By Danika Sudik

The ancient Greeks didn't have a specific word for acting before an audience; they used techne to describe it as a craft in the same way one might craft a ship, build a poem, or practice the art of medicine. Aristotle elevated techne to include not just the craft, which aims to produce in service of a higher good, but also posited that participating in the activity itself—the activity of creating—held value. Like Plato before him, Aristotle believed in the importance of the practitioner being able to explain their craft, to know it so well that he could teach it to others, understanding not only the wisdom of its mechanics but also the value of how it contributes to a larger whole. So humor me as I try to explain the process and craft of what is onstage before you.

I lobbied hard to direct this show. Long ago, Tom & I were both working with Dale Franzen (the Tony Award winning Producer of Hadestown on Broadway) at The Broad Stage in Santa Monica when she brought in an early version of Hadestown and asked us to share our thoughts. We knew right away it was special--not because of what we heard on the CD. The music was interesting, sure, but it hadn't yet undergone all the countless hours of development Anaïs Mitchell and her creative partners would continue to pour into its evolution. No. We knew it was special because of what it did to her; Dale herself was transfixed and transformed--energized with laser-like focus to ensure Hadestown was shared with the world.

At first, I had my doubts about a teen version of this play, as so much of what resonates with me is how relationships endure and mature over time—or, at the very least, change as you age. But then I thought, 'if I were a god and could choose any form, would I choose my middle-aged body?'  With that silly thought (along with witnessing the extraordinary youth talent at WOH), my concerns were alleviated. Just like the gods themselves, the themes of this show are timeless, and our cast represents the growth, possibility, and potential that we all aspire to: their youth underscores the critical questions raised by the play.

Then, in a tragic turn of events, a perfect storm hit our family. Death, loss, grief, illness, betrayal--most completely outside of our control, required our full presence to move through. I asked Tom to find another director so we could focus on the one thing we could control, breathing through the chaos, and caring for each other and our children. It turns out that finding a replacement was not so easy (good on all, y'all making summer plans, btw). Eventually, we decided to direct together, hoping we could lighten the load by sharing it.

The creative process is clarifying — it can bring out the best and worst in us, as insecurities are exposed. We are either polished or transformed--like a diamond in the mine--as the heat and pressure of an impending performance asks more of us than we regularly ask of ourselves. I was afraid that adding the volatility that comes with the creative process into our lives would break us, but I'm now so grateful the gods gifted us this experience. It has been good medicine.  

Hadestown brings forward many themes for us to ponder: life and death, the extremes of what a human being can endure, the difference between solitude and lonliness, the importance of fulfilling your calling, the wonder if anything we do actually matters, how relationships repair after betrayal, how relationships decay if not tended mindfully, how to move through unpredictable weather (both actual and metaphorically), how politics and geography shape our lives, the impacts of the economy at the level of the individual, what drives people to choose fear and violence, and what inspires people, despite pain, inequities, and injustice to keep choosing to believe in a better world, and create that world with every breath, thought, action, and word. Mostly, Hadestown reminds me that the gods (staying with the conceit of the show, insert your belief system here) are kind enough to continue presenting us with problems, over and over again, until we can learn from them and truly embody their lessons.

In his time, Plato was unnerved by writing overtaking oral communication as the dominant form of communication. He preferred the dynamic ability of conversation to deepen understanding, clarify truths, and spark engagement between individuals. Within our lifetimes, communication has undergone radical transformations in ways that Plato could never have imagined.

Hadestown: Teen Edition presents a gorgeous book and score that connects us to the ancients across thousands of years of human communication, to the questions humanity has always grappled with. What you see onstage is a story that has been retold across centuries and cultures and languages, picking up things and leaving others behind, translated and interpreted by real people, again and again. This particular musical is uniquely American in its fusion of musical traditions that weave our complicated, beautiful, and tragic past and present into every measure of music.

Before psychology, or modern medicine, indeed, perhaps even before anything we would recognize as religion, there was a story passed from one human voice to another listening ear. While the mediums change over time, our human need for connection does not. Each of us yearns to be witnessed, to be understood, to be valued for who and what we already are. Live theatre is techne, as Aristotle described it —the interplay between process and product. We hope you enjoy the product you see onstage tonight, but we hope you are transfixed and transformed, as we have been, by the process of witnessing the act of creation.  

