Artistic Director Michael Stevenson & Managing Director Keith Riedell Present THE CHINESE LADY
by Lloyd Suh
Directed by Michelle Talgarow
January 25 - February 26, 2023 PERFORMANCE LENGTH:  90 Minutes, No Intermission
Featuring Rinabeth Apostol*           Leon Goertzen*
Scenic Designer Tricia Tecson	Costume Designer Madeline Berger
Lighting Designer  Eunice Kim
Sound Designer Ed Lee	Properties Designer Kimberly Taketa
Hair & Makeup Designer Corey D. Winfield
Stage Manager Melissa Jernigan*
THE CHINESE LADY is presented by special arrangement with Dramatists Play Service, Inc. New York. Co-world premiere presented at Barrington Stage (Julianne Boyd, Artistic Director; Branden Huldeen, Artistic Producer), Pittsfield, MA, July 2018 Commissioned by and co-world premiere presented by Ma-Yi Theater Company (Ralph B. Peña, Artistic Director) in New York City Developed with support of the Roe Green Award at Cleveland Play House.
*Member Actors' Equity Association

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

THINGS TO KNOW

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Visit our COVID-19 Safety Protocols & Procedures Page to stay up to date on our Health & Safety requirements and recommendations. 

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

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Patrons are asked to turn communication devices off upon entering the theatre.

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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.

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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.

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Restroom facilities are located in the lounge behind the Wine & Dessert Bar.

INFORMATION:

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Capital Stage is a member of Actors' Equity Association, the Union of Professional Actors and Stage Managers in the United States.

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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.

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SDC is the theatrical union that unites, empowers, and protects professional Stage Directors and Choreographers throughout the United States.

Setting

The United States, beginning in 1834.

Sponsors

Cast

Stop AAPI Hate Resources

Creative Team

Special Thanks

Joe Bertolucci, Affordable Heating & Air, Inc.

Donna Chipps

Di Arie Vineyard & Winery

Mary Goodall

Ted Granier

Jim Hensley, President Abbey Flooring, Inc.

Cameron Hoyt

Jamie Jones

Clara McCoy

Oak Park Brewing Company

John Seto

The Tecson Family

Adam Wiley

Production Staff

Production & Company Manager  - TONY GABRIELSON

Technical Director  - CARLOS LLONTOP

Scenic Charge Artist  - SAMANTHA McLEAN HAAS

Sound Designer & Engineer  - ED LEE

Lead Electrician  - ANDREW FRIDAE

Stage Manager  - MELISSA JERNIGAN*

Production Assistant  - YASMINE SALMERON^

Run Crew  - MADDIE HARDIMAN

Build Crew  - LANA DALLMAN, TED GRANIER, MADDIE HARDIMAN, DEAN KARAGIANES, SUNNY MACKEY, BILL MAI, KURT RODRIGUEZ, YASMINE SALMERON^, IMANI WAWERU^, ALEXANDRIA XIONG 

COVID-19 Safety Manager  - ELIJAH PETERS

Graphic Designer/Webmaster  - MISTY MCDOWELL

Photographer  - CHARR CRAIL

BIPOC Liaison - NICOLE ANNE SALLE

^ Capital Stage Apprentice  |  * Member Actors' Equity Association

Dramaturgy by Starr Jiang

Historical Overview

Afong Moy arrived in America in October 1834. Salem merchants Francis and Nathaniel G. Carnes, along with ship captain Benjamin Obear and his wife Augusta, brought her from Guangzhou, China. They would use her as a marketing ploy to promote the Chinese goods they were selling. To garner attention and attract customers, they created an “exhibition and salon,” using Moy to draw a crowd. The first exhibition and sales campaign with Moy presenting Chinese objects began at Obear’s house in New York City in November 1834. An announcement for the event in the New York Daily-Advertiser reads:

The ship Washington, Capt. Obear, has brought out a beautiful Chinese Lady, called Juila Foochee ching-chang king, daughter of Hong wang-tzang tzee king. As she will see all who are disposed to pay twenty-five cents. She will no doubt have many admirers.

Many newspapers around this time referenced Afong Moy by variations of Chinese gibberish. Stories circulated that she was the daughter of China's elite, although her true origins, like her name, are not known. 

