Staff Spotlight: Sky Darwin – Technical Director

The beloved Rex Carleton retired at the end of 2018, and Theatre Puget Sound is proud to announce our new Technical Director, Sky Darwin!

1. Who are you? 

Doer, maker, fixer, dreamer, student of life.
Jack of many trades, master of one: https://shiftwoodsculpture.wordpress.com/
Avid sailor and traveler. Storyteller, musician, songwriter.
Former mechanic/metalworker, retired professional dancer/teacher, fine woodworker, scenic carpenter, sound/scenic/lighting designer, production manager, technical director.
Journeyman’s Degree in Automotive Diagnoses/Repair and a B.A. in Dance with a minor in literature and sports medicine.

 

2. Where are you from?

Born in California to hippie parents, mostly raised on the road and in backwoods coastal Oregon. 

3. What will you be doing at TPS?

Day to day facilities and event management while keeping the spirit and feel of the performing arts valued and supported.

 

4. What’s your relationship to theatre?

Found it by accident and it saved me from a bleak and dull life. Have been paying it back ever since.

5. What are you looking forward to in this job?

Creating a mentor-ship program for younger folks who want to get into technical theater. I miss teaching very much. (More on this program to be announced soon!)

 

6. What’s the last play you saw?

Recently designed/built set, sound and lights for a friends original play which was a contemporary riff on Breakfast at Tiffany’s. It was really fun to back up the energy of the piece with subtle design decisions.

 

7. If you were an animal, what would you be and why?

https://en.wikipedia.org/wiki/American_dipper 
Because they sing and dance while going about their lives. 

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SIGN UP – Fundraising Bootcamp!

After a successful round of Fundraising Bootcamp, this program is back for interested organizations and individuals!

Last 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 our knowledge and these resources with you.  Join us for the “Fundraising Bootcamp.”  In five 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:

May 14, 2019

May 28, 2019

June 11, 2019

June 25, 2019

July 9, 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 $300 for TPS members and $400 for non-members. Fill out the attached form (below) to register and return to TPS with payment no later than Friday, May 3, 2019!

2019 Fundraising Bootcamp Registration

Any questions/comments? Contact us at eron@tpsonline.org or (206)770-0370.

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Board Spotlight: Jeannine Clark

Get to know our new Board President Jeannine Clark with our (somewhat) monthly Board Spotlight!

1. Who are you? Tell us about yourself!

I’m a fundraiser, performer, director, and producer. I’ve worked in non-profit arts fundraising for about 7 years now. I’m a company member of Unexpected Productions at the Market Theater and 4&20 Improv. I also founded and run Seattle Experimental Theater, which produces 2-3 shows a year. 

2. How long have you been on the board?

I joined the TPS Board of Directors in 2017 and became Board President in 2019.

3. What’s your relationship to theatre?

Went from “just friends” to “in a relationship” to “it’s complicated” and now back to “in a relationship”. To be serious though, I’ve been a bit of a jack of all trades, and I like that. 

4. What excites you about TPS in 2019?

Many, many things. We have some significant projects coming up this year. I’m excited about the new website that will be launching in a few months. 

5. What’s one of your favorite pieces of theatre you saw in 2018?

Oh, this is tough. I was so lucky–I saw a lot of good stuff last year. And I got to perform improv in Hawaii and Victoria, so I saw great stuff at those festivals as well. I really liked “Prelude to a Kiss” at Strawberry Theatre Workshop and “Familiar” at the Seattle Rep. I saw a show in Washington DC called “45 Plays for 45 Presidents” that I really liked. I think it was written by a couple former members of the NeoFuturists, and performed by an all female cast. 

6. If you were a fruit, what would you be and why?

Anything that could be put into a pie.

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Actor Advice from a UGA Volunteer

Before she joined the TPS staff, Facilities Manager Libby Barnard volunteered at the Unified General Auditions — she has also auditioned numerous times, and plans to do so again this year. (Haven’t signed up yet? Click here to register!)

This is a post she put together in 2014 about what she learned as a UGA volunteer. (Want to be a volunteer? Click here for info!) We post this as an additional resource that may be helpful for those preparing this year. The following are Libby’s personal opinions and do not reflect those of Theatre Puget Sound or our UGA auditors.

