Finding the Best Seats in 2025

From Managing Director Joe Gfaller

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Hello Clear Space friends and fans!

It’s hard to believe that we are already getting ready to start my second full season here at Clear Space – and that single tickets for the 2025 season are already on sale!

If you missed the chance to subscribe before our 2025 subscriptions sold out, you may be trying to figure out how to get the best seats for your favorite shows in the year ahead. I’d like to take this chance to help by sharing a few pieces of advice to help you still land great seats before they get snatched up. Hopefully these suggestions help ensure you have a fantastic experience in the best seats possible for our 2025 season!

1) Most productions have performances that are not part of a subscription package.

That means that for those performances, the best seats haven’t been snapped up by subscribers already! Which performances aren’t included in subscriptions, you ask? For our winter, spring, and fall shows look for Thursday morning 11am or Thursday evening 7pm shows. For our summer shows, none of the evening performances on Tuesday, Wednesday, and Thursday nights are included in subscriptions, so those are all great options to find single tickets. We also have two productions (Hairspray in the summer and A Christmas Carol over the holidays) with Saturday matinees at 2pm. Those matinees aren’t included in subscription packages, so they are also great performances to look at for great seats.

2) Some productions aren’t included in a subscription package.

Our Clear Space Gives Back production (this year, Everybody’s Talking About Jamie) is never included in our subscription packages. Neither are our two Spotlight on Young Performers productions (this year Beetlejuice JR in the spring and Annie in the fall). That means these shows are a clean slate. Some subscribers do add them to their packages, but many good seats remain available for all three when tickets for each go on sale.

3) Some seats are slightly raised, which can give you a better view.

If the first row is already sold out and you want to ensure you have a good view, I’d suggest either getting seats on the aisle of the further rows back or getting seats in rows that are raised up on risers. That allows you to be sure you can see over the heads of the folks in front of you – and can also sometimes mean a little more leg room! In the center section, seats in rows E and F are up on the risers. In the side section, seats in row C are up on the riser.

4) Seats in our side sections face in towards the thrust, not up towards the proscenium.

If you haven’t been to Clear Space before or to a theatre that performs in three-quarters thrust (with audiences on three sides of the stage), our side sections can look confusing when you buy tickets online. For starters, the seat numbers aren’t continuous like they are in the center. House right, they are all odd numbers. House left, they are all even numbers. That means if you buy seats B6, B8, and B10, they are right next to each other. Also, the seats in each of those rows face the thrust. So all seats in row A on the side form one line of seating. We hate it when someone accidentally buys seats A 10, B10, and C10 together, thinking they are next to each other when they are actually in three different rows. Please don’t let that happen to you!

5) Aisle seats and front row seats give better views, but are also deal with more traffic.

It’s true that most people prefer sitting in the front row or sitting on an aisle. However, everyone is different. It’s important to be aware that if you are on an aisle, depending on the show, actors may use that aisle for entrances or exits – or even for important moments in the show. In short: you can enjoy more leg room and unobstructed views in these seats but you also need to be mindful to pull your feet in and not to leave purses or drinks on the floor so that you don’t accidentally trip an actor. Similarly, some people love the aisle seats right by the doors to the lobby in rows C and D because it makes it easier to make a quick beeline for the restrooms at intermission. Just know that the trade off there is that it can also get pretty crowded around those seats before the show starts because you are right on the main doorway to the lobby as the rest of the patrons are coming in.

6) Obstructions can happen.

Even the best laid plans to find a perfect seat can be hampered for one moment of a performance. That’s the nature of theatre in three-quarters thrust. Directors work to make sure that audiences on all three sides can enjoy every moment of a show. But sometimes the sight lines from your seat can be blocked for a moment by a piece of furniture or an actor. Thank you for your understanding when those moments happen!

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Is there a perfect seat? For some people, perhaps! But maybe not for everyone. After all, each show is different, so the experience of sitting in the same seat changes based on how each show is staged. If you’re planning to join us multiple times this year, my advice is to try a few different seats out for size to see which seats work best for you. Then, in a future year, when you do subscribe, you’ll have a much better sense of what seat is perfect for you all season long!

We can’t wait to welcome you to the 2025 season!

Joe Gfaller
Managing Director

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CAMP Rehoboth Executive Director Kim Leisey is Excited to Partner With Clear Space!

