What began as a single play in 2019, staged for a short run at Ashland’s Bellview Grange on a humble setup, has evolved into a full-fledged theater company with a permanent home at Grizzly Peak Winery.

Motivated by a desire to collaborate with seasoned artists and tackle challenging material, Jessica Sage set out to build a home for her vision of meaningful live theater in southern Oregon. That dream has taken form as Rogue Theater Company.

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CULTURAL HUBS: An Occasional Series

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The founding of RTC was sparked initially by disappointment, then fueled by grit, resolve, and the support of a vibrant community.

In 2018, after completing Fragments — a deeply personal, semi-autobiographical play — Sage found herself facing a familiar roadblock: polite rejections from theaters around the country.

Rather than set the work aside, she made a pivotal decision.

“I thought, ‘You know what? I’ll just produce it myself. How hard can that be?’” — wryly adding, “Cue the laughter.”

It was difficult, but she made it happen, producing a short run at Bellview Grange in 2019.

“Starting RTC from scratch was both exhilarating and, honestly, overwhelming,” she said. “Without infrastructure or a roadmap, I personally financed the company for the first two years.”

Kindred creators

Sage says one of the greatest gifts was finding collaborators who not only brought talent and professionalism, but who also believed deeply in the mission.

Rogue Theater Company was not born out of a gap in the local theater scene, but from an inner calling — a desire to carve out a space for the kind of work that spoke to Sage most profoundly.

The Bellview Grange wasn’t the ideal venue for theatrical productions due to its flat sightlines. That prompted Sage to secure Oregon Shakespeare Festival’s Black Swan Theatre for her second 2019 production, ‘night, Mother, a Pulitzer Prize-winning play directed by OSF’s Caroline Shaffer.

“After the success of Fragments and ‘night, Mother, I wanted to keep creating — to gather artists I admired, find stories that resonated deeply, and offer audiences something thoughtful, emotional, and often daring,” Sage said.

She was in talks to make the Black Swan the permanent home for RTC when COVID hit, closing theaters everywhere.

However, sensing she was onto something special, Sage wasn’t about to let a little thing like a global pandemic get in the way. Unwilling to allow uncertainty to slow RTC’s momentum, Sage began searching for a suitable outdoor venue beyond the reach of COVID-era restrictions.

She found it in a beautiful oak grove at Grizzly Peak Winery, just outside Ashland. It featured a raised stage area, intimate seating in-the-round on folding chairs, and ample shade from the surrounding trees. It served as a natural, open-air theater that felt both rustic and inviting.

“While theaters across the country shuttered, RTC kept performing, safely and with deep gratitude,” she said.

Building a legacy

Today, the company mounts four productions a year, selling out many performances during multi-week runs.

The list of directors and actors who have worked with RTC reads like a Who’s Who of OSF, with names like Vilma Silva, David Kelly, Michael J. Hume, Anthony Heald, Dan Donohue, Ray Porter, Robin Goodrin Nordli, K.T. Vogt, Caroline Shaffer, Michael Elich, Al Espinosa, Jeffrey King, John Tufts, Erica Sullivan, Henry Woronicz, Linda Alper, Denis Arndt, and James Ryen among them.

Rogue Theater Company also presents annual discussion sessions conducted by Sage’s husband — actor, dramaturg and Shakespeare scholar Barry Kraft — whose explorations of the Bard’s work have tied in with that season’s Shakespeare offerings by OSF.

Sage credits her husband as a major reason for the company’s success.

“His stellar reputation, after decades as an artist with OSF, undoubtedly opened doors for RTC,” she said.

And regularly scheduled Tuesday Talk-Back sessions at the Ashland library connect audiences with RTC actors and directors.

A vintage welcome

When Sage began looking for an outdoor venue after the pandemic hit, she found a warm reception from Grizzly Peak Winery owners Al and Virginia Silbowitz.

“We are profoundly grateful to Virginia and Al for generously renting us space at their gorgeous, bucolic winery,” Sage said. “It’s a relationship I treasure, and one I hope will continue for well into the future.”

The winery had a history as a place for people to gather for picnics, music, and entertainment. It hosted fundraisers and a summer concert series.

“For us, winemaking has been about quality of life and cultural appreciation,” Al Silbowitz said. “We had met Jessica Sage when she joined us as one of the guides and docents for the Road Scholar senior touring program.”

When they learned about Sage’s extensive professional theater experience and her search for a home for Rogue Theater Company, the decision was a no-brainer.

“We decided to work with her,” he said, “to develop a home for her theater company.”

It has been good for business, too, with RTC boosting the winery’s visibility.

After the pandemic eased, RTC shifted its productions from the oak grove to a repurposed wine barrel room on the property. While the grove had its charm, it couldn’t compare to the comfort and reliability of an indoor venue, especially when it came to lighting, sound, and protection from the elements. The new space was fully outfitted with state-of-the-art tech, transforming it into a proper theater, now known as the Richard L. Hay Center at Grizzly Peak Winery.

Aged to perform

“Over time, our barrel room had served as a naturally cooled and weather-protected space for special events, as well as for storage,” Silbowitz said. “With its reinforced concrete walls and high, arched heavy timber beams, it had excellent acoustics for music and speech.”

They enhanced the space with better lighting and sound when RTC wanted to move indoors.

“We like being an intimate ‘off-Broadway’ adjunct in our theater town,” he said.

The abundance of parking on the winery grounds easily accommodates theatergoers. Al and Virginia often can be seen working as back-up parking lot attendants before performances.

Community support and audiences grew steadily, thanks to Sage’s strategy of bringing in seasoned artists. Their artistic experience helped craft meaningful seasons, and their recognizable presence drew in local theatergoers — many of them Oregon Shakespeare Festival fans who were not only craving live performance but delighted to see familiar faces onstage again.

