You’re sitting so close to the actor that you can literally see the sweat beads forming on their forehead. It’s not an exaggeration. That’s the reality of the Sheryl and Harvey White Theatre. If you’ve ever been to the Old Globe in San Diego’s Balboa Park, you probably know the big, flashy outdoor stage where they do Shakespeare under the stars. But tucked away inside the Conrad Prebys Theatre Center is this little gem—a 250-seat "theatre-in-the-round" that honestly changes how you watch a play.
There is no "back of the house" here. No nosebleed sections. Every single person is within a few rows of the stage. This creates a weird, wonderful tension. You aren't just an observer; you’re practically in the scene. When the Old Globe decided to rebuild this space as part of their massive renovation years ago, they weren't just looking for more seats. They were looking for a way to make theater feel visceral again. It’s part of the $75 million capital campaign that fundamentally reshaped the Globe’s footprint, and frankly, it’s the most interesting room in the whole complex.
The Architecture of the Sheryl and Harvey White Theatre
Let’s talk about the "round" for a second. Most people are used to proscenium stages—that’s the classic "picture frame" setup where actors are on one side and you’re on the other. It's safe. It's predictable. The Sheryl and Harvey White Theatre throws that out the window. Because the audience surrounds the stage on all four sides, directors have to get creative. An actor can’t just "cheat out" to the front. They have to move constantly. If they’re facing North, the people in the South seats are looking at their back.
This forces a level of realism you just don't get in bigger houses.
The acoustics are also incredibly sharp. You don't need heavy body mics when you're ten feet away. The architects—LMN Architects out of Seattle—worked with the Globe to ensure the sound didn't get lost in the heights of the ceiling. It’s tight. It’s focused. It feels like you’re eavesdropping on a private conversation. The lighting grid above is a complex web of tech that allows designers to isolate tiny sections of the floor, creating rooms out of thin air without needing heavy sets that would block someone’s view.
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Why "In the Round" Actually Matters for Modern Plays
Think about a play like The Last Five Years or some of the newer, gritier dramas the Globe likes to premiere. In a massive 600-seat theater, the nuance of a trembling hand or a quick eye roll is lost. In the Sheryl and Harvey White Theatre, those tiny details are the whole point. It’s a playground for actors who thrive on subtlety.
It’s also a nightmare for set designers—in a good way. You can't put a giant wall in the middle of the stage because half the audience wouldn't be able to see. So, they use floors. They use trap doors. They use furniture that feels lived-in. I’ve seen shows there where the "set" was basically just a rug and a chair, yet because of the proximity, it felt more like a real living room than any $100,000 Broadway backdrop.
The intimacy also creates a shared community experience. You aren't just looking at the stage; you’re looking at the faces of the people sitting across from you. You see their reactions. You hear them gasp. It’s a collective vulnerability. Honestly, it’s a bit intimidating at first. You have to be "on" as an audience member because the actors can see you just as clearly as you see them. Don't check your phone. Seriously. They will notice.
The Names Behind the Seat: Sheryl and Harvey White
So, who are these people? You see the names on the wall, but most folks just breeze past. Harvey White was a co-founder of Qualcomm. If you live in San Diego, you know that name is everywhere. But the Whites weren't just writing checks for the tax break; they have been long-term fixtures in the San Diego arts scene.
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Their contribution helped bridge the gap between the old, traditional Globe and the modern, experimental version we see today. Before the 2009 renovation, the "Arena" stage was a bit more rugged. The Whites’ gift allowed for a level of technical sophistication—better HVAC (thank god, because those old theater basements got stuffy), better seating, and a more accessible entrance for people with disabilities. It’s a world-class facility that happens to feel like a neighborhood hangout.
Navigating the Space: What You Need to Know
If you’re heading there for the first time, don't just show up five minutes before curtain. The Conrad Prebys Theatre Center, which houses the White, is a beautiful piece of modern architecture that blends into the historic Balboa Park aesthetic.
- The Entrance: You enter through the main plaza. It’s the same area where people gather for the Old Globe Way performances.
- The Seating: Row A is basically on the stage. If you have long legs, watch out. Row D or E is actually the "sweet spot" if you want to see the whole stage geometry without craning your neck.
- The Bar: There’s a bar right outside in the lobby. Take your drink in—they usually allow it in plastic cups.
- The Vibe: It’s less formal than the Old Globe's main stage. People wear jeans. It’s casual but respectful.
Sometimes people get confused and end up at the Lowell Davies Forest Theatre (the outdoor one). Just remember: if you’re going to the Sheryl and Harvey White Theatre, you’re going underground or into the heart of the building. Follow the signs for the "Arena" stage style.
The Impact on San Diego's Theatre Culture
San Diego is a massive theater town—it’s basically the "off-Broadway" of the West Coast. Shows like Jersey Boys and Come From Away started here. The White Theatre plays a huge role in that pipeline. Because it’s a smaller space, the Globe can take risks there. They can produce "weird" plays or experimental scripts that might not sell out a 600-seat house but are perfect for a concentrated audience of 250.
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It’s where local playwrights get a chance to see their work breathe. It’s where actors get to flex muscles they don't use on a proscenium stage.
One thing people get wrong is thinking that "small" means "amateur." It’s the opposite. The production value in the White is staggering. The sound design alone is often more complex than the big musical theater shows because every speaker has to be perfectly timed to avoid echoes in the circular space.
Actionable Steps for Your Visit
- Check the Seating Chart Online: Since it's in the round, the "front" changes depending on the scene. Look for seats in the "North" or "South" sections for the most consistent views, though "East" and "West" often have closer access to the actor's entrance tunnels (the vomitories).
- Arrive Early for the Plaza Atmosphere: Balboa Park is stunning at twilight. Grab a coffee or a glass of wine at Lady Carolyn’s Pub right outside the theatre before you head in.
- Read the Program Notes: Because the White often hosts new or experimental works, the "Director’s Note" is actually useful here to understand the context of the staging.
- Subscribe to the "Globe for All" or "Arena" Series: If you like this specific vibe, the Globe offers packages that focus on these smaller, intimate productions. It’s often cheaper than the big summer Shakespeare season.
- Parking Hack: Don't try to park right next to the theater. Use the Inspiration Point parking lot and take the free tram. It saves you twenty minutes of circling like a vulture in the crowded Balboa Park lots.
The Sheryl and Harvey White Theatre represents a specific kind of magic that you can’t get from a screen. You can't pause it. You can't look away. You’re locked in a room with a story, and for two hours, that's the only world that exists. Whether it's a world premiere drama or a reimagined classic, this space ensures you aren't just watching theater—you’re living in it.
Keep an eye on the Old Globe’s seasonal calendar specifically for the "Sheryl and Harvey White" listings. Those are the shows that usually spark the most conversation at dinner afterward.