News From the Festival
Remembering Robert Cohen: Director, Educator, Writer Extraordinaire
Robert Cohen, who directed numerous times at the Festival between 1985 and 2008, passed away on November 15, 2024. He was beloved and revered by his Festival collegues who remember him an artist and master teacher, inspirational, enthusiastic, and beyond compare.
Born in Washington, D.C., Cohen set foot on his path towards his theatrical career as a camp counselor who “needing to supply the nightly entertainment for a crowd of smart-alecky Jewish kids with high expectations”, produced and directed skits “sometimes playing in everything from the heights of Saint Joan to the very bottom of the skit barrel.” It was said he “took to the stage like a spaniel to water” (L.A. Times obituary).
He attended Dartmouth College and UC Berkeley, and went on to receive his Doctor of Fine Arts from the Yale School of Drama. He taught for five decades at UC Irvine where he was the founding chair of the drama department and directed over a hundred productions at UCI, Utah Shakes, Colorado Shakespeare Festival, and other theatres all over the country and world.
Cohen was also a playwright, drama critic, translator, acting theorist, and prominent author. He gave lectures, guest acting classes, workshops, and conferences around the world. He published eleven works, with several in multiple editions, including the double-volume Acting One/Acting Two, Acting Professionally, Acting in Shakespeare, Creative Play Direction, Working Together in Theatre, and Acting Power: the 21st Century Edition. He also published translations of classical plays, two anthologies of world-famous plays, nine plays of his own, thirty-five journal essays, four hundred-plus theatre reviews, and a personal memoir entitled Falling Into Theatre – and Finding Myself. (UCI School of the Arts website and UCI Library).
Executive Managing Director Michael Bahr praised him, saying, “Bob Cohen literally wrote ‘the book’ on acting and how to teach it, perhaps the most authoritative and popular texts for acting classes. As a theatre educator, I utilized his books to improve my classroom and inspire my own techniques and students.”
Cohen directed multiple productions here at the Festival, including Antony and Cleopatra (1985), The Winter’s Tale (1989), Macbeth (1996), King Lear (1999), and The School for Wives (2008).
Actor Betsy Mugavero who played Agnes in The School for Wives and was a student of Cohen’s expressed her gratitude for him. “I am so fortunate to have been taught and directed by the great Robert Cohen. His coaching and thoughtful responses to my efforts transformed me as an actor and theater professional. He gave me permission to be me through the prism of classical work and set my life on a course of no regrets.”
Bahr added, “His productions, in the mid 80’s, at the Festival were foundational to me as a student. I was so happy when he returned for many years in the 90’s and later in 2008. I have personally been blessed and learned from his example. What an honor it has been to the Festival to have Robert Cohen artistry as a part of our legacy.”
Thank You, Iron County: Celebrating USF’s Best Of Iron County Awards
By Katie Neves, guest writer
In this season of giving thanks, we here at the Festival want to express how grateful we are for our incredible southern Utah community. It is because of you—our patrons, volunteers, and friends—that we are able to share the magic of live theatre year after year.
This year, we are honored to have received three awards in the Best of Iron County contest. Thanks to your votes and unwavering support, we were voted:
- Gold for Best Live Theatre
- Silver for Best Annual Event/Festival
- Silver for Best Place to Volunteer
These awards are a reflection of the deep ties we have to our community. Cedar City, along with the rest of Iron County, is deeply embedded into our identity and mission. We are dedicated to bringing the highest quality theatre to our friends and neighbors here in southern Utah.
Being recognized as the Best Live Theatre in Iron County reaffirms our mission to bring timeless stories to life and connect with our audiences. The silver for Best Annual Event/Festival is a testament to the magic and joy that fills our stages each season. And silver for Best Place to Volunteer highlights the generosity of those who give their time and talents to make the Festival a welcoming, vibrant part of Iron County.
The Utah Shakespeare Festival has been a part of this community for over sixty years. From our humble beginnings as a college professor and his students acting on plywood stages, to our current status as a Tony Award-winning theatrical institution, we owe our success to all of you. Whether you’ve attended a show, worked behind the scenes, or shared your love of the Festival with others, you’ve played a vital role in shaping who we are.
This Thanksgiving, we want to express our deepest gratitude to all our supporters. Whether you’ve enjoyed Shakespeare under the stars, tasted one of our delicious tarts, walked around the grounds of the Beverley Center, or cast a vote in the Best of Iron County contest, you’ve helped ensure that the Festival remains a cultural centerpiece in our community.
We cannot wait to welcome you back next year! Get ready for another unforgettable season of stories, connection, and magic. From the dark brilliance of Macbeth to the laughter-through-tears wonder of Steel Magnolias (and so much more!), there’s something for everyone to enjoy. Together, we will continue to make Iron County a place where art and community thrive.
