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From YouTube: November 16, 2022 Performing Arts Committee
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A
Thank
you.
I
got
the
message:
okay,
I
call
the
city
of
mountain
views,
Performing
Arts,
Committee
of
Wednesday
November
16
2022,
to
order
at
6,
17,
P.M.
A
During
this
declared
State
of
Emergency,
the
meeting
will
be
conducted
in
accordance
with
California
government
code
54953e
AS
authorized
by
resolution.
Please
contact
city.clerk
at
mountainview.gov
to
obtain
a
copy
of
the
applicable
resolution.
All
members
of
the
par
of
it
should
read
I.
Think
Performing
Arts
committee
will
participate
in
the
meeting
by
video
conference
with
no
physical
meeting
location
online.
You
may
join
the
zoom
webinar
using
this
link:
https
Colon's
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backslash
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entering
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A
868-0631-1145,
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chair
announces.
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A
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When
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race
hand,
feature
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visit
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backslash,
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raise
underscore
hand.
A
So
that
was
item
one
call
to
order
number
two
roll
call
of
Vice
chair,
Kumar
I'm
here
Committee
Member,
Lee
Lang
is
an
excused
absence.
Committee
Member,
John,
McAllister,
yo,
okay
and.
A
It
is
thank
you
for
for
changing
things
up
a
bit
and
Committee
Member
yeah.
B
A
A
A
A
Okay,
thank
you.
There
being
no
public
comment.
I'll
make
a
motion
to
accept.
The
minutes
is
submitted
with
the
small
edit
that
I
suggested
do.
I
have
a
second
second
from
Member
McAllister,
so
the
minutes
are
accepted.
B
A
Okay,
can
you
can
staff?
Do
a
roll
call
vote
please
about
the
minutes.
D
A
A
Item
four
oral
Communications
from
the
public,
this
portion
of
the
meeting
is
reserved
for
persons
wishing
to
address
the
committee
and
any
matter
not
on
the
agenda.
Speakers
are
limited
to
three
minutes.
State
law
prohibits
the
committee
from
acting
on
non-agenda
items.
Do
we
have
any
comments
from
members
of
the
public.
A
Okay,
so
no
members
of
the
public
wish
to
speak
so
we'll
move
along
to
item
number:
five:
new
business,
5.1,
Theater,
Works,
Silicon,
Valley,
annual
review
recommendation,
your
staff
report
and
Theater
Works
Silicon
Valley
recap
of
the
year
background
is
part
of
Theater
Works
Silicon,
Valley,
twsv,
long-term
home
company
contract
staff
will
present
a
summary
of
performance
use
days,
sales
and
expenses
and
open
up
discussion
for
opportunities
to
improve
service
and
or
relations.
A
Twsv
will
provide
a
report
on
their
financials
and
discuss
their
Outreach
activities
for
the
past
year
and
the
agenda
included
an
attachment
of
a
memorandum
and
a
financial
analysis.
Would
staff
like
to
begin
by
making
comments
about
the
agenda
that
was
submitted?
I
mean
sorry.
The
memorandum
of
course.
E
Thank
you,
chair
Donahue,
Theater,
Works,
Silicon
Valley
has
been
governed
by
a
25-member
Board
of
Trustees,
led
by
board
chair
Holly,
Ward
Tim
bond
is
their
new
or
Tim
bond
has
served
as
our
artistic
director
since
2020
following
the
50-year
tenure
of
founding
artistic
director
Robert
Kelly,
and
this
there
are
a
fairly
large
organization.
This
year,
silicon
Theater
Works
Silicon
Valley
reported
revenue
of
9.6
million
dollars
that
was
in
in
ending
of
June
2019.
I'm
not
going
to
read
this
whole
thing.
I
know
they're
going
to
give
us
a
presentation.
E
We
have
a
wonderful
history
of
a
mutual
beneficial
company
home
company
agreement.
The
home
company's
status
requires
that
Theater
Works
perform
a
minimum
of
six
Productions
offered
at
least
three
different
titles
and
perform
at
least
50
percent
of
their
annual
season
at
the
Mountain
View
Center
for
the
Performing
Arts.
Of
course,
these
last
two
years
have
been
the
exception
to
some
of
those
rules
giving
covet
and
the
pandemic.
So
that
will
move
me
into
the
analysis.
As
you
can
see,
there
are
total
tickets
sold
for
the
Productions.
E
We
had
some
cancellations,
that's
what
the
when
you
look
at
the
first
one.
It
says.
Having
our
say
the
dates,
the
MS
is
main
stage.
The
ca
is
under
us.
Each
days
means
that
that
was
canceled.
That
would
have
been
a
performance,
but
it
was
canceled
because
of
the
pandemic.
So
of
course
we
have
Zero
Performance
stays
zero
total
tickets
sold,
but
as
you
move
down,
obviously
lizard
boy
did
very
well
and
move
further
down.
C
Have
a
question:
yes,
so
a
couple
actually
I
have
more
than
one
I
have
a
couple
of
questions.
So
could
somebody
give
me
a
little
background
on
why
they
were
re
requested
to
do
at
least
three
different
titles
perform
at
least
50
of
their
annual
Seasons
at
the
Mountain
Youth
Center?
Is
it
has
anything
to
do
with
trying
to
keep
some
consistency
of
revenue
for
the
center
or
yeah?
E
Well,
the
I
can't
answer
the
I
can
answer
the
50
for
them
to
be
a
home
company.
That's
part
of
the
agreement
with
the
city
is
that
because
they
have
another
venue
in
this
case,
not
all
the
not
all
the
home
companies
have
multiple
venues,
but
in
this
case
theater
works
also
has
the
Lucy
Stern.
E
C
Okay
and
then
thank
you
for
that
part,
so,
on
the
the
was
the
city
managers,
Department
overhead
included
in
the
numbers
that
you
gave
us
on
the
the
spreadsheet.
E
C
Okay
is
so
how
much
okay
in
the
future
will
there
be,
including
the
city,
manager's
overhead
cost
included.
E
Not
that
I
know
of
I
know
that
you
had
asked
for
a
profit
and
loss
for
the
Mountain
View
Center
for
the
Performing
Arts
and
that'll
be
coming
back
to
you
in
January
in
more
detail.
This
is
more
specific
to
just
Theater
Works
and
what
their
gross
ticket
sales
were,
their
total
tickets
sold
and
then,
of
course,
our
relationship
in
you
know
facility
rents
that
they
pay
to
us,
Box,
Office
charges
and
labor
and
equipment
and
the
monies
that
they
they
pay
us
and
then,
of
course,
they're
not
Revenue.
C
A
E
Are
other
facility,
so
it
wasn't
performed
here,
so
we
had
zero
use
these
days
and
you
several
performance
days.
They
did,
however,
sell
a
4883
tickets
to
their
performance
at
Lucy
Stern.
Now
the
minus
166.84
I
know
that
looks
a
little
odd
there.
That
is
the
bank
two
months
worth
of
Bank
fees,
so
basically
because
they
have
their
own
ticketing
program,
tessitura,
there's
Bank
fees
that
accumulate
every
month
and
because
there
wasn't
a
show
here,
that's
normally
out
of
their
fees.
E
You
know
on
facility,
rental
and
Box
Office
charges
that
would
be,
the
fees
would
be
taken
out
of
there,
but
because
because
we
ended
up
in
minus
on
that
month,
I
hope
I'm
explaining
this
right.
Now
we
ended
up
minus
that
month
because
we
didn't
sell
any
of
those
tickets
to
that
show
here.
C
Okay,
because
down
here
on
your
code
of
msms
and
so
forth,
LS
it
just
says
ticket
Arrangements.
C
So
but
it
should
mean
because
you
have
MSS
main
stage:
oh
I
see
it
then:
okay,
because
I
was
just
confused
by
LS
as
ticket
arrangements.
And
then
you
have
you
just
said:
Lucy's
Stern,
okay,
that
makes
sense.
Yeah.
B
Yes,
if,
if
they
were
to
have
an
event
at
Lucy
Stern
say
that
was
non-ticketed,
we
would
have
no
input
on
that
revenue
or
that
reconciliation
no
claim
to
it,
because
it's
at
a
different
facility,
which
is
why
there's
no
like
non-ticketed
listed
and
because
Lucy
we
we
account
for
Lucy
Stern,
because
we
are
able
to
sell
tickets
on
behalf
of
Theater
Works
for
their
loose
Eastern
Productions.
It's
just
typically,
not
something
we
do
so.
Therefore,
we
sometimes
will
on
and
off
occasion
like
we
did
with
Sense
and
Sensibility
sell
a
ticket.
B
So
there
is
a
ticket
revenue
on
RM
that
we
need
to
report,
so
we
will
run
a
Reconciliation
for
all
of
their
Lucy
Stern
event
to
make
sure
we're
accounting
for
any
of
those
Bank
fees,
but
also
any
ticket
Revenue.
We
may
have
taken
in
on
behalf
of
Lucy
Stern,
where,
if
that
is
the
case,
we
will
send
them
a
check
for
their
ticket
Revenue
that
we
sold
through
our
box
office.
