Artistic Director Michael Stevenson &
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| by James Ijames | ||
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Directed by Anthony D'Juan |
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March 18-April 19, 2026 PERFORMANCE LENGTH: 1 Hour, 30 Minutes, No Intermission |
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FEATURING: |
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| James Simpson^, Brooklynn T. Solomon, Brandon Rubin*, | ||
| Kali Honeywood, Tarig Elsiddig*, Sené Goss, Xzavier Beacham* | ||
| Assistant Director Alissa Doyle |
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Stephen C. Jones** |
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Lighting Designer Isaiah Leeper |
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Ed Lee |
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| Properties Designer Morgan Sommer |
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Jarod Wiggins |
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| Dance/Movement Choreographer Shannon Mahoney |
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Dramaturg & Intimacy Coordinator Nicole Limón |
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Stage Manager Melissa Jernigan* |
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| Assistant Stage Manager Stephen Byrum^ |
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| SPONSORED BY: | ||
| TED COBB | ||
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SEASON WINE SPONSOR: |
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“Fat Ham” is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. www.concordtheatricals.com |
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| *Member Actors' Equity Association | ^Capital Stage Apprentice | **Member Local USA 829 | ||
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OUR MISSION
Capital Stage is dedicated to creating transformative, thought-provoking theater experiences that challenge, inspire, and connect.
THINGS TO KNOW
HEALTH & SAFETY:
Visit our COVID-19 Safety Protocols & Procedures Page to stay up to date on our Health & Safety requirements and recommendations.
VIDEO/PHOTOS:
Recording and photography during the performance are prohibited at Capital Stage by copyright law and union regulations.
CELL PHONES:
Patrons are asked to turn any noise making devices off upon entering the theatre.
LATE SEATING & RE-SEATING:
Due to the design of our theatre, we cannot guarantee seating for late arrivals or for patrons who leave the theatre during the performance. As a courtesy to our artists and our audiences, late arrivals will be seated in a suitable location by our staff if possible and at the appropriate intervals.
REFRESHMENTS:
Only concession items purchased in the Wine & Dessert Bar are allowed in the theatre, patio and lobby areas. Yes, you can bring your drinks and snacks into the theatre!
CHILDREN:
Capital Stage is noted for bringing intimate bold productions to our region and we encourage young adults to experience a live performance. Children age sixteen and up are welcome at Capital Stage unless specifically noted in the production’s description.
WHEELCHAIR SEATING:
Seating locations at Capital Stage for patrons using wheelchairs or with limited mobility are located in the first row. Tickets for these seats may be purchased in person or by calling the Box Office at 916-995-5464. Please call ahead to notify the staff if you required these seats.
RESTROOMS:
Restroom facilities are located in the lounge behind the Wine & Dessert Bar.
INFORMATION:
Brochures and information about upcoming Capital Stage productions and events are available in the box office or by visiting capstage.org.
Capital Stage is a member of Actors' Equity Association, the Union of Professional Actors and Stage Managers in the United States.
Capital Stage is a member of Theatre Communications Group (TCG), the national organization for the American theatre.
Capital Stage is a member of the National New Play Network, the country’s alliance of leading nonprofit theaters that champion the development, production and continued life of new plays.
Capital Stage is a member of Blue Star Theatres, offering discounts to Military personnel, Military family members, and Veterans.
SDC is the theatrical union that unites, empowers, and protects professional Stage Directors and Choreographers throughout the United States.
The Representative Voice of Designers and Scenic Artists
Sponsors
Cast
Creative Team
James Ijames
Anthony D'Juan
Alissa Doyle
Michael Stevenson
Liz Gray
Tony Gabrielson
Caleb Jones
Melissa Jernigan*
Stephen Byrum^
Stephen C. Jones**
Isaiah Leeper
Rebecca Valentino
Leo McConnell
Logan Jacob Germano Heller
Ed Lee
Morgan Sommer
Hailey Bowland^
Shannon Mahoney
Jarod Wiggins
Nicole Limón
Samantha McLean Haas
Special Thanks
Joe Bertolucci, Affordable Heating & Air, Inc.
