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Jennifer Eve Thorn returns to the stage for ‘Mother of the Maid’ at Moxie Theatre
Mikaela Rae Macias and Jennifer Eve Thorn in Mother of the Maid at Moxie Theatre | Photo: Desireé Clarke
Teens are inscrutable creatures to their parents even in the best of times. Imagine how much stranger it would’ve felt to see your daughter ride off to lead an army, the future king in the palm of her hand, hailed as the fulfillment of a prophecy.
Every saint still needed someone to change their diapers. That’s the perspective Mother of the Maid takes on Joan of Arc, who, guided by visions of St. Catherine, influenced her way into Charles VII’s court, led the siege of Orléans in 1429, and was ultimately executed for heresy (spoiler alert) about age 19.
Moxie Theatre’s Joan, Mikaela Rae Macias, has unshakeable self-assurance about her holy mission, heedless of any caution from her family. When she dictates an ultimatum to the Duke of Burgundy, clad in plate armor, watch the other actors’ bafflement tinged with fear. This is the sweet little girl we raised?
But Joan is still a child, of course, and when her fate is sealed, Macias, a second-year theater student at SDSU, conjures some of the most convincing crying I’ve ever seen—she knows a good cry comes on in stages, even as you’re trying to resist it and keep talking, before tumbling into hyperventilation.
Though she’s the motivating character, Joan is more often absent from the stage, leaving us to digest the dizzying turns of her story through her mother, Isabelle. Moxie’s own executive artistic director, Jennifer Eve Thorn, has for a while been seen only leading talkbacks and asking us to silence our cell phones, but she returns to the stage like no time has passed. Thorn carries a mother’s indomitable will and physicality regardless of whom she’s set against—from Isabelle’s son, Pierre (Zack King), who towers over her and itches for combat; to a lady of the court (Sarah Alida Leclair) who somehow flatters and talks down to her at the same time.
The script, by Emmy Award winner Jane Anderson, demands a lot from Isabelle—perhaps too much. Its core theme is the disconnect between parents and their children; both the pride and the helplessness of watching your beloved become their own person beyond your control, with strange new ideas in their head. This alone could be enough for the play. Every scene between Macias and Thorn resonates in timeless and familiar ways despite the historical setting.
Jennifer Eve Thorn and Mikaela Rae Macias in Mother of the Maid at Moxie Theatre | Photo: Desireé Clarke
Yet Anderson is also trying to say something about the class divide, and that’s where the play feels a little overstuffed. It’s an insightful take on Joan of Arc: The nobility selects one remarkable member of the working class to lionize as a bootstrap success, sends them off to war, and fails to protect them, only to praise their heroism after their preventable death.
But there’s not much room to balance that theme with the mother-daughter relationship on top of all the period exposition. The result is stray historical details that receive no follow-up, clashing with contemporary language like the lady of the court being aware of her “privilege.”
The interstitial music choices seem out of place, too—medieval instrumental covers of System of a Down, Coldplay, Cyndi Lauper, and others whose titles are usually on-the-nose about the content of the preceding scene. They do provide some palate-cleansing levity, but once you notice the anachronism, they become more of a name-that-tune guessing game.
But these are minor complaints. On the whole, Mother of the Maid is a moving, realistic portrait of an average family swept up by the forces of history. Director Desireé Clarke deftly maneuvers around the wordy script, giving everyone the right beats to stop, breathe, and react. For me, the play’s most powerful moment is when Isabelle, unable to visit Joan, tries to compose a letter and just can’t form the words. Thorn’s speechlessness is heartbreaking. So too is the final monologue from Joan’s father, Jacques (Dave Rivas)—whose former protective gruffness dissolves into naked grief.
The human stories here are as fine as anything Moxie has produced, and well worth the script’s occasional excesses.
Mother of the Maid runs through May 22. Tickets are available at moxietheatre.com.
Grab your tickets now—only five performances remain
The cast of Come from Away at Civic Theatre
Matthew Murphy
La Jolla Playhouse is a hitmaker, no doubt about it. The Who’s Tommy, Jersey Boys, and Memphis were all developed in our jewel by the sea and went on to Broadway and nationwide acclaim. The latest to join their ranks is Come from Away, the true story of 7,000 airline passengers who were diverted to the tiny town of Gander, Newfoundland, on September 11, 2001. It was nominated for seven Tony Awards, including Best Musical, and won Best Direction for La Jolla Playhouse Artistic Director Christopher Ashley.
