News From the Festival
Festival Feature: Long-time Lighting Designer Donna Ruzika Celebrates Five Decades at the Festival
By Liz Armstrong, guest writer
Lighting Designer Donna Ruzika has designed over 70 shows at the Utah Shakespeare Festival, including Henry VIII, The Taming of the Shrew, and The Winter’s Tale for the 2024 season.
Ruzika’s first season was in 1973, when her husband Tom was asked by former Associate Artistic Director Cam Harvey to design the lights. She was the box office manager that summer. Ruzika then became the first company manager the following season. As she developed her freelance career as a lighting designer, Harvey asked her to come back to Utah, and she started her longtime collaboration with the Festival as a lighting designer in 1998.
Ruzika explains how she got involved in theatre lighting design. A love story for the times, she simultaneously not only found her husband, but her passion.
“When I was in college, I started out as a business major, but I went in search of a new major. After trying physical education and social sciences, I literally ran into this guy that suggested I try out for a production of Hair in the theatre department. He was the keyboard player and lighting designer. I was cast in the show. We dated. I found my major. When I graduated, we got married. Tom Ruzika became my wonderful husband and, in a way, my lighting mentor,” Ruzika said.
To those that aren’t familiar with lighting design, Ruzika explains that it is what “illuminates the entire play and hopefully reflects the mood, place, and time of the play. Of course, lighting the actors is the primary goal of theatrical lighting.”
“It also shows the audience, without their knowing it, where to look,” Ruzika said.
She noted that this past season was challenging designing the three different plays in the Engelstad Shakespeare Theatre. The season was full of contrast in design, as Henry VIII required dark and moody historical lighting while The Taming of the Shrew needed “bright, sharp, and overt colors.”
“Taming was great fun, the challenge was to not have the colorful set overwhelm the actors, so I needed to put a lot of light on the actors (from different directions) which made them stand out from all that color,” Ruzika explained. “There’s so much to look at, but you’re lighting the actor, because if the audience can’t see faces they’re not going to listen.”
Even The Winter’s Tale alternated between moods, with the setting of Sicilia in the first act being cold and dark and the second act’s Bohemia was a more lighthearted, fun, and fairytale-like place.
“Director Carolyn Howarth did a wonderful job with a play that’s very hard to do. I’ve lit that play twice before and I have to say that Properties Director Ben Hohman [and team] created the best bear for this production. . . it was amazing,” Ruzika said.
For Ruzika, her favorite part of the 2024 season was working with one of the best crews she’s had in her history of seasons at the Festival. Ruzika also appreciated her assistant, Maren Taylor, who did an exceptional job.
“We laughed a lot, while getting all the work done. . . the crew was excellent. After the last preview performance, the crew surprised Maren and I with bouquets of flowers. It was a wonderful way to finish off the season,” Ruzika said, teary-eyed.
Reflecting on her time at the Festival, Ruzika said she returned year after year due to a combination of factors.
“It’s a lovely place to work and Utah is a beautiful state,” Ruzika said. “My former assistant (for many years) Michael Pasquini and I would go on ‘dirt road adventures’ each Sunday (our day off), always exploring a new road, not knowing where we would end up. It was great fun and we saw a big chunk of Southern Utah.”
In addition to her adventures exploring southern Utah, Ruzika returned to the Festival because of the positive experiences she had designing.
“Designing at the Festival is artistically challenging and satisfying,” Ruzika said. “I got to work with the best directors and crews, and that always makes designing lighting a joyful experience.”
She said one of the most memorable and challenging shows she ever worked on at the Festival was A Midsummer Night’s Dream (2011) for its 50th anniversary season, directed by Festival Founder Fred C. Adams. Due to an enormous tree, three-quarters of Ruzika’s lighting was blocked.
“Fred’s beautiful tree, filled with three colors of tiny lights, was the most challenging, so I basically had to light the actors with only side light, down light, and front light,” Ruzika said.
Another project that Ruzika and her husband were called in to help with was designing the Festival’s holiday lighting display on the grounds of the Beverley Center. In November 2020, they joined forces with Festival technicians and production staff to create a display that dazzles with over 100,000 lights, wreaths, icicles, and other decorations. Holiday revelers are invited to stroll through the festive grounds.
Ruzika described her time at the Festival as “a joyful adventure” and is very glad Cam Harvey convinced her to come to Utah all those years ago.
Festival Props Team Celebrates 20th Annual Holiday Light Display
Festival husband and wife duo Ben Hohman and Marielle Boneau celebrate the 20th anniversary of their popular holiday display this year. For two decades Properties Director Hohman and Assistant Properties Director Boneau have decorated their house at 26 North 1150 West in Cedar City. The display lights up every night from 5:30-10 pm and will run until December 31st, weather permitting.
The Display
Not only do they love to share the joy of the season with the community but the display has raised over $36,000 for Make-A-Wish® Foundation of Utah in the 19 years it’s been running. In addition to receiving donations from the community, the couple also donates the value of their December power bill to the organization.
And, as you would imagine, a lot of power is needed. They had an extra 120 amps of electricity installed in the back of the house just for the Christmas lights, which is four times the amount used inside.
