Magic Theatre is dedicated to the cultivation of bold new plays, playwrights, and audiences – and to producing explosive, entertaining, and ideologically robust plays that ask substantive questions about, and reflect the rich diversity of, the world in which we live. Magic believes that demonstrating faith in a writer’s vision by providing a safe yet rigorous artistic home, where a full body of work can be imagined, supported, and produced, allows writers to thrive.
Now celebrating its 51st year of continuous operation, Magic is dedicated to creative risk: we cultivate bold new plays and playwrights to produce explosive, entertaining, and ideologically robust stories that ask substantive questions about our place in humanity. Magic provides a nurturing yet rigorous artistic home where innovative writers can create a body of work. We believe that developing an evolved artistic vocabulary with the playwright at our side, over a long period of time, greatly improves a playwright’s chances to thrive. We believe that, by adding vanguard voices to the canon and expanding access to new theatre-goers, we ensure the future vibrancy of the American theatre.
Magic’s impact on the field has resonated throughout the United States beginning with its founding by John Lion in 1967. Michael McClure served as the first playwright in residence beginning in 1969 with his early plays. Sam Shepard cut his playwright’s teeth at Magic, starting in 1975. His seminal plays were written and premiered during his decade-long residency, including Buried Child (Pulitzer Prize, 1979), True West (both directed by Robert Woodruff), and Fool for Love. Martin Esslin, internationally renowned scholar and critic, joined the company as the first resident dramaturg in American theater in 1977, a position now integral to American new playhouses. From Sam Shepard’s early Pulitzer and Obie-award winning plays to Luis Alfaro’s world premiere of Oedipus el Rey in 2010, Taylor Mac’s groundbreaking five hour epic The Lily’s Revenge in 2011, and Han Ong’s Grandeur in 2017, the Magic has continued to produce groundbreaking new plays. Under Loretta Greco’s direction, Magic is reviving and increasing playwright residencies and long-term artistic developmental efforts as it hones its focus on new play creation in concert with the playwright.
Since Artistic Director Loretta Greco assumed leadership of Magic in 2008, the theatre has produced nineteen world premieres, seventeen of which have enjoyed extended life beyond the Magic stage throughout the U.S. and abroad. Three of Magic’s plays were seen in L.A. and New York in the first part of 2014: Se Llama Cristina at Pasadena’s Boston Court, Annapurna produced by Off-Broadway’s New Group, and Arlington, Off-Broadway at the Vineyard Theatre. The international reach of Magic’s new plays spans the globe, with productions of Any Given Day in Paris, and American Hwangap (translated into Korean) in Seoul. Taylor Mac’s Hir has not only enjoyed recent runs at Steppenwolf Theatre, Playwrights Horizons, Mixed Blood Theatre Company, and the Woolly Mammoth Theatre Company here in the U.S., but also garnered success abroad with recent runs in London and Sydney. Hir continues to be frequently and widely produced.
Other Magic premieres recently completed runs at theatres throughout the U.S. and Canada: Se Llama Cristina by Octavio Solis at Kitchen Dog in Dallas; Jesus in India by Lloyd Suh off-Broadway at Ma-Yi Theater Company, co-produced by The Play Company; An Accident by Lydia Stryk at Northern Lights Theatre in Edmonton; Sister Play by John Kolvenbach at Chester Theatre Company and Dreamcatcher Repertory Theatre. Sharr White’s Annapurna enjoyed a production at Los Angeles’s Odyssey Theatre, and his play The Other Place was produced on Broadway at the Samuel J. Friedman Theatre. Luis Alfaro’s Mojada: A Medea in Los Angeles, which premiered at Magic as Bruja in 2012, recently had a production at the Oregon Shakespeare Festival. His earlier work, Oedipus el Rey, will be produced in The Public Theatre’s 2017-2018 season. Oedipus el Rey was awarded the Will Glickman Playwriting Award for 2010 and Annapurna was a finalist for the 2012 Steinberg/ACTA New Play Award.
