Starting Wednesday, June 27, TPS will provide space for two separate affinity groups.

People of Color and White Allies working in the arts are invited to gather as affinity groups in the TPS studios.

Anyone working in the arts are welcome. Join us from 5:00-6:30 on the 4th floor of the Armory as we gather in common interest and identify ways we can support one another.

TPS is committed to supporting other affinity groups should space be an issue. If you have ideas for how other affinity groups might be supported, please contact for more information.

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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)

What exactly do you do at TPS?

REX: If I could answer that question…


REX: No joke. Because —

KEIKO: You’re all over the place. You do so much.

REX: I’m not getting any younger and at some point, I’m going to have to walk away from here. And at some point, some other poor schlub is going to have to pick it up. And I’ve never really been good at documenting my life. I work so much from the gut. It’s not that I don’t write. I do. And have reams of documents that I’ve generated from the time I’ve been here, but none of it is particularly well organized or codified to the point where you could call it a manual to how to do my job.

That’s a problem. That proverbial bus. It’s going to be tough for someone. And in a nutshell, what do I do?
I’m responsible for maintaining the facility. Obviously that’s done in conjunction and coordination with Seattle Center. There’s a lot of just coordinating between TPS and Seattle Center. But I also do a LOT of smaller stuff on a daily basis. And that includes all of the — if you define “facility” as everything that’s actually attached to the building — lights or plumbing or whatever… It’s not like I’m very sensitive and careful not to step on the toes of Seattle Center. But they also understand and appreciate that I can cover an awful lot of stuff that really doesn’t require major mobilization on the part of Seattle Center. 

So I do all of that, and then of course there’s all the equipment, which really defines the space in a lot of ways. When I’m talking about equipment, I’m not just talking about the things you can pick up and carry, but all the installed infrastructure of the theater itself and the systems of the theater.

And of course, unfortunately, nobody knows that stuff like I do because I put it all there in the first place, right? So it’s a complex web of stuff, and a lot of it — honestly, as we all know — is aging. And requires constant maintenance and upkeep and replacement. I do all of that. And production support.

The two resident companies, Shakespeare and Book-It, have both been in this space now for a number of years. They know what they’re doing. I don’t have to sit and stand over them with my arms folded saying “tsk, tsk.” But I do monitor what they’re doing, and I make myself available should anything come up, if they have questions, or if they have a new person who needs an orientation to a system or whatever. I do a fair amount of that, and in the two smaller spaces (the Black Box and particularly Theatre4), I do a lot of training for new people coming in.

When I first got here, I made a conscious choice — and it was an organizational choice too — that I sold, essentially, to TPS. That is: I wanted to create, especially in the two smaller spaces, I wanted to create an environment where they didn’t have to pay a staff person to be there whenever they’re actively in the space. 
In fact, I wanted to avoid that at all cost. I wanted to create an environment where people were empowered to do things themselves. So I do a lot of that. I do a lot of teaching and training, then I walk away and let people do what they do without being monitored directly.
But they need it, I’m there. If they ask. And for the most part, it’s been extremely successful. I don’t know the statistics, but I would venture to guess this is one of the very, very few performance venue rental systems that doesn’t require a paid staff member to be present.

And I’m very, very proud of that. And I’m proud of all the people who walked out knowing more than they did when they walk in. Granted, all they know is how to use 25 year-old equipment — and I don’t know what that gets them — but every bit of knowledge is important. And even more importantly, I think it builds the human spirit. To be given the power to make your own choices. Right? So that’s the philosophy behind that. 

(This conversation is quite lengthy, so we will be continuing in a series of several installments.)

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

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Fundraising Bootcamp: Sign-up today!

This year, TPS had the opportunity to do an in-depth assessment with the consultants at Campbell and Co.  They walked us through every detail of what healthy fundraising systems and activities look like in a non-profit arts organization, and then helped us create a practical work plan that we are using to get on track.

TPS wants to share this knowledge and these resources with you.  Join us for the “Fundraising Bootcamp.”  In six 2.5-hour sessions, we will take a deep-dive into the core competencies needed for successful fundraising.  We will hear from professionals in the field and have many opportunities to share learnings and resources among peers in the world of fundraising for theatre and the arts.  The curriculum includes case studies, articles and other relevant materials to be consumed in preparation for each session.  Participants will also have the opportunity to create a giving campaign unique to their organization or specified event in collaboration with their peers (with the help and feedback of the group), execute the campaign as part of the end of year giving season, and then return to the group to debrief and share findings.

The “Fundraising Bootcamp” is for you if:

  • You are the development representative at your organization: staff member, volunteer, or board member.
  • You have been in the field less than 5 years or currently have little to no access to technical training or support for fundraising.

It is not for you if:

  • You are a seasoned development professional.
  • Your organization has a robust fundraising staff.

Due to the collaborative nature of this project, a commitment of participation will be necessary as part of enrollment. We will meet on the following dates from 6:00p – 8:30pm:

July 31, 2018

August 28, 2018

September 25, 2018

October 30, 2018

November 27, 2018

January 29, 2019

Topics will include:

  • Organizational Planning
  • Building a culture of philanthropy in your organization
  • Fundraising staffing and systems
  • Fundraising activities, outcomes, and evaluation
  • Managing board and volunteer fundraising
  • Donor communications, management, and stewardship
  • And more!

Cost is $350 for TPS members and $450 for non-members. Fill out the attached form (below) to register and return to TPS with payment no later than Friday, July 13, 2018!

2018 Fundraising Bootcamp Registration

Thank you to the Seattle Office of Arts and Culture for supporting this program!