I believe no other story-sharing medium comes close to collaborating with other lovers of an art form to share it with an audience, supported by technology but not separated by it. We are here, together, feeling the energy and vitality of the living, breathing people sitting in the seats all around us. This, is where the magic happens. This is where transformation occurs. This is where we can truly be recognized by another person: in the present moment.  

The product you see onstage tonight is the result of many hands. Not just those listed in the program, but the processes of parents who rearranged their lives to support their children, ushers who volunteer their time to greet you with a smile, and members of the community who support the theatre and education programs at WOH not just with their time, talent, or donations, but with their presence.

We meet each other at the theatre to bask in that energy; to be in conversation with our community, and to give and receive attention and support. Thank you for being here with us. You complete our craft with your invaluable contribution of showing up and being exactly who and what you are.  

We raise our cups to you. Enjoy the show.

When audiences hear “Teen Edition” in the title of a musical, it’s easy to make assumptions. Maybe the music will be simplified, the performances rough around the edges, or the experience somehow “less than” what you’d expect from a mainstage production. But step into Woodland Opera House’s Hadestown: Teen Edition and those assumptions are immediately, joyfully shattered. Here, what’s on display is a level of artistry and maturity that makes the “teen” tag seem almost incidental—except for the fact that this production might be the ideal way to experience Anaïs Mitchell’s mythic musical.

More Than Teen Talent: A Cast of Pre-Professionals

From the first rehearsal, it was clear that the principal actors of Woodland’s Hadestown weren’t just passionate teenagers—they’re emerging professionals, already boasting years of training and a depth of insight rare at any age.

For instance, Maggie McGoldrick, who plays Eurydice, has been performing since the age of four. “I’ve been taking weekly private voice lessons since I was four years old. I have trained in tap, jazz, ballet, contemporary, hip hop and have been taking dance consistently since I was three. I have recently added weekly private acting lessons,” she shares. Her resume rivals many adults, but it’s her resilience—learning to dance again after major reconstructive hip surgery and spinal fusion—that makes her performance unforgettable. “The strength I developed through all of this helps me relate to Eurydice. We are both fighters.”

Jayden Wynn, stepping into the shoes of Hermes, brings a distinct combination of musicality and life experience. “I’ve just recently started my acting journey with about 2 years now of performing. But before that I was really into jazz, playing for my high school and still playing jazz now,” Jayden explains. His transition from music to acting was guided by college-level training: “I’ve had the great opportunity of taking a couple of Ryan Adame’s classes. I learned not only about how to move on stage but also the awareness needed to work a stage and work with others.” Jayden’s personal connection to Hermes runs deep: “I relate to Hermes, because of the aspect of being a guardian or ‘parental’ guide. My life as an older brother, I had to help raise my younger siblings. So with Hermes not being Orpheus’s dad but still guiding him with life, I see bits and pieces of my life in him.”

Vinson Jin, our Orpheus, comes from a background in theatre and pop music but approaches his role with a professional’s self-awareness and emotional depth. “Orpheus is a very emotionally in-tune person, and I draw a lot from my own personal experiences and life into my portrayal of the character. He is a true representation of that inner child in many people, and that’s how I hope to portray him: to demonstrate the shift between that inner child within us and our coming to terms with the way reality can sometimes be.” Vinson’s maturity as an artist is matched by his technical training, including private vocal and acting lessons, honed through a long history of performance.

Aaron Ruiz’s Hades is shaped by years of rigorous training and a nuanced understanding of character. “I’ve had vocal lessons with the amazing Carrie Hennessey for four years. Acting classes for four years at performing and fine arts academy, under Rick Gott, and Karen Pollard. Three years of ballet training with Abelardo Cisneros. And a Sac Ballet summer intensive!” he lists. Aaron is drawn to the complexity of Hades: “He is a god, but feels very human emotions, of love, loss, and jealousy. I think I can relate to some of those strong feelings.”

