Artistic Director Michael Stevenson &
Managing Director Keith Riedell Present


THE LIFESPAN OF A FACT

by Jeremy Kareken, David Murell & Gordon Farrell

Directed by Michael Stevenson

Live Theatre & Virtually On Demand


May 4 - June 5, 2022

Performance Length:  95 Minutes, No Intermission


Featuring

Dave Pierini*      Jamie Jones*

Cole Winslow



 

Scenic Designer
Eric Broadwater
Costume Designer
Mari Oyaizu Carson

Lighting Designer 
Nick Ribadeneira

Sound Designer/Engineer
Ed Lee
Properties Designer
Kimberly Taketa
 
 

Stage Manager
Melissa Jernigan*

 
Assistant Stage Manager
Katherine Cannon*
 
Rehearsal Stage Manager
Anthony Gabrielson*
 
 
 
 

THE LIFESPAN OF A FACT was originally produced on Broadway by 
Jeffrey Richards, Norman & Deanna Twain, Will Trice, Barbara H. Freitag, 
Suzanne Grant, Gold/Ross Productions, Jamie deRoy, Jennifer Manocherian, Barbara Manocherian, ManGol Productions, Carl Moellenberg/Wendy Federman, Ken Greiner, Van Kaplan, 
Dominick LaRuffa Jr., Marc David Levine, WitzEnd Productions, 
Eric Falkenstein/Moreland Mott, Caiola Productions, 
Remmel T. Dickinson, & Jayne Baron Sherman
Based on the book by John D’Agata and Jim Fingal

 
*Member Actors' Equity Association 
 

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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 recommended, not required, while COVID case levels are low in Sacramento County. If cases rise to medium or high 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 theatre 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.

About The Play

By Stephanie Tucker, PhD

 

“One summer . . . sixteen-year-old Levi Presley jumped from the observation deck of the 1,149-foot-high tower of the Stratosphere Hotel in Las Vegas.” So begins “What Happens There,” an essay written by John D’Agata and submitted to Harper’s. That prestigious magazine “ultimately declined to publish it after a dispute over the accuracy of its claims.” Consequently, the essayist sent it to The Believer, which would eventually publish it. However, this magazine also requested that the piece be fact-checked. This was in 2005.  It is here the play, The Lifespan of a Fact, begins.

The Believer’s editor, a fictional Emily Penrose, whose surname suggests her profession, puts a callout for a volunteer who can spend the weekend fact-checking D’Agata’s piece, so it can make the next edition. In her memo to the editorial staff, she offers a bribe—“I’ll buy [whomever volunteers] a pack of red pens.” Answering this call is young Jim Fingal, an intern eager to help out.

The play, which takes place over 5 days, is based on a fascinating 2012 account co-authored by D’Agata and Fingal, also entitled, The Lifespan of a Fact. Written by Jeremy Kareken, David Murrell and Gordon Farrell, it opened on Broadway in 2018, with a powerhouse cast—Daniel Radcliffe, as Fingal, Bobby Cannavale, as D’Agata, and Cherry Jones, their editor.

Since then it has been produced throughout the world—many reviewers noting its timely debate as to the nature of “truth”. Indeed the debate between the literal-minded Fingal and the lyrically inclined D’Agata exists, but the playwrights have deepened the discussion: does “truth” have to be founded on verifiable facts, or can it arise from more intuitive observations? Not upon what some now call “alternative facts,” but upon more imaginative investigations and/or interpretations?

Other questions the play raises: what is a journalist’s responsibility to their subject? What are the limits of literary license? The relationship between truth and accuracy? Fact and fiction? An “article” and an “essay”?

Set for the most part in Las Vegas, the place a function of which is to blur lines between reality and fantasy, The Lifespan of a Fact takes on the thorny topic of the limits of authorial invention—while dramatizing an intense and deeply felt debate between two determined adversaries—the author and the fact checker.
 


 

About The Playwrights

By Stephanie Tucker, PhD

 

Some challenges are greater than others—for example when asked to write a “bio” of sorts of a playwright—or even two—no problem. Some biographical background on the playwright(s), discussion of their other works—for the stage, the screen (big and small)—and their reception. Pretty straight-forward stuff.                    

The authorship of The Lifespan of a Fact, however, presents its own challenges. The three names printed on the script’s cover—Jeremy Kareken, David Murrell and Gordon Farrell—belie the genesis of Lifespan, which is multi-parented (if that’s a possibility).