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Staff Spotlight: Ariel Bradler

Learn more about our Executive Director!

1. What does a day as ED look like?
As vague as this sounds, it depends on the day and the size of the organization. Some days it’s about cultivating donors, some days it’s about building programming, and sometimes, because we inhabit an old building, it’s about plumbing. I think for every organization, it is a careful balance of thinking and planning for both present and future and to consider how we can take steps now to ensure we are living our greatest potential in 5 or 10 years.  Much of my day is spent in connecting with people and hearing how TPS can work best for this community. We have a unique moment to refocus our mission and vision, analyze what’s working and what’s not, and have our membership and stakeholders help us grow the organization into a meaningful part of the theatrical ecosystem of the region. 

2. What was the first play you ever saw?
My mom was really good about getting my brother and I out to see plays and visit museums when we were kids, so it was probably something at the local Fine Arts Center in Colorado Spring. However, the first play I remember that made me realize this was the community I wanted to belong to was Rent when I was 16. We had a chance to see it as part of a school trip right after it opened on Broadway. The band was on stage (always love this), and the abstract set was a new and exciting opportunity for storytelling concept I hadn’t seen before. The show swept me away.

3. You’ve been here for almost a year. What are you most proud of?
We have built such a great team. It is always such a pleasure to be in the office and know that the staff and board are committed to the community and working as a trusted and cohesive team. I am really proud that the office environment is one of openness and honesty and that we’ve created a good rhythm in a fairly short time of knowing each other. 

4. What are you excited to tackle next?
Too many things, I’m just trying to focus on stabilizing and getting us a new website which will make many of our current processes, much easier. 

5. What are some things people might not know about you? 
I’m a pretty decent cook and my love language is food which means you can almost always assume there will be treats involved in public gatherings. (Like the Public Membership Meeting March 18th!) I LOVE a good pun and get really irritated by bad ones (ask anyone on staff about that infamous calendar page). I especially love when people sneak them into official communications. You will always win my heart with a punny subject line, promotional email or a good kid joke…like this one… What did the 0 say to the 8? – Nice belt. 

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2018 Unified General Auditions: Actor Feedback

You already saw what the auditors had to say.
Now here’s some feedback from our amazing TPS Member performers who auditioned at this year’s 2018 Unified General Auditions.
159 of 389 auditioning performers responded to this survey.

Have you been contacted by an industry professional that saw you at the Unified General Auditions?

45% – Not yet
55% – Yes 

(Performers have been contacted for Talent Representation, Theatre Production Audition/Callback Invitations, and Play Readings.)

Continue reading

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Earlier this month, the hashtag #BadStockPhotosOfMyJob was trending. 
Click here to see the full collection. We saw a lot of jobs in science, but not so many in the arts. So TPS decided to do some investigation into the subject.

Apparently non-theatre people have no idea what a stage manager is or does…
But to be fair, they are always in business clothes. Right? Right??


This is my favorite show! Hamlet? Or Death of a Salesman? Hard to tell from these subtle production photos.

Continue reading

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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.

KEIKO: So this is kind of a Ask Rex meets Staff Spotlight

REX: You’re doing a spotlight on me, after we’ve already done all 

those questions?

K: We are.

R: First question is: is anybody out there reading this?

K: Yes!

R: Are they collectively getting tired of it?

K: No, I don’t think so!
Okay, so, first question.


REX: Oh boy.
Well, that’s sorta kinda easy because April was when I joined the staff in — I think 2004. At TPS. I was here for a few months before that — well, it’s a long story, but shortly told — in the fall of 2003, I received the Gregory Sustained Achievement Award.
And that year was only the… third year? I think I’m right. Maybe fourth.
But anyway, there were no other awards, there was just that. And the event was held in the Center Theater. So, it was honestly the first time I had walked back into the Center Theater, after having left it in ’98.

KEIKO: With the Group Theatre.

R: With the Group Theatre, and they had this wonderful guy that was supposed to kind of curate the event for that night, and he had big ideas about a lobby display and my work and my history and all this stuff and photographs and — honestly, it was kind of over his head a little bit and needed help and there wasn’t anybody else, so I kind of dove in, and I ended up kind of producing my own event.


R: Including writing light cues and doing the lobby display and all of it, but it gave me kind of a rude awakening opportunity to see how much the facilities as a whole and the equipment in the facility in particular had deteriorated in the five years since I’d been gone. And I was shocked, honestly. Because we built this place to last. Forever, ostensibly. And it wasn’t lasting because of shoddy upkeep and improper practices and all sort of other stuff. And I went to then then-Exec Karen Lane, and I said, “You gotta do something. You gotta stop this. Because this is not a sustainable path.” And she said, “Well, would you like to help?” I said, “Sure. Sign me up.” So I came in on literally an hourly bases to fix the most obvious and glaring stuff, and I just kept kind of plugging away for a period of about three months, doing really triage.
And — story of my life — I just never left.


I get into something and then all of a sudden, 15 years later, I’m still here, and thinking, “How did that happen!?” Right?
So, at some point they converted me from hourly to staff, and there you have it.

That’s kind of the history of the TPS part of it.

(This conversation got quite lengthy, so we will be continuing in a series of several installments.)

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

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*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 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. (
  • NALAC (National Association of Latino Arts and Culture)  works to support Latinx artists in the US and abroad. (
  • 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.. (
  • 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. (

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. (
  • Casa Latina works on protecting and informing workers of their rights, advocating for immigrants, and much more. (

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. (
  • 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!)  (
  • 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.  (
  • 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.  (

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 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 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 (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 for details!

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

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