News From the Festival
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
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.
“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
Preview 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
Preview 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
Preview 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 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.
We are busy planning this coming season. 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.
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 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 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 and 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 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.
There will be a multitude of awards to celebrate the effort and creativity put into the project. These awards will 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.
Festival Frights and Delights: A Look Back at the Festival’s Spookiest Shows
By Katie Neves, guest writer
With Halloween upon us, the Utah Shakespeare Festival is looking back on decades of spine-tingling performances. Over the last 63 seasons, the Festival has bewitched audiences with horrors and thrills: ghostly tales, psychological thrillers, and dark comedies that tread the fine line between laughter and fear. Here’s a look at 13 of the spookiest non-Shakespeare productions that have haunted the Festival stages, chilling audiences and keeping them on the edge of their seats.
Blithe Spirit—1992, 2004
For the first entry on our list, look no further than Blithe Spirit—a play so nice we did it twice! One of Noel Coward’s most popular plays, Blithe Spirit is the farcical story of Charles Condomine, a writer who accidentally summons the ghost of his deceased first wife. Hilarity ensues as the ghost disrupts Charles’ life and second marriage.
Directed by Philip Killian in 1992, then Paul Barnes in 2004, Blithe Spirit is a show that left Festival audiences in stitches each time. This playful exploration of love and death proves that some spirits are just too lively to stay gone.I
Arsenic and Old Lace—2001
Of course, it’s not just ghosts that can tickle our funny bone—murder may too! At least according to Joseph Kesselring’s classic farce, Arsenic and Old Lace. The play follows Mortimer Brewster as he uncovers a shocking family secret: his sweet, elderly aunts are serial killers. In what they call “acts of mercy,” these sinister spinsters have been poisoning all the lonely old men who visit their home.
Longtime Festival favorite J.R. Sullivan directed the Festival production, bringing out both the warmth and the twisted humor in this chilling comedy. This production showcased the fine line between family and madness that makes Arsenic and Old Lace a timeless classic.
Little Shop of Horrors—2003
Nothing says spooky fun like a man-eating plant from outer space, a sadistic dentist, and a series of grisly murders. Menken and Ashman’s Little Shop of Horrors follows Seymour, a down-on-his-luck florist who finds a mysterious plant with an unquenchable thirst for human blood. The plant grows, Seymour quickly loses control, and audiences are left with a grim—and catchy—reminder: “Don’t Feed the Plants!”
Directed by Paul Barnes, Little Shop of Horrors was an audience favorite. With its catchy songs and dark premise, this unforgettable show had viewers dancing, laughing, and maybe keeping a closer eye on their houseplants.
The Mousetrap—2007
The longest-running play in theater history, Agatha Christie’s The Mousetrap is a classic murder mystery. With characters trapped in a snowbound manor, a killer hidden among them, and a twist ending that audiences are urged to keep secret, this whodunit keeps audiences guessing until the final revelation.
Directed by longtime Festival music director Brad Carroll, The Mousetrap brought Christie’s signature suspense to life, captivating audiences with a thrilling, edge-of-your-seat experience.
Gaslight—2008
Psychological tension reaches new heights in Patrick Hamilton’s Gaslight, a gripping thriller that has audiences questioning their own sense of reality. The play follows the unsettling story of Mrs. Manningham, who begins to doubt her own sanity as her husband tries to convince her she’s losing her mind. As he subtly raises and lowers the gaslights, the audience shares in Mrs. Manningham’s fear and uncertainty.
J.R. Sullivan’s production had Festival audiences biting their nails with its intense revelations and eerie atmosphere. This story is a haunting reminder of the power of manipulation, leaving viewers haunted by the psychological thrills long after the curtain falls.
The Woman in Black—2009
In this adaptation of Susan Hill’s novel, Arthur Kipps encounters a series of terrifying events while settling the estate of a deceased woman in a remote village. As he recounts his haunting experiences to an actor, the line between reality and performance blurs, drawing audiences into a world of suspense and supernatural terror.
Directed by Carole Healey, The Woman in Black captivated Festival audiences with its chilling story and haunting special effects. This classic ghost story is an eerie reminder of the ways the past haunts the present.
The 39 Steps—2010, 2024
Everyone knows Hitchcock is the king of horror—which makes the slapstick farce of The 39 Steps all the more delightful. This play spoofs Hitchcock’s classic suspense techniques, plunging audiences into a whirlwind of comedy and zany hijinks. Following the misadventures of Richard Hannay, an ordinary man who gets caught in a mysterious murder plot, the story takes audiences on a fast-paced journey through cinema history.
The Festival’s 2010 production, directed by Eli Simon, was incredibly popular—so popular that we brought it back last year! The 2024 production was directed by Aaron Galligan-Stierle, who played one of the Clowns in 2010. With both shows, the hilarious antics and quick character changes had audiences roaring with laughter.
