This Season's Shakespearean Power Couples

By Kathryn Neves, guest writer

Valentine’s Day is here, bringing with it boxes of chocolates and candy hearts. This time of year, love is greeting cards and rose bouquets and heart-shaped jewelry. For Shakespeare, though, love is rarely so simple; after all, as he tells us, “the course of true love never did run smooth.” 

This year at the Utah Shakespeare Festival, we’ll see three of his most sensational romances take the center stage—showing us that love can be thrilling, tragic, powerful, and even a little mischievous. Let’s take a closer look at these Shakespearean lovebirds––romantic, tragic, and just the right kind of messy for Valentine’s Day.

Rosalind and Orlando—As You Like It

“That thou didst know how many fathom deep I am in love! But it cannot be sounded: my affection hath an unknown bottom, like the bay of Portugal.” Act 4, Scene 1

As You Like It is one of Shakespeare’s best romantic comedies. With mistaken identities, role reversals, and a forest full of love letters nailed to trees, this play is always an audience favorite. The story follows Rosalind and Orlando, who fall in love at the beginning of the play. After being banished from the court, Rosalind flees and disguises herself as a young man named Ganymede—and, upon meeting Orlando in the woods, offers to cure him of his lovesickness. Still disguised as a young man, she acts out a romantic relationship with Orlando––Rosalind is playing Ganymede playing Rosalind. In the end [spoiler alert], all is revealed; there’s a wedding, the lovers return to the court, and they all live happily ever after.

Rosalind and Orlando have one of the most fun relationships of any Shakespearean couple in the canon. Their witty banter rivals even Beatrice and Benedick, or Kate and Petruchio. While disguised as Ganymede, Rosalind has the freedom to say exactly as she feels, and to display her wit in all its glory. In fact, Rosalind has the most lines of any female Shakespeare character—and is the only woman to have more lines than any of the men in her play. And she fits perfectly with Orlando; from his silly love letters posted on all the trees, to Rosalind’s teasing and clever turns of phrase, these two wordsmiths are made for each other. 

Antony and Cleopatra—Antony and Cleopatra

“My heart was to thy rudder tied by th’ strings, / and thou shouldst tow me after.” Act 3, Scene 11

Antony and Cleopatra is the story of the tragic and tumultuous love affair between Cleopatra, the Queen of Egypt, and Antony, a triumvir of Rome. In the middle of a complicated and violent political conflict, Antony continually chooses Cleopatra over himself, his men, and all of Rome; [and another spoiler alert] the result of their story is a disaster that ends in a double suicide (à la Romeo and Juliet), and the formation of the new Roman Empire. 

For centuries before Shakespeare wrote Romeo and Juliet, people considered Antony and Cleopatra––though older in age–– to be the prime example of star-crossed lovers. Separated by their nations and their families, caught up in violent conflict, and driven to desperation at the thought of being apart, these historical figures (and their countless fictional counterparts over the centuries) were prime fodder for Shakespeare’s pen. Like Romeo and Juliet, these lovers are overly hasty and reckless. Their rash decisions lead to heartbreak. But, like the best romantic dramas, Antony and Cleopatra’s passion is unstoppable—and always entertaining.

Macbeth and Lady Macbeth—Macbeth

“This have I thought good to deliver thee, my dearest partner of greatness, that thou might’st not lose the dues of rejoicing by being ignorant of what greatness is promised thee.” Act 1, Scene 5

One of Shakespeare’s most brilliant works, Macbeth is a tragic tale of ambition, greed, vulnerability, and fear coming together to cause ruin, culminating in one of the bloodiest tragedies in the English language. After three witches prophesy that he will be king, Macbeth and his wife take fate into their own hands. They murder the current king, discredit his heirs, and embark on a bloodbath that ends with dozens of bodies slain across the field of Dunsinane—[yet another spoiler alert] including themselves.

This horror and bloodshed might not seem like a great atmosphere for a romance; but believe it or not, Lady Macbeth and her husband are one of the best power couples in the entire canon. From the very beginning, Macbeth only trusts one person: his wife. Likewise, Lady M drops everything in order to support her husband’s plans (and okay, sure. Those plans are murder—but she’s a “ride-or-die” kind of wife). The Macbeths are on equal footing; something especially meaningful in Shakespeare’s time, when women were considered the property of men. They counsel and confide in each other; they make plans together; and when the danger comes, the Macbeths face it together. Really, if they weren’t committing regicide, we’d probably all be rooting for them.

Shakespeare’s greatest love stories remind us that love is rarely straightforward, and that’s what makes it unforgettable. This Valentine’s Day, we’re celebrating love in all its messy, wonderful forms. We hope to see you this summer for an unforgettable season of romance at the Utah Shakespeare Festival. Happy Valentine’s Day!

A Special Announcement About Our 2025 Season

The Utah Shakespeare Festival is excited to announce the addition of the play Dear Jack, Dear Louise by Ken Ludwig to its 2025 season.

Directed by Michael Perlman, Dear Jack, Dear Louise will preview on July 11, open July 12, and run through October 4 in the Festival’s intimate Eileen and Allen Anes Studio Theatre. 

“We are thrilled to add a show in the Anes this summer,” says Artistic Director John DiAntonio. “The intimacy of that space is an essential part of the Festival’s repertory experience. Dear Jack, Dear Louise couldn’t be a better fit for our 2025 lineup with its beautiful heart-wrenching, edge-of-your-seat storytelling. I can’t wait for audiences to fall in love with this play.”

Perlman, a New York-based writer and director, will lead the artistic and production team. He has directed at Barrow Street, Public Theatre, Creede Repertory Theatre, Boise Contemporary Theatre, Goodspeed Opera House, and Cleveland Playhouse, among others, as well as directing his own plays From White Plains and At the Table off-Broadway at Roundabout Theatre. He has taught at Juilliard School of Drama and Brown University, where he earned his BA and MFA. He is a member of Stage Directors and Choreographers Society (SDC) and is a Drama League Directing Fellow.

“I’m so excited to bring Dear Jack, Dear Louise to the USF audiences,” says Perlman. [It is a] poignant reminder that the most important things in our lives are our relationships, and the ways in which those connections help us move through even the most challenging obstacles.”

