San Antonio Little Theatre, Inc. dba The Public Theater of San Antonio

Theater for All

aka The Public Theater of San Antonio   |   San Antonio, TX   |


The Public produces professional live theater that inspires, educates, and connects communities.

Ruling year info


Executive Artistic Director

Claudia de Vasco

Main address

800 W. Ashby Pl.

San Antonio, TX 78212 USA

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Formerly known as

San Pedro Playhouse

San Antonio Little Theatre, Inc.

The Playhouse San Antonio



NTEE code info

Theater (A65)

IRS filing requirement

This organization is required to file an IRS Form 990 or 990-EZ.

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Programs and results

What we aim to solve

SOURCE: Self-reported by organization

The Public Theater is demonstrating a leadership role in the performing arts community to sustain a Small Professional Theater (SPT) in San Antonio, bringing a new amenity that increases the vibrancy of the performing arts community and contributes to long-term economic development. The Public is filling a void that existed between local community theater and national touring productions. San Antonio benefits by having a SPT in multiple ways, including: enhancing the economic impact of the local creative industry; sustaining a diverse arts and culture community for residents and visitors; enhancing theater arts educational opportunities, and; providing employment opportunities for local talent and production professionals. Also, the presence of a local professional theater company stimulates the competitiveness of the city to attract and retain businesses and corporations seeking accessible public amenities for their employees and their families to enhance their quality of life.

Our programs

SOURCE: Self-reported by organization

What are the organization's current programs, how do they measure success, and who do the programs serve?

Presenting Season

The Public offers a series of productions each season in its two venues located in the San Pedro Playhouse. The Russell Hill Rogers stage is home to spectacular musicals, sweeping dramas, and rollicking comedies, each designed to fill the 350 seat theater. In the smaller, more intimate Cellar Theater, seating 60, The Public produces edgier comedies, dramas, and experimental works, many of which have just left Broadway.

Population(s) Served

The Public hosts exclusive Education Nights for middle- and high school students from 15 local school districts. The Broadway Connections Master Class Series provides theater instruction in performance, vocals, and dance taught by touring professionals from Broadway. Our TheaterREACH program conducts therapeutic arts programs for disadvantaged populations.

Population(s) Served
Economically disadvantaged people

Where we work

Goals & Strategy

SOURCE: Self-reported by organization

Learn about the organization's key goals, strategies, capabilities, and progress.

Charting impact

Four powerful questions that require reflection about what really matters - results.

The goals for The Public Theater are:
Goal #1: Ensure fiscal responsibility and accountability and retain the public benefit and community trust. Objective #1: The Public will sustain revenues that enable continues, planned growth through creating investment opportunities and provide positive patron experiences as well as partner/donor cultivation and acknowledgement.
Goal #2: Enhance the arts and culture in San Antonio. Objective #2: The Public Theater will increase brand awareness and attendance at performances by presenting productions with high artistic value that provide affordable entertainment appealing to the diverse population of San Antonio.
Goal #3: Operate the Public Prep Youth Academic Program. Objective #3: The Public will demonstrate the value of theater arts education for individuals and the greater community by sustaining a curriculum-based theater arts education program that includes onsite and outbound activities.
Goal #4: Sustainable growth in artist wages and professional staff. Objective #4: The Public will contribute to the economic growth of the local creative industry by creating employment opportunities and fair compensation for professional artists and staff.

2020/21 Strategies:
Strategy #1: Achieve FY21 earned and contributed revenue goals to present a 2020/21 Season of 11 productions and a new works festival consisting of 200 performances occurring over 52 weeks to a total patronage of 34,000.
Strategy #2: Increase season subscriptions, single ticket sales, and patronage of under-served populations through effective marketing, creative production alignments, and increased community engagement programming. Host six ‘Theater for All’ public preview nights, nine community education nights, four Theater REACH programs, and provide scholarships to 33% of students in camp-based educational programming. 15% of patrons (5,200) in FY21 will be from under-represented populations, low-income households, or disadvantaged communities.
Strategy #3: Provide year-round theater arts educational programming for youth. Courses will include sequential curriculum courses in acting, vocals, and dance, outbound educational programs for schools, camp-based programs, teen leadership group, and youth and adult Master classes.
Strategy #4: Sustain a local professional theater industry and contribute to the economic impact of arts and culture by generating over $800,000 in household income by providing employment opportunities to 300 individuals.

The Public Theater’s staff consists of 11 full-time and 8 part-time staff members. The organization has a senior leadership team that includes the CEO/Artistic Director, CFO/Business Director, Chief Development Officer, Chief Technical Officer, and Chief of Staff/Company Manager. Additional full-time creative team members include Costumer, Scenic Designer, and Scenic Technician. Education and engagement programs are overseen by an Education Coordinator. The front-of-house staff is led by a Patron Engagement Manager, who oversees a Box Office Liaison and part-time box office attendants and bartenders.