Dial “M” for Murder—2011
Frederick Knott’s suspenseful thriller follows the scheming Tony Wendice. After learning his wife, Margot, has been unfaithful, he contrives a complicated plot to murder her—and thus inherit her enormous fortune. However, as the story unfolds, Tony’s plan unravels. The suspenseful twists and turns keep audiences on the edge of their seats.
Directed by Brian Vaughn, the Festival’s production captivated viewers with its intense performances and masterful suspense. This thrilling tale of betrayal and deceit is a chilling reminder of how far people can go for wealth and revenge.
Dracula—2015
Everyone knows Dracula—Bram Stoker’s classic villain, practically the mascot of Halloween. In Steven Dietz’ adaptation of the original novel, we follow Lucy and Mina—two women who get caught up in the supernatural mystery of Count Dracula. With the help of Abraham Van Helsing, an expert on vampirism, the protagonists desperately try to stop Dracula—and save the countless lives trapped in his clutches.
The Festival’s 2015 production was directed by Jesse Berger. With an emphasis on eerie lighting, projections, and haunting sound design, this iconic monster story came to life and left audiences with an unforgettable look into the macabre world of the undead.
Murder for Two—2016
If you thought The 39 Steps had a small cast, wait until you see the dynamic duo in Murder for Two! This hilarious musical mystery, written by Kellen Blair and Joe Kinosian, features just two actors. One plays the determined detective, and the other plays all the suspects. As the detective works to solve the murder, audiences are treated to a whirlwind of catchy songs and unforgettably quirky characters.
Directed by Brad Carroll, the Festival’s production was a zany romp through a classic whodunit-style story. With a perfect blend of humor and intrigue, Murder for Two is a delightful reminder that sometimes, less is more.
Sweeney Todd: The Demon Barber of Fleet Street—2022
Stephen Sondheim’s Sweeney Todd is considered a masterpiece of modern musical theatre. From the brilliant operatic music to the Shakespearean drama of the characters, Sweeney Todd is an unforgettable theatrical experience. After losing his wife and daughter to the villainous Judge Turpin, Sweeney loses his mind and vows revenge on mankind. With the help of his neighbor, Mrs. Lovett, Sweeney wages a war against the city of London, slaughtering his customers and (spoiler!) turning them into meat pies.
Brad Carroll brought his years of musical experience to this production, creating a haunting atmosphere that perfectly matched Sondheim’s score. With incredible performances by J. Michael Bailey and Bree Murphy, this show balanced dark humor with chilling intensity, plunging the audience into Sweeney’s twisted world of vengeance.
Clue—2022
Sandy Rustin’s Clue is a hilarious whodunit that feels very familiar to most audiences. Based on the cult classic film (and the Hasbro board game!), Clue takes place during a dinner party. When the host is mysteriously murdered, each guest suddenly becomes a suspect. Full of slapstick comedy and unexpected twists, this play invites audiences to piece together clues while enjoying all the zany antics.
Directed by Hunter Foster, the Festival’s production featured a talented ensemble that skillfully balanced the comedy and the intrigue. Sharp eyes in the audience might have noticed the portraits on the walls, all featuring USF founder Fred C. Adams. This romp through a beloved classic proves that sometimes, a little humor is the best way to deal with life’s most puzzling mysteries.
A Gentleman’s Guide to Love and Murder—2025
Next year, the Festival will continue its long tradition of frights and delights with Lutvak and Freedman’s award-winning musical, A Gentleman’s Guide to Love and Murder. Based on the novel Israel Rank: The Autobiography of a Criminal by Roy Horniman, this show tells the story of Monty Navarro—a man who learns that he is 9th in line to inherit a huge fortune. In his quest for wealth and love, Monty goes on a comedic spree to “off” the eight heirs standing in his way.
A perfect blend of humor and horror, A Gentleman’s Guide to Love and Murder will be the perfect addition to the Festival’s spooky lineup. And what better way to cap off this year’s Halloween season than to buy next year’s tickets? For more information, click here.
Festival Honors Passing of Actor Libby George
Libby George was a beloved Festival actor who performed here for five seasons in the late ‘90s and early 2000’s. She passed away peacefully at age 81 on October 15, 2024. She will be remembered for her vivacious nature and humorous portrayals of some very popular roles.
She played such memorable characters at the Festival as Nurse in Romeo and Juliet (1998), Mistress Quickly in The Merry Wives of Windsor (2000), Dotty Otley in Noises Off (2000), Veta Louise Simmons in Harvey (2002), and Madame Arcati in Blithe Spirit (2004), among others.
Festival Executive Managing Director Michael Bahr said of George, “We were incredibly blessed to have an artist like Libby George on the Festival stages. Her performances as these characters set the standard––it is as if they were each written for her, from Madame Acarti, Mistress Quickly, Dotty, and the Nurse, Libby’s ability to portray a human and comic reality brought connection to audiences. Libby was an incredible human being; she was joy and sparkle in a room; she positively radiated.”