Executive Managing Director Michael Bahr agrees. “It is a perfect addition and is a joyful, comic, tender, and moving love story that will touch our hearts, reminding us of our own dear ones in our lives.” 

This charming two-person show tells the story of the playwright’s parents meeting during WWII. U.S. Army Captain Jack Ludwig is a military doctor who is stationed in Oregon. He begins writing to aspiring actress and dancer Louise Rabiner in New York City, hoping to meet her in person someday. Opposites attract and they can only hope the war doesn’t threaten the relationship before it even has a chance to start. 

Bahr continues: “The Anes is a perfect venue for this intimate story. We know audiences love this space and will really connect to seeing this play there.”

Patrons who have donated or wish to donate to the Festival get the first opportunity to purchase tickets, starting today, February 13, by calling the ticket office at 800-PLAYTIX between noon and 5 pm, Monday through Friday. You can also email guestservices@bard.org anytime and our ticket office staff will reach out to you as soon as they are able. All other patrons can purchase tickets beginning Monday, February 17, by visiting bard.org or calling the ticket office during the office hours listed above. Click here for more information.

Shakespeare in the Schools Education Tour: Why Henry IV?

By Liz Armstrong, guest writer

Shakespeare in the Schools education tour director Marcella Kearns loves Shakespeare’s histories more than any of his other plays, a sentiment not all theatre-goers agree with. Kearns is keenly aware of this and urges us to reshape our opinions regarding the genre. 

“When people think of Shakespeare’s history plays, they think, ‘Oh, it’s going to be a history lesson,’” Kearns said. “No! It’s an epic adventure. We should rename the history genre as the ‘epic genre.’ Within the histories, you have comedy, tragedy, and adventure.” 

Henry IV, Part I is one of his most popular histories, but ranks lower in popularity when the tragedies and comedies are thrown into the mix. So why choose it to be the play for the 2025 Shakespeare in the Schools tour? 

Education Director and Producer Stewart Shelley is excited to explain. 

“Everybody knows Hamlet. Everybody knows Romeo and Juliet. Or even if they don’t know the story, they know enough to have preconceived notions,” Shelley said. “But with Henry IV, we’re going into it with a completely blank slate. It’s a powerful story for young people to find themselves and see themselves in.” 

Henry IV: An Origin Story 

A coming of age story is perfect to bring to primarily middle and high school students across the Intermountain West, as each student is experiencing their very own coming of age story. But there’s another layer.

“It’s also an origin story, which is so popular now,” Kearns said. “I think that will speak so beautifully to the young people we are visiting.” 

The 75-minute condensed version of Part I tells of King Henry IV and his son Prince Hal, and how the prince is faced with growing up and preparing to assume the throne. It ends with the battle between Prince Hal and his rival Hotspur.

“That really hearkens to a lot of these students, who are at the very edge of this high school experience and are at the jumping off point for adulting,” Kearns continued. 

In this particular production, Kearns is exploring how both Prince Hal and Hotspur react to the circumstances they’re given.

“One of them is constantly learning, while the other makes some choices that lead him in the wrong direction. One of them wins and one of them doesn’t. But in this play, as an [origin story] no one in this play is a villain,” Kearns said. “Everyone is just making choices about what they think is right based on what they think is most important.” 

Exploring Generational Influence and Morality 

Kearns noted that in this production, they’re exploring the expectations the older generation has for the younger generation and how the younger generation has surprised the older generation.

“What we’re also learning is whether they can admit how much each generation really needs each other,” Kearns said. “That was unexpected to me, but it’s something this particular company is naturally bringing forward.” 

For actor Anna Rock, this theme was imperative to share. 

“It’s important to share with young audiences a story that features teenage characters and their struggle to stand up for what they believe in while reckoning with responsibility, honor, and expectations from their elders,” Rock said.

The other major questions Kearns is leaning into are: “How do you define your moral compass?” and “What do you do with the circumstances you’ve been put in and what’s been given to you?”

“Shakespeare was an invisible playwright; he offers up everybody’s opinions and gives them validity,” Kearns said. “These histories in particular are so beautiful because they give us a chance to swim in the questions rather than think we have fixed answers of how everybody should be.”

Simplifying the Production

Shelley noted that the tour will be different from years’ past because they are bringing the production of Shakespeare’s work back to its roots. 

Over the years, the tour has grown more complex, including a lighting and sound system, backdrops, and large amounts of “spectacle to support the story.” 

“This summer, I had discussions with theatre teachers at our Tech for Teachers camp, and I just kept hearing over and over again: ‘We can’t do that at our school, we don’t have the equipment,’” Shelley said. 

From those discussions, Shelley wanted to simplify the tour. 

“We can build this tour in a way that is story-centric and character focused, in a way that’s just as exciting and important and visceral for students watching the production without [the equipment],” Shelley said. 

Kearns agreed, telling Shelley she really could do Henry IV with only an “apple crate.”

Shelley and Kearns wanted to show that any school can do the play with just the actors and minimal needs.

“There will be very simple costume changes,” Kearns explained.

The seven actors play a myriad of characters and will make small changes in their physical appearance, so they will focus on transforming themselves vocally and stylistically.  

Another change is that the tour is using only actor-generated sound, as opposed to the pre-recorded sound used in previous years.

“We are going back to the roots of theatre and storytelling as a whole, rather than trying to supplement with other things,” Shelley said. 

Kearns’ Journey with the Festival 

The director’s first experience with the Festival was as an educator. 

“I brought my own group of students to the [Shakespeare] competition,” Kearns said. “Being able to come here and see the work and passion of young people from so many places reinforced my desire to work here.” 

Kearns actually directed the Festival’s former education director, Katherine Norman, years prior. 

“She liked my approach [as a director]. She proposed the tour to me without knowing I had just worked on Henry IV for the first time,” Kearns said. 

For Kearns, it felt kismet, and as an educator, the tour is especially important. 

“We see such a cross section of humanity in this play,” Kearns said. “All of these characters are deeply human and flawed, and this play has a way of speaking to young people and the expectations that are put upon them. I hope they can thread the needle and think of how they should live their lives given whatever is put in their laps.” 

The Public Performance

There will be a free public performance in Cedar City, UT, on Friday, February 7 in the Southern Utah University Auditorium Theatre at 7:30 pm. 