And then there’s Evie Barnett as Persephone, whose artistry is inseparable from her curiosity about the world. “Persephone is such a wonderful character, because she holds life not only in her most vibrant moments, but in the fact that she has deep layers like the rest of us. I relate to Persephone’s appreciation for the world around her, and her love for connection with others.” Evie’s passion for both theatre and marine biology speaks to a performer—and a person—who finds wonder everywhere.

Complex Stories, Intelligent Storytellers

What becomes clear as you talk to these young artists is how seriously they take their craft. They see themselves on a professional trajectory. “I hope to have graduated from college with a Bachelor of Fine Arts in Musical Theatre, and start working full time in the industry,” says Maggie. Vinson echoes this ambition: “Performance of some sort, hopefully based in LA or NYC.”

But it’s not just about talent and training—it’s about insight. These performers are thinkers, storytellers, and collaborators. They speak with a maturity that belies their years, reflecting on the show’s themes and their own journeys with eloquence. As Jayden puts it, “During the end of the show when everyone is on stage as an actor, harmonizing and singing about telling a great story again and again really resonates with me. At that moment, we are more than just our characters, we are all storytellers. Bringing the audience along a journey with us as we show them just a bit of what theatre is about.”

For this ensemble, Hadestown is personal. Maggie is moved by “watching Hades and Persephone remember their love for each other. This scene is so moving because it pulls at your heart strings and gives you hope when you thought it was lost.” Vinson finds the show’s duality in its music: “It’s the form of unconditional love that I think makes it one of the most gorgeous songs and moments in the show… If It’s True, however, is almost the opposite. For the first time, Orpheus is pushed into reality, he is at the lowest point he has ever been at, everything has been taken from him and it’s reflected in the words, you feel the immense pain, loss and heartache he suffers.”

A Mainstage Experience—In Every Sense

Co-Director Tom Burmester notes, “There’s a persistent bias out there: some folks believe ‘teen’ productions are somehow lesser… I want to assure you—and ask you to help spread the word—that our production features the FULL score. The only thing ‘teen’ about it is the ages of the talented cast.” While the Woodland Opera House production is affiliated with their education program, unlike many other “Hadestown: Teen Edition” productions that charge significant tuition and a scaled back the experience, Woodland Opera House has invested in this show as a true mainstage event--tuition-free, with the same production budget as adult-cast shows. “This is not a student showcase. This is a Main Stage Production—and these young artists have poured their entire summer into making it unforgettable,” says Burmester.

In fact, Hadestown was almost meant to be performed by young actors. After all, if you were a god and could manifest as any age, would you be in your 19 year-old body or your 50 year-old body? There is a raw energy, an immediacy, and a sense of possibility in this cast that brings a fresh urgency to the story.

Why You Can’t Miss This

These performers are not just promising—they’re already performing at a level that rivals professional productions. “The people in this show are names you’ll be hearing more in the musical theater world,” says Aaron. Jayden offers a playful challenge: “YOU HAVE TO SEE THE FATES. They are amazing. ALL 600 of them.” And Evie adds, “There’s a ‘wow’ moment around every corner! Whether you know the show and already love it, or are looking for something to enjoy, Hadestown is deliciously relatable and heartfelt, and the music will get you humming on the car ride home!”

The “Teen Edition” addendum in the title is a licensing requirement, not a reflection of ability. Audiences will find themselves swept into an experience that’s as polished, moving, and unforgettable as any other. As Burmester reminds us, “When you sit in the audience, you will be swept away by the music and the storytelling. You’ll forget you’re watching teenagers, and then at some point, you’ll remember—and it will blow your mind.”

Woodland Opera House Youth Program, Summer 2025
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In every great myth, there are the heroes we sing about—and those who hold the story together from outside the spotlight. To understudy is to accept one of the most demanding and essential roles in theatre. These artists learn to lead from the wings, staying focused not for applause, but for love of the story and the craft. Let us introduce you to the understudies and swings of Hadestown—our unsung heroes.

What Does an Understudy Do?

In Hadestown, a sung-through musical with layered harmonies and continuous movement, the challenge of understudying is heightened. There are no clean breaks—only music, motion, and momentum. Understudies and swings must be ready to jump into that current without hesitation.

