News From the Festival
2026 Directors in the Anes Studio Theatre
The Utah Shakespeare Festival is thrilled to announce the directors for the shows in the Eileen and Allen Anes Studio Theatre for the 2026 season. “These two amazing directors are so excited to come to the Festival and tackle these shows in this beloved space, for our celebratory sixty-fifth season. I can’t wait for our guests to experience them!” says Artistic Director John DiAntonio.
Productions in the Anes Studio Theatre are favorites of our patrons because of the intimate nature of the space: with only 200 seats, it provides an up close and personal experience to remember for a lifetime!
Mary Shelley’s Frankenstein
By David Catlin
Based on the book by Mary Shelley
Directing this bold retelling of the Gothic masterpiece is Risa Brainin, who is making her Utah Shakespeare Festival debut in 2026. She is a freelance director and Founder/Artistic Director of LAUNCH PAD, a new play development program at UC Santa Barbara. She served as Artistic Director of Shakespeare Santa Cruz, Associate Artistic Director at both Indiana Repertory Theatre and Kansas City Repertory Theatre, and Resident Director of the Guthrie Theater. Directing credits include The Acting Company, Alabama Shakespeare Festival, Cincinnati Playhouse in the Park, Denver Center Theatre, Gulfshore Playhouse, Pittsburgh Public Theater, Repertory Theatre of St. Louis, and Syracuse Stage among others. A graduate of the Carnegie Mellon University Drama Program, Brainin is a member of the National Theatre Conference and the College of Fellows of the American Theatre.
David Catlin’s adaptation of Mary Shelley’s classic novel Frankenstein weaves together the haunting tale of Victor Frankenstein and his creation with the real-life circumstances that inspired Mary Shelley to write it. Blending fiction and reality, the play delves into the depths of human ambition, the consequences of scientific pursuit, and the blurred line between creator and creation, offering a profoundly human and contemporary take on a timeless story.
“One of the things I love most is that as the play goes on the Creature becomes more human, and Victor Frankenstein, the creator who ruthlessly abandons his creation, becomes more monstrous,” says Brainin. “The question that continually intrigues me is what is one’s responsibility to one’s creation and its life thereafter? With the growing use of AI, that question cannot be any more pressing than it is right now. The innovations of today will affect everything about tomorrow. So, what is our responsibility to the future?”
Mary Shelley’s Frankenstein previews on July 13, 2026, and runs through October 3, 2026.
The Book Club Play
By Karen Zacarías
Veteran Festival actor Matt Zambrano returns to direct The Book Club Play. Audiences may remember him in Scapin in 2012 and Peter and the Starcatcher in 2013, among others. His work has also been seen all over the country, including at Shakespeare Theater of D.C., Milwaukee Rep, Creede Repertory Theater, Colorado Shakespeare Festival, The Denver Center Theater, and Edinburgh Fringe Festival. Other credits include the film The People vs. George Lucas, the web series Orcs of New York, the podcast Story Pirates, and teaching at Disney Theatrical Group, among many others. He received his MFA from National Theater Conservatory and is a member of Actors’ Equity Association.
The Book Club Play is described like “Lord of the Flies with wine and dip,” and is a comedy about a tight-knit group of friends whose carefully curated lives unravel when their book club becomes the subject of a documentary. As tensions rise and secrets emerge, the laughs build in this witty satire about literature, the chaos of group dynamics, and the stories we tell ourselves, proving real life is often the most unpredictable plot of all.
“I love working on Karen’s plays,” says Zambrano. “She is so good at writing comedies with real, three-dimensional people and I can’t wait for audiences to experience The Book Club Play. It’s rare that a script makes me laugh out loud even after I’ve read it before, but every time I come back to this play I find a new line or moment that manages to tickle my funny bone.”
The Book Club Play previews July 14, 2026, and runs through October 3, 2026.
Don’t miss our upcoming Cyber Monday sale on December 1 and 2 and join us in 2026 for a thrilling and delightful season! For more information including content advisories, visit our website at bard.org or call the Ticket Office at 800-PLAYTIX, Monday through Friday, noon to 5pm. No window service is available until next spring.
2026 Directors in the Engelstad Shakespeare Theatre
The Utah Shakespeare Festival is excited to announce the directors for the Engelstad Shakespeare Theatre shows and The Greenshow for the 2026 season. “We are thrilled to share with you these amazing artists who will head our Shakespeare productions and popular Greenshows for our celebratory sixty-fifth season,” says Executive Managing Director Michael Bahr.
With Shakespeare as our cornerstone, the Festival is excited to produce three of his amazing stories, all very unique from each other and one which hasn’t been done here since 1999. Get ready for the family-friendly Greenshow and Shakespeare under the stars in the Engelstad Theatre!
ON THE ENGELSTAD SHAKESPEARE THEATRE STAGE
Troilus and Cressida
By William Shakespeare
Directing the seldom done tragedy Troilus and Cressida is Carolyn Howarth, a returning artist who directed last season’s Antony and Cleopatra as well as The Winter’s Tale in 2024. Her amazing work has also been seen at Colorado Shakespeare Festival where she spent 14 seasons. She has also directed 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.
Troilus and Cressida is a tragic tale of love, power, survival, and betrayal set during the Trojan War. It focuses on two people whose passion is tested, as war rages and loyalties shift. This play is the second-to-last production for the Complete the Canon initiative which began in 2012, when the Festival committed to produce every one of Shakespeare’s works.
“I love the satiric tone of this rarely-performed play and how it takes aim at our Romantic and Heroic ideals, at political leadership, at the War Machine, and really takes those notions down a notch,” says Howarth. “In those terms it feels like a play that could have been written yesterday. It is at times very funny, sometimes tragic, with singing and swordplay––one gets a little of everything!”
Troilus and Cressida previews on June 18, 2026, and runs through September 3, 2026.
Hamlet
By William Shakespeare
Returning director Beth Lopes will lead the 2026 production of Hamlet after having directed As You Like It last season. She also assistant directed at the Festival in 2010 after which she spent ten seasons directing at New Swan Shakespeare Festival where she is an 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).
Hamlet is one of the most produced Shakespeare plays at the Festival. The well-known tragedy finds Prince Hamlet struggling with the sudden death of his father. He spirals into crisis, isolation, and a convoluted relationship with vengeance, exemplifying the complexities of the human condition.
