17 Things to Do in San Diego This Weekend: April 29–May 3

Jonathon Glus is the Prebys Foundation senior fellow leading the development of the Art + Design District at the Downtown San Diego Partnership. He has been asked what an arts and design district is many times. In our conversation, I asked him instead to describe what it isn’t. His answer opened up a broader discussion about what San Diego has and hasn’t invested in, what it has the capacity to become, and what other cities have done that we haven’t. Glus speaks about global art fairs and architecture biennials in Chicago and long tables at dinner parties all with the same fluency. He also discusses who gets to live in the neighborhoods where creative work happens, and what it means when they can’t afford to stay.

Claire Johnson: You have been asked what an arts and design district is many times. Can you tell me what it isn’t?

Jonathon Glus: It is not a place designed intentionally and specifically for tourists. Of course there will be opportunities for tourists to come, but the district is really focused on creatives, on creative education, and on the creative workforce—as well as our major performing arts organizations. That is the emphasis.

What does the district need to do in the next five years for you to consider it a success?

[It needs to] develop greater connectivity between the anchor institutions—the symphony, Broadway San Diego, the opera, all the wonderful things happening in Balboa [Park]—and the creative workforce that will be living and working in that neighborhood 24/7.

What does San Diego not have that you wish it did?

We have not been intentionally investing in the contemporary art product that other major cities have been building. A contemporary art fair. A biennial that reflects the ethos of this region. Chicago developed an architecture biennial about eight years ago. London has a design biennial. Desert X, right here in Southern California, invests in and elevates contemporary artists inside a city. We have not really been playing in the global art market in a way that we have the capacity to.

What capacity do we have?

We have a wonderful foundation. Two theater companies that produce work that goes to Broadway more than many regional theaters in the country, major museums, artists teaching at UC San Diego and University of San Diego. What a city does when it wants to take itself to the next level is intentionally create the product. Miami went after the Art Basel fair; they did not passively receive it. You have to have the intention and the will, and you have to go after it. We haven’t done that in the way that other cities have.

Look at what we did with the tech sector; we’re now a major tech center. That was intentional. Leadership organized around it. We have to do the same thing around the arts. We have a lot of contemporary art collectors here. We have a lot of galleries. But the ecosystem of the business of contemporary art is not as organized or as visible as it should be.

Which city is your North Star?

It’s bits and pieces of different cities. Dubai has invested very quickly and very intentionally in contemporary art—art fairs, design fairs, higher education, artist residencies from all over the world. London has centered artists and creatives in the contemporary zeitgeist in a way that was not true 40 years ago. They built biennials. They ensured British artists had affordable housing and workspace. They made sure the media paid attention to what they were doing.

If you don’t have an artist at your dinner table, it’s not a dinner party. That sounds elitist, but it’s true. It shows the value that artists have in a community. Our relationship culturally with Tijuana is really significant here because artists in Baja seem to be at the table.

We’ve talked before about how food, fashion, design, and art aren’t siloed anymore.

They aren’t. When super creative people are in a community doing extraordinary work, that draws other super creative people doing extraordinary work. That’s why other arts and design districts around the world end up populated with some of the most interesting restaurants and young fashion designers. Creatives want to be around other creatives.

Which leads to the economic argument…

Our creative economy already employs about 170,000 people and generates more than $11 billion in economic activity. It’s large and robust. But we must center all of this in accessibility and affordability. Williamsburg used to be affordable. Artists can’t afford to live there anymore. Wicker Park and Bucktown in Chicago—artist central, now unaffordable. If we’re going to invest in this district, we have to be really intentional about housing and workspace, so creatives have a place in the future of this district.

I see all these new supper clubs and creative collectives popping up. What is the lesson there for San Diego in terms of the commercialization of cultural and creative groups?

I think the lesson is that nothing changes. What do people love? Long tables. Why? Because you’re with a lot of people—some you may have known your entire life, but most you don’t. And if it’s driven by a creative process, all the better. We know one of the best ways to do that is around food, but also music.

For the Art + Design District, part of why we’re leaning into the process is because, culturally, we’re bringing down the barriers between film, fashion, multimedia, tech, and architecture. It’s an experiential mashup in the best possible way.

And it’s not just about art and design, but community writ large. Creative expression is something we all desire. Whether it’s at a long table, at the opera, or in your studio, we gravitate toward creative expression as a way of building community and communicating with the people around us.

Is there a question I should have asked you but haven’t?

I hope you are writing about this in seven years when the district is fully mature. But this is just the beginning for all of this. I think that’s what’s most exciting to me. We don’t know what this is going to be like, but we know it’s going to be creatively centered, and that’s super exciting to me.