=======================================

Obviously you can’t please every auditor. What follows is just my own opinion and lessons I decided to take, as a fellow actor (and I know people, including those that do casting might disagree, especially on the topic of calling time).

I think what is most important is to own the room. Those are your 2 or 3 minutes. Have fun and don’t feel like you owe anything to anyone. Seriously. This is YOUR time, you get to do what you want with it.

From 3/11/14:

Alright, here are my thoughts after sitting in on some TPS general auditions. Many thoughts will be applicable to all auditions, but some are specific for timed auditions. I was pretty lenient with my timing ( I let people finish their thoughts) but I know the person after me was super strict in her 2 min (or 3min depending). I won’t mention everything like know the pieces you are doing (duh).

  • VOCAL/BREATH SUPPORT and DICTION. Do your warm-ups, guys. Also, if you get nervous, be aware of how that informs your breath and support, you may need more of it than when you rehearsed . . . this may include VOLUME too. 50 bodies and curtains will absorb so much sound, in addition to construction outside.
  • Short and confident INTRO. This is the one time we get to see who YOU are. My preference is that you move chairs/boxes after we know who you are and what pieces you are doing, but that’s just me. Also, TAKE YOUR TIME before you begin your first piece (more on this later). Seriously take your time.
  • Can you actually walk in those heels? Is the sound of them clicking too distracting?
  • MOVEMENT: Everything must be DELIBERATE. We had a lot of “dancers” today, meaning they swayed back and forth. It is the equivalent of saying “um” when you take tiny steps back (that aren’t the intention of the character). Don’t underestimate one good solid piece where you are planted and then a good movement piece.
  • Let your pieces land.
  • TRANSITIONS between pieces: Ok. So with the timing, you may feel the pressure, but I really think its in your best interest to have a long beat or two in between your pieces. What this means is that you should plan to have at least 15-20 seconds buffer time, if not more if you have a really funny piece that you might have to hold for laughter (true story). You are lucky because the time doesn’t start until you start your first piece. Guess what that means? You get the time to breathe, spot your point of focus, breathe again and begin with purpose.
    * So you built in a good buffer, this means you get to land your first piece, hold it for a bit, breathe it out, and place yourself for the second one. This means you get to change your POINT OF FOCUS from one piece to the next and not loose who you are talking to. Don’t forget THE MOMENT BEFORE and WHAT YOU WANT!!!
  • I always thought that I needed to find a piece with a solid beginning, middle, and end. I still think that, but it is less important in a timed audition. Instead of thinking like that, the solid pieces had a beginning, at least one tactic shift and a button. Those are different.
  • TIMING: I called time on almost everyone with a 2 min slot. I even let people go over. TIME your pieces. Also, I noticed that people with a 30-45 sec piece (usually comedic piece) were always golden. Those people that started with a piece that went over 1:10 always always went over by a lot. I honestly don’t care if I called time, its when you try to finish even after time has been called. Just stop and say thank you.
  • Comedic pieces. I felt that a lot of people did monologues that felt like a stand-up routine. That may be fine if you want to show good comic timing, but beyond that I felt many lacked the WHY are you saying this and WHAT do you NEED.
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Headshot Days January 2019 Info & Registration

Theatre Puget Sound is proud to announce some details for Headshot Days January 2019, a chance for TPS members to have their headshots taken by industry professionals at a fraction of the cost!

What:
30-minute headshot sessions

Dates/Times:
1/27 (Sunday), 10am – 7pm
1/28 (Monday), 10am – 7pm

How Much:
$60 for members
$80 for non members

P

Photographers:
Michael Blatner: All day Sunday/few slots on Monday
(view his portfolio)
Michael Maine: All day Monday
(view his portfolio)

Registration/Payment

Times are given on a first-come, first-serve basis so reserve your spot now!  Fill out the form at the bottom of the page. Forms can be received via e-mail at eron@tpsonline.org, by mail (addresses below), or in person at our offices! Reservations are not confirmed until payment is received. 

This form must be returned to TPS by Wednesday January 23, 2019, to reserve your spot.