Thank you for being a part of the Utah Shakespeare Festival family. Wishing you a joyful and meaningful Thanksgiving filled with love, laughter, and plenty of reasons to give thanks.
Believe In One Million: Gratitude for Your Donations
By Liz Armstrong, guest writer
Last year, the Utah Shakespeare Festival launched the Believe campaign to inspire connectivity, asking beloved patrons to believe in the power of live theatre. This year, we have been so amazed at our patrons’ and friends’ generosity that during this Thanksgiving season, we want to express our deep gratitude for all the love that has been shown to the Festival.
But we need more help! Development Associate Emily Cacho expresses a heartfelt thank you and explains that the idea for the Believe campaign hearkens back to the beloved moment in Peter Pan when the audience is asked to believe, in order to save Tinkerbell: the Festival is asking patrons to believe in hope and good and the magic it brings.
“Post-pandemic and after [Festival Founder] Fred C. Adams’ passing, we thought it was really important to still promote hope and a strong connection with theatre,” Cacho said. “That belief can help us thrive as an arts organization.”
For year two of the three-year campaign, the Festival launched “Believe In One Million.” As a nonprofit organization, the Festival relies heavily on donations from individuals, businesses, and corporations, as well as grants from organizations and government. Cacho explained that to emphasize the importance of giving, this campaign was launched to inspire patrons to help the Festival reach its goal of one million dollars in individual giving.
“Believe In One Million is the goal for individual giving this year,” Cacho said. “We usually get around $850,000 each year from individuals, and we wanted to push the marker further.”
Monetary donations can be made directly through bard.org. Additionally, there are other ways to give. These options include gifts of appreciated property, insurance and retirement plans, corporate and matching gifts, and bequests. Many might not know that the Festival is a (501)(c)(3) non-profit organization, and donations can be tax write-offs. If you plan to make a donation, the Festival’s non-profit tax ID number is: 87-6000481.
For gifts of stock and real estate, contact Cacho at 435-586-1970 or email emily@bard.org.
“Even one dollar helps us meet our goal, but we also take in-kind donations,” Cacho explained. “If you have old clothes or sewing machines, you may be able to donate them to the Costume Shop. The Props Shop may take your old furniture, for example. We can give people receipts for taxes for those in-kind donations as well.”
For Cacho, this goal extends beyond her role as Development Associate. At just eleven years old, Cacho began traveling from Wyoming with her grandparents to watch plays at the Festival.
“I love working in theatre. It’s been my passion since I was little. I fell in love with the Festival as an organization,” Cacho said. “It was a very formative time for me in my life, and it’s the reason I moved to Cedar City and went to Southern Utah University and got my job at the Festival.”
For Cacho, the difference between the Festival and other arts organizations is its connectivity with patrons and providing an amazing Festival Experience for them.
“The Festival is very connected to our audiences, and there’s a different sort of passion here versus other theaters,” Cacho said. “I want this organization to last a long time, and I think the Believe campaign can help us do that.”
Please consider making a donation to the Believe in One Million campaign today. Patrons giving at certain levels can also enjoy special benefits and discounts. For more information, visit bard.org/about/give/individual/.
“We love and appreciate all our supporters,” Cacho said gratefully. “It’s amazing how generous people are, but we do need that extra push of individual giving as a nonprofit organization to continue thriving.”
*$800,750 raised in individual giving as of November 21, 2024.
Extreme Makeover–Windsor Court Edition
Updating a Home-Away-From-Home for Company Members
By Liz Armstrong, guest writer
The Utah Shakespeare Festival serves as a place where actors and patrons alike can believe in the power of live theatre set among the stunning scenery of southern Utah. For many, the Festival is more than just a place of inspiration and entertainment, but home.
However, the productions don’t run year-round, thus requiring seasonal company members to travel from all over the country to their “artistic home.” So where do they stay for the three to six months of build, rehearsal, and performances? Most company members—including actors, designers, lighting and sound technicians, prop artisans, costumers, wardrobe and run crew, and more—stay in the Windsor Court apartments, located right on Festival grounds.
Although our Company Management team does a spectacular job of making sure that these apartments are clean and comfortable for the company, let’s be honest…they are in need of a facelift.
And they aren’t just getting a facelift, but an extreme makeover––Windsor Court Edition!
Company Manager Karin Edwards is thrilled about the exciting project. Working with the Cedar City Chamber of Commerce, the 35 apartments will get makeovers from community members, organizations, and businesses starting this January.
