Written by Stacey Campbell
May 2025
The OPPORTUNITY
The opportunity to develop 1999 at Florida Repertory Theatre was this strange, serendipitous intersection of accident and good fortune. I don’t think I’d ever submitted there before. I just happened to see a post about the PlayLab on social media and thought, “Sure, why not?”—not realizing that Florida Rep rarely advertises through the usual channels. I almost missed it entirely! I had no idea then how integral that click would become to everything that’s followed.
The Team
Jay Parrish, the PlayLab Director, assembled a dream team for this workshop. Most notably, I was paired with the phenomenal Summer Dawn Wallace as director—someone I’ve continued to collaborate with since. Jay also brought in Sarafina King, a powerhouse film and TV actress you may recognize from Criminal Minds and so many other projects (check her out on IMDb!). Alongside her were Bailey Gull and Rebecca Forsythe, both fantastic actors who brought fierce intelligence and heart to the room. It was a team that made the play braver, sharper, and more alive.
Sarafina King as Emma
The Rehearsal Process
We had fifteen hours of rehearsal, and I made changes constantly in the room. Summer suggested adding a new scene between Teresa and Emma, and it turned out to be a brilliant idea. The days were packed—long rehearsals, other play readings to attend, then after-parties that stretched late into the night.
One night, after a marathon day, I literally face-planted onto my bed after midnight, replaying the day in my head. But I couldn’t shake the new scene, so I got up, wrote it longhand in my notebook, and typed it up the next morning. Voila—a new moment born from exhaustion and inspiration.
The reading itself couldn’t have gone better. We had a full house—about eighty people—and their energy was electric. The first few minutes were a bit shaky with nerves, but once Teresa entered with her trademark humor and fire, the audience gave themselves over completely. It was one of those rare nights when you can feel the play landing.
Sarafina King and Rebecca Forsythe as Teresa
The Talkback
After the reading, Summer and the cast joined me onstage for the talkback, moderated by Jay. I was emotionally spent—this play takes everything out of me—so finding articulate words felt impossible. It’s always like I’ve thrown my heart onto the stage and am asked to explain it afterward. Thankfully, Summer jumped in with grace and insight, and the actors spoke beautifully about their process.
Summer saying something brilliant and me making a face in admiration
As always, Naomi sparked debate. A few audience members disliked her—a reaction I’ve encountered in almost every reading. I’ve worked hard to make her layered and real, not “likable” in the traditional sense, but human. Another playwright, Lindsay Noelle, asked the best question of the night: “Why does it matter if she’s likable? We wouldn’t ask that of a male character.” Exactly. That comment stayed with me. Audience feedback is always illuminating—it helps me decide when I want a character to draw people in or push them away.
Finding My People
One of the most rewarding parts of the PlayLab was the community. I shared the week with four brilliant playwrights: Kenneth Jones, Samara Siskind, Lindsay Joelle, and Jesse Corbin. Sometimes these experiences can feel competitive or isolating, but not here. Maybe it’s because—with the exception of Jesse—we’ve all been at this for a long time. We know how vital it is to lift each other up in a profession that can be, frankly, brutal.
There were espresso chats about NNPN, spontaneous website feedback sessions, wine nights, and endless laughter. Even Jesse—who was deep in rehearsals for his new musical—managed to exchange quick waves and recess giggles between sessions. These weren’t just colleagues; they’ve become friends. I truly believe we’ll be in each other’s creative lives for years to come, cheering one another on from wherever we land next.
Gratitude
My deepest thanks to Summer Dawn Wallace, our fearless and inspired director, and to the incredible cast who poured themselves into 1999. And gratitude to Jay Parrish and the Florida Rep team for curating such a generous, artist-centered experience.
It was an intense, exhilarating week—equal parts workshop, reading, friendship, and discovery. I left tired, happy, and profoundly grateful. My heart is full.