F
Awesome,
thank
you
so
much
so
hello,
everybody,
my
name
is
Karina
fiorenza
I
am
the
interim
executive
director
here
and
I
am
graced
with
the
wonderful
Heather
orth
who
is
joining
us.
She
is
the
associate
marketing
director
here
at
Theater
Works.
Thank
you
for
the
welcome
for
the
introduction.
F
F
We
are
poised
for
some
very
exciting
things.
Debbie
chin,
our
executive
director
started
this
week,
so
she
you
will
be
hearing
more
from
her
Teresa
I
know
she
wants
to
have
some
good
times
again
with
you.
Tim
bond
has
been
with
a
company
for
a
few
years.
Now
we
are
talking
about
what
our
season
is
for
the
next
season.
We
are
thinking
about
the
future.
We
are
planning
for
it.
F
We
are
intentional
about
the
community
that
we're
building
both
as
an
organization
about
the
work
that
we
have
on
our
stage
about
the
financial
stability
and
growth
for
the
future,
and
as
somebody
who
has
been
around
the
block
for
many
many
years,
I
continue
well.
I
have
been
I,
have
have
had
my
My
Hope
for
the
industry,
renewed
by
working
with
theater
work.
So
I
hope
that
you
all
feel
the
joy
see.
F
The
joy
see
the
smarts
as
you
continue
to
connect
with
Theater
Works
and
continue
to
partner
with
us
as
we
navigate
this
messy
producing
Performing
Arts
in
this
Society
in
the
future
I.
F
It
will
require
us
both
to
flex
and
move
and
perhaps
ways
we
weren't
used
to,
but
I
think
that
there
will
be
a
lot
of
opportunity
to
bring
people
closer
to
the
Arts
to
bring
the
community
in
alignment
with
what
we're
doing
and
to
you
know
be
together
in
the
kinds
of
work
that
we
do,
which
is
you
know,
producing
work
and
adding
stories
and
narratives
that
haven't
been
told
as
widely
on
our
stages
by
by
POC
people,
with
an
anti-racist
lens
with
storytelling
that
moves
you
and
again
with
joy-filled
rigor.
A
Can
I
enter
check
for
a
minute
I'd
like
to
invite
the
other
panelists
to
turn
their
camera
on
out
of
respect
to
our
presenters?
It's
kind
of
unnerving
to
present
to
blank
screens.
G
I'll
go
ahead
and
jump
in
so
hi.
Yes,
my
name
is
Heather
orth
I'm,
the
associate
director
of
marketing
at
theater
works
I've
been
with
Theater
Works
in
an
official
office
capacity
for
I.
Think
seven
years
now,
I
actually
started
with
the
company
way
back
in,
like
2007
as
a
child
Wrangler
and
then
just
kind
of
kept
coming
back
as
people
do
in
the
Arts.
That's
how
you
that's,
how
it
works.
Peter
Chanel,
our
director
of
marketing.
He
sends
his
regrets.
G
He
had
planned
to
be
at
this
presentation,
but
after
the
meeting
got
moved,
he
actually
had
some
travel
plans
so
he's
off
at
a
wedding
in
Connecticut.
So
you're
with
me
and
I'm
very
happy
that
you
are
I,
am
going
to
go
ahead
and
share
a
little
presentation
that
he
put
together.
G
G
So,
as
Karina
talked
about
wow,
what
a
year
has
been
for
theater
works
for
the
Arts
in
general
for
everybody,
but
we
are
back.
That
is
the
main
thing
is
that
we
are
back
and
we
are
very
excited
to
be
back.
As
we
talked
about.
We
just
had
Miss
Debbie
chin
start
with
Theater
Works.
G
Her
energy
is
unparalleled
and
I
say
that
as
someone
who
is
constantly
out
of
10
she's
like
at
a
25
and
which
is
exactly
what
we
need
during
this
era
to
take
us
through
and
so
she's
already
begun,
working
with
Tim
to
forge
new
Pathways
forward
to
as
Karina
said
Flex.
You
know
with
this
this
new
world
that
we're
all
living
in
and
find
ways
to
tell
the
exciting,
heartwarming
joyful
and
connecting
stories
that
you
come
to
expect
from
your
Tony
award-winning
local
theater
company,
so
season
51,
we
wrapped
up.
G
We
finally
got
to
do
a
season.
After,
like
18
months
of
not
doing
a
season,
and
we
were
so
excited
to
come
back
to
the
Mountain
View
Center,
the
Performing
Arts
we
presented
four
shows
we
presented
lizard
boy,
Gem
of
the
ocean
Ragtime
and
then
brought
back
Hershey
Felder.
The
Old
Reliable
for
Chopin
in
Paris
and
I
have
to
tell
you
after
that,
Hiatus
I.
Don't
think
any
of
us
expected
the
how
moving
it
was
going
to
be
to
be
back
in
the
space
to
be
sharing
the
space
with
people.
G
Our
tagline
for
the
season
was:
let's
make
some
noise
together.
It
is
what
Tim
likes
to
tell
audiences
to
invite
them
to
engage
with
the
art
to
be
part
of
it,
to
laugh,
to
cry
to.
You
know
to
ooh,
to
whatever
the
spirit
moves
them
to
do
and
that's
the
ethos
we
wanted
to
take
through
to
celebrate
the
being
back
to
celebrate
sharing
space
again.
G
That
said,
obviously
it
was
a
very
different
time
to
share
space,
and
so
we
put
in
a
lot
of
work
to
make
sure
that
our
audiences
felt
cared
for
and
felt
safe
and
that
our
artists
felt
cared
for
and
safe,
as
we
all
learned
how
to
navigate
this
new
world.
Together,
we
had
very
strict
masking
requirements,
some
vaccination
protocols,
and
we
were
very
grateful
for
all
the
help
that
the
Mountain
View
Center,
in
particular
their
Patron
services
staff.
G
Their
front
of
house
staff
was
able
to
give
us
in
adding
a
whole
new
layer
to
what
is
what
always
can
be
a
chaotic
thing
to
begin
with,
the
getting
of
people
into
a
building,
and
so
adding
another
layer
onto
that.
Everybody
really
stepped
up
to
the
plate
in
a
big
big
way,
and
we're
really
really
grateful
for
that.
G
We
were
also
able
to
offer
some
streaming
video
options
for
patrons
who
did
not
yet
feel
comfortable
coming
back
into
the
theater,
really
trying
to
find
ways
to
make
sure
that
people
were
able
to
stay
connected
to
their
local
art,
even
if
they
were
not
in
a
place
yet
where
they
could
physically
be
in
the
space
with
us.
So
our
first
main
stage
show
was
an
awesome,
musical,
called
Lizard
boy,
very
new
piece
about
a
a
very
interesting
young
man
who,
as
a
child
accidentally
got
splashed
with
dragon
blood.
G
As
it
happens,
you
know
standard
Tuesday
and
he
came
away
from
it
with
some
pretty
cool,
looking
scales
and
a
lot
of
social
anxiety,
and
the
show
was
about
finding
who
you
are
finding
your
own
superpower
and
the
things
that
you
thought
made.
You
different
that
the
things
that
make
you
different
make
you
special
and
audiences
responded
in
a
huge
way.
G
This
show
connected,
especially
with
a
young
audience
in
a
really
big
way,
and
we
actually
were
able
to
help
launch
an
international
tour
of
the
show
off
of
the
success
of
the
performances
at
the
Mountain
View
Center.
They
played
the
Edinburgh
Edinburgh
Fringe
Festival,
this
past
August.
G
Peek
at
the
show
and
help
connect
us
to
The
Wider
Boulevard
at
large,
so
lizard
boy
had
a
great
run
and
we
followed
that
up
with
Gem
of
the
ocean
in
April
Gem
of
the
ocean,
of
course,
by
the
great
August
Wilson,
and
it
also
marked
the
directorial
debut
of
our
new
artistic
director,
Tim
Bond
I,
say
new
he's
been
with
us
for
two
and
a
half
years
now,
but
he
sure
did
have
to
wait
quite
a
while
before
he
was
able
to
finally
make
his
directorial
debut
with
us
because
of
the
pandemic,
and
it
was
hugely
well
received.
G
G
It
was
just
something
that
was
percolating
in
his
mind
at
that
time,
and
Tim
was
one
of
the
first
people
who
got
to
experience
the
moving
story
of
gem
of
the
ocean.
So
it
was
a
really
special
connection
to
this
piece.
So
for
it
to
be
the
first
piece
that
Tim
got
to
produce
with
us
really
really
fantastic,
and
we
also
were
able
to
welcome
a
lot
of
new
ticket
buyers
to
theater
works
with
this
piece.
G
G
The
next
show
was
Ragtime
Ragtime,
the
long
overdue
Ragtime
Ragtime
was
supposed
to
be
performed
in
the
summer
of
2020.
It
was
going
to
be
one
of
the
big
last
directorial
coups
of
Robert
Kelly,
who
was
our
founding
artistic
director
much
loved
and
we
actually
shut
down
one
week
into
their
rehearsals.
