Don Pasquale, A Live Drive-In Opera
Donizetti's Charming Bel Canto Comedy
We’re back for laughs, songs, and all the honking!
Live opera returns to the drive-in on Saturday, April 10 as the season opener for the Concerts in Your Car series at the Ventura Fairgrounds. Just 30 minutes south of Santa Barbara and 45 minutes north of the Los Angeles area, come meet us where “Drive-In meets Live Entertainment”!
Each ticket is valid for ONE car. The number of passengers must not exceed the number of safety belts seats in your vehicle, up to EIGHT people.
When it comes to combining beautiful melodies and vocal pyrotechnics with laugh-out-loud comedy, no one is a match for bel canto master Gaetano Donizetti, the composer of The Elixir of Love, Lucia di Lammermoor, and many other blockbuster opera house hits. In this hilarious new version directed by the irrepressible Josh Shaw, Founder of Pacific Opera Project, the titular Don Pasquale becomes “Donald Pasquale”, a film mogul in the Santa Barbara silent film business of the early 1920s.
Rising stars soprano and Santa Barbara native Jana McIntyre, bass Andrew Potter, and tenor Matthew Grills will make their OSB debuts, effortlessly tossing Donizetti’s sentimental tunes and vocal acrobatics. Former OSB Studio Artist baritone Efraín Solís returns as the cunning Dr. Malatesta. Opera SB Artistic and General Director Kostis Protopapas conducts members of the Opera SB Orchestra.
The event will follow all CDC and State of California guidelines. Attendees can enjoy the live stage performance from the safe and socially-distanced comfort of their vehicles. Attendees can stay inside or by their vehicle as they are allowed to sit in folding chairs by their vehicle but must wear a face mask and maintain social distancing. The show will include a visual light show and multimedia entertainment across video jumbo screens. Sound will come through your car stereo, like a traditional drive-in theater on your FM radio. The opera will be sung in Italian with English translations projected on screen.
Special thank you to Lead Production Sponsor George H. and Olive J. Griffiths Charitable Foundation.
Kostis Protopapas was named General Director of Opera Santa Barbara in December 2017, after two-and-a-half seasons as Artistic Director.
During his time as Artistic Director and principal conductor, Kostis brought a unified vision to OSB’s musical and production values, strengthening the orchestra and chorus, engaging some of the country’s most promising young directors and singers, building a high-performing production team, and increasing focus on contemporary American opera. The result was productions of both familiar and new repertoire that are counted among the finest in the company’s history.
As General Director, Kostis grew the company’s staff from three to seven, assembling an enthusiastic group of overachievers sharing an appetite for innovation and the desire to strengthen the company’s bond with the community.
During 2018-19, the company’s 25th anniversary season, Kostis oversaw the sold-out Santa Barbara premiere of Tchaikovsky’s Eugene Onegin and a production of The Crucible that the Santa Barbara Independent hailed as “one of the season’s most exciting performances of any kind in Santa Barbara”; a 25th anniversary gala concert; and the company’s first-ever student matinee performance as well as its first ever Youth camp.
Under Kostis’ leadership Opera Santa Barbara saw the creation of the Santa Barbara Youth Opera, a program providing educational and performance opportunities for school-age children; the expansion of the company’s Chrisman Studio program to a season-long residency for emerging artists; an impressive growth in the company’s community engagement and educational activities throughout the Central Coast; and the runaway success of Operacurious, a new program that brings Young Professionals in Santa Barbara in contact with opera and its artists.
2016 saw the end of Kostis' 15-year association with Tulsa Opera, during which he conducted 30 productions of a diverse repertoire extending from popular classics to contemporary American works. About his 2011 Barber of Seville performances, Alex Ross of The New Yorker wrote, “Most impressive was the fluid idiomatic playing of the orchestra… In any city, it’s rare to find a conductor that sets the right tempo so consistently that you stop noticing he's there.”
Kostis has been an Assistant Conductor for the Lyric Opera of Chicago, LA Opera and Santa Fe Opera. At the Lyric Opera of Chicago, he also served as Assistant Chorus Master under Donald Palumbo for two seasons..
Born in Athens, Greece, Kostis Protopapas studied Archaeology and History of Art at the University of Athens before coming to the United States in 1993, on an Onassis Foundation scholarship, to study piano at The Boston Conservatory and conducting at Boston University. He became an American citizen in 2011. He loves living in Santa Barbara, and enjoys downtown restaurants, the Funk Zone’s tasting rooms, and sailing on the Santa Barbara Channel.