George was born in Mill Valley, California, and because her father was in the Air Force, she spent the majority of her childhood living all over the world. Her family eventually moved back to Stockton, California, prior to her attending college at University of the Pacific. She lived for over 30 years in New York, NY, and had a full-time acting career on the stage, in movies, and on television shows. She retired to Stockton where she enjoyed spending time with family and friends. She was preceded in death by her husband Richard Thomsen.
A graveside service is scheduled for Friday, November 15, 2024 in Stockton. To read George’s full obituary, click here.
USF Announces New Facilities Director
By Katie Neves, guest writer
The Utah Shakespeare Festival is excited to announce Michael Stewart as our new Facilities Director. With a wealth of experience in public service and a passion for the arts, Stewart is poised to revitalize the Festival’s facilities, ensuring they remain inviting, safe, and comfortable for everyone who visits.
Originally from Cedar City, Stewart spent most of his life in Las Vegas and Henderson, Nevada, where he served for more than twenty years with the Las Vegas Metropolitan Police Department. After retiring in 2022, his family spent a year in Estes Park, Colorado, before returning to Cedar City last year. “This journey has brought me back to my roots,” said Stewart, “and I’m excited to be back in a community that holds so much significance for me.”
A love of Shakespeare and high-quality productions drew Stewart to the Festival: “The opportunity to engage with classic texts in a vibrant, collaborative setting was incredibly appealing to me.” It’s the collaboration element that he looks forward to the most; noting that a theater environment provides a unique opportunity for teamwork and creativity. Stewart said, “I love the way theater brings people together to share stories and evoke emotions, creating a sense of community. Being part of a production means being part of something bigger than myself, and I find that incredibly fulfilling.”
As the Facilities Director, Stewart will oversee the maintenance of the entire Festival complex, from its three theaters, its gift shops, offices, and everything in between. The day-to-day upkeep and operations of the Festival is under his jurisdiction; he’ll ensure that the Festival remains safe, functional, and clean for patrons and staff to enjoy year-round. He also oversees the Festival’s compliance to safety and accessibility standards, and plans long-term improvements and upgrades that will keep the Festival facilities state-of-the-art for years to come.
Among the many projects ahead of him, Stewart is especially excited about the opportunity to implement environmentally-friendly practices, aiming to boost energy efficiency and reduce the Festival’s ecological footprint. Additionally, Stewart’s team is beginning inspections at Windsor Court apartments, preparing and renovating them for the 2025 seasonal employees. “By addressing these updates proactively,” he said, “we aim to create a comfortable and welcoming environment for everyone who will be staying there.”
Stewart is dedicated to fostering a creative and collaborative environment at the Festival. He is eager to contribute to a vibrant community that understands the value of the arts. “Joining the Utah Shakespeare Festival means being surrounded by passionate artists and dedicated professionals who share a love for theatre and storytelling,” he said. “Overall, I am thrilled to be part of a team that is committed to artistic excellence and enriching the cultural landscape.”
2024 Festival Food Drive Donates Over 2,000 Pounds of Food to the Iron County Care and Share
This fall, Utah Shakespeare Festival guests contributed to a worthwhile cause to make life a little better for those in need by donating a literal ton of food to the Iron County Care and Share. The food donations were part of the Festival’s 20th annual Fall Food Drive from September 10 to October 5. Residents of southern Utah and eastern Nevada were able to donate six items of nonperishable food and receive a half-price ticket to a Festival production.
In total over 2,000 pounds of food was donated to help members of our community. Residents of Iron, Washington, Kane, Garfield, Piute, and Beaver counties in Utah and Lincoln County in Nevada were encouraged to take part in the drive.
“We are so grateful to our guests for supporting this effort,” said Michael Bahr, executive managing director. “Our annual Fall Food Drive began in 2003, and over the years our guests have consistently given so freely to assist the Iron County Care and Share in their important and generous work in our community.”
The Iron County Care and Share was founded in 1984 by a group of local churches of different denominations to address the issue of hunger in our community. Working with partners in the community, neighboring counties, and in the state, the Iron County Care and Share is able to help homeless and low-income individuals and families work toward self-sufficiency. The Iron County Care and Share is located at 900 North 222 West in Cedar City, Utah. Monetary donations are always accepted. Click here to donate to the organization.
Thanks for ‘Believing’ in Us: A Look Back on the Festival’s 2024 Season
By Katie Neves, guest writer
Now that the 2024 season is wrapped up, we want to again thank all of our patrons and donors for their amazing support. This was the second year of the Utah Shakespeare Festival’s Believe campaign—our mission to ignite wonder and inspiration through the transforming power of live theater.
From the enchantment and magic of The Winter’s Tale to the moving power of the stars in Silent Sky, USF’s 2024 season was all about achievement, strength, perseverance, and wonder. Through each of the seven mainstage shows and three Greenshows, we invited audiences to Believe in us—and they certainly showed us they do!