“Windsor Court has been a longstanding part of our Festival, and it’s where our talented artists, technicians, and production staff live, unwind, and recharge after long days of bringing Shakespeare and others to life on stage,” Edwards said.
“However, over the years, the apartments at Windsor Court have aged, and the building now faces challenges that no longer reflect the world-class quality of the work our team creates. This project is a chance to honor their dedication by giving them a living space that truly supports their needs.”
But it’s more than just a home improvement project. Edwards noted that this is an opportunity for the Festival and community members to work together to transform Windsor Court into a beautiful, welcoming home for the artists and staff that bring the magic of professional live theater to Cedar City.
“Through this collaboration, we’re growing a sense of community where everyone can feel part of the art. By working together on Windsor Court, we’re bridging the Festival and the town in a meaningful way,” Edwards said.
“When our artists, craftsmen, and technicians feel valued and comfortable, they bring even more energy and creativity to their work, and that spirit ripples out to everyone who experiences our shows.”
For patrons interested in participating, find out more by reading these Frequently Asked Questions first. Then sign up for one or more apartments to makeover and put your design skills to work. There is no fee to enter or participate in the competition. Sign ups will continue through December 14.
Various local businesses and organizations are stepping in to contribute to this project. Habitat for Humanity and the ReStore are giving every makeover team $50 to spend at the ReStore in Cedar City (124 N. Main). They are also adopting one of the 35 Windsor Court apartments so they can better answer questions and help other makeover participants who may come in to their store. ReStore has paint, flooring, light fixtures, furniture, and more.
Kustom Containers in Cedar City is also donating shipping containers onsite for participants who need a place to store items removed from apartments while renovations are happening.
Don’t have the time or ability to renovate an apartment? You can still help by donating monetarily to the overall project or sponsoring a team. You can also donate your time and skilled labor. There are opportunities to do things from flooring and countertops to simply painting and decorating.
Once the makeovers are complete, there will be a multitude of awards to celebrate the effort and creativity put into the project. These awards may include Best Transformation, Most Creative, Most Sustainable, and more. Winners will be recognized with a plaque in the apartment. If you are a sponsor, the Cedar City Chamber of Commerce will list your name or business.
Festival Facilities Director Michael Stewart and his team have begun inspections at the Windsor Court apartment, preparing them for the renovations ahead.
Renovation will run from January 20 through February 28, 2025, finishing in time for our company members to enjoy the updated spaces through the 64th season in 2025.
This community-led makeover will not only strengthen the Festival’s bond with the community, but express appreciation for seasonal employees.
“This project isn’t about just updating a building— it’s about investing in the people who make the Festival what it is and welcoming them with open arms,” Edwards said.
For more information on the logistics of the project, contact Edwards at companymanager@bard.org or or 453-586-7882.
2025 Season in the Randall L. Jones Theatre
The Utah Shakespeare Festival is excited to announce the shows and directors for the Randall L. Jones Theatre for the upcoming 2025 season. “We are proud to not only focus on our cornerstone of Shakespeare in the Engelstad Theatre, but produce a brilliant musical, a satiric Victorian comedy, and a comedy-drama about the resilience of true friendship in the Randall,” says Artistic Director John DiAntonio.
That’s right! A musical is back in the lineup, along with two other thoroughly enjoyable and touching plays.
A Gentleman’s Guide To Love and Murder
Book and Lyrics by Robert L. Freedman
Music and Lyrics by Stephen Lutvak
Based on the novel Israel Rank by Roy Horniman
Directed by Amanda Berg Wilson
Music Directed by Brad Carroll
Previews on June 19 and 23, 2025
Opens on June 26, 2025
This Tony Award-winning musical comedy follows the story of Monty Navarro, a lowly born Englishman who discovers he is ninth in line to inherit a fortune. To move up the line of succession, Monty decides to eliminate the zany relatives (who are all played by the same actor) who are standing in his way, meanwhile navigating a love triangle.
Amanda Berg Wilson is the co-founder and artistic director of The Catamounts in Boulder, Colorado. Her work has also been seen at Creede Repertory Theatre, Denver Center for the Performing Arts, and Opera Steamboat. She received a BCAA Theatre Fellowship and her work has been profiled in American Theatre magazine. She received a BA in English and drama from Kenyon College.
Brad Carroll, who directed this past season’s production of Much Ado About Nothing, also music directed Jane Austen’s Emma The Musical, Ragtime, and The Pirates of Penzance at the Festival. He also directed Sweeney Todd, Joseph and the Amazing Technicolor Dreamcoat, South Pacific, and Les Misérables here, among many others. He is the composer of Lend Me a Tenor: The Musical, has also worked at PCPA, Utah Festival Opera, and Idaho Shakespeare Festival, and is a member of Stage Directors and Choreographers Society.