Dan Brunner
Donna Chipps
CSUS Department of Theatre & Dance
Priority Parking
Production Staff
Artistic Director - MICHAEL STEVENSON
Production & Company Manager - TONY GABRIELSON
Director - ANTHONY D'JUAN
Assistant Director - ALISSA DOYLE
Stage Manager - MELISSA JERNIGAN*
Assistant Stage Manager - STEPHEN BYRUM^
Technical Director - CALEB JONES
Scenic Designer - STEPHEN C. JONES**
Scenic Charge Artist - SAMANTHA McLEAN HAAS
Lead Carpenter - CONOR WOODS
Carpenter, Painter - SUNNY MACKEY
Lighting Designer - ISAIAH LEEPER
Lead Electrician - SHAE MERCER
Costume Designer - REBECCA VALENTINO
Costume Design Assistant - LEO MCCONNELL
Hair & Make-Up Designer & Drag Consultant - LOGAN JACOB GERMANO HELLER
Sound Designer & Engineer - ED LEE
Properties Designer - MORGAN SOMMER
Properties Design Assistant - HAILEY BOWLAND^
Build Crew - SUNNY MACKEY, CONOR WOODS, CALEB JONES
Painters - SAMANTHA McLEAN HAAS, CALEB JONES, SUNNY MACKEY, CONOR WOODS
Wardrobe/Run Crew - STEPHEN BYRUM^, HAILEY BOWLAND^, LYDIA CRIST^
Dramaturg & Intimacy Coordinator - NICOLE LIMÓN
Fight Choreographer - JAROD WIGGINS
Dance/Movement Choreographer - SHANNON MAHONEY
Resident Dramaturg - K. KEVYNE BAAR, PHD
BIAPOC Liaison - MATTHEW HANJOONG
Infection Control Manager/Admin. & Payroll Assistant - ELIJAH PETERS
Graphic Designer, Marketing Manager, Webmaster - MISTY MCDOWELL
Photographer - CHARR CRAIL
^ Capital Stage Apprentice | * Member Actors' Equity Association | ** Member Local USA 829
About The Play
by K. Kevyne Baar, PhD
“I’d say, come and see it and have a laugh. Come and see it and maybe see a version of yourself reflected back to you that you’ve never seen before. I’d say, come and see it because it is trying to capture the journey from pain to pleasure. Come to see it if you’re interested in transformation, how people can become new, how people can become better versions of themselves.” – James Ijames
The Pulitzer Prize in Drama is awarded “For a distinguished play by an American author, preferably original in its source and dealing with American life.” In 2022 that award went to James Ijames for his play Fat Ham, described by the Pulitzer Prize Committee as “A funny, poignant play that deftly transposes ‘Hamlet’ to a family barbecue in the American South to grapple with questions of identity, kinship, responsibility, and honesty.”
In every interview Ijames has given, it should come as no surprise to anyone reading this that he is asked why he chose to adapt Hamlet, to which he answers:
“I always think of Hamlet as a Cain and Abel story: the story of a sibling killing their sibling to get ahead. Anybody can relate to that; that’s a [narrative] that you inherit and moves with you through generations. And the younger folks in the play have to make some decisions about whether or not they want to continue that, whether that’s what they want their lives to look like and their relationships to each other to look like. I’m calling into question the stories that we’ve been passed down as wisdom. Because sometimes it’s wisdom, but more and more I look at those stories as cautionary tales of what you shouldn’t do. Vengeance isn’t gonna help Juicy [our Hamlet]. Killing his uncle is not gonna help Juicy’s life get any better.”
For Ijames, “Fat Ham proves that family drama never goes out of style. Using the setting of a backyard barbeque.” He emphasizes that Shakespeare’s Hamlet is just that: a family drama.”