2,000 more lights have been added this year, bringing the total to around 70,000 lights, which are choreographed to dance with 20 Christmas songs. The display also includes 79 plastic blow-molds, 51 lighted wire-frame sculptures, 60 inflatables, and a homemade nine-foot wreath.
Visitors can walk down Candy Cane Lane, taking in the light display in both the front and back yards. The display includes Santa’s Flight School, where reindeer are learning to fly, the Christmas Zoo, Winter Disco Land, Santa’s Workshop, Gingerbread Land, and more.
The Beginning
Nearly twenty years ago Hohman had the idea to collect donations. Each year he helps with the Make-A-Wish Christmas party and is a trained Wish Granter, so his involvement with the organization goes back a long time.
That first year they were encouraged to become more involved with the organization after their friend Heather was impressed with their decorating, and so the couple decided to start collecting donations at their light display.
The “Why”
When asked why the couple continues to put in over 700 hours each season to put up and take down the display, Hohman and Boneau said they do it for the community.
“The community loves it,” Boneau said. “It’s become a tradition for a lot of families in town and is included on the community list of lights displays not to be missed.”
“It started small, but grew quickly,” Hohman explained. “I tell everyone that I do it for Make-A-Wish and the children, but anyone who knows me, knows I do it because I enjoy it. I love the holidays.”
Boneau joked that because the display is for a good cause, it “legitimizes his Christmas craziness.” She comments, “Call it ‘crazy;’ we call it ‘passionate Christmas cheer!’” Either way, the Utah Shakespeare Festival is proud that this Props team continues to go above and beyond with the display.
Donations can be made at the display or at their website. While on this page, check out video footage of the past 15 years of the display. Donations are also accepted through Venmo using @benslightdisplay.
Give the Gift of Live Theatre This Holiday!
Looking for the perfect gift for ALL your loved ones? We’ve got a great idea: give the gift of live theatre this season!
It’s not too early to purchase tickets for the 2025 season of the Utah Shakespeare Festival. The play lineup for the 64th season includes Shakespeare’s Macbeth, Antony and Cleopatra, and As You Like It, along with the Tony Award-winning musical A Gentleman’s Guide to Love and Murder, the charming Victorian comedy The Importance of Being Earnest, and the touching and humorous Steel Magnolias.
You are such a gift to us––thank you for your support of the Festival! So here’s our gift to you: gift ideas, deals, and discounts to another incredible season of telling stories and making memories!
To purchase tickets and take advantage of these discounts and educational offerings, and for more information, call the Festival Ticket Office at 800-PLAYTIX, visit bard.org/tickets, or email guestservices@bard.org for inquiries or assistance during reduced holiday season hours at the ticket office.
FOR ANYONE
Gift Certificates can be purchased from the ticket office in any amount. These are available for main stage productions as well as backstage tours and Repertory Magic. These make the perfect stocking stuffers!
The Play More discount is also a great way to give tickets to the most shows. Buy tickets to five or six shows and receive $5 off each ticket.
FOR STUDENTS AND CHILDREN
The Student Access Pass is an amazing deal and available for only $40. It allows students one ticket per performance for an unlimited number of shows throughout the season and is extremely popular.
This steal of a deal isn’t just for Southern Utah University students here in Cedar City, but for students of any kind and any location. Other higher ed schools, high schools, middle schools, elementary schools, and home-schooled students qualify for the deal.
The pass is available for purchase by phone or in person, but not online. During the season, it can only be redeemed for one ticket per student per show on the day of the performance, but is good for as many performances as you wish during the season. The tickets are subject to availability and exclude premier seating. The pass can’t be refunded or exchanged, and it expires October 4, 2025.
For young thespians, don’t miss out on our amazing summer youth camps! Imagine their faces when they find out they’re going to Summer Playmakers Camp (ages 5-17) from June 9-21, Junior Actor Training (ages 12-14) from July 14-19, or Actor Training (ages 15-17) from July 21-26.
FOR LOCALS
If you’re local, the perfect gift for any theatre lover is the Iron County Pass. Iron County residents may purchase it for $200, which may be redeemed for six admissions throughout the 2025 season. Proof of residency and an ID is required when purchasing, and residents are limited to two passes per resident. This pass expires October 4, 2025 and excludes premier orchestra seating.
FOR EDUCATORS AND ADULTS
Teaching artists can be arranged to visit Utah public and charter schools to lead free workshops and events. Request a workshop from our PlayTeam here.
Give the gift of learning this season. Adult courses are offered throughout the season, where participants receive Southern Utah University professional development credit for attendance at plays, seminars, and orientations. Courses include: Teaching Shakespeare and Tech for Teachers.
FOR SUU ALUMNI
For those who graduated from Southern Utah University, the gift of an Alumni Days package is the way to go! Along with discounted tickets for shows June 26-28, 2025, there is also a backstage tour, exclusive cast seminars, a dinner, and more included. It’s the perfect getaway for alumni and their families and friends.
