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Playwrights Foundation became the fiscal sponsor. A wide array of new contacts became interested in the show and supported the road to production. Luckily, this trio of esteemed professionals had varied experiences and a network of resources to tap into. Once the core group was established, the planning began in earnest. Klein says, “It’s not like we said ‘Hey, let’s produce the play on our own!’ It was more, ‘Ok, no one else believes in this play as much as we do, so let’s make it happen on our own.”

So what to do? Klein came on as producer and Barbara Oliver (legendary director and a founder of Aurora Theatre) joined up as director, and the nucleus of a huge self-producing project began. But Taylor found it a bit harder for the idea to gain traction than she had anticipated, especially since Klein had since left JMCA. The next step seemed obvious: mount a Bay Area production. Becoming Julia Morgan, a play investigating the life and legacy of the architectural legend, had an award-winning, sold-out run in Sacramento in 2006. I checked in with Belinda Taylor, the playwright, and producer Sabrina Klein to see how the experience of self-producing played out.įormer Theatre Bay Area (then Callboard) editor-in-chief Belinda Taylor finished her first play a few years ago after being commissioned by Klein (who at the time was the executive director of the Julia Morgan Center for the Arts and former executive director of Theatre Bay Area. I was struck by the steady stream of audience members filing in (and those turned away) and was even more inspired by the fact that Becoming Julia Morgan is a self-produced project. When’s the last time you saw the phrase “all remaining performances are completely sold out”? It’s everyone’s dream but how often is it a reality? A few weeks ago, I was among those that got to see a performance in the sold-out run of Becoming Julia Morgan at the Berkeley City Club (it closed January 9th).

How to zoom in and out clash of clans bluestacks