Bringing 1999 to the stage at WAM Theatre was a dream realized—a collision of art, community, and vulnerability. What began in solitude became something shared, alive, and beautifully out of my control.

I’m home from Lenox, Massachusetts, where WAM Theatre premiered my play 1999. It was so many things—exhilarating, life-changing, fun, and exhausting—all at once.

After living with this play in my head for over two years, seeing it come to life on stage was both surreal and deeply moving. The words on the page became something entirely new when filtered through the artistry of others—lights, sound, projections, blocking, sets, costumes, color, and performance.

Suddenly, it wasn’t just mine anymore. It belonged to the collaborators and, ultimately, to the audience.

“Campbell has taken on a great deal in ‘1999,’ and it is much to her credit — as well as director Genée Coreno and her cast — that she manages to juggle important issues as successfully as she does.”
— Jeffrey Borak, The Berkshire Eagle

That act of letting go—of inviting others in—is both magical and terrifying. But it’s also what makes theatre theatre. When the actors, designers, and audience feel the emotion I felt while writing, it’s profoundly gratifying. It reminds me why I do this: to connect, to be seen, to help others feel less alone.

“Leave it to WAM Theatre (Where Arts and Activism Meet) to support and mount the visionary work of playwright Stacey Isom Campbell.”
— Berkshire on Stage

The Collaborators

Rehearsal room with Genée Coreno, Zoë Laiz, and Caroline Festa

I feel incredibly lucky to have worked with Genée Coreno, who directed 1999. From our first meeting, I suspected she might be a genius—and by the end of the process, I was sure of it. She’s ambitious, insightful, and a force of nature. What impressed me most was her commitment to collaboration and equity. She creates a room where every artist’s voice matters.

I’m proud of the space we built together—one rooted in trust, curiosity, and a shared love of the work.

Caroline Festa as Reese and Zoë Laiz as Emma

Zoë Laiz brought a breathtaking performance to the role of Emma, embodying her at both 25 and 45 with nuance, toughness, and vulnerability. It’s a challenging dual role, and Zoë handled it with grace and power.

Caroline Festa as Reese was bold, hilarious, and heartbreakingly real. She captured the highs and lows of the character with incredible range and presence.

“Laiz holds the center in an effectively considered performance. Festa’s Reese is a brash, expansive woman… In that process, Reese becomes in life the kind of character she wants to be on screen.”
— The Berkshire Eagle

Zurie Adams as Naomi was magnetic—passionate, inquisitive, and utterly believable. She found such depth in the character, shifting from fiery conviction to tender curiosity in ways that made Naomi come alive.

And I have to give special thanks to stage manager Nathaniel Bokaer and assistant stage manager @lunahayes, who were absolute professionals and kept everything running smoothly. Stage management is the quiet engine of any production, and these two made sure the play—and the people—were well cared for.

The entire WAM Theatre team—Molly Clancy Merrihew, Erin Patrick, and Jade Nicholas—were a joy to work with. Professional, kind, and welcoming, they created an environment that made everyone feel valued.

Me, Zurie, Caroline, Zoë, and Genèe doing our horror musical pose.

After opening night, we celebrated with nachos, stories, and laughter—a perfect ending to an unforgettable day.

Coming Home

The gorgeous walk to Shakespeare & Co. where the play was performed on the Elayne P. Bernstein stage

Now that I’m back home, everything feels a little strange. The energy and creative intensity of rehearsal and performance give way to quiet routines—cleaning the house, answering emails, sitting in silence.

It’s destabilizing in its own way, that sudden shift from community to solitude. But maybe that’s part of the rhythm of an artist’s life: the wild joy of creation followed by the stillness of reflection.

“A provocative play, we are left wondering if it is ever appropriate to appreciate the work of abusive artists… However, the questions must be asked and ‘1999’ illuminates them.”
— Berkshire on Stage

I’m tired, yes—but grateful. Grateful for the collaborators who brought 1999 to life, for the audiences who shared in its emotion, and for the reminder that storytelling—at its heart—is an act of connection and healing.

Just look at these photos (more to come soon!). This production was rich, layered, and bursting with color—all born from Genée’s vision and the incredible artistry of everyone involved.