“There are many different stories to tell within Hamlet, but the element that I’m most excited to share in the 2026 season focuses on Hamlet’s haunting,” says Lopes. “Our beloved Dane’s past and present obligations of duty are personified in the ghost of his father, a painful reminder of what has transpired, but also a dreadful harbinger of what’s to come.”
Hamlet previews on June 19, 2026, and runs through September 4, 2026.
Twelfth Night
By William Shakespeare
The Festival’s Artistic Director John DiAntonio returns as a director in 2026, helming the popular comedy Twelfth Night. He previously directed Macbeth last season in addition to performing as Jack in Ken Ludwig’s Dear Jack, Dear Louise and Petruchio in 2024’s The Taming of the Shrew. 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.
Twelfth Night is a beloved comedy, last featured at the Festival in 2019, that includes a complicated love triangle, mistaken identities, mischief, and witty banter that proves love often finds us when––and where––we least expect it.
“Twelfth Night was the first Shakespeare play I ever saw performed live, and I was instantly enchanted. I remember sitting in the park and falling in love with every character. It’s rare in Shakespeare to feel that affection for an entire ensemble, but this play invites it. Twelfth Night is truly an ensemble — joyful, generous, and full of heart.”
Twelfth Night previews on June 20, 2026 and runs through September 5, 2026.
ON THE GREENSHOW STAGE
The Greenshow
Prepare for delightful summer evenings of stories, music, and dance with three new shows on the green in 2026. Directed by returning artist Trey Plutnicki and written by Festival veteran Britannia Howe, both of whom have long histories with the Festival, these shows are the perfect way to get in a theatrical mood before the mainstage evening shows.
Plutnicki returns to direct and choreograph The Greenshow after serving as choreographer for The Greenshow and various mainstage shows in 2024 and 2025, and as a member of the acting company in 2019 and 2021. He has also worked with Drury Lane Productions, Hunterdon Hills Playhouse, Rocky Mountain Repertory Theatre, and Otterbein Summer Theatre.
A Cedar City native, Howe grew up attending the Festival. She earned a 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. She has written and directed The Greenshow six times in the last eight years, and is currently a Theatre Arts faculty member at Southern Utah University.
“The Greenshow was my introduction to the Festival in 2019. Like many patrons of USF, it was the gateway to my love of Shakespeare, the Festival, and the Cedar City community,” says Plutnicki. “This year, I hope to share the love I’ve felt over the past seven years.”
The themes for the three 2026 Greenshows will be “Stratford Night” with a focus on Shakespeare and his many vibrant stock characters, “Americana Night” celebrating the 250th birthday of the United States, and “Celtic Night” featuring traditional Irish and Scottish music, dance, and lore.
The Greenshow previews on June 18, 2026, and runs through September 5, 2026.
Be sure not to miss our upcoming Cyber Monday sale on December 1 and 2 and join us in 2026 for a thrilling and delightful season! For more information, visit our website at bard.org or call the Ticket Office at 800-PLAYTIX.
Utah Shakespeare Festival Announces 65th Anniversary Season for 2026
The Utah Shakespeare Festival is thrilled to officially announce its 65th Anniversary Season, which will run June 18 through October 3, 2026. “We are excited to celebrate our 65th year of world-class storytelling on our stages and invite you to gather with us,” says Artistic Director John DiAntonio.
With Generations Gather Here as the seasonal inspiration, DiAntonio explains how this invitation is for everyone. “Ever since our inaugural year in 1961, we have had countless generations of people come together to build, share, and experience the work at the Festival. That not only includes our patrons, donors, and guests, but also our staff, artists, and volunteers, among others. So many return year after year because they are excited by the experience they’ve had when they come here. And so many come for the first time because they are intrigued by the Festival and Cedar City. We welcome all to join the legacy!”
The 65th Anniversary Season includes, of course, works by William Shakespeare, our cornerstone playwright, as well as a variety of other plays and musicals sure to delight viewers.
Troilus and Cressida
By William Shakespeare
Engelstad Shakespeare Theatre
Previews June 18, 2026
Runs June 22 - September 3, 2026
Last seen at the Festival in 1999, Troilus and Cressida is a rarely-done tragedy set during the Trojan War. It is a tale of love, power, survival, and betrayal and focuses on two people whose passion is tested, as war rages and loyalties shift. This play is the penultimate production for the Festival’s Complete the Canon initiative which began in 2012, a commitment to produce every one of Shakespeare’s works.
Hamlet
By William Shakespeare
Engelstad Shakespeare Theatre
Previews June 19, 2026
Runs June 23 - September 4, 2026
As one of Shakespeare’s most haunting and well-known tragedies, Prince Hamlet wrestles with the death of his father as well as with his own inaction, while searching for truth and harnessing his desire for vengeance. He spirals into crisis and isolation, exemplifying the complexities of the human condition. Last seen on Festival stages in 2019, it is one of the most popular of Shakespeare’s plays produced here.
Twelfth Night
By William Shakespeare
Engelstad Shakespeare Theatre
Previews June 20, 2026
Runs June 24 - September 5, 2026
Believed to have been written as a commissioned piece for Queen Elizabeth, Twelfth Night was performed during the holiday season festivities of 1601-02. It’s a beloved comedy, last featured at the Festival in 2019, that includes a complicated love triangle, mistaken identities, mischief, and witty banter that proves love often finds us when––and where––we least expect it.
Something Rotten!
Book by Karey Kirkpatrick and John O’Farrell
Music and Lyrics by Wayne Kirkpatrick and Karey Kirkpatrick
Conceived by Karey Kirkpatrick and Wayne Kirkpatrick
Randall L. Jones Theatre
Previews June 22, 2026
Runs June 29 - October 3, 2026
Having premiered on Broadway in 2015, Something Rotten! is a hilarious, high-energy musical that reimagines Shakespeare’s world with modern twists. Set in the Renaissance, it follows struggling playwrights Nick and Nigel Bottom, who try to outshine wildly popular William Shakespeare by creating the world’s first musical. Packed with show-stopping numbers, outrageous comedy, and clever nods to Broadway and the Bard, this show celebrates creativity, ambition, and the absurdity of the theatre world.
See How They Run
By Philip King
Randall L. Jones Theatre
Previews June 23, 2026
Runs June 30 - September 4, 2026
See How They Run is a classic British farce never before seen at the Festival, packed with mistaken identities, unexpected visitors, and nonstop chaos. Set in a quiet English vicarage during WWII, the play spirals into comedic mayhem as a soldier, a German POW, a Russian spy, and multiple clergymen, converge on the house. Written to boost morale during wartime, this fast-paced comedy delivers delightful confusion and wild fun for audiences of all ages.
