2025 Impact Report
Don Stewart: The Employment Evidence
“Ninety-two percent job placement immediately after graduation.”
That’s not marketing speak from our Conservatory Director of Actor Training—that’s Don Stewart’s track record. When Don talks about the working student who got “breathing room” from scholarships and landed a lead role in Frozen, he’s not describing charity. He’s describing what happens when you give talented people the space to focus on excellence.
Consider B Norwood’s path: PCPA to Juilliard to Shakespeare in the Park’s Twelfth Night – securing an excellent review in the New York Times. This isn’t a rescue story. It’s a success story where merit meets opportunity.
“The support from the community gave them the space where they could really focus on the acquisition of the skills that needed to make that happen,” Don explains. Your investment doesn’t create dependency — it creates professionals.
Anne McMeeking: The Industry Validation
“We’re definitely the only thing of our kind in the country.”
When Anne McMeeking, our Technical Theatre Director, says this, she’s not boasting. She’s stating a fact. “The industry notices what we do here because it works.”
Donna Cantu graduated from our program this May. A local student from Guadalupe, she went straight to Santa Fe Opera as a wardrobe apprentice and received one of only two awards given to production staff for outstanding work. We are so honored that Donna — amongst 100 apprentices — was selected for the Santa Fe Opera Technical Apprentice Award. This isn’t a lucky break — Donna earned this opportunity.
Anne’s students don’t just learn—they excel. Second-year students executed full costume builds for Beauty and the Beast. When critics called it “a sweeping spectacle” and Broadway World praised it as “a bright satin bow on your holiday celebration,” they were celebrating student craftsmanship. Every gown. Every detail. Built by emerging artists. Your gifts help train these students.
Students handle “magic” effects on stage with professional responsibility. They raise $6,500 annually through their own initiative to attend national conferences. They organize professional development trips independently. Anne continues, when Disney and Princess Cruise Lines seek partnerships with us—that’s not charity. “That’s excellence attracting excellence.”
“Nearly a hundred percent in terms of post-program employment,” Anne reports. Because talent, properly trained, finds its place.
Emily Trask: The Transformation Witness
“I cried. Out of happiness and pride for him, but also for what PCPA does.”
Emily Trask, our Associate Artistic Director, witnessed something remarkable two years ago. A student with such severe stage fright that he couldn’t finish auditions, who would panic halfway through and leave. “But we could all see the talent under the fear.”
Last season? There he was, center stage in Lucky Stiff, stealing scenes. Emily didn’t cry because we helped someone who couldn’t succeed on their own. She cried because we helped someone exceptional become unstoppable.
“We help them become the people they hope to be,” Emily says. Consider, for example, Kiara Plaza and Andrew Missael Banderas. They worked alongside their exceptional teacher and resident artist, Alexander Pimentel, in Sanctuary City. Their work was so reflective of our community and the moment in which we live, it spurred an important partnership between PCPA and the AIM to Dream Center. The result? Sancutary City was featured in American Theatre Magazine.
When students bring urgent and timely art to our community through our professional productions and step into the role of professional actor, ambassador, and whole artist in an impactful way, that’s not assistance. That’s transformation.
After pandemic delays, Emily finally got to play Bea in Something Rotten. “Teaching makes me a stronger actor. Acting sharpens my directing,” she reflects. “At PCPA, talented people don’t have to choose one lane. They become complete artists, and they give more back because of it.”
Michael Brusasco: The Artistic Excellence Proof
“The students are PCPA’s greatest resource.”
When Michael Brusasco, our Associate Production Manager, assembled what he calls the “Dream Team”—Grace Neal, Kait Naylor, and Sophie Young—he wasn’t taking a chance on untested interns. He was deploying his best assets.
Despite most of the cast contracting COVID during rehearsal, this entirely intern-led stage management team delivered “one of the smoothest and easiest productions” Michael had ever experienced. Why? Because “we give talented interns real responsibility, and they rise to meet it.”
But Michael’s work goes beyond logistics. His direction of Holmes and Watson featured a noir aesthetic with German expressionist influences. He sourced an esoteric piece of contemporary classical music to underscore key moments and crafted a pre-show announcement in the style of Sir Arthur Conan Doyle. In one final artistic stroke, Michael timed the intermission so the second act unfolded in darkness for maximum effect.
This is the environment where exceptional students thrive: productions crafted with artistic rigor, where every detail matters, where the work challenges both students and delights audiences. Professional standards. Artistic integrity. Real responsibility and leadership development. These elements are the power of PCPA.
The Season You Made Possible
Your show sponsorships and generous gifts brought more than student training this year—they brought enchantment to the Central Coast.
Critics praised the artistry throughout our season. The Santa Barbara Independent gave “six out of five stars” to Cabaret, calling one performance “the most diva-on-the-verge-of-a-breakdown rendition I’ve ever seen.” SLO Review described it as “much more than just fun and laughs… hold on for a wild ride.” Spring’s Much Ado About Nothing was “a delight—pure and simple, with appealing performances and beautiful technical support.”
Summer brought us back to the Solvang Festival Theater, where the magic of outdoor performance creates something irreplaceable. As one local report noted, “The magic of being outdoors under the stars… it really feels like something really special and unique that PCPA gets to do every year.” Church bells. Bats flying at dusk, the moon rising during intermission. It all adds something special to every performance.
Looking Forward
After a July performance of Something Rotten, ensemble member Olesia Winbush had just finished singing and dancing on stage. Carpenter Tom Finnochio had been working on the set. They were heading to their cars when they noticed two patrons struggling with a completely flat tire.
Without hesitation, they jumped in to help. They unloaded the trunk, changed the tire, extracted the spare, and got the women safely on their way. Other company members stopped to offer assistance.
Patron Judy Cooper expressed, “We are truly heartened by the kindness of these young people. In addition to their wholesome upbringing, this experience reflects the caliber of the P.C.P.A. company.”
The Season You Made Possible
As we close out 2025, we want you to know that your investment is working brilliantly: Grace Neal at Norwegian Cruise Lines, Donna Cantu winning awards at Santa Fe Opera, B. Norwood at Shakespeare in the Park, Students who raise their own funds, organize their own opportunities and help strangers in parking lots, and creating art that sparks the conversations our community needs.
This is what excellence looks like. This is what merit, properly supported, achieves.
Thank you for believing in exceptional young artists. Thank you for investing in both professional training and artistic integrity. Thank you for making PCPA a place where talented students become not just working professionals, but leaders who make our community better.
