Off Center Festival Returns to Segerstrom Center

Off Center Festival Returns to Segerstrom Center
Rival Sons + Reggie Watts + The Car Plays + Belarus Free Theatre: Minsk 2011: A
Reply to Kathy Acker + Doug Varone and Dancers: Stripped/Dressed + Fleur
Elise Noble: 2 Dimensional Life of Her + Marc Bamuthi Joseph: Word Becomes
Flesh + Indie Band: Sea Wolf + Off Center Lounge at Leatherby’s Cafe Rouge
January 22 – February 2, 2013; tickets just $10 and $20

Renée & Henry Segerstrom Concert Hall

COSTA MESA, CA – Segerstrom Center’s Off Center Festival returns for its second year, January 22 –February 2. The festival will showcase more of today’s finest contemporary performing arts companies and several of last year’s favorites. Off Center Festival is an eclectic and even audacious mix of groundbreaking theater, music, dance and performance art that takes place throughout the campus. The festival officially opens with the Center debut of California rock band Rival Sons on January 22 and the following evening welcomes back popular comedian/musician Reggie Watts. The Car Plays also returns with many new works that once again place the actors in the driver’s seat of this wild theatrical experience that takes place in actual parked cars on the Arts Plaza. New to the Center will be the Doug Varone and Dancers performing Stripped/Dressed, Fleur Elise Noble in 2 Dimensional Life of Her, Marc Bamuthi Joseph’s The Living Word Project: Word Becomes Flesh, the Belarus Free Theatre performing Minsk 2011: A Reply to Kathy Acker. Sea Wolf, the band that inaugurated the Center’s Indie Band Series in 2008, returns to Founders Hall. Off Center Lounge in Leatherby’s Cafe Rouge will again become the gathering place for artists and audiences.

“The return of our Off Center Festival is tremendously exciting,” said Center President Terrence W.
Dwyer. “An eclectic array of adventurous international theater companies and innovative dance, music
and interdisciplinary presentations await Festival attendees of all ages. Our audiences can look forward to performances that will thrill, challenge and entertain, and we’ve kept the price of tickets low, as little as $10, to encourage attendance at multiple performances by these extraordinary artists. And we invite
everyone to stop by our Off Center Lounge at Leatherby’s Cafe Rouge afterwards to meet and mingle
with artists, staff and audience. The energy of these post-show gatherings is exciting.”

Beginning Sunday, December 2, ticket buyers can customize Off Center Festival packages of three or
more shows for just $10 per ticket. Single tickets for $20 will be available beginning January 6. Tickets
can be purchased online at SCFTA.org, at the Box Office at 600 Town Center Drive in Costa Mesa or by calling (714) 556-2787. The TTY number is (714) 556-2746. Some performances are suggested for
mature audiences only. Please contact the box office for suggestions. Artists and program are subject to change. For more information, please visit SCFTA.org/OffCenter.


Indie Band Concert:
Rival Sons
Opening with Robert Jon and the Wreck
January 22 in Samueli Theater

“…despite impeccable retro credentials Rival Sons are doggedly establishing
themselves as a vital force for the modern age, too.” – The Guardian

California’s Rival Sons is a raucous, maximum-blues-infused, hard rock band who explodes with the
rhythm and roughness of some of the greatest rock acts of all time. From a self-released full-length album Before the Fire and EP (self-titled), to the strength of their live performances, the band gains major attention everywhere they play. With artistic chemistry that lends to the authentic and raw side of rock music, vocalist Jay Buchanan, guitarist Scott Holiday, bassist Robin Everhart and drummer Mike Miley harken back to when the thrill of rock and roll truly made a difference.


Reggie Watts
January 23 in the Renée and Henry Segerstrom Concert Hall

“Do yourself a big favor and go see him on tour now.” – MTV

Internationally renowned vocalist/beatboxer/musician/comedian/improviser Reggie Watts wows audiences with his unpredictable performances which are created on the spot using
only his formidable voice and looping pedals. No two songs are ever the same. Blending and blurring the lines between comedy and music with his unique lyrical style. Hilarious, brilliant, unpredictable – Watts is a staple of the international performance scene. He opened for Conan O’Brien during his 2010 tour and played Bonnaroo. An avowed “disinformationist,” Watts loves to disorientate his audiences in the most entertaining way. You may not know what Watts is going to do, but that’s OK – he doesn’t either.


