Explore SLO in 360°

A must-see vineyard experience for wine enthusiasts seeking a guided exploration of the frontier for the most complex cool-climate varietals in California – Edna Valley. Allow 90 minutes to appreciate a progressive tasting of Tolosa’s limited production wines on our estate vineyard, Edna Ranch.  Experience the transverse valley and how it generates a microclimate ideal for ripening delicate Pinot Noir and Chardonnay grapes. Take in the scenic view of the rolling hills and the iconic Islay hill as you delve into the topography and diverse soils that are optimal for producing grapes with distinctive character. Learn about Tolosa’s attention to detail and sustainable farming practices that create Pinot Noir to rival any in the world.

By appointment only (Seasonal Experience)

Reservations required at least 24 hours in advance:
Concierge@tolosawinery.com or 805.782.0500

Limited to parties of up to 7 people.

We are unable to accommodate persons under 21 for this experience. Closed toe shoes are required for comfort and safety while in the vineyards. The tour includes long periods of standing and takes place outdoors, so please dress accordingly.

Upcoming Events: 

Venue Location:

• Alex G. Spanos Stadium

Parking:

• Event parking is $10 in the lots C-2, C-4, and C-7
• Faculty/Staff and General parking passes are valid
• Single day parking passes are not valid for event parking

Game Day Information:

• Gates and Will Call open 3 hours before each game
• Food and beverages available for puchase inside
• Beer and wine are available for purchase for everyone over 21 with a valid ID
• General admission is in sections 104, 105. 106, 204, and 205
• For game day promotions click here!

Stampede Club Information:

• The Corral Barbeque will start 3 hours prior to kickoff
• Beer and local wines are served
• Food is catered through Ribline

November 2 – November 18, 2018

• Wed-Sun @ 7 pm
• Sat & Sun @ 2 pm

About

One of the most beautiful and beloved plays of the modern theatre.

A theatrical piece of distinct power, with some of Tennessee Williams’ most potent lyricism, The Glass Menagerie is a memory play as told to us by Tom Wingfield, a merchant marine looking back on the Depression years he spent with his overbearing Southern genteel mother, Amanda, and his physically disabled, cripplingly shy sister, Laura. Williams’ intensely personal and brilliantly tender masterpiece exposes the complexity of our memories, and the ways in which we can never truly escape them.

Please Note: Our box office and lobby open one hour before show time. Please arrive early and allow extra time for parking, especially on Thursday nights when the SLO Farmers Market is in full swing. Due to the intimate nature of our theatre, late seating is NOT guaranteed. Please see our Late Seating Policy for more information.

This show is available by SEASON SUBSCRIPTION ONLY until July 16th. Season Subscriptions include tickets for all six MAINSTAGE SEASON SHOWS at one low price.

Reviews
In memory, everything seems to happen to music.
– Tennessee Williams

Catch one of two showings, Saturday, November 17 at 2:00 p.m. and 7:00 p.m.

The Movement Arts Collective presents Seasons End. Set to a recomposed score of Vivaldi’s classic this contemporary ballet includes themes of nature and human nature. Last year’s Fall and Winter were wildly successful and praised, so come see what choreographer Ryan Lawrence will do as he completes the cycle with Spring and Summer. Accompanying Seasons End are two ballets, one classic and one a World Premier. The first, The Sylphs, is one of the original “Mood Ballets.” With long white tutus, pointe shoes, and a familiar and moving score, this evocative piece brings the best of classical ballet to the stage. Completing the program is Maartje Lawrence-Hermans debut choreography for the company. In this work, Miss Lawrence-Hermans explores themes of femininity and societal roles, with music that reflects her own history and nostalgia, including Pre-war Dutch standards and the boundary pushing Art-pop group Antony & the Johnsons.

Venue: Spanos Theatre
Doors Open: 30 minutes prior to curtain time
Will Call Opens: 12:00PM
Admission Type: Reserved Seating
Show Duration: Act 1: 55 mins
Act 2: 45 mins
Intermission: 20 mins
Age Appropriateness: Ages 5 & Up
Musical Repertoire: Varied

Music by composers and performers who are treasures of our central coast including Mozart, Craig Russell, and Lou Harrison. Special piece for Choir and American Gamelan. The American Gamelan is a percussion orchestra made up of a variety of instruments including tubular bells, oxygen tanks, gongs, triangles, tamborines, drums, and metalic garbage cans!

For nearly 90 years, The Coastal Awakening has been occurring as an art and cultural movement centered within and around San Luis Obispo County, where the physical landscape reflects a union of heart and mind. The Coastal Awakening honors and preserves the spirit of contemplation and creative alchemy indigenous to California’s central coast by advocating for cultural activities that celebrate human potential initiatives in and beyond San Luis Obispo County.