The senior leadership team includes:
George Green, CEO and Artistic Director, has over 30 years of theater leadership and management experience and has served as the Director of Development for Spokane Civic Theatre as well as the Executive/Artistic Director of The Modern Theaters of The Inland Northwest. A Veteran, he gained his business acumen as a marketing and promotion expert in the radio and print industry. George has been involved in the theatrical arts as an amateur and professional dating back to 1977.

Laura Michelle Hoadley, Chief Financial Officer and Business Director studied music and theater at the University of Louisiana at Monroe before joining Strauss Theatre Center as Operations Manager and Guest Director for YoungTroupe. Laura Michelle joined The Public’s team in 2011 as Box Office Manager, later promoted to the position of Operations Manager and eventually Business Director.

Jeff Morden, Chief Development Officer has a 30-year professional career in community-based and public service organizations. Jeff studied Communications at the University of San Diego and Saddleback College. Jeff’s broad, non-profit experience includes business development, program administration, fundraising, special events, community relations, contract monitoring and compliance.

Daniel ‘Doc’ Heggem, Chief Technical Director, has more than over 30 years of experience in theater operations and management. He studied and practiced lighting design throughout Southern California before moving to the Pacific Northwest in 2001 and relocating to Texas in 2016. Proficiencies include lighting design, rigging, house and stage management as well as facility and scene shop management. Doc is knowledgeable in Life Safety and ADA regulations and compliance, familiar with interpreting blueprints and electronic diagrams.

Courtnie Mercer, Chief of Staff/Company Manager, attended The University of Texas at San Antonio where she studied Kinesiology and Health. Courtnie has been active with multiple theater organizations and her experience includes guest services, box office management, marketing, and outreach. Skills include staff supervision, front of house operations, ticketing systems, collaborative programing, and choreography.

FY 19 (2018/19 Season) Accomplishments
• Increased Season Subscribers 15% from 1,400 in FY18 to over 1,600 in FY19.
• Increased total patronage by 26% from 27,000 in FY18 to 34,000 in FY19.
• Increased the total number of performances by 21% from 160 in FY18 to 194 in FY19.
• Increased exclusive Education Night performances from 5 to 8 and increased participation from 1,200 in FY18 to 2,800 in FY19.
• Established Master Classes for youth and hosted 7 sessions with 164 participants, including 36 on scholarships.
• Generated a total economic impact of $2.5 million for the community, including $1.9 million in household income and supporting 80
full-time equivalent jobs, as estimated by the Arts & Economic Prosperity Calculator from Americans for the Arts.
• Increased earned income by 51% and contributed income by 63% for total income of $1.7 million for FY19.
• 450 volunteers contributed almost 1,600 hours of service at an estimated workforce value of $40,000.

FY18 (2017/18 Season) Accomplishments
• In July 2017, The Public entered into a contractual agreement with Actors Equity Association (AEA) to become San Antonio’s first and
only regional AEA Small Professional Theater.
• Increased Season Subscribers more than 400% from 250 in FY 17 to more than 1,400 in FY 18.
• Increased total patronage 53% from approximately 19,000 patrons in FY 17 to more than 29,000 in FY 18.
• Increased accessibility and diversity of core product from 9 productions over 36 weeks in FY 17 to 12 productions over 52 weeks in FY
• Increased total performances by 48% from 108 in FY 17 to 160 in FY 18.
• Increased employment of local and regional actors, musicians, and production crew members by 87% from 144 in FY 17 to 269 in FY 18.
• Increased attendance at Community Education Nights by 100% from 600 youth and disadvantaged community members at four public
performances to 1,200 at five exclusive educational nights.
• 500 volunteers contributed over 1,400 hours at an estimated workforce value exceeding $35,000.

How we listen

SOURCE: Self-reported by organization

Seeking feedback from people served makes programs more responsive and effective. Here’s how this organization is listening.

done We shared information about our current feedback practices.
  • Who are the people you serve with your mission?

    Theater patrons, students/youth

  • How is your organization using feedback from the people you serve?

    To identify and remedy poor client service experiences, To identify bright spots and enhance positive service experiences, To make fundamental changes to our programs and/or operations, To inform the development of new programs/projects, To identify where we are less inclusive or equitable across demographic groups, To strengthen relationships with the people we serve, To understand people's needs and how we can help them achieve their goals

  • What significant change resulted from feedback?

    We have revised our casting process to make more collaborative, diverse casting decisions to increase under-represented demographics in our creative teams and performers.