She Loves Me
Book by Joe Masteroff
Music by Jerry Bock
Lyrics by Sheldon Harnick
Based on a play by Miklós László
Randall L. Jones Theatre
Previews June 24, 2026
Runs July 1 to October 3, 2026
Georg and Amalia are feuding co-workers in a 1930s perfume shop, and each is falling in love with their anonymous pen pal. Based on the same play that inspired the films The Shop Around the Corner and You’ve Got Mail, this charming, heartwarming musical sparkles with witty dialogue, endearing characters, and a beautiful score by Harnick and Bock (Fiddler on the Roof). It’s a delightful feel-good story of second chances and love discovered in surprising ways.
Mary Shelley’s Frankenstein
By David Catlin
Based on the book by Mary Shelley
Eileen and Allen Anes Studio Theatre
Previews July 13, 2026
Runs July 17 - October 3, 2026
A riveting and bold retelling of the Gothic masterpiece about Victor Frankenstein and his creation, told through the lens of Mary Shelley’s own tragic story. Deeply human, it explores ambition, the impact of scientific progress, and the intertwined nature of master and monster in a fresh perspective on this literary classic.
The Book Club Play
By Karen Zacarías
Eileen and Allen Anes Studio Theatre
Previews July 14, 2026
Run July 18 - October 3, 2026
This clever comedy tells of a tight-knit group of friends whose carefully curated lives unravel when their book club becomes the subject of a documentary. As tensions rise and secrets emerge, the laughs build in this witty satire about literature, the chaos of group dynamics, and the stories we tell ourselves, proving real life is often the most unpredictable plot of all.
For more information including content advisories, please visit bard.org. Tickets are available for purchase online or by calling the Ticket Office at 800-PLAYTIX, Monday through Friday, noon to 5pm. No window service is available until next spring.
Results of the 2025 Shakespeare Competition
This past weekend the Utah Shakespeare Festival and Southern Utah University hosted the 49th annual Shakespeare Competition where dozens of awards and scholarships were given to drama, dance, and music students.
The competition is the largest scholastic Shakespeare competition in North America, and this year, over 3,000 students from 102 schools attended from Utah, Arizona, Nevada, California, Colorado, and Wisconsin. More than 300 coaches and teachers helped prepare these students for the competition.
From October 2 to 4, students competed before numerous adjudicators on the Festival’s stages and on SUU’s campus. More than 80 judges consisting of arts professionals with strong literary and performance backgrounds, including company members from the 2025 season at the Festival, provided feedback to participants.
The competition recognizes and educates students between second and twelfth grade in four areas: acting, dance/choreography, music, and technical theatre. At the conclusion of the competition, selected students received trophies, plaques, and scholarships to study with professionals at Southern Utah University and the Utah Shakespeare Festival.
The competition is divided into six divisions: Buckingham (large schools), Oxford (medium schools), Cambridge (medium small schools), Westminster (small schools), Stratford (junior high and middle schools) and Essex (schools or groups which are not members of state high school associations).
Education Director Stewart Shelley is thrilled with how this year’s competition went. “This weekend has been truly inspiring, seeing so many young people deeply engaged with Shakespeare and theatre. It’s an honor to witness the exceptional work showcased throughout the competition and to watch students thrive, surrounded by peers who share their passion and dedication.”
ACTING COMPETITION
For the acting portion of the competition, students compete in monologues, duo/trio scenes, and ensembles. Monologue competitors present a two- to four-minute monologue from a Shakespeare play or sonnet for the judges. In the duo/trio scenes competition, two or three actors present a three- to five-minute scene from a Shakespeare play or sonnet. In the ensemble competition, a group of students from a school present a six- to ten-minute Shakespearean scene.
In addition, first, second, and third place overall sweepstake prizes were awarded to the school in each division with the most total points from all categories.
Also, several scholarships are presented in the acting competition.
The first place winners in the duo/trio scene and monologue categories are awarded scholarships to either Southern Utah University or the Utah Shakespeare Festival summer classes, depending on the grade of the student.
Ray Jones Award: Given to seniors, this award is a $1,000 scholarship to Southern Utah University.
Barbara Barrett Award: Given to juniors and under, this award is a $500 scholarship to the Festival’s summer acting intensive Actor Training Camp or Junior Actor Training Camp.
Larry Lott Acting Award: In conjunction with the ensemble competition, judges annually recognize the best actor in an ensemble scene in each division. The recipient of this award received a trophy for his or her accomplishments and, if a senior, a $1,000 scholarship to SUU.
Here are the winners for the Acting Competition.