“I am framing our realization of A Gentleman’s Guide to Love and Murder as an English music hall production,” says Berg Wilson. “Think: inventive staging, fourth-wall breaking, and a live pianist playing! Our production will be inspired most specifically by the ‘lion comique,’ an English music hall tradition of making fun of the upper classes, a strong thread of A Gentleman’s Guide. This framing will allow our audience a lively point of entry into the piece, in which they will be repeatedly acknowledged in the space, and in which the whole theatre becomes part of the storytelling.”
The Importance of Being Earnest
By Oscar Wilde
Directed by Rodney Lizcano
Previews on June 20 and 24, 2025
Opens on June 27, 2025
Oscar Wilde’s classic comedy satirizes Victorian society through the witty and farcical escapades of two bachelors, Jack Worthing and Algernon Moncrieff. As they navigate double lives and mistaken identities, the play cleverly explores themes of marriage, social expectations, and the triviality of propriety.
Audiences will remember Rodney Lizcano as Gremio in The Taming of the Shrew and Don Pedro in Much Ado About Nothing this past season. Previously he spent 22 seasons with the Denver Center Theatre Company, as well as time at the Arvada Center for the Arts, The Old Globe, and ten seasons at Colorado Shakespeare Festival, among others. He earned an MFA in acting from the National Theatre Conservatory and is a member of Actors’ Equity Association as well as Stage Directors and Choreographers Society.
“The Importance of Being Earnest is truly Shakespearean in its theatrical devices of mistaken identities, secret engagements, and lover entanglements,” explains Lizcano. “I’m thrilled to pair this piece with such an eclectic theatrical season at USF and cannot wait for audiences to experience this rapid-fire comedy of wits and manors.”
By Robert Harling
Directed by Melissa Maxwell
Previews on June 21 and 25, 2025
Opens on June 28, 2025
Set in a Louisiana beauty salon, this poignant play explores the enduring bond between six Southern women as they navigate life’s joys and challenges, from friendships and laughter to heartbreak and loss. Through humor and resilience, the women showcase their strength and solidarity in the face of adversity.
Melissa Maxwell previously directed Trouble in Mind at the Festival in 2022. Her work has also been seen off-Broadway at the Pearl Theatre Company and Soho Playhouse. She has also worked at the Great River Shakespeare Festival where she is also co-associate artistic director, Repertory Theatre of St. Louis, and Off the WALL Theatre. She is also a motivational speaker, author, and teacher. She is a member of Actors’ Equity Association, SAG-AFTRA, and Stage Directors and Choreographers Society, and earned her BFA from Boston University.
“I am thrilled to be returning,” says Maxwell. “I played M’Lynn in a production a few years ago, but this is my first time directing it. I am excited to be revisiting this timeless classic.”
IN THE EILEEN AND ALLEN ANES STUDIO THEATRE…IN CASE YOU’RE WONDERING
In 2025, the Festival plans to continue to use this space for new play development with the popular Words Cubed program, as well as educational programming, among other things.
“We’ve loved all the past performances in the Anes, as we know our patrons have," says Executive Managing Director Michael Bahr. “It is a young space but don’t fear: it is anticipated that mainstage productions will return to it in the near future.”
Don’t miss our 64th season in 2025! Be sure to get your tickets on sale during our Cyber Monday event on December 2 and join us in 2025 for a season of mischief, friendship, and love. For more information visit our website at bard.org or call the ticket office at 800-PLAYTIX.
2025 Season in the Engelstad Shakespeare Theatre
The Utah Shakespeare Festival is excited to announce its shows and directors for the Engelstad Shakespeare Theatre and The Greenshow for the 2025 season. “We are thrilled to share with you these amazing titles and artists who will head our Shakespeare productions and popular Greenshows for our sixty-fourth season,” says Executive Managing Director Michael Bahr.
With Shakespeare as our cornerstone, the Festival is excited to produce these three amazing stories, all very different from each other and one of which hasn’t been done here for nearly twenty years. Get ready to immerse yourself in the Bard’s works!
By William Shakespeare
Directed by John DiAntonio
Previews on June 16, 2025
Opens on June 19, 2025
Last produced in 2019, Macbeth––one of Shakespeare’s most famous tragedies––tells the story of a Scottish general who receives a prophecy from three witches that he will become king. Fueled by ambition and encouraged by his power-hungry wife, Macbeth embarks on a ruthless path of destruction and betrayal to seize the throne.
