Artistic Director Michael Stevenson & Managing Director Keith Riedell Present SMART PEOPLE
by Lydia R. Diamond
Directed by Judith Moreland**
Live Theatre & Virtually On Demand June 22 - July 24, 2022 Performance Length:  2 Hours, 15 Minutes, One Intermission
Featuring Rinabeth Apostol*      James R. Ellison, III Tiffanie Mack       Aaron Wilton*
Scenic & Projections Designer Ian Wallace	Costume Designer Rebecca Redmond
Lighting Designer  Isaiah Leeper
Sound Designer Ed Lee	Properties Designer Kimberly Taketa
Stage Manager Anthony E Gabrielson*
Assistant Stage Manager Katherine Cannon*
Sponsored by Dan Brunner
“Smart People” is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. www.concordtheatricals.com New York Premiere Produced by Second Stage Theatre, New York, 2016 Carole Rothman, Artistic Director / Casey Reitz, Executive Director SMART PEOPLE was originally produced by the Huntington Theatre Company Boston, Massachusetts Peter DuBois, Artistic Director / Michael Maso, Managing Director SMART PEOPLE was originally commissioned by McCarter Theatre, Princeton, NJ Emily Mann, Artistic Director / Jeffrey Woodward, Managing Director
*Member Actors' Equity Association
**Member Stage Directors & Choreographers Society

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OUR MISSION

Capital Stage’s mission is to entertain, engage and challenge our audience with bold, thought provoking theatre.

THINGS TO KNOW

COVID-19 SAFETY:

To attend a performance everyone in your party must present proof of vaccination for COVID-19 (with a second dose at least 14 days prior to the date of the performance), plus a booster (if eligible and 6 months after your final dose) with a valid photo ID. Masks are currently required while COVID case levels are high in Sacramento County. If cases remain at high or medium risk-levels, masks will be required. Visit our COVID-19 Safety Protocols & Procedures Page to stay up to date.

VIDEO/PHOTOS:

Recording and photography of any kind are prohibited at Capital Stage.

CELL PHONES:

Patrons are asked to turn communication 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 patio and lobby areas.

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 a disability 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.

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.

About The Play

by Stephanie Tucker, PhD.

Lydia Diamond started writing Smart People in 2007, the year Barack Obama announced his candidacy for presidency, inevitably foregrounding issues of race in these United States. 2007 is also the year Smart People opens. Set in ”various locations in Cambridge, Massachusetts,” Smart People begins with a “Prologue” in which Diamond introduces her four characters, all of whom are connected to Harvard University: Valerie Johnston, an actress and recent recipient of an MFA from Harvard’s American Repertory Theatre; Dr. Jackson Moore, an intern on surgical rotation at the Medical School; Dr. Ginny Yang, a tenured psychology professor, who studies anxiety and depression among Asian-American women; and, the protagonist, Dr. Brian White, a tenured neuro-psychiatrist, who researches the physical and chemical activity of the brain as it pertains to racial identity—or, more simply, a possible biological explanation for racism. Four very “smart” people, indeed.

During the course of the play, these four, all strangers at play’s start, discuss their various professional pursuits and dilemmas, befriend one another, and help one another out—or try to. Given their various ethnicities, Valerie and Jackson are African-American, Ginny is Chinese-Japanese-American, and Brian is white, each has a professional and personal interest in the subject of race—topics still being discussed and debated among academics and scientists in 2022.  

Yet this topic is not alone in giving Smart People its timeliness and relevance. Diamond does a brilliant job of using the stage to enlighten the audience, and the characters themselves, using a variety of metatheatrical techniques. At times, two or more characters are on stage simultaneously: “Everyone in his/her separate area,” to quote a stage direction. Short scenes of single characters shed light on aspects of their beings—always tellingly. Longer scenes tend to dramatize significant relational issues, and the penultimate scene provides a terrific climactic moment. As varied as they are, the scenes are brilliantly interwoven into a narrative whole.

Having a character, who’s an actor, also emphasizes the theatricality of the piece—and here, Valerie’s roles shed light on this play’s themes. When we first meet her, Valerie’s in rehearsal for a production of Julius Caesar, in which she plays Portia, the wife of Brutus, “the noblest Roman of them all,” whose part in Caesar’s assassination is driven by what he believed to be the good of Rome. Towards play’s end, Valerie gets a part in Ibsen’s An Enemy of the People, whose protagonist, Dr.Thomas Stockmann, becomes “an enemy” to those around him as he fails to make social reform—the result of his outspoken arrogance—not unlike Smart People’s protagonist, Brian—all privileged, socially upstanding men with noble goals.