Belarus Free Theatre: Minsk 2011: A Reply to Kathy Acker
January 24 – 26 in Founders Hall 
Performed in Russian with English subtitles

“What makes it heart-rending is the knowledge that the events described are
true.” – The Telegraph, London

Internationally acclaimed Belarus Free Theatre’s, Minsk 2011: A Reply to Kathy Acker is a brave and
unflinching play about repression and sexuality in Belarus, Europe’s last dictatorship. Strip clubs,
underground raves and gay pride parades pulse beneath the surface of a city where sexuality is twisted
by oppression. A love letter to a home that exiles those willing to fight for it, Minsk 2011 celebrates and
mourns a land that has lost its way.

Responding to American writer Kathy Acker’s 1981 text New York City 1979 depicting sexuality in New York, Minsk 2011 reveals the scars of repression in Belarus where protests are brutally suppressed and underground nightclubs are routinely raided by Special Forces. Minsk 2011: A Reply to Kathy Acker was originally co-produced by Natalia Kaliada and Nicoli Khalezin and Fuel Theatre Company (UK). It was first presented at the Pleasance Theater during the 2011 Edinburgh Festival Fringe and received the Fringe First Award by Scotsman newspaper.

Belarus Free Theatre was founded in 2005 by husband-and-wife team Natalia Kaliada and Nicolai
Khalezin, joined shortly afterwards by Vladimir Shcherban. All company members have been arrested,
lost their jobs, been forced into hiding or exile for making theatre. Despite this, the Belarus Free Theatre
continues to develop award-winning work with the support of artists around the world. In 2011, the
company received the OBIE’s Ross Wetzsteon Award for its productions of Being Harold Pinter, Zone of Silence and Discover Love, which were performed in repertory with the Public Theatre and LaMama in New York. Their Global Artistic Campaign has attracted the support of thousands of artists internationally, including Tom Stoppard, Steven Spielberg, Jude Law, Kevin Spacey, Mick Jagger and Václav Havel. Minsk 2011: A Reply to Kathy Acker was co-produced by Theatre Group Fuel of the United Kingdom.


Moving Arts LA: The Car Plays
January 25 – 27 and February 1 and 2 on the Arts Plaza


“Being in the same car as the actors made for an intensely intimate performance
setting….Gimmicky? Sure. Novel and clever? Sure. Effective and mind-blowing?
Definitely.” – OC Weekly

Truly a show back by popular demand, The Car Plays was a triumph at the first Off Center Festival.
Conceived by Paul Stein and produced by Moving Arts, The Car Plays is an environmental theater event.  This year’s festival will include several new works, including seven world premieres, four cocommissioned by South Coast Repertory with the Center. All 15 plays are performed simultaneously
inside parked cars. Audiences of two move from vehicle to vehicle, experiencing works by different
playwrights in an intimate setting all too familiar to Southern Californians – the inside of a car. For Stein, who lives in Los Angeles, his car was a haven of solitary moments of reflection, long talks with friends, an occasional breakup or two and much more. Drawing on those memories, Stein collaborated with playwrights to create an experience that engages audience members in a new “performance model” of voyeuristic intimacy due to proximity. Audiences will experience five plays in one hour, as “car hops” usher patrons from car to car. There are three different tracks of five plays each. Each play lasts approximately nine minutes.


Doug Varone and Dancers: Stripped/Dressed
January 25 and 26 in Renée and Henry Segerstrom Concert Hall


“Varone’s ability to convey depths of emotion through highly charged, physically
exciting choreography has made him a rarity among his generation.” The New
York Times

Award-winning choreographer and director Doug Varone works in dance, theater, opera, film, television and fashion. He is a passionate educator and articulate advocate for dance. In Stripped, Varone’sinsightful way of dissecting his choreography for dance audiences helps to demystify the art form for many viewers, and provides an overture for experiencing his work. The first half of the evening, with Varone as MC, provides an intimate look at his creative process. The company, dressed in only rehearsal clothes, under simple lights, presents a detailed look into the intricacies of how dances are created and performed. After a brief Q&A and an intermission, the company returns with Dressed, presenting the works, fully staged with lights and costumes.