Like Hamlet, “we have a musing, melancholy main character, dressed in all black, mourning the surprising death of his father and the quick remarriage of his mother to his uncle.” They both speak directly to the audience, pouring out their hearts with words some of which will be familiar to those who know Shakespeare’s Hamlet. But don’t panic, as Jesse Green, the theatre critic for the New York Times assures us, “You don’t need to make any of those ‘Hamlet” connections to enjoy ‘Fat Ham.’”
Ijames reminds us that, “In Fat Ham, the family aren’t royals; they’re people who own a barbecue restaurant. I knew I wanted to set the play in a world that moved in and out of brutality, so that I could have a conversation about how cycles of violence and trauma move through families, how the culture that the family deals with in their vocation seeps into who they are.” At the same time he makes sure we understand that he adapted this Shakespearean tragedy into a play he calls, “unabashedly Black and undeniably exuberant, resilient, and queer.”
About The Playwright
by K. Kevyne Baar, PhD
“When I was about 13, my parents split up and I had a lot of anger and frustration, and one of the ways that my family tried to encourage me to work through that was to write. And so I started writing little skits and plays, and I just have been writing in dramatic form ever since. I think it’s a way for me to metabolize all the things that I’m thinking about or curious about.” –James Ijames
In an interview for the Southern Review of Books in 2021, Ijames gave us this brief, but cogent biography:
“Well, I am originally from a tiny town in North Carolina, called Bessemer City, that looks like Mayberry. It has the Main Street with all the little shops and City Hall. I grew up there and was heavily involved in arts and performing in school. I was in band, and choir – I got really intense about choir in high school.
I went to college in Georgia at Morehouse College to get a degree in music with a concentration in Choral Music Conducting, ‘cause that’s what I thought I wanted to do. I got [to Morehouse] and really quickly discovered that [I] didn’t want to [do that] – it was awful, I hated it. And my voice teacher at the time who was very nice but also could see that I was miserable, was like, ‘They’re doing a musical over across the way at Clark Atlanta. They’re doing ONCE ON THIS ISLAND. You should audition for it. See if you like that.’ I think he could tell that that’s what I should be doing. And I did. And that was the bug – I got in and it was over. I was a Theatre major. And then I went on to get an MFA in Acting from Temple University. That’s what brought me to Philly. I’ve been here doing anything that people will let me get away with for almost twenty years.”
As to being a playwright, Ijames found that, “I metabolize all my questions about the world—past, present and future—through the art form of dramatic writing. FAT HAM was inspired initially by seeing a production of HAMLET that, I felt, put an ocean between me and the characters, in spite of the fact that I have loved HAMLET since I first read it in college. It’s thick with family drama, political intrigue, sex, violence. It’s a blockbuster of a play, but the production I saw reduced its world down to ideas embodied versus a true examination of the human condition, which of course is what I think theater, at its most potent, can achieve. So I started reading HAMLET, watching HAMLET, reading what old white men had said about HAMLET, and from that I started to try to pull the play closer to me and, in my own language, render this story. The language of my family, my communities, my ancestors.”
In FAT HAM Ijames “wanted to give the family a chance to not feel constrained by literature or by their family history. And overall, recently, I’ve started to write things that don’t obscure pain or the possibility of death, or betrayal, but that get to some sort of place where the audience can see how the world could get better. I am trying to end my writing not in devastation, but in a striving for paradise.”
Meet the Company
James Simpson^
James Simpson is an aspiring actor and director who had been thrilled to work so closely with amazing artists through Capital Stage’s apprentice program. With a deep passion for storytelling and performance, James has learned from experienced artists and immersed himself in every aspect of the creative process. His goal is to grow as both a performer and a visionary behind the scenes, and onstage and is using this opportunity to refine his craft working as an assistant stage manager, crew member, wardrobe constructor, and has built a foundation for a lifelong career in theater and film. James has now taken on the role of an actor with Capital Stage. He brings enthusiasm, creativity, dedication, and a collaborative spirit to every project, and is excited to take the next step in his artistic journey.