Fall Arts Preview presented by SDFC Playmakers

September

Cecil Beaton’s Fashionable World

Museum of Photographic Arts at the San Diego Museum of Art

Now through Jan. 10, 2027

Sift through over 200 photographs, sketches, letters, and costumes from “The King of Vogue,” who photographed World War II, modernized royal portraits, and created the aesthetic for 1920s socialites in London.

Washed Ashore: Art to Save the Sea

Natural History Museum

Now through Feb. 28, 2027

Walk through an 18-foot whale ribcage (and a couple dozen other marine-creature sculptures) made entirely of plastic bottles, flip-flops, lighters, rope, and other plastic detritus found on the beach in the Nat’s 3,000-square-foot second-floor gallery.

Forging a Legacy: 15 Years of Landmark Acquisitions

San Diego Museum of Art

Now through May 31, 2027

Part of SDMA’s centennial, “Forging a Legacy,” highlights artists from the past (Picasso, Monet) and modern day (Hugo Crosthwaite) who contributed to the museum’s collection.

ZWO Astronomy Photographer of the Year

Fleet Science Center

Now through 2027

See the stars (without the smog) at their best from the winners of the world’s largest astrophotography competition—all in the Fleet Science Center’s new basement gallery, specifically dimmed to let the cosmos shine.

Begin Again

The Old Globe

Sept. 6–Oct. 11

From the 2013 silver screen to this year’s The Old Globe stage, you can “Begin Again” (again) with a world-premiere musical adaptation featuring new songs—courtesy of Train—and a story overflowing with hope.

Dear Evan Hansen

Cygnet Theatre

Sept. 9–Oct. 4

“On the outside, always looking in…” marks the emotional crux of the Tony-, Grammy-, and Emmy-award winning musical coming to the Cygnet Theatre.

Kumeyaay Comics by the Kumeyaay Visual Storytelling Project

Museum of Us

Opening Sept. 12

Learn the history of the Kumeyaay Nation from the perspective of the members themselves in an immersive exhibit inspired by graphic novels “Our Past, Present, and Future,” and “Beyond Gaming.”

Good Night, Oscar

North Coast Repertory Theatre

Sept. 16–Oct. 11

During Oscar Levant’s appearances on “The Jack Paar Show,” he explained his reality with mental illness—the institutionalizations, electroshock therapies, nothing was too taboo for him. “Good Night, Oscar” takes us backstage in the raw moments before his 1958 television appearance.

Visiones Nocturnas: Queer Nightlife in Contemporary Art

Museum of Contemporary Art San Diego

Sept. 19–Jan. 10, 2027

A disco ball isn’t just a disco ball. It’s a symbol of where queer communities can finally exhale and be their fullest selves. “Visiones Nocturnas” uses paintings, sculptures, textiles, performances, photos, and videos from Latin American artists to explore what’s at stake when nightclub lights shut off.

Silent Movie Mondays

Balboa Theatre

Sept. 21, Oct. 26, Dec. 7

Guest organists from across the country will come to the Balboa Theatre to accompany a new silent film for each performance. This year closes out with The Headless Horseman (1922), Dr. Jekyll & Mr. Hyde (1920), and a holiday triple feature of Laurel and Hardy films.

Oh, Mary!

Civic Theatre

Sept. 29–Oct. 4

“What if Abe’s assassination wasn’t such a bad thing for Mary Todd Lincoln?” was the question that inspired Cole Escola’s play “Oh, Mary!” In the production, Mary Todd desperately tries to return to the cabaret stage, but her husband (President Lincoln in the midst of the Civil War) keeps getting in the way.

October

Payare Leads Strauss’ A Hero’s Life

Jacobs Music Center

Oct. 3–4

Conductor Rafael Payare opens the San Diego Symphony’s 2026-2027 season with a three-part concert featuring composers Sofia Gubaidulina, Wolfgang Amadeus Mozart, and Richard Strauss.

Emily–No Prisoner Be

Baker-Baum Concert Hall

Oct. 8

Two dozen of Emily Dickinson’s poems are turned into songs—composed by Pulitzer Prize winner Kevin Puts and performed by Grammy-winning mezzo-soprano Joyce DiDonato—for a one-night-only exploration of love, loss, loneliness, and mortality.

Ripcord

The Roustabouts Theatre Co.

Oct. 8–Nov. 1

Roommate beef has no age limit. The latest play from Pulitzer Prize winner David Lindsay-Abaire turns that experience into a comedy through retirement home roommates Marilyn and Abby and the bet between them to see who will break first and move out.