Clear Space Gives Back 

Clear Space Theatre is proud to partner with CAMP Rehoboth as part of the Clear Space Gives Back Program! Everbody’s Talking About Jamie will raise awareness and promote the individual expression of oneself, while also raising funds for CAMP Rehoboth. 50% of all box office proceeds will benefit CAMP Rehoboth! 

A Few Words From CAMP

We reached out to executive director of CAMP Kim Leisey to discuss our partnership and here is what they had to say! “CAMP Rehoboth is very excited to partner with Clear Space Theatre for the upcoming production Everybody’s Talking About Jamie. Both celebrating drag artistry and embracing one’s authentic self promotes queer stories and people in a wonderfully positive way. This show shares in CAMP Rehoboth’s mission to envision a world where drag and art centered on LGBTQ+ identities can promote a sense of understanding for all. Not only are we excited to see this on stage, but we are also honored to be chosen as the beneficiary of proceeds from this production. We’re thankful for our partners at Clear Space Theatre!”

Forging Stronger Community Ties

We at Clear Space are so thrilled to bring this production to life, and with the help of CAMP, the impact on audiences and our community will be far-reaching. We hope you have a chance to attend one of the performances!

Tickets go on Sale December 13th!

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Thank You! Sponsor of White Christmas Jack Lingo Realtor

We are pleased to recognize Jack Lingo Realtor as a sponsor for the 2024 run of White Christmas. Thank you Jack Lingo Realtor for helping to bring this holiday classic to Rehoboth Beach! 

Jack Lingo, REALTOR® is celebrating 50 years of serving Delaware’s beach communities. With offices in Rehoboth Beach, Lewes, and Millsboro, the company specializes in residential and commercial sales, asset management, and vacation rentals. Known for their commitment to integrity and personalized service, they are a leader in the local real estate market, offering a wide range of properties to meet diverse client needs. 

You can visit their website here www.JackLingo.com

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Home For The Holiday’s With Edmund Bagnell – New Performance Added!

As the holidays approach, it’s the perfect time to start planning how you’ll spend them with your loved ones. This year, along with our production of White Christmas, we’re thrilled to bring also welcome back to Clear Space singer and violinist Edmund Bagnell, whose show Home for the Holidays on December 8 and 9 will add sparkle and delight to the season. Plus, a limited number of tickets remain for an exclusive private meet and greet with Edmund prior to the Sunday evening performance.

Clear Space originally scheduled performances at 7 p.m. on both December 8 and 9, but by popular demand, we’ve added one more performance: Monday, December 9 at 9 p.m. The show is a joyful 75-minute program, so enjoy a great dinner in Rehoboth Beach before and then close out your night with the show!

Accompanied by pianist Mark Hartman, Edmund’s Home for the Holidays will delight you with music and humor, featuring selections from his 2020 USA Today top ranked holiday album Christmas at Home – including seasonal favorites such as “The Man with the Bag,” “The Nutcracker Suite,” “Christmas is Here,” some original holiday tunes, and a few non-holiday surprises. If Edmund looks familiar, it may be from his years appearing here as one quarter of the sensational string quartet Well Strung!

In addition to Edmund’s three performances, limited tickets remain for a VIP reception on Sunday, December 8th, from 4:30 to 6:30 PM. Enjoy drinks and delicious catering in a private home in Rehoboth Beach just a short drive from the theater. Only 40 tickets for the reception are available, so be sure to reserve your spot as soon as possible.

Performances are Sunday Dec. 8th (7 p.m.), Monday Dec. 9th (7 p.m.), and the newly added performance on Monday, Dec. 9th (9 p.m.)!
Tickets are $30. VIP reception is an added $70 for a total price of $100.

Clear Space donors, purchase your tickets by phone at (302) 227-2270 for access to reserved seats for existing donors.

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About Edmund Bagnell

Edmund Bagnell is a diverse artist, having performed as an actor, violinist, and singer. A native of South Carolina, Edmund was cast as Tobias Ragg in the first national tour of John Doyle’s staging of Sweeney Todd, which resulted in more performances as an actor in NYC and across the country.

In 2012, Edmund became the first violinist and singer in the internationally-touring string quartet Well Strung, which released three chart-topping albums in the classical crossover genre. The band had several notable live performances on the Today Show, performed on Broadway with many notable performers such as Kristin Chenoweth and Audra McDonald, and in 2015, the band’s song “Chelsea’s Mom” became a viral hit.