BUCKINGHAM DIVISION
Sweepstakes First Place: Skyridge High School Sweepstakes Second Place: Westlake High School Sweepstakes Third Place: American Fork High School
Ensemble First Place: Skyridge High School Ensemble Second Place: American Fork High School Ensemble Third Place: Riverton High School
Duo/Trio Scenes First Place: Liam Huff and Lily Neff from Taylorsville High School Duo/Trio Scenes Second Place: Emma Peart and Nate Myers from Westlake High School Duo/Trio Scenes Third Place: Haley Forsloff, Michael Jowett and Savanna Hull from Skyridge High School
Monologue First Place: Layna Johnson from Alta High School Monologue Second Place: Kylie Priday from Westlake High School Monologue Third Place: Kamryn Donio from Mountain Ridge High School
Barbara Barrett Award: Liam Huff and Lily Neff from Taylorsville High School Larry Lott Acting Award: AnnaBelle Taylor from Skyridge High School
OXFORD DIVISION
Sweepstakes First Place: Hillcrest High School Sweepstakes Second Place: Brighton High School Sweepstakes Third Place: Corner Canyon High School
Ensemble First Place: Corner Canyon High School Ensemble Second Place: Hillcrest High School Ensemble Third Place: Brighton High School
Duo/Trio Scenes First Place: Airton Oliveira, Camille Fisher, and Sophia Magleby from Brighton High School Duo/Trio Scenes Second Place: Gabe Abbott, Gideon Kirby, and Jordan Cecil from Hillcrest High School Duo/Trio Scenes Third Place: Cooper Runnells, Ginger Witkamp, and Henry Jeppeson from Hillcrest High School
Monologue First Place: Avery Rinke from Hillcrest High School Monologue Second Place: Alicia Cerda from Northridge High School Monologue Third Place: Brooklyn Lowell from Northridge High School
Ray Jones Award: Camille Fisher and Sophia Magleby from Brighton High School Barbara Barrett Award: Airton Oliveira from Brighton High School Larry Lott Acting Award: Vienna Van Dyke from Timpview High School
CAMBRIDGE DIVISION
Sweepstakes First Place: North Sanpete High School Sweepstakes Second Place: Canyon View High School Sweepstakes Third Place: Orem High School
Ensemble First Place: North Sanpete High School Ensemble Second Place: Orem High School Ensemble Third Place: Canyon View High School
Duo/Trio Scenes First Place: Olivia Tenney and Saxton Ballard from Hurricane High School Duo/Trio Scenes Second Place: Andy Larsen, Aspen Tui, and Declan Mathews from North Sanpete High School Duo/Trio Third Place: Adelaide Call, Rose Despain, and Sarah Allred from Canyon View High School
Monologue First Place: Emma Wallace from North Sanpete High School Monologue Second Place: Treason Hayden from Cedar High School Monologue Third Place: Hudson Heath from Orem High School
Ray Jones Award: Emma Wallace from North Sanpete High School Larry Lott Acting Award: Bronwyn Harris from Canyon View High School
WESTMINSTER DIVISION
Sweepstakes First Place: Liahona Preparatory Academy - High School Sweepstakes Second Place: Rockwell Charter High School Sweepstakes Third Place: Karl G Maeser Prep Academy - High School
Ensemble First Place: Karl G Maeser Prep Academy - High School Ensemble Second Place (tie): American Preparatory Academy - Draper 3
Ensemble Second Place (tie): Liahona Preparatory Academy - High School Ensemble Third Place: American Preparatory Academy - West Valley
Duo/Trio Scenes First Place: Lily Bennion, Sophia Jones, and Taebria Bybee from Liahona Preparatory Academy - High School Duo/Trio Scenes Second Place: Charlotte Heinrich, James Fox, and Serenna Ihrig from Liahona Preparatory Academy - High School
Duo/Trio Scenes Third Place: Anthony Fetzer and Dereck Quintana Vazquez from American Preparatory Academy - West Valley
Monologue First Place: Judy Lyman from Rockwell Charter High School Monologue Second Place: Ryker Trumble from Liahona Preparatory Academy - High School Monologue Third Place: Presley Call from City Academy
Ray Jones Award: Lily Bennion
Barbara Barrett: Sophia Jones and Taebria Bybee
Larry Lott Acting Award: Claire Davies from Karl G Maeser Prep Academy High School
STRATFORD DIVISION
Sweepstakes First Place: Karl G Maeser Prep Academy - Middle School Sweepstakes Second Place: Vista Heights Middle School Sweepstakes Third Place: Rockwell Charter Junior High School
Ensemble First Place (tie): Vista Heights Middle School
Ensemble First Place (tie): Vista School Ensemble Second Place: Rockwell Charter Junior High School Ensemble Third Place: Karl G Maeser Prep Academy
Duo/Trio Scenes First Place: Annie Kotter, Jonah Keele, and Levi Hilmo from Karl G Maeser Prep Academy - Middle School Duo/Trio Scenes Second Place: Norah Davidson and Teagan Snow from Lake Mountain Middle
Duo Trio Scenes Third Place: Kennedi Karslven and Kyleen Engman from Vista Heights Middle School
Monologue First Place: Quincy Skousen from Karl G Maeser Prep Academy - Middle School Monologue Second Place: June Harrison from Rockwell Charter Junior High School Monologue Third Place: Cassandra Brown from Rocky Mountain Shakespeare Co. Junior High
Barbara Barrett Award: Quincy Skousen from Karl G Maeser Prep Academy Middle School
Larry Lott Award: Jaden Bartlett from Lake Mountain Middle School
ESSEX DIVISION
Sweepstakes First Place: First Stage Young Company Sweepstakes Second Place: Youth Theatre - University of Utah Sweepstakes Third Place: Ogden Shakespeare Festival - Arden Academy
Ensemble First Place: Liahona Preparatory Academy - Elementary Ensemble Second Place: First Stage Young Company Ensemble Third Place: Youth Theatre - University of Utah
Duo/Trio Scenes First Place: Alice Rivera and Benjamin Nowacek from First Stage Young Company Duo/Trio Scenes Second Place: Cameron Parke and Judson Smith from Youth Theatre - University of Utah Duo/Trio Scenes Third Place: Dia Adams and Margaret Thomas from Take Note Troupe
Monologue First Place: Reiley Fitzsimmons from First Stage Young Company Monologue Second Place: Paisley Stillman from Anchor Academy Jr. High Monologue Third Place: Clara Goñi Beneke from The Ogden Shakespeare Festival - Arden Academy
Ray Jones Award: Reiley Fitzsimmons from First Stage Young Company Larry Lott Award: Cora Alder from Link Education League
DANCE/CHOREOGRAPHY COMPETITION
For the dance portion, students were able to compete in duo/trio or ensemble groups. In the duo/trio competition, two or three dancers presented a three- to six-minute interpretation of a Shakespeare play or sonnet. In the ensemble competition, a group of dancers interpreted a three- to six-minute Shakespeare play or sonnet.