This
cast
was
all
assembled.
The
set
was
actually
fully
built,
so
we
went.
You
know
what
this
is
not
the
end.
We're
going
to
store
this
set.
G
We
are
going
to
tell
every
single
person
in
the
show
that
they
are
welcome
to
come
back,
because
we
are
going
to
do
the
show
and
it
took
us
a
couple
of
years,
but
we
finally
were
able
to
put
Ragtime
back
on
the
stage
and
Kelly
was
able
to
come
back
and
direct
it,
which
was
a
wonderful
fantastic
experience.
It
was
a
beautiful,
beautiful
piece.
G
We
did
a
slightly
more
stripped
down
version
than
is
normally
done
to
really
sort
of
focus
in
on
the
storytelling,
rather
than
spectacle,
which
is
what
that
show
tends
to
be
and
and
people
who
have
seen
the
show
hundreds
of
times
I've
heard
people
talking
about
how
this
allowed
them
to
experience
this
material
in
a
brand
new
light
and
really
connect
with
the
characters
more
seeing
it
more
intimately
done,
and
it's
just
as
beautiful.
Just
this
whole
cast
of
characters,
they
played
hundreds
of
people
this.
G
It
was
about
six,
let's
see
how
many
12
12
people
on
stage
and
they've
played
somewhere
upwards
of
120
characters,
really
really
amazing
feat
of
Artistry,
with
Ragtime,
so
beautiful
show
oh
I
love
that
picture.
There's
our
set
the
set
that
weighted
in
mothballs
for
two
years
and
still
stood,
and
then
we
rounded
things
out
with
our
old
friend
Hershey
Felder,
a
Mainstay
he
started
doing
shows
with
Theater
Works
I.
G
Think
back
when
I
started
in
the
box
office
in
2015,
and
we
have
had
a
long
and
fruitful
relationship
with
him
ever
since
audiences
love,
Hershey
Felder
and
they
came
out
in
droves.
G
So
again,
we
cannot
thank
you
enough
for
your
partnership
on
that,
for
your
help
on
that.
It
really
made
a
huge
difference
and
the
audience's
enjoyment
of
this
piece
and
there's
Hershey
doing
his
thing.
So
by
the
numbers
for
Mountain
View
Mountain
View
alone,
Theater
Works
has
714
individual
subscribers.
We've
got
300
donor
households
located
in
Mountain
View.
We
had
5620
admissions
to
shows
during
the
51st
season,
for
our
Mountain
View
shows
and
all
told
we
have
10
879
Mountain
View
households
in
our
database.
G
That
is
a
big
old
chunk
of
Mountain
View
that
continues
to
engage
with
Theater
Works.
That
is
part
of
our
family.
Many
of
them
have
been
with
us
since
the
company
started
in
1978.
They
are
just
people
who
have
stuck
with
us
from
the
time
we
were
a
teeny,
tiny
little
theater
doing
shows
in
parking
garages
all
the
way
up
to
winning
a
Tony
Award
in
2019
and
I.
Think
it's
just
it's
really
beautiful
how
the
community
continues
to
support
us
and
how
you
know.
G
It's
very
very
excited:
we're
just
really
excited
to
actually
have
Tim's
first
real
season
where
he
is
at
the
helm,
he's
gotten
to
lead
the
choosing
of
all
the
shows
and
he's
really
able
to
let
his
artistic
voice
guide
this
upcoming
season,
so
we're
very
thrilled
to
have
that
and
the
shows
that
we
are
doing
at
the
Mountain
View
Center.
We've
got
three
shows
we're
doing
a
sixth
show
season
this
year
because
of
the
way
the
scheduling
worked
out
with
last
year
being
sort
of
wonky.
G
Things
got
shifted
this
year,
so
we're
doing
a
slightly
abbreviated
season.
We
normally
do
eight
this
year.
It
is
six
we
are
doing
three
shows
at
the
Mountain
View
Center
the
first
play-
and
this
is
a
sneak
peek
at
our
art,
for
the
shows.
The
first
play
is
a
new
play
called
in
every
generation
by
an
up-and-coming
young
playwright
named
ali
vitterby.
G
It
is
about
a
Jewish
Family
and
their
experience
with
Passover
through
about
a
millennia
of
tracing
it
all
the
way
back
to
the
BC
era
and
then
taking
it
into
the
future
sure
and
asking
questions
of
community
and
family
that
sort
of
ring,
Through
the
Ages
and
that's
going
to
be
playing
at
the
Mountain
View
Center
first
thing
in
the
New
Year
in
January.
We're
going
to
be
following
that
with
a
new
play,
also
called
a
distinct
Society
about
a
very
interesting
library
that
actually
exists
that
sits
on
the
Canada
U.S
border.
G
The
Border
runs
through
the
middle
of
the
library,
and
this
becomes
important
during
the
Muslim
ban
of
a
few
years
ago,
where
you
have
a
family
that
is
trapped
on
either
side
and
the
only
place
that
they
can
meet
is
in
this
Library,
where
it
becomes
sort
of
this
neutral
ground.
And
it's
about
it's
a
it's
about
our
relationships
to
each
other.
It's
about
how
we
navigate
helping
each
other
and
and
when
we're
able
to
sacrifice
our
own.
G
Our
own
needs
to
help
the
greater
good
and
then
we're
finishing
out
our
season
at
the
Mountain
View
Center.
With
the
Beloved
classic
Steel
Magnolias
we're
really
excited
about
this
audience.
This
is
very
excited.
It's
a
really
well-loved
piece.
That's
going
to
be
in
June
at
the
Mountain
View
Center
June
running
through
July.
G
We've
got
a
wonderful
director
for
it
and
we
are
going
to
be
telling
this
story
in
a
multicultural
voice
and
we
are
going
to
be
casting
it
non-traditionally
and
using
it
as
an
opportunity
to
re-examine
the
material
and
to
look
at
community
and
how
communities,
support
and
uphold
each
other
and
and
care
for
each
other
and
become
family
for
each
other.
So
that's
what
season
52
is
looking
like.
As
Covina
said,
we
are
moving
forward
already
with
selecting
plays
for
season
53.
G
G
She
is
bringing
such
New
Life
to
theater
works
with
her
ideas
about
engaging
the
community
and
her
whole
MO
is
wanting
to
make
sure
that
we
are
welcoming
new
audiences
that
we
are
creating
things
like
Community
workshops,
Partnerships
with
local
organizations,
ways
to
bring
the
Arts
directly
into
the
community
trying
new
school
residencies
in
addition
to
our
already
long-standing
student
matinee
program,
introducing
the
next
generation
of
artists
and
leaders
to
Theater
Works
and
to
theater
as
an
art
form,
because
we
have
to
for
theater
in
the
Arts
to
survive.
G
We
have
to
find
ways
to
engage
with
our
communities
and
to
engage
with
the
Youth
of
our
communities
and
show
them
that
this
is
a
place
for
them.
This
is
not
an
exclusive
fancy
place
for
only
fancy
people.
It
is
a
place
for
them
to
tell
their
stories
and
see
their
stories
formed.
She's
also
created
this
exciting
new
thing.
We've
been
doing
called
in
conversation
in
the
past.
G
We
have
done
audience
talkbacks
with
the
cast
and
audiences
have
enjoyed
them,
but
what
what
Alejandra
has
decided
to
do
is
open
those
up
and
create
these
Community
conversations
where
we
focus
on
topics
that
are,
you
know
either
touched
upon
in
the
show
or
things
that
are
related
to
the
show
and
finding
deeper
ways
to
connect
that
to
the
art
for
Ragtime,
for
example,
we
talked
about
making
space
in
the
rehearsal
room.
Ragtime
is
a
show
that
you
know
features
some
pretty
loaded
Concepts,
it
features.
G
G
Who
is
our
artist
counselor
to
do
a
talk
back
with
the
audience
talking
about
what
that
that
looks
like
what
it
looks
like
to
make
space
in
the
rehearsal
room
for
care
and
for
consent,
and
for
really
intentional
conversations
about
how
we
are
presenting
things
and
making
sure
that
it's
a
safe
space
for
people
to
explore
these.
These
emotions
that
are
going
to
inevitably
come
up
when
you're
presenting
work
like
this.
G
We
also
had
a
conversation
with
Kelly
and
we
did
that
digitally
online.
We
had
Kelly
sit
down
with
Tim,
Bond
and
sort
of
talk
over
the
direction
of
Ragtime
and
the
way
it
actually
sort
of
is
in
conversation
as
a
piece
with
Gem
of
the
ocean.
They
both
take
place
around
the
same
time
period.
G
They
both
touch
on
the
bipoc
experience
but
they're
from
very
different
Vantage
points,
though
you
know,
so
the
whole
goal
is
to
try
and
create
these
broader
conversations
around
the
art
that
doesn't
just
have
to
be
having
a
little
talk
back
with
the
cast,
and
you
know
hearing
for
the
thousandth
time.
How
do
you
memorize
all
those
lines
trying
to
have
some
more
conversations
during
that
we
had
a
little
some
footage
from
our
previous.
