Posted on March 31, 2020

A Message from Stage Manager Melissa Jernigan

Melissa Jernigan* (center) and her cast, crew, design team and director at the first rehearsal for AN OCTOROON by Branden Jacobs-Jenkins. August 2017. *Member AEA.

“…Being a good steward of our community doesn’t only apply to creating theatre for everyone to see. It applies to being part of the solution during these difficult times.”

Before I start a new show I always go and get my blazers dry-cleaned. It’s a ritual that I love and helps me get into the mood of a new show. But of course due to our current world situation there is no need for me to put on those blazers. So in order to give myself the smallest sense of normalcy, and in honor of missing my next show and co workers, I decided to put on one of those good old blazers as I sit down to type this.  

So how am I coping? I think I am coping like everyone else. One day I am up and one day I am down. But something that does help me make it through each day is knowing that I am in no way alone with these feelings. Every single one of my friends, co-workers and family are dealing with similar feelings and situations right now. So even though I am staying home and I can’t see them all in person, I know I am not alone.

It was a real bummer to see my friends who worked so hard on Admissions have to close before anyone was really able to see it. I was equally sad to receive the news that we would not be producing Passover this season. I have been looking forward to this show ever since we announced it last year. And now, knowing that I won’t get to work on it with respected artists and friends is a major disappointment for myself and for our wonderful Capital Stage audiences.  

When I moved back to Sacramento, after being gone for 10 years, it wasn’t my intention to go back to work. I had my son and I was happy to stay at home with him everyday. Then one day an old friend called me up and said “Hey can you help me out of a bind and come be my Assistant Stage Manager on a show at Capital Stage?” I reluctantly said yes because she was my friend and I wanted to help her out…but I was very clear that this was just a one time thing. Well here we are and I am now in my fourth season as a Stage Manager with this amazing company.  

And now Capital Stage is my home. And I miss it. I miss my coworkers. I miss seeing them every day and talking about work but also just talking about life, art and what is going on in the theatre community in and our town. I am constantly impressed at what my colleagues can accomplish everyday. From logistics, to building sets, to helping our audiences, to their performances on stage, etc. etc. etc. The people that I work with are amazing and I wish that we could continue to share our hard work with live audiences each night during this difficult time. But being a good steward of our community doesn’t only apply to creating theatre for everyone to see. It applies to being part of the solution during these difficult times.  

We don’t get many “days off” in the theatre world. Most productions around the country run 6 days a week. We don’t know what to do with ourselves now that we don’t have to work! It’s incredible to see my fellow artists out there still creating from their homes as we adapt to these circumstances. I see famous artists giving away content to make people happy. I see my friends and friends of friends creating amazing videos to help encourage people through these hard times. Theatre and art helps. Putting our artistic creations out there for the world to see is what we do as artists. I know that as soon as we get through all this isolation the amount of creative ideas that will be flowing will be overwhelming. I know as soon as we are all able to be back in rehearsals and on stage that we will be ready and willing. And I know as soon as Capital Stage can reopen the doors again that we will do it as fast as we can. We miss you Sacramento and we will be back. 

But for now I sit at home, in my blazer surrounded by two little ones and hope that I can enjoy stage managing our quarantine lives as much as I enjoy stage managing at Capital Stage.

A Designer’s Journey

Posted on February 27, 2018

Gail Russell – Costume Designer – MARJORIE PRIME

January 25, 2018 

Costumes for Marjorie Prime.

Hell! I’m going to Florida!

January 31, 2018

It’s been a week since my initial expletive.

Travel plans, check

Home responsibility coverage, check

The must-do list, check

Now, where to start?

Marjorie Prime was written by Jordan Harrison.  Originally commissioned, in-part, by Playwrights Horizons, it premiered in 2014 at the Mark Taper Forum/Center Theatre Group in Los Angeles, followed by its New York debut in 2015. Capital Stage and American Stage in St. Petersburg, Florida, are presenting a co-production. First the show will be built, rehearsed and premiered in Florida from March 7 – April 1, 2018. Then Stephanie Gularte and the entire cast, set and designs will come out to Sacramento, California, to run from May 2 – June 3, 2018. 