FOR SCHOOL GROUPS
Need a really unique gift for students or teachers in your life? Gift an experience for schools and education groups of 12 or more to enjoy a professional play, orientation, and other experiences with the Festival’s Shakespearience program. This special offer is available for any matinee Monday through Friday, August 1–September 26, 2025.
Shakespearience excludes premier seating and is subject to availability. Pricing is free or reduced per person for Utah public/public charter school groups, and $15 per person for private, parochial, or out-of-state school groups; residential treatment centers; and homeschool/co-op groups of 12 or more students.
OTHER DISCOUNTS AND OFFERS
For groups of 12 or more, a discount starting at $4 per ticket is available. For groups of 20 or more, enjoy a discount of $10 per ticket.
For those that are 62 years and older, AAA members and members of the military, a $4 discount per ticket to any performance is available.
For those with sensory or accessibility needs, options such as Sensory-Friendly performances, live American Sign Language Interpretation services, and captioned performances are offered as well.
Call the ticket office at 800-PLAYTIX or visit bard.org for more information. During this holiday season, our ticket office will have reduced phone hours. To ensure we can assist you promptly, we recommend emailing guestservices@bard.org for any inquiries or assistance.
A Victorian Christmas
By Katie Neves, guest writer
When you picture Christmas, there’s a good chance you’re imagining something straight out of Victorian England. Whether it’s dazzling Christmas trees, wandering carolers, or festive feasts, many of our favorite holiday traditions were started by the Victorians during the mid to late nineteenth century. They shaped Christmas into the celebration of family and festive cheer we know today.
The Victorian era also gave us some unforgettable stories and characters—which the Utah Shakespeare Festival will bring to life next year. Oscar Wilde’s The Importance of Being Earnest and Lutvak and Freedman’s A Gentleman’s Guide to Love and Murder will both take the stage in the Randall L. Jones Theatre next year. Earnest, first performed in 1895, is brimming with humor and sharp social commentary, and it’s always been an audience favorite. Gentleman’s Guide is a Tony Award-winning musical set during the Victorian age (okay, okay—it’s set six years after Queen Victoria’s death. But close enough!) that will have audiences in stitches all season long. We can’t wait to share these stories with you next season!
Of course, that’s still six months away. So, while we’re waiting, let’s step a century or two into the past and take a look at how Victorians celebrated the holiday. Here are six of our favorite Victorian Christmas traditions.
Decking the Halls
Nothing says Christmas like an evergreen tree in your living room, all decked out with lights and colorful baubles. We have Queen Victoria’s husband, Prince Albert, to thank for that! Originally born in Germany, he brought some of his homeland’s holiday customs to the British royal family—and Britain at large. The Christmas tree tradition became even more popular after 1848, when The Illustrated London News published a story about the royal Christmas trees at Windsor Castle, along with an illustration of Victoria and her family gathered around the tree. The trend caught on like wildfire, and the rest is history.
Of course, Christmas trees weren’t the only greenery they used in their holiday decor. Amid the rapid social changes brought about by the Industrial Revolution, many Victorians wanted to reconnect with nature, bringing the outdoors inside to celebrate the season. Holly and ivy adorned mantels and doorways, as nods to centuries-old pagan traditions. The Victorians also created a romantic custom that endures to this day—kissing under the mistletoe!
Season’s Greetings
The Victorian era was also responsible for another classic seasonal tradition: the Christmas card! While the occasional note or card was sent in earlier centuries, it wasn’t until after the Industrial Revolution that mass printing and card production became possible. The very first commercial Christmas card was designed in London in 1843 by John Callcott Horsley, and featured a festive family drinking a Christmas toast. Thanks to advances in color and printing technology, Christmas cards quickly became affordable and popular. With designs ranging from the sentimental to the silly, by the end of the 19th century Christmas cards had become a cherished holiday tradition.
A Taste of Christmas
For the Victorians, Christmas was a time for indulgence, especially at the dinner table. With a growing middle class and relative economic prosperity, holiday feasts were the highlight of the season. We see this immortalized in Charles Dickens’ classic A Christmas Carol, where Scrooge’s gift of a turkey to the Cratchits symbolizes his transformed spirit and newfound Christmas cheer. Turkey wasn’t always the centerpiece of Christmas dinner, though. For most Victorians, goose was the bird of choice.
No Christmas feast would be complete without something sweet, and A Christmas Carol showcases another Victorian icon: the Christmas pudding. This rich dessert was made with suet, dried fruits, and spices. After hours of preparation and steaming, it was doused in brandy, set on fire, and brought to the table (often with a little holly garnish). Other festive treats included mincemeat pies (which originally contained actual meat!), gingerbread, sugar plums, and figgy pudding.
Here We Come A-Caroling
The tradition of singing Christmas carols dates back at least to the Middle Ages––carols and hymns have always been one of the most popular ways to celebrate the festive season. However, during the mid 1600s, the Puritans took control; and under Oliver Cromwell’s rule, Christmas celebrations were banned—along with the singing of carols. The tradition of Christmas caroling fell dormant for many years.