G
In
conversations
for
lizard
boy,
we
did
one
on
nerds
of
color
for
lizard
boy,
the
experience
of
of
being
into
fandom
and
nerdy
things
from
a
bipoc
perspective.
You
know
lgbtq
comic
book
writers,
just
really
really
cool
topics
that
hook
into
the
art
you've
just
seen
and
deepen
your
understanding
of
it.
G
We
also
have
been
working
very
hard
to
make
sure
that
we
are
promoting
as
much
accessibility
as
possible,
for
these
shows
this
year
we've
well.
We
have
always
offered
audio
description
for
patrons
that
have
blind
or
that
are
blind
or
have
low
vision,
open
captioning
for
deaf
or
hard
of
hearing,
but
this
year
we're
very
excited
to
be
adding
American,
Sign,
Language
performances
to
our
show
schedule.
We
have
them
for
every
show
on
our
on
our
season
this
year.
G
It's
a
very
different,
it's
an
art
form
unto
itself
and
we're
very
excited
to
be
offering
that
to
our
patrons
as
another
way
to
enter
into
and
experience
our
art.
So
that's
all
I
have
I'm
gonna,
stop
sharing
my
screen
and
then
I'm
gonna.
Kick
it
back
over
to
Karina
to
finish
up
with
a
little
bit
of
talk
about
our
finances,
but
thank
you
for
taking
a
little
journey
through
theater
works
with
me.
F
Thank
you
so
much
Heather
yeah,
all
right.
So,
like
you
heard
from
Teresa,
you
know
we
are.
Our
finances
were
affected
this
last
season.
Obviously,
by
covet
and
the
pandemic,
we
did
receive
shuttered
venues
operating
operating
grant
money.
F
We
received
two
rounds
of
that
and
we
ended
the
the
the
year
with
a
bat
with
a
budget
that
included
a
surplus
that
we
rolled
into
this
current
season
to
help
us
continue
to
weather
this
stream.
So
we
are
taking
intentional
strides
to
have
a
financial
plans
that
are
careful
and
conservative,
and
you
know
we
know
based
off
of
surveys,
that
we're
seeing
from
ABA
and
out
in
the
field
ticket
sales
are
down.
We
see
that
now
too,
how
do
we
pivot?
F
How
do
we
think
about
the
work
that
we're
doing
and
connecting
it
to
humans
and
also
what
is
our
return
on
investment?
Where
are
the
places
that
we
might
be
leaving
money
on
the
table
might
be
leaving
connections
on
the
table.
F
We
have
an
incredible
Ed
coming
in,
who
is
a
strategic,
fundraiser
and
operational
expert,
and
while
one
person
does
not
right
the
ship
having
the
right
leadership
having
the
right
support
staff
having
the
right,
the
the
programming
that
is
in
aligned
with
stated
values
and
lived
out,
values,
there's
there's
just
so
much
potential
right
here
and
I.
Think
you're
really
going
to
see
that
in
the
ways
that
you
interact
with
a
company
you're
going
to
see
some
of
the.
F
What
is
the
the
sewing
of
some
of
this
work
that
we've
been
doing?
One
of
the
things
that
I've
been
talking
about
with
staff
for
the
last
five
months
that
I've
been
with
them
is
like?
How
do
you
eat
an
elephant?
Well,
you
eat
an
elephant,
one
buy
it
at
time
as
gross
as
that
may
be.
Don't
call
Peta
on
me,
but
like
this
one
bite
at
a
time
and
that's
what
we're
doing
one
bite
at
a
time
chugging
away.
F
Let
continue
to
do
this
powerful
impactful
work
and
bring
these
stories
of
matter
to
our
community.
So
that's
it
and.
A
Well,
thank
you,
but
thank
you.
Do
any
member
questions.
C
Ragtime
I
have
a
question:
I
have
a
couple
of
questions
for
them.
I
would
I
was
glad
to
hear
about
your
Arts
engagement
and
I
was
wondering
if
you
could
give
me,
do
you
have
any
kind
of.
C
Should
I
give
it
a
try
again?
Yes,
please,
oh
thank
you.
So
I
was
glad
to
hear
or
excited
to
hear
about
your
art
engagement.
Do
you
guys
run
any
kind
of
youth
camps
or
hearing.
C
You're
still
getting
feedback
from
our
chair,
I
believe
she's
on
mute,
okay,
so
going
back
to
your
summer,
your
engagements:
do
you
guys
do
youth
camps
or
any
kind
of
well
youth
camps
for
for
non-profit
as
a
non-profit
for
free?
Or
do
you
charge
for
like
do
things
like
set
design
fun
things
for
the
summer
for
kids
to
get
involved
with
or
younger
people,
or
anybody
to
do
writing,
set
design
practicing
behind
the
scenes
work
that
people
can
enjoy?
So
it's
like
a
one-week
camp
or
something
like
that.
G
In
the
past,
our
education
department,
which
was
folded
then
into
our
new
Arts
engagement
program,
did
have
some
summer
camp
things
that
were
going
on
as
we
have,
as
the
program
has
morphed
into
Arts
engagement,
we're
sort
of
building
from
the
ground
up
right.
Now
we
are
in
the
process
of
hiring
a
team
to
support
the
Arts
engagement
department
and,
as
that
team
gets
hired
and
they
start
to
have
more
capacity
to
sort
of
expand.
The
programs
I
believe
the
Hope
down.
G
The
line
is
to
start
expanding
into
some
of
that
educational,
the
educational
offerings
again,
things
like
in
school
things
during
summer
activities
figuring
out
where
that
fits
in
the
department,
but
because
we're
sort
of
in
we're
in
an
in-between
space
with
it.
G
Now
it's
morphing
into
something
new
and
exciting,
and
beautiful
and
Butterfly,
but
right
now
it's
like
in
a
cocoon
and
kind
of
peeking
out
so,
but
we
are
getting
to
a
place
where
we
are
likely
going
to
have
those
kind
of
offerings
again,
but
we
have
offered
them
in
the
past
on
and
off
I
think
throughout
our
entire
existence.
There's
been
some
component
of
education
and
summer
camps
and
experience
experience
specifically
as
well.
G
C
Good
because
I
I
love
to
see
some
of
that
also
in
my
next
question
is
well
I.
Think
somebody
used
it
88
average
daily
attendance
I'm,
not
sure
if
that's
the
thing
but
occupancy
of
seat
sold,
is
there
any
way
to
compare
it
to
2019
before
the
pandemic
came
along
that
and
I
know
we're
still
in
that
lingering
effect,
it's
sort
of
compared
2019
attendance
with
now
and
what
was
the
percentage
per
show
of
seats
sold?
Does
you
know
that.
F
We
we
can
do
that.
We
can
do
that
and
I
don't
know
if
Heather
and
her
team
have
that
off
the
top
of
their
head.
I,
don't
have
it
in
my
brain
right
now.
The
interesting
part
about
that
John
2
is
like
how
the
behaviors
of
humans
have
changed,
especially
in
terms
of
their
consumption
of
entertainment
and
especially
in
terms
of
their
consumption
of
live
Performing
Arts.
So
it's
a
it's
a
data
point
for
sure.
F
I
I
personally
need
a
little
bit
more
time
in
the
industry
to
see
how
these
behaviors
continue
to
shift.
We
have
some
data
and
surveys
nationally
that
indicate
certain
things
like
again
to
get
La
ticket
sales
have
been
down
for
Performing,
Arts
entertainment.
However
I
know
Bad
Bunny
sells
out
his
concerts
tickets.
F
You
know,
like
I,
know
that
there's
you
know
like
people
waiting
in
line
for
Taylor
Swift,
so
you
know
I
think
the
value
proposition
and
the
communication
about
that
is
going
to
be
incredibly
important
for
all
theater
companies
and
all
performing
arts
companies
in
the
weeks
months
years
to
come.
Okay,
if.
C
F
Oh
Heather,
you
know
the
space
more
than
I
do
I
would
say
here's
something
that
I'll
start
with
is
like.
If
wishes
were
fishes
I,
like
you
know,
I
know,
our
team
is
working
with
Teresa.
With
your
team
and
I
know.
We
have
dates
coming
up
blah
blah
blah
I
would
love
to
kind
of
know.
What
kind
of
flexibility
do
we
have
in
a
schedule
like?
What
are
the
I?
Don't
know
the
space
personally
but
like
what
are
those
other
spaces?
F
How
can
we
partner
together
to
really
meet
your
needs
and
ours
on
maybe
a
community
level
on
a
production
level?
F
You
know
it's
like
what's
possible
now,
because
things
changed
for
theaters,
but
I
know
they
must
have
changed
for
Performing
Arts
centers
as
well
right
like
I,
used
to
be
run
a
dance
company
in
Chicago,
and
it's
like
we
were
with
centers
all
the
time
like
things
are
different,
so
you
know-
maybe
in
this
era
too,
and
in
this
time
of
transition
on
a
leadership
level
for
Theater
Works,
and
for
you
all
too,
like
this
is
the
time
for
us
to
come
together
and
be
like
okay,
what
works?