Readily available, and easily through Amazon, I’d bought a copy of the script back in September when the mere possibility of working on this co-production presented itself.  As a long-time costume designer for Capital Stage Co., the chance to join Stephanie Gularte on another ambitious, challenging, and creative journey intrigued me. The opportunity to grow and work with an unknown-to-me production team, in a new facility, in an unfamiliar place was an adventure I did not want to miss. So, after a few rounds of phone tag, Stephanie and I finally hooked up, talked about the show, discussed our needs, and a long-distance agreement was made. 

My initial reading of the script left me a bit confused and honestly, a bit scared.  What was going on?   What should I be highlighting, what margin notations should I make?  The text concisely states where we are, who is who and their ages, but exactly when the action takes place and the relationship between characters, especially that between Walter and Marjorie, is not immediately clear.  The fact that Walter is a being of artificial intelligence, a Prime, takes a bit to figure out, but once it’s figured out rather than settling in for the rest of the read, a whole new set of questions storms your brain and you’re back to being a bit confused and honestly, a bit scared.  As part of our introduction to the work, Stephanie sent us an on-line link to an interview with Jordan Harrison and New York director, Anne Kauffman.  It also included live scene readings from several parts of the play.  This was an opportunity to hear the words and to gain background regarding the story’s origins, and the message and ideas the playwright wished to express.  I took notes as if attending a lecture.


Basic idea #1:

Humans verses machines. The exploration and mystery of human identity and what technology can replace. What makes human thinking distinct, special, or unique? Reference was made to the Turing Test, developed in the 1950’s by Alan Turing to test a machine’s ability to exhibit intelligent behavior equivalent to, or indistinguishable from, that of a human.

Is this new news?

Projections of the future are at least as old (if not older than) The Jetsons, Mr. Spock and Star Trek.  Our ability to predict the future is slower than the future getting here. DING!! And as technology grows, and we allow it to come more and more into our lives, willingly or not, we are getting acclimated to it.   

What does this mean?

Some people think this acceptance of technology is a bad thing.  Some people question it, try to avoid it. Is technology portrayed as a negative element in this play? How big is it?  Will it swallow us up? Jordan Harrison says, “No.” There is a utopian idea of technology in this play.  How can it be used in positive ways?  Can technology be used to preserve us? Can technology be spiritual?  The character of Marjorie, he says, our 85-year-old protagonist, comes partly from his grandmother and his parents’ attempt to keep her life alive. I understood this all too well, being in the same situation right now with my own 92-year-old mother.  So, from the very beginning, personal memory comes in to play. Can technology supply companionship for the elderly?  Does this get us off the hook? Anne Kauffman discussed the difficulty of how to direct the “Primes.”  How do you honestly direct actors to play characters of artificial intelligence? Their role in this play is not cut and dry.  Each Prime is there for a certain reason, to bring about a certain reaction. 

So, how do we use all this?

A few weeks ago, when Stephanie and I had the opportunity to phone chat and discuss our approach to this production of this play, several ideas reoccurred. The poetry underlying the characters’ relationships and our need for human connection was very important to her. The Sci-fi of the play is increasingly relevant.  The play is set 50 years in the future, a conceivable time span for many of us.  In many ways the future is already here. What does that mean to us?  If we were to logically sit down and really think about how life will be in 50 years and why…what would we say?  Genuine is a word I used to describe how important it is to keep the look, the visual elements of the show believable and acceptable to the audience. If the audience spends too much time trying to understand where they are, they will miss what is being said, leaving them confused. This play requires us to pay close attention. How do we make it personal? Subtle, but recognizable choices.  How do we balance the human verses non-human? Is it robotic verses overly natural?  Is it human verses not-so-human? How slightly “other” is it? 