Indie Band Concert:
Sea Wolf 
Opening with The Donnys The Amys
January 28 in Founders Hall

Sea Wolf is back – the Los Angeles-based indie band holds the distinction of opening the Center’s Indie Band Series in 2008. Earlier this year, the band released its third album, Old World Romance, on Dangerbird Records. It is the highly anticipated follow-up to Sea Wolf’s successful sophomore LP, White Water, White Bloom. While the gorgeous full-band arrangements coupled with often dark yet buoyant lyrics are sometimes reminiscent of White Water, White Bloom, Church delves into new territory with Old World Romance. Joining Alex Brown Church on Old World Romance are Lisa Fendelander (Keyboards), Joey Ficken (Drums), Ted Liscinski (Bass) and multi-instrumentalist Zac Rae.

The group’s debut LP, Leaves in the River earned the band a place among 2007’s top ten “new and
notable” Southern California bands. They rocked on Late Night with Jimmy Kimmel and the video for
“You’re a Wolf” can be seen on MTV. They’ve played LA’s Greek Theater alongside electronic French duo Air. Sea Wolf has performed at The Troubadour in Los Angeles, the Treasure Island Music Festival in San Francisco, the Mercury Lounge in New York City and the Belly Up Tavern in San Diego. They have been featured in the Los Angeles Times, Flaunt, Paste and Magnet.


Fleur Elise Noble: 2 Dimensional Life for Her 
January 30 – February 2 in Studio Performance Space in the Renée and Henry Segerstrom Concert Hall


“Noble not only deconstructs her art, she shreds, incinerates and rebuilds it,
milking the full potential of today’s technology like an Andy Warhol for a new
era.” – The Adelaide Advertiser


An award‐winning and enchanting mix of drawing, animation, puppetry, projection and paper,
2 Dimensional Life of Her is a richly imagined performance installation set in an artist’s studio. Australian director/creator Fleur Elise Noble conjures a parallel world in which everything thought to be flat becomes something else. Noble’s drawings begin to reproduce themselves, drifting between surfaces and moving in and out of three dimensions. In this illusionary, captivating and cheeky work, visual tensions build and realities pile up until the artist loses control of her creations and absolutely anything becomes possible.


Marc Bamuthi Joseph/The Living Word Project: Word Becomes Flesh
January 31 – February 2 in Samueli Theater


“This is the kind of event that can act as epiphany, as a life-changing event: not
only for what it says, but how it says it.” – Cedar Rapids Gazette


Using poetry, dance and live music, a brilliant young cast presents a series of performed letters of a
father to an unborn son, documenting nine months of pregnancy from a young, single father’s
perspective. These performed letters incorporate elements of ritual, archetypes, and symbolic sites within the constructs of hip hop culture. Word Becomes Flesh evolves the realm of spoken word and realizes the form’s theatrical potential as the poet/dancer presents the complex contradictions involved in race, using the stage as an open page, and deftly writing the body as text. While women continue to fight for their right to make choices about their bodies, the legacy of patriarchy and male privilege still allow a man the social right to choose domestic absenteeism and refrain from offering either emotional or financial support. Word Becomes Flesh critically, lyrically, and choreographically examines this phenomenon.  The Living Word Project is the resident theater company of Youth Speaks Inc., which is committed to producing literary performance and verse-based work that is spoken through the body, illustrated by visual and sonic scores, and in communication with the important social issues and movements of the immediate moment.



Off Center Lounge at Leatherby’s Cafe Rouge January 23 – 26 and January 23 – February 2
No Off Center Festival experience will be complete without some mixing and mingling between artists and audience. It is a rare opportunity to actually discuss the works with the creators and performers. And there will be a special low-cost menu for the artists and their fans.




Segerstrom Center for the Arts applauds Acura, Official Automotive Sponsor of the Center.

Segerstrom Center for the Arts is unique as both an acclaimed arts institution and as a multidisciplinary cultural campus.  It is committed to supporting artistic excellence on all of its stages, offering
unsurpassed experiences, and engaging the entire community in new and exciting ways through the
unique power of live performance and a diverse array of inspiring programs.
Previously called the Orange County Performing Arts Center, Segerstrom Center traces its roots back to
the late 1960s when a dedicated group of community leaders decided Orange County should have its
own world-class performing arts venue.

