News From the Festival
2024 Is Just Around the Corner! Get $10 Off Per Ticket
Cedar City, UT — It’s not too early to plan for the 2024 season at the Utah Shakespeare Festival. Cyber Monday, our biggest sale of the year, is just around the corner and is the perfect time to purchase tickets.
Take advantage of the deal and receive $10 off every ticket by visiting bard.org/cyber or by calling the Festival ticket office. The sale will go live at midnight and is only available on Monday, November 27.
“We are thrilled to announce our shows for our sixty-third season in 2024,” said Managing Director Michael Bahr. “We are proud to focus on our cornerstone of Shakespeare, presenting four of his marvelous works.”
IN THE ENGELSTAD SHAKESPEARE THEATRE
Henry VIII
By William Shakespeare
Having first been produced in 1981, Henry VIII hasn’t hit Festival stages since 1995. Following the story of a ruthless race to power and the desire for a male heir, King Henry VIII listens to Cardinal Wolsey’s counsel, while honorable Duke Buckingham is convicted of treason. The play also focuses on topics of divorce and the treatment of women in a male-dominated society, as Henry leaves his wife Katharine and marries Anne Boleyn.
Click here for the content advisory.
The Winter’s Tale
By William Shakespeare
The Winter’s Tale has been produced in 1972, 1989, 1996, 2004, and most recently in 2011. Focusing on themes of betrayal, loss, and forgiveness in the setting of a family drama, Shakespeare’s romance tells of King Leontes, his paranoia of his wife’s infidelity, and the consequences that follow.
Click here for the content advisory.
The Taming of the Shrew
By William Shakespeare
The Taming of the Shrew was one of the first of Shakespeare’s plays to ever be produced here, in 1962, and was performed most recently in 2015 in the final season of the Adams Memorial Theatre. This is the eleventh time this Shakespeare play has been shared with Festival audiences. Full of deception and disguise, Petruchio attempts to tame the wild Katherina into being an obedient and dutiful wife. Suitors attempt to win her sister Bianca’s hand in marriage, but can only do so if Katherina weds first. Interestingly, lessons are learned on all sides about what true partnership is all about.
Click here for the content advisory.
IN THE RANDALL L. JONES THEATRE
Much Ado About Nothing
By William Shakespeare
Much Ado About Nothing has been produced seven times, most recently in 2016, the year the Engelstad Shakespeare Theatre and the Beverley Center for the Arts opened. Shakespeare’s popular comedy centers around two romantic pairings and the ways in which we can deceive each other, ourselves, and be both opposed and open to love through it all.
Click here for the content advisory.
The 39 Steps
Adapted by Patrick Barlow
From the Novel by John Buchan
From the Movie by Alfred Hitchcock
Original Concept by Nobby Dimon and Simon Corble
The 39 Steps was last seen at the Festival in 2010. This humorous play follows an innocent man accused of a crime who must clear his name. A fast-paced “whodunit” comedy with only four actors but a plethora of characters, the play balances both suspense and nonstop comedy, with a little splash of romance. It is a highly stylized theatrical romp that leaves you laughing and amazed.
Click here for the content advisory.
IN THE EILEEN AND ALLEN ANES STUDIO THEATRE
Silent Sky
by Lauren Gunderson
This is the first time the Festival has produced Silent Sky. A historical fiction, it tells of how astronomer Henrietta Leavitt explores a woman’s position in society during a time of scientific discoveries in the 19th century. Including themes of gender equality, female achievement, and work/life balance, this play speaks to modern times ––even though it takes place over one hundred years ago.
Click here for the content advisory.
The Mountaintop
By Katori Hall
The Mountaintop has never before seen Festival stages. This story follows Dr. Martin Luther King, Jr., as he prepares one of our nation’s most important speeches. Although fictional, the play shows themes of being a figurehead versus a private human, and how King must confront his mortality and legacy.
Click here for the content advisory.
Once again, visit bard.org/cyber or call 800-PLAYTIX to get $10 off per ticket while the sale lasts! Please note that the sale cannot be combined with other discounts and it is only available on Monday, November 27. The ticket office is open from 10 am-5 pm, Monday through Friday.
Festival Announces 2024 Directors: Eileen and Allen Anes Studio Theatre Edition
The Festival has proudly announced the directors for the Engelstad Shakespeare Theatre and Randall L. Jones Theatre. Now, we are excited to reveal the directors for Silent Sky and The Mountaintop, which are being produced in the Eileen and Allen Anes Studio Theatre.