One of Musical America’s Top 30 Innovators in Classical Music in 2016, Josh Shaw is the Executive and Artistic Director of Pacific Opera Project (POP), a Los Angeles based company dedicated to presenting accessible, affordable, and ENTERTAINING opera. Over the past nine seasons, he has directed over 30 productions at POP including The Rake’s Progress, Ariadne auf Naxos, La calisto, Tosca: A Moving Production, and La boheme: AKA “The Hipsters”. Mr. Shaw’s reimagining of Die Entführung aus dem Serail as an episode of Star Trek has gained national attention and has been produced by eight companies selling out houses with record-breaking numbers. Since turning his attention to directing in 2011, he has directed over 70 productions at companies including New Orleans Opera, Intermountain Opera, The Southern Illinois Music Festival, Opera Neo, Alamo City Opera, Queen City Opera, Opera Orlando, and Salt Marsh Opera. He directed Il barbiere di Siviglia at Opera Santa Barbara last season. Other recent projects include productions of Don Giovanni, La gazzetta(Rossini), La traviata, Guillaume Tell, Carmen, and Tabasco: A Burlesque Opera, a newly rediscovered operetta by G. W. Chadwick, last performed in 1894. Mr. Shaw also wrote a new book and additional lyrics for the project that celebrated the McIlhenney Company’s 150thanniversary. In addition to the rewrite of Tabasco and the new book and lyrics for Abduction from the Seraglio, Mr. Shaw has written several English version librettos for operas including a Wild West setting of Die Lustige Witwe, a contemporary setting of Die Schauspieldirektor, and most recently a hit production of Die Zauberflüteset in the world of 1980s video games. Next month he directs a groundbreaking production of Madama Butterflysung in Japanese and English, a co-production of POP and Opera in Heights (Houston). Other upcoming projects include Il trovatoreat The Southern Illinois Music Festival, Gianni Schicchiat Opera Columbus, and I pagiliacciat Salt Marsh Opera. More details at joshshaw.org.
Stage Director / The Barber of Seville
March 2018 (debut)
Stage Director / Doctor Miracle
Jana McIntyre has been praised for her “dancer’s grace, mercurial wit, and vibrant soprano tone” (Opera News). This season will see Ms. McIntyre make her role debut as Ännchen in a new production of Der Freischütz with Heartbeat Opera, as well as join Santa Fe Opera for their workshop of the completed version of M. Butterfly in New York City. She will also debut with the Sacramento Philharmonic and Opera singing from Così fan tutte and Le nozze di Figaro as Despina and Susanna in their “All Mozart Concert.” During the 2018-2019 season, Ms. McIntyre reprised the role of The Queen of the Night in The Magic Flute with Toledo Opera as well as with Opera Grand Rapids. She also made company debuts with Arizona Opera (Le nozze di Figaro), Santa Fe Opera (Jen?fa), and with Tulsa Opera singing Zerlina in Don Giovanni as well as Water in Rachel Portman’s The Little Prince for which women held both posts of director and conductor. Additionally, she covered La Fée in Laurent Pelly’s iconic production of Cendrillon at the Lyric Opera of Chicago.
In the 2017-2018 season Ms. McIntyre performed with the San Francisco Symphony as Pamina and Die Königin der Nacht in selections from Die Zauberflöte at Stern Grove. She also presented the Wolf Italienisches Liederbuch and Strauss’ Brentano Lieder in concerts under the auspices of the San Francisco Opera Center. In New York City, she made her role debut as Lauretta in Gianni Schicchi with City Lyric Opera and she finished the season as an apprentice with the Santa Fe Opera covering Najade in Tim Albery’s production of Ariadne auf Naxos.
Career highlights include critical acclaim for her portrayal of Andromède in the American premiere of Ibert’s Persée et Andromède which made the New York Times “Best Classical Music of 2016;” her professional debut as the Amore in Gluck’s Orfeo ed Euridice alongside Anthony Roth Costanzo and Kiera Duffy in an installment of “Orphic Moments” with Brooklyn’s National Sawdust Theater under the baton of Matthew Aucoin; as well as performing in the west coast premiere of Jonathan Scheffer’s Blood on the Dining Room Floor (Rose 1) at age 19.