It was the Victorian era that brought it back. During Victoria’s reign, Christmas caroling became a popular seasonal pastime, and one of the most iconic elements of any holiday celebration. They mass-printed Christmas music books, collecting old and new carols alike, allowing for the spread of Christmas music across the country. Some of the most beloved carols of the era are still favorites today, including “God Rest Ye Merry Gentlemen,” “The First Noel,” “Hark! The Herald Angels Sing,” “It Came Upon the Midnight Clear,” and “Good King Wenceslas.”
Here Comes Santa Claus
Santa Claus, as we know him today, owes much of his persona to the Victorian age. The Victorians blended two different traditions together: Sinter Klaas (the Dutch version of St. Nicholas known for his gift-giving) and Father Christmas (an English figure, traditionally dressed in green, who spread festive merriment). As Victorian sensibilities shifted, so did Father Christmas. He adopted the look and modus operandi of Sinter Klaas, becoming a symbol of love and generosity. No longer just a season for feasting and revelry, the Victorian Christmas—and Santa Claus—became a celebration of something a lot more meaningful.
The Spirit of Giving
For centuries, Christmas was a time of celebration and merriment, but it wasn’t necessarily linked to the values of charity and generosity that we know it for today. However, all that changed thanks to the Victorians—well, one Victorian in particular. In 1843, Charles Dickens published A Christmas Carol: a scathing indictment of the way Victorian society treated the poor and the hungry. The story advocates for charity and goodwill; at the heart of the book is Scrooge’s transformation from miser to philanthropist. Dickens’ message resonated deeply with the Victorians, encouraging a shift in how Christmas was celebrated—a time not just for revelry, but for humanitarian efforts and generosity.
Conclusion
The Victorian era certainly shaped Christmas into the holiday we know today: a celebration centered on family, generosity, and joy. From the Christmas trees sparkling inside homes to the songs we hear on the radio or stream on our devices, we owe a lot of our holiday traditions to Queen Victoria and her reign. As we observe these timeless customs, we’re reminded of the joy that comes from gathering together with loved ones. From all of us here at the Utah Shakespeare Festival, we wish you a Merry Christmas and a joyful holiday season, however you choose to celebrate.
Remembering Robert Cohen: Director, Educator, Writer Extraordinaire
Robert Cohen, who directed numerous times at the Festival between 1985 and 2008, passed away on November 15, 2024. He was beloved and revered by his Festival collegues who remember him an artist and master teacher, inspirational, enthusiastic, and beyond compare.
Born in Washington, D.C., Cohen set foot on his path towards his theatrical career as a camp counselor who “needing to supply the nightly entertainment for a crowd of smart-alecky Jewish kids with high expectations”, produced and directed skits “sometimes playing in everything from the heights of Saint Joan to the very bottom of the skit barrel.” It was said he “took to the stage like a spaniel to water” (L.A. Times obituary).
He attended Dartmouth College and UC Berkeley, and went on to receive his Doctor of Fine Arts from the Yale School of Drama. He taught for five decades at UC Irvine where he was the founding chair of the drama department and directed over a hundred productions at UCI, Utah Shakes, Colorado Shakespeare Festival, and other theatres all over the country and world.
Cohen was also a playwright, drama critic, translator, acting theorist, and prominent author. He gave lectures, guest acting classes, workshops, and conferences around the world. He published eleven works, with several in multiple editions, including the double-volume Acting One/Acting Two, Acting Professionally, Acting in Shakespeare, Creative Play Direction, Working Together in Theatre, and Acting Power: the 21st Century Edition. He also published translations of classical plays, two anthologies of world-famous plays, nine plays of his own, thirty-five journal essays, four hundred-plus theatre reviews, and a personal memoir entitled Falling Into Theatre – and Finding Myself. (UCI School of the Arts website and UCI Library).
Executive Managing Director Michael Bahr praised him, saying, “Bob Cohen literally wrote ‘the book’ on acting and how to teach it, perhaps the most authoritative and popular texts for acting classes. As a theatre educator, I utilized his books to improve my classroom and inspire my own techniques and students.”
Cohen directed multiple productions here at the Festival, including Antony and Cleopatra (1985), The Winter’s Tale (1989), Macbeth (1996), King Lear (1999), and The School for Wives (2008).
Actor Betsy Mugavero who played Agnes in The School for Wives and was a student of Cohen’s expressed her gratitude for him. “I am so fortunate to have been taught and directed by the great Robert Cohen. His coaching and thoughtful responses to my efforts transformed me as an actor and theater professional. He gave me permission to be me through the prism of classical work and set my life on a course of no regrets.”
Bahr added, “His productions, in the mid 80’s, at the Festival were foundational to me as a student. I was so happy when he returned for many years in the 90’s and later in 2008. I have personally been blessed and learned from his example. What an honor it has been to the Festival to have Robert Cohen artistry as a part of our legacy.”
Thank You, Iron County: Celebrating USF’s Best Of Iron County Awards
By Katie Neves, guest writer
In this season of giving thanks, we here at the Festival want to express how grateful we are for our incredible southern Utah community. It is because of you—our patrons, volunteers, and friends—that we are able to share the magic of live theatre year after year.