“Over the past six years, we co-created a strong and meaningful partnership,” Sage said. “And RTC wouldn’t be where it is without the trust and talent of those who joined us early on — Vilma Silva, Robin Goodrin Nordli, K. T. Vogt, and Caroline Shaffner, all OSF veterans who took a chance on RTC and laid the groundwork for others to follow.”

At first, she simply reached out with heartfelt invitations to artists she deeply admired, many of whom already resonated with RTC’s mission to present meaningful, actor-centered work.

Art finds a way

What initially attracted Vilma Silva to Rogue Theater Company was the opportunity to perform in spite of the pandemic.

“I joined the OSF acting company in 1995 and had remained a member of the company ever since with little break until COVID closed the theaters in 2020,” she said.

In 2021, Silva agreed to do Mala by Melinda Lopez, a playwright Silva admired.

“Jessica also asked me who I’d liked to have direct,” Silva said. “This was a brand-new agency for me! I asked Penny Metropulos and, to my great good fortune, she agreed.”

Silva returned to OSF after the pandemic, but also continued to perform for RTC.

“What has kept me coming back to RTC have been the offers to continue to work on wonderful, challenging scripts with the added bonus of collaborating with many of my far-flung colleagues from OSF,” she said.

Silva’s sentiment is echoed by other OSF alumni  who have worked with Sage.

Today, the company is thriving. It is funded by major underwriters, grants, a long list of annual donors, and a growing demand for tickets.

The organization has strong teams in place, and a sizable group of enthusiastic volunteers.

Producing artistic director Sage is supported by an arts council composed of Kimberley Barry, production stage manager; Pam Thomas, audience services; and Michael Ganio, scenic designer.

Key operations personnel include Mitch Hrdlicka, technical director; Chris Sackett, lighting; Claudia Everett, costumes; and Betsy Krausnick, props.

RTC’s all-artist advisory council includes Kimberley Barry, Michael Ganio, Caroline Shaffer, Vilma Silva, Brandy Carson, Robin Heald, and Michael J. Hume.

“Their collected wisdom keeps us grounded and inspired,” Sage said.

Building an audience was not without its challenges, despite having top tier talent on- and off-stage.

“It meant listening closely to our community,” Sage said, “discerning the kinds of stories that would resonate, and creating an experience that felt meaningful — and worth showing up for, even in the middle of the day.” (RTC’s productions are all 1 p.m. matinees.)

Drawn in, won over

The majority of those who began attending Rogue Theater Company productions soon became devoted regulars. Among them are Carole Florian and her husband, who have been present since the very first performances.

“Initially, we went out of curiosity and because Jessica is a friend,” she said. “But it quickly became clear that she was creating something unique.”

They’ve enjoyed seeing the company grow.

“Each season gives us plays that challenge us, make us think, make us laugh, and make us fall more in love with theater,” she said.

They find the intimacy of the theater’s space a plus.

“Many of the actors have told us that we, the audience, are the final character in whatever play they’re performing,” she said. “The fact that we so obviously share their space makes the whole experience richer.”

Barbara Ricketts is another enthusiastic supporter. She and her husband started going to RTC plays when they were held outside at the winery.

“Initially, it was the only way to see our favorite, fabulous OSF actors,” she said. “After the first performance, we realized this was something we couldn’t miss.”

The venue also appeals to Ricketts.

“Because it is small and cozy, I’ve enjoyed getting to know my fellow theatergoers while standing in line, and then experiencing the thought-provoking and entertaining stories together.”

She says the combination of first-rate professionals, intimate venue, and choice of plays make for a “perfect theater-going experience.”

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The 2025 season opened with Kraft’s Shakespeare series in February and John Patrick Shanley’s Pulitzer Prize- and Tony Award-winning Doubt: A Parable in March.

“This season feels especially strong,” Sage said, “both in terms of the material and the incredible artists involved.”

Up next in the season is a play reading of Tennessee Williams’ Cat on a Hot Tin Roof, with a limited run of five days, April 30 to May 4.

“It is a feast of language and character,” Sage said, “raw, emotionally charged and deeply resonant.”

The cast includes Jeffrey King as Big Daddy, Daniel Molina as Brick, Ellen D. Williams as Big Mama, Tony DeBruno as Doctor Baugh, Gabriela Fernandez-Coffey as Maggie, Lili Fuller as Mae, Jamie Newcomb as Reverend Tooker, and Barret O’Brien as Gooper. Domenique Lozano directs.

From page to power

RTC began incorporating readings in response to audience interest. Last year’s reading of August: Osage County, featuring a cast of 14, was presented with such clarity and energy that audiences left with a strong sense of the full production.

The balance of the season includes David Lindsay-Abaire’s Ripcord July 16 – Aug. 3, and Samuel Beckett’s Waiting for Godot Oct. 15 – Nov. 2.

Where does Sage see Rogue Theater Company in 10 years?

“I envision RTC continuing to evolve into a vibrant, innovative force,” she said. “We’ll deepen our community ties, expand our audience, and continue partnering with exceptional artists.”

RTC is not a 501(C)(3) organization, but there is a way for patrons to support the company with tax-deductible donations.

“From the beginning, I made the deliberate decision not to pursue nonprofit status for RTC,” Sage said, “knowing how labor-intensive and administratively demanding that process can be. Instead, we’ve focused our energy on creating compelling professional theater.”

However, thanks to RTC’s arrangement with a fiscal sponsor, those who wish to make tax-deductible donations can do so via a third party. Unique Projects, a nonprofit, can accept donations on behalf of RTC, taking a service fee before sending the funds to RTC.

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For more information about RTC plays, and to donate or purchase tickets, visit roguetheatercompany.com. Grizzly Peak Winery is located at 1600 E. Nevada St., Ashland.