On November 6, when lengthy advertisements appeared to announce Moy’s exhibition, Afong Moy’s anglicized Chinese name was replaced with the moniker, Afong Moy. On November 10, 1834, she was exhibited amidst the Carne brothers’ offerings with her translator, Atung, who provided narration about her life in China and commands for her to follow. This included the difficult stroll around the room, as depicted in the play.

From at least May 1835, management of Afong Moy was shifted to Henry Hannington of New York. He had a business producing dioramas in the city. The exact transaction of this indenture from the Carnes and Obear to Hannington is not known. Moy would become less of a marketing tool for selling Chinese goods and instead became the performance and spectacle. Atung’s name also disappeared from advertisements. Whether Atung left of his own volition or Hannington did not want or need to manage him for this act is unknown. Hannington, as well as his wife Catherine, managed the content of the presentation completely. Moy was now paired with other acts, such as a ventriloquist and magician. 

Moy was meant to return to China a year after her arrival in the US, her departure initially marked for the spring of 1835. However, her leave was continuously delayed, as her manager realized they could continue to make money off of her appearances. When the Panic of 1837 occurred, the financial collapse resulted in people having less money to spend on entertainment. Those who profited off of Moy totally abandoned and deserted her. 

In March 1838, the Monmouth Inquirer published articles locating Afong in Monmouth County, New Jersey. She was living with an indigent widow and her family. In the articles, Afong confirmed that she was brought to America with the promise of a one-year stay. “After her agent could no longer attract the attention of the public, she was brought to this county, and placed under the direction of a widow woman of very indigent circumstances who … is wholly unable to administer to the comforts, and every day wants of her guest.”’ “She [Moy] appears to be much dissatisfied with her present situation and mode of living—her personal treatment we strongly suspect, is not of the most pleasant kind.” The story was picked up by other newspapers who criticized those who abandoned her. “The profits [for her manager] began to decrease and she was finally shamelessly abandoned in Monmouth County in this state, in a helpless situation. She was provided for by the authorities of the county in their poor-house—where she remained…when a company of persons redeemed her, by defraying the expenses of her maintenance.” After the public outcry, Henry Hannington began to contribute $2.50 a week to the family that boarded her. She remained in Monmouth for another eight years. 

Then, as a result of P.T Barnum’s connection to Hannington through his work as a painter of signs and decorative paintings for dioramas, Barnum became Moy’s manager and once again objectified her before audiences. Beginning in July 1847 at Niblo’s in New York, she began more years of touring. Moy and Charles Stratton, also called General Tom Thumb, periodically presented together onstage for two years. Spectators would watch her sing a song in Chinese and eat with chopsticks. P.T. Barnum eventually replaced Moy with a younger Chinese woman, Pwan-Ye-Koo, using the false narrative of her aristocratic background to distinguish her from Afong Moy, a “common” woman. After 1851, there are no more known written accounts about Moy. She has not been found in census or death records.

Read more: https://capstage.org/wp-content/uploads/Dramaturgy-for-THE-CHINESE-LADY.pdf

Meet the Company

Rinabeth Apostol*

Afong Moy

Rinabeth is happy to return to Cap Stage after appearing onstage in SMART PEOPLE, VIETGONE and THE GREAT LEAP virtual production. She has appeared in many new works onstage at American Conservatory Theater, Actors Theater of Louisville, Seattle Rep, TheatreWorks, California Shakespeare Theatre, The Magic, Arizona Theater Company, East West Players, Skirball Center for the Arts, and Berkeley Rep Ground Floor, among others. 2021-2022 productions include STARTING HERE, STARTING NOW (SF Playhouse), THE MAGIC LAMP (Presidio Theater), REDWINGED BLACKBIRD (world premiere), FUN HOME (42nd Street Moon), MONUMENT (world premiere, Magic Theater) and co-directing and choreographing over 100+ students in THE LION KING JR. Offstage, she often lends her voice to commercials, video games and children’s toys; and most recently to Sirius XM/Marvel’s UNBEATABLE SQUIRREL GIRL Podcast as Gretchen Campbell. You can also find her as one of only two actors who provided stunt and MoCap work in Marvel’s MIDNIGHT SUNS videogame. She recently completed her residency as The Class of 1939 Artist in Residence and Asian Distinguished Theater Fellow at College of William + Mary and is a proud member of Actors’ Equity, SAG-AFTRA and Ferocious Lotus Theatre Company. Upcoming projects include playing Bloody Mary in SOUTH PACIFIC with the Billings Symphony and the west coast premiere of her solo show little brown gIRL at the Association for Asian American Studies conference this spring. Thru this performance, Rinabeth would like to celebrate her immigrant parents, immigrants and their families, second chances and lost his/herstories. More @rbdtwo or rinabeth.com

