in A+P, our quarterly arts magazine
  • assistance/guidance contacting our calendar department to ensure their event listings are included in our comprehensive online calendar

Ads are encouraged to use the image below whenever possible, within the ad specifications.

TPS can help! Theatre Puget Sound offers Ad Design help for a small fee. Contact Keiko@tpsonline.org for details!

To take advantage of these discounts or to find out more, contact Juliette at juliette@thestranger.com and mention your TPS membership.

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2018 Unified General Auditions – Auditor Survey results & Stats

Stats on: 539 monologues & 216 songs

Most popular playwright:
66 – William Shakespeare
11 – Neil Simon
8 – Sarah Ruhl
7 – Arthur Miller
6 – Edward Albee; Gabriel Davis; Stephen Adly Guirgis
5 – Anton Chekhov; John Logan; Martin McDonagh
4 – A.R. Gurney; David Auburn; David Lindsay-Abaire; David Mamet; Madeleine George; Neil LaBute

No monologues from 7 Shakespeare plays:
All’s Well That Ends Well; Coriolanus; Cymbeline; Henry VI Part II; Richard III; Taming of the Shrew; Timon of Athens

Most performed plays/musicals:
7 – The Merchant of Venice
4 – Addams Family; Anastasia; Carousel; A Gentleman’s Guide to Love and Murder; The Last Days of Judas Iscariot; Midsummer Night’s Dream; Red; She Loves Me; Twelfth Night

Song repeats:
“Crazier Than You” (Addams Family); “Here I Am” (Dirty Rotten Scoundrels); “I Believe” (Book of Mormon); “Journey to the Past” (Anastasia) (4 times); “Little Girls” (Annie); “Mister Snow” (Carousel); “Not For the Life of Me” (Thoroughly Modern Millie); “Screw Loose” (Cry Baby)



Continue reading

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Staff Spotlight: Eron Huenefeld

Meet Our New Development Manager!

  1. Tell us about yourself! Who are you? Where are you from? 
    I grew up in Arkansas and moved to Seattle almost 10 years ago. My first taste of the stage was at 12 years old when I was an ensemble member of the local kids stage production of “Hello, Dolly!” I’ve been a theater nerd since then, though I gave up the spotlight (hah!) after college.
    Right now, I am my improviser husband’s biggest groupie, dedicated pet parent to a dog and cat, and a sucker for any opportunity to do karaoke.
  2. What do you do at TPS?
    I’m the Development Manager. That means I’m concerned with raising money to help expand the reach of TPS’ work, but I’m also always thinking about how to build relationships and connect patrons and professionals in the arts.
  3. What are you most excited about in your new position here?
    I am already such a huge fan and supporter of a wide range of theatre-makers, and I am excited that being on the TPS team gives me an opportunity to support them in a new and deeper way.
  4. What do you like about the Seattle theatre community?
    I feel like there is truly something for everyone out there. I never get bored of what’s available, from beloved musicals to bold and challenging experiences.
  5. Anything else you want to say to our membership?
    I can’t wait to get to know you better! Let’s hang out at the next TPS Tuesday! 🙂
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Rex Carleton, TPS technical director and Seattle Theatre Wikipedia himself answers monthly questions in this new feature of our Newsletter. Program Assistant Libby Barnard sits down with the man himself to ask him one of your many questions.

4. What was the best portrayal of a couple or relationship you’ve seen onstage?

REX: I know it’s old history what we did back in the 80s and the 90s (with the Group Theatre), but there was some awfully powerful stuff that of course I was intimately involved with, so of course I remember that more than the passing “other” show. And the one that comes to mind was a production we did called “The Kiss of the Spider Woman,” which is just an extraordinary piece of theatre. And an extraordinary examination of two lost souls, and you know, in an extreme circumstance, finding each other and finding some connection.

It was a love note.
It was not a love-relationship but it ran deeper than that.

And the two actors that played the roles in that show were Todd Jefferson Moore and Billy Ontiveros. Both extraordinary accomplished actors. But that show, they did as convincing a job at leaving their own identities behind in order to portray those roles than any performances I’ve ever seen. It was one of the most moving, emotional experiences I’ve ever had watching theatre. There are plenty of others I could list, but let’s pick that one today.