F
What
doesn't
and
Teresa
I
think
you
and
Debbie
would
be
so
simpatico
in
in
that
and
like
collaborate.
So
well
in
that
and
like
John,
you
said:
why
is
this
the
thing
where
it's
50
of
the
of
our
season
is
tied
to
a
home
company
thing
I,
you
know
I
ca,
that's
a
that's!
That
is
a
that
is
probably,
as
you
know,
that's
probably
a
shackle
to
the
company
in
some
regards.
But
in
this
new
era-
and
you
know-
and
also
we
could
probably
come
to
you
and
say,
could
we
do
eight
shows
there?
F
You
know
like
I,
have
no
idea
what
the
future
will
hold.
But
what
are
those
opportunities?
And
how
can
we
keep
in
communication
about
that
and
knowing
we
have
hard
deadlines,
I
know,
but
where
can
we
move
in
that?
We
have
a
lot
of
issues
with
our
other
theater
space
on
ADA
Bathroom
access
lines,
Etc
that
I
don't
know.
Heather
could
speak
more
about
Mountain
View
Center,
but
those
are
things
that
we
think
about
and
we
have
I
think
we
saw.
The
survey
results
from
it's
like
over.
F
10
of
our
subscribers
and
ticket
buyers
are
over
81
years
old,
like
to
me.
It
was
like
between
10
and
20.
That's
a
lot
like
that
is
a
lot,
so
we
have
to
be
thinking
about
those
things
because
we've
had
people
say
to
us.
We
do
not
want
to
return
to
that
other
space
because
of
this
issue
that
has
lost
revenue
for
us.
That's
lost
relationships
for
us,
and
that
means
that
our
work
and
our
artists
aren't
their
voices
aren't
getting
out
to
as
many
people
as
possible.
F
In
addition,
I
think
we
are
talking
about
what
it
means
to
a
term
from
the
past
radical
Hospitality,
but
if
we
translate
that
to
now,
it
is
like
what
is
belonging
mean
when
you
walk
into
the
space
when
you're
treated
by
an
usher
or
a
ticket
taker
a
box
office
right
like
what?
Where
is
the
cultural
symmetry
there?
F
Where
are
those
aligned
and
where
are
they
not
aligned?
And
how?
If
we
are
progressive
in
a
particular
way,
or
we
have
these
values
in
a
particular
way
and
those
aren't
necessarily
actualized
values
for
your
staff?
F
You
know
if
we
could
make
sure
that
those
things
are
aligned
and
how
many
people
do
we
need
for
this,
and
that,
like
that,
would
be
awesome
and
then
I
think
probably
Teresa.
We
need
to
talk
about
like
the
how
I
don't
know
this
enough,
but
like?
How
does
the
testatora
thing
work?
Is
that
working
out
for
you
guys
like
what
you
know
like?
F
Let's
pick
apart
put
it
back
together,
pick
it
apart
and
and
really
work
in
collaboration
to
to
support
the
artist
and
I'm
sure
you're
having
these
conversations
with
your
other
home
companies
and
other
artists
in
the
area.
F
But
you
know
Theater
Works
has
been
an
itinerant
company
since
it's
at
the
beginning
of
time,
so
we
are
used
to
flexing
we're
used
to
doing
things
from
here
and
there
we
we
know,
and
it
and
and
also
we
want
to
have
some
more
stability,
and
we
want
to
have
some
flexibility,
so
I
think
those
are
some
things
that
I'm
hearing
now
and
I
know
Teresa,
and
our
team
will
continue
to
have
conversations
about
it.
So,
hopefully
that
is
helpful
to
you
John
and
your
team
there
as
well.
F
G
Mean
frankly,
that,
because
because
I
also
have
to
deal
with
the
Lucy
Stern
Center,
which
is
just
lengths
behind
in
terms
of
accessibility
and
then
facilities,
I'm,
always
like
Mountain
View's
great,
you
know,
you
know,
if
you
ask
our
patrons,
they
would
love
it
if
we
built
them
a
theater
that
was
nothing
but
aisle
seats
and
bathrooms
just
one
after
the
other.
That
was
all
they
want
to
style,
seats
and
bathrooms.
G
So
if
somebody
can
figure
out
how
to
build
an
aisle
seats,
only
theater,
we
will
all
be
kajillionaires,
but,
generally
speaking,
the
the
thing
we
hear
most
is
just
wanting
more
bathroom
facilities.
Just
on
a
basic
functional
level.
Everybody
always
wants
more
bathroom
facilities.
They
want
more
women's
bathrooms.
Specifically,
they
want
one
thing:
that's
been
coming
up.
That
I
think
we
need
to
think
about.
Is
people
are
asking
for
gender
neutral,
bathroom
facilities,
so
just
facil
those
facilities
in
general?
G
Unfortunately,
I
can't
speak
to
how
things
work
backstage
terms
of
what
they
might
need.
All
I
know
is,
it
seems,
like
things
are
going
well
there
better
than
at
Lucy.
G
C
C
Sure
anything
that
we
can
enhance
the
experience
you
know
I
always
had
kids
that
were
in
school
plays
and
they
would
spend
all
this
time
rehearsing
and
yet
you
couldn't
hear
them
and
you
could
be
20
feet
away
from
them
and
you
couldn't
hear
them
and
you're
going.
This
is
bad.
Okay,
so
that's
you
know
I,
always
oh
yeah
and
then
I
have
one
other
question
for
Teresa,
possibly
and
staff
in
your
spreadsheet.
Can
we
add
a
line
or
put
some
kind
of
a
notation
under
facility
rental
box
office
charges
Etc?
C
E
C
Those
are
my
questions
and
it
sounds
like
one
hell
of
an
exciting
season.
Just
to
give
you
guys
a
little
background.
I
had
the
original
subscription
to
The
Best
of
Broadway,
so
I'm
used
to
going
up
to
the
city.
Whatever
so
I
love
you
I,
love
musicals
doesn't
mean
I
don't
like
plays,
but
I
love,
musicals
and
I'm,
a
big
supporter.
So
thank
you.
Awesome.
F
B
At
this
time,
I
do
not
see
any
attendees
with
any
raised
hands.
If
any
members
of
the
Palm
like
do
wish
to
make
a
comment.
Please
raise
your
hand,
so
I
can
provide
you
permission
to
speak.
A
Okay,
we're
going
to
next
agenda
item
5.2
of
Stage
Theater
annual
review
recommendation
here.
Staff
report,
an
upstage
theater's
recap
of
the
Year
background-
is
part
of
upstage
theater's
long-term
second
stage
home
company
contract
staff
will
present
a
summary
of
performance
use
days,
sales
and
expenses
and
open
up
discussion
for
opportunities
to
improve
service
and
or
relations.
A
E
You
chair,
Donahue,
yes,
upstage
theater
is
a
Bay
Area
theater
I
wish
I'd
had
this.
When
I
was
a
teenager,
it's
solely
run
by
teenage
theater
artists
at
front
stage
backstage
they
do
it
all
and
then,
of
course,
they've
been
affected
by
the
pandemic,
also
because
they
were
off
for
a
year
and
a
half
and
did
virtual
Productions
but
they're
anxious
to
get
back
on
the
stage.
E
I
got
to
meet
some
of
the
students
actually
backstage
when
I
was
sneaking
out
one
night
and
they
were
loading
things
in
so
I
had
a
little
chat
with
them.
So,
but
again
this
year
this
last
year
they
got
to
do
three
shows
and
they're
in
second
stage,
only
they're
not
on
the
main
stage.
So
second
stage
only
shows
and
we
had
trap
falsetto's
Little
Shop
of
Horrors,
another
favorite,
total
tickets
sold
845
tickets
for
total
gross
revenue,
15
695
dollars,
and
then
the
net
revenue
expense
after
expenses
were
paid.
E
The
net
revenue
to
upstage
theater
was
2,
654
dollars
and
I
will
turn
the
floor
over
to
our
guests
so
that
they
can
tell
you
a
little
bit
more
about
their
great
program.
I
Sure
so,
thank
you
very
much.
My
name
is
Bonnie
fode
and
I
am
the
producer
basically
for
upstage.
Theater
of
stage
has
been
around
for
about
eight
years
and,
as
you
heard,
it's
a
teen
run
theater
company
and
it's
led
by
an
artistic
director
who
is
also
a
teen
who
was
selected
each
year
by
the
previous
artistic
director
and
the
board.
I
So,
given
that
we're
a
teen
run,
theater
I'm
going
to
pass
it
off
to
Val,
who
is
our
artistic
director
for
this
year,
who's
going
to
tell
you
a
little
bit
about
our
Productions
from
last
year
and
then
I'll
fill
you
in
on
the
finance
piece.
So
Val
go
ahead.
H
Thank
you
so
much
Bonnie.
Let
me
quickly
screen
share
with
my
handy
visual
aid
here.
Can
we
all
see
kind
of
we
have
a
presentation?
Okay,
awesome
looks.
E
H
Great,
thank
you
so
hi
everyone
pleasure
to
present
to
all
of
you
today.
