The beloved Rex Carleton retired at the end of 2018, and Theatre Puget Sound is proud to announce our new Technical Director, Sky Darwin!
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:
It is not for you if:
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:
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!
Any questions/comments? Contact us at email@example.com or (206)770-0370.
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.
I joined the TPS Board of Directors in 2017 and became Board President in 2019.
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.
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.
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.
Anything that could be put into a pie.
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.
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).
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!
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 firstname.lastname@example.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:
Any questions/comments? Contact email@example.com or (206)770-0370.
Contact us at firstname.lastname@example.org or (206)770-0370.
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
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.
3) RESOURCE DEVELOPMENT
The successful candidate will have:
SALARY & SCHEDULE:
If you are interested in applying for this position, please submit the following, via email, to Ariel Bradler at email@example.com. Please include your last name and REI Manager Position in the subject line of your email. No phone calls please.
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.
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.
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
Please send resumes and cover letters to firstname.lastname@example.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.
Wednesday, December 12 6-8pm
Free (donations will be gladly accepted: all proceeds will go to Mary’s Place)
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.
(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.
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”.
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.
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.
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.”
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.
THEATRE OF THE YEAR
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)
ACTOR (MUSICAL) —TIE
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)
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)
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)
GREGORY A. FALLS SUSTAINED ACHIEVEMENT AWARD
Billy Seago & Howie Seago
MELISSA HINES BACKSTAGE IMPACT AWARD
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