Additional operatic roles include the “saucy and domineering” (San Francisco Classical Voice) Serpina, in La serva padrona with Merola Opera Program where she also covered Despina (Così fan tutte) and Clorinda (La cenerentola), Miss Wordsworth (Albert Herring), Königin der Nacht (Die Zauberflöte), La Fée (Cendrillon), Zerlina (Don Giovanni), Leïla (Les pêcheurs de perles) Drusilla (L’incoronazione di Poppea), and Señora Grazia in the world premiere workshop of Roger Bourland’s The Dove and the Nightingale. In the Clark Library of Los Angeles, Ms. McIntyre sang as a soprano soloist in James Darrah’s staging of Handel’s L’Allegro, il penseroso, ed il moderato under the musical preparation and direction of Maestro Stephen Stubbs.
Equally at home in concert and recital repertoire as she is on the opera stage, Jana most recently sang the soprano solo in Mozart’s Requiem with Signature Symphony in Tulsa, Oklahoma. In 2016 she joined Maestro George Manahan to perform Joaquin Rodrigo’s Cuatro Madrigales Amatorios in concert with the Manhattan Chamber Sinfonia and also sang Mater Gloriosa in Mahler’s Symphony No. 8 with the Manhattan Oratorio Society at St. John the Divine Cathedral. She later performed and recorded the piece as a part of David Briggs’ organ transcription which was released by Albany Records in 2016.
Miss McIntyre won first prize in the Alan M. and Joan Taub Ades Competition which gave her the opportunity to travel to Buenos Aires to sing a series of concerts at various venues including El Salon Dorado at the Teatro Colón. She is an award winner from the Jensen Foundation, Giulio Gari Foundation, George London Foundation, Art Song Preservation Society, Metropolitan National Council, among others. She is a Richard F. Gold grant recipient from the Shoshana Foundation (Merola), and the winner of the Eisenberg-Fried Concerto Competition at Manhattan School of Music.
Jana has been an apprentice with Tulsa Opera, Santa Fe Opera, and the Merola Opera Program. She did her undergraduate academic work at the University of California, Los Angeles in Psychology (B.A.) and Music (B.A.). She received her Master’s Degree in Vocal Performance from the Manhattan School of Music.
Andrew Potter, bass has garnered increasing demand across the country for his larger than life stage presence and voice to match. Of his recent performance in L’elisir d’amore, Opera Today hailed, “With his huge, all-encompassing bass voice and precise comic timing he nearly stole the show.” This past summer, Potter performed the role of The Bonze in Madama Butterfly with St. Petersburg Opera, reprised the role of Hunding in Die Walküre with Pittsburgh Festival Opera, sang Vodnik in Rusalka with Steamboat Opera, and performed Escamillo in Carmen with Mid-Ohio Opera. Upcoming engagements include Prince Gremen in Eugene Onegin with Livermore Valley Opera, Poo-Bah in Mikado with Opera Grand Rapids, Sulpice in Daughter of the Regiment with Winter Opera St. Louis, Il Commendatore in Don Giovanni with Indianapolis Opera, Ramfis in Aïda with Raylynmore Opera, and Pastor Avery in Tobias Picker’s Emmeline with Tulsa Opera.
Recent engagements have included Osmin in Die Entführung with Opera Orlando, Colline in La bohème with Anchorage Opera and Indianapolis Opera, his Tulsa Opera début as The King in The Little Prince, Sarastro in The Magic Flute and Il Commendatore in Don Giovanni with Pacific Opera Project, Dr. Dulcamara in L’elisir d’amore with Winter Opera St. Louis, Fafner in Das Rheingold and Colline in La bohème with Pittsburgh Festival Opera, the role of Death in the world premiére of Rick Sowash’s Death and the Everyman and Don Alfonso in Così fan tutte with Mid-Ohio Opera, and Simone in Gianni Schicchi, Sarastro in Die Zauberflöte and Ferrando in Il trovatore with Southern Illinois Music Festival.
Additionally, Andrew has performed across the country proficiently demonstrating the vocal power and sonority to sing such roles as Mephistopheles in Gounod’s Faust and Sarastro in Die Zauberflöte, the range and physicality to perform buffo roles like Don Bartolo in Il barbiere di Siviglia, Don Alfonso in Cosi? fan tutte, Don Magnifico in Cenerentola; and the flexibility and agility to sing challenging Handelian roles including Zoroastro in Orlando, Ariodate in Serse, and Argante in Rinaldo.