Here’s what some of the Festival leadership had to say about our 63rd season:
Education Director Stewart Shelley
“The Believe campaign invites us all to suspend our disbelief and ensure that the power of live theatrical experiences continues to endure,” Shelley said. “When our late founder Fred C. Adams found himself discouraged in Scandinavia [as a young man], he had the thought to cast his eyes up rather than down into the mud. Upon doing so, he witnessed a beautiful aurora borealis. This story is what motivates the Believe campaign. Believe in beauty, believe in hope, believe in the arts, believe in each other!”
For Shelley, the best element of the season was the “strong women and history-makers” in all of the shows. “I believe that it was an absolute success,” he said. From characters like Hermione in The Winter’s Tale to Queen Katherine in Henry VIII, Beatrice in Much Ado About Nothing to Henrietta Leavitt in Silent Sky, Kate in The Taming of the Shrew to Camae in The Mountaintop and even the lead female characters in The 39 Steps, the Festival’s stages were full of powerful women and their achievements.
Another one of this season’s big successes was the Seminar Grove. “As the Education Director, it is no surprise that my favorite part of the Utah Shakespeare Festival is found in our classroom—the Seminar Grove!” said Shelley. His department fostered engaging discussions and orientations for each play, making sure audiences could enter and leave each production with new insights and understanding. For the Silent Sky discussions, the Education Department also invited two astrophysicists to join and share their insights: Mattias Schmitt of Cedar Breaks National Monument Dark Skies program, and Dr. Cameron Pace from the Ashcroft Observatory in Cedar City.
Moving forward, the Education Department continues its Believe work with youth and students through such opportunities as the Juvenile Justice program, outreach with Iron County elementary students through the WonderStage program, the Shakespeare in the Schools Education Tour of Henry IV this winter, and much more. “Shakespeare may have said, ‘All the world’s a stage,’ but we in Education feel like ‘All the world’s a classroom.’ We’re thoroughly enjoying acting as both teacher and student on this journey of constant learning.”
General Manager Kami Terry Paul
For Paul, the Believe campaign was especially powerful this season. “It’s about believing in the power of theatre to give us insights to ourselves and others,” she said. “The campaign resonated for me personally this year because I was moved by so many instances of humans accomplishing beyond expectations: characters in the plays, employees at the Festival, and our amazing patrons who show up for us and each other, every year.”
Paul is excited for next year, with six powerful shows lined up for the Festival’s 64th season. With “another Shakespeare title that puts us closer to our Complete the Canon initiative (Antony and Cleopatra), the return of a musical to the Festival lineup, and a season full of artistry,” 2025 is a season we can all Believe in.
Now that the 2024 season is over, she is looking forward to all the excitement that comes in between the Festival’s official seasons. “There really is no off-season at the Festival,” she laughs. “We are already hard at work on the 2025 season and our Shakespeare production that tours schools. The 2026 season is also in early planning stages. Onward and upward!”
Artistic Director John DiAntonio
According to DiAntonio, the Festival’s Believe campaign can be summed up in a line from The Winter’s Tale: “It is required you do awake your faith.” This idea captures what is at the heart of the Festival. “So much of what we do in the theatre is built on faith, trust, or belief. It was true when Fred C. Adams started the Festival 64 years ago, and it’s still true today,” said DiAntonio who hits his one-year mark at the organization this month.
“One of our main goals [this season] was to introduce the new executive leadership team: Michael Bahr and myself,” said DiAntonio. “We wanted to introduce our new shared vision to patrons, and really start living it. I really got to know many of our patrons. I was amazed how deep everyone’s love for the Festival runs. You see patrons and volunteers wearing pins: ‘I first attended the Festival in 1972,’ or 1963, or 2021, In my case, it began in 2008.”
This year also marked DiAntonio’s first time performing at the Festival; he played Petruchio opposite his wife, Caitlin Wise, as Kate, in The Taming of the Shrew. Now he’s busy working on next year. “We are currently in design meetings for each of the plays, and I couldn’t be more excited for the productions next summer.” While preparing for the upcoming season, DiAntonio also plans to spend extra time with his family and explore more of the Cedar City area. “Caitlin and I are looking forward to getting even more involved with the local community this ‘off-season,’ now that we are a bit more settled.”
Executive Managing Director Michael Bahr
For Bahr, one of the most important goals for him was to strengthen connections with Festival patrons, to help them see the Festival as their theatre. “This is your theatre, and you are a huge part of it,” Bahr emphasized. “We are still hearing from patrons how pleased they have been with the high quality of the productions and their personal connections to the plays.”
Bahr shared some of his favorite moments this season; moments where patrons truly connected with the messages onstage. From “an audience member spontaneously yelling ‘You go, girl!’ in support of Katherine in Henry VIII,” to “weeping audiences following a performance of The Mountaintop gathering in the lobby to exchange a hug,” 2024 was filled with human connection, inspiration, and audiences truly believing in the power of theater.
“Since launching the Believe campaign I’ve had many patrons ask me, ‘What does ‘Believe’ mean in your campaign?’” Bahr said. “As a teacher, I love throwing the question back to them—what do you think it means?” This year, through captivating performances, engaging discussions, and a supportive community, the Festival “generated conversations around hope, life, and the ways they complement each other.”