“It’s an opportunity to welcome our community into this experience and share that the tour is integral to educating our future audience members,” Shelley said.  

Shelley added that the tour is not possible without incredible sponsorships, which primarily comes from the Utah Legislature through the Professional Outreach Programs in the Schools (POPS).

“We also have a grant from Arts Midwest that makes it possible for us to go out of state and capture more of the Intermountain West,” Shelley said. 

Other sponsors include Ally Bank, The Guild of the Utah Shakespeare Festival, and Orem Care, with special thanks to Southern Utah University.

Finally, Shelley would like to thank the Festival production team. 

“What they do is Herculean,” Shelley said. “It’s not an easy thing to do, and they all do it with a smile on their face and excitement and enthusiasm to teach the rising generation of theatre artists and patrons.” 

For more information on the tour click here.

Shakespeare In the Schools Education Tour: Meet the Team for Henry IV

By Liz Armstrong, guest writer

The Utah Shakespeare Festival is thrilled to announce its 2025 touring team for Shakespeare in the Schools, its annual education tour production. This year, the touring team of nine artists will tour to bring Shakespeare’s Henry IV to elementary through high school students across the region. 

Throughout the Intermountain West, the Festival’s touring program serves both rural and urban students and communities, providing access to professional theatre. This year, a condensed version of Henry IV Part I will highlight power, honor, and rebellion. 

Actor Lucas Prizant notes that the production is a war drama, but “it is also a coming-of-age story about two teenage boys with tremendous responsibilities,” making it the ideal play to share with young students.

Meet the lead creative team:

Stewart Shelley, Education Director and Producer

Along with producing this year’s Shakespeare in the Schools tour, Shelley is the Festival’s education director. He has also filled the roles of associate education director, education programs manager, and summer camp coordinator for the Festival and has directed over 50 plays in educational and community theatre.

“It’s such a powerful story for students to see themselves in,” Shelley said about Henry IV. While Shelley won’t tour with the group, he was essential in preparing the group to hit the road. 

He received a Master of Arts in Education Administration from Grand Canyon University and is part of both the Utah Advisory Council of Theatre Teachers and the Shakespeare Theatre Association.

Marcella Kearns, Director

Making her debut at the Festival, Kearns is also the artistic associate of Forward Theater Company and former education director of Milwaukee Shakespeare. She boasts teaching credits at First Stage’s Young Company, Marquette University, and University of Wisconsin-Milwaukee.

“Henry IV was not only something that was personally of great passion to me, but something that will speak to young people everywhere,” Kearns said. As a point of excitement, this is the first time this Shakespeare play has been used for the Festival’s Shakespeare in the Schools.

Kearns received a Master of Fine Arts in Acting from University of South Carolina and a Bachelor of Arts in English from Canisius University. She is a member of Actors’ Equity Association. She, too, will not go on tour with the group.     

Other members of the artistic team include Scenic Designer Benjamin Hohman, Costume Designer Diana Girtain, Props Designer Marielle Boneau, Voice and Text Coach Evelyn Carol Case, and Fight Director Amie Root.

The touring company includes:               

Darin F. Earl II, Tour Manager 

Earl II is taking on a new role, moving from actor to tour manager, having performed in last year’s Hamlet tour and Othello the year before. He was also in the 2023 season’s main stage productions of Timon of Athens and Coriolanus.

Earl II’s acting credits also include productions of Ye Bear & Ye off-Broadway, and A Midwinter’s Night Dream, Romeo and Juliet, and more at Shakespeare Theatre of New Jersey. He received a Bachelor of Arts from Rider University.

Fiona Misiura, Stage Manager 

Misiura is returning as stage manager, having filled this role for Hamlet last year. Previously at the Festival, she was stage manager for Much Ado About Nothing in 2024 and the production assistant for Jane Austen’s Emma The Musical and The Play That Goes Wrong in 2023. 

She has also worked at Urban Stages and United Solo Festival as a stage manager, and American Academy of Dramatic Arts Company as a production stage manager. Misiura received a Bachelor of Arts in Theater and History from Ramapo College of New Jersey.

Calvin Adams, Actor––Northumberland/Falstaff/Glendower

Joining the tour for the first time, Adams’ acting credits include Hamlet and A Midsummer Night’s Dream at Montana Shakespeare in the Parks, A Christmas Carol at Guthrie Theater, and Romeo and Juliet at Park Square Theatre. 

Adams received a Bachelor of Fine Arts from University of Minnesota. 

Elijah Eliakim Hernandez, Actor––Hotspur/Gadshill/Traveler/Sheriff

Hernandez performed in Twelfth Night and Romeo and Juliet at Wisconsin Shakespeare, and Hamlet and The Tempest at Tennessee Shakespeare Company. This is their debut at the Festival. 

They received a Bachelor of Arts in Theatre Performance at University of Texas, Rio Grande Valley.

Adam Koda, Actor––Lancaster/Poins/Martimer/Douglas

Koda is a returning actor, having played Hamlet in last year’s tour. Some other productions have included Romeo and Juliet at Texas Shakespeare Festival, Sense and Sensibility at Pittsburgh Playhouse, and Twelfth Night at The Playground Theatre in London.

Koda received a Bachelor of Fine Arts from Point Park University and has been in American Rust on Showtime.

For Koda, the tour is important because of his own childhood. 

“I hardly had access to arts education. I was lucky enough to have some great teachers later in life who showed me how exciting, relatable, and important Shakespeare can be today,” Koda said. “This tour is a way to make classical theater accessible for the next generation of artists.”

Kenneth Miller, Actor––King Henry IV/Peto/Traveler

Joining the tour for the first time, Miller performed in The Last White Man at Next Act Theatre, The Merry Wives of Windsor and Henry IV at Door Shakespeare, and The Merchant of Venice and Othello at Shakespeare at Notre Dame.

He boasts teaching credits at First Stage, Carthage College, Northern Illinois University, and more. Miller received a Master of Fine Arts from Northern Illinois University and a Bachelor of Fine Arts from Millikin University. 

When Miller first experienced Shakespeare, he felt like another world had opened up to him.

“I’m looking forward to being a part of introducing students to not only Shakespeare and history but new ideas and ways to see the world.” 