With years of studying under renowned teachers such as Rick Christman, Braeden Harris, and Kenneth Shaw; Andrew became a standout in mainstage roles at several of the nation’s most prestigious Young Artist programs such as Des Moines Metro Opera, St. Petersburg Emerging Artist Program, and the Tyler Young Artist Program.
The San Francisco Chronicle exclaims, “For theatrical charisma and musical bravado, it would be hard to top the performance of baritone Efraín Solís.” He is a recent graduate of the San Francisco Opera Adler Fellowship and while with the company, sang his first performances of Papageno in Die Zauberflöte, Dandini in La cenerentola, Schaunard in La bohème, Silvano in Un ballo in maschera, Sciarrone in Tosca, and Prince Yamadori in Madama Butterfly. In the 2020-21 season, he joins Opera San Jose and Florida Grand Opera as Charlie in Heggie’s Three Decembers and Utah Opera as Escamillo in La tragédie de Carmen. Future engagements include Figaro in Le nozze di Figaro with Opera San Jose and a return to Opera Southwest, originally scheduled for this season. Last season, he returned to Utah Opera as Lieutenant Audebert in Puts’ Silent Night and Virginia Opera as Di Cosimo in Catán’s Il postino in joining the Cincinnati Song Initiative for a program of songs by Granados and Turina. His debut with the Los Angeles Philharmonic as the Peasant in Schönberg’s Gurrelieder and return to the role of Schaunard in La bohème with Fort Worth Opera were unfortunately cancelled due to COVID-19 pandemic.
He joined Houston Grand Opera’s HGOCo, New York City Opera, and El Paso Opera as Mark in Martinez’s Cruzar la cara de la luna. Other recent performances for the baritone include Mercutio in Roméo et Juliette with Utah Opera, Opera Carolina, Virginia Opera, and Toledo Opera; Figaro in Le nozze di Figaro with Opera Memphis and Livermore Valley Opera; Slook in La cambiale di matrimonio with Nicholas McGegan conducting Philharmonia Baroque; El Payador in Piazzola’s Maria de Buenos Aires with Opera Southwest, Golaud in Pelléas et Mélisande and Glass’ Hydrogen Jukebox with West Edge Opera; Fiesque in Maria di Rohan with Washington Concert Opera, Gaspar in Rita with the New Century Chamber Orchestra, and Dick in Blitzstein’s The Cradle Will Rock with Opera Saratoga. He joined both Opera Delaware and Baltimore Concert Opera for concerts of opera favorites.
Mr. Solis sang his first performances of Mahler’s Lieder eines fahrenden Gesellen with the Palo Alto Philharmonic and Brahms’ Ein deutsches Requiem as a guest artist at Concordia College. He joined the Berkeley Community Chorus and Orchestra for Britten’s War Requiem and both Las Vegas Philharmonic and New Choral Society for Handel’s Messiah. An active recitalist, he has previous joined the New York Festival of Song for multiple programs of Spanish repertoire and has been presented in a Schwabacher Debut Recital in San Francisco and offered an additional recital program at the El Camino College Center for the Arts.
He is an alumnus of the prestigious Merola Opera Program in association with San Francisco Opera, at which he sang Junius in The Rape of Lucretia and covered Count Almaviva in Le nozze di Figaro. He is also a former member of Opera Santa Barbara’s Studio Artist Program. In 2013, he was a Grand Finalist in the Metropolitan Opera National Council Auditions and sang arias from Rodelinda and Le nozze di Figaro on the famed company’s stage with Marco Armilianto conducting. He was also a finalist in Houston Grand Opera's Eleanor McCollum Competition and the Loren L. Zachary Society for the Performing Arts National Vocal Competition. He holds a Master of Music from San Francisco Conservatory of Music, at which he sang Guglielmo in Così fan tutte and Mahler’s Lieder eines fahrenden Gesellen and while at Chapman University, his performances included Beethoven’s Mass in C and Puccini’s Messa di Gloria.