In addition to these notable artists, Magic has been home to: Paula Vogel, Soon 3, Athol Fugard, Mark O’Rowe, Nilo Cruz, Octavio Solis, Claire Chafee, Jon Robin Baitz, Anne Bogart, Stephen Belber, Basil Twist, and Rebecca Gilman, amongst others. They have been joined in recent years by many of today’s exciting playwrights, such as Linda McLean, Teresa Rebeck, Lloyd Suh, Julie Marie Myatt, and Christina Anderson. Magic plays have received numerous awards: the Pulitzer Prize for Sam Shepard’s Buried Child, ten Obie Awards, the Kennedy Center Award, PEN-West Awards for Drama, Bay Area Critics’ Circle Awards, Los Angeles Drama-Logue Awards, and the NAACP Image Award.
This year, Magic is tremendously proud to be presenting a season of two World Premieres: Ashlin Halfnight's The Resting Place, and Mfoniso Udofia's In Old Age from The Ufot Family Cycle, as well as The Legacy Revival of Oedipus El Rey by Luis Alfaro. Playwrights this season have grown with us through our annual Virgin Play Series or have been in the Magic Family for years. Magic is thrilled to have such amazing playwrights create our 51st Season, to find out more info click below.
• John Lion, a Graduate student at U.C. Berkeley working under the tutelage of Professor Jan Kott, directs Ionesco’s THE LESSON at the Steppenwolf Bar.
• The company names itself “Magic Theatre” from the scene in Herman Hesse’s novel, STEPPENWOLF, where the central character Harry Haller is invited to attend an “Anarchist Evening at the Magic Theatre, For Madmen Only, Price of Admission Your Mind”
• Michael McClure writes THE CHERUB and MEAT POEM for the Magic Theatre, beginning an 11-year artistic relationship that establishes the Magic as an important center for the creation and performance of new American plays.
• The Magic produces it’s first Sam Shepard play, the West Coast Premiere of LA TURISTA.
• McClure’s most famous work, THE BEARD, and his longest running hit GORF, premiere at the Magic. Both are directed by John Lion.
• Sam Shepard joins the Magic as its Playwright in Residence.
• Martin Esslin, internationally renowned scholar and critic, joins the Magic as its Dramaturg. The Magic becomes the first theatre in America to establish this position.
• The Magic Theatre moves to San Francisco’s historic Fort Mason Center.
• Alan and Bean Finneran’s SOON 3 and Jock Reynold’s HOSPITAL premiere at the Magic, introducing the new form known as “performance art” to the Bay Area.
• Sam Shepard’s BURIED CHILD receives its world premiere at the Magic under the direction of Robert Woodruff.
• The Magic premiers Sam Shepard and Joseph Chaikin’s award-winning collaboration, TONGUES.
• BURIED CHILD wins the Pulitzer Prize for Drama. The play runs for more than one year Off-Broadway; in subsequent seasons it receives more than 400 productions around the world.
• John Lion receives the first award given for Achievement in Theatre by the San Francisco Arts Commission, and a special commendation from the Mayor.
• Shepard’s TRUE WEST, directed by Robert Woodruff, receives its world premiere at the Magic. The production enjoys an extended commercial run.
• The Magic Theatre is nominated for a Tony Award as best Regional Theatre in America.
• The Magic premieres STUCK and SANDCASTLES by Adele Edling Shank.
• Shepard’s FOOL FOR LOVE starring Ed Harris and Kathy Baker, makes its debut at the Magic. The production is transferred to New York’s Circle Repertory Theatre, where it garners critical acclaim and numerous Obies, including Best New Play.
• Lynne Kaufman’s first play, THE COUCH, is premiered by the Magic and receives the Will Glickman Award for Best New play.
• Tom Strelich’s NEON PSALMS, another Magic world premiere, receives the prestigious CBS/FDG New Play Award.