Bahr is especially excited about the 2025 season and the compelling stories it has to offer. “Every one of them will be an audience favorite with deep depth of text and characters,” he said. The season will include three of Shakespeare’s most beloved and powerful plays (As You Like It, Macbeth, and Antony and Cleopatra) as well as a Tony Award-winning musical (A Gentleman’s Guide to Love and Murder), a classic comedy (The Importance of Being Earnest) and a beloved and heartfelt drama (Steel Magnolias).
The Utah Shakespeare Festival’s next season is shaping up to be just as amazing as the last one—all thanks to the amazing support of our patrons and donors. And as Shakespeare said, “Better three hours too soon than a minute too late.” To buy your 2025 season tickets, visit bard.org/plays.
Season in Review: 36 Facts from the 63 Season
By Liz Armstrong, guest writer
With the 2024 season officially over, we’d like to thank all those who attended, donated, volunteered, or participated in any way for supporting us once again this year. The Festival’s 63rd season came to a close on October 5, and as Will says: parting is such sweet sorrow. So, in the spirit of celebrating another successful year, let’s look at some of the highlights from this season.
Enjoy these fun facts regarding productions, strike, props, education, and more!
2024 Productions
-
The Greenshow pulled inspiration from the season’s Engelstad mainstage productions. Commedia Night drew inspiration from The Taming of the Shrew, Royals Night from Henry VIII, and Folk Night from The Winter’s Tale.
-
The infamous bear puppet from The Winter’s Tale will be on display in the Festival Props Shop for years to come.
-
Director Cameron Knight leaned into Dr. Martin Luther King Jr’s mental health in The Mountaintop, exploring psychological and fear elements to approach King in a more human way.
-
Playwright Lauren Gunderson joined Southern Utah University and the Festival in September to talk about her production of Silent Sky.
-
This is the 11th time The Taming of the Shrew and the 9th time Much Ado About Nothing was produced at the Festival.
-
The Festival’s Artistic Director, John DiAntonio, played Petruchio in The Taming of the Shrew this season opposite his real-life wife, Caitlin Wise, as Kate in their first season as part of the Festival.
-
The play The 39 Steps has over 150 characters and was played by a cast of only four actors.
-
This was only the third time Henry VIII was produced at the Festival. It was last produced nearly thirty years ago, in 1995, and 1974 before that.
-
There was a performance of The 39 Steps this season in which three out of four cast members were understudies. They did a tremendous job on such a difficult show!
-
The closing night of the Engelstad Shakespeare Theatre brought record-numbers for audience attendance: over 900 at the Commedia Night Greenshow and a sold-out house for The Taming of the Shrew in the Engelstad Shakespeare Theatre.
End-of-Season Strike
-
The Festival implemented a new Costume Inventory Program this season, making costumes more accessible to designers. The process includes applying heat-set bar codes on each costume piece, and then uploading photographs and information about each piece into the system. Pieces from this season will be some of the first to undergo this process.
-
While some prop and scenery pieces will be sold or given to other organizations and interested patrons, most will be stored in the props warehouse and scenery storage tent––a combined space of about 8,500 square feet––for future seasons after strike.
-
The Festival hosted a surplus sale during last weekend’s annual Shakespeare Competition, giving nearly 3,000 students and their teachers and chaperones the opportunity to take home pieces of theatre history.
Costumes and Props
-
David Mickelsen was the costume designer of an original version of Silent Sky when Lauren Gunderson was writing it in Cleveland. He came this season to design the same show for the Festival.
-
Uniforms for Much Ado About Nothing were custom made in Scotland.
-
Some costume pieces were borrowed from Arizona Theatre Company for Silent Sky, while others were pulled from Festival stock.
-
Two king sized fur comforters were used to make the bear puppet for The Winter’s Tale.
-
There were four bears in The Winter’s Tale. The bear rug (custom built in the prop shop), a wooden toy bear (purchased by the prop shop), the giant bear puppet (custom built in the prop shop), and a stuffed animal bear sold by the character Autolocus to the young shepherd, which two girls fought over, resulting in ripping its head off (the prop shop modified a regular teddy bear so this action could happen each performance).
-
All the aluminum legs for The Taming of the Shrew furniture were custom bent in the prop shop and welded by Assistant Props Director, Marielle Boneau.
-
The 39 Steps armchair ended up being two chairs––one for each act due to the nature of the action in the play.
-
The Greenshow stage got an arch this year that was originally designed to be used in 2016.
-
There were seven ladders in The 39 Steps. One of them was custom welded for the Festival by a local company.
-
The Props Department went through 14 buckets for the “foot stuck in the bucket” scene in Much Ado About Nothing.
The People
-
There were several Southern Utah University students, alumni, and faculty in the acting company this year, including Ashley Aquino, Zac Barnaby, Whitney Black, Trent Dahlin, Gracelyn Erickson, Luke Sidney Johnson, Rockwell MacGillivray, Bailey Savage, Elise Thayn, Marco Antonio Vega, Spencer Watson, Stephen K. Wagner, Matthew Wangemann, Emily Wheeler, and Gabriel Wright.
