When Vanessa Rebeil, who graduated Wagner College in 2019, signed on to work at the Old Globe in San Diego for a new workshop production as the assistant stage manager, she didn’t know quite what to expect. What she did know was that she was thrilled to be a part of a new show, a talented team, and one of the country’s most iconic regional theaters.
The Old Globe is renowned for its talent and high caliber sets. More than 20 productions produced at The Old Globe have gone on to play both on and off Broadway, gathering 13 Tony Awards and multiple nominations. Rebeil knew the opportunity was too good to pass up.
“They didn’t tell me anything about the show. I was just willing to work with them because I liked that theater,” she recalled. “And it was Regency Girls.”
A sharp, witty, and vibrant new musical, Regency Girls follows four rebellious women on a carriage trip through an re-imagined Regency-era world. Equal parts humor and heartfelt, Regency Girls blends the popular and familiar aesthetics of the era with modern themes of identity, self-discovery, and feminist commentary.
For Rebeil, the production also tapped into something more personal: the kind of escapism that first drew her to theater.
“It gives people a two-and-a-half-hour break from the rest of the world to just see something else,” she said. “I remember when I was still at Wagner, there were shows where you could go watch and forget about classes and stress—just escape my life for a little bit. Regency Girls really called to me because it brought me back to that time. A show can be important and say something meaningful, but it can also be funny. I can laugh, have a good time, and listen to the album later.”
That connection to her time at Wagner took on new meaning when Vanessa realized she wasn’t the only alum involved in the production. Kendra Stockton, also a Theatre Design, Technology and Management (DTM) major from Wagner, had signed on as the other assistant stage manager. Their shared background quickly became a valuable asset in the fast-paced environment of the workshop and production.
“There was definitely a shorthand between us. We just functioned the same way in the room,” Vanessa explained. “You could tell we both came from Phil’s (Hickox - Professor, Head of DTM) training. We had a solid understanding of all the technical elements, lighting, automation, scenic design, that some other stage managers might not have. Wagner’s program really gives you a well-rounded foundation.”
Whether it was coordinating cues, managing backstage logistics, or troubleshooting technical issues, the alums anticipated each other’s moves and communicated efficiently, keeping the production running smoothly. “We just got each other,” Rebeil said. “When one of us was handling a challenge, the other knew exactly how to support or step in without needing to be told.”
Later, they were joined by Janine LaManna ‘88, who plays Lady Catherine and Madame Restell in the production. Janine overheard their conversation about Wagner and eagerly introduced herself.
“She ran over like, ‘Wait, you guys went to Wagner too?’” Vanessa recalled. The spontaneous reunion created a little community within the team. While Janine wasn’t part of the stage management crew, her presence brought a sense of shared history and camaraderie. “With Janine, it was less about the work and more about the connection—we swapped stories from our time at Wagner, how things had changed or stayed the same.”
Though the mini reunion of Wagner alums was entirely unplanned, it made the experience and brought a unique sense of familiarity and trust to the production. “It’s rare to find that kind of connection so far from home, but when you do, it makes all the difference.”
Vanessa traces that connection along with much of her confidence in the rehearsal room back to her earliest experiences as a student stage manager. One production in particular stands out.
“That was the first show that I stage managed that I felt like, this is what I want to do,” she said, reflecting on Wagner’s Avenue Q. With its fast-moving scenes, puppetry, and musical numbers, the show was a complex puzzle and sometimes incredibly stressful, but one she loved figuring out. “It was just so much fun. I remember thinking, ‘This is what it’s supposed to feel like.’”
That early sense of joy and clarity has stayed with her. The lessons in collaboration, adaptability, and leadership continue to shape how she works today whether she’s backstage on Staten Island or in the heart of San Diego’s theater scene.
Looking ahead, Vanessa is excited to return to the Old Globe for another new musical, Huzzah! Describing it as a Renaissance fair musical filled with sword fighting and daring stunts, but she’s more than ready for it.
“It should be another challenge, but I think it’s going to be a lot of fun.”