A contemporary comedy of manners, Smart People does indeed examine the foibles, and strengths, of its four characters, and does so with humor, compassion, and clear sightedness. All are well meaning, hardworking and driven in their pursuit of professional accomplishments. And all are bedeviled by various aspects of racism. Diamond has said:

I have always spoken to my work being about the intersection of race and class and sexuality, but I always kind of back-ended into it. I started this play and I thought, you know what? This is about race. I’m not going to pretend it’s a play that’s just about how these people who just happen to be these different races bounce off each other and such is landscape of America and blah blah blah. This is my “there it is” kind of play.

And “there it is”, indeed. Thought-provoking, theatrical and deeply moving, Smart People may be about four highly intelligent and motivated people, but they (and those off-stage characters with whom they interact) reflect, sympathetically, feelings and thoughts with which those of us in the audience can identify—and empathize, and wrestle. Enjoy this very smart play!
 

Sponsors

Cast

Creative Team

Special Thanks

Donna Chipps

Barbara Greenwood

Jim Hensley, President Abbey Flooring, Inc.

Oak Park Brewing Company

Robert Mandelson

Production Staff

Production Manager/Asst. Stage Manager  - KATHERINE CANNON*

Technical Director  - CARLOS LLONTOP

Lead Carpenter - RICH KIRLIN

Scenic Charge Artist  - SAMANTHA McLEAN HAAS

Sound Designer & Engineer  - ED LEE

Lead Electrician  - MARI OYAIZU CARSON

Literary Manager/Dramaturg  - STEPHANIE TUCKER, PhD.

Stage Manager  - ANTHONY E GABRIELSON*

Production Assistant  - NICK RABORN^

Assistant to the Director/Asst. Dramaturg - KADEN ZALDUMBIDE^

Intimacy Director - LIZ FREDERICK

Properties & Sound Assistant  - ANDREW FRIDAE^

Lighting Assistant & Crew Swing  - RAND DOERNING^

Properties & Costume Assistant  - CECILIA CASTILLO JUAREZ^

Dresser & Run Crew - YASMINE SALMERON

Build Crew  - RAND DOERNING^, ANDREW FRIDAE^, CECILIA CASTILLO JUAREZ^, RICH KIRLIN, ALEX MARTINEZ, NICHOLAS RABORN^, KAITLIN WEINSTEIN^, KADEN ZALDUMBIDE^

COVID-19 Safety Managers  - KATIE CANNON, ELIJAH PETERS, RUBY SKETCHLEY

Graphic Designer  - MISTY MCDOWELL

Photographer  - CHARR CRAIL

Videographer/Editor - MISTY MCDOWELL

Webmaster - MISTY MCDOWELL

^ Capital Stage Apprentice  |  * Member Actors' Equity Association

Meet the Company

Rinabeth Apostol*

Ginny Yang

Rinabeth is happy to return to Cap Stage after appearing virtually in SMART PEOPLE, THE GREAT LEAP, and onstage in VIETGONE. Offstage, she has kept busy with the world premiere of DISBELIEF (PlayGround), THE HEADLANDS (American Conservatory Theatre), PLAY LIKE A GIRL (Two River Theatre), workshopping several new plays, motion capture on several video games and lending her voice to various commercials and audiobooks. Proud member of AEA, SAG-AFTRA and Ferocious Lotus www.rinabeth.com

James R. Ellison, III

Jackson Moore

James R. Ellison, III is a natural born entertainer. Since the age of 4 he knew that by performing he could touch lives and inspire. James has done plays, stand-up comedy, improv, and local films all over southern and northern California.

Tiffanie Mack

Valerie Johnston

Tiffanie Mack is a former CapStage apprentice and is very excited to be back performing with this theatre company again. Her most recent roles at Capstage include #11 in THE WOLVES and Grace in AN OCTOROON.