Ashley and choreographer Kelly Devine have stayed with the show from its original run, to Broadway, to the national tour that’s at the Civic Theatre for one short week. If readers don’t have tickets yet, stop reading and buy them now (trust me)—there’s only five performances left.
The live show is a can’t-miss experience, even if you’ve already seen the filmed performance, which was released on Apple TV last year while most of Broadway was still shut down due to COVID. I had seen it—yet I forgot how much comedy there is in the show. Maybe because September 11 is surpassed only by cancer in its ability to thud a story to a sudden halt. I’ve seen too many plays where references to the attacks are simply dropped in, nuance-free—even as a surprise—for (one assumes) an easy emotional reaction.
This is not one of those plays. It’s woven through with loss without becoming a play about trauma, in part because its ensemble has so many individual stories to tell. The whole cast takes on at least dual roles (often triple or more), switching on a dime between heavy Newfinese accents and those from all over the world. As the residents of Gander, they scramble to prepare for a sudden doubling of their town’s population; and as those who’ve “come from away,” they wait for answers—about whether their family in New York are okay, about when they’ll be able to leave, or simply about just what the hell is becoming of the world.
It’s a tremendous credit to the director, choreographer, lighting designer (Howell Binkley), and dialect coach (Joel Goldes) that these transitions are never anything but crystal clear: No matter how many scenes and personas we swap through, you always know exactly where you are and who’s talking to whom.
Come from Away could also be a Canadian tourism ad, for how much it shores up the country’s reputation for being kind and welcoming. Across language and cultural barriers, the locals open up their homes and businesses to feed and house the stranded, culminating in the show’s best musical number, “Screech In,” when those strangers are officially inducted as Newfoundlanders in a rousing bar celebration led by Gander’s mayor (the ebullient Kevin Carolan).
Marika Aubrey (center) in Come from Away at Civic Theatre
Matthew Murph
While “Screech In” has that familiar building-toward-intermission energy, it instead leads directly into the second-best number (your SkyMiles may vary), “Me and the Sky.” Marika Aubrey is fantastic as the real-life Beverley Bass. Her solo is what the entire movie Captain Marvel was trying to be (sorry not sorry). Taking a nearly three-act journey in itself, it tells her life story of overcoming discrimination to become American Airlines’ first female captain: Your heart will soar with her, then plummet at the line “Suddenly I’m flying Paris to Dallas / across the Atlantic and feeling calm / when suddenly…”—as you realize what rhyme is coming for calm.
Be prepared to cry. The play doesn’t shy away from the horror of that day. But neither does it dwell in it or staple it on for cheap pathos. Rather, it presents an antidote to the horror in the form of small serendipitous joys, and simple compassion from one stranger to another.
Come from Away runs through the weekend at Civic Theatre; tickets are available at broadwaysd.com.
This Pulitzer Prize finalist is full of surprises and rich character work
In the first scene of Dance Nation, one member of the preteen dance troupe—all played by adults, in Donald Duck sailor outfits—breaks a leg. (Literally.) For a minute while she’s abandoned to drag herself offstage, you can almost hear the audience’s mental gears recalibrating from “Comedic Realism” to “Absurd Farce.” But if there’s one thing you can count on from Moxie Theatre, it’s a show that defies quick labels.
Not that there’s anything wrong with farce. But Dance Nation has a lot more on its mind than a simple satire of the hypercompetitive world of Dance Moms, which should be evident from the recognition it’s received: It won the Relentless Award and the Susan Smith Blackburn Prize after debuting at Playwright Horizons in 2018, and promptly became a finalist for the 2019 Pulitzer Prize for Drama. It’s heading to Chicago’s Steppenwolf Theatre after this, its West Coast debut.
You realize soon after that first shock that this is one of those rare empathetic, character-driven stories that are actually enhanced by their glimpses through the looking glass. Each of these six girls (and one boy) are motivated by real coming-of-age concerns like the pressure to succeed, the fear of being excluded, or even just the difficulty of giving oneself an orgasm; and each one has a voice that’s very well differentiated from the others, which (in the writing world at least) is an underrated achievement.