• Murray Mednick’s SCAR, starring Ed Harris and Amy Madigan receives its world premiere at the Magic.
• John Lion and the Magic Theatre receive the highest honor given by the Dramatists Guild. A national panel of theatre artists, critics and scholars bestows the Margo Jones Award, citing the Magic’s “significant contribution to the dramatic art through the production of new plays.”
• The Magic premieres Alan Bowne’s SHARON AND BILLY, directed by Albert Takazauckas.
• The Magic revives FOOL FOR LOVE, which is featured at the Singapore Festival of the Arts.
• John Lion directs A MOON FOR THE MISBEGOTTEN, in honor of the Eugene O’Neill centenary. The production runs for 165 performances, becoming the longest-running play in the history of the Magic Theatre.
• Larry Eilenberg becomes Magic Theatre's third Artistic Director.
• Mame Hunt becomes Magic Theatre’s fourth Artistic Director.
• The Magic inaugurates a two-part Educational Outreach program, consisting of the Magic Learning Project and the Young California Writers Project. Both use theatre as a catalyst for learning in all parts of the high school curriculum.
• After its initial three week run, Claire Chafee’s WHY WE HAVE A BODY, directed by Jayne Wenger, extends for an additional six months.
• The Magic opens PLAYLAND by Athol Fugard, directed by Benny Sato Ambush, on the night of Nelson Mandela’s inauguration
• PIECES OF THE QUILT, conceived of by noted Magic actor Sean San Jose Blackman, a stunning collection of short, new plays which both celebrate and mourn those living with or who have perished from AIDS, opens at the Magic.
• The Magic opens it 30th Anniversary Season with Sam Shepard’s TRUE WEST
• Larry Eilenberg returns to Magic as Artistic Director.
• The Magic premieres THE LATE HENRY MOSS, written and directed by Sam Shepard, starring Nick Nolte, Sean Penn, Woody Harrelson, and Cheech Marin.
• Anne Bogart conceives and directs the paired plays BOB and ROOM.
• Award-winning choreographer Joe Goode writes, directs and choreographs BODY FAMILIAR.
• Chris Smith becomes Magic Theatre’s fifth Artistic Director.
• The Magic premieres acclaimed Irish novelist Edna O’Brien’s TRIPTYCH. David Mamet directs the world premiere of his play DR. FAUSTUS. Both productions are extended and break box office records.
• The Magic premieres the musical THE OPPOSITE SEX starring Tony Award winner Karen Ziemba and an all-star Broadway cast.
• Chris Smith directs the world premiere of Charles Grodin’s THE RIGHT KIND OF PEOPLE.
• Acclaimed puppet artist Basil Twist directs Paula Vogel’s THE LONG CHRISTMAS RIDE HOME with choreography by Joe Goode.
• The Magic premieres MOVING RIGHT ALONG, written and directed by Elaine May, starring Marlo Thomas.
• Loretta Greco becomes Magic Theatre’s sixth Artistic Director.
• MAURITIUS and AMERICAN HWANGAP break Magic attendance records.
• OEDIPUS EL REY wins rave reviews.
• The Brother/Sister Trilogy by Tarell Alvin McCraney sells out extended runs at Magic and each of the participating theatres making Bay Area co-production collaboration history with Marin Theatre Company and American Conservatory Theatre.
• Magic’s rolling world premiere of Taylor Mac’s 5-hour 5-act THE LILY'S REVENGE brings together over 50 Bay Area Theatre artists and creates a huge splash with San Francisco audiences celebrating the overthrow of Proposition 8.
• Three landmark productions make the SF Chronicle’s list of the best plays of 2012: Linda McLean’s ANY GIVEN DAY, Luis Alfaro’s BRUJA, and Sharr White’s THE OTHER PLACE. All three consecutive productions received the highly coveted “leaping man” review.