The play itself is based on a peculiarly formatted work of nonfiction also entitled The Lifespan of a Fact, by John D’Agata and Jim Fingal, published in 2012 and based on their exchange of emails during the fact-checking process itself. To quote one reviewer: “Each page presents a triptych: a portion of the essay framed by Fingal’s fact-checking annotations and his correspondence with D’Agata.”   

David Murrell read the New York Times review of the book, which fascinated him enough to read the book itself. He was “immediately struck that the form of The Lifespan of a Fact was an argument between two people—the fact checker, Jim, and essayist, John.” When he and his co-authors spoke to D’Agata, the essayist told them “explicitly, ‘This is your play. Do not feel bound by anything in the book. Take it as you will.’” And they did.

The playwrights make up an eclectic trio. Murrell attended the University of Chicago planning to study neuroscience and biochemistry. The University, however, has “a very strong theater and comedy scene. . . By the time I graduated, I was an English major.” He has since written “a sea chest’s worth of TV and film treatments and spec scripts.” He has also written a screenplay “about haunted breast implants,” with Jeremy Kareken.

Like Murrell, Kareken is a graduate of the University of Chicago. He has taught at NYU, the Actors Studio Drama School, and has worked for “Inside the Actors Studio,” for some 20 years. His plays have been performed throughout the USA and internationally. He has also served as a speech writer and policy analyst for two presidential campaigns—his bio is mute as to whose.

Gordon Farrell received an MFA from Yale School of Drama, has worked as story analyst for Warner Brothers and Columbia Pictures, and sold a number of screenplays to many a Hollywood studio. His stageplays have been produced throughout the United States, and he has written The Power of the Playwright’s Vision (2001), which has become a standard playwriting text at colleges and universities throughout the world.

These three playwrights have taken D’Agata and Fingal’s seemingly straightforward and “factual” account of their collaboration—if ‘fact-checking’ can be interpreted as a collaborative act—and created a compelling work for the stage—adding a fictional character and fictionalizing the “actual” ones to create their own very different and compelling version of a tale founded upon actual events. 
 


 

Sponsors

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Cast

Dave Pierini*
John D'Agata
Jamie Jones*
Emily Penrose
Cole Winslow
Jim Fingal

Creative Team

Michael Stevenson

Director/Artistic Director

Jeremy Kareken

Playwright

Gordon Farrell

Playwright

David Murell

Playwright

Melissa Jernigan*

Stage Manager

Anthony E. Gabrielson*

Rehearsal Stage Manager

Eric Broadwater

Scenic Designer

Ed Lee

Sound Designer/Engineer

Nick Ribadeneira

Lighting Designer

Mari Oyaizu Carson

Costume Designer

Kimberly Taketa

Properties Designer

Samantha McLean Haas

Scenic Charge Artist

David Harris

Fight Director

Keith Riedell

Managing Director

Katherine Cannon*

Production & Company Manager/Asst. Stage Manager

Carlos Llontop

Technical Director

Rand Doerning^

Assistant to the Director

Kaitlin Weinstein^

Production Assistant

Special Thanks

Donna Chipps

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/Costume Designer  - MARI OYAIZU CARSON

Literary Manager/Dramaturg  - STEPHANIE TUCKER, PhD.

Stage Manager  - MELISSA JERNIGAN*

Rehearsal Stage Manager - ANTHONY E. GABRIELSON*

Stage Management Production Assistant  - KAITLIN WEINSTEIN^

Assistant to the Director/Asst. Dramaturg - RAND DOERNING^

Fight Director - DAVID HARRIS

Properties & Sound Assistant  - kaden zaldumbide^

Lighting & Paint Assistant  - ANDREW FRIDAE^

Costume Assistant  - CECILIA CASTILLO JUAREZ^

Front of House & Admin Assistant  - NICK RABORN^

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 Designers  - DAN LYDERSEN, MISTY MCDOWELL

Photographer  - CHARR CRAIL

Videographer/Editor - MISTY MCDOWELL

Webmaster - MISTY MCDOWELL

^ Capital Stage Apprentice  |  * Member Actors' Equity Association


 

Meet the Company

Dave Pierini*

John D'Agata
Dave is a member of the B Street Theatre’s Core Acting Company. Recent credits include: DANCE NATION, POPCORN FALLS, WE’RE GONNA BE OKAY, DRY POWDER, THE WIZARD OF OZ and THE LEGEND OF GEORGIA MCBRIDE. Recent directing credits include: THE LADIES FOURSOME, AIRNESS, and DOLL’S HOUSE PART 2. Recent writing credits include: A MOVING DAY, HOUSE ON HAUNTED HILL AND A CHILD’S CHRISTMAS IN RENO. Dave also is a member of B Street Theatre’s sketch & improv team, Maximum Occupancy. Dave has also performed with Music Circus, appearing in Hello, Dolly and The West Side Story.