"I love how well it all fits together! I don't think I know a musical with better reprises."—Rimon Caballero, Hades Understudy

An understudy learns a principal role inside and out—lines, music, blocking, choreography—prepared to step in at a moment's notice. A swing may learn several tracks, switching roles as needed with little warning. Often, they rehearse in fragments, absorbing scenes from the sidelines and running harmonies under their breath.

"The main thing I've learned this time is how to ask questions that benefit me and my process."—Nathaniel Flint, Hermes Understudy

Their goal isn't simply to know the part—it's to embody it so completely that the audience never notices a change. That kind of preparation takes focus, self-motivation, and an extraordinary commitment to the whole.

"This is my favorite musical, and has been for a few years now. I feel it's a very special opportunity to contribute, regardless of who I was in the story."—Ari Garcia, Persephone Understudy

Why Are Understudies So Important?

In live theatre, the unexpected is inevitable. Understudies are the reason the story never stops. Their readiness allows principal actors to stay healthy and the show to go on without compromise. Whether or not they perform publicly, their work supports every rehearsal and every performance.

"The music in Hadestown is so beautiful, and some of my favorite parts are in the ensemble voices. Those moments of feeling connected to the group's collective voices during each song—on and offstage—make it all worth it."—Hayli Crandall, Swing

Understudies strengthen the entire production, adding resilience, depth, and professionalism. They do this not for the spotlight, but because they care deeply about the work, the team, and the story.

What Does It Take?

To be an understudy is to be trusted. It requires talent, discipline, adaptability, and the ability to remain composed under pressure. These artists must be multitaskers, quick learners, and problem solvers. Many of our youth performers are doing this for the first time—while also playing featured ensemble roles.

"From these hardships, I feel I have learned how to better organize my blocking in my script."—Matthew Vallero, Orpheus Understudy

"I truly love everything about Hadestown. It's my favorite show of all time, and Eurydice is my dream role, so I'm grateful to be a part of it and to have the chance to learn the role of a character I love."—Kelsey Kiehn Watkins, Eurydice Understudy

It's a high-wire act, and a powerful reflection of the story they're helping tell. In Hadestown, perseverance, love, and the courage to keep singing even when the path is uncertain are central themes. Our understudies live those values every day.

Honoring the Unsung

So when you see Hadestown: Teen Edition, know that behind every harmony, every step, every moment of storytelling, is the quiet strength of an understudy who helped make it happen.

They are storytellers. They are artists.

They are our understudies.

"We raise our glass to them!"