To see these shows and take advantage of the biggest sale of the year, purchase tickets for the 2024 season on Cyber Monday, November 27, for $10 off per ticket.
Melinda Pfundstein
Silent Sky
July 12-October 5, 2024
Pfundstein is a familiar face at the Festival, having directed The Book of Will, All’s Well That Ends Well, and The Merchant of Venice. She has also acted in over 30 Festival productions. Some of Pfundstein’s favorite roles performed include Mother in Ragtime, Margaret in Richard III, and Constance in King John. She has also worked for University of Utah, Lake Dillon Theatre Company, and Milwaukee Repertory Theatre to name a few.
Pfundstein received a Master of Arts in Arts Administration from Southern Utah University and was an Assistant Professor of Theatre Arts at SUU. Her professional affiliations include Stage Directors and Choreographers Society and Actors’ Equity Association.
This show tells about 19th Century astronomer Henrietta Leavitt. “I am thrilled to explore this inspiring story of breaking barriers and the light in all of us, with a brilliant creative team of collaborators at USF,” Pfundstein said. “I can’t wait to begin.”
Cameron Knight
The Mountaintop
July 13-October 5, 2024
“What a perfect time to re-examine and meet our heroes,” Knight said. “It is important to me that we see the familiar struggles we all face. We are facing so many questions these days: who we are, what it all means, is it worth it, will it make a difference?”
Knight is returning to direct this fictional story about Reverend Dr. Martin Luther King, Jr. at the Festival, having directed The Tempest and Richard III in the past. He has directed at Resident Ensemble Players, American Shakespeare Center, and Bristol Riverside Theatre to name a few. His television credits include Blue Bloods, Chicago Med, and The Orville, while film credits include Widows, Sister Carrie, and The World Without You.
Knight boasts teaching credits from Rutgers University, Carnegie Mellon University, and DePaul University, as well as others. He received a Bachelor of Fine Arts from University of Michigan, Flint, and a Master of Fine Arts from University of Delaware. His professional affiliations include Stage Directors and Choreographers Society, Actors Equity Association, and SAG-AFTRA.
“This production will examine the struggles of the pursuit for something greater than ourselves,” Knight said.”
Visit bard.org for more 2024 season information. Go to bard.org/cyber for more details on the biggest sale of the year!
Festival Announces 2024 Directors: Randall L. Jones Theatre Edition
Last week, the Festival announced the directors for the Engelstad Shakespeare Theatre. Today we are excited to reveal our directors taking on Much Ado About Nothing and The 39 Steps in the Randall L. Jones Theatre.
To see their work and take advantage of the biggest sale of the year, purchase tickets for the 2024 season on Cyber Monday, November 27, for $10 off per ticket.
Brad Carroll
Much Ado About Nothing
June 21-October 5, 2024
“Beatrice and Benedick – everyone’s favorite Shakespearean couple, yes? Certainly mine! Their antics take us on a romantic romp brimming with hilarity, love and wildly wicked wordplay contrasted, as only Shakespeare can, with darker themes of deception, loss and revenge,” Carroll says.
“The experience of this spontaneous clash of worlds ultimately leads to redemption and second chances and rediscovering the humanity we all share,” he continues. “A tall order for a comedy, but Shakespeare delivers with fascinating characters, sparkling language, razor-like wit and, as in any great play, the unexpected. Much Ado About Nothing is really much ado about everything, and discovering, when all is said and done, what is truly most important.”
Carroll is once again returning to direct at the Festival after directing Sweeney Todd, Joseph and the Amazing Technicolor Dreamcoat, and Les Misérables, to name a few. He has been the music director and conductor of popular Festival productions such as Jane Austen’s Emma The Musical, Ragtime, and The Pirates of Penzance, among many others.
Additionally, Carroll is the composer of Lend Me a Tenor: The Musical, produced and performed here in 2007. He also boasts teaching credits from Pacific Conservatory Theatre and Southern Utah University, and is affiliated with Stage Directors and Choreographers Society.
Aaron Galligan-Stierle
The 39 Steps
June 22-October 5, 2024
“Having performed in the 2010 Festival production of The 39 Steps, I am honored and excited to re-imagine the show for today’s audience,” Galligan-Stierle says. “ . . .by focusing on [the play’s] four storytellers who use their boundless imagination to tell a highly theatrical story full of thrills, romance, and comedy.”
Galligan-Stierle is making his directorial debut at the Festival, although he has a long history of acting at the organization. Calling the Festival his “theatrical home,” he has acted here for nine seasons, including performing the roles of Wadsworth in Clue, Pirelli in Sweeney Todd, and Tateh in Ragtime. He has also been on Broadway in The Phantom of the Opera, Ragtime, and The Grinch.