In 2019, Edmund premiered and toured internationally with his solo one man show, He Plays the Violin, to rave reviews. With Home For The Holidays Edmund is excited to share yet another aspect of himself as a solo recording artist. Combining his years as an actor, singer, violinist, and band member, this album is a blend of his love for all these genres and is a personal look into what he loves about making music.

About Mark Hartman

Mark Hartman (he/him) is a New York-based pianist, coach, conductor, arranger and composer working in theater, cabaret, and concerts around the world. Mark was the Associate Conductor of Sondheim On Sondheim and Avenue Q on Broadway. Off-Broadway, he was the Music Director for The Streets Of New York (2022 Drama Desk Award Nominee, Best Orchestrations), Pageant, Silence! The Musical, Ernest In Love, After The Ball, Finian’s Rainbow, and The Irish…and How They Got That Way (also Nat’l Tour), and played keyboards for Avenue Q (Vineyard) and The Fantasticks (Sullivan St. and Orbach Theater productions). Regional credits include Asolo Rep, Broadway In Chicago, Fifth Avenue (Seattle), Goodspeed, Guthrie Theater, Old Globe, Pasadena Playhouse.

In cabaret, Mark has appeared with Lorna Luft, Chita Rivera, Jennifer Holliday, and many others. He has enjoyed a 25-year working relationship with Natalie Douglas. Mark is one of the creators of Magic To Do, a Stephen Schwartz revue for Princess Entertainment. He is one of the music directors for the Eugene O’Neill Theater Center’s Cabaret Conference. Mark is the winner of 3 MAC Awards, a We Are Puerto Vallarta Award, and the Backstage Bistro Award for Music Direction. For more info: www.hartmanmark.com.

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Thank You WSFS! Presenting Sponsor Of Our 2024 Barefoot & Bowtie Gala

We are thrilled to announce that WSFS is the presenting sponsor at our 2024 Barefoot and Bowtie Gala. Their generous support helps ensure that Clear Space Theatre can continue to inspire audiences, artists, and students by providing high-quality performances and educational experiences.  

WSFS is the oldest and largest locally headquartered bank and trust company in the Delaware region. From its corporate philanthropy to local branch donations, WSFS remains a champion of communities across the country.  With deep roots in the Delmarva region, WSFS has played a key role in creating the Rehoboth we know and love today. The minute you walk into WSFS, you will be greeted by friendly staff who enjoy helping solve your banking needs, no matter the trouble or hour. They offer a comprehensive range of financial services, from personal and business banking to wealth management and trust services. Thank you WSFS for all that you do!

Like most theatre companies, Clear Space Theatre would not exist without generous support from donors! The annual Barefoot & Bowtie Gala is Clear Space Theatre’s largest annual fundraising event! We can not thank WSFS enough for their commitment to giving back to our community and beyond.

Please consider using WSFS for your banking needs! They have our support! Visit Their Website Using This Link.

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Thank You David McCarthy & Associates, For Your Continued Support!

We are thrilled to announce that David McCarthy & Associates is a supporting sponsor of Clear Space Theatre’s 2024 Barefoot and Bowtie Gala! Thank you, David McCarthy & Associates, for nearly a decade of support! Their continued support is instrumental in enabling Clear Space Theatre to inspire audiences, artists, and students through high-quality performances and educational experiences.

David McCarthy & Associates, a respected real estate firm with deep roots in the Delmarva area, stands out for their commitment to providing personalized, high-quality service. Their expertise extends beyond buying and selling properties to include renovating, investing in, and managing properties. Whether you’re in the market for a vacation home, fixer-upper, investment property, or looking to sell, David McCarthy & Associates offer tailored guidance to navigate the real estate process from end to end. As a long-term supporter of the Delmarva community, Clear Space Theatre is proud to have David McCarthy & Associates as a sponsor.

Like most theatre companies, Clear Space Theatre would not exist without the generous support of our sponsors. The annual Barefoot & Bowtie Gala is Clear Space Theatre’s largest fundraiser, and we would like to extend our gratitude to generous sponsors like David McCarthy & Associates!