By TJ Fassler

I sometimes fear I am becoming too nitpicky as I get older, but then I see a production like Fun Home and trust that my personal tastes, preferences, and experiences are perfectly valid. In short, Fun Home is one of the finest community theatre experiences I’ve seen in recent years. I am not saying everything was the best thing ever, I’m saying that everything seemed to be working in conjunction to convey the story and intent throughout the entire production.
This was my first time seeing a show in this particular venue, the Nevada Theatre and it was wonderful. Much like the Woodland Opera House and State Theatre, it is a vaulted ceiling so it feels expansive, but seats don’t go super far back, so it also feels intimate. The walls were painted with murals that were a treat themselves to observe preshow. There was access to snacks and drinks that were permitted inside which was appreciated as I got an intermission coffee to make sure I’d be awake for the drive home. For the most part I’ve avoid plot elements because I loved watching the show with completely fresh eyes and recommend doing so too. That is unless the uncertainty is what is holding you back. If so, ask me or check it out online and then go see this show!
The set was very thoughtful (which is a word that could be used to describe just about everything). There was a platform build up to create a second floor that was home to the main character, Alison’s present day studio, the father’s past study, and most importantly, the live band. Led by Nick Roten, they were fantastic. The songs themselves were great, but there was also a lot of accentuating moments in the show. The platform was hollow underneath and thus stored some roll out seats on one side and a bed and stand on the other, the go to location for Medium, college age Alison. Even though we could see them, I liked it. It made it feel like it was a live experience. There were lights out for scene changes, but their placement help facilitate smooth and quick transitions. The costumes felt period, but not artificial. The lighting was also thoughtful with specific moments to cover scene changes, to accentuate dramatic moments, and help convey serious subject matter without going overboard. I also loved the trust for the audience by the directors. For a phone call, there wasn’t a forced prop or even using hands like holding a phone, they stood and talked facing out. We understood that they way they were able to communicate was a phone call. Similarly with a car ride. The focus wasn’t on steering, but the activity inside the car. Speaking of activity, so many scenes started with the actors starting their activity in the dark which carried the energy of the moment into lights up. Excellent little touches.
And if that all wasn’t enough, the performances were magnificent as well. It’s worth noting that a few of the parts are double cast, and I will share some of the specifics when needed. Starting with the anchor of the show, Ana Lovric played Alison so enjoyably. I loved the ease and effervescence with which they stride through the first act collecting and sharing these memories of their smaller and medium version (how they’re described in the cast list). Ana gently smirks and reacts to all of these moments and then just as strongly is engaged and a part of their own attempts to claim their identity near the end of the show. Sydney Tevault played Helen, Alison’s mom, and like many characters in the show (but intentionally not all), played a more subdued, distant role in the first part, and then believably bubbled over as Helen raised the curtain on hidden goings on as well as shared her own struggles in hopes of protecting Alison from some similar mistakes.
Dakota Laurie played the medium, college aged Alison. She very believably waged an internal struggle and then beautifully (and with joyous humor) proclaimed a new sense of self in her song after a good night’s “rest.” Her opposite in those scenes was Joan played by Amber Busse and I adore that that the writers of this show saw fit to have such a likeable, supportive character without the need for forced conflict or misunderstanding. Joan was such a positive vibe and Amber made her such a delight anytime she was onstage.
I really enjoyed the performance of Collin Seaman who had the difficult task of playing various characters that we are meant to notice their presence, but then also let their memory fade off as they were merely one of many. I thought he did a great job of this in addition to leading the fun, catchy number (with sparkly vests no less) leading into intermission which had me humming at the concessions stand even with its darker ulterior meaning. His characters were primarily connected to Alison’s dad, Bruce, played masterfully by David Endacott-Hicks. Just as his character constantly reminds himself that he still has gas left in the tank, he still can charm others, that motif is constantly proven true in David’s performance which flits between endearingly beguiling and mildly unstable. I think he absolutely fully nailed all the nuance of Bruce and the reason that Alison finds it so important to find balance even in her understanding and reckoning of her father as much as herself.
My MVP of the show is Tennessee Carver who played small, young Alison. She was brilliant from the moment she took the stage. Her singing was incredible along with appreciating how much of the show has unique timing to start and end phrases (which is another kudos to the band). Her scene work was captivating and her scenes appropriately carried different energies and intensities depending on the circumstances and who she was with. She was a part of one of the most crowd pleasing numbers, inviting people to “Come to the Fun Home” which was sung alongside Alison’s brothers, who also did a great job. She also was able to carry an entire song with her expressions and vocal intentions with very limited choreography (rightly so) as she stopped to notice a woman with a “Ring of Keys.” It’s also such a small thing, but the way she subtly drifted off to sleep while her father sang the lullaby “Pony Girl” was a nice touch.
So yeah, I enjoyed myself. Highly recommend making the drive out to see the show. Would love to hear others’ experiences with Fun Home, either this production or others. The show is running until June 14. For more information or tickets, visit: https://lyricrosetheatre.com/tickets

I had the pleasure of watching this Arthur Miller classic tonight and was overjoyed at the various elements of the show from set to lighting to performance and I’d like to share some of those things with you. I do recommend checking it out if you get a chance. I find myself watching much more musical theatre nowadays and so it’s a refreshing surprise to catch some fantastic straight play action, in this case some tragedy mixed with humorous moments.

