How Shakespeare Might Have Celebrated Christmas

By Katie 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 Katie 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 Katie Neves, guest writer

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

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

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

Decking the Halls

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

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

Season’s Greetings

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

A Taste of Christmas

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

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

Here We Come A-Caroling

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

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

Here Comes Santa Claus

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

The Spirit of Giving

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

Conclusion

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

Remembering Robert Cohen: Director, Educator, Writer Extraordinaire

Robert Cohen, who directed numerous times at the Festival between 1985 and 2008, passed away on November 15, 2024. He was beloved and revered by his Festival collegues who remember him an artist and master teacher, inspirational, enthusiastic, and beyond compare. 

Born in Washington, D.C., Cohen set foot on his path towards his theatrical career as a camp counselor who “needing to supply the nightly entertainment for a crowd of smart-alecky Jewish kids with high expectations”, produced and directed skits “sometimes playing in everything from the heights of Saint Joan to the very bottom of the skit barrel.” It was said he “took to the stage like a spaniel to water” (L.A. Times obituary). 

He attended Dartmouth College and UC Berkeley, and went on to receive his Doctor of Fine Arts from the Yale School of Drama. He taught for five decades at UC Irvine where he was the founding chair of the drama department and directed over a hundred productions at UCI, Utah Shakes, Colorado Shakespeare Festival, and other theatres all over the country and world. 

Cohen was also a playwright, drama critic, translator, acting theorist, and prominent author. He gave lectures, guest acting classes, workshops, and conferences around the world. He published eleven works, with several in multiple editions, including the double-volume Acting One/Acting Two, Acting Professionally, Acting in Shakespeare, Creative Play Direction, Working Together in Theatre, and Acting Power: the 21st Century Edition. He also published translations of classical plays, two anthologies of world-famous plays, nine plays of his own, thirty-five journal essays, four hundred-plus theatre reviews, and a personal memoir entitled Falling Into Theatre – and Finding Myself. (UCI School of the Arts website and UCI Library).

Executive Managing Director Michael Bahr praised him, saying, “Bob Cohen literally wrote ‘the book’ on acting and how to teach it, perhaps the most authoritative and popular texts for acting classes. As a theatre educator, I utilized his books to improve my classroom and inspire my own techniques and students.”

Cohen directed multiple productions here at the Festival, including Antony and Cleopatra (1985), The Winter’s Tale (1989), Macbeth (1996), King Lear (1999), and The School for Wives (2008).

Actor Betsy Mugavero who played Agnes in The School for Wives and was a student of Cohen’s expressed her gratitude for him. “I am so fortunate to have been taught and directed by the great Robert Cohen. His coaching and thoughtful responses to my efforts transformed me as an actor and theater professional. He gave me permission to be me through the prism of classical work and set my life on a course of no regrets.”

Bahr added, “His productions, in the mid 80’s, at the Festival were foundational to me as a student. I was so happy when he returned for many years in the 90’s and later in 2008. I have personally been blessed and learned from his example. What an honor it has been to the Festival to have Robert Cohen artistry as a part of our legacy.”

Thank You, Iron County: Celebrating USF’s Best Of Iron County Awards

By Katie Neves, guest writer

In this season of giving thanks, we here at the Festival want to express how grateful we are for our incredible southern Utah community. It is because of you—our patrons, volunteers, and friends—that we are able to share the magic of live theatre year after year.

This year, we are honored to have received three awards in the Best of Iron County contest. Thanks to your votes and unwavering support, we were voted:

• Gold for Best Live Theatre
• Silver for Best Annual Event/Festival
• Silver for Best Place to Volunteer

These awards are a reflection of the deep ties we have to our community. Cedar City, along with the rest of Iron County, is deeply embedded into our identity and mission. We are dedicated to bringing the highest quality theatre to our friends and neighbors here in southern Utah.

Being recognized as the Best Live Theatre in Iron County reaffirms our mission to bring timeless stories to life and connect with our audiences. The silver for Best Annual Event/Festival is a testament to the magic and joy that fills our stages each season. And silver for Best Place to Volunteer highlights the generosity of those who give their time and talents to make the Festival a welcoming, vibrant part of Iron County.