This year, we are honored to have received three awards in the Best of Iron County contest. Thanks to your votes and unwavering support, we were voted:
- Gold for Best Live Theatre
- Silver for Best Annual Event/Festival
- Silver for Best Place to Volunteer
These awards are a reflection of the deep ties we have to our community. Cedar City, along with the rest of Iron County, is deeply embedded into our identity and mission. We are dedicated to bringing the highest quality theatre to our friends and neighbors here in southern Utah.
Being recognized as the Best Live Theatre in Iron County reaffirms our mission to bring timeless stories to life and connect with our audiences. The silver for Best Annual Event/Festival is a testament to the magic and joy that fills our stages each season. And silver for Best Place to Volunteer highlights the generosity of those who give their time and talents to make the Festival a welcoming, vibrant part of Iron County.
The Utah Shakespeare Festival has been a part of this community for over sixty years. From our humble beginnings as a college professor and his students acting on plywood stages, to our current status as a Tony Award-winning theatrical institution, we owe our success to all of you. Whether you’ve attended a show, worked behind the scenes, or shared your love of the Festival with others, you’ve played a vital role in shaping who we are.
This Thanksgiving, we want to express our deepest gratitude to all our supporters. Whether you’ve enjoyed Shakespeare under the stars, tasted one of our delicious tarts, walked around the grounds of the Beverley Center, or cast a vote in the Best of Iron County contest, you’ve helped ensure that the Festival remains a cultural centerpiece in our community.
We cannot wait to welcome you back next year! Get ready for another unforgettable season of stories, connection, and magic. From the dark brilliance of Macbeth to the laughter-through-tears wonder of Steel Magnolias (and so much more!), there’s something for everyone to enjoy. Together, we will continue to make Iron County a place where art and community thrive.
Thank you for being a part of the Utah Shakespeare Festival family. Wishing you a joyful and meaningful Thanksgiving filled with love, laughter, and plenty of reasons to give thanks.
Believe In One Million: Gratitude for Your Donations
By Liz Armstrong, guest writer
Last year, the Utah Shakespeare Festival launched the Believe campaign to inspire connectivity, asking beloved patrons to believe in the power of live theatre. This year, we have been so amazed at our patrons’ and friends’ generosity that during this Thanksgiving season, we want to express our deep gratitude for all the love that has been shown to the Festival.
But we need more help! Development Associate Emily Cacho expresses a heartfelt thank you and explains that the idea for the Believe campaign hearkens back to the beloved moment in Peter Pan when the audience is asked to believe, in order to save Tinkerbell: the Festival is asking patrons to believe in hope and good and the magic it brings.
“Post-pandemic and after [Festival Founder] Fred C. Adams’ passing, we thought it was really important to still promote hope and a strong connection with theatre,” Cacho said. “That belief can help us thrive as an arts organization.”
For year two of the three-year campaign, the Festival launched “Believe In One Million.” As a nonprofit organization, the Festival relies heavily on donations from individuals, businesses, and corporations, as well as grants from organizations and government. Cacho explained that to emphasize the importance of giving, this campaign was launched to inspire patrons to help the Festival reach its goal of one million dollars in individual giving.
“Believe In One Million is the goal for individual giving this year,” Cacho said. “We usually get around $850,000 each year from individuals, and we wanted to push the marker further.”
Monetary donations can be made directly through bard.org. Additionally, there are other ways to give. These options include gifts of appreciated property, insurance and retirement plans, corporate and matching gifts, and bequests. Many might not know that the Festival is a (501)(c)(3) non-profit organization, and donations can be tax write-offs. If you plan to make a donation, the Festival’s non-profit tax ID number is: 87-6000481.
For gifts of stock and real estate, contact Cacho at 435-586-1970 or email emily@bard.org.
“Even one dollar helps us meet our goal, but we also take in-kind donations,” Cacho explained. “If you have old clothes or sewing machines, you may be able to donate them to the Costume Shop. The Props Shop may take your old furniture, for example. We can give people receipts for taxes for those in-kind donations as well.”
For Cacho, this goal extends beyond her role as Development Associate. At just eleven years old, Cacho began traveling from Wyoming with her grandparents to watch plays at the Festival.
“I love working in theatre. It’s been my passion since I was little. I fell in love with the Festival as an organization,” Cacho said. “It was a very formative time for me in my life, and it’s the reason I moved to Cedar City and went to Southern Utah University and got my job at the Festival.”
For Cacho, the difference between the Festival and other arts organizations is its connectivity with patrons and providing an amazing Festival Experience for them.
“The Festival is very connected to our audiences, and there’s a different sort of passion here versus other theaters,” Cacho said. “I want this organization to last a long time, and I think the Believe campaign can help us do that.”
Please consider making a donation to the Believe in One Million campaign today. Patrons giving at certain levels can also enjoy special benefits and discounts. For more information, visit bard.org/about/give/individual/.
“We love and appreciate all our supporters,” Cacho said gratefully. “It’s amazing how generous people are, but we do need that extra push of individual giving as a nonprofit organization to continue thriving.”