-
Former Director of New Play Development, Derek Charles Livingston, directed Henry VIII this season and became the new Artistic Director of Stage Theatre in Houston in August.
-
John DiAntonio and Michael Bahr completed their first season as Artistic Director and Executive Managing Director, our fearless head leadership team. Congratulations!
-
The Festival was delighted to be back in the local community parades this year.
-
Stewart Shelley was appointed as the Education Director, moving from Associate Education Director. What an exciting announcement!
-
Director of Development and Communications Donn Jersey announced his upcoming departure from the Festival. We thank him for his six and a half years of leadership.
Education Department
-
Schools from California, Arizona, Wisconsin, Utah, and Nevada attended this year’s Shakespeare Competition.
-
For the Junior and Actor Training Camps this summer, students attended from Utah, Michigan, Florida, Colorado, Oregon, Idaho, Iowa, Maryland, Arizona, and Nevada. They also traveled from Canada and the US Virgin Islands.
-
During the 2024 Shakespeare in the School’s Tour of Hamlet, there were 52 performances in 29 public schools, 1 public district, 14 public charter schools, two residential treatment centers and eight community performances in various venues.
-
Nearly 10,000 students saw this production of Hamlet, engaged in a Q&A with the actors, and participated in various workshops led by the tour team.
-
This season, there was supplemental astronomy encounters surrounding Silent Sky, including discussion in the Seminar Grove. Dark Sky Coordinator at Cedar Breaks National Monument Mattias Schmitt and Dr. Cameron Pace from the Ashcroft Observatory discussed the science behind the story.
-
The Education Department was delighted to welcome the 2024 company members back as tour guides for the backstage tours.
-
Company members participated in the Juvenile Justice program at the Southwest Utah Youth Center in Cedar City.
So many amazing moments created and experiences enjoyed this season! The 63rd season served as a time that encouraged those that attended and participated to ‘Believe’ in the transformative power of live theater. We’d like to profoundly thank our patrons and donors for supporting us and encourage you to return next year for the 2025 season.
The lineup for the 64th season includes: Macbeth, Antony and Cleopatra, As You Like It, A Gentleman’s Guide to Love and Murder, The Importance of Being Earnest, and Steel Magnolias. Tickets are on sale now!
Results of the 48th Annual Shakespeare Competition
This past weekend the Utah Shakespeare Festival and Southern Utah University hosted the 48th annual Shakespeare Competition where dozens of awards, prizes, 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 101 schools attended from Utah, Arizona, Nevada, California, Idaho, and Wisconsin. More than 300 coaches and teachers helped prepare these students for the competition.
From October 3 to 5, 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 2024 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 plaques, prizes, and scholarships to study with professionals at Southern Utah University and the Utah Shakespeare Festival.
The competition is divided into six divisions: Buckingham (large public high schools), Oxford (midsize public high schools), Cambridge (small public high schools), Westminster (private, charter, and parochial 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. “We have so many schools and groups who return year after year. This is an important tradition for these students and teachers. We have new schools coming too, and it’s an incredible opportunity for all the participants to get professional feedback and revel in the art of William Shakespeare.”
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: Corner Canyon High School
Sweepstakes Second Place: Lehi High School
Sweepstakes Third Place: Skyridge High School
Ensemble First Place: Corner Canyon High School
Ensemble Second Place: Lehi High School
Ensemble Third Place: Skyridge High School
Duo/Trio Scenes First Place: Ellie Walsh and Ezekial Binkard (Westlake High School)
Duo/Trio Scenes Second Place: Kaiya Sharp and Paul Witzel (Corner Canyon High School)
Duo/Trio Scenes Third Place: Izzy Anderson and Hannah Lewis (Lehi High School)
Monologue First Place: Alex Hsiao (Skyridge High School)
Monologue Second Place: Nora Booth (Westlake High School)
Monologue Third Place: Kaleb Phillips (Lehi High School)
Ray Jones Award: Alex Hsiao (Skyridge High School); Ellie Walsh and Ezekial Binkerd (Westlake High School)
Larry Lott Acting Award: Aubrey Boman (Corner Canyon High School)
OXFORD DIVISION