Tomorrow morning, I join the “Creative Huddle,” a group phone chat with Stephanie, the American Stage Theatre Co. production manager, and, I assume, the rest of the production team.  I am looking forward to the adventure I don’t want to miss. Hopefully, the necessary long-distance technology of the next few weeks won’t find me too confused, for honestly, I am a bit scared. 



It’s been two weeks since the conference call, joining up the director with stage management, designers, production, and marketing. I’ve been working on a costume approach that takes several variables into consideration. First, of course, is the script itself and the director’s vision of the work.  Next are things the set and lighting design said concerning how they see the show and what can we do to create a cohesive world, one that “hangs together” so to say. A world that makes sense to us, to the actors, and to the audience. Genuine is that word that keeps coming back. The audience has to believe it, they have to buy into it if they are to relate to it, see themselves in this situation, and feel for what’s happening on the stage. I ask, what will people be wearing in 50 years, how “off” will it be from what we are wearing today, and most importantly why? Design choices are not arbitrary. They are rooted in research, an investigation that leads us to the facts of the world we are about to create. What are the clothing trends of today that will persist into tomorrow? Are there designers who have pioneered the “futuristic path, laying the groundwork on which to base viable conclusions? Who is the consumer, how will they be perceived? What materials will be used/ How will manufacturing change or not?

One of the things that was said during a phone conversation with director, Stephanie Gularte, was “The edge of humanity meets the black hole of science”. Neither of us even remembers this actually being said, but somehow that’s what ended up on my notepad, inspiring an image that I can take over into my design presentation. The human figure being sucked into the cosmos. The interlocking of images, much like a yin/yang. Jerid Fox details his sensational streamline set in neutral tans, greys and blues which dictates to me a silhouette and a certain range and intensity of colors that I must consider and work with. Lighting designer, Chris Baldwin, referenced “focusing with light”, pulling the audience closer to the story being told. How can I do that with costumes?  Color, shape, line, texture all come together offering a good place to start.

Design presentations need to reflect the show.  The method of presentation is as important as the information it conveys. Computer Aided Design is the way of today.  Most designers somehow incorporate this technology into their thought process.  I am an old-fashioned person in a new-fashioned world and despite my tendency to hardcopy, ‘handmade’ crafty boards, Marjory Prime required a more digital approach.  I decided to use PowerPoint to organize my ideas, creating a presentation that could accompany the one planned by American Stage as part of their Meet and Greet. I combined my ever present, yin/yang/human/cosmos idea with each character’s individual neutral palette, complementing the set, popped with a spotlight of color. To this I added “facts and figures”, what did I need to consider, what had I learned, what prototypes had I found? It always takes me a bit to pull in the tempest of ideas, to focus, to take a deep breath, and settle in for the long night of formation.



The American Stage Co. production of Marjorie Prime has closed, and the wardrobe is coming home. Costumes are a bit like children. You raise them, nurture them, do your best to be sure they are safe and successful, turn them loose, and then hope for the best.

I’ve been to Florida twice, once to present the costumes and “pull them together” and then again for dress rehearsal/previews adjusting the fine points. When I went the first time I was not sure what to expect. I knew very little about St. Petersburg and just hoped that American Stage’s costumer, Jill Castle, and I would work well together. (That relationship turned out to be a dream come true! She’s a great gal and we saw eye-to-eye from the get-go.) I was more nervous about having packed the right clothes for myself than I was about the design presentation.

My research was comprehensive, my conclusions and choices sound. So, the day after a successful Meet and Greet, with a plan of attack in hand, we set out on four days of pulling, shopping, fitting, returning and exchanging all that was necessary to have costumes for both the first photocall and to form a solid base from which to proceed.