The Festival’s Artistic Director John DiAntonio will make his directorial debut here. He was previously seen at the Festival in 2024’s The Taming of the Shrew as Petruchio. Prior to coming to Cedar City, he was the producing artistic director at Creede Repertory Theatre. Additional acting and directing credits include the Denver Center Theatre Company, The Arvada Center, and Cleveland Shakespeare Festival. He received his MFA in acting from the National Theatre Conservatory and also attended the British American Drama Academy. He is a member of Actors’ Equity Association.
“I hope your thumbs are pricking because something wicked this way comes,” DiAntonio says. “The performances, set, costumes, lighting, sound, and overall feel of Macbeth will be immersive and haunting. Prepare yourselves for the gripping, horrifying, and seductive story you know, but expect to see it with new eyes. This play will touch a nerve for every audience member whether they are 12 or 89 as they journey through the personal cost of treachery. I couldn’t be more honored to be directing this play!”
By William Shakespeare
Directed by Carolyn Howarth
Previews on June 17, 2025
Opens on June 20, 2025
The Festival is committed to continuing their Complete the Canon initiative (which is almost finished!) with this tragedy by Shakespeare, which was last produced in 2006, almost 20 years ago. It portrays the passionate and tumultuous love affair between Mark Antony, a Roman general, and Cleopatra, the queen of Egypt. Set against a backdrop of political intrigue and warfare, their relationship faces challenges that ultimately lead to misfortune.
Carolyn Howarth, who previously directed The Winter’s Tale in 2024, spent 14 seasons at Colorado Shakespeare Festival. Her work has also been seen at Orlando Shakespeare Theatre, Lake Tahoe Shakespeare Festival, and Foothill Theatre Company where she served as artistic director. She earned her BA and MFA from UC-Davis and is a member of Actors’ Equity Association.
She says: “I’m so excited to tell this epic story about the first celebrity power couple––two titanic personalities, superstars in their empires, modern day equivalents of rock and roll idols––swept up in a thriller with political intrigue, military strategy, and ever changing alliances. The characters swerve from jubilation to jealousy, paranoia to fury. It dances around the conflict between passion and duty, expectations and failure, and ultimately comes down on the side of love, perhaps showing us the essence of what makes us human. I think USF audiences are going to fall in love with the play as much as I have and really respond to the abundant humor and pathos.”
As You Like It
By William Shakespeare
Directed by Beth Lopes
Previews on June 18, 2025
Opens on June 21, 2025
In this beloved comedy last seen at the Festival in 2017, Rosalind flees persecution in her uncle’s court and seeks refuge in the Forest of Arden, disguised as a young man. Through a series of mistaken identities and humorous encounters, love blossoms amidst the captivating forest setting.
Beth Lopes was last at the Festival as an assistant director in 2010. She also spent ten seasons with New Swan Shakespeare Festival where she was associate artistic director. Her work has also been featured at South Coast Repertory, San Antonio Shakespeare in the Park, and Theatre Horizon. She received her MFA from UC Irvine and is a member of Stage Directors and Choreographers Society (SDC).
“I’m delighted to return to Utah Shakes to direct the magnificent adventure that is As You Like It,” she says. “Brimming with humor and heart, As You Like It is an ode to love, freedom, and the resiliency of the human spirit. I’m thrilled to be spending this time with USF’s audiences in the magical and transformative Forest of Arden.”
ON THE GREENSHOW STAGE
The Greenshow
Written and Directed by Britannia Howe
Previews begin June 16, 2025
Opens on June 19, 2025
Prepare for delightful summer evenings of stories, music, and dance with three new shows on the green. Written and directed by Festival veteran Britannia Howe, who has helmed The Greenshow five times before, these shows are the perfect way to spend time with family and friends before the mainstage shows.
The themes for the three 2025 Greenshows are inspired by the three Shakespeare shows in the Engelstad.
First, inspired by the setting of Macbeth, Scottish night with Highland Games will be an evening of strength, competition, and fun as performers and audience join in exciting challenges like tug-of-war and shot put.
Next, the Mariner Greenshow celebrates through sea shanties, adventurous tales, and the comedic retelling of Antony and Cleopatra.
Third, the Mountain Wilderness Greenshow is set in the woods reminiscent of As You Like It, where love letters adorn trees and Americana folk tunes fill the air.
A Cedar City native, Howe grew up attending the Festival. She earned an MFA in directing from Illinois State University and has directed at Illinois Shakespeare Festival, Eugene O’Neill Theatre Center, and with the Utah Symphony. She was awarded a national directing fellowship from the Kennedy Center American College Theatre Festival. \
The Festival is busy planning for an amazing season next year. Be sure to get your tickets during our Cyber Monday sale on December 2 and join us in 2025 for a season of mischief, friendship, and love. For more information visit bard.org or call the ticket office at 800-PLAYTIX.