Leon Goertzen*

Atung

Leon is thrilled to work with Capital Stage for the first time. He has worked at theaters in the San Francisco Bay Area and Los Angeles, including East West Players, Berkeley Repertory Theatre, Will and Company, Magic Theatre, Asian American Theater Company, Ferocious Lotus Theatre Company (founder and company member), San Francisco Mime Troupe, Road Theatre Company, Cutting Ball Theater, PlayGround, Aurora Theater Company, Bay Area Playwright's Festival, Alcazar Theatre, California Conservatory Theatre, New Conservatory Theater, and Theatre Lunatico. Film credits include QUITTERS and BEAUTY AND THE BLADE. Leon is a graduate of the School of Drama at UNC School of the Arts and is a proud member of Actors' Equity Association, Screen Actors Guild.

Lloyd Suh

Playwright

Lloyd Suh is the author of AMERICAN HWANGAP, THE WONG KIDS IN THE SECRET OF THE SPACE CHUPACABRA GO!, JESUS IN INDIA, GREAT WALL STORY, THE CHILDREN OF VONDERLY, MASHA NO HOME and others, produced with Ma-Yi, The Play Company, Ensemble Studio Theatre, La Mama ETC, Magic Theatre (SF), Denver Center Theatre Company, East West Players (LA), and internationally at the Cultural Center of the Philippines in Manila, and with PCPA in Seoul, Korea. He has received support from the NEA Arena Stage New Play Development program, the Andrew W. Mellon Launching New Plays Into the Repertoire initiative via the Lark Play Development Center, and the New York State Council on the Arts, Jerome Foundation, Theatre Communications Group and Dramatists Guild. His plays have been published by Samuel French, Playscripts, Smith & Kraus, Duke University Press and American Theater magazine. He is an alum of EST's Youngblood and the Soho Rep Writer Director Lab, and from 2005-2010 served as Artistic Director of Second Generation and Co-Director of the Ma-Yi Writers Lab. He has served since 2011 as the Director of Onsite Programs at the Lark.

Michelle Talgarow

Director

Michelle (she/hers) is thrilled to be back at Capital Stage with a director’s cap on. She performed in Capital Stage’s production of VIETGONE in 2019. Michelle is a Kalmyk/Filipina theatre maker in the Bay Area for over 25 years. Her most recent directing credits are, MAN OF GOD with Shotgun Players in Berkeley where she is also an artistic company member, and BALIKBAYAN BOX with TheatreFIRST, written by Jeffrey Lo, director of VIETGONE. Michelle is also a proud member of the all AAPI Bay Area theatre collective, Ferocious Lotus. Michelle is currently an adjunct professor at University of San Francisco.

Michael Stevenson

Artistic Director

For Capital Stage, Michael has directed GLORIA, 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 DANGEREUSES. He has directed at regional theaters including: B Street Theater, Lake Tahoe Shakespeare Festival, Orlando Shakespeare Company, Perseverance Theater Company, and Sacramento Theater Company. As an actor he has appeared at many regional theaters including: 42nd Street Moon, American Conservatory Theater, The Aurora Theater, Bailiwick Repertory Theater, Capital Stage, B Street Theater, the Utah Shakespeare Festival, and Marriott’s Lincolnshire Theater. He holds an M.F.A. from the American Conservatory Theater.

Keith Riedell

Managing Director

Keith celebrates his 16th 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.

Tony Gabrielson

Production & Company Manager

Tony joins Capital Stage this season as the Production and Company Manager. He has worked with many theaters and dance companies locally and around the country over the last 15 years, most recently Stage Managing SMART PEOPLE last season, here at Cap Stage. Favorite productions include: DISNEY'S BEAUTY AND THE BEAST with Barter Theater in Abingdon, VA, 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.