The set kind of exemplified this balance before the show even started. The backdrops were built up to the ceiling and so the space felt much larger and vast than previous productions, but there was also an intentionally oversized tree branch hanging directly above the center of the stage. It created this odd sight when thinking about the various indoor settings, but also fantastically captured this unease and tension that permeates the show as if it could drop and disrupt everything at any moment. Nice use of period props throughout as well without becoming cumbersome. Lighting helped illuminate different points of the stage so scenes could go back and forth. There was also a great use of low light near the end so we saw more like silhouettes of characters as they went through actions without dialogue. Speaking of action, I really enjoyed the directorial choice at the top of many scenes and moments to let action guide characters rather than jumping right into dialogue. There was trust in the choices and performers and even the audience to have the patience to accept it and I loved it.

On the performer side, everyone contributed in their various ways. I will admit up front, it is a long show, but it never feels slow. The dialogue is weighty, the scenes are intentional, and the characters all serve to flesh out who Willy Loman is at the heart of it all in this moment of his life (and some flashbacks). That is why Serena Olson as The Woman may have been very brief, but her moments were extraordinary both in plot necessity and in her characterization. She was terrific. I also loved the variety that Matthew Dunn brought to Bernard both in physicality and demeanor from his flashbacks and present day iteration. Todd Aragon was very likeable as Charley and had some of the knee slapper and groan worthy puns. And Carter Medlin maintained a regal and assured posture befitting Ben Loman based on Willie’s perceptions of him. I was once again blown away by Johnny Lach Sexton who likewise had a brief scene as Howard, but had a realistic, believable demeanor, and seemed to embody the qualities that we had already heard about his character from Willy earlier in the show.

Onto the family proper. The brothers were so integral to everything embodying different qualities and aspirations of their father and were played magnificently by Zane Begley as Happy and Jared Albano as Biff. Their camaraderie together was enviable and their animosity at times relatable. They both felt like very unique characters that developed in different ways believably based on the childhoods they received. Much of the tragedy arises from the unfulfilled desires of husband and wife to provide for each other in the ways they think are most important and Kim McNabb as Linda Loman and Nathan Rangel as Willy Loman do a wonderful job of towing the line between getting the audience to root for each of them, but also see the realistic imperfections of each. It is a testament to the writing that characters can be likeable even with their faults as well as a testament to the performers to then convey that to audience.
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I had a wonderful time and can recommend wholeheartedly. The show opened this weekend and runs until May 18.

We’re delighted to share that the Woodland Opera House will feature theatre reviews by TJ Fassler on our website—an addition that reflects something meaningful about how we aspire to show up in our theatre community.
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When I first encountered TJ's reviews, they reminded me of reviews by beloved LA theatre reviewer Steven Stanley, who publishes StageSceneLA, and is famous for his generous reviews that are always positive.  I initially found Steven Stanley’s always-positive approach puzzling—where was the critical edge? He explains that this is by design: when he can't honestly celebrate a production, he simply won't publish a review for it. He is intentional about how he uses his voice to impact the artistic community, preferring to elevate the works he appreciates rather than tear down. Most of all, he genuinely admires theatre-makers and recognizes that the work is hard and for many it is a labor of love.

This resonates with something I noticed shortly after joining the Opera House two years ago.  At the Theatre and Dance Annex (TADA) where we hold our classes, affirmative messages line the walls and mirrors for our young students. One that particularly moved me (and remains today) is the "THINK" poster asking: "Before you speak, THINK—are your words True, Helpful, Inspiring, Necessary, Kind?" It suggests that sometimes the most courageous act is withholding words that fail these criteria.
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The Power of Place:  Local History and the Performing Arts in an Age of Distraction