• Magic begins its community-wide Sheparding America celebration, opening the 47th season with Sam’s Pulitzer Prize winning work, BURIED CHILD, in honor of the theatre’s march to its 50th anniversary season. Along with productions of Sam Shepard’s plays throughout the year in 5 different theatres, Magic hosted a raucous 70th birthday bash in honor of their beloved, original playwright in residence.
• Magic produces an unprecedented season of 4 consecutive world premiere productions solidifying the theatre’s longstanding reputation as one of the pre-eminent new play incubators in the country.
• Two world premiere productions make the SF Chronicle’s list of the best plays of 2014: Taylor Mac’s HIR and Christina Anderson’s PEN/MAN/SHIP.
• Magic Theatre celebrates its 50th anniversary!
Artistic Director Loretta Greco
Managing Director Jaimie Mayer
Associate Artistic Director Sonia Fernandez
Director of Production Jackie Hill
Producer in Residence Kate Leary
Production Associate Arashi Cesana
Director of Development Gabrielle Chapple
General Manager Cierra Cass
Manager of Institutional Giving Ellen Abram
Patron Services Associate Monica Herbert
Development Associate Leigh Rondon-Davis
Development Volunteer Susan Boynton
Administrative Coordinator Susie Lampert
Bookkeeper Richard Lane
Marketing Consultant Jonathan White
PAST ARTISTIC DIRECTORS
John Lion (1967-1991)
Harvey Seifter (1991-1992)
Larry Eilenberg (1992-1993)
Mame Hunt (1993-1998)
Larry Eilenberg (1998-2003)
Chris Smith (2003-2008)
is embarking on her tenth season as Magic Theatre’s Artistic Director. At Magic, she has developed and premiered Taylor Mac’s Hir; Luis Alfaro’s Oedipus El Rey, Bruja, and This Golden State: Part 1: Delano; Polly Pen and Victor Lodato’s Arlington; Linda McLean’s Every Five Minutes; Sharr White’s Annapurna; Lloyd Suh’s American Hwangap, Jesus In India; Anna Ziegler’s Another Way Home; and Octavio Solis’ Se Llama Cristina; and shepherded the American premieres of Penelope Skinner’s Fred’s Diner, Linda McLean’s Any Given Day, and Mark O’Rowe’s Terminus among many others. Ms. Greco’s directing credits at Magic include Theresa Rebeck’s Mauritius, Liz Duffy Adams’ Or,, Sharr White’s The Other Place, Jessica Hagedorn’s Dogeaters, and last season's critically acclaimed revival of Sam Shepard’s Fool For Love and the World Premiere of Han Ong’s Grandeur. This season Ms. Greco will be directing Barbara Hammond’s The Eva Trilogy and Jessica Hagedorn’s The Gangster of Love on the Magic stage.
Ms. Greco’s New York Directing premieres include: Tracey Scott Wilson’s The Story (Kesselring), Lackawanna Blues (Obie) by Ruben Santiago Hudson, and Nilo Cruz’s Two Sisters and a Piano (Kesselring) at NYSF/Public Theater; Kathryn Walat’s Victoria Martin: Math Team Queen, Karen Hartman’s Gum, Toni Press-Coffman’s Touch, and Rinne Groff’s Inky at Women’s Project; Emily Mann’s Meshugah at Naked Angels; Laura Cahill’s Mercy at The Vineyard Theatre and Nilo Cruz’s A Park in Our House at New York Theatre Workshop.