Here are the winners for the Dance/Choreography Competition:
BUCKINGHAM DIVISION
Ensemble First Place: Skyridge High School
Ensemble Second Place: Westlake High School
Ensemble Third Place: Mountain Ridge High School
Duo/Trio Scenes First Place: Caleigh Morley, Isabella Deschamps and Riley Duke from Cedar Valley High School
Duo/Trio Scenes Second Place: Bella Shaw, Sophie Gardiner, and Taya Mackintosh from Riverton High School
Duo/Trio Scenes Third Place: Alyviah Brownlee, Avery Larsen, and Hallie Hadlock from Westlake High School
OXFORD DIVISION
Ensemble First Place: Skyline High School
Ensemble Second Place: Hillcrest High School
Ensemble Third Place: Timpview High School
Duo/Trio Scenes First Place: Piper Parker, Roxy Allen, and Roya Mares from Skyline High School Duo/Trio Scenes Second Place: Bella Filmore, Brynlie Pearson and Kenzie Lamb from Timpview High School Duo/Trio Scenes Third Place: Aftyn Brown, Emma Berg, and Olivia Davis from Pleasant Grove High School
CAMBRIDGE DIVISION
Ensemble First Place: Orem High School
Ensemble Second Place: American Leadership Academy - Spanish Fork
Ensemble Third Place: Timpanogos High School
Duo/Trio First Place: Baylee Brotherson and Cloe Bergeson from Orem High School Duo/Trio Second Place: Ellie Wahlquist, Hailey Murphy and Martina Cardenas from American Leadership Academy - Spanish Fork Duo/Trio Third Place: Ashlyn Burrup, Kristen Ehat, and Shelby Duke from Timpanogos High School
WESTMINSTER DIVISION
Ensemble First Place: Liahona Preparatory Academy - High School
Ensemble Second Place: Karl G. Maeser Preparatory Academy - High School
Ensemble Third Place: Juan Diego Catholic High School
Duo/Trio First Place: James Fox and Jordan Hurley from Liahona Preparatory Academy - High School Duo/Trio Second Place: Eliza George and Liesel Hanson from Karl G. Maeser Preparatory Academy - High School Duo/Trio Third Place: Audrey Cole and Hannah Klaja from Intermountain Christian School
STRATFORD DIVISION
Ensemble First Place: Vista School Ensemble Second Place: Lake Mountain Middle School Ensemble Third Place: NA
Duo/Trio Scenes First Place: Jax Davis, Loya Wainwright, and Marshall Bracey from Vista School Duo/Trio Scenes Second Place: Allie Dow, Kate Collins, Sophia Valdez from Lake Mountain Middle School Duo/Trio Scenes Third Place: Claire Jacobsen and Mckinley Larsen from Crimson Cliffs Middle School
ESSEX DIVISION
Ensemble First Place: Youth Theatre at the University of Utah Ensemble Second Place: Youth Leaders for America Ensemble Third Place: Ogden Shakespeare Festival - Arden Academy
Duo/Trio Scenes First Place: Clara Goñi Beneke, Isaac Wandrey, Lillyan Lacey from Ogden Shakespeare Festival - Arden Academy
MUSIC COMPETITION
The music competition encourages students to explore the music of the Renaissance (music prior to 1650). Students were encouraged to utilize creative combinations of instruments; however, no instrumentation was required. The competition was split into four divisions: Troubadour (one to five participants), Minstrel (six to ten participants), Canzonetta (six to 16 participants), and Madrigal (17 plus participants). Choral pieces could be up to ten minutes in length.
Here are the winners for the Music Competition:
TROUBADOUR First Place: Adam Lindsay, Evelyn Shore, John Hamm, Kate Barnes, and Titus Tyler from Jordan High School Second Place: Brynlea Forchuk and Olivia Smith from Corner Canyon High School Third Place: Adele Ferrin, Hanah Morgan, Samara Nielsen, and Scarlett Bohls from Herriman High School
MINSTREL First Place: Herriman High School Second Place: Corner Canyon High School Third Place: Payson
CANZONETTA First Place: Herriman High School Second Place: Corner Canyon High School Third Place: Jordan High School
MADRIGAL First Place: Herriman High School Second Place: Canyon View High School Third Place: Corner Canyon High School
SWEEPSTAKES First Place: Herriman High School Second Place: Corner Canyon High School Third Place: Jordan High School
TECHNICAL THEATRE COMPETITION
The final competition was in the technical theatre area for students who work behind-the-scenes creating sound, lighting, props, scenery, make-up, and costumes. In the portfolio area, students were given the chance to have their technical and/or design portfolios evaluated by professionals in technical theatre. Technical theatre students were able to compete in Tech Olympics, with winners named in costumes, lighting, make-up, props, rigging, set construction, sound, and stage management. Overall school winners were also named. The best portfolio and runners-up were also recognized.
TECH OLYMPICS––INDIVIDUAL WINNERS
Costumes: Jocelyn Shuler from Salem Hills High School Lighting: Dylan Armstrong from Riverton High School Make-up: Camie Hopkins from Salem Hills High School Props: Blake Lofts from Westfield High School Rigging: Sophia Allen from Salem Hills High School Carpentry: Gaige Dupaix from Mountain Ridge High School Audio: Clark Fowler from Mountain Ridge High School Stage Management: Cassandra Valentine from Desert Pines High School
TECH OLYMPICS––OVERALL WINNERS
First Place (Gold Drill): Salem Hills High School (Overall Time = 7 min 10 sec) Second Place (Silver Spotlight): Mountain Ridge High School (Overall Time = 9 min 18 sec) Third Place (Bronze Boot): Hillcrest High School (Overall Time = 9 min 46 sec)
TECH PORTFOLIO WINNERS
Overall Winner: Elise Parry from Hillcrest High School Runners-up: Elsie Slabbert from Hillcrest High School
For more information on the Shakespeare Competition, visit competition.bard.org.
Utah Shakespeare Festival’s Super Sale Coming Soon
Looking for a unique Halloween costume? Or a piece of furniture or prop for an upcoming production? From October 2-4, the Utah Shakespeare Festival will host its annual Super Sale featuring costumes, props, and scenic elements. It takes place during this year’s Shakespeare Competition, where nearly 3,000 high school and middle school-aged students fill the campus of Southern Utah University to perform, compete, and see Festival shows.
“This sale is an opportunity to take home a piece of Festival history,” says Costume Director Jeffrey Lieder. “There are hundreds of items from previous seasons that we no longer need but could be used by schools, community theatres, or in individuals’ homes.”
Scheduled for October 2 and 3 (8am to 6pm) and October 4 (8am to 2pm), competition participants, other theatre groups, and the general public are invited to check out the available merchandise. There will be hundreds of pieces from past productions such as costumes, fabrics, miscellaneous trims and decor, hand props, Cleopatra’s throne, tables, other furniture, doors, gates, and more.
“We have limited storage facilities and love to give the opportunity to other theatre groups and the community to find treasures from past productions at bargain prices," says Lieder.
Everything will be available for bargain prices, sold “as is”, and are non-refundable. Credit/debit cards, cash, and checks will be accepted. The sale will be held in the Festival Costume Shop. Entrance will be on Shakespeare Lane (the one-way street that runs along the back side of the Engelstad Shakespeare Theatre), between 100 West and 200 West. Please note that nearby parking may be limited and the adjacent administration parking lot is for Festival employees only, but there are places to pull over to load vehicles near the loading dock of the Engelstad Theatre and the Pedersen Shakespeare Character Garden on Shakespeare Lane.
For questions or more information, email guestservices@bard.org.
Fall Food Drive Returns
The Utah Shakespeare Festival announces its 21st annual Fall Food Drive, taking place from September 9 through October 4, 2025.