Festival Frights and Delights: A Look Back at the Festival’s Spookiest Shows
By Katie Neves, guest writer
With Halloween upon us, the Utah Shakespeare Festival is looking back on decades of spine-tingling performances. Over the last 63 seasons, the Festival has bewitched audiences with horrors and thrills: ghostly tales, psychological thrillers, and dark comedies that tread the fine line between laughter and fear. Here’s a look at 13 of the spookiest non-Shakespeare productions that have haunted the Festival stages, chilling audiences and keeping them on the edge of their seats.
Blithe Spirit—1992, 2004
For the first entry on our list, look no further than Blithe Spirit—a play so nice we did it twice! One of Noel Coward’s most popular plays, Blithe Spirit is the farcical story of Charles Condomine, a writer who accidentally summons the ghost of his deceased first wife. Hilarity ensues as the ghost disrupts Charles’ life and second marriage.
Directed by Philip Killian in 1992, then Paul Barnes in 2004, Blithe Spirit is a show that left Festival audiences in stitches each time. This playful exploration of love and death proves that some spirits are just too lively to stay gone.I
Arsenic and Old Lace—2001
Of course, it’s not just ghosts that can tickle our funny bone—murder may too! At least according to Joseph Kesselring’s classic farce, Arsenic and Old Lace. The play follows Mortimer Brewster as he uncovers a shocking family secret: his sweet, elderly aunts are serial killers. In what they call “acts of mercy,” these sinister spinsters have been poisoning all the lonely old men who visit their home.
Longtime Festival favorite J.R. Sullivan directed the Festival production, bringing out both the warmth and the twisted humor in this chilling comedy. This production showcased the fine line between family and madness that makes Arsenic and Old Lace a timeless classic.
Little Shop of Horrors—2003
Nothing says spooky fun like a man-eating plant from outer space, a sadistic dentist, and a series of grisly murders. Menken and Ashman’s Little Shop of Horrors follows Seymour, a down-on-his-luck florist who finds a mysterious plant with an unquenchable thirst for human blood. The plant grows, Seymour quickly loses control, and audiences are left with a grim—and catchy—reminder: “Don’t Feed the Plants!”
Directed by Paul Barnes, Little Shop of Horrors was an audience favorite. With its catchy songs and dark premise, this unforgettable show had viewers dancing, laughing, and maybe keeping a closer eye on their houseplants.
The Mousetrap—2007
The longest-running play in theater history, Agatha Christie’s The Mousetrap is a classic murder mystery. With characters trapped in a snowbound manor, a killer hidden among them, and a twist ending that audiences are urged to keep secret, this whodunit keeps audiences guessing until the final revelation.
Directed by longtime Festival music director Brad Carroll, The Mousetrap brought Christie’s signature suspense to life, captivating audiences with a thrilling, edge-of-your-seat experience.
Gaslight—2008
Psychological tension reaches new heights in Patrick Hamilton’s Gaslight, a gripping thriller that has audiences questioning their own sense of reality. The play follows the unsettling story of Mrs. Manningham, who begins to doubt her own sanity as her husband tries to convince her she’s losing her mind. As he subtly raises and lowers the gaslights, the audience shares in Mrs. Manningham’s fear and uncertainty.
J.R. Sullivan’s production had Festival audiences biting their nails with its intense revelations and eerie atmosphere. This story is a haunting reminder of the power of manipulation, leaving viewers haunted by the psychological thrills long after the curtain falls.
The Woman in Black—2009
In this adaptation of Susan Hill’s novel, Arthur Kipps encounters a series of terrifying events while settling the estate of a deceased woman in a remote village. As he recounts his haunting experiences to an actor, the line between reality and performance blurs, drawing audiences into a world of suspense and supernatural terror.
Directed by Carole Healey, The Woman in Black captivated Festival audiences with its chilling story and haunting special effects. This classic ghost story is an eerie reminder of the ways the past haunts the present.
The 39 Steps—2010, 2024
Everyone knows Hitchcock is the king of horror—which makes the slapstick farce of The 39 Steps all the more delightful. This play spoofs Hitchcock’s classic suspense techniques, plunging audiences into a whirlwind of comedy and zany hijinks. Following the misadventures of Richard Hannay, an ordinary man who gets caught in a mysterious murder plot, the story takes audiences on a fast-paced journey through cinema history.
The Festival’s 2010 production, directed by Eli Simon, was incredibly popular—so popular that we brought it back last year! The 2024 production was directed by Aaron Galligan-Stierle, who played one of the Clowns in 2010. With both shows, the hilarious antics and quick character changes had audiences roaring with laughter.