*$800,750 raised in individual giving as of November 21, 2024.
Extreme Makeover–Windsor Court Edition
Updating a Home-Away-From-Home for Company Members
By Liz Armstrong, guest writer
The Utah Shakespeare Festival serves as a place where actors and patrons alike can believe in the power of live theatre set among the stunning scenery of southern Utah. For many, the Festival is more than just a place of inspiration and entertainment, but home.
However, the productions don’t run year-round, thus requiring seasonal company members to travel from all over the country to their “artistic home.” So where do they stay for the three to six months of build, rehearsal, and performances? Most company members—including actors, designers, lighting and sound technicians, prop artisans, costumers, wardrobe and run crew, and more—stay in the Windsor Court apartments, located right on Festival grounds.
Although our Company Management team does a spectacular job of making sure that these apartments are clean and comfortable for the company, let’s be honest…they are in need of a facelift.
And they aren’t just getting a facelift, but an extreme makeover––Windsor Court Edition!
Company Manager Karin Edwards is thrilled about the exciting project. Working with the Cedar City Chamber of Commerce, the 35 apartments will get makeovers from community members, organizations, and businesses starting this January.
“Windsor Court has been a longstanding part of our Festival, and it’s where our talented artists, technicians, and production staff live, unwind, and recharge after long days of bringing Shakespeare and others to life on stage,” Edwards said.
“However, over the years, the apartments at Windsor Court have aged, and the building now faces challenges that no longer reflect the world-class quality of the work our team creates. This project is a chance to honor their dedication by giving them a living space that truly supports their needs.”
But it’s more than just a home improvement project. Edwards noted that this is an opportunity for the Festival and community members to work together to transform Windsor Court into a beautiful, welcoming home for the artists and staff that bring the magic of professional live theater to Cedar City.
“Through this collaboration, we’re growing a sense of community where everyone can feel part of the art. By working together on Windsor Court, we’re bridging the Festival and the town in a meaningful way,” Edwards said.
“When our artists, craftsmen, and technicians feel valued and comfortable, they bring even more energy and creativity to their work, and that spirit ripples out to everyone who experiences our shows.”
For patrons interested in participating, find out more by reading these Frequently Asked Questions first. Then sign up for one or more apartments to makeover and put your design skills to work. There is no fee to enter or participate in the competition. Sign ups will continue through December 14.
Various local businesses and organizations are stepping in to contribute to this project. Habitat for Humanity and the ReStore are giving every makeover team $50 to spend at the ReStore in Cedar City (124 N. Main). They are also adopting one of the 35 Windsor Court apartments so they can better answer questions and help other makeover participants who may come in to their store. ReStore has paint, flooring, light fixtures, furniture, and more.
Kustom Containers in Cedar City is also donating shipping containers onsite for participants who need a place to store items removed from apartments while renovations are happening.
Don’t have the time or ability to renovate an apartment? You can still help by donating monetarily to the overall project or sponsoring a team. You can also donate your time and skilled labor. There are opportunities to do things from flooring and countertops to simply painting and decorating.
Once the makeovers are complete, there will be a multitude of awards to celebrate the effort and creativity put into the project. These awards may include Best Transformation, Most Creative, Most Sustainable, and more. Winners will be recognized with a plaque in the apartment. If you are a sponsor, the Cedar City Chamber of Commerce will list your name or business.
Festival Facilities Director Michael Stewart and his team have begun inspections at the Windsor Court apartment, preparing them for the renovations ahead.
Renovation will run from January 20 through February 28, 2025, finishing in time for our company members to enjoy the updated spaces through the 64th season in 2025.
This community-led makeover will not only strengthen the Festival’s bond with the community, but express appreciation for seasonal employees.
“This project isn’t about just updating a building— it’s about investing in the people who make the Festival what it is and welcoming them with open arms,” Edwards said.
For more information on the logistics of the project, contact Edwards at companymanager@bard.org or or 453-586-7882.
2025 Season in the Randall L. Jones Theatre
The Utah Shakespeare Festival is excited to announce the shows and directors for the Randall L. Jones Theatre for the upcoming 2025 season. “We are proud to not only focus on our cornerstone of Shakespeare in the Engelstad Theatre, but produce a brilliant musical, a satiric Victorian comedy, and a comedy-drama about the resilience of true friendship in the Randall,” says Artistic Director John DiAntonio.
That’s right! A musical is back in the lineup, along with two other thoroughly enjoyable and touching plays.
A Gentleman’s Guide To Love and Murder
Book and Lyrics by Robert L. Freedman
Music and Lyrics by Stephen Lutvak
Based on the novel Israel Rank by Roy Horniman
Directed by Amanda Berg Wilson
Music Directed by Brad Carroll
Previews on June 19 and 23, 2025
Opens on June 26, 2025
This Tony Award-winning musical comedy follows the story of Monty Navarro, a lowly born Englishman who discovers he is ninth in line to inherit a fortune. To move up the line of succession, Monty decides to eliminate the zany relatives (who are all played by the same actor) who are standing in his way, meanwhile navigating a love triangle.
