The San Francisco Theater Festival Breaks A Leg

Schwartz attributes the event's bulging attendance numbers to its consistent annual presence, which Schwartz says is needed to build a critical mass of support in the public consciousness. Associating itself with the larger Yerba Buena Gardens Festival, which encompasses 100 artistic, cultural, and community events in the YBG from May to October, further builds the SFTF's credibility and helps solidy the festival's support base.

In addition to the festival's growing credibility, Schwartz credits this year's exciting program to the huge jump in attendance. With high-profile acts like Intersection for the Arts, The Marsh, Exit Theatre, and Suzan-Lori Parks' 365 Days/365 Plays, this was by far the most attractive program the festival has ever offered. Throw in wildly diverse acts like comedy troupes Blue Blanket Improv, No Nude Men Productions, and Richter Scale; dramatic performances from African-American Shakespere Company, Pangs Theater Ensemble, and the Red Lantern Theater Company; and sweet, sweet music from the likes of Omni Circus, Lamplighters Music Theatre, and of course, the supermelodius Santa Cruz Trash Orchestra, and there was literally something for everyone.

Like most complicated logistical events, the festival was not without its warts. Barred from using microphones through its usage agreement with YBG, wind and traffic noise sometimes made it hard for the audience to hear all the performances. With so many acts crammed into such a small area, some performances bled over into others, also making it hard for the audience to hear every word.

In a "be careful what you wish for" moment, Schwartz acknowledges that the festival's impressive growth could lead to logistical and operational issues in the future. One challenge will be expand the number of available venues and to increase audience capacity. No small feat for an organization that is fully financially dependent on the kindness of strangers. Schwartz envisions adding another larger indoor venue, but laments that such a venue would cost money, which is hard for a humble nonprofit arts organization to come by. Now if the SFTF could only get a no-bid contract to perform in Iraq . . . .

Funding is a major issue for the San Francisco Theater Festival. In exchange for free use of the YBG, the festival is barred from collecting admission fees or revenues from promotional sponsorships and vending of things like t-shirts, posters, and food (although we did see a bottled water company handing out free samples from their conspicuously branded vendor tent). Instead, the SFTF relies on donations and grants to pay for its programs, advertising collateral, insurance, and other expenses.

Of the "supporters" promoted in SFTF programs and marketing material, Schwartz notes that Target was the only one to provide the event with cold, hard cash. Other supporters, such as BART and the San Francisco Examiner, provided only promotional exposure for this year's event. The Metreon did provide a discounted rate to the SFTF for its indoor venues.

Schwartz told SFist that this year's event is currently in the red, but he is hoping to receive a National Endowment for the Arts (NEA) allocation to make up the difference.

Any logistical, financial, or organizational limitations encountered by the festival's organizers this year though were more than compensated for by the incredible energy of the performers and the crowd. Everywhere one turned, there was something going on, and the crowd was unwaveringly enthusiastic and supportive or every act, no matter how obscure, goofy, or overdramatic. A great time was had by all -- performers and spectators alike.