Lucas Prizant, Actor––Prince Hal

A first time tour member, Prizant acted in The Comedy of Errors and As You Like It at Montana Shakespeare in the Parks, Romeo and Juliet and A Midsummer Night’s Dream at Oak Park Festival Theatre, and A Christmas Carol at Richmond Shakespeare Festival. 

Television and film credits include Paper Girls, Chicago Fire, and Save Face. He has taught at Montana Shakespeare in the Parks and received a Bachelor of Fine Arts in Acting from University of Cincinnati.

Prizant is thrilled to be making his debut at the Festival.

“To be a part of the season means that I get to contribute to that high bar of excellence,” Prizant said. “The Festival has a vested interest in pulling back the curtain on the professional actor’s process. It is our hope that our presence in the schools will empower the students to try something new or further refine their performance skills.”

Anna Rock, Actor––Worcerster/Bardolph/Traveler/Carrier

This is Rock’s first time on this tour. She has been in A Midsummer Night’s Dream and The Comedy of Errors at Shakespeare and Company, The Taming of the Shrew at Texas Shakespeare Festival, and The Tempest at The Rooted Voyageurs. 

The actor boasts teaching credits from Shakespeare and Company, Story Pirates, and Lost Nation Theater. She received a Bachelor of Arts from Sarah Lawrence College.

Rock is excited to bring her experience to the tour and learn along the way. 

“I was eager to do so because I haven’t explored this part of the country and I’ve never professionally performed one of Shakespeare’s history plays,” Rock said. 

Sierra Miguela Tune, Actor––Westmorland/First Traveler/Hostess/Vernon 

Tune performed in A Midsummer Night’s Dream and Othello at TheatreWorks and The City Dog and the Prairie Dog and ROY G. BIV at Creede Repertory Theatre. This is her debut at the Festival. 

She received a Bachelor of Arts in Theatre and Dance form University of Colorado, Colorado Springs.

About the Tour

Shakespeare in the Schools brings quality Shakespeare performances and workshops to schools and communities throughout the Intermountain West, and has been doing so since 1993.

The tour offers either a 75-minute fully produced performance of the play, or an interactive 45-minute assembly designed for elementary audiences that explores elements of theatre and Shakespeare. Post-performance talkbacks and educational workshops are also included in the tour.

Funded by the State of Utah, the tour is offered free to all Utah public and public charter schools. At-cost and discounted rates are also available for private schools, public venues, and out-of-state locations.

The tour will start February 3 and run through April 18, 2025. 

There will be a free public performance in Cedar City, UT, on February 7th in Southern Utah University’s Auditorium Theatre at 7:30 pm. Entrance is free.  

“It’s an opportunity to welcome our community into this experience and share that the tour is integral to educating our future audience members,” Shelley said.  

For more information on the tour, click here.

How Shakespeare Might Have Celebrated Christmas

By Kathryn Neves, guest writer

“Some say that ever ‘gainst that season comes

Wherein our Savior’s birth is celebrated,

This bird of dawning singeth all night long;

And then, they say, no spirit dare stir abroad.

The nights are wholesome; then no planets strike,

No fairy takes, nor witch hath power to charm,

So hallowed and so gracious is that time.”

So says Marcellus in Act I, Scene 1 of William Shakespeare’s Hamlet. It’s one of the only times that the Bard ever wrote about Christmas at all; in fact, the word “Christmas” is only used three times in his entire canon—twice in Love’s Labor’s Lost and once in The Taming of the Shrew. It might seem a little out of character for Shakespeare not to tackle the subject; he was one of the English language’s most prolific writers, and was especially drawn to themes of revelry, merriment, and culture. Not to mention the fact that Christmas was a popular subject for other poets and playwrights of the era; even Shakespeare’s friend (and sometimes rival) Ben Jonson wrote a Christmas-themed masque and performed it for the royal court.

Then again, Shakespeare was probably very busy around Christmastime. One of the more popular Tudor Christmas traditions was to hold masques, pageants, and plays to celebrate the season. Shakespeare was one of England’s most popular playwrights, endorsed by both Elizabeth I and James I—which made him incredibly busy. He spent almost all his time at work in London, only occasionally returning to his home in Stratford to visit his family. So, at Christmastime, he and his plays were in high demand. A few of his works—like Love’s Labor’s Lost and Measure for Measure—even made their debut during the holiday season. All things considered, it makes sense that we don’t have a lot of Shakespearean Christmas content—he just didn’t have the time!

Still, we have a pretty good idea of how Christmas might have looked for Shakespeare. During the Tudor (and early Stuart) eras, Christmas was a raucous, wild, and boisterous time. It was a season for drinking and partying, for the upending of social norms, and for merrymaking. Unlike today’s Christmas celebrations, which are (technically) limited to the 24th and 25th of December, Christmas in Shakespeare’s time lasted more than an entire month! Beginning with Advent, which begins four Sundays before Christmas Day, the people of Tudor England would spend the month in fasting, prayer, and various religious observances—all leading up to Christmas itself. Then begins Christmastide, which lasts from sunset on Christmas Eve all the way through January 5th. Those 12 days of Christmas culminated in Twelfth Night (which shares a name with one of Shakespeare’s most popular plays); the day when Christmas revelry reached its peak.

For the Tudors, Christmas was a time to mock the established social dynamics. As part of the festivities, communities would name a “Lord of Misrule;” a peasant who took on the temporary mantle of nobility, and presided over all the revelry and merriment. Under the Lord of Misrule’s reign, the social order took a topsy turvy turn. Men sometimes dressed as women (and vice versa); peasants acted like kings; drunkenness was preferred over sobriety, and partying was more important than work. Shakespeare’s Twelfth Night is an example of the sort of social upending that happened around Christmas. Even though (outside of its title) the play never mentions the holiday, the entire show is about twisting social norms, revelry, and zany hijinks. So, in a way, it’s probably the closest we get to a Shakespearean Christmas play.

Of course, no Christmas celebration is complete without a feast—and that was even more true back in the Tudor era. Christmastime was the time of year where Elizabethan subjects ate the most lavishly. Main dishes in most households across England usually consisted of beef or goose—whereas in wealthier estates, the main course was often a boar’s head or roasted peacock. Other traditional Christmas fare included venison, brawn with mustard, olive pie, and various salads and fricassees.