Where a less confident script might explicitly announce its wilder segments as dream sequences or inner monologue, Dance Nation paints a more vivid picture of adolescence by blurring the lines of reality. As much as the realistic narrative hits the authentic mannerisms and conversation style of high-achieving preteens, the more stylized detours capture the feeling of unlimited potential that drives them. Could I get into some in-depth analysis of the thematic reasons why the dancers transform into vampires, their ballet into a rave? Sure. But why waste words on justifying the form when the feeling speaks louder?
There is a conventional plot, following the troupe’s preparation for the “Boogie Down Grand Prix” in Tampa Bay—but it unfolds by way of vignettes, incidental conversations, character observation through dance, and other slice-of-life episodes. I don’t know about playwright Clare Barron’s background, but the flavor of these are too deliciously specific not to have some origin in memoir. Dance Teacher Pat (Daren Scott, whom I’m happy to see onstage after seeing his photography for theater companies all over town) is always “Dance Teacher Pat,” never “Pat,” never “Mr.”; and his methods are progressively bizarre, hilarious, threatening, and inspiring.
Everyone in the cast gets their turn to shine, and if not for lack of space I would go on about each of them. I’ve seen Sandra Ruiz and Joy Yvonne Jones in previous Moxie productions (and just had the privilege of interviewing the latter) and both of them have put a lot of thought into embodying young characters who have just as complex an interior life as any adult.
Dance Nation Moxie Theatre review
Andrea Agosto in Dance Nation at Moxie Theatre | Photo by Daren Scott
Sarah Karpicus Violet plays a few different moms, now commanding, now cuddly. Eddie Yaroch’s character has less dialogue than others, but it’s sweet to see representation for boys who are quiet but sincere and completely unconcerned with machismo. Wendy Maples is a star burdened by the expectations that accompany teacher favoritism; Farah Dinga plays a new student hoping to join the in-group; and Li-Anne Rowswell’s big moment is such a touching tribute to the power of magical thinking that I wanted to gush to the playwright, “I can’t believe someone else felt this way as a kid, too—and I’m so happy that you’ve put it into words.”
Last but not least, director Jennifer Eve Thorn must have seen Andrea Agosto in Diversionary Theatre’s Bull in a China Shop—for me, her monologue was the highlight of that play—because Agosto gets the pièce de résistance here, too, delivering a knives-out, flag-planting feminist manifesto where every syllable and gesture are fine-tuned for maximum impact. (What I’m saying is, the Craig Noel Awards should have a category for best monologue.)
To be honest, my only complaint about this show was that it ended so abruptly. Ninety percent of the plays I see, I’m ready for things to wrap up halfway through the second act, but I would’ve enjoyed another half hour with these bright, dynamic characters, seeing just how big their appetite for the world could get.
Dance Nation, directed by Jennifer Eve Thorn
at Moxie Theatre through September 15
Tickets at moxietheatre.com
Moxie’s New Season Is Off to a Smashing Start with ‘Dance Nation’
Farah Dinga, Li-Anne Rowswell, Sandra Ruiz, Eddie Yaroch, Andrea Agosto, and Wendy Maples in Dance Nation at Moxie Theatre | Photo by Daren Scott
Dan Letchworth is the copy chief of San Diego Magazine. His print column Dansplaining explores San Diego trivia, and his theater review blog Everyone’s a Critic was a finalist for best online column in the 2019 National City & Regional Magazine Awards.
See The Phantom of the Opera, enjoy smooth tunes at the Pacific Soul Jazz Festival, and kick off your shoes for the Julian Grape Stomp Festa
And just like that … we’ve entered the final third of 2026, where concerts, musicals—both new and old—and several special events await. This week’s live music lineup includes a Guns N’ Roses concert at Snapdragon Stadium and the two-day Pacific Soul Jazz Festival, headlined by Robert Glasper and Kenny Lattimore. For fans of musical theater, the nationwide touring production of The Phantom of the Opera will begin its two-week stay at the Civic Theatre and the world premiere production of Begin Again will debut at The Old Globe. As for other opportunities to go out, there’s the first-ever Anime San Diego convention, Amor y Magia’s bar takeover at the Fairmont Grand Del Mar, and the annual Julian Grape Stomp Festa.