We shopped St. Petersburg at light’s speed, constantly referring to our lists, being sure we had all the proper tops, bottoms, shoes, and accessories, calling actors in for initial fittings almost immediately. Quick, efficient, and caffeine were our buzz word chant. Jill knew all the right places to go, and I knew what we were looking for, so that by the time I left to come back to Sacramento, I felt we had made a good start and that we could continue for the next few weeks working independently as agreed.

I took photos of every outfit both in the fitting with each actor and then again on dress forms to be sure we all had a clear image of the show’s “look”. Jill had her list of what needed to get done, and I had mine. My stomach was settled, and we were moving forward.

The photocall went well. Jill keep in touch that day via text and sent me a great deal of phone pics. No one called or emailed in a flurry saying that this or that was just not right! However, this is not to say that every choice we made was received without question. There are always changes that happen during the rehearsal process. I personally was not on site and despite technology and frequent communication, working at a distance of 3000 miles is challenging.

There were design adjustments that I was not aware of. The color of Marjorie’s chair had changed from what I was originally shown, so when I returned to Florida the second time, it was obvious that what I’d planned for her opening outfit was completely inappropriate. The colors were so similar that the actor and chair melded together became one. This required some quick thinking and fast re-doing! During the dress rehearsals Stephanie and I discussed modifications to the costumes to be sure they served this production of Marjorie Prime, supporting the script, the concept, the actors, and the audience. It’s all in the details. These tiny little tweaks and adjustments to the overall thematic scheme bring life and depth to any show. Without them, costumes stand barren, falling short in creating the true and genuine world of the play. After several nights of previews, I smiled, wished them well, and looked forward to reuniting in Sacramento.

Elyse Sharp & MISS BENNET – A Homecoming

Posted on December 20, 2017

There is one question that I keep being asked over and over about working on Miss Bennet: Christmas at Pemberley. It isn’t how do we learn how to behave like Regency characters out of Jane Austen’s novels (answer: we have an amazing team who work behind the scenes researching and bringing us answers when we have questions about the period) or how did we learn how to do British accents (answer: we work on them with a coach and have linguistic guidelines that we learn, in addition to watching or listening to British television or radio). No, the question I’ve been asked most often is:

What is it like being back at Capital Stage?

Simply, it is like coming home.

The idea of coming home and all that it entails is central to Miss Bennet: Christmas at Pemberley. Throughout the show, Mary Bennet struggles to reconcile the woman she longs to become with the girl her family expects her to be, all the while discovering possibilities she thought inaccessible to her. Like Mary, there are times when I find myself easily falling back into old habits from my time as an apprentice. A muscle memory takes over, and all of a sudden, I am refilling the toilet paper and paper towels in the backstage bathroom.

Throughout Miss Bennet: Christmas at Pemberley, each beloved Austen character is given the opportunity to grow and change. Within the three and a half years since I graduated from my apprenticeship program, Capital Stage has changed in so many incredible ways. The new rehearsal, classroom, and office spaces at CLARA are a luxury we had only begun to dream of when I was last here. It makes such a difference in the process to have a dedicated space that is for your show instead of trying to figure out your show on the set of another during the first week of rehearsals. It’s also great to not have to jaywalk across J Street as much.

The CapStage family has also grown to include new staff and four classes of apprentices. It’s been wonderful to be welcomed back by them as well as to catch up with the family members who were here during my apprenticeship. Through the wonder of social media, I also get to see daily reminders of what exactly I was doing exactly three and half years ago: wearing an elf costume as a crew member for certain performances of The Santaland Diaries. It makes me wonder where this year’s apprentices (two of whom are currently helping keep our show running every night while others are already hard at work on building the world of The Nether meanwhile all working to find a script for their upcoming showcase) will be three and a half years from now.

Ultimately, while Mary wants her family to recognize her worth and to be able to live beyond what is expected for a woman of her time, at the end of each performance, I just hope I’ve made my CapStage family proud.