Christmas desserts were very popular, too—with perhaps the most famous being mincemeat pies. Unlike in later years, where the “meat” was in name only and the pies were mostly made of fruit, Tudor mincemeat pies contained actual meat—usually shredded tongue. A traditional Christmas minced pie was made with 13 ingredients, representing Jesus and his 12 apostles. In addition to the shredded tongue, they usually contained fruit like raisins and figs; lamb, to symbolize the shepherds; and spices like cinnamon and nutmeg to represent the three wise men.

Another popular Christmas dessert was 12th Cake, which was reserved for the last day of Christmastide. This cake was traditionally made with a dried bean baked into the batter; and the party guest who found the bean in their slice was crowned king or queen of the feast. And of course, in addition to the pies and cakes and other Christmas sweets, the holiday was a time for unrestrained drinking. Wassail was very popular during this era; revelers would mull a punch or cider in a large bowl, and often dropped roasted crab apples into the mixture—which would burst open, giving the drink its “lambswool” nickname. Wassailers brought the bowl door-to-door, singing carols and offering drinks from the bowl—usually in return for gifts.

The wassailing tradition also gave rise to the custom of Christmas caroling. Plenty of the Tudor favorites are still around today; in addition to the Wassailing song, carolers sang pieces like “The Coventry Carol,” “The Boar’s Head Carol,” “Nowell, Nowell,” and “Good King Wenceslas.” Unfortunately, the tradition of caroling—and Christmas revelry in general—was outlawed not long after Shakespeare’s death. In 1647, under the Puritan regime, Christmas celebrations were banned; and, although the ban was lifted in 1660, caroling wouldn’t be popular again until the Victorian era. 

Although caroling dwindled in popularity after Shakespeare’s lifetime, seasonal songs lived on in a few of his plays. In Love’s Labor’s Lost and As You Like It, Shakespeare included two winter-themed songs, which were performed as masques inside of his plays. And, although they aren’t about Christmas, per se, they certainly capture the festivity and overall mood of the season (If you want a look at these songs, you’ll find the full lyrics below).

From feasting and revelry to the upending of social norms, Christmas in Shakespeare’s time was a vibrant, chaotic affair. And while Shakespeare never waxed poetical about the season, like some of his peers, it’s safe to assume that he enjoyed the same rowdy festivities that his neighbors did. In between writing his plays in London and performing them at the royal court, no doubt Shakespeare fit in a few parties here and there—and had as merry a Christmas as any other Tudor reveler.

Shakespeare’s Christmas Songs

“The Holly Song” (From As You Like It, Act II, Scene 7)

Blow, blow, thou winter wind.

Thou art not so unkind

As man’s ingratitude.

Thy tooth is not so keen,

Because thou art not seen,

Although thy breath be rude.

Heigh-ho, sing heigh-ho, unto the green holly.

Most friendship is feigning, most loving mere folly.

Then heigh-ho, the holly.

This life is most jolly.

Freeze, freeze, thou bitter sky,

That dost not bite so nigh

As benefits forgot.

Though thou the waters warp,

Thy sting is not so sharp

As friend remembered not.

Heigh-ho, sing heigh-ho, unto the green holly.

Most friendship is feigning, most loving mere folly.

Then heigh-ho, the holly.

This life is most jolly.

“The Winter Song” (From Love’s Labor’s Lost, Act V, Scene 2)

When icicles hang by the wall, 

And Dick the shepherd blows his nail,

And Tom bears logs into the hall,

And milk comes frozen home in pail;

When blood is nipped, and ways be foul,

Then nightly sings the staring owl

“Tu-whit to-who.” A merry note,

While greasy Joan doth keel the pot.

When all aloud the wind doth blow,

And coughing drowns the parson’s saw,

And birds sit brooding in the snow,

And Marian’s nose looks red and raw;

When roasted crabs hiss in the bowl,

Then nightly sings the staring owl

“Tu-whit to-who.” A merry note,

While greasy Joan doth keel the pot.

Utah Shakespeare Festival Honored with Common Good Award

By Kathryn Neves, guest writer

Last Tuesday, the Utah Shakespeare Festival was honored with Envision Utah’s Common Good Award, which recognized the Festival’s exceptional contributions to Utah’s communities, growth, and future. According to Envision Utah, the award celebrates “the people and organizations who are doing great things for Utah’s future.” The ceremony, held on December 17th at the Grand America Hotel in Salt Lake City, also honored Friends of the Children and the Stella H. Oaks Foundation.

Founded in 1997, Envision Utah has worked to unite community, government, and local business leaders in creating a better future for the state. According to their mission statement, they work to build “communities that are beautiful, prosperous, healthy, and neighborly for current and future residents.” Previous recipients of their Common Good Award include The Utah Women & Leadership Project, Latinos in Action, and former Governor Gary Herbert.

“We are so grateful to be honored by this award from Envision Utah,” said Executive Managing Director Michael Bahr. “This award celebrates the work that the Festival continues to do, which aligns with our mission—cultivating connections between artists and local, regional, and national communities, with a commitment to artistic and educational excellence.”

The Utah Shakespeare Festival has a long history of community and education outreach, a legacy that goes back to its founding. In the early days, Festival Founder Fred Adams made a priority of education and touring—including the Costume Cavalcade program, and various other workshops and tours. The Festival’s commitment to community outreach and education has evolved from its early days into a diverse range of programs that continue to have a profound impact on Utah residents—and students in particular.

Among these programs was the Every Brilliant Thing tour, which aimed to perform the play for free in every Utah public high school. With its 220 performances, the EBT tour reached nearly 54,000 students and community members. Another program is the annual Shakespeare Competition, which brings in thousands of students across five different states to come together for ajudicated performamces and learn stagecraft, fostering creativity and confidence. The Festival also has a significant community impact through its juvenile justice work, where actors from the company visit the local youth detention center to teach empathy and literacy through the works of Shakespeare.

Looking ahead, the upcoming Shakespeare in the Schools tour will be bringing Henry IV to high school students across the state. “It’s a coming of age story about Prince Hal, who has to choose between his responsibilities or reveling with irresponsible peers,” said Bahr. “He’s faced with tough choices that everyone can relate to. I think it will resonate strongly with our adolescent audiences. It’s another example of a classic story with great impact.”