So
thank
you
Teresa
for
that
introduction.
So,
yes,
upstage
theater,
we've
been
here
since
2015,
we're
a
completely
teen
run
theater
company,
and
we
provide
opportunities
to
teens
of
all
backgrounds
from
all
across
the
bay
area
to
participate
in
every
aspect
of
the
year
that
you
could
imagine
allowing
them
to
hone
their
skills
in
both
acting
and
production,
work
being
all
teens.
That
means
our
board
is
also
made
up
of
alumni
and
all
our
actors.
H
Creative
staff
and
crew,
are
Middle
School
to
high
school
age
and
geographically,
we
have
teens,
ranging
from
San
Francisco
to
San
Jose
and
everything
in
between
so
a
really
wide
range
at
our
company.
There's
no
participation
fee
for
actors
or
staff
members,
and
that
is
one
of
our
core
values.
Signing
up
for
anything,
is
as
easy
as
registering
for
an
audition
slot
online
or
reaching
out
to
us
on
social
media
or
through
a
current
member.
H
As
someone
who
was
recruited
for
a
tech
position
mission
that
upstage
a
few
years
ago,
I
was
thrilled
that
the
ease
of
the
process
to
engage
with
the
company
we
are
dedicated
to
producing
titles,
that
teen
would
likely
be
unable
to
participate
in
normal
Community
Theater.
We
are
also
often
focused
on
material
written
for
or
about
teens,
which
schools
or
Community
Theaters
would
often
shy
away
from
last
season.
We
had
three
shows
per
season.
We
we
maintained
three
shows
per
season,
one
play
one
Musical
and
newly
One
play
or
musical.
H
This
past
season
was
our
first
season
with
two
musicals
and
one
play
I'm
gonna
go
ahead,
skip
forward
here
so
this
past
season.
We
had
our
full
first
full
season
back
after
covid-19
and
our
shows
needed
to
be
versatile
in
both
casting
requirements
and
style
of
material.
So
our
season
featured
trap,
a
thriller
with
60
characters
portrayed
by
a
cast
of
10..
It
was
a
powerful
season,
opener
that
helped
showcase
the
power
of
live
theater
in
an
Innovative
way
and
how's
this
we
even
had
a
fake
ending.
H
If
that's
not
a
way
to
return
to
live,
theater
I,
don't
know
what
is.
We
are
always
eager
to
give
you
more.
Next,
we
have
falsettos
a
sing
through
musical
featuring
our
first
live
band,
a
very
timely
touching
musical
for
all
of
us,
and
we
had
our
audiences
in
laughter
and
in
tears
and
believe
me.
H
In
second
stage
you
can
tell
you
can
hear
it,
and
it
was
a
story
that
we
all
needed
to
hear
at
the
time
and
we
had
a
well-known
classic
to
close
the
season
with
Little
Shop
of
Horrors,
which
went
big
on
all
accounts,
with
sets
puppets
costumes
all
set
on
the
background
of
Ashman
and
menken's
score,
which
I'm
sure
you'll
agree
is
one
of
the
most
iconic
in
the
musical
theater
Canon
a
little
bit
about
our
next
season.
H
We
are
continuing
our
two
Musical
one
play
format
and
we
are
even
opening
a
new
outreach
program
with
free
workshops
in
technical
theater
held
right.
In
second
stage,
we've
had
a
lighting
design
Workshop
this
season
and
it
had
a
great
turnout
and
inspired
the
next
generation
of
upstage
lighting
designers.
We
already
started
strong
with
lilacs
in
the
rain
in
October,
an
American
slice
of
Life
piece
from
the
1950s
and
coming
up
in
March
we
have
sondheim's
Masterpiece,
Follies
and
closing
off
with
Jonathan
Larson's
autobiographical
Rock
musical
Tick
Tick
boom.
H
After
covid,
we
are
thrilled
to
maintain
engagement
with
actors
and
audience
members
from
a
wide
geographical
range
in
the
Bay
area,
and
we
are
thankful
to
the
Mountain
View
Center
for
allowing
us
to
represent
the
local
teens
in
the
theatrical
community
and
providing
a
safe
space
for
teens
to
take
part
in
theater,
which
includes
upholding
strict
masking
requirements
at
performances
and
throughout
the
rehearsal
process.
H
So
that
was
our
last
season
hitting
the
ground
running
fueled
by
a
strong
hunger
to
return
to
the
stage,
and
we
are
always
expanding
and
can't
wait
to
continue
upholding
upstage's,
Mission
and
providing
audiences
with
inimitable,
theatrical
experiments,
experiences
at
Second
Stage.
So
back
to
you,
Bonnie.
I
Great
thanks
so
just
to
get
you
give
you
a
little
bit
of
perspective
on
our
financials.
We
do
all
of
our
Productions
at
mvcpa.
In
second
stage,
we
get
about
two-thirds
of
our
revenue
from
ticket
sales
and
about
a
third
through
donations.
As
Val
mentioned.
We
do
not
have
participation
fees
for
anyone
to
participate,
because
we
feel
this
is
an
opportunity
that
should
be
available
to
everyone,
regardless
of
their
ability
to
pay.
So
we
do
rely
on
donations,
and
you
know
we
do
get
revenue
from
ticket
sales
as
well.
I
After
that,
it's
rights,
we
don't
have
any
paid
employees,
we
have
no
overhead,
we
don't
have
a
facility
that
we
have
to
maintain,
and
the
nice
thing
about
that
during
covid
is
that,
unlike
other
theaters,
that
had
fixed
cost
overhead,
that
wasn't
an
issue
for
us
and
so
that
left
us
in
a
fairly
good
financial
situation.
I
Last
year
we
had
a
surplus
of
twenty
seven
hundred
dollars,
which
normally
we
wouldn't
have
the
reason
why
we
ended
up
with
a
surplus.
We
usually
try
to
run
Break
Even.
I
We
want
to
reinvest
everything
that
we
make
back
into
our
Productions
and
back
into
the
kids,
we're
not
trying
to
build
any
kind
of
endowment
here,
but
we
did
get
a
refund
of
Rights
from
shows
that
we
canceled
during
covid,
and
so
we
kind
of
have
an
unexpected
Surplus
from
last
year,
which
is
nice,
and
that
brings
our
net
assets
to
about
16
000
at
the
end
of
the
year,
which
is
our
high
cash
point
in
the
year,
because
that's
the
end
of
our
season,
and
so
we
have
a
nice
cushion
and
it
helped
us
weather
the
way
through
covid
and
also
enabled
us
to
take
some
risk.
I
As
we
came
back
into
the
theater,
we
did
come
back
before
this
season.
We
did
a
show
called
The,
Wonder
rats,
marvelous
Wonder
ads
in
June
of
2021.
I
It
was
in
between
the
two
peaks
of
kovid,
but
people
were
excited
to
come
out
and
see
shows
not
at
the
levels
we
saw
obviously
pre-covet
or
that
we're
seeing
now,
but
it
was
great
for
kids
to
be
back
in
the
theater
and
I
think
audiences
felt
that
way
as
well,
and
so
we
were
able
to
take
a
risk
like
that
and
last
season,
AS
Val
said
we
did
our
first
live
band
in
the
show,
and
so
that
was
nice
to
be
able
to
have
that
addition
to
the
season
as
well.
C
Someday
you'll
regret
that
sound
okay,
I
I
was
just
like
to
get
a
little
more
information
about
your
group
because
you
say
you're.
It
sounds
a
like
a
fun
activity
or,
and
it's
but
serious-
but
you
say
it's
a
Bay,
Area
theater
and
yet
you
go
from
San
Francisco
to
San,
Jose
and
I,
guess:
East,
Bay
and
whatever.
So,
where
is
the
executive?
I
mean
you're,
a
non-profit,
I,
guess
and
you're
based
somewhere
so
where's
your
base.
And
how
did
you
end
up
at
Mountain
View.
I
So
I'll
go
ahead
and
take
that
one
Val.
So,
like
I
said
we
don't
have
any
facilities,
it's
virtual
and
has
been
since
the
start.
I
We
ended
up
in
Mountain
View
at
the
mvcpa,
as
Carol
remembers,
because
there
was
a
fee
waiver
program.
My
daughter,
who
was
one
of
the
founders
of
upstage,
was
trying
to
find
a
location
in
the
Bay
Area
to
you
know,
use
for
these
performances
and
she
saw
them.
Mountain
View
had
a
fee
waiver
program,
and
so
she
applied
to
that
program
and
was
granted
the
fee
waiver
for
the
first
show
that
they
did,
which
was
Heather's
and
from
that
we
really
got
attached
into
mvcpa.
C
So,
but
where
are
you
is
there
a
exec
I
mean
there's
an
office
space
where
you
store
your
gear,
I
mean
your
costumes
or
anything.
You
know
that.
C
I
Yeah,
no
there's,
no,
we
don't
have
any.
We
don't
have
any
office
space,
we
don't
have
any
employees,
we
don't
have
a
physical
presence
other
than
what
we
have
at
mvcpa.