Aaron Wilton*

Brian White

Aaron Wilton is elated to be back at Cap Stage, where he was previously seen in ENRON, CLYBOURNE PARK, SANTALAND DIARIES, BETWEEN RIVERSIDE & CRAZY and LUNA GALE! He’s an award-winning actor, voice-over artist and motion-capture artist, with roles in film (JEXI, THE BOAT BUILDER), television (CRIMINAL MINDS, SUNSET GLORY) and video games (MAFIA: DEFINITIVE EDITION, WATCH DOGS 2, GODFATHER 2, BATTLEFIELD: HARDLINE, the NBA2K series), as well as commercials with Taco Bell, Xfinity, Wells Fargo, Blue Shield, Charles Schwab, Chase, Cisco, Adobe, EA Games, Pixar and Tejava. Notable stage productions include George Street Playhouse's INSPECTING CAROL (with Peter Scolari & Dan Lauria), Aurora Theatre Company's JOHN GABRIEL BORKMAN (with Karen Grassle), the lead in the World Premiere of Hudson Stage Company's AFTER ALL (with Broadway's Walter Charles & Susan Pellegrino) and the Western Premiere of BLOODY BLOODY ANDREW JACKSON at San Jose Stage Company.

Lydia R. Diamond

Playwright

Lydia R. Diamond is a prolific playwright and teaching artist whose plays include SMART PEOPLE, STICK FLY, HARRIET JACOBS, VOYEURS DE VENUS, THE GIFT HORSE, THE INSIDE, and her adaptation of Toni Morrison’s novel, THE BLUEST EYE. Her early works were nurtured in Chicago theatres like Congo Square, MPAACT and Chicago Dramatists, and have gone on to enjoy productions around the country at theatres including Arena Stage, Company One, The Goodman, The Guthrie, The Huntington, Kansas City Rep, Long Wharf, The McCarter, Second Stage, Steppenwolf, True Colors, and her Broadway run of STICK FLY at the Cort Theatre on Broadway. Her work has been commissioned by theatres including Arena Stage, The Huntington, The Humana Festival, The McCarter Theatre Co., The Roundabout, Second Stage, Steppenwolf, and True Colors. She has been tapped by HBO to develop an original series and writes for Showtime’s The Affair. Ms. Diamond is on demand as a speaker on the radio, at universities, conferences, and institutes around the country. She has held fellowships and residencies at Harvard’s Radcliffe Institute, The DuBois Institute at Harvard, Arena Stage, TCG/NEA Residency at Steppenwolf, and was a resident playwright for over fifteen years at Chicago Dramatists. Ms. Diamond is a graduate of Northwestern University, and has taught at DePaul, Columbia College, Gallery 37, and was on faculty for eight years at Boston University.

Judith Moreland

Director

This is the fourth production Judith has directed at Cap Stage. She previously directed AN OCTOROON (2017), BETWEEN RIVERSIDE AND CRAZY (2019), and SMART PEOPLE (Virtual Production, 2021). She’s also directed at The Fountain Theatre (Los Angeles), Inkwell Theater (Los Angeles), the Blank Theater (Hollywood), and the Road Theatre (North Hollywood) among others. She has extensive acting credits in film and television, and has worked with many regional theater companies including the New York Shakespeare Festival, Playwrights Horizons (NY), Ensemble Studio Theater (Los Angeles), Meadow Brook Theater (Detroit) and Shakespeare Center of Los Angeles. She was a company member of San Francisco’s American Conservatory Theater for many years and is a faculty member at UCLA’s school of Theater, Film and Television.

Michael Stevenson

Artistic Director

For Capital Stage, Michael has directed THE LIFESPAN OF A FACT, ADMISSIONS, THE HUMANS, THE OTHER PLACE, SWEAT, THE THANKSGIVING PLAY, LUNA GALE, STUPID F##KING BIRD, HOW TO USE A KNIFE, DISGRACED, MR. BURNS, IDEATION, CLYBOURNE PARK, MAURITIUS, ERRATICA (World Premiere), and LES LIAISONS DANGERUSES. He has directed at regional theatres including: B Street Theatre, Lake Tahoe Shakespeare Festival, Orlando Shakespeare Company, Perseverance Theatre Company, and Sacramento Theatre Company. As an actor he has appeared at many regional theatres including: 42nd Street Moon, American Conservatory Theatre, The Aurora Theatre, Bailiwick Repertory Theatre, Capital Stage, B Street Theatre, the Utah Shakespeare Festival, and Marriott’s Lincolnshire Theatre. He holds an M.F.A. from the American Conservatory Theatre.

Keith Riedell

Managing Director

Keith Riedell celebrates his 15th year at Capital Stage, joining the company early in the second season. He brings to Capital Stage his varied experiences in the theatre, management, team building, counseling, training and corporate improvement. In his role as Managing Director he hopes to make Capital Stage a world class place to work, while playing an important role in the social justice efforts in our region.