These programs represent just one portion of the Festival’s larger commitment to enriching Utah’s cultural landscape. The impact of the Festival extends beyond its educational initiatives and into the productions that are staged each season. In 2024, the Festival’s lineup featured seven thought-provoking and powerful plays, including Silent Sky, The Mountaintop, and The Winter’s Tale. These productions, like the Festival’s outreach programs, aimed to spark important conversations and connect communities to timeless themes.

At the December 17th awards ceremony, the Festival was recognized for its community impact, and the dedication of all those who work so hard to produce all the Festival’s programs. Attending the event were members of the Festival’s production team—the behind-the-scenes artists and technicians who bring the Festival’s productions to life. “We wanted to celebrate members of the Festival that rarely attend these types of events,” said Bahr. “It was wonderful to have them at this special event, and to be recognized for their contribution in creating this work.”

The recognition from Envision Utah highlights not just the Festival’s commitment to theatrical arts, but also its important role in Utah’s cultural future. As the Festival continues to bring powerful stories to life, it remains a vital force behind the state’s artistic and educational development. With its extensive programming and productions, the Utah Shakespeare Festival proves that the arts are not just a source of entertainment—but a pathway for growth, community, and positive change.

Festival Feature: Long-time Lighting Designer Donna Ruzika Celebrates Five Decades at the Festival

By Liz Armstrong, guest writer

Lighting Designer Donna Ruzika has designed over 70 shows at the Utah Shakespeare Festival, including Henry VIII, The Taming of the Shrew, and The Winter’s Tale for the 2024 season.

Ruzika’s first season was in 1973, when her husband Tom was asked by former Associate Artistic Director Cam Harvey to design the lights. She was the box office manager that summer. Ruzika then became the first company manager the following season. As she developed her freelance career as a lighting designer, Harvey asked her to come back to Utah, and she started her longtime collaboration with the Festival as a lighting designer in 1998.  

Ruzika explains how she got involved in theatre lighting design. A love story for the times, she simultaneously not only found her husband, but her passion.

“When I was in college, I started out as a business major, but I went in search of a new major. After trying physical education and social sciences, I literally ran into this guy that suggested I try out for a production of Hair in the theatre department. He was the keyboard player and lighting designer. I was cast in the show. We dated. I found my major. When I graduated, we got married. Tom Ruzika became my wonderful husband and, in a way, my lighting mentor,” Ruzika said. 

To those that aren’t familiar with lighting design, Ruzika explains that it is what “illuminates the entire play and hopefully reflects the mood, place, and time of the play. Of course, lighting the actors is the primary goal of theatrical lighting.” 

“It also shows the audience, without their knowing it, where to look,” Ruzika said. 

She noted that this past season was challenging designing the three different plays in the Engelstad Shakespeare Theatre. The season was full of contrast in design, as Henry VIII required dark and moody historical lighting while The Taming of the Shrew needed “bright, sharp, and overt colors.” 

“Taming was great fun, the challenge was to not have the colorful set overwhelm the actors, so I needed to put a lot of light on the actors (from different directions) which made them stand out from all that color,” Ruzika explained. “There’s so much to look at, but you’re lighting the actor, because if the audience can’t see faces they’re not going to listen.”

Even The Winter’s Tale alternated between moods, with the setting of Sicilia in the first act being cold and dark and the second act’s Bohemia was a more lighthearted, fun, and fairytale-like place. 

“Director Carolyn Howarth did a wonderful job with a play that’s very hard to do. I’ve lit that play twice before and I have to say that Properties Director Ben Hohman [and team] created the best bear for this production. . . it was amazing,” Ruzika said.

For Ruzika, her favorite part of the 2024 season was working with one of the best crews she’s had in her history of seasons at the Festival. Ruzika also appreciated her assistant, Maren Taylor, who did an exceptional job.

“We laughed a lot, while getting all the work done. . . the crew was excellent. After the last preview performance, the crew surprised Maren and I with bouquets of flowers. It was a wonderful way to finish off the season,” Ruzika said, teary-eyed. 

 Reflecting on her time at the Festival, Ruzika said she returned year after year due to a combination of factors. 

“It’s a lovely place to work and Utah is a beautiful state,” Ruzika said. “My former assistant (for many years) Michael Pasquini and I would go on ‘dirt road adventures’ each Sunday (our day off), always exploring a new road, not knowing where we would end up.  It was great fun and we saw a big chunk of Southern Utah.”

In addition to her adventures exploring southern Utah, Ruzika returned to the Festival because of the positive experiences she had designing. 

“Designing at the Festival is artistically challenging and satisfying,” Ruzika said. “I got to work with the best directors and crews, and that always makes designing lighting a joyful experience.”

She said one of the most memorable and challenging shows she ever worked on at the Festival was A Midsummer Night’s Dream (2011) for its 50th anniversary season, directed by Festival Founder Fred C. Adams. Due to an enormous tree, three-quarters of Ruzika’s lighting was blocked. 

“Fred’s beautiful tree, filled with three colors of tiny lights, was the most challenging, so I basically had to light the actors with only side light, down light, and front light,” Ruzika said.  

Another project that Ruzika and her husband were called in to help with was designing the Festival’s holiday lighting display on the grounds of the Beverley Center. In November 2020, they joined forces with Festival technicians and production staff to create a display that dazzles with over 100,000 lights, wreaths, icicles, and other decorations. Holiday revelers are invited to stroll through the festive grounds.

Ruzika described her time at the Festival as “a joyful adventure” and is very glad Cam Harvey convinced her to come to Utah all those years ago.

Festival Props Team Celebrates 20th Annual Holiday Light Display

Festival husband and wife duo Ben Hohman and Marielle Boneau celebrate the 20th anniversary of their popular holiday display this year. For two decades Properties Director Hohman and Assistant Properties Director Boneau have decorated their house at 26 North 1150 West in Cedar City. The display lights up every night from 5:30-10 pm and will run until December 31st, weather permitting. 

The Display

Not only do they love to share the joy of the season with the community but the display has raised over $36,000 for Make-A-Wish® Foundation of Utah in the 19 years it’s been running. In addition to receiving donations from the community, the couple also donates the value of their December power bill to the organization. 