Jamie Jones*

Emily Penrose
Jamie is thrilled to return to Capital Stage, where she was last seen in THE ROOMMATE. Recent credits include GLORIA: A LIFE at STC. Regional: ACT, Arts Center of Coastal Carolina, Berkeley Repertory Theatre, B Street Theatre, California Musical Theatre, Center Repertory Theatre, Davis Shakespeare Festival, Marin Theatre Company, STC, Utah Shakespeare Festival and Z Space. New York: The Connelly Theatre, Theatre at St. Clements and the Lincoln Center Director's Lab at HERE. Television-Law and Order and the mini-series: "Gone But Not Forgotten". Jamie is an Associate Artist at Capital Stage and holds an M.F.A. from American Conservatory Theatre.

Cole Winslow

Jim Fingal
Cole Winslow is an actor based in LA and is thrilled to be back at Capital Stage. He was a Capital Stage apprentice and appeared in the 2016/2017 season as Jack in HOW TO USE A KNIFE and Andy in PAINT IT! for the apprentice showcase. Additional professional credits include Will in MOTHERS AND SONS at Sacramento Theatre Company. He performed in productions with Hummingbird Theatre Company and Sacramento State University. Some of his favorite roles include, Kynaston in THE COMPLETE FEMALE STAGE BEAUTY, Padraic in LIEUTENANT OF INISHMORE, Mr. Marks in INTIMATE APPAREL, and Actor 5 in BOOTYCANDY. Cole received his BA in Theatre Arts from Sacramento State University.

Michael Stevenson

Director/Artistic Director
For Capital Stage, Michael has directed 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.

Jeremy Kareken

Playwright
Jeremy is a playwright living in New York and Baltimore. His short plays HOT ROD, BIG TRAIN, and 80 CARDS have been performed around the country and internationally. He served as a speech writer and policy analyst for two presidential campaigns. His awards include the Sewanee Conference’s Dakin Fellowship for FARBLONDJET, and Guthrie/Playwrights Center’s Two-Headed Challenge for THE SWEET SWEET MOTHERHOOD. The Hamptons Film Festival Screenwriters Conference selected Kareken and David Murrell for their horror-comedy script about haunted breast implants—“THESE! Conquered the Earth!” In 2018, PlayPenn shortlisted Jeremy’s new political satire about an illiterate king, THE RED WOOL. Born and raised in Rochester, New York, and a graduate of the University of Chicago, he has taught at NYU, NYIT, the Actors Studio Drama School, and currently teaches at the Acting Studio—New York. A lifetime member of The Actors Studio, Jeremy occasionally acts and for 18 years served as the researcher for Bravo TV’s “Inside the Actors Studio.”

Gordon Farrell

Playwright
Gordon trained as a playwright at the Yale School of Drama, Gordon received an MFA in 1986 and went from there to work with major Hollywood studios, initially as a story analyst for Warner Brothers and Columbia Pictures, and eventually as a screenwriter. He has written for hire and sold screenplays to Universal Pictures, Warner Brothers, MGM, and ITC. He has worked with Robert Simonds (producer of "The Wedding Singer," "Molly's Game," "Mile 22"); Neal Moritz (producer of "XXX," "I Know What You Did Last Summer," "Fast and Furious") and Bruce Berman (producer of "The Matrix," "Three Kings," "Mad Max: Fury Road"). Working in independent film, Gordon has written for and sold projects to NYC indie producer Norman Twain (producer, "Lean on Me," "Boycott," "My Dog Tulip"). Gordon's first independent screenplay, "Girls Who Smoke," premiered in 2011. It went on to be an official selection at over a dozen film festivals, ultimately winning the Audience Choice Award in Seattle at the Post Alley Film Festival. As a playwright, from 2009 to 2013, Gordon worked with dozens of women on New York's Lower East Side who wanted to tell their personal stories on stage. The series of monologue plays that grew out of it was called IN THE RED ROOM/EVERY WOMAN DANCES FOR SOMEONE. In May 2019 the fully dramatized version, GIRLS WHO WALKED ON GLASS, played to SRO houses and rave reviews in Buffalo and is scheduled to transfer to New York City in 2020. His other plays have been produced in San Francisco, at the Alleyway Theatre, at the Yale School of Drama, and at Primary Stages in New York. He is the author of "The Power of the Playwright's Vision," published by Heinemann Press in 2001. It has been translated internationally and become a standard playwriting text at colleges and universities in North America, Europe, and Asia.