Opera News exclaims that in San Francisco Opera’s Sweeney Todd, “Tenor Matthew Grills made the strongest impression, delivering Tobias’s ‘Not While I’m Around’ with touching tenderness.” In the 2020-21 season, he returns to the roles of Ernesto in Don Pasquale with Opera Santa Barbara and Ramiro in La cenerentola with Nashville Opera as well as joins Santa Fe Opera as Snout in A Midsummer Night’s Dream. His return to Seattle Opera as Nemorino in L’elisir d’amore, his role and company debut as Gonsalve in L’heure espagnole with the Israel Philharmonic, the Shepherd in Oedipus Rex with Opera Philadelphia, and Handel’s Messiah with the Columbus Symphony were cancelled due to the COVID 19 pandemic as were his returns to Almaviva in Il barbiere di Siviglia with Utah Opera and the Sacramento Philharmonic last season. Earlier in the 2019-20 season, he returned to Seattle Opera for his role debut as Ramiro in La cenerentola. He also made company debuts with Metropolitan Opera as the First Waiter in Der Rosenkavalier in addition to joining the company for its production of Die Zauberflote.
Recently he made house debuts with both Opera San Jose singing his first performances of Belmonte in Die Entführung aus dem Serail and with New Orleans Opera in a return to his beloved characterization of Pedrillo in the same opera as well as sang his first performances of Ernesto in Don Pasquale with Berkshire Opera Festival. He returned to the Bayerische Staatsoper to reprise Kedril in From the House of the Dead and to Portland Opera for the company’s “Big Night” concert as well as joined Dallas Opera for a debut as the Dance Master in Manon Lescaut and for the company’s production of Falstaff. On the concert stage, he sang Orff’s Carmina Burana with the Houston Symphony, a concert celebrating Bernstein’s Broadway with the Florida Orchestra, as well as Puccini’s Messa di Gloria and excerpts of L’elisir d’amore with Das Musikkollegium Wintherthur.
Sought after in classical musical theatre repertoire as well, he recently returned to San Francisco Opera as Tobias Ragg in Sweeney Todd. In the realm of bel canto repertoire, he made company debuts with Seattle Opera as Almaviva in Il barbiere di Siviglia, Opéra national de Lorraine as Idreno in Semiramide, and the Gyeonggi Philharmonic Orchestra in Seoul, Korea and Portland Opera for Nemorino in L’elisir d’amore. He is a former member of the ensemble of the Bayerische Staatsoper, where his roles included further performances of include further performances of Pedrillo in Die Entführung aus dem Serail, Brighella in Ariadne auf Naxos as well as Kedril in From the House of the Dead, Danieli in Les vêpres siciliennes, and Vierter Knappe in Parsifal, all new productions; Don Gaspard in La favorite, among others. Other recent performances for the tenor include Pedrillo in Die Entführung aus dem Serail with Atlanta Opera, David, Jeremiah, and the Voice of God in Weill’s The Road of Promise with Kristjan Järvi conducting the MDR Leipzig Radio Symphony Orchestra at the Kurt Weill Festival in Dessau, Fenton in Falstaff with Wolf Trap Opera, as well as Almaviva in family performances of Il barbiere di Siviglia and Nathaniel in Les contes d'Hoffmann with San Francisco Opera in addition to joining the company for its production of Così fan tutte.
Prior to joining the ensemble at the Bayerische Staatsoper, he was a member of the company’s prestigious Opernstudio and sang title role of Le comte Ory and Fabrizio in Martin?’s Mirandolina in the historic Cuvilliés Theatre, Ernesto in Donizetti’s Il giovedì grasso at the Schloss Nymphenberg, as well as his first performances of Pedrillo in Die Entführung aus dem Serail on the company’s mainstage. He sang a solo recital at the Terrace Theater at the Kennedy Center presented by the Vocal Arts D.C. and the Washington Performing Arts Society and recently joined the Hartford Symphony Orchestra for Handel’s Messiah. He is a former Resident Artist with Portland Opera and Apprentice Artist of Santa Fe Opera. At the Seagle Music Colony, he sang Ferrando in Così fan tutte.
Mr. Grills is the unprecedented winner of both grand prize in Metropolitan Opera National Council Auditions and first prize in the Lotte Lenya Competition in the same year, 2012. He holds a Master of Music degree from the Eastman School of Music.
Donald J. Pasquale, once the King of the Silent Movies, with his Flying A Studios, has seen his glory days come and go with the advent of talking pictures. The elderly bachelor, sitting in his Santa Barbara home, awaits his friend Dr. Malatesta, who has arranged a marriage for him. The bride, Malatesta tells him, is beautiful and innocent, and happens to be Malatesta’s sister.
Pasquale reminds his nephew Ernesto that he has offered to wed him to a wealthy lady on pain of disinheritance if he refuses. Ernesto refuses again; he intends to marry the up-and-coming, but thus far penniless actress, Norina Niles Nelson.