Each year, the Festival collaborates with the Iron County Care and Share to collect food for those in our community who need it most.
By donating six non-perishable food items, residents of Iron, Beaver, Washington, Kane, Garfield, Piute, and Lincoln counties receive a half-price ticket to a play of their choice.
This special offer replaces the standard local discount for the duration of the food drive. There is no limit on the number of half-price tickets local guests can get. Please note that premier seating is not available for this promotion.
“This community has been so incredible in contributing to this food drive over the past two decades,” says Executive Managing Director Michael Bahr. “These are our neighbors in need, and Iron County Care and Share does such important work in supporting those who may find themselves needing these daily resources.”
The Festival typically receives over 2,000 pounds of food each year.
Iron County Care and Share is a private, non-profit organization dedicated to providing compassionate assistance and means to individuals and families in need, offering them opportunities from crises and pathways to increase their stability and self-sufficiency.
It was founded in 1984 by local churches to address hunger in the community, and over 40 years later, the Care and Share is still working to help those in need.
This year, Iron County Care and Share is especially in need of shelf stable proteins such as tuna, canned chicken and peanut butter.
To participate, bring food items and proof of residency to the Festival Ticket Office, open 10 am–5 pm on Mondays and 10 am–8 pm Tuesday through Saturday. Seats may be reserved in advance, except for closing performances, which are only available day-of. Tickets must be purchased in person or by phone; this offer is not available online, is not retroactive or combinable with other offers.
For questions, call 800-PLAYTIX or visit the Ticket Office. (Please keep in mind - phone service ends at 7pm on the evenings of performances.)
“The Festival cares deeply about our community. Please join us in supporting our local Care and Share,” Bahr said.
Monetary donations are being accepted as well. Visit kindest.com/iron-county-care-and-share to donate to the Iron County Care and Share.
For more information about the Festival and other fall ticket promos, be sure to subscribe to its email newsletter at bard.org/news and follow @utahshakespeare on socials.
2025 Military Appreciation Days
The Utah Shakespeare Festival is celebrating our Armed Forces by offering free tickets to military personnel for performances from September 1 to 6, 2025. Our Military Appreciation Days recognize the invaluable sacrifices, commitment, and unwavering dedication of our active-duty members and veterans.
Eligible patrons—those with a military ID or DD214 form, whether active or veteran—can receive a total of two (2) complimentary tickets per ID to certain shows during the specified dates. These tickets can be split between two shows or used for a single performance. Please note, these tickets cannot be redeemed for premier seating sections or used for closing performances.
“Performing in Ken Ludwig’s Dear Jack, Dear Louise at the Utah Shakespeare Festival this season is profoundly meaningful to me,” says Artistic Director and actor John DiAntonio. “It’s a story set during World War II in which both of my grandfathers served, and this play allows me to honor not only their memory but also the sacrifices of all veterans and their families. Sharing a story rooted in love, resilience, and hope is both a privilege and a personal tribute, and I am deeply grateful to bring it to this stage in their honor.”
Reserve tickets now by calling 800-PLAYTIX or by visiting the ticket office near the Anes Studio Theatre. Please note: this special offer cannot be reserved online and spaces are limited.
Available performances are:
- The Importance of Being Earnest, 2:00 pm, Randall L. Jones Theatre
- Macbeth, 8:00 pm, Engelstad Shakespeare Theatre
- A Gentleman’s Guide to Love and Murder, 8:00 pm, Randall L. Jones Theatre
- Steel Magnolias, 2:00 pm, Randall L. Jones Theatre
- Antony and Cleopatra, 8:00 pm, Engelstad Shakespeare Theatre
- The Importance of Being Earnest, 8:00 pm, Randall L. Jones Theatre
- A Gentleman’s Guide to Love and Murder, 2:00 pm, Randall L. Jones Theatre
- Ken Ludwig’s Dear Jack, Dear Louise, 2:00 pm, Anes Studio Theatre
- As You Like It, 8:00 pm, Engelstad Shakespeare Theatre (*Sensory-Friendly performance; click here for more details)
- Steel Magnolias, 8:00 pm, Randall L. Jones Theatre
- The Importance of Being Earnest, 2:00 pm, Randall L. Jones Theatre
- Ken Ludwig’s Dear Jack, Dear Louise, 2:00 pm, Anes Studio Theatre
- A Gentleman’s Guide to Love and Murder, 8:00 pm, Randall L. Jones Theatre
- Steel Magnolias, 2:00 pm, Randall L. Jones Theatre
- Ken Ludwig’s Dear Jack, Dear Louise, 2:00 pm, Anes Studio Theatre
- The Importance of Being Earnest, 8:00 pm, Randall L. Jones Theatre
- A Gentleman’s Guide to Love and Murder, 2:00 pm, Randall L. Jones Theatre
- Ken Ludwig’s Dear Jack, Dear Louise, 2:00 pm, Anes Studio Theatre
- Steel Magnolias, 8:00 pm, Randall L. Jones Theatre
(*As noted, in addition to our regular shows, the Festival is also offering a Sensory-Friendly performance during this same week. These are performances designed for individuals with sensory sensitivities, those on the autism spectrum, and other neurodiversities. We encourage patrons to be thoughtful when choosing to attend these shows to ensure they align with their unique needs. Our team is available to answer any questions and to help ensure a memorable theatre experience for all.)
For more information, visit bard.org or call 800-PLAYTIX.
Why is Antony and Cleopatra Rarely Performed?
Antony and Cleopatra’s “Unique Personality” with Director Carolyn Howarth
By Liz Armstrong, guest writer
The Utah Shakespeare Festival is thrilled to present Shakespeare’s tragedy Antony and Cleopatra in its 2025 season. Not often done, it was last produced here almost 20 years ago in 2006. This is only the fourth production in the Festival’s 64-year history.
Despite it being one of Shakespeare’s rarely-produced plays, Director Carolyn Howarth noted that she’s “never been quite so surprised by a play as I am by Antony and Cleopatra” due to its “unique personality.”
This isn’t a light statement, as Howarth has directed 14 seasons at the Colorado Shakespeare Festival, The Winter’s Tale at the Festival last year, and many other theatres including Lake Tahoe Shakespeare Festival and Perseverance Theatre Company. Howarth boasts experience as a former artistic director of Foothill Theatre Company and has a BA And MFA from UC Davis. Perhaps most vital to her role as director, Howarth loves Shakespeare, and her insight into Antony and Cleopatra was essential in discussing the Festival’s decision to produce this work.
