at San Francisco's Theater Artaud and in a one-month series at the Museum of Modern Arts' Herbst Theater. Commissioned in 1986 by William Cook and "American Inroads" for their San Francisco New Performance Festival, Actual Sho was created through eight months of improvisation, utilized an original design of a tilting, rolling stage. Actual Sho premiered in Stuttgart, West Germany on June 25, 1987 before its inclusion in the 1987 New Performance Festival. It was performed in Yugoslavia, Poland, the Kennedy Center's San Francisco Festival in Washington, D.C., the Pepsico Summerfare Festival in Purchase, NY, the BITEF Festival in Belgrade and Herbst Theater in San Francisco. The virtuoso improvisational vocalist, singer/songwriter, actor and writer Diana Rosalind Trimble was one of the stand out performers in 'Actual Sho', then a teenager, who also recorded original music with the production's composer Mark Ream and went on to have a prolific independent career in music. Coates collaborated with Steve Jobs in 1988 to create a multimedia production for the unveiling of Jobs' NeXT Computer System and was featured for this production in the 2015 film, Steve Jobs, directed by Danny Boyle and written by Aaron Sorkin. Coates' Right Mind opened the American Conservatory Theater's 1989–1990 season. It was brought to a close October 17, 1989, when the Loma Prieta earthquake caused extensive damage to the landmark Geary Theater, with the set for Right Mind on stage. A year to the day after the earthquake, Coates’ show Architecture of Catastrophic Change opened in his new theater, a renovated neo-gothic cathedral at 110 McAllister St. in San Francisco. In 1999, Coates became the first to acquire the rights to Valerie Solanas' long-lost work Up Your Ass, which had been lost by Andy Warhol (for which Solanas shot him) and discovered at the Andy Warhol Museum thirty years later. The production, which was retitled Up Your A$$ by Coates and made its world premiere in 2000 at his San Francisco theater, was regarded one of the raunchiest and most controversial shows around, with an all-female cast, many of which were dressed in drag. The play was mounted on alternate nights with a production of Arthur Miller's The Archbishop's Ceiling, for which Coates had received funding from National Endowment for the Arts, to make a production examining censorship. Coates' production of the Miller play incorporated gender bending by including five of the performers from Up Your A$$, some