He boasts teaching credits as the head of musical theatre at Slippery Rock University, film credits as executive producer of Ruin Me, and is a member of Actors’ Equity Association. He has also acted at the Kennedy Center, Oregon Shakespeare Festival, and Papermill Playhouse, to name a few.
Visit bard.org for more 2024 season information. Go to bard.org/cyber for more details on the biggest sale of the year!
Festival Announces 2024 Directors: Engelstad Shakespeare Theatre Edition
Coming to the Festival from all across the country, we have eight directors gearing up for the Festival’s 63rd season in 2024.
Be sure to catch their productions by purchasing tickets for the 2024 season on Cyber Monday, November 27 for $10 off per ticket.
Let’s get to know the three directors taking on shows in the Engelstad Shakespeare Theatre this season, as well as the returning Greenshow director.
Derek Charles Livingston
Henry VIII
June 17-September 5, 2024
“Taking on Henry VIII as a director is a humbling task. It’s one of Shakespeare’s lesser-performed plays, so there’s a feeling I have to ‘get it right,’” Livingston said.
“Shakespeare clearly wrote it for an audience that was familiar with the individual players, so as a director, I have to find ways to tell the story that is clear to a modern audience. Even with those challenges, I am excited to be helming this production for the Festival.”
Currently the Director of New Play Development/Artistic Associate at the Festival, Livingston is returning as a Festival director, having directed A Raisin in the Sun during the 2023 season. He also acted in the Festival’s 2022 production of the one-man play Thurgood.
He has also directed Polar Bears, Black Boys, and Prairie Fringed Orchids at the Festival’s 2022 Words Cubed reading. Livingston has taken on roles in productions at other theaters of Thurgood, The Pillowman, and The Whipping Man to name a few.
Livingston was awarded the New Hampshire Drama Award for Best Actor, as well as the LA Stage Scene Awards for Best Director. He received a Bachelor of Arts in Theatre Arts from Brown University, as well as a Master of Fine Arts in Film Production and Direction from the University of California, Los Angeles School of Theater, Film, and Television.
Valerie Rachelle
The Taming of The Shrew
June 19-September 7, 2024
Rachelle is returning to the Festival for her third season of directing. She helmed last season’s Jane Austen’s Emma The Musical and was the Assistant Director for All’s Well That Ends Well in 1998. She has also directed at Oregon Shakespeare Festival, Oregon Cabaret Theatre, and Utah Festival Opera, among others.
Rachelle has teaching credits from Southern Oregon University, University of California, Los Angeles, and CalArts. She is also the Artistic Director at Oregon Cabaret Theatre.
“I am ecstatic to return to the Festival,” Rachelle said. “I am honored to work with so many talented collaborators at this wonderful theater company once again.”
Carolyn Howarth
The Winter’s Tale
June 18-September 6, 2024
“I am thrilled to be making my Utah Shakespeare Festival debut,” Howarth said.
Although this is her first time at the Festival, she has directed for 14 seasons at Colorado Shakespeare Festival. Howarth has also directed at Orlando Shakespeare Theatre, Lake Tahoe Shakespeare Festival, and Sierra Shakespeare Festival as well as many others.
She has teaching credits from University of South Carolina, University of Alabama, UC Davis, and Sierra College. Howarth served as the Artistic Director at Foothill Theatre Company of Nevada City (CA) and has acting credits at Lake Tahoe Shakespeare Festival, Jewish Theatre of San Francisco, and Maxim Gorky Theatre of Vladivostok, Russia, among others. She received a Bachelor of Arts and Master of Fine Arts from UC Davis.
Britannia Howe
The Greenshow
June 17-September 7, 2024
“The Greenshow celebrates community at the Festival by audience participatory storytelling,” Howe said. “The Greenshow, first developed by the late Barbara Adams, gives multiple opportunities for children and adults to participate in games, riddles, singing songs, and being a part of the theatrical experience at the Utah Shakespeare Festival. This year will include lively music, tap dancing, magic, and folklore.”
This is the director’s fifth season at the Festival. She directed The Greenshow in 2018, 2019, 2021, and 2023, as well as Cymbeline in 2021.
She has also worked at Illinois State University, Utah State University, and Illinois Shakespeare Festival, to name a few. Howe received the Kennedy Center American College Theatre Festival National Directing Fellowship in 2011, and has taught at Illinois State University, Southern Utah University, and Utah Shakespeare Festival’s Playmakers and Actor Training.