Dial “M” for Murder—2011
Frederick Knott’s suspenseful thriller follows the scheming Tony Wendice. After learning his wife, Margot, has been unfaithful, he contrives a complicated plot to murder her—and thus inherit her enormous fortune. However, as the story unfolds, Tony’s plan unravels. The suspenseful twists and turns keep audiences on the edge of their seats.
Directed by Brian Vaughn, the Festival’s production captivated viewers with its intense performances and masterful suspense. This thrilling tale of betrayal and deceit is a chilling reminder of how far people can go for wealth and revenge.
Dracula—2015
Everyone knows Dracula—Bram Stoker’s classic villain, practically the mascot of Halloween. In Steven Dietz’ adaptation of the original novel, we follow Lucy and Mina—two women who get caught up in the supernatural mystery of Count Dracula. With the help of Abraham Van Helsing, an expert on vampirism, the protagonists desperately try to stop Dracula—and save the countless lives trapped in his clutches.
The Festival’s 2015 production was directed by Jesse Berger. With an emphasis on eerie lighting, projections, and haunting sound design, this iconic monster story came to life and left audiences with an unforgettable look into the macabre world of the undead.
Murder for Two—2016
If you thought The 39 Steps had a small cast, wait until you see the dynamic duo in Murder for Two! This hilarious musical mystery, written by Kellen Blair and Joe Kinosian, features just two actors. One plays the determined detective, and the other plays all the suspects. As the detective works to solve the murder, audiences are treated to a whirlwind of catchy songs and unforgettably quirky characters.
Directed by Brad Carroll, the Festival’s production was a zany romp through a classic whodunit-style story. With a perfect blend of humor and intrigue, Murder for Two is a delightful reminder that sometimes, less is more.
Sweeney Todd: The Demon Barber of Fleet Street—2022
Stephen Sondheim’s Sweeney Todd is considered a masterpiece of modern musical theatre. From the brilliant operatic music to the Shakespearean drama of the characters, Sweeney Todd is an unforgettable theatrical experience. After losing his wife and daughter to the villainous Judge Turpin, Sweeney loses his mind and vows revenge on mankind. With the help of his neighbor, Mrs. Lovett, Sweeney wages a war against the city of London, slaughtering his customers and (spoiler!) turning them into meat pies.
Brad Carroll brought his years of musical experience to this production, creating a haunting atmosphere that perfectly matched Sondheim’s score. With incredible performances by J. Michael Bailey and Bree Murphy, this show balanced dark humor with chilling intensity, plunging the audience into Sweeney’s twisted world of vengeance.
Clue—2022
Sandy Rustin’s Clue is a hilarious whodunit that feels very familiar to most audiences. Based on the cult classic film (and the Hasbro board game!), Clue takes place during a dinner party. When the host is mysteriously murdered, each guest suddenly becomes a suspect. Full of slapstick comedy and unexpected twists, this play invites audiences to piece together clues while enjoying all the zany antics.
Directed by Hunter Foster, the Festival’s production featured a talented ensemble that skillfully balanced the comedy and the intrigue. Sharp eyes in the audience might have noticed the portraits on the walls, all featuring USF founder Fred C. Adams. This romp through a beloved classic proves that sometimes, a little humor is the best way to deal with life’s most puzzling mysteries.
A Gentleman’s Guide to Love and Murder—2025
Next year, the Festival will continue its long tradition of frights and delights with Lutvak and Freedman’s award-winning musical, A Gentleman’s Guide to Love and Murder. Based on the novel Israel Rank: The Autobiography of a Criminal by Roy Horniman, this show tells the story of Monty Navarro—a man who learns that he is 9th in line to inherit a huge fortune. In his quest for wealth and love, Monty goes on a comedic spree to “off” the eight heirs standing in his way.
A perfect blend of humor and horror, A Gentleman’s Guide to Love and Murder will be the perfect addition to the Festival’s spooky lineup. And what better way to cap off this year’s Halloween season than to buy next year’s tickets? For more information, click here.
Festival Honors Passing of Actor Libby George
Libby George was a beloved Festival actor who performed here for five seasons in the late ‘90s and early 2000’s. She passed away peacefully at age 81 on October 15, 2024. She will be remembered for her vivacious nature and humorous portrayals of some very popular roles.
She played such memorable characters at the Festival as Nurse in Romeo and Juliet (1998), Mistress Quickly in The Merry Wives of Windsor (2000), Dotty Otley in Noises Off (2000), Veta Louise Simmons in Harvey (2002), and Madame Arcati in Blithe Spirit (2004), among others.