Brooklynn T. Solomon
Brooklynn T. Solomon is so excited to be back at Capital Stage for this beautiful production. She was last seen here in FAIRVIEW, THE ROYALE and MISS BENNET: CHRISTMAS AT PEMBERLEY. Some of her favorite performances include B Street Theatre’s BROKE-OLOGY, Big Idea Theatre’s BOOTY CANDY and SKELETON CREW, Celebration Arts' SPELL #7, A RAISIN IN THE SUN, SUNSET BABY, STICK FLY, THE BLUEST EYE and BOURBON AT THE BORDER, and Sacramento Theatre Company’s CLUE: THE MUSICAL, GLORIA: A LIFE and WHEN WE WERE COLORED: A MOTHER’S STORY. Most recently, she appeared in Celebration Arts’ 2026 season opener, THE COLORED MUSEUM. Brooklynn received her Bachelor of Arts in Theatre from Sacramento State University.
Brandon Rubin*
Brandon Rubin is happy to return to Capital Stage for this wonderful performance. He began acting here in Sacramento and then went and received his MFA from the Mason Gross School of the Arts at Rutgers University. Some of His favorite productions have been THE ROYALE by Marco Ramirez, FENCES by August Wilson, and SURELY GOODNESS AND MERCY by Chisa Hutchinson. You can also find his work on Amazon's Audible platform for audiobooks. He would like to thank his parents for always encouraging him. This performance is dedicated to my Grandma.
Kali Honeywood
Recent theatre credits include: FAIRVIEW at Capital Stage, where she portrayed Keisha, DREAM WEDDING (Lyla) with SF Playground, the workshop production of SARAI'S KNIFE (Jaeda Davis) at Capital Stage, and HARRIET TUBMAN & THE UNDERGROUND RAILROAD (Minty). Additional credits include INTO THE WOODS (Cinderella) with the Sacramento State Department of Theater & Dance. With heartfelt thanks to her family, close friends and partner. IG: @KaliHoneywood
Tarig Elsiddig*
Tarig trained with Celebration Arts and his mentor James Wheatley, performing in Sacramento now for the last 11 years. Tarig is thrilled to return to Capital Stage for the fourth time, last appearing in their production of KING JAMES with Ian C. Hopps*, GEORGIANA & KITTY: CHRISTMAS AT PEMBERLEY and SWEAT by Lynn Nottage. Recent credits also include LOBBY HERO, BLUE DOOR by Tanya Barfield, THE WHIPPING MAN, TO KILL A MOCKINGBIRD, HAIRSPRAY, THE SKELETON CREW and GOLDEN WINGS.
Sené Goss
This Midwest native has been gracing stages with her creative gifts for well over 30yrs.