Howe received a Master of Fine Arts in Directing from Illinois State University, as well as a Bachelor of Fine Arts in Classical Acting and Theatre Education from Southern Utah University.
The Greenshow will have three new scripts this season inspired by the plays produced in the Engelstad Shakespeare Theatre.
Visit bard.org for more 2024 season information. Go to bard.org/cyber for more details on the biggest sale of the year!
Festival Feature: Meet Volunteers Shirley and Bob Kramer
Shirley and Bob Kramer have been indispensable volunteers and supporters of the Utah Shakespeare Festival for over ten years.
The current president of the Guild of Utah Shakespeare Festival, Bob serves on the non-profit organization as a way to support the Festival and the arts. Together, he and Shirley, the treasurer of the Guild, work to build relationships between patrons and actors through activities and fundraisers.
“We want to preserve the arts in any way we can,” Bob said.
The couple’s love for theatre began on the East Coast, where they started attending Broadway shows. As an airline pilot, Bob would often fly to New York City just to see plays.
“We saw a lot of theatre, and Shirley and I thought, ‘Wouldn’t it be neat if we could interact with actors after the show?’” Bob said.
The Kramers moved to Las Vegas 25 years ago, where they currently reside. In search of good theatre in the area, the couple traveled to Cedar City all those years ago to attend the Utah Shakespeare Festival— which was when their longtime love for the organization began.
“We got involved with the Guild 11 years ago, and started Curtain Call Lunches,” Bob said. “The idea was for the actors and patrons to get to know each other.”
The couple also started the Adopt-an-Actor program, which ran for about four years. The program was meant for patrons to be able to further get to know the performing company.
This year, they hosted the Welcome BBQ to welcome the 2023 Festival company and kick off the season, which was resumed after several years of being on pause due to the pandemic.
The Kramers also spend a significant amount of their time at the Festival partnering with small businesses in the Cedar City area.
“We reach out to and educate businesses that don’t know about the Festival,” Bob said. “This year we signed up 75 small businesses [as Guild members] and raised ten thousand dollars.”
Although the couple live in Las Vegas, they spend May through September in Cedar City ushering, participating in the Guild, and helping the Festival however they can.
“We sometimes pick up actors from the airport and we support the REACH Cabaret,” Shirley said. “And the rest of the year, we come up once a month for our Guild meetings.”
The Kramers are heavily involved in other artistic organizations, including serving on the Board of Directors at Encore Performing Arts, Impact Theatre Company, SimonFest, and California Symphony Alliance.
They are also on the Southern Utah Museum of Art fundraising committee and involved with the Las Vegas Sinfonietta and the Las Vegas Philharmonic.
Additionally, the Kramers advise the Jazz Outreach Initiative at the University of Nevada, Las Vegas and helped found “Friends of UNLV Jazz,” where they now serve as directors.
“We just want to support the arts and keep the arts going,” Bob said.
The Festival would like to extend a heartfelt thanks to the Kramers for their support. To learn more about the Guild and their valiant volunteer efforts, visit bard.org/guild.
Festival Feature: Meet Creative Director Clare Campbell
The 2024 season starts long before productions hit Festival stages in June. Marketing and communicating about the Festival plays into the early success of the season, and Creative Director Clare Campbell’s designs are the first step in sharing the magic of theatre with our patrons.
As Creative Director, Campbell’s job is to maintain the integrity of the Festival through its visual elements. Her biggest projects throughout the year include the Souvenir Program and the Show Art– the designs that advertise each play.
Campbell has let us in on the behind-the-scenes of what it’s like to take on such a massive role.
Her Passion for Art
Since she was little, Campbell knew that she wanted to pursue a career in art. At first, she wanted to design for Disney and help create the cartoons for movies.
“In middle and high school, I even created a comic book with all these different characters,” Campbell said.
The idea of pursuing a career in commercial art was presented to Campbell in high school by a college recruiter. After this seed was planted, Campbell realized she could make money doing what she loved.
Campbell attended Southern Utah University and received a Bachelor of Fine Arts in Graphic Design.
“I got into graphic design, and everything was clicking,” Campbell said. “I knew that’s what I wanted to do.”
Campbell had several graphic design jobs before working for the Festival, like working for a startup company in St. George, Utah, called Squatty Potty. It was around his time that her talent was discovered by Festival staff.
“I also had a job working for LearnKey, making educational tutorials for different companies,” Campbell said. “We made the graphics look interesting and exciting.”