And, as you would imagine, a lot of power is needed. They had an extra 120 amps of electricity installed in the back of the house just for the Christmas lights, which is four times the amount used inside. 

2,000 more lights have been added this year, bringing the total to around 70,000 lights, which are choreographed to dance with 20 Christmas songs. The display also includes 79 plastic blow-molds, 51 lighted wire-frame sculptures, 60 inflatables, and a homemade nine-foot wreath.

Visitors can walk down Candy Cane Lane, taking in the light display in both the front and back yards. The display includes Santa’s Flight School, where reindeer are learning to fly, the Christmas Zoo, Winter Disco Land, Santa’s Workshop, Gingerbread Land, and more. 

The Beginning 

Nearly twenty years ago Hohman had the idea to collect donations. Each year he helps with the Make-A-Wish Christmas party and is a trained Wish Granter, so his involvement with the organization goes back a long time.

That first year they were encouraged to become more involved with the organization after their friend Heather was impressed with their decorating, and so the couple decided to start collecting donations at their light display.

The “Why” 

When asked why the couple continues to put in over 700 hours each season to put up and take down the display, Hohman and Boneau said they do it for the community. 

“The community loves it,” Boneau said. “It’s become a tradition for a lot of families in town and is included on the community list of lights displays not to be missed.”

“It started small, but grew quickly,” Hohman explained. “I tell everyone that I do it for Make-A-Wish and the children, but anyone who knows me, knows I do it because I enjoy it. I love the holidays.” 

Boneau joked that because the display is for a good cause, it “legitimizes his Christmas craziness.” She comments, “Call it ‘crazy;’ we call it ‘passionate Christmas cheer!’” Either way, the Utah Shakespeare Festival is proud that this Props team continues to go above and beyond with the display.

Donations can be made at the display or at their website. While on this page, check out video footage of the past 15 years of the display. Donations are also accepted through Venmo using @benslightdisplay.

Give the Gift of Live Theatre This Holiday! 

Looking for the perfect gift for ALL your loved ones? We’ve got a great idea: give the gift of live theatre this season!

It’s not too early to purchase tickets for the 2025 season of the Utah Shakespeare Festival. The play lineup for the 64th season includes Shakespeare’s Macbeth, Antony and Cleopatra, and As You Like It, along with the Tony Award-winning musical A Gentleman’s Guide to Love and Murder, the charming Victorian comedy The Importance of Being Earnest, and the touching and humorous Steel Magnolias. 

You are such a gift to us––thank you for your support of the Festival! So here’s our gift to you: gift ideas, deals, and discounts to another incredible season of telling stories and making memories! 

To purchase tickets and take advantage of these discounts and educational offerings, and for more information, call the Festival Ticket Office at 800-PLAYTIX, visit bard.org/tickets, or email guestservices@bard.org for inquiries or assistance during reduced holiday season hours at the ticket office.

FOR ANYONE

Gift Certificates can be purchased from the ticket office in any amount. These are available for main stage productions as well as backstage tours and Repertory Magic. These make the perfect stocking stuffers!

The Play More discount is also a great way to give tickets to the most shows. Buy tickets to five or six shows and receive $5 off each ticket.

FOR STUDENTS AND CHILDREN

The Student Access Pass is an amazing deal and available for only $40. It allows students one ticket per performance for an unlimited number of shows throughout the season and is extremely popular.

This steal of a deal isn’t just for Southern Utah University students here in Cedar City, but for students of any kind and any location. Other higher ed schools, high schools, middle schools, elementary schools, and home-schooled students qualify for the deal. 

The pass is available for purchase by phone or in person, but not online. During the season, it can only be redeemed for one ticket per student per show on the day of the performance, but is good for as many performances as you wish during the season. The tickets are subject to availability and exclude premier seating. The pass can’t be refunded or exchanged, and it expires October 4, 2025. 

For young thespians, don’t miss out on our amazing summer youth camps! Imagine their faces when they find out they’re going to Summer Playmakers Camp (ages 5-17) from June 9-21, Junior Actor Training (ages 12-14) from July 14-19, or Actor Training (ages 15-17) from July 21-26. 

FOR LOCALS

If you’re local, the perfect gift for any theatre lover is the Iron County Pass. Iron County residents may purchase it for $200, which may be redeemed for six admissions throughout the 2025 season. Proof of residency and an ID is required when purchasing, and residents are limited to two passes per resident. This pass expires October 4, 2025 and excludes premier orchestra seating. 

FOR EDUCATORS AND ADULTS

Teaching artists can be arranged to visit Utah public and charter schools to lead free workshops and events. Request a workshop from our PlayTeam here.

Give the gift of learning this season. Adult courses are offered throughout the season, where participants receive Southern Utah University professional development credit for attendance at plays, seminars, and orientations. Courses include: Teaching Shakespeare and Tech for Teachers.

FOR SUU ALUMNI

For those who graduated from Southern Utah University, the gift of an Alumni Days package is the way to go! Along with discounted tickets for shows June 26-28, 2025, there is also a backstage tour, exclusive cast seminars, a dinner, and more included. It’s the perfect getaway for alumni and their families and friends. 

FOR SCHOOL GROUPS

Need a really unique gift for students or teachers in your life? Gift an experience for schools and education groups of 12 or more to enjoy a professional play, orientation, and other experiences with the Festival’s Shakespearience program. This special offer is available for any matinee Monday through Friday, August 1–September 26, 2025. 

Shakespearience excludes premier seating and is subject to availability. Pricing is free or reduced per person for Utah public/public charter school groups, and $15 per person for private, parochial, or out-of-state school groups; residential treatment centers; and homeschool/co-op groups of 12 or more students. 

OTHER DISCOUNTS AND OFFERS

For groups of 12 or more, a discount starting at $4 per ticket is available. For groups of 20 or more, enjoy a discount of $10 per ticket.

For those that are 62 years and older, AAA members and members of the military, a $4 discount per ticket to any performance is available. 

For those with sensory or accessibility needs, options such as Sensory-Friendly performances, live American Sign Language Interpretation services, and captioned performances are offered as well.