Payment can be made via:

  • Mail (check)
                      PO Box 19643
                      Seattle, WA 98109
  • In-person at the TPS office (check, cash, or credit card)
                      305 Harrison Street Ste. 401A
                      Seattle, WA 98109
  • Phone (credit card)
                      206-770-0370

Any questions/comments? Contact eron@tpsonline.org or (206)770-0370.

Contact us at tps@tpsonline.org or (206)770-0370.

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NOW HIRING: Racial Equity Initiative Manager

THIS POSITION HAS BEEN FILLED

*********************************************

Job Description: Racial Equity Initiative Manager

Salary Exempt | Reports to: see below for details | Location: Seattle Center  Compensation: $60,000 annual salary

POSITION DESCRIPTION:

Do you have a passion for social justice?  Are you interested in working towards dismantling systems of oppression and white supremacy?  Do you want to create systems of accountability within Seattle and our community?

The Seattle Center Racial Equity Cohort (SCREC) is seeking a Racial Equity Initiative Manager to work with them on the Seattle Center campus. The SCREC seeks to empower member organizations to A) Implement organizational frameworks that are anti-oppressive and racially equitable B) Create and maintain a safe, welcoming, and supportive workplace for staff, volunteers, and interns of color and C) Serve and engage communities of color authentically in our work.  Funding and resources for the SCREC, and for this position, are coming from a grant specifically named to fund Racial Equity Access & Community Engagement work.

Seattle Center serves as an extraordinary, regional arts, civic and family gathering place in downtown Seattle. The 30+ cultural, educational, sports and entertainment organizations residing on the 74- acre campus, together with a broad range of public and community programs, offer nearly 500 events, attracting 12 million visits each year.

This position would engage with and provide support for the non-profit organizations that are located on the campus or are affiliated with campus arts and culture organizations at Seattle Center. The members of the SCREC are committed to ensuring that their board members, staff, programming and audiences are reflective of and serve the rich racial and cultural diversity of this region.  The manager would report to representatives of the Cohort that represent a collective of shared governance.  Theatre Puget Sound (TPS) will serve as the Fiscal Agent for this position and will therefore be classified as the employer for this manager. The position is full time, grant-funded and is being created with the intention of existing through 2019. Funds are being secured to extend this through 2020 with the goal of continuing the position as a full time role beyond 2020.

JOB RESPONSIBILITIES:

1)   ENGAGEMENT

  • Develop relationships with all Seattle Center Organizations and cultivate community on campus
  • Serve as a resource for each of the participating organizations on issues of race and social justice as they explore opportunities for improving their individual cultural competency and work on the challenges of moving forward
  • Assist individual organizations and the cohort as a whole in evaluating deficiencies, identifying areas for progress, and identifying appropriate strategies

2)   COORDINATION

  • Hire and act as the direct manager of the part time Racial Equity Initiative Coordinator that will assist with administrative and logistical tasks as needed
  • Act as the lead staff member representing the interests of all of the cohort members
  • Schedule, organize and lead meetings for all of the cohort committees and task groups
  • Maintain contact lists and ensure all members are informed of meetings and activities
  • Assist the cohort in identifying and securing technical consultants (i.e. trainers, facilitators, subject matter experts) to serve the collective needs of the group
  • Manage the contracts of technical consultants
  • Bring constituents together for joint learning opportunities
  • Provide timely reports and updates to cohort members
  • Assist committees and task groups in the design and implementation of cohort programs
  • Provide logistical support for created programs.
  • Manage the budget for the Seattle Center Racial Equity Cohort.