Festival Executive Managing Director Michael Bahr said of George, “We were incredibly blessed to have an artist like Libby George on the Festival stages. Her performances as these characters set the standard––it is as if they were each written for her, from Madame Acarti, Mistress Quickly, Dotty, and the Nurse, Libby’s ability to portray a human and comic reality brought connection to audiences. Libby was an incredible human being; she was joy and sparkle in a room; she positively radiated.”
George was born in Mill Valley, California, and because her father was in the Air Force, she spent the majority of her childhood living all over the world. Her family eventually moved back to Stockton, California, prior to her attending college at University of the Pacific. She lived for over 30 years in New York, NY, and had a full-time acting career on the stage, in movies, and on television shows. She retired to Stockton where she enjoyed spending time with family and friends. She was preceded in death by her husband Richard Thomsen.
A graveside service is scheduled for Friday, November 15, 2024 in Stockton. To read George’s full obituary, click here.
USF Announces New Facilities Director
By Katie Neves, guest writer
The Utah Shakespeare Festival is excited to announce Michael Stewart as our new Facilities Director. With a wealth of experience in public service and a passion for the arts, Stewart is poised to revitalize the Festival’s facilities, ensuring they remain inviting, safe, and comfortable for everyone who visits.
Originally from Cedar City, Stewart spent most of his life in Las Vegas and Henderson, Nevada, where he served for more than twenty years with the Las Vegas Metropolitan Police Department. After retiring in 2022, his family spent a year in Estes Park, Colorado, before returning to Cedar City last year. “This journey has brought me back to my roots,” said Stewart, “and I’m excited to be back in a community that holds so much significance for me.”
A love of Shakespeare and high-quality productions drew Stewart to the Festival: “The opportunity to engage with classic texts in a vibrant, collaborative setting was incredibly appealing to me.” It’s the collaboration element that he looks forward to the most; noting that a theater environment provides a unique opportunity for teamwork and creativity. Stewart said, “I love the way theater brings people together to share stories and evoke emotions, creating a sense of community. Being part of a production means being part of something bigger than myself, and I find that incredibly fulfilling.”
As the Facilities Director, Stewart will oversee the maintenance of the entire Festival complex, from its three theaters, its gift shops, offices, and everything in between. The day-to-day upkeep and operations of the Festival is under his jurisdiction; he’ll ensure that the Festival remains safe, functional, and clean for patrons and staff to enjoy year-round. He also oversees the Festival’s compliance to safety and accessibility standards, and plans long-term improvements and upgrades that will keep the Festival facilities state-of-the-art for years to come.
Among the many projects ahead of him, Stewart is especially excited about the opportunity to implement environmentally-friendly practices, aiming to boost energy efficiency and reduce the Festival’s ecological footprint. Additionally, Stewart’s team is beginning inspections at Windsor Court apartments, preparing and renovating them for the 2025 seasonal employees. “By addressing these updates proactively,” he said, “we aim to create a comfortable and welcoming environment for everyone who will be staying there.”
Stewart is dedicated to fostering a creative and collaborative environment at the Festival. He is eager to contribute to a vibrant community that understands the value of the arts. “Joining the Utah Shakespeare Festival means being surrounded by passionate artists and dedicated professionals who share a love for theatre and storytelling,” he said. “Overall, I am thrilled to be part of a team that is committed to artistic excellence and enriching the cultural landscape.”
2024 Festival Food Drive Donates Over 2,000 Pounds of Food to the Iron County Care and Share
This fall, Utah Shakespeare Festival guests contributed to a worthwhile cause to make life a little better for those in need by donating a literal ton of food to the Iron County Care and Share. The food donations were part of the Festival’s 20th annual Fall Food Drive from September 10 to October 5. Residents of southern Utah and eastern Nevada were able to donate six items of nonperishable food and receive a half-price ticket to a Festival production.
In total over 2,000 pounds of food was donated to help members of our community. Residents of Iron, Washington, Kane, Garfield, Piute, and Beaver counties in Utah and Lincoln County in Nevada were encouraged to take part in the drive.
“We are so grateful to our guests for supporting this effort,” said Michael Bahr, executive managing director. “Our annual Fall Food Drive began in 2003, and over the years our guests have consistently given so freely to assist the Iron County Care and Share in their important and generous work in our community.”
The Iron County Care and Share was founded in 1984 by a group of local churches of different denominations to address the issue of hunger in our community. Working with partners in the community, neighboring counties, and in the state, the Iron County Care and Share is able to help homeless and low-income individuals and families work toward self-sufficiency. The Iron County Care and Share is located at 900 North 222 West in Cedar City, Utah. Monetary donations are always accepted. Click here to donate to the organization.