Filming a bit part on location at the beach, Norina mocks the latest script sent her way. Malatesta arrives and tells her of the scheme he has hatched to help her and Ernesto marry. Norina will be introduced to Pasquale as Malatesta’s sister Sofronia, fresh from the Poor Clares Convent. After they are ‘married’ by a false notary, Pasquale will be at their mercy.
Disowned by Pasquale, Ernesto feels he cannot ask Norina to share his poverty and vows to leave town.
Malatesta arrives at Pasquale’s house with ‘Sofronia’, apparently shy and afraid of men. Pasquale proposes and she accepts. Malatesta’s fake notary draws up the contract, making Sofronia mistress of the house and owner of half of Pasquale’s assets. The ceremony done, Sofronia instantly transforms into a domineering, spendthrift shrew and appoints Ernesto her escort.
Pasquale, his home completely overtaken by Norina/Sofronia, examines the bills with horror. Norina enters, dressed up to go to the theatre. Pasquale tries to stop her, but ‘Sofronia’ treats him harshly. As she leaves, she deliberately drops a piece of paper. Pasquale discovers that it is a note from Sofronia’s lover arranging a tryst in the garden that evening. Pasquale sends for Malatesta and shows him the note. They agree to confront the lovers in the garden that night.
Later, in the garden, Ernesto serenades Norina, and they sing of their love. Pasquale and Malatesta spy on them and then ambush them, but Ernesto escapes unrecognized. ‘Sofronia’ denies her guilt and refuses to leave, but Malatesta persuades her that she cannot stay, as Norina is to arrive tomorrow as Ernesto’s bride. Pasquale is thus forced to accept Ernesto’s chosen wife in order to get rid of his own. When the truth is finally revealed, Pasquale forgives the youngsters and all are reconciled.
Words: George Hall via Glyndebourne, updates by Josh Shaw
INTERESTED IN TICKET UPGRADES OR SPONSORSHIP OPPORTUNITIES?
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Visit our Premium Circle And Sponsorship page here.
For questions, please call Nina Dunbar at (805) 898-3890, ext. 203 or send an email to [email protected]
QUESTIONS ABOUT DON PASQUALE AT THE LIVE DRIVE-IN?
All CDC and State of California Guidelines will be followed. Audio will be transmitted via FM radio and video screens will show you which station to tune into for the opera. Supertitles will be projected on screen. The number of passengers in your vehicle must not exceed the number of safety belts/seats.
Frequently Asked Questions UPDATED:
Q: CAN I PURCHASE A TICKET AT THE EVENT?
A: Yes, tickets are available for purchase but we recommend you buy them beforehand.
Q: ONCE I BUY MY TICKET, HOW IS IT RECEIVED?
A: The ticket was included in your email confirmation. You may print out the ticket or just open the PDF included with the confirmation on your phone. Tickets may also be accessed on your mobile device using the Eventbrite APP. If you did not receive a ticket, please email [email protected].
Q: ARE PARKING SPACES ASSIGNED?
A: No – All tickets, except those reserved for Event Sponsors, are General Admission based on color section and row number and will NOT be assigned prior to arrival. Vehicles will be placed on a first come first served basis to a parking space in their designated color section and row number upon arrival.
Q: RULES FOR PARKING
A: Please follow the direction of parking attendants and venue staff. For everyone’s safety, it is important that you stay in the space you are assigned throughout the event. Parking spaces between vehicles must remain clear.
Q: WHAT TIME SHOULD I ARRIVE?
A: For our production of Don Pasquale, A Live Drive-In Opera, Ventura County Fairgrounds will open an hour and a half hour prior to show time at 6:00PM. We suggest planning your arrival at least 30-45 minutes prior to our start time.
Q: WHAT IF I AM RUNNING LATE?
A: Please arrive early or on time to guarantee entry. Gates typically close 15 minutes past start time. No refunds will be granted.
Q: DOES EVERYONE IN MY CAR NEED A TICKET?
A: No, you will only need one ticket per car. The number of passengers in your vehicle must not exceed the number of safety belts/seats. It is recommended that you only share a vehicle with household members with whom you have been sheltering in place.
For more FAQs, please visit the Concerts In Your Car site here.
George H. and Olive J. Griffiths Charitable Foundation
Nancy and Fred Golden
Dan and Romy Reicker
The Operatives (Dylan Vrana, James Benham Donovan McKelvey, David Mason & Nicholas Burlett)
Omega Financial Group