JUMP TO: Food & Drink | Concerts & Festivals | Theater & Art Exhibits | More Fun Things to Do

Work for your wine in the centuries-old winemaking tradition—in the vein of “I Love Lucy”—during the 29th annual Julian Grape Stomp Festa at Menghini Winery. This Saturday from 11 a.m. to 5 p.m., guests can squish grapes, hang out in the shade and sample tastings or buy bottles and full glass pours from 11 local beverage purveyors. The festivities also include a jumper and games for kids and a Lucy Ricardo look-alike contest with a $100 grand prize. Ticket options include regular admission ($25), which comes with a wine glass and one tasting, and child admission for ages 6-20 ($8); additional tastings are $2 each.
1150 Julian Orchards Drive, Julian
Ahead of Amor y Magia’s upcoming opening in Carlsbad, from the makers of Same Same and Good Enough Cocktail Bar, enjoy a night of curated cocktails in the Lobby Lounge of the Fairmont Grand Del Mar during the Amor y Magia Bar Takeover. This Saturday at 7 p.m., guests can get a sip (or several sips) of what’s to come as bartenders Mike Mayaudon and Shawn Seaman lead a night of love and magic. No reservations are necessary for this event.
5300 Grand Del Mar Court, Del Mar
As their debut album Appetite for Destruction approaches its 40th birthday, Guns N’ Roses remain trailblazers, both for their immense popularity and enduring influence on the hard rock genre. Though the mayhem-filled excitement of a Guns N’ Roses record may be difficult to match in theory, the band’s live performances reach for the stratosphere. This Wednesday (6:25 p.m.) at Snapdragon Stadium, fans can head down to “Paradise City” with Axl Rose and company and special guests the Black Crowes. Tickets start at $49 for this concert.
2101 Stadium Way, Mission Valley
Take a trip through the genre-defying collaborations of jazz titans Dizzy Gillespie, Miles Davis and Sonny Rollins during A Night in Tunisia this Saturday (7:30 p.m.) at The Rady Shell. Named for Gillespie’s famed famed jazz standard, this concert will feature a soundtrack chock full of jazz with Afro-Cuban rhythms played by the 17-piece KSDS Orchestra, helmed by local trumpet aficionado Gilbert Castellanos. Before the main event, there will be a performance by the Young Lions Jazz Conservatory All-Stars at 6:30 p.m. Tickets range from $47-$103 for this concert.
222 Marina Park Way, Embarcadero
The House of Ukraine will kick off a weekend of free activities with Saturday’s Ukrainian Festival. The festival showcases traditional music and dance performances (2-4:30 p.m.), plus an international food court (11 a.m. to 5 p.m.), featuring Ukrainian dishes like varenyky and kovbasa, as well as classic sweets like cookies, ice cream, and cotton candy. The following morning at 9:30 a.m., there will be a free 5K run and walk, beginning and ending at the Green Flash installation by the Mission Beach boardwalk; participants are encouraged to dress in the colors of the Ukrainian flag.
Festival: 667 Pan American Road West, Balboa Park | 5K: 3450 Ocean Front Walk, Mission Beach
Spend your Labor Day weekend swaying to jazz, soul, gospel, and R&B during the Pacific Soul Jazz Festival at Epstein Family Amphitheater. This two-day event, put on annually by Mandate Project Impact and the Urban League of San Diego County, starts at noon daily, and will include a vendor village with local businesses. Audiences can expect sets from artists like violinist Karen Briggs, bassist Darryl Williams and saxophonist Mini Abair in addition to headliners Robert Glasper (Saturday) and Kenny Lattimore (Sunday). Single-day tickets range from $40-$250.
9500 Gilman Drive, La Jolla
Ryan Hardison is a freelance arts and entertainment writer and recent graduate of San Diego State. When he's not staring at his laptop, he's likely eating an adobada burrito or getting sunburnt at the beach.
Earlier this year, Fit quietly dropped "athletic" from its brand, from Fit Athletic Clubs to simply Fit, and started calling itself something new: a social wellness club.
There’s a version of San Diego that lives in two extremes. On one side, the 5 a.m. crowd: biohackers, marathoners, people who’ve already logged a cold plunge before your alarm goes off. On the other, the after-dark crowd, the ones chasing sunset happy hours and late dinners with friends. Everyone seems to be either optimizing or unwinding, and most of us feel like we’re failing at both.