Melissa Jernigan*

Stage Manager

Melissa most recently worked at Capital Stage on THE ROYALE, THE LIFESPAN OF A FACT, PASS OVER, MISS BENNET and HOLD THESE TRUTHS, and has been stage managing at Capital Stage since 2016: Some of her other favorites include VIETGONE, THE NETHER, AN OCTOROON, AND STUPID F##KING BIRD. Other theatrical credits include Production Assisting 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 and THE LASSO OF TRUTH at Marin Theatre Company. This past year she was a sub stage manager on Harry Potter and the Cursed Child in SF. She is a proud Equity Member. When she’s not inside the stage management booth Melissa enjoys spending time with her Husband, two sons and 10 chickens. For Lola.

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 enter his second season with Capital Stage. 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.

Tricia Tecson

Scenic Designer

Tricia is honored to be a part of this production of THE CHINESE LADY at Capital Stage. Having graduated with a Master’s in Architecture from the University of British Columbia, she is ecstatic to be returning to the Theater Arts. She has previously worked with Music Circus, Teatro Nagual, Berkeley Playhouse and is currently working on shows at Cosumnes River College. Tricia would like to thank Martin Flynn for his mentorship and guidance which have been immeasurable.

Eunice Kim

Lighting Designer

Eunice Kim is excited to be making her debut as a professional lighting designer with Capital Stage! She graduated from UC San Diego with a BA in Theatre back in 2018. During the 2019 summer stock season, she was a member of the electrics intern team at Pacific Conservatory Theatre (PCPA). Prior to moving to Sacramento last year, she worked as an over-hire electrician all over the Los Angeles region at theatres such as East West Players, A Noise Within, Boston Court Pasadena, and the UCLA theatre department. Currently, Eunice works as a lighting assistant at the Sacramento Theatre Company, where she also does the lighting designs for all the education productions.

Madaline Berger

Costume Designer

Madeline is thrilled to be designing for her first time at Capital Stage! She is a multidisciplinary costume designer, wardrobe stylist, maker, tailor & teacher - currently running the Bay Area’s first full service costume design house with a team of highly talented creatives. Her previous work can be seen around the bay from The San Jose Stage with productions like August: Osage County to Shotgun Players Man of God, where she met Michelle and Starr ( & feels so lucky to be working with them again!) She would like to thank her friends, family & incredible team who continue to surprise and support her on this creative journey, spending every day doing what we love. Madelinebergerdesign.com

Ed Lee

Sound Designer & Engineer

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 is excited to return for another season at Capital Stage. She's an alumni of the Capital Stage Apprentice Program and returned the previous season to Prop Design LIFESPAN OF A DREAM and SMART PEOPLE. She is a graduate of Sac State 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.

Corey D. Winfield

Hair & Makeup Designer

Corey is a performer and theatrical technician who has worked in the entertainment industry for 30+ years. Having worked in stage, film, and television, he has had the privilege to put his work before local, US, and international audiences. Locally you may have noticed his technical work in shows like HAIRSPRAY as Hair/Wig Designer, WEST SIDE STORY as Co-Director/Choreographer, and THE ADDAMS FAMILY as Costumes/Make-up/Hair. You may also have seen him perform in ANGELS IN AMERICA as Belize, ANNIE as Oliver Warbucks, SEUSSICAL as Sour Kangaroo, THE PRODUCERS as Roger DuBris, Bob Irvin’s SHREW! as Vincentio, and THE ROCKY HORROR SHOW as Dr. FrankNFurter.

Samantha McLean Haas

Scenic Charge Artist

Samantha has been painting sets for over a decade in the greater Sacramento area. She's worked at Sacramento City College, University of California Davis, Sacramento Theatre Company, B Street, and Broadway at Music Circus. This is her third season with Capital Stage.

Starr Jiang

Dramaturg

Yasmine Salmeron^

Production Assistant

Photos: Go Inside Opening Night of THE FAR COUNTRY at Atlantic Theater Company

Last night (December 5), Atlantic Theater Company celebrated the Opening Night of The Far Country, an Atlantic commissioned world premiere play by Lloyd Suh, directed by Eric Ting.

See photos from opening night below!

The Far Country is now open and playing a limited engagement through Sunday, January 1st, 2023 Off-Broadway at the Linda Gross Theater (336 West 20th Street).

The Far Country features Ben Chase (Mondo Tragic), Jinn S. Kim (Race, Religion & Politics), Whit K. Lee (Assassins), Christopher Liam Moore (All The Way), Shannon Tyo (The Chinese Lady), Amy Kim Waschke (Off-Broadway debut), and Eric Yang (Legacy).