Sweepstakes First Place: Hillcrest High School
Sweepstakes Second Place: Brighton High School
Sweepstakes Third Place: Orem High School
Ensemble First Place: Hillcrest High School
Ensemble Second Place: Brighton high School
Ensemble Third Place: Valencia High School
Duo/Trio Scenes First Place: Claire Bartlett, Ryan Rasch, and Cooper Runnells (Hillcrest High School)
Duo/Trio Scenes Second Place: Gideon Kirby and Caleb Timmerman (Hillcrest High School)
Duo/Trio Scenes Third Place: Camie Hopkins and Nate Thorne (Salem Hills High School)
Monologue First Place: Riley Thompson (Hillcrest High School)
Monologue Second Place: Eliza Moises (Orem High School)
Monologue Third Place: CaRina Day (Timpanogos High School)
Ray Jones Award: Riley Thompson and Ryan Rasch (Hillcrest High School)
Barbara Barrett Award: Claire Bartlett and Copper Runnells (Hillcrest High School)
Larry Lott Acting Award: Lucia Glime (Brighton High School)
CAMBRIDGE DIVISION
Sweepstakes First Place: Canyon View High School
Sweepstakes Second Place: Northridge High School
Sweepstakes Third Place: North Sanpete High School
Ensemble First Place: Canyon View High School
Ensemble Second Place: Northridge High School
Ensemble Third Place: North Sanpete High School
Duo/Trio Scenes First Place: Max Brown, Alicia Cerda, and Michael Hibbert (Northridge High School)
Duo/Trio Scenes Second Place: Andy Larsen, Jules Wilson, and Lin Anderson (North Sanpete High School)
Duo/Trio Third Place: Charlotte Pulica and Sabrina Grimshaw (Canyon View High School)
Monologue First Place: Emma Wallace (North Sanpete High School)
Monologue Second Place: Lucy Sorber (Mountain View High School)
Monologue Third Place: Jey Stucki (North Sanpete High School)
Barbara Barrett Award: Max Brown, Alicia Cerda, and Michael Hibbert (Northridge High School), Emma Wallace (North Sanpete High School)
Larry Lott Acting Award: Beth Manwill (Northridge High School)
WESTMINSTER DIVISION
Sweepstakes First Place: Liahona Preparatory Academy - High School
Sweepstakes Second Place: Rockwell Charter High School
Sweepstakes Third Place: American Leadership Academy Spanish Fork - Senior High
Ensemble First Place: Liahona Preparatory Academy - High School
Ensemble Second Place: American Leadership Academy Spanish Fork - Senior High
Ensemble Third Place: Intermountain Christian School
Duo/Trio Scenes First Place: Benjamin Decker, Samuel Vick, and Peter Dowdle (Karl G. Maeser Preparatory Academy - High School)
Duo/Trio Scenes Second Place: Anthony Lombardi and J.J. Betts (Providence Hall High School)
Duo/Trio Scenes Third Place: Samuel Smith and Evey Jackson (American Heritage School - SLC High School)
Monologue First Place: Scarlet Boss (Rockwell Charter - High School)
Monologue Second Place: Jacob Keller (Karl G. Maeser Preparatory Academy - High School)
Monologue Third Place: Charlotte Heinrich (Liahona Preparatory Academy - High School)
Ray Jones Award: Scarlet Boss (Rockwell Charter - High School); Benjamin Decker, Samuel Vick, and Peter Dowdle (Karl G. Maeser Preparatory Academy - High School)
Larry Lott Acting Award: Scarlet Boss (Rockwell Charter - High School)
STRATFORD DIVISION
Sweepstakes First Place: Liahona Preparatory Academy - Middle School
Sweepstakes Second Place: Karl G. Maeser Preparatory Academy - Middle School
Sweepstakes Third Place: Vista Heights Middle School
Ensemble First Place: Liahona Preparatory Academy - Middle School
Ensemble Second Place: Karl G. Maeser Preparatory Academy - Middle School
Ensemble Third Place: Vista Heights Middle School
Duo/Trio Scenes First Place: Levi Hilmo, Adam Jensen, and Nicholas Jackson (Karl G. Maeser Preparatory Academy - Middle School)
Duo/Trio Scenes Second Place: Jocelyn Hellewell and Haley Anderson (Vista Heights - Middle School)
Duo Trio Scenes Third Place: Madison Flowers and Macy Upstill (Vista Heights - Middle School)
Monologue First Place: Ally Rees (Liahona Preparatory Academy - Middle School)
Monologue Second Place: Kyler Seamons (Liahona Preparatory Academy - Middle School)
Monologue Third Place: Hallie Springer (Lake Mountain Middle School)
Barbara Barrett Award: Ally Rees (Liahona Preparatory Academy); Levi Hilmo, Adam Jensen, and Nicholas Jackson (Karl G. Maeser Preparatory Academy - Middle School)
Larry Lott Acting Award: Cannon Rockwood (American Heritage School - SLC Junior High)
ESSEX DIVISION
Sweepstakes First Place: First Stage Young Company
Sweepstakes Second Place: Take Note Troupe
Sweepstakes Third Place: Dixie Leadership Academy
Ensemble First Place: First Stage Young Company
Ensemble Second Place: Take Note Troupe
Ensemble Third Place: Liahona Preparatory Academy - Elementary
Duo/Trio Scenes First Place: Maya Thomure and Max Larson (First Stage Young Company)
