Synchronicity scopes out new real estate after years in midtown — considers all options 

A mainstay of Atlanta’s theater community for almost 30 years now, Synchronicity Theatre is now in search of a new performing space. 

According to Rachel May, the company’s co-founder and producing artistic director, the landlord of Midtown’s One Peachtree Pointe — Dewberry Capital Corp– decided earlier this year not to renew the lease of Synchronicity’s artistic home (which contained a 138-seat house venue) after 12 years.  

“Primarily, I think it’s that the commercial real estate market is hard, and they are trying to do some different things with the building,” May says. “I think it was a business decision that was unfortunate for us, but they’ve been great partners for 12 years. We appreciate the time we’ve been there. We wish we weren’t having to leave this year. It definitely was unexpected.” 

The company, specializing in work that uplifts women and girls, began in 1997. Prior to its home at One Peachtree Pointe, Synchronicity staged productions at local companies such as 7 Stages, Theatrical Outfit, Actor’s Express and the Alliance Theatre’s Hertz Stage. 

Synchronicity’s world premiere of Catherine Yu’s In Spite of My Ambivalence will still open June 5 as planned, despite uncertainty about a future space. The company most likely will not have a standard fall season but will continue with projects such as an annual tour reaching 7,000 to 8,000 children in partnership with Clayton County and a new Grace Lin adaptation for its family theater series.

“We have so much work that is not on our stage,” says May. “We are in schools throughout the metro area doing after-school programs. We have our Playmaking for Girls [outreach program], which is always in partner spaces.” 

Synchronicity’s annex space, located next to Smith’s Olde Bar on Piedmont Road, will remain operational for offices and rehearsals, and May is looking at the possibility of staging some salon performances for up to 50 patrons. 

Looking at the bright side of the news, she’s relieved she found out about the move before finalizing the 2026-2027 season. “We were able to hit pause,” she says. 

Synchronicity Board Chair Rahsaan Shears feels it’s an exciting time as the company seeks a new home. But while she is positive, she realizes finding another space takes work. 

That said, the theater has formed a working search committee, including board members, community members and management, to guide the process. During planning meetings, they have looked at the company’s needs in terms of scale and size.

At the top of the desired list is a place they can simply afford. “We want to partner with an owner who is committed to the community, has a heart to support theater and is willing to allow us flexibility to grow over the next decade or two,” says Shears. “I don’t mean just in audience sizes but in the complexity of shows we can produce.”

May and the Synchronicity team are already in conversations with artistic colleagues about where they might be able to stage one-offs or co-productions. “We have been tremendously moved by all the love arts organizations and funders and donors and supporters have shown since we went public,” says May. “A lot of people are scouting real estate for us.” 

The ideal new location would be to remain in Midtown. Also important is to have a space with available parking and restaurant options nearby. One Peachtree Pointe has been going through significant renovations over the past year-and-a-half, and several businesses, including Invesco, have moved out, says May. As well, Tavernpointe, a restaurant across the atrium, and another coffee shop inside the building have been gone since the pandemic. 

Synchronicity has never owned a space, and May cites several benefits of renting, though she would not be opposed to purchasing a building if the right location and circumstance came up. Aware of problems that Georgia Ensemble Theatre and Aurora Theatre have faced recently with their performing venues, however, both May and Shears want to be particularly careful in their next steps. 

“In terms of us considering options, is it the right thing to be partnering with a city or county now?” comments Shears. “What can we learn from what other theaters have experienced? As part of the arts collective, we have been very supportive of our peers in terms of dialogue and ideation. Now we want to learn to make sure we are conscious of the decisions we make and the potential ramifications, because we want to have a long-term relationship.”  

Partnerships with both corporate entities or municipalities can be practical but can come with a real risk, adds May.  “Each situation is unique,” she says. “Our situation is not like the other two situations, but we are watchful of that and thinking carefully about whatever arrangement we go into next [to] not put us in a tenuous position. I’d want to make sure there is an understanding between both parties of how beneficial the relationship can be and that Synchronicity can be an amenity and addition to the community. That is what we are looking for.” 

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Jim Farmer is the recipient of the 2022 National Arts and Entertainment Journalism Award for Best Theatre Feature and a nominee for Online Journalist of the Year. A member of five national critics’ organizations, he covers theater and film for ArtsATL. A graduate of the University of Georgia, he has written about the arts for 30-plus years. Jim is the festival director of Out on Film, Atlanta’s LGBTQ film festival, and lives in Avondale Estates with his husband Craig.