Capital Stage’s mission is to entertain, engage and challenge our audience with bold, thought provoking theatre.
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.
Recording and photography of any kind are prohibited at Capital Stage by Copyright Law and Union regulations during the performance.
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.
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!
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.
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.
Restroom facilities are located in the lounge behind the Wine & Dessert Bar.
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.
Logan Jacob Heller
Samantha McLean Haas
Nicole C. Limón
Joe Bertolucci, Affordable Heating & Air, Inc.
Di Arie Vineyard & Winery
East Sacramento Trader Joe's
Ginger Elizabeth Chocolates
Jim Hensley, President Abbey Flooring, Inc.
Oak Park Brewing Company
Lucía Plumb-Reyes, Moonbelly Bakery
Director - ANTHONY D'JUAN
Production & Company Manager - TONY GABRIELSON
Technical Director - CALEB JONES
Lead Carpenter - CONOR WOODS
Carpenter, Technician & Marketing Assistant - ANDREW FRIDAE
Carpenter - SUNNY MACKEY
Scenic Designer - ERIC BROADWATER
Scenic Charge Artist - SAMANTHA McLEAN HAAS
Sound Designer & Engineer - ED LEE
Lighting Designer - ISAIAH LEEPER
Lead Electrician - SHAE MERCER
Electricians - ISAIAH LEEPER, SHAE MERCER, ANDREW FRIDAE
Stage Manager - MELISSA JERNIGAN*
Assistant Stage Manager - YASMINE SALMERON
Properties Designer - RILEY CISNEROS-GRUENTHAL
Costume Designer - REBECCA REDMOND
Hair & Make-Up Designer - LOGAN JACOB HELLER
Build Crew - ANDREW FRIDAE, SUNNY MACKEY, CONOR WOODS
Painters - SAMANTHA McLEAN HAAS, CALEB JONES, SUNNY MACKEY, ANDREW FRIDAE, CONOR WOODS
Wardrobe - FATEMEH MEHRABAN^
Sub Run Crew - MADDIE JUDD^, FATEMEH MEHRABAN^, OSCAR QUEZADA^, SHELBY SAUMIER^
BIAPOC Liaison - RICHARD FALCON
Intimacy Coordinator & Dramaturg - NICOLE C. LIMÓN
Infection Control Manager - ELIJAH PETERS
Graphic Designer, Webmaster - MISTY MCDOWELL
Photographer - CHARR CRAIL
^ Capital Stage Apprentice | * Member Actors' Equity Association
About The Play
by K. Kevyne Baar, PhD
The headline of an article in the Reading Eagle of October 29, 2021, read quite simply, “Berks County is featured in new Broadway play by Lynn Nottage.” Berks County is the home of Reading, Pennsylvania, and the setting for Nottage’s Pulitzer Prize winning play, Sweat. The new play, which you are seeing today, is Clyde’s. However, one cannot begin to talk about this play without acknowledging that Nottage’s initial journey to Reading was in the before time (before the pandemic; before darkness fell over theatre communities; before the murder of George Floyd) and that Clyde’s, then titled Floyd’s, first opened at The Guthrie Theater in Minneapolis, Minnesota in August of 2019. As the before time was drawing to a close, Broadway shuttered its theaters on March 12, 2020. On May 20, 2020, with the pandemic still raging, George Floyd was murdered in that same city, and Floyd’s became Clyde’s which opened on Broadway on November 23, 2021.
Nottage’s relationship to Reading began when a friend sent her a New York Times article in late 2011. Reading, a city of almost 90,000 people ranked as the poorest city of its size in the nation and is representative “of what’s happening to the country as a whole, particularly to post-industrial rust belt cities that previously enjoyed robust economies before the jobs disappeared in the 90’s. A lot of times the people didn’t leave, but the jobs left.” Nottage spent over two years visiting Reading and interviewing members and leaders of the community. She felt that “Reading really touched my heart when I first started going because I found a city that is quite beautiful. It has this incredible architecture and a tremendous spirit. I found that this was the place I wanted to get to know.”
Sweat opened at the Oregon Shakespeare Festival in 2015, at the New York’s Public Theatre in 2016, and moved to Broadway in 2017 where it won Nottage her second Pulitzer Prize. It became a part of Capital Stage’s 2018-2019 season. Reviewers described the various productions as “dark, even devastating…the mechanics of 21st-century American capitalism, bear[ing] down on these characters with the brutal power of a jackhammer smashing through concrete.”
Nottage began writing Clyde’s “when I was still working on Sweat and in Reading and I wanted to focus on the joyful life-affirming qualities in the people I met. It felt for me as though I had opened up a conversation that wasn’t entirely complete, and I wanted to bring some closure.” It was Jason’s story, begun in Sweat, that Nottage felt was unfinished as she explained in an early 2023 interview.