  • Which of the following feedback practices does your organization routinely carry out?

    We collect feedback from the people we serve at least annually, We take steps to get feedback from marginalized or under-represented people, We aim to collect feedback from as many people we serve as possible, We take steps to ensure people feel comfortable being honest with us, We look for patterns in feedback based on demographics (e.g., race, age, gender, etc.), We engage the people who provide feedback in looking for ways we can improve in response, We act on the feedback we receive, We tell the people who gave us feedback how we acted on their feedback, We ask the people who gave us feedback how well they think we responded

  • What challenges does the organization face when collecting feedback?

    It is difficult to get the people we serve to respond to requests for feedback, The people we serve tell us they find data collection burdensome, Staff find it hard to prioritize feedback collection and review due to lack of time


San Antonio Little Theatre, Inc. dba The Public Theater of San Antonio

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The people, governance practices, and partners that make the organization tick.


Connect with nonprofit leaders


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Connect with nonprofit leaders


Build relationships with key people who manage and lead nonprofit organizations with GuideStar Pro. Try a low commitment monthly plan today.

  • Analyze a variety of pre-calculated financial metrics
  • Access beautifully interactive analysis and comparison tools
  • Compare nonprofit financials to similar organizations

Want to see how you can enhance your nonprofit research and unlock more insights? Learn More about GuideStar Pro.

San Antonio Little Theatre, Inc. dba The Public Theater of San Antonio

Board of directors
as of 03/02/2022
SOURCE: Self-reported by organization
Board chair

Boriana Damm


Term: 2023 - 2021

Valerie Dullnig

Limmer Hair Transplant Center

Judith York

Community Volunteer

Debbie Strus

Depression Treatment Clinic of San Antonio

Vince Davila

Wells Fargo

Dennis Karbach

Karbach Consulting Group

Boriana Damm

Ernst & Young

Michael McLaughlin

Capital Group

Melanie Tawil

SwipeTrack Solutions

Lynzee Hill

Sage Settlement Consulting

Michelle Andersen


Jovanna Avila

Duncan, Bressler & Williamson

Tinotendra Madyara

Verizon Media

Meghan Anderson


Louise Cantwell

WEX Foundation

Joe Rosas


Board leadership practices

SOURCE: Self-reported by organization

GuideStar worked with BoardSource, the national leader in nonprofit board leadership and governance, to create this section.

  • Board orientation and education
    Does the board conduct a formal orientation for new board members and require all board members to sign a written agreement regarding their roles, responsibilities, and expectations? Yes
  • CEO oversight
    Has the board conducted a formal, written assessment of the chief executive within the past year ? Yes
  • Ethics and transparency
    Have the board and senior staff reviewed the conflict-of-interest policy and completed and signed disclosure statements in the past year? Yes
  • Board composition
    Does the board ensure an inclusive board member recruitment process that results in diversity of thought and leadership? Yes
  • Board performance
    Has the board conducted a formal, written self-assessment of its performance within the past three years? No

Organizational demographics

SOURCE: Self-reported; last updated 3/2/2022

Who works and leads organizations that serve our diverse communities? Candid partnered with CHANGE Philanthropy on this demographic section.


The organization's leader identifies as:

Race & ethnicity
Gender identity
Female, Not transgender (cisgender)
Sexual orientation
Heterosexual or straight
Disability status
Person without a disability

Race & ethnicity

Gender identity


Sexual orientation


We do not display disability information for organizations with fewer than 15 staff.

Equity strategies

Last updated: 04/30/2021

GuideStar partnered with Equity in the Center - an organization that works to shift mindsets, practices, and systems to increase racial equity - to create this section. Learn more

  • We review compensation data across the organization (and by staff levels) to identify disparities by race.
  • We analyze disaggregated data and root causes of race disparities that impact the organization's programs, portfolios, and the populations served.
  • We disaggregate data to adjust programming goals to keep pace with changing needs of the communities we support.
  • We employ non-traditional ways of gathering feedback on programs and trainings, which may include interviews, roundtables, and external reviews with/by community stakeholders.
  • We have long-term strategic plans and measurable goals for creating a culture such that one’s race identity has no influence on how they fare within the organization.
Policies and processes
  • We seek individuals from various race backgrounds for board and executive director/CEO positions within our organization.
  • We have community representation at the board level, either on the board itself or through a community advisory board.
  • We help senior leadership understand how to be inclusive leaders with learning approaches that emphasize reflection, iteration, and adaptability.
  • We engage everyone, from the board to staff levels of the organization, in race equity work and ensure that individuals understand their roles in creating culture such that one’s race identity has no influence on how they fare within the organization.