Since 1998 Sené has been seen on many local theatre stages here in the Sacramento region. Sené was last seen at The Fourth Wall Theatre in 2025 as (Helen Robinson) in BIRDMOCKING. A role that required much depth, strength and personal reflection. Sené is excited to make her debut at Cap Stage in FAT HAM as "Rabby" and hopes to inspire every person that sees this production. Favorite Quote:
“Never be afraid to begin, again.” IG: @sene_goss
Xzavier Beacham*
Xzavier Beacham is a classically trained actor and multidisciplinary creative with over a decade of experience in the performing arts. He earned his Bachelor’s degree in Public Relations from Concordia University, where he completed a theater minor before graduating. He continued his formal training at The Actors Conservatory in Portland, Oregon. Recently, Beacham portrayed Langston Hughes in Zora and Langston in Sacramento, California, a production that received Best Production and Best Scored Production at the SheLA Summer Theatre Festival. He is also the creator of For Your Eyes Only: A Short Series exploring Banned Books. IG: zay_beacham
George Hillman
George is excited to be a part of such a wonderful play with so many beautiful moments and people. George is currently in his final year at Sac State, working towards his BA in Theatre Arts. He loves to perform just as much as he loves to breathe, especially places in the community he has never worked with before. Some of his previous work includes Benedick in MUCH ADO ABOUT NOTHING at Sacramento State, Avery in THE FLICK at Big Idea Theatre and Junior in BEFORE IT HITS HOME at Celebration Arts. He hopes you enjoy the captivating tale that is FAT HAM. Insta: @Georgehthegreat
James Ijames
James Ijames is a Pulitzer Prize winning and Tony Award nominated playwright, a director and educator. James’ plays have been produced by Flashpoint Theater Company, Orbiter 3, Theatre Horizon, Wilma Theatre, Theatre Exile, Azuka Theatre (Philadelphia, PA), The National Black Theatre, JACK, The Public Theater (NYC), Hudson Valley Shakespeare Theater, Steppenwolf Theatre, Definition Theatre, Timeline Theater (Chicago IL) Shotgun Players (Berkeley, CA) and have received development with PlayPenn New Play Conference, The Lark, Playwright's Horizon, Clubbed Thumb, Villanova Theater, Wilma Theater, Azuka Theatre and Victory Garden. James is the 2011 F. Otto Haas Award for an Emerging Artist recipient, and two Barrymore Awards for Outstanding Direction of a Play for THE BROTHERS SIZE with Simpatico Theatre Company and Gem of the Ocean with Arden Theatre. James is a 2015 Pew Fellow for Playwriting, the 2015 winner of the Terrance McNally New Play Award for WHITE, the 2015 Kesselring Honorable Mention Prize winner for ....MIZ MARTHA, a 2017 recipient of the Whiting Award, a 2019 Kesselring Prize for KILL MOVE PARADISE, a 2020 and 2022 Steinberg Prize, the 2022 Pulitzer Prize in Drama recipient and a 2023 Tony nominee for Best Play for FAT HAM. James was a founding member of Orbiter 3, Philadelphia’s first playwright producing collective. He received a B.A. in Drama from Morehouse College in Atlanta, GA and a M.F.A. in Acting from Temple University in Philadelphia, PA. James is an Associate Professor of Theatre at Columbia University where he serves as head of playwriting. He resides in South Philadelphia and the Morningside Heights neighborhood in New York, NY.
Anthony D'Juan
Anthony D'Juan is a Sacramento based director-playwright who has been active since 1996. He was assistant and protégé to Ed Claudio, and is currently an Adjunct Professor for the Los Rios Community College District. His playwriting credits include: MEN IN RIFFS, THEORY OF THE DREAM, THE PURVEYORS, SAFE AT HOME: THE JACKIE ROBINSON STORY, 3:BLACK GIRL BLUES, THIS IS HOW IT HAPPENED, DOMESTIC DISTURBANCE, BIRDMOCKING, ANY/PERSON, US & THE REST OF ‘EM, EXIT, THEATER OF LIGHTS, LIVE LIKE YOUR FATHER’S DEAD and SUPERIOR CALIFORNIA. His stage directing credits include: SUBURBIA, ENDGAME (best drama 2004), A CLOCKWORK ORANGE (THE MUSICAL), TOPDOG/UNDERDOG (2007), THE MOUNTAINTOP, BOOTYCANDY (nominated best director), SKELTON CREW, PASS OVER, THE ROYALE, DIRECT FROM DEATH ROW:THE SCOTTSBORO BOYS, FATSO (with Logan Heller - 2023 revival), PAPI ME AND CESAR CHAVEZ, CLYDE’S, ROBIN HOOD (world premier), THE GOAT OR WHO IS SYLVIA? (nominated best director), FAIRVIEW (nominated best director), FENCES, WATER BY THE SPOONFUL, TWELFTH NIGHT and OUR TOWN (2026).