By Cecilia M. Tsu
​Associate Professor
Department of History, UC Davis

     Living in an age of distraction with endless demands for our attention emanating from our digital devices, social media, and other technology, it’s easy to feel disoriented, unfocused, ungrounded. Add the weight of alarming news abroad and at home, political polarization, climate anxiety, and our myriad everyday concerns, it’s no wonder that so many of us are overwhelmed and out of balance. There is no magic solution for our modern-day condition, but as a historian and fan of community theater, I offer up a modest recommendation: local history and the performing arts.
You can find both at the Woodland Opera House.
       This is a truly remarkable place. The Woodland Opera House (WOH) is a theater as well as a California State Historic Park. Audience members have the pleasure of enjoying a range of captivating, high-quality, award-winning productions in a building constructed in 1896 that was a premier performing arts venue in northern California during its heyday. Attending a live theater performance at the Opera House, then and now, is a screen-free opportunity to be absorbed by the magic taking place on stage. Seated in the house, we can focus and be present in a way that resists the frenetic, fragmented pace of the digital age.
         Such opportunities are even more important for the younger generation, those arguably the most negatively impacted by the tech industry’s war for our attention. In addition to being a venue for children and teens to see live performances, the Woodland Opera House runs a top-notch theater education program. It has transformed the lives of so many kids in the community, including my own. When they’re taking dance and theater classes, or rehearsing songs for an upcoming show, young performers are fully engaged, physically, mentally, and emotionally. They may be scrolling on their smartphones before and after, but while they are at the Opera House or the Theater and Dance Annex (TADA), they are immersed in learning and perfecting performing arts skills in a joyful, accepting environment.
         Like the performing arts, I believe that local history also has the power to ground us in an age of distraction, to literally connect us to who and where we are. For residents to truly know the place where they live in all of its complexity gives meaning and purpose in the day-to-day. Seeing glimpses of the past in tangible, familiar places deepens our sense of community in the present. When we know something about the experiences of people who decades ago lived in our towns, walked on the same streets, worked in the fields we drive past, we can see ourselves more clearly. Knowing that history, we have a sharper sense of who we are, who we want to become, and how we might make our community a better place.
      We need our children to have opportunities to learn and engage with local history. That’s why I decided to pilot a project called “Uncovering Diverse Histories of Yolo County.” Its goal is to research untold histories of underrepresented groups in Yolo County and to develop K-12 curriculum from that research. When I began the project in the summer of 2024, I did not set out to collaborate with the Woodland Opera House, nor to install a history exhibit in the third-floor meeting room (more commonly known as the place where you can purchase refreshments during intermission). But as my team of six UC Davis student researchers learned, historical research is all about following your sources and going where they take you. Ours took us to the Opera House, or more specifically, to a photograph there.
      A striking black-and-white picture is on display in the box office museum room (located to the right as you enter the theater). It shows 18 impeccably dressed African American men and women posing for a formal portrait on the WOH stage with an elegant painted scenery drop in the background. The women are mostly young, perhaps in their teens and twenties, wearing ruffled blouses, long skirts and dresses, their hair neatly swept up. Most of the men sport dark three-piece suits; one has on a military uniform. Captions in local history books state that the photo was taken at the Woodland Opera House in 1903, and the ensemble was known as the “Merry Company.”

      When I pointed out the photo to my older daughter, who is 13 and has performed in a couple shows at the Opera House, she wanted to know more. Who were these individuals? What show were they in? Was it common for African Americans to be on stage there? How did audiences receive them? She mused that it was mind-boggling to think she and her friends had shared the same stage as these performers.
      Through extensive research in the Yolo County Archives, our team ended up finding many answers to these questions. The story of this African American ensemble was so rich and intriguing that we felt compelled to share it with the Woodland Opera House community. My students and I produced a display of our research, which visitors can view in the meeting room during business hours or when catching a show. The exhibit made its debut at Woodland’s annual Stroll Through History on October 12, and we will be adding more to it later this fall.

​     In the next stage of the project, our team will work with curriculum experts and teacher leaders to develop educational resources for local elementary and secondary school classrooms drawing on our research. Kids coming to the Opera House for field trips will be able to see live theater and learn some local history at the same time. Down the line, we hope to create content based on our research on Chinese immigrants living and working near the Opera House during the late nineteenth century. The block on Dead Cat Alley between Elm and College Streets was known as “China Alley.”
     After a recent show rehearsal, my daughter recounted how the director gently hinted to lingering cast members that it was time to go home, to which a teenager replied, “this is my home!” It’s a sentiment echoed by generations who feel a profound sense of connection to the Opera House. Knowing the history of the people connected to this special place makes our engagement with it even more meaningful. It’s a privilege to see how the performing arts and local history are coming together at the Woodland Opera House in ways that uplift and enrich our lives and our community.