The Utah Shakespeare Festival has been a part of this community for over sixty years. From our humble beginnings as a college professor and his students acting on plywood stages, to our current status as a Tony Award-winning theatrical institution, we owe our success to all of you. Whether you’ve attended a show, worked behind the scenes, or shared your love of the Festival with others, you’ve played a vital role in shaping who we are.

This Thanksgiving, we want to express our deepest gratitude to all our supporters. Whether you’ve enjoyed Shakespeare under the stars, tasted one of our delicious tarts, walked around the grounds of the Beverley Center, or cast a vote in the Best of Iron County contest, you’ve helped ensure that the Festival remains a cultural centerpiece in our community.

We cannot wait to welcome you back next year! Get ready for another unforgettable season of stories, connection, and magic. From the dark brilliance of Macbeth to the laughter-through-tears wonder of Steel Magnolias (and so much more!), there’s something for everyone to enjoy. Together, we will continue to make Iron County a place where art and community thrive.

Thank you for being a part of the Utah Shakespeare Festival family. Wishing you a joyful and meaningful Thanksgiving filled with love, laughter, and plenty of reasons to give thanks.

Believe In One Million: Gratitude for Your Donations

By Liz Armstrong, guest writer

Last year, the Utah Shakespeare Festival launched the Believe campaign to inspire connectivity, asking beloved patrons to believe in the power of live theatre. This year, we have been so amazed at our patrons’ and friends’ generosity that during this Thanksgiving season, we want to express our deep gratitude for all the love that has been shown to the Festival.

But we need more help! Development Associate Emily Cacho expresses a heartfelt thank you and explains that the idea for the Believe campaign hearkens back to the beloved moment in Peter Pan when the audience is asked to believe, in order to save Tinkerbell: the Festival is asking patrons to believe in hope and good and the magic it brings.  

“Post-pandemic and after [Festival Founder] Fred C. Adams’ passing, we thought it was really important to still promote hope and a strong connection with theatre,” Cacho said. “That belief can help us thrive as an arts organization.” 

For year two of the three-year campaign, the Festival launched “Believe In One Million.” As a nonprofit organization, the Festival relies heavily on donations from individuals, businesses, and corporations, as well as grants from organizations and government. Cacho explained that to emphasize the importance of giving, this campaign was launched to inspire patrons to help the Festival reach its goal of one million dollars in individual giving.

“Believe In One Million is the goal for individual giving this year,” Cacho said. “We usually get around $850,000 each year from individuals, and we wanted to push the marker further.” 

Monetary donations can be made directly through bard.org. Additionally, there are other ways to give. These options include gifts of appreciated property, insurance and retirement plans, corporate and matching gifts, and bequests. Many might not know that the Festival is a (501)(c)(3) non-profit organization, and donations can be tax write-offs. If you plan to make a donation, the Festival’s non-profit tax ID number is: 87-6000481.

For gifts of stock and real estate, contact Cacho at 435-586-1970 or email emily@bard.org. 

“Even one dollar helps us meet our goal, but we also take in-kind donations,” Cacho explained. “If you have old clothes or sewing machines, you may be able to donate them to the Costume Shop. The Props Shop may take your old furniture, for example. We can give people receipts for taxes for those in-kind donations as well.”

For Cacho, this goal extends beyond her role as Development Associate. At just eleven years old, Cacho began traveling from Wyoming with her grandparents to watch plays at the Festival. 

“I love working in theatre. It’s been my passion since I was little. I fell in love with the Festival as an organization,” Cacho said. “It was a very formative time for me in my life, and it’s the reason I moved to Cedar City and went to Southern Utah University and got my job at the Festival.”

For Cacho, the difference between the Festival and other arts organizations is its connectivity with patrons and providing an amazing Festival Experience for them.

“The Festival is very connected to our audiences, and there’s a different sort of passion here versus other theaters,” Cacho said. “I want this organization to last a long time, and I think the Believe campaign can help us do that.” 

Please consider making a donation to the Believe in One Million campaign today. Patrons giving at certain levels can also enjoy special benefits and discounts. For more information, visit bard.org/about/give/individual/.