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

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Staff Spotlight: Heather Refvem

  1. Tell us about yourself and your relationship to theatre!
    I grew up in Sammamish. When I was eight, my parents signed me up for a Kidstage Class at Village Theatre. Back then, Steve Tomkins taught the Kidstage classes. We did a couple of songs from Oliver and I played “Oliver”. After that, I spent the summer working on the Kidstage production of Bye Bye Birdie.
    During that show, they were looking for kids for the mainstage production of Babes in Toyland, which was the first show produced at the Village Mainstage. I got cast as Jill, as in “Jack and Jill,” and totally caught the acting bug. Determined to get a BFA in Musical Theatre, I attended The College of Santa Fe in New Mexico. After graduating, I was set on moving to New York City. I played that game for seven years, before deciding if I wasn’t going to be on Broadway… I didn’t need to be in New York (where I wasn’t very happy anyway), and I could probably do more professional theatre back home in Seattle. So far, that is proving itself to be true.
  2. What are you doing at TPS?
    All sorts of things… my title is Programs Assistant. The biggest project we are working on right now is the UGAs, so I’ve been helping with logistics and various other projects as they come about.
  3. Have you done them? How have you been helping with them this year?
    I have done the UGAs many times! I remember the days where we had to show up with like 50 headshots and resumes, then the auditors returned what they didn’t want to keep at
     the end of each hour, or you came back another day to pick up the extras… I don’t really remember… what I do remember was feeling like it was a bad thing that not EVERYONE wanted to keep my headshot… oh, poor high school Heather… Before moving back from New York, I came back for a couple days just for the UGAs. It was a great way to get myself out there in one fell swoop.
    This year, I’ll be auditioning again, but I’ll also be around each day to help facilitate the event. I scored some sweet coffee donations for the auditors. I’m making arrangements for our auditor dinner on Tuesday… hope you all like tacos! Wait, who doesn’t like tacos? (Special shout out to Blue Water Taco Grill, Caffe Laudro, Uptown Espresso and Fonte Coffee Roasters for the hook up!)
  4. Any advice for actors attending the UGAs this year?
    Treat it as a general audition and don’t worry too much about a particular theatre or show. Think of it as an opportunity to show the community who you are as an artist.
  5. What do you like about the Seattle theatre community?
    I love that you can actually feel like a part of the community here. Don’t get me wrong, New York is amazing, but it is SO big! It’s overwhelming to keep up with all that’s going on and you only feel like a very small speck in the community. Going to auditions is WAY more enjoyable here. For one, you don’t have to show up at 5am to put your name on a an “un-official list”, then go kill 3 hours at a Starbucks to come back and find out there are 500+ people on the list and they are going to “type” or cut everyone’s audition to 8 bars, and you still aren’t going to get in before 4pm…Yup, that’s what it’s like. Here you always see people you know. I also love how the community is always working to be better, especially with social change. I am really proud and inspired to be among so many movers and shakers.
  6. Anything you want to say?
    Not really… I gotta get back to work… 3 days til UGAs, so it’s like tech week here in the office!!! See you all next week!
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A Message from the ED: 4Culture and Ordinance #2018-0086

Dear Members,

A core part of TPS’ mission is to advocate for the theatre community. As part of that mission, we at Theatre Puget Sound have been working the past three weeks to understand the sudden and unexpected news regarding the proposed oversight of 4Culture by the King County Council. After careful examination of ordinance #2018-0086 and conversations with King County Officials, it is clear that part of the intention of this legislation exists in an effort to correct a perceived inequity of funding within 4Culture, and not simply as a means to gain control of the organization. However, the how of any decision is just as important as the why; poor timing, haste, and the lack of discussion and collaborative feedback from the arts community have overshadowed the equity the sponsors of this ordinance had perhaps intended, and once again a measure to increase inclusion was created without transparency. Ultimately, the work of equity and inclusion cannot exist within a vacuum if true systemic change is to occur. 

4Culture has a long history of supporting small organizations and funding less traditional projects and organizations, often led by and supporting people of color. That said, it is important for any organization which seeks equity to create space for marginalized voices to ensure the systems are, in fact, equitable. We believe this ordinance will not help create that opportunity. If the King County Council does hope to correct an imbalance they believe exists within 4Culture, the members should work in concert with the communities they wish to elevate and only propose legislation which is rich with the voices most likely to be impacted by the decision-making process. In our opinion, this ordinance does not currently represent those voices. 