Duo/Trio Scenes Second Place: Lola Onorato, Thomas Bastardo, and Lucy Kuhnen-Grooms (First Stage Young Company)
Duo/Trio Scenes Third Place: Blake Nelson, Oakley Brewster, and Bella Richey (Dixie Leadership Academy)
Monologue First Place: Josephine Van Slyke (First Stage Young Company)
Monologue Second Place: Paisley Stillman (QQAAC)
Monologue Third Place: Elena Marking (First Stage Young Company)
Ray Jones Award: Josephine Van Slyke (First Stage Young Company)
Barbara Barrett Award: Maya Thomure and Max Larson (First Stage Young Company)
Larry Lott Award: Madison Jones (First Stage Young Company)
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: Lone Peak High School
Duo/Trio Scenes First Place: Alyviah Brownlee, Hallie Hadlock, and Sadie Gatherum (Westlake High School)
Duo/Trio Scenes Second Place: Arath Cardona, Elisabeth Bessette, and Baylie Spainhower (Taylorsville High School)
Duo/Trio Scenes Third Place: Brynlee Turner, Rylie Jones, and Elle Jones (Skyridge High School)
OXFORD DIVISION
Ensemble First Place: Orem High School
Ensemble Second Place: Olympus High
Ensemble Third Place: Provo High School
Duo/Trio Scenes First Place: Jayde Garrett and Aubrey Child (Pleasant Grove High School)
Duo/Trio Scenes Second Place: Lily Cannon, Lucy Richards, and Charlotte Johnsen (Olympus High)
Duo/Trio Scenes Third Place: Layla Filby, Kaden Gatherum, and Mareli Perez (Kearns High School)
CAMBRIDGE DIVISION
Ensemble First Place: Murray High School
Ensemble Second Place: Desert Hills High School
Ensemble Third Place: Mountain View High School
Duo/Trio First Place: Atley Larrabee, Kai Louderback, and Mattix Espinoza (Desert Hills High School)
Duo/Trio Second Place: Kate Lutkin, Sophie Ballard, and Hannah Bowen (Murray High School)
Duo/Trio Third Place: Ava Knudsen and Sabrina Gordon (Canyon View High School)
WESTMINSTER DIVISION
Ensemble First Place: American Leadership Academy - Spanish Fork
Ensemble Second Place: Salt Lake School for the Performing Arts
Ensemble Third Place: Juan Diego Catholic High School
Duo/Trio First Place: Ellie Krull and Holly Richard (Salt Lake School for the Performing Arts)
Duo/Trio Second Place: Naomi Tveten, Ian Hadfield, and Sadie McGhie (Liahona Preparatory Academy - High School)
Duo/Trio Third Place: Isadora Salekfard and Kianna Cuthcins (Pacifica Christian High School)
STRATFORD DIVISION
Ensemble First Place: Frontier Middle School
Ensemble Second Place: Vista School
Ensemble Third Place: Vista Heights Middle School
Duo/Trio Scenes First Place: Jax Davis, Greyson Lefevre, and Brennon Gough (Vista School)
Duo/Trio Scenes Second Place: Savannah Sheppard and Hannah Fowles (Frontier Middle School)
Duo/Trio Scenes Third Place: Kaiya Wride, Savvi Wright, and Taylee Featherstone (Vista Heights Middle School)
ESSEX DIVISION
Ensemble First Place: Saint Contemporary Ballet
Ensemble Second Place: Take Note Troupe
Ensemble Third Place: Youth Theatre - University of Utah
Duo/Trio Scenes First Place: Linnea Lopez, Jhoryan Eggett, and Aspen Dail (Lighthouse Commonwealth of Iron County)
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: Cambri Burgon, Camryn Pittard, and Lily Withers (Skyridge High School)
Second Place: Savannah Anderson, Morganne Strong, and Emilee Farmer (Romney Youth Bard Brigade)
Third Place: Elise Farmer (Herriman High School)
MINSTREL
First Place: Salt Lake School for the Performing Arts
Second Place: Pleasant Grove High School
Third Place: Corner Canyon High School
CANZONETTA
First Place: Pleasant Grove High School
Second Place: Corner Canyon High School
Third Place: Herriman High School
MADRIGAL
First Place: Corner Canyon High School
Second Place: Skyridge High School
Third Place: Herriman High School
SWEEPSTAKES
First Place: Pleasant Grove High School
Second Place: Corner Canyon High School
Third Place: Skyridge 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: Lucy Rowley (Riverton High School)
Lighting: Matthew Estes (Mountain View High School)
Make-up: Dylann Miller (Corner Canyon High School)
Props: Peyton Bodily (Corner Canyon High School)
Rigging: Elise Parry (Hillcrest High School)
Carpentry: Catherine Tobler(Orem High School)
Audio: Jackson Christensen (Orem High School)
Stage Management: Harrison Treat (Hillcrest High School)
TECH OLYMPICS––OVERALL WINNERS
First Place (Gold Drill): Hillcrest High School
Second Place (Silver Spotlight): Salem Hills High School
Third Place (Bronze Boot): Riverton High School
TECH PORTFOLIO WINNERS
Overall Winner: Ophilia Cerda Echeverria (North Ridge High School)
Runners-up: Elise Parry (Hillcrest High School)
For more information on the Shakespeare Competition, visit competition.bard.org.