“Jason, in some ways, has the most unanswered questions. I thought if there was a character who was trying to understand self, searching for redemption while dealing with their shame and anger, Jason was the obvious choice to continue to explore. In some ways, for me, he’s the most difficult character to penetrate, because so much of what motivates him is completely unfamiliar to me as a human being. I was really interested in whether someone who has taken the journey that Jason has can heal and learn to love himself. I think once someone loves themself, they can begin to love others and invite others in. I was really driven by questions around Jason’s character. Was there actually room for redemption, and can we forgive someone like him?”
You, as members of this audience, have the opportunity to decide for yourselves.
About The Playwright
by K. Kevyne Baar, PhD
An activist with an ear for music, Lynn Nottage grew up in Boerum Hill, Brooklyn in a home she returned to in 1997, and lives in today. The daughter of Ruby, a schoolteacher and Wallace, a child psychologist, Nottage says of her home, “The community I grew up in was this offbeat and multicultural, economically diverse place where marginalized people and other communities came and found a way to build families and build community. As a result, I’m really interested in exploring multiculturalism onstage, exploring the intersection between race, class, and economics. I think that that comes directly from being in a space and a community where I had all these unlikely collisions.”
Once a student of the piano at New York’s High School of Music & Art, pre-med at Brown University where, fatefully, she wandered into a class on playwriting. Nottage graduated from the Yale School of Drama in 1989. Shortly thereafter she took a job as the national press officer for Amnesty International, a position that lasted for four years. It is no wonder that she is often caught preoccupied with one idea while at the same time thinking of the next one. “Working on one project becomes a way of procrastinating about the other, depending on how they are all going.” Nottage is also currently a professor at Columbia University.
Among Nottage’s best known plays is Intimate Apparel about the struggles of the working class in early 20th Century Harlem, which premiered in 2003. It became one of the most produced plays in America, a title which this past year was filled by Clyde’s. In 2022, Intimate Apparel became an opera. Nottage is also the only woman to have won the Pulitzer Prize for drama twice, first for Ruined in 2009, a play about women survivors of the then-recent Civil War in the Democratic Republic of Congo, and again eight years later, in 2017, for Sweat, a play about factory workers in Reading, Pennsylvania, facing unemployment. In between these Nottage wrote By the Way, Meet Vera Stark about the thwarted ambitions of Black actresses in film which was first staged in 2011. She is also currently represented on Broadway having written the book for MJ: The Musical.
Nottage who is often praised for capturing cultural moments before they become obvious to the wider public, joined others who looked back at the eighteen months pause as theater dealt with the pandemic as well as the ramifications of the murder of George Floyd. It was this uncertainty that has opened the doors to reinvention. She joined 300 theater workers: playwrights, actors, directors, and administrators who signed a much-discussed June 9, 2020 open letter, "We See You, White American Theater", calling for greater diversity, including the hiring of at least 50 percent people of color in every aspect of theater, and the rethinking of structures that perpetuate racism. In support, Nottage tweeted, “The American narrative is shaped by storytellers, but for too long the white theater community has negated, censored, or prevented our stories from being fully told. We must protect, support & amplify the voices of our truth tellers & change seekers.” You can read Capital Stage’s Anti-Racist Statement on the Capital Stage website.
In an interview for the San Francisco Chronicle this past January, Nottage was asked, “What gets you excited about the future? Do you think your best work is still in front of you? 'Oh, yes,' she replied. 'I still have lots of questions about the world. What excites me is that there are still puzzles to be solved, places to go, conversations to be had. There’s still a lot left out there to be said.'"