We at TPS therefore urge the King County Council to work in conjunction with the arts community and the voices they wish to elevate, in order to ensure marginalized communities are part of any decision making process.

How can you help?

  • Write your council member and let them know that proposing additional oversight of this agency without any meaningful engagement of the arts community will only exacerbate the ability for 4Culture to fund the diverse portfolio of projects. 
  • Join us at the public meeting on February 21st at the King County Courthouse at 9:30. Voice opposition to how this legislation was created. 
  • Advocate for more intersectional POC representation on the board and governing bodies of our funding agencies. 

This is an opportunity for the community to create the systemic change we have been calling for, but we need to ensure that any change is created with and by the voices of those most impacted. 

We are so proud of our membership’s passion regarding this issue and sincerely thank you for supporting our diverse community as this legislation moves forward.



Executive Director
Theatre Puget Sound

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ASK REX: #4 (Valentine’s Day Edition)

How do you know it's true love?

Rex Carleton, TPS technical director and Seattle Theatre Wikipedia himself answers monthly questions in this new feature of our Newsletter. Program Assistant Libby Barnard sits down with the man himself to ask him one of your many questions.

4. How do you know if it’s true love?



LIBBY: Do you believe in true love?

REX: Oh, sure. But I’m certainly not a master on the subject — like yikes. 

LIBBY: How did you and your wife meet?

REX: In theatre, of course. Well, she was a single mom, trying to make her way in seattle and she had come up from California originally from Massachusetts — we grew up not 40 minutes away from each other — of course, we didn’t know.

LIBBY: I love when those things work out.

REX: And she was just trying to get her bearings in the city — you know, she had been here for a while, so. She just happened to walk into the Group Theatre and liked what we were doing. And around the same time, we were trying — not the first time, certainly not the last time — trying to put together some sort of volunteer program that made sense and one of the things we came up with was these gatherings that were kind of half get-to-know-you cocktail parties, and half seminars on some subjects. And I did a series of them on tech stuff including lighting design, and she happened to come to the lighting design one. You know, and so that’s how it started. I don’t remember exactly the sequence after that but you know, she was volunteering around the organization. And she ended up volunteering and then eventually working as the Development Director because she had some experience in that realm. She actually cones from a science background.  

She has a Doctorate in Physical Chemistry and yada yada yada, but she certainly had the chops to do advanced admin work, so that’s how we met, and we kind of just went from there.

So how do you know it’s true love…? Honestly, wait 30 years. And if you’ve still got a working thing in 30 years, you can look back on it and say, “yeah, this is true love.”

You know, maybe it’s just the way things are these days with everyone wanting instant, immediate gratification, but I sometimes wonder — and I see it with our children — whether they have the patience to let a relationship evolve. That’s not a criticism because god knows there are plenty of ways to have a relationship. I think ultimately, the real answer to having a solid, sustained relationship — call it love, call it whatever — is in part a willingness to give yourself up, but far more important: a willingness to listen and to be sensitive and responsive to who the other person is. To accept them for who they are, instead of trying to fit them into some kind of pigeonhole that you designed. 

We’ve been married now for 34 years, which is no small feat, and you know, it works. Ultimately, true love = best friend in the long run. And everything else kind of falls in place.

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

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Is it possible to become a playwright in Seattle?


Rex Carleton, TPS technical director and Seattle Theatre Wikipedia himself answers monthly questions in this new feature of our Newsletter. Program Assistant Keiko Green sits down with the man himself to ask him one of your many questions.

3. Is it possible to become a playwright in Seattle?

REX: I was surprised they asked me this question.

KEIKO: Me too, actually!

REX: Well, the answer is it is not possible to become a playwright.
You either ARE a playwright or you’re not. Right?


K: Right. I love that.

REX: And if you ARE a playwright, what you have to do is write. And write more and write more. Don’t labour what you’ve already written too much, just keep writing. 
And then, share it. Network. Give it people. And give it to them with an open heart and an open mind and listen carefully to what they tell you. And that’s how you become a BETTER playwright. But you’ll never BECOME a playwright because if you are one, you know it.

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

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