As Orange County’s largest non-profit arts organization, Segerstrom Center for the Arts owns and
operates the 3,000-seat Segerstrom Hall and intimate 250-seat Founders Hall, which opened in 1986,
and the 2,000-seat Renée and Henry Segerstrom Concert Hall, which opened in 2006 and also houses
the 500-seat Samueli Theater, the Lawrence and Kristina Dodge Education Center’s studio performance space and Boeing Education Lab.  A spacious arts plaza anchors Segerstrom Center for the Arts and is home to numerous free performances throughout the year as part of Segerstrom Center for the Arts’ ongoing Free for All series.

The Center presents a broad range of programming each season for audiences of all ages from
throughout Orange County and beyond, including international ballet and dance, national tours of top Broadway shows, intimate performances of jazz and cabaret, contemporary artists, classical music
performed by renowned chamber orchestras and ensembles, family-friendly programming, free
performances open to the public from outdoor movie screenings to dancing on the plaza and many other
special events.  It offers many education programs designed to inspire young people through the arts.
These programs reach hundreds of thousands of students of all ages with vital arts-in-education  programs, enhancing their studies and enriching their lives well into the future.

In addition to the presenting and producing institution Segerstrom Center for the Arts, the 14-acre campus also embraces the facilities of two independent acclaimed organizations: Tony® Award-winning South Coast Repertory and a site designated as the future home of the Orange County Museum of Art.  Segerstrom Center for the Arts is also proud to serve as the artistic home to three of the region’s major performing arts organizations: Pacific Symphony, the Philharmonic Society of Orange County and the Pacific Chorale, who contribute greatly to the artistic life of the region with annual seasons at Segerstrom Center for the Arts.

The Word Begins: A Commentary

            In the beginning, there was the Word—mere symbols that helped mankind communicate.  Now that I’ve grown into adulthood, I find that I am faced with more people who incessantly asking ask me political, social, and cultural question after question.  Most of the time, they are older and wiser than myself, so I listen and nod to what their opinion is on the multitude of aspects humanity faces.  Most of the time, they rarely ask my thoughts on the matter—as if they were just waiting for someone to listen for a moment, and being a journalist, I seem a worthy candidate.  I don’t nod and smile because I necessarily feel the same sentiments, but rather because I respect their right to have those sentiments, as long as they are morally just.  When I do open my mouth, I tread gently because I respect my elders and understand that the potential to gain wisdom and perspective lies in the older generations.

            However, when I entered the intimate South Coast Repertory at the Segerstrom Center for the Arts to watch the spoken-word dramatic piece called, The Word Begins, I felt that by the end, most of what I would say to the Republicans, the Liberals, the Atheists, the Agnostics, the over-zealous, and the detached were expressed by the two talented artists, Steve Connelly and Sekou Andrews, during their incredibly potent mix of short scenes that ran continually back-to-back for over an hour straight.

            Inside of the blacked-out theater, seating was limited, and to show up only somewhat early meant there would be a struggle to find a spot.  After locating an available chair to inhabit, I scan my eyes over the crowd to discover a diverse mix of individuals in attendance.  It’s unclear whether people were present because they had been attracted by the multi-show pass offered by the Off Center Festival, or merely by rumor of the astounding act that would proceed.  Either way, the mix included both genders and varying ethnicities, making it the perfect combination for a potential branding focus group.

            Lights dim to black, and we’re lost in the darkness for a moment—no individuality, only a congregation as one entity.  I knew very little about what was in store, for my research had been minimal on the spoken-word act in hopes of facing a mystery that might pleasantly surprise.  We wait patiently until side-stage lighting bursts brilliantly from slits of large black panels placed in rows lining the exterior of the space.  A mature white and black man bolt out from the light and begin to dash around the stage like fireballs full of energy, spraying the first of their overzealous and passionate verbiage over an awkwardly stunned crowd.  The two rush to the edge of the tiered seating and look up, “In the beginning, there was the Word and the Word was made flesh, and there were these four words: listen, stand, spit, begin.”  Their hands and arms and bodies are poised and shifting rhythmically to the spoken beat that lies hidden in the syllables of their strings of sentences.  The audience begins to relax as they start to feel comfort in the continued acquaintance with the two faces on stage.  Both Andrews and Connell are completely immersed in the meaning in the wave of words projecting from their lips, washing upon the crowd.