Fit, San Diego’s reigning Best Gym for the third year running, has built its entire identity around erasing that divide.
Walk into one of Fit’s three San Diego locations on a Tuesday afternoon and the lines blur fast. Someone’s mid-set on the squat rack. Someone else has a laptop open at a café table a few feet away, half-working, half-people-watching. A group is trading plans for the weekend’s event by the recovery lounge. Nobody’s in a rush to leave.
“We’re not competing for the same people,” says Emily Waybright, Public Relations Manager at Fit, addressing the arrival of a national luxury gym chain in San Diego this year. “We don’t really feel like we’re in the gym category. It’s this unique thing.”
That unique thing has a name now. Earlier this year, Fit quietly dropped “athletic” from its brand, from Fit Athletic Clubs to simply Fit, and started calling itself something new: a social wellness club.
It’s a small wording change with a bigger idea behind it. Fit was never built around escaping the workday. It was built around the people who genuinely like what they do, and who want workouts, work, and friendships to happen in the same place instead of three separate ones. Because sometimes red light therapy with a stranger turns into weekend plans.
Fit’s philosophy traces back to its founder, who started the brand nearly two decades ago after failing to find a gym he actually wanted to belong to. He looked instead to the old-school country club, where people came for a shared interest and stayed for the community. His version was made for a younger generation, minus the golf, plus the loud music.
Which makes it a little ironic that the very award putting Fit back in the spotlight this year is Best Gym.
What does the best traditional gym look like when the definition of a gym is becoming less traditional? It’s a fair question, and Fit’s answer is that the fitness industry itself is shifting. The 45-minutes-in, 45-minutes-out model is giving way to something closer to a genuine third space, the kind of role the office and the bar used to play before remote work and changing nightlife habits rearranged how people spend their time
For Fit, community isn’t a marketing add-on to fitness. It’s the through-line. Members aren’t just paying for a treadmill; they’re paying for an entire day of social wellness that’s built on performance, recovery, connection, and a plan for the next event on the calendar. That’s a much harder membership to walk away from.
Ambition and ease aren’t opposites here, they exist side by side, where passion and play share the same morning. On September 12, Fit is hosting Sol, a full day wellness festival at Fit Social. The morning focuses on wellness classes and vendors and then the evening is a full party with multiple DJ sets and an open bar. Think of it as a kick-off to locals’ summer in San Diego.
Ready to see what a social wellness club actually looks like? Visit fitclubs.com, or follow along at @thefitclubs on Instagram.
Joe Dreamz built a local following by asking strangers about their ambitions and turning their answers into songs
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?
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.”
Emma Veidt is an editor at San Diego Magazine. She earned her bachelor's and master's degrees from the Missouri School of Journalism. She loves running, hiking, and rock climbing, but really, she mostly loves encounters with the street cats around North Park.
Live Nation is turning the historic Wonder Bread Building into a 4,000-capacity concert hall designed to bring more touring acts to the city
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.
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.
Camila Ibarra Gallego is a CaliBaja native pursuing a master's degree in culinary journalism at the Basque Culinary Center. Shaped by the culturally rich, bicultural megaregion, she's passionate about sniffing out stories that connect people, territory and culture through food. When she's not tumbling down internet rabbit holes, you can find her pretending to be a wine connoisseur at a local wine bar or nose-deep in a good book.
Laika Nur, MD, takes her love of volleyball from the court to the clinic as team physician for the San Diego Mojo
Growing up, Laika Nur, MD, Scripps Clinic sports medicine specialist, loved watching beach volleyball when the Association of Volleyball Professionals tour came to her hometown of Chicago. A talented volleyball player herself, she remembers sitting in the stands all day, and once, even got a couple autographs. Years later, Dr. Nur was attending a professional event focused on women’s sports, and the discussion turned to a new professional women’s volleyball league. The general manager and coaching staff for San Diego’s team, the Mojo, happened to be in attendance, and Dr. Nur took the opportunity to ask them if they needed a team doctor. Flash forward to the Mojo’s inaugural 2024 season, when Dr. Nur officially became the team physician. Click here to read more about Dr. Nur and how she incorporates lessons she learned on the court into her practice.
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