D
H
If
I
may
add,
our
rehearsals
move
based
on
the
shows,
it's
what's
more
convenient
from
the
for
the
actors,
because
some
shows
you'll
have
like
actors
concentrated
in
Palo
Alto
in
some
shows,
you'll
have
them
from
all
over
the
place,
and
so
a
lot
of
the
times
we'll
end
up
rehearsing
in
either
in
people's
backyards
and
people's
houses.
Sometimes
we're
lucky
enough
to
get
rooms
in
people's
schools.
H
So
even
the
rehearsal
spaces,
which
you
know
are
genuine
spaces.
They
do
move
around
a
lot.
I
Yeah
and
we
often
use
park
and
rec
spaces
either
in
for
a
long
time
we
always
rehearsed
in
San
Bruno
at
their
Park
and
Rec
Space,
and
then
also
Redwood
City.
We've
used
those
for
our
auditions
and
so
so
we're
flexible.
C
I
Yeah
yeah
I
would
say
because
most
of
the
cast
and
crew
at
that
time
was
coming
from
farther
north
I
would
say
we
were
more
centered
geographically
in
San
Mateo
and
over
time
really
have
come
more
centered
into
the
Mountain
View
area,
which
does
make
sense.
Since
that's
you
know
where
our
performance
space
is
located.
C
Have
you
been
any
ability
to
get
some
of
your
cast
members
to
the
next
level
of
Theater
Works
so
as
they
do,
it's
a
audition,
and
hopefully
the
Theater
Works
are
looking
at
these
young,
talented
people.
I
So
actually,
my
daughter
Juliana,
who
started
upstage
theater,
worked
at
Theater
Works
during
on
a
fellowship.
She
went
to
theater
at
University
of
Michigan
in
directing
and
she
was
an
intern
at
Theater
Works
before
pre-covered
and
did
work
with
them
both
in
casting
and
worked
with
David
Kelly
on
some
of
their
new
works
and
producing
stage
managing
those
with
him
and
we've
also
had
performers.
I
I
mean
one
of
our
performers
from
Heathers
is
now
on
the
West
End
performing
in
six,
and
we
have
other
alumni
who
are
either
in
musical
theater
programs,
drama
programs
or
directing
programs
all
over
the
country.
It's
a
fairly
young
alumni
base
right
now,
because
Jules,
who
started
the
company
her
sophomore
year,
just
graduated
from
college
in
April,
so
I
think
there
will
be
we'll
be
seeing
even
more
of
those
alumni
working
in
the
profession
as
time.
Moves
on.
C
Oh
okay,
I
was
just
hoping
there's
some
connection
between
the
two
companies:
yeah,
okay
and
then
I
do
have
a
question
for
staff.
C
E
So
the
percentage
is
usually
usually
in
percent
for
our
non-prof
profits
and
that's
the
difference
between
the
discounted
rent
that
they
would
pay
and
and
then
the
percentage
of
growth.
So
it's
a
discounted
rent
plus
a
10
percent.
So
if
they
don't
make
enough
money,
it's
just
the
rent
fee.
If
they
do
make
some
money,
then
we
take
a
small
amount
to
make
up
for
a
little
bit
of
the
discount.
C
E
C
E
D
H
A
Thanks
John
and
also
I
understand
with
upstage.
A
lot
of
the
members
provide
technical
support,
which
saves
expenses
for
center
staff
to
do
Sound
and
Lighting,
and
all
of
that.
H
That
is
correct.
We
have
an
all-team
tech,
crew,
designers
operators
and
we
make
sure
that
those
of
us
who
are
the
designers
are
able
to
train
the
Next
Generation
so
that
they
can
continue
to
being
designers
and
that
that
has
been
a
continuous
movement
throughout
upstage's
history.
A
Yeah
pack
was
involved
with
some
of
the
early
Productions
that
upstage
did
and
so
I
actually
got
involved
with
some
of
the
cast
members
and
I
was
really
impressed
and
amazed
with
how
they,
with
the
network
and
how
they
recruited.
Oh
I,
have
a
friend
who
can
do
sound.
Oh
I
have
you
know
and
I'm
like
wow,
they're,
16.
A
they're
doing
all
this
I
mean
it's
pretty
amazing,
so
that
it
looks
like
in
the
it,
for
your
Labor
costs
were
lower
than
other
things
and
that
maybe
that
did.
I
That
yeah,
so
the
difference
for
us
is
that
we
have
an
extra
day
of
tech
for
a
musical
than
what
we
have
for
a
play.
And
so
you
know
our
costs
in
terms
of
facility
costs
and
staff
is
higher
when
we
do
a
musical
than
when
we
do
a
play.
Okay,.
I
C
H
Well,
you're
asking
the
right
person
because
I'm
dealing
I
am
the
one
dealing
with
the
lights
currently
in
second
stage,
so
I
shall
start
with
that.
It's
there
is
currently
it
I.
I
am
a
big
fan
of
the
second
stage.
Lighting
grid
I
think
it
is
a
great
design
and
I
enjoy
working
with
it.
H
H
You
know,
get
a
little
tired
and
so
a
lot
of
my
time
is
spent
fixing
or
restoring
those
fixtures
and
rather
than
arriving
at
the
center
and
having
that
complete,
and
so
even
with
the
last
few
weeks
that
I
was
in
second
stage
it
would
be
every
single
night
I'm
going
to
the
facility
manager
with
new
notes
about
instruments
which
you
know
I'm
happy
to
deal
with
those
notes,
I
just
I
I,
know.
I
know
it
can
be
difficult,
especially
when
there's
a
short
Tech
time
for
a
show.
H
Even
one
night,
like
we've,
had
for
a
program
at
a
different
theater,
so
lighting
is
a
big
thing
backstage
second
stage
always
struggles
with
dressing
rooms,
bathrooms
and
water
and
I
know
the
PAC
is
aware
of
this
issue
and
that
there
is
a
design,
a
redesign
of
second
stage
in
the
works
and
I'm
here
to
say,
I
support
that,
because
all
of
those
features
with
to
make
you
know
amenities
facilities
more
accessible
to
the
second
stage.
H
Backstage
would
be
great
because
a
lot
of
our
shows
end
up
being
very
fast.
Paced
we've
got
actors
in
The,
either
in
the
wings
or
on
stage
practically
the
entire
show,
and
there's
just
really
no
time.
Some
of
these
shows
don't
have
intermission,
there's
no
time
to
get
back
to
your
dressing
room.
So
we
stuff
everything
into
the
back
hallway
and,
as
you
know,
the
back
hallway
is
not
very
spacious
and
we've
got
our
prop
stables
in
there,
and
everyone
thinks
it
gets
crowded.
H
So
as
much
space
as
we
can
get,
and
you
know
if
we
can
move
things
a
little
closer.
That
would
be
much
appreciated.
Additionally,
it's
eliminates,
or
at
least
restricts
crossover
when
there's
two
shows
I
know,
we've
crossed
over
many
times
with
Theater
Works
and
Peninsula
youth,
theater
and
a
few
other
companies,
and
we
always
want
to
respect
each
other's
boundaries
and
be
as
careful
as
possible.
H
But
it's
difficult
to
limit
crossover
when
we
do
have
a
shared
hallway
in
which
our
bathrooms
are
in
which
our
water
is
I
know.
That
became
a
issue
with
a
few
of
our
shows
last
year.
So
as
far
as
facilities
goes
that
that
would
be
my
wish
list.
I
C
So
Val,
could
you
help
me
with
some
of
your
vocabulary
sure
you
were
saying
lights,
but
she
also
said
instruments.
C
H
I
Yeah
and
I,
it
does
depend
on
I
will
say
that
musicals
are
traditionally
more
popular
than
plays
are
with
plays,
we
would
normally,
we
would
normally
run
between
70
and
90
per
performance,
and
with
plays,
we
do
three
three
performances
per
show
with
musicals.
We
usually
do
four
performances
in
a
weekend
and
we
would
average
probably
over
a
hundred
to
a
hundred
and
ten
hundred
and
twenty,
depending
on
the
show
for
falsettos.
We
only
because
we
were
putting
that
into
the
slot
of
a
play.
I
I
would
say
we
draw
primarily
from
cast
and
crew
friends
and
family,
so
we,
when
Theater
Works,
said
that
they
had
like
10
or
20
of
their
subscriber
base.
That
was
over
80..
I
We
probably
have
we
draw
a
huge
percentage
of
our
crowd,
is
high
school
students
and
middle
school
students
who
are
coming
to
see
their
friends
in
a
show
or
family
members
of
people
who
are
coming
to
you
know,
see
friends
and
and
family
in
shows
I
would
say
our
demographic
is
probably
our
average
age
given
that
is
certainly
under
50..
I
So
I
would
guess
that
we're
more
it's
a
barbell
right,
because
it's
the
high
school
middle
school
students
and
then
it's
like
the
parent
grandparent
cohort.
So
that's
how
I
would
describe
it.
We
do
also
get
people
who
are
coming
to
see
a
specific
show
so
for
falsettos
there
were
and
and
radium.
Girls
is
a
great
example.
