EVERY SATURDAY NIGHT Equity Stage Managers - San Francisco Bay Area Theatre Company Auditions

EVERY SATURDAY NIGHT - Stage manager submissions

San Francisco Bay Area Theatre Company | San Francisco, CA

Notice: Stage Manager

CONTRACT

PERSONNEL

• Written by Danny Duncan and Michael Gene
• Directed and Choreographed by AeJay Antonis Marquis
• Rodney Jackson — SFBATCO’s Artistic Director
• Stage manager: Sullivan
  • $624 weekly minimum (Tier 2) — Until 7/12/26
  • $655 weekly minimum (Tier 2) — After 7/12/26
• Assistant stage manager: Phaedra Tillery-Boughton — SFBATCO’s Casting Manager
  • $571 weekly minimum (Tier 2) — Until 7/12/26
  • $600 weekly minimum (Tier 2) — After 7/12/26

OTHER DATES

SEEKING:

Rehearsals: August 31 – October 1

Tech/Dress rehearsals: October 2 – 9

Preview: October 10 – 14

Runs: October 15 – November 1 (possible extension until November 8)

SUBMISSION

INSTRUCTIONS

Please fill out the following form and submit your cover letter and resume for consideration at:
https://www.sfbatco.org/work-with-us

Deadline: 01/11/2026

Any questions? Email:
phaedra@sfbatco.org

OTHER

Equity’s contracts prohibit discrimination. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit.

SUBMIT TO

Please submit materials via the form at
https://www.sfbatco.org/work-with-us. For questions, contact
phaedra@sfbatco.org.

BREAKDOWN

EVERY SATURDAY NIGHT

SYNOPSIS: Every Saturday Night is a vibrant, memory-saturated musical that bridges past and present inside a single Fillmore District home. In the present day, Donte — a lifelong resident preparing to leave San Francisco — meets a young Black family considering buying his house. As Donte and their teenage son Adarè slowly connect, the walls begin to reopen, revealing the after-hours jazz joint Donte’s mother Ardella once ran in the 1950s.

Music, humor, grief, and resistance swirl together as the past bursts into the room — dancers, cooks, lovers, hustlers, and dreamers reclaiming their place in a neighborhood that was once called the “Harlem of the West.”

Through interwoven timelines, the piece explores Black joy under pressure, the cost of survival, gentrification’s relentless churn, and the quiet ache of becoming who your family needed you to be. It is both a love letter and a warning, a musical celebration of the people who carved out sanctuary in a world determined to erase them.