Meet the Company
Ian C. Hopps*
Logan Jacob Heller
Samantha McLean Haas
Nicole C. Limón
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
KIRK BLACKINTON - Development Manager
TONY GABRIELSON - Production & Company Manager
MISTY MCDOWELL - Marketing Manager
AALIYAH PETERS - Audience Services Manager
LOGAN JACOB HELLER – Education Manager & Box Office Associate
CALEB JONES - Technical Director
CONOR WOODS - Lead Carpenter
SUNNY MACKEY - Carpenter
ED LEE - Resident Sound Designer & Engineer
ISAIAH LEEPER - Lighting Supervisor
ANDREW FRIDAE - Carpenter, Technician & Marketing Assistant
CECILIA CASTILLO JUAREZ - Concessions & Box Office Associate
AVERY HERSEK - Box Office Associate
YASMINE SALMERON - Production Associate
K. KEVYNE BAAR - Dramaturg
JAMIE JONES, PETER MOHRMANN, GAIL RUSSELL, JANIS STEVENS – Associate Artists
ELIJAH PETERS - Infection Control Manager, Payroll & Administrative Assistant
2023/24 SEASON APPRENTICE COMPANY - Maddie Judd, Fatemeh Mehraban, Oscar Quezada, Shelby Saumier
Capital Stage Board Members
Chastity E. Benson
California State Association of Counties
Dan Brunner, Treasurer
Seed Communications Design
Kathryn E. Doi, Board President
Feldesman Tucker Leifer Fidell LLP
Sherry Hartel Haus
Kristi Quesada Mathisen
Sacramento Country Day School
Lori Abbott Moreland
Everyday Impact Consulting
University of the Pacific
California Hospital Association
Stephanie Gularte, Founding Artistic Director
Peter Mohrmann, Co-founder
Jonathan Williams, Co-Founder
Special Thanks to our Donors
Donation Totals from 8/18/22 to 8/18/23
Please alert us to any errors or omissions by contacting Development Manager, Kirk Blackinton at firstname.lastname@example.org.
Founder's Circle: $20,000+
Sacramento City Office of Arts and Culture
The Shubert Foundation
Executive Producer: $10,000+
Jeffrey Farley & Mike Tentis
Gloriette C. Fong
Lesley & Steve Koonce
Sacramento Region Community Foundation - The James & Susan McClatchy Fund
Anita Scuri & James Simon
Melissa Conner & Theodore Harris
Keetha Mills & Phil Nanni
John Abbott & Lori Abbott Moreland
David Bell & Katherine Newman
Susie & Jim Burton
Drs. John & Lois Crowe
Foundation for California Community Colleges
Deborah Franklin & Douglas Mitten
Damaris & Douglas Perez
Ed Telfeyan & Jeri Paik
Patricia Wall & David Stavarek
Gloria & Don Yost
Lead Actor: $1,200+
Ellen Covairt & Bernard Kalscheuer
Jim & Kathleen Deeringer
Donald Fraulob & Melissa Brown
Patty Garcia & Jim Mattesich
Josh Horowitz & Patti Baggett
Linda McAtee & Steve Sphar
Marshall & Maureen Rice
Leonard Vincent Sales
Art & Sue Scotland
Siragusa Family Foundation
Susan & Ross Siragusa
Marty & Janet Steiner
Harold & Ilah Turner
Stephen & Melva Arditti
Dr. William Bronston & Lisa Levering
Margaret L Buss
Les & Peggy Chisholm
Kathy Davenport & Ken Weiss
Carol & Steven Goldberg
Patricia & James Grieshop
Ed Hall & Warren Lindeleaf
James R Hargrove
Dr. John & Rosemary Lamb
Brian & Dorothy Landsberg
Linda McAtee Household
Laurie Nelson Randlett & Jim Randlett
Richard Pearson & Joan Hart
David Pitman & Rani Pettis
Bob & Shirley Rosenberg
Roger & Barbara Smith
Claudia Wrazel & Frank Horowitz
Laura Jane Bailey
Margaret & Stephen Brush
Carin & Bob Bryans
Sharon Cammisa & Joseph Orr
Susan & Richard Carlsen
Martha & Jim Dickson
David Felderstein & Dan Hoody
Tracie & Richard Fike
Brian & Tiffany Heacox
Mike & Doris Horton
Margaret Kane & Richard Frey
Beverly & Ronald Lamb
David & Ruth Lindgren
Dennis Mangers & Michael Sestak
John & Nora McDaniel
James McElroy & Ann Gerhardt
Steve & Cheryl Meyer
Colin A Miller
Shelley Mydans & John Griffing
Carol Rogers & Jon Courtway
Chuck & Nancy Shulock
Susan & Ken Taylor
Peter & Karen Von Elten
Arnold Wolf & Fern Tablin
Claudia & Olin Woods
Wendy & Mark Zlotlow
John & Kathleen Agnew
Robert & Jean Bonar
Russell Burgess (Marie Smith)
David A Combies
Mary Helen Fischer
Sharon Garrett & Cary Osfeld
Wayne & Mary Ginsburg
Hirst Law Group, P.C.
Jack H Howe
Don Johnson & Elizabeth Miller
Peggy & Bruce Kennedy
Linda Kingsley & Sharon Liberatore
Paul & Jane Lammerding
Douglas Le Blanc
Dan & Stephanie Leahy
Shannon Mahoney & Kirk Blackinton
Catherine Mulhall & Steve Danielson
Becky & Bob Norris
Chris & Julia Smith
Tom & Hedda Smithson
Harry & Linda Struthers