Elyse Sharp
Actor, Capital Stage Apprentice Alumna

Miss Bennet in Miss Bennet: Christmas at Pemberley

Lauren Hirsch on LUNA GALE

Posted on November 14, 2017

After I read Luna Gale, I knew I had to be a part of this production. I cried when I first read the script by Rebecca Gilman. I was deeply touched by these characters and their struggles and complexity. Then reading the script again, I was fascinated by how she wove the whole play so intricately – every scene holds significance. When Michael Stevenson cast me as Karlie, I was ecstatic. I was also nervous because I would be onstage with actors I really admire, but every actor on this production welcomed everyone with open arms and laughter.  

LUNA GALE by Rebecca Gilman

Lauren Hirsch & Amy Resnick* in LUNA GALE by Rebecca Gilman at Capital Stage. Directed by Michael Stevenson. Photo by Charr Crail. *Member Actors’ Equity Association.

Something I really admired during this process, even though we were discussing heavy material, is that we were all able to find the humor – either from our lives or in the play and share it with one another. Michael, our director, opened the door for that enjoyment every rehearsal. He created a safety net of trust from the beginning, which has continued through the performances keeping all of us sane, even when real life became disconcerting.

The #MeToo movement took hold during our Tech and into our preview performances. My Facebook news page was flooded with #metoo, with some brave souls sharing their stories. Sexual assault allegations continue to appear in the news as men and women rally their courage to speak about the invasion of their being. This movement struck a chord with me, and I realized how important Luna Gale is in this way and how relevant it is with two women revealing their assaults in this play and how their lives were forever altered from that moment.

Luna Gale also deals with drug abuse and the foster care system. After every performance my fellow actors and I find ourselves speaking with a social worker or two about how the content of this play is what they deal with on a daily basis. The foster care system was not something I thought about ever, but this play has made me think about it and the children who are unfortunately lost in the shuffle of paperwork, and the social workers doing their best for these children.

This play has made me reconsider how I should contribute to society. It has me questioning many things. Is there a way to heal drug addictions? Is there a way to stop sexual assault? In what way can I help the foster care system?

My time on this production has been incredible, and I know it has altered me as an actor and as a human being. 


Lauren Hirsch
Actor, Director & Capital Stage Apprentice

Rehearsing AN OCTOROON

Posted on September 20, 2017

Producing Artistic Director Michael Stevenson reflects on rehearsals for An Octoroon at Capital Stage

When I read An Octoroon, I remember being amazed at the script and at how the 19th century melodrama carried unintended echoes of the present. Branden Jacobs-Jenkins’ fearless and inventive adaptation jumbles time, contemporary values and humor with the hard realities of race in America today. I felt it was our obligation to do such a daring piece of theatre.

After Charlottesville, this play struck me with a new resonance. I felt I woke up in a new and disturbing world. After the shock and dismay of the white supremacist march in Virginia, we as a country started to question our identity and our progress – who are we?

I vividly remember the moment in rehearsal when one of our actors started putting on blackface. Judy Moreland, our director, and I were sitting in the theatre during our designer run, and the tension in the air was palpable. I squirmed in my seat, and watched with both fascination and dread as the actor playing Pete/Paul/Assistant carefully and silently applied the blackface makeup. It was a surreal feeling – witnessing something I never thought that I would actually see in real life. Just moments before, our lead actor had put on whiteface.

As I watched the actors fearlessly step across taboos, it occurred to me, the genius of this play is that it uses taboos and stereotypes to open our eyes to our own beliefs – to a take a new look at ourselves. Dion Boucicault, the author of the original play The Octoroon, wrote it as an anti-slavery piece, but he himself was full of prejudicial beliefs. It made me begin to question what beliefs do I carry that I’m not even aware of?

A friend of mine posted this picture the other day on Facebook with the caption:  “Here’s your statue.” 

We’ve come so far, but we still have so far to go.


Michael Stevenson
Producing Artistic Director
Capital Stage