Folger Shakespeare Library’s stance on the play aligns with Howarth’s, noting that the play is one that is difficult to categorize in just one of the following genres: history, comedy, tragedy, or even Liebestod (a story about lovers dying for love).
So, if it is so intriguing and genre-bending, why is it rarely produced? Perhaps the most obvious is the structural complexities. It’s difficult to produce because of its frequent, short scenes and location shifts between Egypt and Rome. And although its resistance to fit in one genre makes it interesting, it also contributes to what critics have called “thematic ambiguity.”
Howarth noted that directing Antony and Cleopatra was difficult because of its sprawling scope, multiple geographic locations, wide time span and plethora of characters, and dense poetry.
Uncut, this play is a combination of 42 scenes, 66 characters, 26 locations, five fights, a sea battle, and six deaths!
Howarth and Dramaturg Isabel Smith-Bernstein broached the massive project of trimming it down, working together to cut the lengthy script in preparation for the production. With the cast and crew, the dramaturg and director successfully undertook this massive artistic challenge–– navigating the complexity of the play with perseverance and ambition before rehearsals began.
“It is truly epic and operatic in scope and rather daunting to tackle,” Howarth said. “The title characters have uncertain heroic virtues. They have, at times, rather ambiguous actions and motivations.” Antony and Cleopatra portrays historic and famous icons––“rock stars” of their day, and “one of the all-time great power couples” who “are magnificently messy, complicated characters.”
This sprawling epic runs through September 5 in the Engelstad Shakespeare Theatre.
To witness this enormous feat, purchase tickets today at bard.org or by calling 800-PLAYTIX.
"Something 'Winged' This Way Comes": Bringing Hecate to Life at the Utah Shakespeare Festival
By Kathryn Neves, guest writer
Terrible and gaunt, with spectral 20-foot wings and a harrowing cry, a powerful figure rises above the stage, terrifying witches and kings alike. This is Hecate, the goddess of witchcraft, brought to life with striking power in the Utah Shakespeare Festival’s 2025 production of Macbeth. While most productions cut Hecate out entirely, this season the Festival embraces her, shedding light on this oft-forgotten piece of Shakespearean (and actually, Greek) lore.
Hecate appears only twice in Shakespeare’s script––in Act 3, Scene 5, and in Act 4, Scene 1. In her first appearance, she materializes to frighten and scold the Weird Sisters—reprimanding them for speaking with Macbeth without consulting her first. She tells the witches that they must show Macbeth visions which will give him a false sense of security—”And you all know,” she says, “security is mortals’ chiefest enemy.” In her second scene, Hecate appears to praise the witches for their work, as Macbeth is shown mysterious apparitions and visions pertaining to his future.
As interesting as Hecate is, most scholars believe that she was not actually written by Shakespeare. There was a tendency, after Shakespeare’s death, for certain writers to insert their own work into his plays. The Hecate scene is a likely example; it’s generally agreed that Thomas Middleton was responsible. And for this reason, almost every production of Macbeth erases Hecate entirely. This season, however, director John DiAntonio saw the opportunities and the raw power in this hidden gem of a character.
“If we were going to include Hecate, we needed to give her a meaningful arc,” said DiAntonio. The Festival’s production includes Hecate in three places; at the end of Act I, where she addresses the Weird Sisters directly; during the cauldron scene, where she acts as a puppetmaster of the witches and the apparitions; and finally at the end, where she appears to drag Macbeth away.
DiAntonio’s central image, the inspiration for Hecate, was the classic “Angel of Death” archetype: burnt black wings, gaunt face and body, and otherworldly movements and vocalizations. All of this adds up to her thematic importance. “Macbeth’s arc spirals into darkness,” said DiAntonio. “And Hecate is the gatekeeper of that journey.”
Choreographer Trey Plutnicki feels similarly. “Hecate’s involvement serves as a reflection of Macbeth’s actions,” he said. He and the rest of the Macbeth team worked to build a balance; crafting Hecate as a terrifying, all-powerful figure, while still allowing the character of Macbeth to have his own agency and arc. “I hope people see Hecate as a physical manifestation of fate.”
As the choreographer, Plutnicki drew inspiration from a variety of sources—from comics, to movies, to video games. “I find a lot of these characters translate well to stage choreography,” he explained. He worked with all the performers involved—from the wing puppeteers to the “minions” who lift Hecate to fly her across the stage—and created a cohesive design. “They share a vocabulary of movement that unifies them.”
For costume designer Lauren Roark, the greatest challenge was the physical scale. The Engelstad Shakespeare Theatre’s large stage created an obstacle: how do you make a character look imposing and otherworldly in such an expansive space? The answer was to create a truly massive puppet: wings spanning twenty feet in length, lightweight enough to move, to collapse, and to store.
“What’s seen onstage is the result of countless hours of backstage labor, and this project is a clear example of how essential that work is,” said Roark. Working with a team of designers and technicians, the process involved research and engineering, construction of bones and 3D-printed joints, painting and attachment, and close attention to detail. Even now, there is a team who continues to work on the wings—maintaining and troubleshooting them throughout the entire run of the show. “These wings would not have been possible without the time, talent, and dedication of everyone involved.”
The overall goal with Hecate was to create a creature who was viscerally terrifying and technically innovative. Along with the “Angel of Death” image, actor Caitlin Wise drew inspiration from many sources: “Hecate is Death Angel meets Vampire meets Queen of the Underworld meets Soul Sucker.” Collaborating with several other performers, Wise brings this harrowing figure to life several times a week; “flying” across the stage with the help of her minions, flapping her massive wings with the assistance of talented puppeteers.
Wise’s Hecate brings a sense of doom and fate that pervades the entire production. “I have a deep affinity for ‘extended characters,’ with huge emotions and supernatural power. The sky’s the limit for big choices,” said Wise. “I want audiences to experience something visceral, ever-changing, and tangible—something only live theatre can provide.”
With including Hecate, DiAntonio’s Macbeth doesn’t just resurrect a rarely-seen character; it deepens the supernatural world of the play. What might have been a theatrical oddity becomes, instead, a stunning centerpiece. The team’s bold artistic vision and technical innovation have created a character that leaves audiences amazed performance after performance. It’s an example of what live theatre does best: not just interpreting the classics, but reawakening them.
Don’t miss the chance to see this once-in-a-lifetime production. Get tickets online at bard.org, or by visiting or calling the Ticket Office at 800-PLAYTIX.