Venue: Harold Miossi Hall
Doors Open: 6:30PM
Will Call Opens: 12:00PM
Admission Type: Reserved Seating
Show Duration: Act 1: 40 mins
Act 2: 30 mins
Intermission: 20 mins
Age Appropriateness: Ages 5 & Up

Saint-Saëns’s biblical epic Samson et Dalila stars Elīna Garanča and Roberto Alagna in the title roles; Laurent Naouri co-stars as the High Priest, with Elchin Azizov as the Philistine King Abimélech and Dmitry Belosselskiy as the Old Hebrew. Darko Tresnjak, the Tony Award–winning director of A Gentleman’s Guide to Love & Murder, makes his Met debut directing the first new Met production of the opera in 20 years. Sir Mark Elder conducts. (Encore)
 
Sponsored by Bill and Carol Rust

Venue: Harold Miossi Hall
Doors Open: 1:00PM
Will Call Opens: 12:00PM
Admission Type: Reserved Seating
Show Duration: 3 Hours & 30 Mins
Intermission: 2 Intermissions
Age Appropriateness: Ages 5 & Up
Musical Repertoire: Opera

♦ SHOW INFORMATION ♦

Door Time- 8:00 PM

Show Time- 9:00 PM

♦ TICKET OUTLETS ♦

Boo Boo Records

978 Monterey St • SLO

Mon-Wed 10-8, Thurs-Sat 10-9, Sun 11-6

♦ BAND INFORMATION♦

Rodney Crowell has been doing this for a while. In fact, his career has been so long and varied that you have to specify exactly which “this” you’re talking about. There’s the record-making, which dates back to 1978 (when he released Ain’t Living Long Like This), peaked commercially a decade later (with Diamonds & Dirt, which yielded five number-one country hits), and has only grown in sophistication and power in recent years. There’s the fiercely lyrical and personal songwriting, which has attracted the attention of everyone from Bob Seger (who famously covered “Shame On the Moon”) to Keith Urban (who had a number-one hit with “Making Memories of Us”). And then there’s the autobiographical writing, which extends beyond the music world to a memoir, Chinaberry Sidewalks, which was published in 2011.

Now there’s a new album, Close Ties, on which Crowell both demonstrates his strengths as a songwriter and illustrates how he has learned to balance personal recollection, literary sophistication, and his profound musical reach. It’s at once his most intimate record and his most accessible, the product of years of understanding the ways songs can enter—and be entered by—life. “It’s a loose concept album, you could say,” Crowell says. “And the concept is related to how you tell stories about yourself. Having a few years ago written a memoir, my sensibilities toward narrative—especially trying to find a common thread in different pieces of writing—had become a part of my songwriting process. One of the reasons I brought Kim Buie in as a producer is that I wanted her to work with me the way an editor works, to look at a number of songs and find the ones that worked together to create a tone.”

Close Ties is a roots record, in the sense that Crowell himself has deep roots that stretch back into the alternative country scene of the early seventies. But is defies easy classification. Is it country? Is it a songwriter record? Does art need categories? “Well,” Crowell says, “when I was a quote-unquote country star for my fifteen minutes of major fame, I hated the label. I bristled at it and got myself in trouble. I would go around to radio stations and that early morning drive-time, chirpy optimism, and I would come across as grumpy. They knew my mind wasn’t in the right place. I was an interloper in that world. I didn’t fit it. It soon spit me out. In hindsight, it should have: I was no asset to their goal, which was to satisfy their advertisers.”

On the other hand, the rise of Americana music struck a nerve with him. “I have declared my loyalty to Americana. It’s a hard category for people to get their heads around, or at least the terminology is. But all the people who represent it—Townes van Zandt, Guy Clark, Lucinda Williams, Steve Earle and more recent stars like John Paul White and Jason Isbell—share a common thread, and that thread is poet. Whether they are actual poets or their music exemplifies a poetic sensibility, generally speaking, the Americana artist shuns commercial compromise in favor of a singular vision. Which resonates with me.”

Fifty years after Crowell first started playing as a teen in Houston garage bands, he still believes in the power of songs, and the responsibility of singing them. “The interesting thing about that garage band back then is that we would go from ‘I Saw Her Standing There’ by the Beatles to ‘Honky Tonkin’’ by Hank Williams. In southeast Texas those songs fit side by side. ‘Drinkin’ Wine Spo-de-o-dee’ went right next to ‘Crossroads’ by Cream. That was the beauty of it, that all of that existed side by side.” Crowell finds himself going back to that music, but also going even earlier. “Recently, I think—I hope—that my study of the blues is starting to show up in my music. Those artists, whether it’s Lightnin’ Hopkins or John Lee Hooker or the acoustic Delta players, connected to something fundamental. With that in mind, I’m trying to move forward but also get back there.”