Des Canyons aux Étoiles

La Casa del Zorro

Oct. 12

Composer Olivier Messiaen has chromesthia, so for him, sound evokes a visual connotation. His work “Des Canyons aux Étoiles” brings desert rock and the night sky to mind. See what he means from La Casa del Zorro in the Anza-Borrego Desert, in this performance immersed within nature.

San Diego International Film Festival

Locations Vary

Oct. 13–18

San Diego International Film Festival salutes the silver screen for a 25th time, now with a sixth day adding extra time for parties, screenings, and movie-star tributes.

Rigoletto

Civic Theatre

Oct. 23–25

Considered one of the masterpieces from opera great Giuseppe Verdi, San Diego Opera’s “Rigoletto” sees what happens when the prurient Duke of Mantua and his sharp-tongued court jester become entangled in a fatal curse.

Grim

La Jolla Playhouse

Oct. 27–Nov. 29

When the Grim Reaper’s job becomes too…grim…and he retires after 300,000 years, his daughter picks up the family business. But when she falls for a human and finds beauty in the souls she’s meant to reap, she questions her purpose.

November

Skate Craft

Mingei International Museum

Nov. 21–May 9, 2027

San Diego is nothing without skate culture. Mingei’s “Skate Craft” portrays skateboarding as “living folk art” via its DIY roots (skateboards built in garages) and shows how that ethos shapes the future.

San Diego is full of people who deserve a few thousand words on what they make, who they bring together, and how their work changes the city around them. The artists, makers, advocates, and behind-the-scenes talent below are a small part of that larger ecosystem.

To help us narrow our list, we looked for names that kept coming up, work that reflects the diversity of our region, and people building something bigger than themselves.

People remember the first time they see Joe Dreamz.

Mine was a mile into the 2023 Carlsbad Half Marathon. He was standing on a speaker in the middle of the course, singing: “Hey you with the shoes, are you living Joe Dreamz?” Clearly not. I’m running uphill at 7 in the morning, I thought.

Months later, walking out of The Rady Shell, there he was again—parting the crowd of concertleavers Moses and the Red Sea style, singing the same song: “Hey you with the purse, are you living Joe Dreamz?”

Who’s this man at every public spectacle, singing metaphysical questions in a hand-altered, color-coordinating suit that would make James Brown proud and standing on a Soundboks speaker with a microphone and tip bucket?

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A few years ago, San Carlos–born, El Cajon–based Joe Dreamz wasn’t exactly living Joe Dreamz—making $5 footlongs at Subway, dealing with croissant coworkers at Costco’s bakery, and selling life insurance. After he got let go from the life insurance gig and his car broke down in the middle of a 2020 road trip in Seattle, he used his emergency savings to buy a microphone and a speaker; a self-taught musician, he pulled from the only skillset he knew to monetize. He’d set up at Seattle’s Pier 55 and ask people what their dreams were. Then, for $5, create a freestyle rap to commemorate (and hopefully activate) those dreams.

“The goal is that someone listens to a Joe Dreamz song, and they don’t have to wait until metaphorically their car breaks down before they chase their dreams,” he says.

A chance encounter with an airport worker led to a free flight back to San Diego, and Joe Dreamz came home “transformed,” he says. He started busking at the Mission Beach boardwalk, Kate Sessions Park, outside Gaslamp bars; then Padres games, farmers markets, marathons. He also hit the mic outside of Coachella this year (“Joe-chella,” he says).

It’s not a get-viral-quick gimmick; people’s lives are changing. One fan finished writing her book after a dose of Joe Dreamzpiration. Another named his own daughter Joy Dreams.

Now, he’s working on the upstart “Tell Me Your Dream” podcast and DREAM Week in local schools, where each day represents a step toward achievement (D is destination day, R is reason day…). He doesn’t want inspiration to reach you only after hearing a song or watching a video: He believes in this message so much that he literally got DREAM tattooed onto his forehead.

“It’s on my face, so people have no choice [but to see it],” he says. “I’m a local celebrity here, so everywhere I go, people ask me for pictures. In every selfie, the message goes along for the ride too.”

Imagine being the song continuously getting skipped on the playlist. Not because no one wants to hear you, but because you never quite fit the moment. For years, San Diego has been that song on the touring circuit. Artists who have outgrown intimate clubs but aren’t yet filling  arenas and stadiums have often passed us by, heading north to venues better suited to the size of their show. San Diego wasn’t missing the audience, it was missing the room.

That’s all about to change.

On August 17, Live Nation Entertainment announced plans to transform the historic Wonder Bread Building, which it purchased in June for $16.8 million, into a 4,000-capacity indoor venue slated to open in fall 2028. The new space will host music acts as well as private, corporate, and community events. 