Please consider supporting David McCarthy & Associates! They have our support! Click This Link To Visit Their Website

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Interview With Venus In Fur Director – Carin Jean White

Following an unforgettable 9 weeks of stellar musical theatre, Venus in Fur is heating things up in Rehoboth Beach! We met Director Carin Jean White to discuss the play’s significance in today’s world. Carin shares her insights on the MeToo movement, masochism, and human interactions, hoping the play will shift perspectives and spark reflection. Read our exclusive interview with Director Carin Jean White and join us for the opening of Venus in Fur on Thursday, September 19th, 2024, at 7:00 PM!

Performances on September 19, 20, 21, 22, 26, 27, 28, 29 in 2024!

Director Carin Jean White started acting at age 4 and directed her first play in high school. She then went on to attend Columbia University, where she earned an MFA in Directing. Favorite projects include creating an immersive theatre festival at Artpark in Western New York for an audience of over 2k, resident directing EMPIRE on Broadway (Speigelworld), and creating site specific dance-theatre pieces for DUMBO (Brooklyn) and the Prague Quadrennial (Prague). She believes that art is a powerful tool for reflection, the sharing of ideas, and developing empathy. She hopes Venus In Fur encourages us to examine human interactions and spark dialogue.

Carin Jean White is a distinguished director renowned for her innovative and thought-provoking approach to theater. Her work on Venus in Fur exemplifies her commitment to exploring complex themes and fostering deep emotional connections with audiences. White brings a unique perspective to every production she helms.

Here is our interview with Director Carin Jean White,

What is something that you think would excite our audience about Venus in Fur?

Carin: Venus in Fur is incredibly exciting because it delves into intimate and provocative themes. It explores gender and power dynamics, which are intriguing as they are evergreen themes about the human experience. And the play’s meta-theatrical elements add another compelling layer to the audience’s experience, especially when the lines between the play and the play-within-the-play begin to blur.

How does the play’s exploration of masochism and power dynamics resonate with today’s audience?

Carin: I think these themes are very relevant to today’s audience, as there is a lot more discussion of masochism, BDSM, and power dynamics- especially as it pertains to gender- in today’s popular culture. Someone doesn’t have to identify with the BDSM community to relate to these characters, themes, or topics. This play, which focuses on the interaction between a director and actress, reveals how power dynamics can shift rapidly in unexpected ways. The story is fascinating because it not only reflects historical narratives but also engages with contemporary thought on gender and sexual dynamics.

What makes the play’s themes so enduring?

Carin: The themes are timeless because they explore fundamental aspects of human interaction and desire.

Can you share what your favorite part of the play is?

Carin: One of my favorite aspects is the echo of Greek tragedy* within the play. It’s unexpected but adds a rich layer to the narrative. There’s a subtle nod to classic tragedy that enhances the play’s depth and resonance. *Greek Tragedy – When the protagonist or someone of importance and outstanding qualities falls to disaster.

How does the play relate to contemporary issues, such as the MeToo movement?

Carin: First let’s keep in mind that the play was written seven years before the MeToo movement occurred in 2017, and we are now seven years after that inciting moment. However, in my mind this play cannot be produced without considering this context. The character of Thomas, for example, represents a kind of opportunistic, misogynistic male director, and there is a kind of satisfaction in how Thomas has a bit of a comeuppance for his actions. Also, how Vanda’s power and agency are portrayed in our production is in response to the context of 2024. While the play was written in 2010, we as theatre artists must always ask “why this play, why now,” and Chris (actor playing Thomas), Eve (actress playing Vanda), and myself are working hard creating our answer to this question onstage for the Clear Space audience.

What do you hope the audience takes away from the experience?

Carin: I want the audience to enjoy the play and have fun. It’s a play that combines humor with heavy themes, providing both entertainment and thought-provoking content. Theatre has a unique power to create empathy and reflection, and I hope the audience gains insight into a part of the human experience they might not often consider and holds empathy for people whom the characters reflect.  Venus in Fur offers a chance to explore topics that some audience members might typically not discuss, so there could be an interesting opportunity for conversation.

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An Interview with Psyche Composer Jake Landau

This summer, Clear Space Theatre Company is partnering with LHW Productions on a three week workshop of a new musical, Psyche. The musical examines the story of the ancient Greek myth of Psyche, a mortal whose beauty outshone even that of the goddess of love Aphrodite. Adored by all, but never able to love another herself, she feels all but cursed. But when love finally comes, is that the true curse?

