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Jobsite Theater has been serving the Tampa bay area since 1998, starting up out of contacts David Jenkins and Michael Caban made while studying at USF. Several years after they graduated they came back into contact, and along with other artists who came together to start Jobsite.
-Jobsite used to be housed in Ybor
-They started in the Silver Meteor Gallery in Ybor City with two plays, and with all the support they gained quickly began planning a full season and officially made themselves a real company. They split their time and performances between the Off Center Theater, now known as Shimberg Playhouse, and the Silver meteor for the rest of the first season and partly into their second season.
-Ever since, they have continued to produce fantastical productions within Downtown Tampa, even becoming an official member of Theater Communications group in 2008, the league for professional regional theater in America.
-Jobsite is a partner institution to the Straz Center
-Jobsite Theater now occupies the Shimberg playhouse, a 99 seat blackbox
-They are starting to do one musical every season in the Jabe theater
-NOT union, and non for profit

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“Jobsite Theater is dedicated to the creation of socially and politically relevant theater and the pursuit of performing it to the broadest possible audience. Jobsite has established and will continue to evolve a collective of like-minded artists, creating a supportive environment where all artists of all disciplines may experiment, hone, and apply their skills in a professional laboratory environment…Through all forms of theater- experimental, new plays, contemporary masterpieces, and the classics- as well as our extensive educational and community outreaches programmed year-round, Jobsite hopes to inspire audiences to become not just consumers, but true citizens.” -Jobsite Theater’s Mission Statement from their website.

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David M. Jenkins is the producer and artistic director for Jobsite theater. He was one of the co founders of the company.

This season he will be directing The Threepenny Opera, The Tempest, and Man in Snow.

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The Board of Directors and Artistic Associates 

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The Board of Directors and Artistic Associates 

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The Board of Directors: focuses on the logistics of running the theater company. ex- finances

Gregg Perkins – Chair

Brendan McLaughlin – Vice-Chair

Brad Casey – Treasurer

Brenda Lovell – Secretary

Désirée Fantal

Elissa Getto

Stephanie Gocklin

David M. Jenkins

Paul J. Potenza

Staci Sabarsky

Scott Waltz

The Artistic Associates: They are stewards of the artistic vision.

Emily Belvo

J. Elija Cho

Amy E. Gray

Chris Holcom

David. M. Jenkins

Michel C. McGreevy

Spencer Meyers

Shawn Paonessa

Paul J. Potenza

Matthew Ray

Brian M. Smallheer

Nichole Jeannine Smith

Katrina Stevenson

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-As a producer, David Jenkins isn't the only decider for plays/musicals- instead he has an artistic team (The artistic associates)
-There are about 13 artist associates who read plays and talk about the pros vs cons and choose their six favorites.
-They spend 6 months of the year looking for material: "we spend 6 months out of the year actively looking for material, then the next 6 months figuring out the next year"-David Jenkins
-"As a producer, need to balance what people want to see vs what they need to see"-David Jenkins
-"I will make a huge order on Amazon of new plays, based on what I think people would want to see and also what they would need to see and I decide on my picks from there" (Katrina Stevenson)

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-75 mile rule- 50 seat/$20 tix vs 100 seat/$30 tix- second one will get rights because making more money
-It is the company's job to make money for playwrite- that is a deciding factor

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The Flick (Sep. 1st- 24th)

The Threepenny Opera (Oct. 20th- Nov. 12th)

The Tempest (Jan. 19th- Feb 18th)

Man in Snow (Mar. 9th- Apr. 1st)

1984 (Apr 27th- May 20th)

Dancing at Laghnasa (June 15th- July 8th)

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- Jobsite has some resident designers, but they don't want to do all of the shows
-designers ask him specifically to work on certain shows
-what he looks for in designers: can they keep to a budget and make deadline?