Katherine Cannon*

Production & Company Manager/Asst. Stage Manager

Katie is in her 4th season as Production & Company Manager for Capital Stage, after several years with them as an AEA Stage Manager. Favorite shows stage managed for Capital Stage include AUGUST: OSAGE COUNTY, BETRAYAL, DISGRACED and ANNA KARENINA. She has also stage managed for Broadway at Music Circus for 17 seasons, most recently for SHREK, as well as being their Production Stage Manager at the Cosmopolitan Cabaret. Additional stage management credits include productions for the Sacramento Opera, Sacramento Theatre Company, and Musical Theatre West & Main Street Theatre in the greater Los Angeles Area.

Carlos Llontop

Technical Director

Having been a Technical Director for Folsom Lake College for many years as well as a Lead Technician at the Harris Center of the Arts, Carlos is excited to make his debut with Capital Stage during their reopening season. Some of his favorite productions include Spring Awakening, The Who’s Tommy, Hair, and Marat/ Sade. He wants to take a moment to thank his previous professors and mentors Ian Wallace, Rebecca Redmond, David Harris and Sam Coquerille. He would also like to thank his amazing team of apprentices for all their hard work and dedication. He is looking forward to making some magic and creating art with his fellow artists for time to come.

Anthony E Gabrielson*

Stage Manager

Returning to Sacramento and Capital Stage after six years away. Tony has worked with many theaters and dance companies locally and around the country over the last 15 years. Favorite productions include: Disney’s: Beauty and the Beast with Barter Theater in Abingdon, VA, Monty Python’s: Spam-a-Lot with Music Circus, On Borrowed Time at Two River Theater in Red Bank, NJ, and developmental workshops of Bottleshock: The Musical. He is blessed and beyond grateful to continue working as an artist in our community. Love and thanks to Jessa and Piper - his favorite people.

Ian Wallace

Scenic & Projections Designer

Ian is excited to design for Cap Stage again, having previously designed THE ELABORATE ENTRANCE OF CHAD DEITY back in 2013. Ian is the department chair of Theatre and Cinema Arts at Folsom Lake College, as well as a lecturer at UC Davis. Previous designs include THE FLYING DUTCHMAN (Opera San Jose); EL HENRY, OUR TOWN, RECIPE FOR DISASTER, FRIDA LIBRE (La Jolla Playhouse); GREAT AMERICAN TRAILER PARK MUSICAL, TORTILLA CURTAIN, IN THE TIME OF THE BUTTERFLIES, INTO THE BEAUTIFUL NORTH (San Diego Rep); THE LAST MATCH, WE'RE GONNA BE OKAY, THE GIVER (B Street); STILL WILL BE HEARD (Mondavi Center). International designs include SIAVASH, SCARLET STONE (Toronto), RUINS TRUE (Romania, Budapest, Avignon); DEATH OF A SALESMAN (Romania); DRUMS ON THE DAM (London). Television: GUIDING LIGHT (CBS). USA829 member. BFA: NYU; MFA: UC San Diego.

Isaiah Leeper

Lighting Designer

Isaiah Leeper is incredibly excited to be lighting up Capital Stage for the second time after first designing for PASS OVER! Recently he was able to bring light to the world of FENCES and AIN'T MISBEHAVIN' at Sacramento Theatre Company. He would like to take the time to thank the cast, crew, and entire company for being so welcoming and making this every bit the experience he hoped to have.

Rebecca Redmond

Costume Designer

Rebecca Redmond is happy to be back at Capital Stage where she has designed many productions over her 16-year tenure, starting on “the boat” with PROOF. Her most recent credits include BETWEEN RIVERSIDE AND CRAZY, THE HUMANS, THE ROOMMATE, LUNA GALE, and BAD JEWS. Rebecca earned her MFA in theater from UC Davis. Her other recent designs have been seen at San Francisco’s Theater Rhinoceros (PILLOW TALK, THE REVIEW), Sierra College (MURDER ON THE ORIENT EXPRESS), Folsom Lake College (HAIR, ALICE IN WONDERLAND, MACBETH, MARAT/SADE), and Sacramento City College (THE BEAUX’ STRATAGEM, THE GREAT GATSBY). In addition to costume design, Rebecca is also a jewelry designer and professor at Folsom Lake College. Follow her on social media @ModernDalliance.

Ed Lee

Sound Designer

Ed is delighted to be part of another season at Capital Stage. He has been involved in almost every production since the company’s aquatic days at the Delta King, from artwork for SPEECH AND DEBATE to appearing in FIRST PERSON SHOOTER. Favorite sound design credits include: MASTER CLASS; SOMEONE TO WATCH OVER ME; 4000 MILES; MISTAKES WERE MADE; RAPTURE, BLISTER, BURN; and UNCANNY VALLEY.