Alissa Doyle
Alissa is thrilled to be back at Cap Stage, learning from the legendary Anthony D'Juan and this formidable cast. Acting credits include FAIRVIEW and PREDICTOR (Capital Stage), DANCE NATION (B Street Theatre), and GRAPES OF WRATH (directed by Michael Stevenson at Sacramento Theatre Company). Directing credits include COMMEDIA ALADDIN (Sacramento City College), the remount of ZORA & LANGSTON (with Imani Mitchell at Celebration Arts), and BURIED CHILD (CSU Sacramento). Alissa is finishing her MFA in Theatre Pedagogy through the University of Idaho and is honored to include FAT HAM in her capstone projects. Love to Ry & B and our summer baby.
Michael Stevenson
Liz Gray
Tony Gabrielson
Caleb Jones
Melissa Jernigan*
Melissa most recently worked at Capital Stage on EUREKA DAY, UNSEEN and the world premiere of EVERYTHING BEAUTIFUL HAPPENS AT NIGHT. She has been stage managing at Capital Stage since 2016. Some of her favorites include VIETGONE, THE NETHER, STUPID F##KING BIRD, CLYDE’S and THE HOMBRES. Other credits include being a PA on Broadway’s LENNON, Off-Broadway: FELA! the Lagos Tour, David Cromer’s OUR TOWN, John Leguizamo: A WORK IN PROGRESS, BEAUTY OF THE FATHER at Manhattan Theatre Club, BREATH & IMAGINATION at Hartford Stage, OUR TOWN starring Helen Hunt at The Broad Theatre in Santa Monica. She was a sub stage manager on HARRY POTTER & THE CURSED CHILD in SF and this past holiday season returned to her roots as an ASM on ELF: THE MUSICAL at Broadway at Music Circus. She is a proud Equity Member. When she’s not inside the stage management booth with her good friend Ed Lee, Melissa enjoys spending time with her Husband and two sons.
Stephen Byrum^
Stephen C. Jones**
Isaiah Leeper
Rebecca Valentino
Leo McConnell
Logan Jacob Germano Heller
Ed Lee
Morgan Sommer
Hailey Bowland^
Shannon Mahoney
Jarod Wiggins
Nicole Limón
Samantha McLean Haas
ACTORS’ EQUITY ASSOCIATION (AEA)
Founded in 1913, this union represents more than 45,000 actors and stage managers in the United States. Equity seeks to advance, promote and foster the art of live theatre as an essential component of our society. Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. AEA is a member of the AFL-CIO, and is affiliated with FIA, an international organization of performing arts unions. The Equity emblem is our mark of excellence.
Capital Stage Staff
MICHAEL STEVENSON - Artistic Director
LIZ GRAY - Managing Director
KIRK BLACKINTON - Development Manager
TONY GABRIELSON - Production & Company Manager
MISTY MCDOWELL - Marketing Manager
LOGAN JACOB GERMANO HELLER – Education & Box Office Manager
THEODORE ALEXANDER - House Manager
CALEB JONES - Technical Director
CONOR WOODS - Lead Carpenter
SUNNY MACKEY - Carpenter, Painter
ED LEE - Resident Sound Designer & Engineer
SHAE MERCER - Lead Electrician
CECILIA CASTILLO JUAREZ - Concessions & Box Office Associate
YASMINE SALMERON - Production Associate
K. KEVYNE BAAR, PhD - Resident Dramaturg