Regional directing credits include Life is a Dream at California Shakespeare Theater, the critically acclaimed revival of David Mamet’s Speed-the-Plow and the West Coast premiere of David Harrower’s Blackbird at American Conservatory Theater; Romeo and Juliet and Stop Kiss at Oregon Shakespeare Festival, and productions at La Jolla Playhouse, South Coast Repertory, McCarter Theatre Center, Long Wharf Theatre, Studio Theater, Intiman Theatre, Williamstown Theatre Festival, Area Stage, Coconut Grove Playhouse, Cincinnati Playhouse, Repertory Theatre of St. Louis and Playmakers Repertory Company. She directed the national tour of Emily Mann’s Having Our Say as well as the international premiere at the Market Theatre in Johannesburg, South Africa. Greco has developed work with dozens of writers at Sundance, The O’Neill, South Coast Repertory, The Mark Taper Forum, New Harmony, New York Stage and Film, The Cherry Lane, New Dramatists, and The Public.
Prior to her Magic post, she served as Producing Artistic Director of New York’s Women’s Project where she produced the work of Lisa D'Amour, Katie Pearl, Diedre Murray, Diane Paulus, Karen Hartman, Lynn Nottage, Tanya Barfield, and Rinne Groff. As The Associate Director/Resident Producer at the McCarter Theatre in Princeton, Ms. Greco conceived and launched their Second Stage-On-Stage Festival of New Work where she commissioned and produced the work of Doug Wright, Jane Anderson, Nilo Cruz, Adrienne Kennedy and Joyce Carol Oates among others. Ms. Greco received her MFA from Catholic University, her BA from Loyola University, New Orleans and is recipient of two Drama League Fellowships and a Princess Grace Award.
joined Magic’s leadership last season, after having served on the Magic’s Board for the past four years. Mayer was the Producing Director of COAL, a musical designed to catalyze and empower both individuals and communities to find their voice in the climate change movement. She founded Don't Eat The Pictures Productions in 2007: a theatre, film, and event production company dedicated to developing and seeding new work. Selected theatrical producing credits include: the Broadway production of [title of show], as well as Love Song by John Kolvenbach, (59E59), The Boy in The Bathroom by Michael Lluberes (45th Street Theater/New York Musical Theatre Festival Award for Most Promising New Musical), and Love Kills by Kyle Jarrow (45th Street Theater). Mayer’s film work has premiered at Sundance Film Festival, PBS, and Showtime.
While serving as Park Avenue Armory’s first Special Projects Manager, Mayer created both their education and artist residency programs. She has held the position of Managing Director and Producer at terraNOVA Collective, of Associate Producer at both The New York Musical Theater Festival and Women's Expressive Theater, and as the Artistic Associate at The Women's Project. Mayer has also worked at The Public Theater, Classic Stage Company, and The Long Wharf Theatre, among others. Commercially, she has worked as a Producing Associate on Mandy Patinkin In Concert, the Broadway production of Spiderman: Turn Off The Dark, and with The Araca Group on multiple Broadway productions including Wicked, The Wedding Singer, and 25th Annual Putnam County Spelling Bee.
In the philanthropic realm, Mayer runs JM Consulting, which works with philanthropists in their 20s and 30s looking to create their philanthropic footprint, by integrating families and non-profits with the next generation. She is a frequent public speaker on philanthropy. She has worked with a number of individuals, foundations, and nonprofits in the United States, Canada, and Israel including; University of South Florida, Slingshot, Reboot, America-Israel Cultural Foundation, and the EcoHealth Alliance. Mayer is a Trustee of The Nathan Cummings Foundation, Vice President of The Mayer-Rothschild Foundation, and served for five years as the President and Founder, of The Buddy Fund for Justice through the Rockefeller Philanthropy Advisors. She was the final Chair of the Council on Foundation’s Film and Video Festival, as well as their Film and Video Task Force.
Mayer holds an MFA in Theatre Management and Producing from Columbia University's School of The Arts, and a BA in Theatre from Connecticut College. She is the Vice Chair of Artists Striving to End Poverty (ASTEP), sits on the Emerge and Education Committees of the Museum of Contemporary Art (MCA) in Chicago, and the National Leadership Council of USA Artists.
John Marx and Bennett G. Young
Loretta Greco, Artistic Director
Jaimie Mayer, Managing Director