The Festival’s Words Cubed Program Welcomes Two Playwrights
The Utah Shakespeare Festival is thrilled to announce the selection of two new plays and welcome their playwrights for the annual Words Cubed new play program. Affairs of State by Tony Manzo and Muse of Fire by Lauren M. Gunderson will be presented on select dates August 8 through 23 in the Anes Studio Theatre.
Words Cubed seeks to nurture and develop openly submitted and selected plays by providing a professionally supported platform to receive readings and workshops. Playwrights spend a week at the Festival in rehearsals with directors, actors, and stage managers as they refine and rework their plays. At the end of the week, the revised plays are presented as staged readings, followed by a lively, interactive discussion between the playwright, actors, and audience.
“The selection process begins about a year in advance,” says Festival Artistic Director John DiAntonio. “This year, we received 275 play submissions, which were thoughtfully reviewed and narrowed down by our dedicated team of twenty play readers, ultimately leading us to the final two selections.”
DiAntonio continues: “At the Festival, we’re often immersed in the classics, but it’s important to remember that even Shakespeare’s plays were once world premieres. They had a first audience. They were tested. Characters were cut, scenes revised, and improvements made. Supporting new work honors that same spirit of discovery and evolution in the theatre.”
Join us this summer for these two new works, and contribute to their development. In general, the plays in this series are written for contemporary adult audiences, and may contain themes and language not appropriate for children and that some may find offensive.
AFFAIRS OF STATE
by Tony Manzo
August 8, 9, 20, and 22, 2025
9:30am
Affairs of State is a sharp, fast-paced dramatic comedy about a scandal-hit Congressman and the reporter who could save—or ruin—his career. With just weeks left in his re-election campaign, he’s facing criminal accusations, and she’s chasing the story that could launch her career. But as tensions escalate, their tangled past resurfaces, forcing them to decide how much they’re willing to risk—for the truth, for power, and maybe for each other.
“What drew us to Affairs of State is its razor-sharp dialogue, rich characters, and the way it captures the urgency and complexity of our current moment. It’s a play that’s both entertaining and unflinchingly honest, asking big questions about integrity, ambition, and the personal cost of public life,” explains DiAntonio. “As a Festival committed to both classical and contemporary voices, we’re thrilled to champion a piece that feels this fresh, relevant, and theatrically electric. I cannot wait to see actors Walter Kmiec and Kathryn Tkel bring this two-person play to life.”
Kmiec can be seen as Macbeth in this season’s Macbeth, as well as roles in Antony and Cleopatra and As You Like It. Tkel is playing Cleopatra in Antony and Cleopatra and roles in both Macbeth and As You Like It, as well. Stage directions will be read by actor Evelyn Carol Case, who is performing as one of the Weird Sisters in Macbeth and Ouiser in Steel Magnolias.
Tony Manzo is a freelance writer for full-service advertising agencies in New York City. His comedies have been performed at regional theatres across the country. His theatrical credits include On the Treetop, produced by The American Theater of Actors; Saving Allison, optioned by Miracle Entertainment; The Wedding, directed and produced by Sherwood Arthur; and Waiting in the Wings. His one-act play, Flight to Paris, has been staged by Know Theatre, The Lakeshore Players, Women in Theatre, and the Acme New Works Winter Festival. The Lifeguard was presented at the William Inge Festival, and Status of Forces was featured at the Cimientos Festival of New Plays. Most recently, A Heart-Warming Story was produced by the Barn Theatre.
MUSE OF FIRE
by Lauren M. Gunderson
August 15, 16, 21, and 23, 2025
9:30am
Muse of Fire is an intimate two-hander diving into the life and love of William Shakespeare and his wife, Anne Hathaway, at the volatile moment of Will’s retirement from London and a life on the boards. Exploring art, ambition, and the searing emotional and creative fuel behind the world’s greatest playwright, Muse of Fire grapples with the sacrifices, joys, losses and loves of a life in the theatre, while excavating the muscular heart of a storyteller and his muse.
Lauren M. Gunderson has been one of the most produced playwrights in America since 2015, topping the list three times. Her play Silent Sky was produced at the Festival during the 2024 season, as was her play The Book of Will during the 2019 season. She will also be acting in the readings of Muse of Fire on August 15 and 16.
“We’re beyond excited that Ms. Gunderson herself will be joining us to read the role of Anne Hathaway during the first two performances of Muse of Fire. To have the playwright embody this richly-drawn character adds an extraordinary layer of intimacy and insight to the experience,” says DiAntonio. She will be joined by actors Casey Murphy as Will and Nic Sommerfeld for stage directions.
For its last two readings, Festival company members Melinda Parrett and Geoffrey Kent will step into the roles, with Gabriel W. Elmore reading the stage directions. Parrett is performing in this season’s A Gentleman’s Guide to Love and Murder and The Importance of Being Earnest. Kent can be seen as Antony in Antony and Cleopatra, and roles in As You Like It and Macbeth. Elmore is Orlando in As You Like It, as well as roles in Antony and Cleopatra and Macbeth.
Gunderson is a two-time winner of the Steinberg/ATCA New Play Award for I and You and The Book of Will, the William Inge Distinguished Achievement in Theater Award, the Lanford Wilson Award, the Otis Guernsey New Voices Award, and was a finalist for the Susan Smith Blackburn Prize, the Arthur L. Weissberger Award, and John Gassner Award for Playwriting.
Her musical adaptation of The Time Traveller’s Wife premiered in London in 2023 and her new play Billie Jean about tennis icon Billie Jean King is Broadway bound after premiering at Chicago Shakespeare this summer. Revolutionary Women, her new anthology of five plays, was published by Bloomsbury in 2023.
Her play The Catastrophist, about her husband virologist Nathan Wolfe, premiered digitally in January 2021 and is now in The COVID Art Capsule in the Library of Congress. She co-authored the Miss Bennet trilogy with Margot Melcon. The Half-Life of Marie Curie premiered off-Broadway and at Audible.com.
Her picture book Dr. Wonderful: Blast Off to the Moon is available from Two Lions/Amazon. She is the book writer for musicals with Dave Stewart and Joss Stone (The Time Traveler’s Wife), Ari Afsar (Jeannette and I and You), Joriah Kwamé (Lady M), Kira Stone (Built for This) and Kait Kerrigan and Bree Lowdermilk (Justice and Earthrise).
For more information or to purchase tickets for Words Cubed or for the 2025 season at the Festival, please visit the Festival Ticket Office, bard.org, or call 800-PLAYTIX.