            Now fully captivated by the entertainers, the spectators sit attentively, absorbed in each culturally relevant scene.  In order to reach the moral light at the end of the theatrical tunnel, we must first step through a web of skits.  In one, a black man and a white man face each other, hidden in an alleyway, covered by the shade of night.  They flicker aggressive words back and forth as the trembling white man, played by Connelly, yells of corruption and savageness toward his mugger, claiming he is a mere criminal with no right to kill another man.  Religious groups, imperialistic governments, businessmen—they all kill, says the desperate black man to his prey.  He continues by saying, what makes them any different from me?  They kill in the name of a cause, so in the name of my sick daughter who needs medicine I can’t afford because of the unjust system, give me all your money or I will not hesitate to shoot you, Andrews cries.  Lights dim for a scene change, and the audience is stunned by the tense stereotypical setup that is all too real in modern life.

Intermittently, two taboos topics—God and Love—are stripped apart intermittently until laid bare.  One in particular displays the lack of true passion in this century, especially personal relationships.  The setup: two men in a Hallmark store—one, an employee; the other, a customer.  When the out-of-touch shopper, stuck with the choice between two cliché cards for his lover, asks for assistance, the clerk steps in and begins to freestyle romantic verse after verse—each poem having a theme to match different careers the customer may practice, like a doctor, lawyer, or astronaut.  When the patron begins to grow weary, the clerk attempts to inspire the shopper to decree passionate words of his own to properly woo his one-and-only.  Connelly convinces, claiming, “You see words—they’re like radioactive material—they’re powerful.  If you’re not trained how to handle them safely, people can get hurt.”  In this contemporary society, romance has been desensitized.  While, logically, Love is only a chemical reaction between two entities, emotionally, it is the premise that binds humanity in a peaceful state.  Without practicing words of respect—the most important aspect of Love—destruction will only come instead.

During the next chapter covering Racism in America, a game of juxtaposition is played in exposing the satirical transitions of whites and blacks over the last century.  Connelly, labeled The Man, flows through characters like the religious bigot, preaching racist remarks, to the shades and suit-wearing corporate creep, to the current trend when young men dress and act more like Black rap artists bragging about bitches and bling.  Instead of culturally digressing, the black man, named You People, works his way from a thug valeting The Man’s Mercedes, to a well-spoken, well-read, logical male who passionately speaks of the fact that an African America is now president of the United States.  With a debonair air about him, facing the onlookers, he states, “Clearly the enemy is not racism.  And frankly, I for one am just tired of pretending that it is…We are so conditioned to playing the victim, we are now our own worst enemies.”  So yet again, the crowd is presented another modern cliché that is challenged from all sides.

Later in the evening, the solution to end racism is given by both men simultaneously: “Fuck ‘til everyone is beige!”  After coming to the conclusion that one universal race can be achieved by all cultures procreating together, the two hosts invite all the women to come onstage to have sex with them.  When giggles go up in the air, but the women stay put, Andrews and Connelly tell the ladies to remain seated if they are racist and don’t want to help end xenophobia.  It is all a joke, but every last person feels a bit of tension in the truth of their statements.  With everyone congealing in the melting pot, the need for borders, conflict, and war is no longer necessary. 

For those individuals who are unable to compromise the gifts of their long-standing heritage, Andrews and Connelly offer the final solution to end all discrimination arguments.  Returning to the conclusion of the mugger and victim caught in quarrel in the alleyway, the crowd is ready to witness an epiphany.  The two men connect eye to eye, and realization hits:

“Two men standing in the night.  One clenching rage in his palm, the other paralyzed with fear.  Both are trembling, afraid of what they may lose if they don’t protect what the have: safety, family, this life they’ve built, this birth.  And as so many others through our time, they find themselves killing, dying, struggling, trying to imagine there is a wrong way to live, there is a right way to die.  The question pressing this moment comes screaming through the wall—You can’t imagine a better world that this?!

I can imagine my enemy like me.  We will do what we have always done: kill, to sail off, make war upon people, build walls to escape.  But if I can imagine my enemy like me, then the only way to protect myself from others, is to see myself in others.  My only hope that they’ll do different is if I do different myself.  Until you can imagine a better world, you cannot have it.  The second you set your mind to imagining it, it can begin.”