An intimate epic that follows an unlikely family's journey from rural Taishan to the wild west of California in the wake of the Chinese Exclusion Act.

The Far Country features scenic design by Clint Ramos, costume design by Junghyun Georgia Lee, lighting design by Jiyoun Chang, sound design by Fan Zhang, wigs, hair and makeup by Tommy Kurzman, and casting by The Telsey Office: William Cantler, CSA; Karyn Casl, CSA; Destiny Lilly, CSA. Alyssa K. Howard will serve as production stage manager.

Review Roundup: THE FAR COUNTRY Opens At Atlantic Theater Company

Atlantic Theater Company just celebrated opening night of the world premiere production of The Far Country, an Atlantic commissioned play by Guggenheim fellow Lloyd Suh, directed by Obie Award winner Eric Ting. The Far Country is a limited engagement running through Sunday, January 1st, 2023 Off-Broadway at the Linda Gross Theater (336 West 20th Street).

The Far Country features Ben Chase (Mondo Tragic), Jinn S. Kim (Race, Religion & Politics), Whit K. Lee (Assassins), Christopher Liam Moore (All The Way), Shannon Tyo (The Chinese Lady), Amy Kim Waschke (Off-Broadway debut), and Eric Yang (Legacy).

An intimate epic that follows an unlikely family's journey from rural Taishan to the wild west of California in the wake of the Chinese Exclusion Act.

Read the reviews!

Alexis Soloski, The New York Times: “The Far Country” ends in 1930. That ending isn’t necessarily abrupt. But it does feel somewhat arbitrary. Why not 1950? Or 1970? There is so much more history to recover. More love. More promise. More pain. Moon Gyet claims that the strenuous physical labor required of an immigrant is nothing compared with the work of being Chinese in America. This takes patience and focus, he says. A serious mind and a necessary grace. Suh possesses these qualities in full. He has more work to do, more stories to tell.

Robert Hofler, The Wrap: Eric Ting’s direction is effective when the play is on track. When “The Far Country” goes awry, he leaves his audience lost in the San Francisco fog.

Joe Dziemianowicz, New York Theatre Guide: One of Suh’s strengths is his ability to mix realism and poetic elements. He uses that here as he shines a light on a dark slice of American history and builds a play around it. The timeline could be clearer, along with an indication of why these Chinese men and women risked so much to be in the U.S. They faced so many hardships there. In this Atlantic Theater Company presentation, director Eric Ting guides a uniformly excellent cast. Tyo, seen previously in Suh's The Chinese Lady, about a different fraught journey from Asia to America, arrives well into the play and shifts the story into high gear. There’s fine work by the design team, including Clint Ramos, whose spare but striking set reveals some surprise elements the director employs. So why were actors suddenly standing up to their ankles in water? I have no idea, and that’s no lie.

Melissa Rose Bernardo, Time Out New York: In his 2018 play The Chinese Lady, Lloyd Suh introduced us to Afong Moy, reportedly the first Chinese woman to set foot in the U.S., who was displayed like a curio for paying audiences. In The Far Country, whose premiere at the Atlantic is directed by Eric Ting, he digs into a later period of Asian-American history: the aftermath of 1882’s Chinese Exclusion Act. But this is no staid history class. In just over two hours, Suh succinctly and humorously covers 21 years, two continents, two interrogations and two obscenely expensive trans-Pacific crossings from Taishan to San Francisco.

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

TONY GABRIELSON - Production & Company Manager

MISTY MCDOWELL - Marketing Manager

AALIYAH PETERS - Audience Services Manager

CARLOS LLONTOP - Technical Director

ED LEE - Resident Sound Designer & Engineer

ANDREW FRIDAE - Carpenter, Technician

LOGAN HELLER – Box Office Associate, Apprentice Coordinator

CECILIA CASTILLO JUAREZ - Concessions Associate 

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

IMANI WAWERU, LANA DALLMANN, YASMINE SALMERON - Apprentices

ELIJAH PETERS - COVID Safety Officer

Capital Stage Board Members

Chastity E. Benson
California State Association of Counties

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

Vince Sales
Everyday Impact Consulting

Mike Tentis, Board President
University of the Pacific

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

Clif McFarland
Mitchell Chadwick

Arlen Orchard
SMUD

Julie Stark
Arts Patron