3)   RESOURCE DEVELOPMENT

  • Creation and cultivation of a Racial Equity toolkit of resources that can be utilized by Seattle Center organizations
  • Creation and implementation of campus wide onboarding training strategies for new employees of Seattle Center organizations
  • Creation of a framework and roadmap for the continuation of the Seattle Center Racial Equity Cohort

QUALIFICATIONS:

The successful candidate will have:

  • Five or more years of experience working with organizations and/or communities that are addressing cultural competency and racial equity issues
  • Capacity to work with a wide range of personalities and workgroups that have different levels of experience around equity, diversity, and inclusion
  • Ability to lead through a lens of racial equity, cultural awareness, and sensitivity
  • Excellent communication, organizational, and interpersonal skills
  • Detail oriented with excellent project management and supervisory skills
  • Experience solving problems under pressure, managing multiple projects at once, and working on difficult organizational issues
  • Experience working with all levels of an organization (boards, management, staff) in a change management context
  • An awareness of the culture in and around Seattle Center and a desire to see it grow, become more inclusive, and thrive
  • Ability to work independently and demonstrate initiative with minimal supervision
  • Clearances/background checks will be conducted and employment will be contingent on successful completion of a pre-employment background and reference check

SALARY & SCHEDULE:

  • This is a full time exempt position.   Schedule is flexible and can be developed to best fit the needs of the position.  Must also be able to work some evenings and weekends.
  • Compensation package includes:
    • Annual salary of $60,000
    • Annual $3,000 available to be utilized for personal/professional development
    • Full benefit package through TPS-including medical, dental, and vision coverage.  
    • As an employee of TPS this position would be eligible for 12 company designated holidays and 15 vacation days annually.  Paid safe and sick time would be equivalent to 1 hour for every 40 hours worked.
    • A monthly ORCA card

APPLICATION PROCEDURES:

If you are interested in applying for this position, please submit the following, via email, to Ariel Bradler at ariel@tpsonline.org.  Please include your last name and REI Manager Position in the subject line of your email.  No phone calls please.

  • Cover Letter
  • Resume including at least three professional references

This position will engage with a lot of individuals and organizations on campus about their Equity work.  We invite you to address in your cover letter (no more than two pages) how your lived or learned experiences with systemic inequities allows you to engage in these conversations and impacts your perspective.  We would also love to learn about your accomplishments in your Equity, Diversity, & Inclusion work.

Interviews will begin on January 14, 2019 with the goal of a start date for this position on February 1, 2019.  However, this position will remain open until we find the right colleague for this work.

We value a diverse workforce and an 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, sexual orientation, gender identity or expression, age, national origin, marital status, citizenship, disability, and veteran status.  We strongly encourage those from groups not normally represented, to apply.

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NOW HIRING: Technical Facilities Manager

THIS POSITION HAS BEEN FILLED

*********************************************

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.

POSITION OVERVIEW

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.

JOB DUTIES AND RESPONSIBILITIES

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.

FACILITY MANAGEMENT JOB DUTIES

  • 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.

TECHNICAL/PRODUCTION MANAGEMENT

  • 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 ariel@tpsonline.org.

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…

THEATRE OF THE YEAR
Seattle Public Theater

PRODUCTION (PLAY)
Hand to God, Seattle Public Theater

PRODUCTION (MUSICAL)
Dragon Lady, Intiman Theatre

NEW PLAY
Silhouette by Scotto Moore (Annex Theatre)

ACTOR (PLAY)
Ben Burris, Hand To God (Seattle Public Theater)

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

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

ACTRESS (MUSICAL)
Sara Porkalob, Dragon Lady (Intiman Theatre)

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

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

SUPPORTING ACTRESS (PLAY)
Sunam Ellis,  Hand To God (Seattle Public Theater)

SUPPORTING ACTRESS (MUSICAL)
Shaunyce Omar, Hairspray (Village Theatre)

ENSEMBLE
Hand to God, Seattle Public Theater

CHOREOGRAPHY
Katy Tabb, Disney’s Newsies (Village Theatre)

DIRECTOR
Kelly Kitchens, Hand To God (Seattle Public Theater)

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

SCENIC DESIGN
Catherine Cornell, MAC BETH (Seattle Repertory Theatre)

COSTUME DESIGN
Alex Jaeger, Hairspray (Village Theatre)

SOUND/MUSIC DESIGN
Erin Bednarz, Pete Irving, Matt Starritt, Dragon Lady (Intiman)

GREGORY A. FALLS SUSTAINED ACHIEVEMENT AWARD
Billy Seago & Howie Seago

MELISSA HINES BACKSTAGE IMPACT AWARD
Ruth Eitemiller

PEOPLE’S CHOICE AWARDS
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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