            Family, love, religion, culture, society, race and gender; these are the areas that Andrews and Connelly believe we, as humans, have failed to evolve completely.  Humanity in America is “up against a wall,” divided in two, either in support or completely against this continuing cultural evolution.  As I watched the two brilliant spoken-word poets speak passionately from so many different perspectives through the night, I felt that the thousands of words slipping smoothly off of their lips represented all the things I want to share out loud, but couldn’t comprehend constructing in a manner that my audience could properly absorb.  Although The Word Begins displayed all the ideas and emotions I connect with during this age, there will always be a new aggressor with narrow ideas to combat forward-type thinking.  But if we use our imaginations…

Reggie Watts and Blok at the Off Center Festival

Reggie Watts

            Saturday night in Costa Mesa, and the Segerstrom Center for the Arts is bustling in all arenas of the vast complex for the second evening of the Off Center Festival showcases.  Distracted by the overwhelming beauty of the architecture around, I accidentally begin to walk through the live art experience consisting of about 30 cars set in three long rows, all inhabited by lively people as if they were stuck on the dreaded 405 Freeway right at 5:00pm.   After politely being asked to walk around the exhibit, I find my way to the somewhat hidden entrance of the Founders Hall, which consists of a wide blacked-out room filled with 50 tables, 200 seats, and modernly chic stage.

Photo By Jenavieve Belair

As the usher leads me to my final destination, the local electronic-hip-hop act consisting of three siblings, Blok, is already entrancing the expanding audience.  The solo sister, Gianna, gazes deep into each member of the crowd, seducing them with her eyes, primal screaming, and contorted dance steps.  Lead vocalist Damien never teeters out of rhythm, despite the extreme challenge he has given himself to cleanly express quick syllables of theosophical inscriptions that fly off of his flickering tongue in rapid succession.  Jesse, the final brother, gyrates in succession with his sister, occasionally stepping up to the mic to produce intense vocal-stylings of his own.  Usually a Blok performance is more wildly outlandish, and to see them semi-contained and semi-choreographed truly amplified their true talent as standout performers.  This trio, standing on the simple, black stage of the Founders Hall, appeared more like a moving, breathing, controversial piece of art, and the audience applauded energetically to show their appreciation.

Photos by Jenavieve Belair

Comedian Reggie Watts is a freak of nature, even though he looks like an average guy with a massive afro-puff.  Throughout his hour-long comedy and musical performance, I continuously desired the chance to stick him in a laboratory and study the physical phenomenon that are his perfectly-pitched vocal cords.  Creating his own beat-box harmonies on a looping pedal, Watts hovers over his gadgetry until he finds the perfect rhythm.  His soulful style of singing could make any Motown artist blush, however Watts is not aiming to charm, but to constantly tease.  Aside from his musical talent, Watts’ ability to create rhythmic intellectual, although sometimes non-sensible, rhetoric on the fly is clever and confusing and mind-altering and semi-offensive—but the crowd always laughs at the genius of the entertainer that stands before them.  Watts could discuss any issue—political, social, personal—and in the blink of an eye, he can alter his voice, persona, and topic seamlessly—and the crowd continuously roars with laughter until the very end.

Photo by Jenavieve Belair

The Off Center Festival continues all week until Saturday, January 21^st, hosting such acts as the Mexican Institute of Sound, The Word Begins (a mash-up of hip-hop, poetry, and spoken word), and Ten Tiny Dances.  For the full schedule click here.

                       Mexican Institute of Sound

The Car Plays – Arts Plaza

January 14, 15, 20 & 21 at 5:30, 7 and 8:30 p.m.

ReEntry – Founders Hall

January 18 – 20 at 8 p.m.

The Word Begins – Nicholas Studio at South Coast Repertory (655 Town Center Drive)

January 19 – 21 at 8 p.m.

Ten Tiny Dances – Samueli Theater

January 20 & 21 at 7:30 p.m.

Mexican Institute of Sound – Founders Hall

January 21 at 10 p.m.; doors open at 8 p.m.; opening act Nancy Sanchez at 8:30 p.m.; Mexican Institute of Sound at 10 p.m.

Starving Artists Lounge at Leatherby’s Cafe Rouge January 13 – 15 and January 18 – 21

600 and 615 Town Center Drive, Costa Mesa, CA

Segerstrom Center for the Arts

Tickets:            Single tickets: $20

 Multi-show packages with tickets at the low price of $10

In person -      The Box Office

                        600 Town Center Drive

                        Costa Mesa, CA 92626

                        Open 10 a.m. – 6 p.m. daily

Online -           SCFTA.org

Phone -            (714) 556-2787

                        Open 10 a.m. – 6 p.m. daily

TTY number - (714) 556-2746

Group Sales -  (714) 755-0236