We
did
a
play
just
before.
Covid
that
was
about
was
about
the
use
of
radium
and
crocodiles
and
women
who
worked
in
those
factories.
I
We
had
someone
come
to
that
show
whose
aunt
had
worked
in
those
factories
and
had
died.
As
a
result
of
cancer
that
she
received
from
that,
they
came
to
the
performance
simply
because
you
know
they
wanted
to
see
radium
girls,
so
we
do
draw
generally
from
the
population
as
well,
but
I
would
say
pre-covered
that
was
probably
15
to
20
percent
of
our
audience.
I
Post
covet.
I
really
think
people
are
sticking
closer
to
home.
I
would
say
that's
more
five
to
ten
percent
now,
but
I
expect
that
that
would
grow
as
people
get
more
comfortable
coming
out
to
see
live.
Theater.
Do
you
guys
offer
a
subscription?
We
don't?
We
haven't
done
subscription
based
pricing,
it's
a
little
complicated,
given
that
we
started
out
with
the
way
we
started
out
is
our
first
season
was
one
show
one
performance
right.
I
We
did,
you
know
three
shows
four
shows
of
Heather's,
and
that
was
it
and
then
we
worked
up
to
two
and
then
we
kind
of
got
to
three.
So
we've
never
really
done
a
subscription-based
product
because
people
tend
to
have
come
to
our
shows
either
to
see
that
specific
show
or
a
performer
or
cast
member
in
that
show,
and.
C
H
It's
what
what
they
have
in
the
main
stage
back
hallway
additionally
I
believe
this
was
a
addition.
Over
quarantine
was
the
water
bottle
a
water
bottle
filler
on
the
fountain.
We
always
ask
our
actors
to
bring
our
own
to
bring
their
own
water
bottles,
so
that
would
be
very,
very
nice.
Our
solution
to
the
Cross
to
to
you
know
to
help
the
crossover
was
bringing
our
own
water
and
that
creates
unnecessary
waste,
and
we
would
like
to
avoid
it
if
possible.
H
Yes,
that
is
what
we
have
done.
We
have
brought
our
own
water
filler.
However,
if
we're,
if,
if
you're
asking
for
a
wish
list
of
amenities,
that
is
what
I
would.
C
I
I
mean
just
to
explain
during
covid
we
couldn't
access
the
water
fountain
and
the
refiller,
because
Theater
Works
had
exclusive
use
of
that
particular
part
of
the
space,
and
so
but
now
that's
that
hasn't
been
an
issue
as
much
for
us
now,
but
it
still
is
that
whole
crossover
issue
of
you
know
when
PYT
has
you
know
80.
You
know
young
kids,
that
they're
trying
to
Corral
onto
the
stage
and
we're
trying
to
get
back
at
the
same
time
to
get
to
water
it.
I
It's
awkward
and
I,
don't
like
to
have
water
huge
things
of
water
sitting
in
that
backstage
hallway.
It's
just
not
super
conducive
to
that.
C
Thank
you
for
that
update,
I'm
sure
our
staff
will
be
able
to
find
a
suitable
solution
for
you
guys.
E
A
I
A
I
I
think
we
would
just
like
to
thank
mvcpa,
for
you
know
being
there
for
us
and
making
upstage
possible
and
continuing
to
support
us
in
in
all
our
work.
It's
kind
of
a
novel
thing
to
you
know,
have
teens
running
everything
and
you
guys
have
just
been
amazingly
supportive
of
of
all
of
our
work.
So
thank
you
so
much.
C
A
B
Teresa
at
this
time,
why
don't
I
make
an
update
to
this
through
document
processing
and
resend
it
out
to
the
committee
members
tomorrow
to
make
sure
it's
accurate?
My
apologies,
I
was
out
of
office
last
weekend.
We
had
somebody
step
in
in
my
my
absence,
so
I
can
go
through
and
make
those
Corrections
Theresa.
E
I
would
appreciate
that
Noel
yeah
I
took
out
I
took
out
July
and
August.
E
C
Well,
we
can
always
work
on
a
date
there
and.
E
C
E
A
B
You
guys
have
already
approved
the
meeting
dates
with
your
work
plan,
because
they're
listed
at
the
bottom
of
that
work
plan
when
we
approved
it
at
the
beginning
of
the
when
we
came
back
and
had
a
full
committee,
January
18
2023,
that
is
a
correct
date.
So
as
long
as
everybody
has
that
one
marked
on
the
calendar,
we
can
bring
this
item
back
in
January
and
have
you
approve
it
at
that
time
for
the
rest
of
the.
A
C
A
B
Committee
Member
chair
Donahue.
A
A
E
Have
a
couple
first,
I
would
like
to
thank
you,
chair,
Donahue,
for
your
service
to
the
committee.
It's
much
appreciated.
I
know
this
has
been
brief
in
my
time
with
you,
but
you've
served
the
committee
for
years
up
to
this
point,
so
I'm
I'm
sure
that
I'm
in
my
I'm
saying
thank
you
on
behalf
of
all
of
us,
but
I'm
sure
that
they
can
speak
for
themselves,
but
I
really
appreciate
your
expertise.
E
Thank
you
and
then
along
those
lines.
November
21st
I
encourage
everyone
at
5,
30,
PM
they're,
having
Pac
interviews
for
the
two
slots
that
will
be
open
and
we
actually
have
six
candidates
so
they'll,
be
the
council
will
be
interviewing
those
six
folks,
so
I
yeah
I
plan
on
I
plan
on
being
in
the
in
the
room
to
listen
at
what
time
at
5,
30.
and
it'll
be
Zoom,
so
you
can
go
online
and
listen.
A
A
I
just
like
to
say
that
you
know
I've
enjoyed
my
eight
years
on
pack
and
I
joined
soon
after
moving
to
Mountain
View,
and
it
was
a
great
introduction
to
the
city
and,
to
you
know,
workings
at
the
Performing
Arts
Center
I've
met
a
lot
of
people.
I've
had
a
lot
of
great
experiences
and
I
spent
part
of
this
year.
Talking
to
people
about
how
you
know
great,
it
is
to
serve
on
pack
and
get
a
few
just
sign
on
so
I'm,
confident
moving
forward
things
will
things
will
go?
A
Well,
you
know,
and
so
I
just
like
to
you
know
thank
staff
and
everybody
that
I've
worked
with
for
all
they've
done
and
all
the
collaborations
that
we've
had,
and
you
know
time
to
move
on
I'm
looking
into
other
things.
A
So
thank
you
and
good
luck
to
best
wishes
to
Teresa
getting
you
know
her
feet
wet
the
first
year
happy
to
hear
about
what
she's
got
planned
so
far
and
I
think
it's
just
time
for
change
all
around
and
so
change
is
good.
A
C
Hey
can
I
chime
in
a
little
bit.
I
also
want
to
thank
Carol.
It
was
her
passion,
her
Dedication,
that
swayed
me
into
joining
the
celestrious
body
and
I'm
serious.
It
was
because
you
know
how
could
I
said:
hey
no,
but
she
was
persistent,
pays
off
and
that's
got
me
here
and
I
I
enjoyed
working
with
her
for
the
short
time
and
I
know
she
will
be
in
readily
available
asset
at
any
time.
C
We
give
her
a
call
and
I
hope
she
will
be
available
to
us
to
give
her
the
institutional
knowledge
that
she's
developed
over
the
last
eight
years,
because
Teresa's
new
I'm
new
yo-yo's
new
Justin,
now
you're
around
there
all
the
time
he's
too
busy
with
the
rest
of
the
big
city.
C
But
you
you
will
be
in
a
valuable
asset,
definitely
and
I
hope
you'll
be
available
to
take
my
call
and
not
look
at
it
strange,
but
thank
you
for
what
you
did
and
have
done
and
given
us
a
sort
of
a
ship
that
we
can
St,
you
know
got
us
in
the
right
direction.
So
I
appreciate
for
everything
that
you've
done
and
you
will
not
be
forgotten.
So
thank
you.
Thank.
D
Yeah
I
would
like
to
add
the
same
along
the
same
lines
that
Although
our
period
working
together
was
really
short
because
of
the
Quorum
and
although
I've
spent
a
year,
we
technically
didn't
meet
the
whole
year
and
it
was
kind
of
weird
kind
of
interesting
but
you'll
be
dearly,
missed
and
I
look
forward
to
having
more
guidance
on
off
times.
You
know
when
we
chat
up,
not
in
the
committee
but
as
friends,
but
it
was
lovely,
lovely
sharing.
The
short
time
with
you
and
thank
you
for
your
services.
A
A
Well,
is
there
any
any
public?
Well,
you
know
what
and
I
should
reach
I'd
like
to
thank
Justin
and
Noel
for
the
support.
You
know
that's
been
going
on
over
the
past
years
and
everything
and
you
know
they're
in
the
trenches
and
they're
right
there
and
you
know,
have
helped
and
advised
me
quite
a
bit
over
time.
So
thank
you
guys.
B
There's
no
public
comment
at
this
time,
so
nobody
has
raised
their
hand
to
speak.
What.