“We love and appreciate all our supporters,” Cacho said gratefully. “It’s amazing how generous people are, but we do need that extra push of individual giving as a nonprofit organization to continue thriving.”

*$800,750 raised in individual giving as of November 21, 2024.

Extreme Makeover–Windsor Court Edition

Updating a Home-Away-From-Home for Company Members

By Liz Armstrong, guest writer

The Utah Shakespeare Festival serves as a place where actors and patrons alike can believe in the power of live theatre set among the stunning scenery of southern Utah. For many, the Festival is more than just a place of inspiration and entertainment, but home.

However, the productions don’t run year-round, thus requiring seasonal company members to travel from all over the country to their “artistic home.” So where do they stay for the three to six months of build, rehearsal, and performances? Most company members—including actors, designers, lighting and sound technicians, prop artisans, costumers, wardrobe and run crew, and more—stay in the Windsor Court apartments, located right on Festival grounds.

Although our Company Management team does a spectacular job of making sure that these apartments are clean and comfortable for the company, let’s be honest…they are in need of a facelift.

And they aren’t just getting a facelift, but an extreme makeover––Windsor Court Edition!

Company Manager Karin Edwards is thrilled about the exciting project. Working with the Cedar City Chamber of Commerce, the 35 apartments will get makeovers from community members, organizations, and businesses starting this January.

“Windsor Court has been a longstanding part of our Festival, and it’s where our talented artists, technicians, and production staff live, unwind, and recharge after long days of bringing Shakespeare and others to life on stage,” Edwards said.

“However, over the years, the apartments at Windsor Court have aged, and the building now faces challenges that no longer reflect the world-class quality of the work our team creates. This project is a chance to honor their dedication by giving them a living space that truly supports their needs.”

But it’s more than just a home improvement project. Edwards noted that this is an opportunity for the Festival and community members to work together to transform Windsor Court into a beautiful, welcoming home for the artists and staff that bring the magic of professional live theater to Cedar City.

“Through this collaboration, we’re growing a sense of community where everyone can feel part of the art. By working together on Windsor Court, we’re bridging the Festival and the town in a meaningful way,” Edwards said.

“When our artists, craftsmen, and technicians feel valued and comfortable, they bring even more energy and creativity to their work, and that spirit ripples out to everyone who experiences our shows.”

For patrons interested in participating, find out more by reading these Frequently Asked Questions first. Then sign up for one or more apartments to makeover and put your design skills to work. There is no fee to enter or participate in the competition. Sign ups will continue through December 14.

Various local businesses and organizations are stepping in to contribute to this project. Habitat for Humanity and the ReStore are giving every makeover team $50 to spend at the ReStore in Cedar City (124 N. Main). They are also adopting one of the 35 Windsor Court apartments so they can better answer questions and help other makeover participants who may come in to their store. ReStore has paint, flooring, light fixtures, furniture, and more.

Kustom Containers in Cedar City is also donating shipping containers onsite for participants who need a place to store items removed from apartments while renovations are happening.

Don’t have the time or ability to renovate an apartment? You can still help by donating monetarily to the overall project or sponsoring a team. You can also donate your time and skilled labor. There are opportunities to do things from flooring and countertops to simply painting and decorating.

Once the makeovers are complete, there will be a multitude of awards to celebrate the effort and creativity put into the project. These awards may include Best Transformation, Most Creative, Most Sustainable, and more. Winners will be recognized with a plaque in the apartment. If you are a sponsor, the Cedar City Chamber of Commerce will list your name or business.

Festival Facilities Director Michael Stewart and his team have begun inspections at the Windsor Court apartment, preparing them for the renovations ahead.

Renovation will run from January 20 through February 28, 2025, finishing in time for our company members to enjoy the updated spaces through the 64th season in 2025.

This community-led makeover will not only strengthen the Festival’s bond with the community, but express appreciation for seasonal employees.

“This project isn’t about just updating a building— it’s about investing in the people who make the Festival what it is and welcoming them with open arms,” Edwards said.

For more information on the logistics of the project, contact Edwards at companymanager@bard.org or or 453-586-7882.