Performances are August 23 at 10:30pm, August 24 at 2pm, and August 25 at 2pm.

Psyche Composer Jake Landau

Jake Landau is the composer of the new musical Psyche. His works have been performed by the New York Philharmonic, Houston Grand Opera, and Premiere Division Ballet in venues as diverse as Carnegie Hall, Birdland Jazz Club, and the Royal Palace of Amsterdam. At age 16, he was accepted to Oscar-, Grammy-, and Pulitzer Prize-winning composer John Corigliano’s studio at The Juilliard School. At Juilliard and as a Composition Fellow at summer institutions including the prestigious Aspen Music Festival, Landau created his core body of work in chamber and vocal music.

At the same time, he worked in premiere pop music studios, experimental queer nightclubs, and as a pianist for both opera and Broadway productions. This unique background led him to a sound that at turns explores and ignores genre, in which hit-factory hooks interact with the concept-driven architectures of classical music—all in service of a theatrical worldbuilding lifted, in abstract, from fantasy novels. A graduate of Oxford University and The Juilliard School, Landau has been published by G. Schirmer (Ayres, for SA and piano) and Edition Peters (Hardware Love, for orchestra). Landau is the youngest-ever winner of the Walter Hinrichsen Award from the American Academy of Arts and Letters and one of NYFOS’S (New York Festival of Song) “9 under 34” composers. A graduate of both Julliard and Oxford, he is now on faculty at Julliard.

Clear Space chatted with Jake about his new musical, which blends musical theater, pop, and operatic styles in a rich and beautiful score.

How do you identify within the LBGTQIA+ spectrum?
Certainly B and hopping along the gray A spectrum, but I find the general Q the most relevant descriptor. The more you spend time with the differences between the letters, the less relevant those differences feel.

How has your lived experience as a member of the queer community impact or influence your work as an artist across your career?
Music, as the most inherently abstract artform, reaches deeper than any other. In musical theater and opera, it can universalize highly-specific stories, welcoming all into a shared emotion. Music’s ability to allow others into the humanity of someone they’d never otherwise understand is a magic I cherish.

Why does the story of the myth of Psyche appeal to you? Why do you think it is particularly resonant in our culture today?
Queerness isn’t just about who you love, but also how. While writing Psyche, Emily and I would joke that every character in the show was “bi until proven guilty” – gender wasn’t relevant to attraction here. This is because the show is most about how the characters love. In a contemporary world so focused on whom, and not the many kinds of how and why we love, we hope a show like Psyche will bring joy and nuance to one’s understanding of the love in one’s life.

Why do you think representation for asexual members of the queer community is important?
When people don’t see themselves represented in media, they think they aren’t supposed to exist.

How do you work together as a writing team?
We’re like if Gilbert & Sullivan liked each other.

What are you most looking forward to about the workshop in Rehoboth Beach?
Clear Space is a beautiful venue with fantastic people, and to share the project in such a queer space is a joy and honor. And the proximity to the beach doesn’t hurt.

What are you hoping that audiences in Rehoboth Beach will take away from seeing the concert readings?
It’s gonna be a fun, extraordinary, unique night. Broadway stars, opera, Ancient Greek—I truly just hope it’s a beautiful experience and believe it will be.

What do you hope to learn from the experience of Rehoboth Beach audiences at the concert readings?
We’re looking forward to seeing what parts of the show folks respond most to!

Read more as Jake’s writing partner Emily Garber talks about her work in writing the lyrics and libretto to Psyche.

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An Interview with Psyche Lyricist and Librettist Emily Garber

This summer, Clear Space Theatre Company is partnering with LHW Productions on a three week workshop of a new musical, Psyche. The musical examines the story of the ancient Greek myth of Psyche, a mortal whose beauty outshone even that of the goddess of love Aphrodite. Adored by all, but never able to love another herself, she feels all but cursed. But when love finally comes, is that the true curse?

Performances are August 23 at 10:30pm, August 24 at 2pm, and August 25 at 2pm.