Call the ticket office at 800-PLAYTIX or visit bard.org for more information. During this holiday season, our ticket office will have reduced phone hours. To ensure we can assist you promptly, we recommend emailing guestservices@bard.org for any inquiries or assistance.

A Victorian Christmas

By Kathryn Neves, guest writer

When you picture Christmas, there’s a good chance you’re imagining something straight out of Victorian England. Whether it’s dazzling Christmas trees, wandering carolers, or festive feasts, many of our favorite holiday traditions were started by the Victorians during the mid to late nineteenth century. They shaped Christmas into the celebration of family and festive cheer we know today.

The Victorian era also gave us some unforgettable stories and characters—which the Utah Shakespeare Festival will bring to life next year. Oscar Wilde’s The Importance of Being Earnest and Lutvak and Freedman’s A Gentleman’s Guide to Love and Murder will both take the stage in the Randall L. Jones Theatre next year. Earnest, first performed in 1895, is brimming with humor and sharp social commentary, and it’s always been an audience favorite. Gentleman’s Guide is a Tony Award-winning musical set during the Victorian age (okay, okay—it’s set six years after Queen Victoria’s death. But close enough!) that will have audiences in stitches all season long. We can’t wait to share these stories with you next season!

Of course, that’s still six months away. So, while we’re waiting, let’s step a century or two into the past and take a look at how Victorians celebrated the holiday. Here are six of our favorite Victorian Christmas traditions.

Decking the Halls

Nothing says Christmas like an evergreen tree in your living room, all decked out with lights and colorful baubles. We have Queen Victoria’s husband, Prince Albert, to thank for that! Originally born in Germany, he brought some of his homeland’s holiday customs to the British royal family—and Britain at large. The Christmas tree tradition became even more popular after 1848, when The Illustrated London News published a story about the royal Christmas trees at Windsor Castle, along with an illustration of Victoria and her family gathered around the tree. The trend caught on like wildfire, and the rest is history.

Of course, Christmas trees weren’t the only greenery they used in their holiday decor. Amid the rapid social changes brought about by the Industrial Revolution, many Victorians wanted to reconnect with nature, bringing the outdoors inside to celebrate the season. Holly and ivy adorned mantels and doorways, as nods to centuries-old pagan traditions. The Victorians also created a romantic custom that endures to this day—kissing under the mistletoe!

Season’s Greetings

The Victorian era was also responsible for another classic seasonal tradition: the Christmas card! While the occasional note or card was sent in earlier centuries, it wasn’t until after the Industrial Revolution that mass printing and card production became possible. The very first commercial Christmas card was designed in London in 1843 by John Callcott Horsley, and featured a festive family drinking a Christmas toast. Thanks to advances in color and printing technology, Christmas cards quickly became affordable and popular. With designs ranging from the sentimental to the silly, by the end of the 19th century Christmas cards had become a cherished holiday tradition.

A Taste of Christmas

For the Victorians, Christmas was a time for indulgence, especially at the dinner table. With a growing middle class and relative economic prosperity, holiday feasts were the highlight of the season. We see this immortalized in Charles Dickens’ classic A Christmas Carol, where Scrooge’s gift of a turkey to the Cratchits symbolizes his transformed spirit and newfound Christmas cheer. Turkey wasn’t always the centerpiece of Christmas dinner, though. For most Victorians, goose was the bird of choice.

No Christmas feast would be complete without something sweet, and A Christmas Carol showcases another Victorian icon: the Christmas pudding. This rich dessert was made with suet, dried fruits, and spices. After hours of preparation and steaming, it was doused in brandy, set on fire, and brought to the table (often with a little holly garnish). Other festive treats included mincemeat pies (which originally contained actual meat!), gingerbread, sugar plums, and figgy pudding.

Here We Come A-Caroling

The tradition of singing Christmas carols dates back at least to the Middle Ages––carols and hymns have always been one of the most popular ways to celebrate the festive season. However, during the mid 1600s, the Puritans took control; and under Oliver Cromwell’s rule, Christmas celebrations were banned—along with the singing of carols. The tradition of Christmas caroling fell dormant for many years. 

It was the Victorian era that brought it back. During Victoria’s reign, Christmas caroling became a popular seasonal pastime, and one of the most iconic elements of any holiday celebration. They mass-printed Christmas music books, collecting old and new carols alike, allowing for the spread of Christmas music across the country. Some of the most beloved carols of the era are still favorites today, including “God Rest Ye Merry Gentlemen,” “The First Noel,” “Hark! The Herald Angels Sing,” “It Came Upon the Midnight Clear,” and “Good King Wenceslas.”

Here Comes Santa Claus

Santa Claus, as we know him today, owes much of his persona to the Victorian age. The Victorians blended two different traditions together: Sinter Klaas (the Dutch version of St. Nicholas known for his gift-giving) and Father Christmas (an English figure, traditionally dressed in green, who spread festive merriment). As Victorian sensibilities shifted, so did Father Christmas. He adopted the look and modus operandi of Sinter Klaas, becoming a symbol of love and generosity. No longer just a season for feasting and revelry, the Victorian Christmas—and Santa Claus—became a celebration of something a lot more meaningful.

The Spirit of Giving

For centuries, Christmas was a time of celebration and merriment, but it wasn’t necessarily linked to the values of charity and generosity that we know it for today. However, all that changed thanks to the Victorians—well, one Victorian in particular. In 1843, Charles Dickens published A Christmas Carol: a scathing indictment of the way Victorian society treated the poor and the hungry. The story advocates for charity and goodwill; at the heart of the book is Scrooge’s transformation from miser to philanthropist. Dickens’ message resonated deeply with the Victorians, encouraging a shift in how Christmas was celebrated—a time not just for revelry, but for humanitarian efforts and generosity.

Conclusion

The Victorian era certainly shaped Christmas into the holiday we know today: a celebration centered on family, generosity, and joy. From the Christmas trees sparkling inside homes to the songs we hear on the radio or stream on our devices, we owe a lot of our holiday traditions to Queen Victoria and her reign. As we observe these timeless customs, we’re reminded of the joy that comes from gathering together with loved ones. From all of us here at the Utah Shakespeare Festival, we wish you a Merry Christmas and a joyful holiday season, however you choose to celebrate.