JAMIE JONES, PETER MOHRMANN, GAIL RUSSELL, JANIS STEVENS – Associate Artists
ELIJAH PETERS - Infection Control Manager, Payroll & Administrative Assistant
2025/26 SEASON APPRENTICE COMPANY - Hailey Bowland, Stephen Byrum, Lydia Crist, James Simpson
Capital Stage Board Members
Lori Abbott Moreland
Arts Patron
Chastity E. Benson
California State Association of Counties
Dan Brunner, Treasurer
Arts Patron
Kathryn E. Doi, Board President
Feldesman Leifer LLP
Beth Hassett
CEO, WEAVE
Stephen C. Jones
Professor and Vice Chair of the CSUS Dept of Theatre and Dance
Steve Koonce
Arts Patron
Elena Lopez-Gusman, Chair of Governance
Executive Director, California Chapter, American College of Emergency Physicians
Dena Martinez
Talen Agent, Director, Actor
Kristi Quesada Mathisen, Board Vice President
Sacramento Country Day School
Clif McFarland
Attorney
Robert Medina
Director of Policy & Advocacy, Sobrato Philanthropies
Stephanie Rowe, Board Secretary
Professor, Sacramento City College
Vince Sales
Everyday Impact Consulting
Peggy Wheeler
California Hospital Association
Board Emeritus:
Stephanie Gularte, Founding Artistic Director
Capital Stage
Peter Mohrmann, Co-founder
Capital Stage
Jonathan Williams, Co-Founder
Capital Stage
Arlen Orchard
SMUD
Julie Stark
Arts Patron
Donors
Special Thanks to our Donors
Donation Totals from 3/16/25 to 3/16/26
Please alert us to any errors or omissions by contacting Development Manager, Kirk Blackinton at kblackinton@capstage.org.
Founder's Circle: $20,000+
Walter & Linda Barnes
Dan Brunner
Kathryn E. Doi
Golden 1 Credit Union
Lesley & Steve Koonce
Jim Rolewicz & Tim Curfman
Sacramento City Office of Arts and Culture
The Shubert Foundation
Chuck & Nancy Shulock
Executive Producer: $10,000+
John Abbott & Lori Abbott Moreland
Gloriette C. Fong
James R Hargrove
Margaret Hastings
Scott & Linda Lasher
Linda McAtee & Steve Sphar
James McElroy & Ann Gerhardt
Art & Sue Scotland
Anita Scuri & James Simon
Howard Slyter & Marge Ginsburg
Julie Stark
Patricia Wall & David Stavarek
Ruth Werner
Joan Williams
Producer: $6,000+
Chastity E. Benson
Ted Cobb
Drs. John & Lois Crowe
Steven Debry
Gail Finney
Matt Hart & Allison Kephart
Beth Hassett
Robert Medina
Gretchen Peralta
Stephanie Rowe
Leonard Vincent Sales
Chris & Dave Wagner
Director: $3,000+
Constance Batterson
Susie & Jim Burton
Beth Carlsen
Theresa Corrigan
Ellen Covairt & Bernard Kalscheuer
Jeffrey Farley & Mike Tentis
Lisa Foster
Deborah Franklin & Douglas Mitten
Carole Fritz
Diane Holt
Stephen Jones
Laura Kee & Daryl Browne
Michael Koltnow & Kathleen Stack
Dennis Link
Tiffany Little Canfield
Elena Lopez-Gusman
Clif McFarland
Keetha Mills & Phil Nanni
Glenn & Rose Rondeau
Diane Schertz
Barbara Sommer
Marty & Janet Steiner
Ed Telfeyan & Jeri Paik
Susan Wheeler
Gloria & Don Yost
Lead Actor: $1,200+
Jacob & Beth Appelsmith
Peggy Beasley
David Bell & Katherine Newman
Linda Brandenburger
Carol Buck & Dennis Beaty
Margaret L Buss