Amanda Berg Wilson is the co-founder and artistic director of The Catamounts in Boulder, Colorado. Her work has also been seen at Creede Repertory Theatre, Denver Center for the Performing Arts, and Opera Steamboat. She received a BCAA Theatre Fellowship and her work has been profiled in American Theatre magazine. She received a BA in English and drama from Kenyon College.
Brad Carroll, who directed this past season’s production of Much Ado About Nothing, also music directed Jane Austen’s Emma The Musical, Ragtime, and The Pirates of Penzance at the Festival. He also directed Sweeney Todd, Joseph and the Amazing Technicolor Dreamcoat, South Pacific, and Les Misérables here, among many others. He is the composer of Lend Me a Tenor: The Musical, has also worked at PCPA, Utah Festival Opera, and Idaho Shakespeare Festival, and is a member of Stage Directors and Choreographers Society.
“I am framing our realization of A Gentleman’s Guide to Love and Murder as an English music hall production,” says Berg Wilson. “Think: inventive staging, fourth-wall breaking, and a live pianist playing! Our production will be inspired most specifically by the ‘lion comique,’ an English music hall tradition of making fun of the upper classes, a strong thread of A Gentleman’s Guide. This framing will allow our audience a lively point of entry into the piece, in which they will be repeatedly acknowledged in the space, and in which the whole theatre becomes part of the storytelling.”
The Importance of Being Earnest
By Oscar Wilde
Directed by Rodney Lizcano
Previews on June 20 and 24, 2025
Opens on June 27, 2025
Oscar Wilde’s classic comedy satirizes Victorian society through the witty and farcical escapades of two bachelors, Jack Worthing and Algernon Moncrieff. As they navigate double lives and mistaken identities, the play cleverly explores themes of marriage, social expectations, and the triviality of propriety.
Audiences will remember Rodney Lizcano as Gremio in The Taming of the Shrew and Don Pedro in Much Ado About Nothing this past season. Previously he spent 22 seasons with the Denver Center Theatre Company, as well as time at the Arvada Center for the Arts, The Old Globe, and ten seasons at Colorado Shakespeare Festival, among others. He earned an MFA in acting from the National Theatre Conservatory and is a member of Actors’ Equity Association as well as Stage Directors and Choreographers Society.
“The Importance of Being Earnest is truly Shakespearean in its theatrical devices of mistaken identities, secret engagements, and lover entanglements,” explains Lizcano. “I’m thrilled to pair this piece with such an eclectic theatrical season at USF and cannot wait for audiences to experience this rapid-fire comedy of wits and manors.”
By Robert Harling
Directed by Melissa Maxwell
Previews on June 21 and 25, 2025
Opens on June 28, 2025
Set in a Louisiana beauty salon, this poignant play explores the enduring bond between six Southern women as they navigate life’s joys and challenges, from friendships and laughter to heartbreak and loss. Through humor and resilience, the women showcase their strength and solidarity in the face of adversity.
Melissa Maxwell previously directed Trouble in Mind at the Festival in 2022. Her work has also been seen off-Broadway at the Pearl Theatre Company and Soho Playhouse. She has also worked at the Great River Shakespeare Festival where she is also co-associate artistic director, Repertory Theatre of St. Louis, and Off the WALL Theatre. She is also a motivational speaker, author, and teacher. She is a member of Actors’ Equity Association, SAG-AFTRA, and Stage Directors and Choreographers Society, and earned her BFA from Boston University.
“I am thrilled to be returning,” says Maxwell. “I played M’Lynn in a production a few years ago, but this is my first time directing it. I am excited to be revisiting this timeless classic.”
IN THE EILEEN AND ALLEN ANES STUDIO THEATRE…IN CASE YOU’RE WONDERING
In 2025, the Festival plans to continue to use this space for new play development with the popular Words Cubed program, as well as educational programming, among other things.
“We’ve loved all the past performances in the Anes, as we know our patrons have," says Executive Managing Director Michael Bahr. “It is a young space but don’t fear: it is anticipated that mainstage productions will return to it in the near future.”
Don’t miss our 64th season in 2025! Be sure to get your tickets on sale during our Cyber Monday event on December 2 and join us in 2025 for a season of mischief, friendship, and love. For more information visit our website at bard.org or call the ticket office at 800-PLAYTIX.
2025 Season in the Engelstad Shakespeare Theatre
The Utah Shakespeare Festival is excited to announce its shows and directors for the Engelstad Shakespeare Theatre and The Greenshow for the 2025 season. “We are thrilled to share with you these amazing titles and artists who will head our Shakespeare productions and popular Greenshows for our sixty-fourth season,” says Executive Managing Director Michael Bahr.
With Shakespeare as our cornerstone, the Festival is excited to produce these three amazing stories, all very different from each other and one of which hasn’t been done here for nearly twenty years. Get ready to immerse yourself in the Bard’s works!