Librettist and Lyricist Emily Garber

Emily Garber writes the lyrics and the libretto to this new musical, alongside composer Jake Landau. Emily is a queer librettist, novelist, and poet who has always created stories inspired by the sky-high trees in her parents’ backyard and the irresistible magic of ancient myth. She has a Bachelor of Arts in Greek & Latin from Tufts University. Her work has been performed internationally by Broadway, West End, and Metropolitan Opera stars alike. Recently her one-act opera &Aeterna received its world premiere at the Narnia Festival in Italy, followed by a US premiere with Opera Idaho. 

Clear Space sat down with Emily to talk a little about Psyche and her relationship to the material as a member of the queer community.
(Note that an abbreviated version of this interview appears in the August edition of Letters from CAMP Rehoboth.)

How do you identify within the LGBTQIA+ spectrum?
I identify as both aromantic and asexual, meaning that I do not experience either romantic or sexual attraction.

How has your lived experience as a member of the queer community impact or influence your work as an artist across your career?It’s interesting because although I have always been queer, I spent most of my formative years unaware that I was. After all, I’d spent my whole life watching movies and reading books where the main characters had never experienced any interest in romance or relationships until their “right” person came along– so I figured that I just hadn’t met that person, yet. And while I’d heard the word “asexual” before, I had always heard an asexual person described as someone who had absolutely zero interest in pursuing those kinds of relationships. And while that is an absolutely valid ace experience for some, it didn’t reflect my own at all. It was only halfway through college that I started to question why pursuing those kinds of relationships felt more like I was following an accepted script than something I actually wanted.

Read more as Emily’s writing partner Jake Landau talks about his vision in writing the music to Psyche.

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Luker Fellows Showcase

Saturday, August 17, 2024, 10:30pm
All Tickets $25

What is the Partnership?

2024 is the third year of the Rebecca Luker Theatrical Partnership at Clear Space Theatre, a program dedicated to the memory of Rebecca Luker, who succumbed to ALS in 2020. Rebecca’s fierce commitment to racial justice, equal rights, and reproductive rights inspired James FitzSimmons to create this program in her honor, designed to foster a pipeline for leadership opportunities for future artists and administrators from historically marginalized communities.

In its first two years, Karen Richards (2022) and Ashley Williams (2023) were the recipients of the partnership. Karen’s project focused on increasing access for young people to the 2022 production of The Submission and creating community conversations around the themes of representation and access that were part of that play. Ashley’s 2023 project focused on building partnerships across organizations and individuals in our community to celebrate and showcase diverse perspectives through theater. This resulted, partly, in the partnership between Clear Space Theatre Company and the Southern Delaware Alliance for Racial Justice on the 2024 “Clear Space Gives Back” production of A Raisin in the Sun.

This year, CSTC continues to evolve the program, focusing on emerging performing arts leaders in our summer repertory company telling the stories of their diverse experiences. Five artists have been commissioned to create original pieces that celebrate and reflect their own lived experiences as part of communities that have not consistently been centered by live theater in America. Each are our Rebecca Luker Fellows this year – and together their original work creates our first ever Luker Fellows Showcase.

The Original Work in This Year’s Showcase

From Liz Culver
QUEER JOY (AND NOTHING BUT)
This piece, as the title suggests, centers around nothing but queer joy. Joy with no caveats. As a member of the LGBTQ+ community, Liz has found that this is one element that can be dishearteningly hard to find in mainstream theater, particularly concerning characters that aren’t cis white males. While we should explore our history and the struggles we’ve overcome, sometimes we just need to be people and enjoy our lives. (Briana Hernandez and Quinn Gamon appear as well.)

From Caetano de Sá
THE EMOTIONS OF WANTING
Caetano de Sá explores how the strength of the emotional journey transcends language and text using both English and Portuguese.

From Quinn Gamon
INTERSECTIONALITY: A CROSS OVER OF BLACK AND QUEER ARTISTS
As a non-binary performer, Quinn Gamon will be presenting works that represent the queer black experience.

From Briana Hernandez
PASSING THE TORCH
Briana Hernandez will sing through the music of artists that made her feel seen heard as a Mexican-American in the hopes of inspiring other people to do the same.

From Ashley Williams
THE FULL FIGURED AND FABULOUS: WHERE EVERY BODY SHINES
Ashley Williams presents a vibrant cabaret that shines a spotlight on the incredible talent and artistry of plus size women in theatre, celebrating their performance, voices, and unwavering spirit.

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