Sterling Dalatri
Kathy Davenport & Ken Weiss
Gayle Dax-Conroy
Jim & Kathleen Deeringer
Cindy Dunning
Susan Edling
Curtis Fritz
Helen & Glenn Hakanson
Lisa & Garen Horst
Stephanie & David Hunt
Barbara Jeffus
Janet Jensen
Peggy & Bruce Kennedy
Marion Leff
Claire Lipschultz
Shannon Mahoney & Kirk Blackinton
Kris Martin
Dena Martinez & Paul Verke
Eugene Masuda
Kristi Quesada Mathisen & Josh Mathisen
Peter Mohrmann & David Harris
Julie Morandi
Karen Neuwald
Sara Nichols & Bill Magavern
Gail Pereira
Laurie Nelson Randlett & Jim Randlett
Lowell Richardson & Paula Sugarman
Ken Rothaus
Lori Saper-Nettel & Hans Nettel
Peter Saucerman & Susan Twining
Kim Silvers & Sheila Cardno
Roger & Barbara Smith
Rae-Nani Stokes
Robert Suskind & Leslie Lewinter-Suskind
Diane Van Maren
Megan Van Voorhis
Peggy Wheeler
Buzz Wiesenfeld
Claudia Wrazel & Frank Horowitz
Designer: $600+
|
Best, Best & Krieger
In Memoriam for Arthur Finan |
Chris Abare
Kathleen Anderson
Stephen & Melva Arditti
David & Marsha Baskins
Robert & Jean Bonar
Karen Broido
Celia Buckley
Donna Chipps
Les & Peggy Chisholm
Kathleen Collins
Annabel Cooper
Fred Deneke & Jim Eastman
Matt Donaldson & Steve Kyriakis
Nancy & Don Erman
Richard & Barbara Falcon
Griff Field
Pamela Fitch
Muffy & Terry Francke
Brooke Frederick
David Fulk & Keith Riedell
LSL Fund
Brian Galacio
David Goldberg & Anna Rojas
Adrienne Graham
Linda Gregory
Ed Hall & Warren Lindeleaf
Team Hanseth
Eileen Heaser
Zheyla Henriksen
Mary Herbert
Hirst Law Group, P.C.
Kim Hunter
Laura & Harold Jackson
Allyce Kimerling
Dawn & Dave King
Robert Klass & Katy Globus
Sayuri Kuo Sharper
Beverly & Ronald Lamb
Brian & Dorothy Landsberg
Sandy Lee
Dennis Mangers & Michael Sestak
John Marinko
Ed Mills
Shelley Mydans & John Griffing
AMANDA NELSON
Catherine O'Brien
Mary O'Byrne
Richard Pearson & Jean Hart
Brian Rickel
Ron Robie
Judy & Mike Scheible
Ann Siprelle
Sara Slocum
Chris & Julia Smith
Patricia Symkowick
Shirley Toy & Dwight Crocker
Stephanie Tucker
Harold & Ilah Turner
Kim Varner
Denise Verbeck
Karen Willstatter
John Wilson & Susie Monary-Wilson
Carol Wolff Barnes
Suzanne & Jesse Womack
Ensemble: $300+
Candace & Doug Adams
John & Kathleen Agnew
Wendell Alderson & Ken Nather
John Angell
Karen Auwaerter
Robert & Laura Jane Young
Don Beckham
Ruthann Biel & Bill Claypool
Barbara Black
Peter Botto
Dr. William Bronston & Lisa Levering
Carin & Bob Bryans
Lyndsay Burch
Steve Buri
Marilyn Champa
Gregg & Marlene Cook
Timothy Corcoran
Gail Dartez & Don McGillivray
Jim Dodds
Katherine Downey
Andrew Enberg
Tracie & Richard Fike
Clint Fleener
Niva Flor
Kelli Frostad
Patty Garcia & Jim Mattesich
Anne Geraghty
Carol & Steven Goldberg
William & Margaret Gray
Mary Graziose
Dennis Gunvalson & Richard Bay
Chris Huber & S. B. Hadley Wilson
Linda & Simon Haines
Linda Hansen
Polly Hasemann
Dr. Brian & Sherry Haus
Robert Herne
Theresa Holden
Mike & Doris Horton
Patrick & Suzanne Hunt
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