David Murell

Playwright
David was born and raised in New York City. He graduated from Stuyvesant High School and the University of Chicago, currently lives in Queens, and has written a sea chest's worth of TV and film treatments and spec scripts. Access Theater (NYC) and the Cleveland Public Theatre each produced his play DUCTWORK and the Hamptons Film Festival Screenwriters Conference selected his and Jeremy Kareken’s feature screenplay about haunted breast implants, “THESE! Conquered the Earth.” In 2019, the Outer Critics Circle co-awarded David its John Gassner Playwriting Award for THE LIFESPAN OF A FACT.

Melissa Jernigan*

Stage Manager
Melissa has most recently worked at Capital Stage on PASS OVER, MISS BENNET 2021 and HOLD THESE TRUTHS, and has been stage managing at Capital Stage since 2016: Some favorites include VIETGONE, MISS BENNET 2017/2018, 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.

Anthony E. Gabrielson*

Rehearsal 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.

Eric Broadwater

Scenic Designer
Eric Broadwater is currently the Professor of Scene Design and Chair of the Theater Department at California State University Stanislaus where he has designed and supervised over 30 productions. His professional work includes scenic designs and set painting in regional and local theaters all over the country. Recent credits include BETWEEN RIVERSIDE AND CRAZY, THE ROOMMATE, AN OCTOROON and MISS BENNETT: CHRISTMAS AT PEMBERLEY at Capital Stage, THE MAN OF LA MANCHA at Sacramento Theatre Company and several designs for the Palo Alto Children’s Theatre. He also works as a freelance 3D digital artist with a focus on Interactive Environments. www.BroadwaterScenic.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.

Nick Ribadeneira

Lighting Designer
This is Nick’s first design with Capital Stage. He’s enjoyed freelance designing in the area for many shows, most memorable including RENT with Falcon’s Eye Theatre, URINETOWN with Roseville Theatre Arts Academy, A MIDSUMMER NIGHT’S DREAM with Falcon’s Eye Theatre and MATILDA with El Dorado Musical Theatre Company. He’s excited to work with a new team in a new space and wants to thank the crew for the warm welcome.

Mari Oyaizu Carson

Costume Designer
Mari Oyaizu Carson has been designing costumes in the Sacramento area since 2006. She got her start designing THE SUGAR BEAN SISTERS for the now-defunct Studio Theatre in 2006. From there on she designed costumes for various local theaters before returning to school to get her MFA in theatrical design from the University of California at Davis. She picked up a few other skills along the way and is also the Lead Electrician for Capital Stage as well as the Costume Designer for this show. Designing costumes for PASS OVER has been a delight and she hopes everyone will love this show as much as we do.

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.

David Harris

Fight Director
David is an SAFD certified Actor/Combatant. He has choreographed several productions for Capital Stage over the past fifteen years. David also created fight choreography for Sacramento Shakespeare Festival and other educational institutions. David directed PROOF for Capital Stage and has performed under the name Harry Harris in HOW TO USE A KNIFE, among others at Cap Stage and around the country.

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.

Rand Doerning^

Assistant to the Director
Rand has been performing on stage since 2016, including Stand-Up Comedy, Film, Voiceover, Audiobooks, and recently performing in Sacramento theatre productions including A SOLDIER’S PLAY, LOBSTER ALICE, CURSE OF THE EGYPTION TOMB, and GUMBO. Rand grew up in Nor-Cal before joining the Marines after high school, and then returned to California to get a degree in forensic biology. Rand lives with his wife and spends most of his free time on one nerdy pursuit or another.

Kaitlin Weinstein^

Production Assistant
Kaitlin is a recent graduate of UC Berkeley, holding a B.A. in Theater and English. In May 2021, she was awarded the Roslyn Schneider Eisner Prize for Continuing Creative Achievement in Stage Management and Costume Design by UC Berkeley’s Theater Department. Kaitlin has worked with Bay Area theater companies such as Actors Ensemble of Berkeley, American Conservatory Theater, Berkeley Playhouse, California Shakespeare Theater, Theatre Lunatico, and The Marsh. Some of her favorite roles as an apprentice this season were the assistant to the director and run crew on MISS BENNET and production assistant on THE GREAT LEAP earlier this season.

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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