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-Interview with Katrina:
-Began her career with a professional internship with David Jenkins, and asked him to use her in things and he did
-She was used in productions such as playing the role as Mother in True West
-She also helped out with props and publicity things, and worked hugely on costuming
-She asked David if she could direct her own shown and he said yes, and she was asked to join the artistic associates board in 2002
-She is now the resident costume designer for Jobsite Theater
-Katrina did costumes for The Flick, did costume designing and will be a dancer in Threepenny Opera, and will play Ariel in The Tempest in this season

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-Callbacks: one callback usually
-Different factors: actor chemistry- natural?
-One actor can change the entire cast
-Tampa Bay Unified Audition
-Unknown/new people are risks- they might not be easy to work with- they are risks when you have a deadline for a show and when money is involved

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-They have an ensemble of actors that they pull from before auditions (Auditions for the ensemble are over the summer)
-Talented actor vs directable
-Hiring friends- it does happen, but they need to do that to make sure people are good
-It's easy to talk to someone he knows "it would take five words to talk to someone I know vs five sentences with someone I don't know"(David Jenkins)
-Directors don't always go into casting with an open mind- They have a premeditated idea of who they want for certain roles
-Chemistry, personality, friendly, take direction; if David doesn't know someone and sees degree that shows they have work ethic (ex: having MFA)
-Casting someone blind/with no preconceptions is scary- sometimes he might have to recast someone, but not too often; he would rather work with an actor rather than fire them/make them look foolish
-He wants to be surrounded by "ballers"

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-Shows are cast six months out from the show
-How long should rehearsals last? There is a math equation: 1 hour for every 1 min in the show
-The flick: nice for David to watch it, he didn't direct it but it was nice for him to see + be proud of
-"Rehearsals are always 4 weeks (20 hours a week), sometimes 3 if it’s a shorter show. It's really about the length of the show. I feel like I have about an hour of rehearsal for every minute on stage. So if a show is 75 minutes long, there’s 75 hours of rehearsal."  (David Jenkins)
-They rehearse in various locations at the Straz (Katrina Stevenson)

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-How does a typical show night run?

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-Rock Stars- "They feel like they're part of the group, they're part of the ownership."
-Season pass-holders, get discounts.  Even higher level with more benefits, such as reserving seats, attending the parties and rehearsals, etc.
-Benefit funding by acting as a guaranteed donation.

-Goal is to break even
-Irma's impact (The Flick)
-"How do I put what I want to put out but still get people in the theater?"
-actors guaranteed salaries.

-budgeting- sometimes things cost more than you expected in your head, causes you to turn to fundraising.

Annual Campaign
https://www.jobsitetheater.org/annual-campaign/

We need these funds to continue our reach into our schools and community, to increase and diversify the programs on our stages, and to continue to improve our work and the lives of the artists who create it.

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Our second teaser trailer for Annie Baker's The Flick, coming to the Straz Center for the Performing Arts Sep. 1-24. More info: JobsiteTheater.org

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-Get people engaged and increase interest in the theatre and their productions.
-Various social media platforms
-Instagram: https://www.instagram.com/jobsitetheater/
-Twitter:https://twitter.com/jobsitetheater
-Facebook: https://www.facebook.com/jobsitetheater
-https://www.jobsitetheater.org/blogsite/

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Educational Outreach
-Been working with middle school, highschool, and college-level students since 2001 (The Complete Works of William Shakespeare abridged)
-Now have a full program which boasts 75 educational outreach events in the current season that'll reach upwards of 10,000 students.
-Entered an arrangement in 2017 to become part of the Field Trips program within Hillsborough county.
-Robust study guide extending past theater, pre and post show visits, sending people for workshops/demonstrations/lectures.
Recent partners: USF Honors college, Blake High, St. Leo University, Seminole High School.

-Katrina Stevenson: "We have 12 day time matinees for students who can't afford to see the performances at the normal prices"

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-apprenticeship- shadowing with either stage managers and actors
-stage managers take over a show night
-actors might get cast
-not paid, but get experience
-good foot in the door
-actors stay for one show- 8 weeks, and sm stay for 16 weeks (two shows)
-hired at any time and it's on going
-cast of 16- 5 are apprentices

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What makes Jobsite different? - trying to do theatre for humans and regular people and they have something to offer a community that can't be offered any other way.
"Stuff matters because we have to give people a reason to go to the theater. It’s so easy to not go to the theater. It’s hard to go to the theater. You have to do everything in your power, you have to demand the audience to come to the theater, to put the phone down, etc, you give them something they can’t get on Netflix or hulu. You give them an experience, and that’s a huge responsibility." (David Jenkins)