By William Shakespeare
Directed by John DiAntonio
Previews on June 16, 2025
Opens on June 19, 2025
Last produced in 2019, Macbeth––one of Shakespeare’s most famous tragedies––tells the story of a Scottish general who receives a prophecy from three witches that he will become king. Fueled by ambition and encouraged by his power-hungry wife, Macbeth embarks on a ruthless path of destruction and betrayal to seize the throne.
The Festival’s Artistic Director John DiAntonio will make his directorial debut here. He was previously seen at the Festival in 2024’s The Taming of the Shrew as Petruchio. Prior to coming to Cedar City, he was the producing artistic director at Creede Repertory Theatre. Additional acting and directing credits include the Denver Center Theatre Company, The Arvada Center, and Cleveland Shakespeare Festival. He received his MFA in acting from the National Theatre Conservatory and also attended the British American Drama Academy. He is a member of Actors’ Equity Association.
“I hope your thumbs are pricking because something wicked this way comes,” DiAntonio says. “The performances, set, costumes, lighting, sound, and overall feel of Macbeth will be immersive and haunting. Prepare yourselves for the gripping, horrifying, and seductive story you know, but expect to see it with new eyes. This play will touch a nerve for every audience member whether they are 12 or 89 as they journey through the personal cost of treachery. I couldn’t be more honored to be directing this play!”
By William Shakespeare
Directed by Carolyn Howarth
Previews on June 17, 2025
Opens on June 20, 2025
The Festival is committed to continuing their Complete the Canon initiative (which is almost finished!) with this tragedy by Shakespeare, which was last produced in 2006, almost 20 years ago. It portrays the passionate and tumultuous love affair between Mark Antony, a Roman general, and Cleopatra, the queen of Egypt. Set against a backdrop of political intrigue and warfare, their relationship faces challenges that ultimately lead to misfortune.
Carolyn Howarth, who previously directed The Winter’s Tale in 2024, spent 14 seasons at Colorado Shakespeare Festival. Her work has also been seen at Orlando Shakespeare Theatre, Lake Tahoe Shakespeare Festival, and Foothill Theatre Company where she served as artistic director. She earned her BA and MFA from UC-Davis and is a member of Actors’ Equity Association.
She says: “I’m so excited to tell this epic story about the first celebrity power couple––two titanic personalities, superstars in their empires, modern day equivalents of rock and roll idols––swept up in a thriller with political intrigue, military strategy, and ever changing alliances. The characters swerve from jubilation to jealousy, paranoia to fury. It dances around the conflict between passion and duty, expectations and failure, and ultimately comes down on the side of love, perhaps showing us the essence of what makes us human. I think USF audiences are going to fall in love with the play as much as I have and really respond to the abundant humor and pathos.”
As You Like It
By William Shakespeare
Directed by Beth Lopes
Previews on June 18, 2025
Opens on June 21, 2025
In this beloved comedy last seen at the Festival in 2017, Rosalind flees persecution in her uncle’s court and seeks refuge in the Forest of Arden, disguised as a young man. Through a series of mistaken identities and humorous encounters, love blossoms amidst the captivating forest setting.
Beth Lopes was last at the Festival as an assistant director in 2010. She also spent ten seasons with New Swan Shakespeare Festival where she was associate artistic director. Her work has also been featured at South Coast Repertory, San Antonio Shakespeare in the Park, and Theatre Horizon. She received her MFA from UC Irvine and is a member of Stage Directors and Choreographers Society (SDC).
“I’m delighted to return to Utah Shakes to direct the magnificent adventure that is As You Like It,” she says. “Brimming with humor and heart, As You Like It is an ode to love, freedom, and the resiliency of the human spirit. I’m thrilled to be spending this time with USF’s audiences in the magical and transformative Forest of Arden.”
ON THE GREENSHOW STAGE
The Greenshow
Written and Directed by Britannia Howe
Previews begin June 16, 2025
Opens on June 19, 2025
Prepare for delightful summer evenings of stories, music, and dance with three new shows on the green. Written and directed by Festival veteran Britannia Howe, who has helmed The Greenshow five times before, these shows are the perfect way to spend time with family and friends before the mainstage shows.
The themes for the three 2025 Greenshows are inspired by the three Shakespeare shows in the Engelstad.
First, inspired by the setting of Macbeth, Scottish night with Highland Games will be an evening of strength, competition, and fun as performers and audience join in exciting challenges like tug-of-war and shot put.
Next, the Mariner Greenshow celebrates through sea shanties, adventurous tales, and the comedic retelling of Antony and Cleopatra.
Third, the Mountain Wilderness Greenshow is set in the woods reminiscent of As You Like It, where love letters adorn trees and Americana folk tunes fill the air.
A Cedar City native, Howe grew up attending the Festival. She earned an MFA in directing from Illinois State University and has directed at Illinois Shakespeare Festival, Eugene O’Neill Theatre Center, and with the Utah Symphony. She was awarded a national directing fellowship from the Kennedy Center American College Theatre Festival. \
The Festival is busy planning for an amazing season next year. Be sure to get your tickets during our Cyber Monday sale on December 2 and join us in 2025 for a season of mischief, friendship, and love. For more information visit bard.org or call the ticket office at 800-PLAYTIX.