Currently, San Diego’s concert landscape jumps quickly from intimate clubs like the Casbah, Winston’s, and Belly Up to larger theaters, amphitheaters, arenas, and stadiums. What’s largely missing—particularly downtown—is a modern indoor room built specifically for roughly 4,000 concertgoers. This leaves a gap in mid-size venues for touring acts that land stages like the Hollywood Palladium or Boston’s MGM Music Hall at Fenway. 

“We are filling a void in the market,” says John Schalk, Live Nation’s Vice President, San Diego Market. “There are other venues in town, but this […] building is just something that doesn’t currently exist.” Although SDSU’s Cal Coast Credit Union Amphitheater serves the 4,000-capacity range, its outdoor, fixed-seating arrangement isn’t as versatile as the proposed Live Nation project. 

Located at 171 14th Street, just a six-minute walk from Petco Park, the building carries a century of history. Architect Eugene Hoffman designed it in 1924, a year after completing the Barcelona Apartment Hotel in Bankers Hill. The landmark brick building served as a bakery and warehouse for the Southern California Baking Company before Continental Baking Company, producers of Wonder Bread, took over in the 1950s and operated there through 1988 continued at the site until 2007.

In the early 2000s, Bob and Gay Sinclair, the couple behind a portfolio of East Village properties, purchased the building. After Bob—the founder of Pannikin Coffee & Tea—died in 2011, Gay sold much of their real estate portfolio but held onto the Wonder Bread Building. Mission Brewing eventually took over the space, where it operated for more than a decade before announcing its 2026 departure.

Now, the building is preparing for another reinvention. Live Nation plans to preserve the historic bakery’s four exterior walls, red brick façade, grain silo, barrel-vaulted trusses, and skylights as part of its next chapter.

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Live Nation isn’t looking to erase its history but to celebrate it, allowing the building’s past to give the new venue some soul. “It’s really important for us that we maintain the integrity and the history of that building,” Schalk says. “There will be new construction and design elements as we go through the process to create the concert venue, but we’re working really hard to preserve it.”

Blueprint Studio, Live Nation’s in-house design and development group, and Gensler, the architecture firm behind San Diego International Airport Terminal 1 and Snapdragon Stadium, will be heading the project. The plan is to design the ground-floor space as an open, general-admission area with a premium level above with 600-plus fixed seats, in addition to box and suite sections. There will also be an additional structure built on top of the historical portion of the building (the four original walls that house the lobby) called the Vinyl Room—a Japanese-inspired hi-fi listening VIP lounge serving elevated food options.

One of the most reassuring aspects of the project is the focus on the concertgoer’s experience—specifically the “pet peeves” we all know too well: long bathroom lines, cramped exits, obstructed views. According to Schalk, one of the best things about building upon the existing structure is having the ability to consider potential obstacles and tackle them before construction begins. “I’d say we are ‘purpose building’ the entirety of the project for a music venue,” says Gensler lead project architect Garrett van Leeuwen. “As part of our design process, we do an in-depth sightline analysis to make sure that sightlines are optimized from every point and seat within the venue.” 

Circulation design is also being implemented to ease traffic flow, alongside acoustic optimization and a transformative outdoor beautification effort. According to van Leeuwen, this “public realm space” will grow the existing 14-foot sidewalk to a 32-foot sidewalk complete with plazas and landscaping. 

“This venue is for the fans. For the music lovers,” Schalk explains. The vision is intimate: “I want a fan to walk up to that building, see that red brick facade, grab their ticket from the box office, go into the lobby and see some of the history that will present itself… and feel like you entered a home.” Schalk also expressed a “keen interest in making sure that we work with the local artists, the local bands, the local musicians in town.” It’s a project that recognizes San Diego as a growing market that is hungry and ready to see a vibrant arts and culture community thrive. 

According to an analysis by Oxford Economics analysis shared by Live Nation, the venue is projected to deliver a significant boost to the local economy, generating approximately $97 million in annual economic impact and supporting 660 jobs. This also includes welcoming 316,000 fans each year—with 126,000 traveling from outside the San Diego metro area—and driving $53 million in local spending at nearby restaurants, hotels, and retail establishments. 

Considering its proximity to other major event spaces and overall busy urban areas, traffic and parking may be a concern, especially on nights of overlapping events. But in those cases, Schalk said they would work together on communication efforts; parking availability; and staggering start, end, and loading times; as well as providing easy access to designated rideshare areas. With transit stations nearby (the closest one being a 4-minute walk at 12th & Imperial), public transportation is another great option for enjoying your night out. 

There are still two years of design, construction, and plenty of logistics between now and opening night. But the bigger promise of the Wonder Bread Building is simple: San Diego finally gets a venue built for the artists who have historically passed it by. After years of getting skipped on the touring playlist, the city may finally be getting its turn on repeat.