Kimberly Taketa

Properties Designer

Kimberly Taketa is excited to return to Capital Stage, previously working as an apprentice during their 2017-2018 Season. She is a graduate of SacState and alumni of the Music Circus Intern Program, primarily as a Props Artisan. She has worked as a Props Master, Light and Scenic designer, and Stage Manager for over 20 productions. She is currently the Technical Director at The Fourth Wall. Notable productions being THE PRODUCERS, DIVINERS, LUNA GALE, MAJORIE PRIME, BARE: THE MUSICAL, and finally, her directorial debut of Team Starkid’s THE TRAIL TO OREGON at the Fourth Wall.

Samantha McLean Haas

Scenic Charge Artist

Samantha McLean Haas has been painting sets for 11 years. She's worked at Sacramento City College, University of California Davis, Sacramento Theatre Company, and Music Circus. This is her eleventh show with Capital Stage.

Stephanie Tucker, PhD

Dramaturg

Liz Frederick

Intimacy Director

Liz (she/her) is an intimacy coordinator and director working in the San Francisco and Sacramento area. She ensures challenging stories can be told by choreographing moments of intimacy while protecting the boundaries of the entire production. She is delighted to be back in Sacramento working at Capital Stage. Her choreography was last seen in BETWEEN RIVERSIDE AND CRAZY and has been seen at Aurora Theatre, College of Marin, Teatro Nagual, and Big Idea Theatre.

Nick Raborn^

Production Assistant

Nick has been working in theaters for seven years, both onstage and behind the scenes. Some highlights in his acting career include Lt. Brannigan in GUYS AND DOLLS, Philostrate in A MIDSUMMER NIGHT’S DREAM, and most notably as Chuck Biggs in SHE KILLS MONSTERS, all at Sac State. He was also involved in the writing process and performance of FOLLIES OF THE FOUNTAIN as part of a senior production and has most recently performed as Stan in a virtual production of SWEAT. He earned a BA in Theatre Arts from Sacramento State in 2020.

kaden zaldumbide^

Assistant to the Director

kaden ezra is an interdisciplinary artist currently attending UC Davis for their BA in Art Studio and Theatre and Dance. They began their theatre career acting in several shows at Inner City Arts in Downtown Los Angeles. While pursuing their undergrad, kaden has broadened their experience to costumes, stage management, and directing. They hope to gain more in-depth, extensive experiences, and a greater sense of the community in Nor-Cal theatre.

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

KEITH RIEDELL - Managing Director

KATIE CANNON - Production & Company Manager

MISTY MCDOWELL - Marketing Manager

AALIYAH PETERS - Audience Services Manager

CARLOS LLONTOP - Technical Director

ED LEE - Resident Sound Designer & Engineer

RICH KIRLIN - Lead Carpenter

LOGAN HELLER, CHRIS SAECHAO – Box Office Assistants

RUBY SKETCHLEY – Front of House Assistant

ALYSSA MARIE MATHEWS - Concessions Associate 

JAMIE JONES, PETER MOHRMANN, GAIL RUSSELL, JANIS STEVENS – Associate Artists

RAND DOERNING, ANDREW FRIDAE, ANA MUNTEAN, KAITLIN WIENSTEIN, CECILIA CASTILLO JUAREZ, NICHOLAS RABORN, KADEN ZALDUMBIDE - Apprentices

ELIJAH PETERS, RUBY SKETCHLEY - COVID Safety Officers

Capital Stage Board Members

Chastity E. Benson
California State Association of Counties

Donnell Brown
National Grape Research Alliance

Dan Brunner, Treasurer
Arts Patron

Melissa Conner
Seed Communications Design

Kathryn E. Doi
Hanson Bridgett LLP

Sherry Hartel Haus
Downey Brand

Steve Koonce
Arts Patron

Kris Martin
Arts Patron

Kristi Quesada Mathisen
Sacramento Country Day School

Lori Abbott Moreland
Arts Patron

Damaris L. Perez
Crowe LLP

Mike Tentis, Board President
UC Davis Strategic Communications

Peggy Wheeler
California Hospital Association

Board Emeritus:

Stephanie Gularte, Founding Artistic Director
Capital Stage

Peter Mohrmann, Co-founder
Capital Stage

Clif McFarland
Mitchell Chadwick

Arlen Orchard
SMUD

Jonathan Williams, Co-Founder
Capital Stage

Julie Stark
Arts Patron

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