Designing for the Festival
In 2017, Former Publications Manager Bruce Lee invited Campbell to start designing for the Festival after discovering her work.
“I did a lot of flyers and graphics for education, like Showart for tours and brochures,” Campbell explained.
She also made graphics for the website, designed for fundraising campaigns, and helped develop the new Festival website that launched in 2021.
Slowly, Campbell took on larger responsibilities. Last year, she officially stepped into the Creative Director role.
“I keep our brand [cohesive looking] and manage the [visual elements] going out,” Campbell explained.
This involves approving social media and website elements and working with various Festival departments to make sure all graphics fit the Festival brand.
“I love being able to have the freedom to make things look the way I want them to, but also look the way the Festival needs,” Campbell said. “It’s a fun balance.”
For Campbell, her role as Creative Director is a dream job.
“The way everything worked out is incredible, and I love the atmosphere at the Festival,” Campbell said.
Creating Show Art
However, the job isn’t without its challenges, and the Creative Director explained that each year requires an immense amount of collaboration and research.
“The artwork goes out everywhere, and it’s supposed to intrigue people to come to the Festival,” Campbell said. “It’s a lot of pressure.”
The process of designing Show Art is a big one, and it begins with Campbell studying the scripts and attending designer meetings to understand how the designers and directors want the plays marketed visually.
“I start hand sketching, and then transition to [creating digitally],” Campbell explained, opening up her sketchbook. “I start making notes and collecting different elements, making points of the themes and main characters [of the plays].”
But Campbell can’t just create individual designs for each play without the entirety of the season lineup in mind.
“It’s kind of a puzzle, you’re working on one play graphic, but you have the other six plays you have to match, including the Greenshow,” Campbell said. “They all have to have a cohesive look.”
Campbell also collaborates with Festival administration and the Communications Department throughout the process, making adjustments as feedback is given.
“The goal [for the Showart] is for anyone to look at the graphic and get the concept and tone of the play, as well as be intrigued at the same time,” Campbell said. “We don’t want to give anything away, but still include subtle hints and Easter eggs.”
Eventually, after designing both the Showart and the visual play titles, adjustments are made and files are cleaned up and made usable for Festival marketing.
Designing the Showart is a job that requires constant evolution, and one of the biggest challenges is balancing the current design trends and the timeless look of the Festival.
“It helps me stay in tune with the design world, and not just be in [our own] bubble of Shakespeare,” Campbell said.
Ultimately, the Creative Director plans to be at the Festival as long as possible.
“I feel lucky to be able to do what I love and have people enjoy what I do,” Campbell said.
Keep an eye out for the 2024 Showart and purchase tickets for next season at bard.org.
Festival Feature: Meet Photographer Karl Hugh
You probably recognize his name because you’ve seen it for years. Who is Karl Hugh? He has been the Utah Shakespeare Festival photographer for over 25 years. And his name has been in every photo credit during that time. An invaluable part of the Festival, his work plays a significant role in sharing the power of theatre with our patrons.
A Cedar City native, Hugh left to attend Brigham Young University, where he received a Bachelor of Fine Arts in Photography. He returned to Cedar City in 1993 and opened up a photography studio, Studio West, so that he could pursue his passion full-time.
Hugh’s Start at The Festival
Hugh grew up next door to the late Festival Founder, Fred C. Adams. He went to a few shows growing up, so Hugh was familiar with the Festival, although he candidly shared he didn’t have an appreciation for theatre yet.
“When I started photography for the Festival, I don’t think that Fred took me seriously, because I was [once] just the kid next door that played with his kids,” Hugh laughed.
Hugh deeply admired his former neighbor’s work. In fact, Hugh’s favorite Shakespeare production at the Festival was when Fred directed A Midsummer Night’s Dream in 2011.
“When he told me I did a good job on production shots, it meant a lot to me because I really respected him,” Hugh said.
In 1994, Hugh started taking on smaller photography jobs at the Festival.
“They were selling statues at the Festival, and so I photographed those,” Hugh said. “I also did candids during rehearsals on black and white film that had to be shipped to Salt Lake City to be developed.”
Gary “Mac” MacIntyre, former Festival Technical Director who started in 1965, encouraged Hugh to learn stage photography.
“It’s a very specialized type of photography, but Mac said that if I learned, I’d always have a good job working at the Festival,” Hugh said. “Back in that day, it was all done on tungsten slide film, which had to be metered and carefully exposed.”
Hugh noted that it was very technical, and it took him several years to learn to perfect this type of photography.
“I started photographing productions for the Southern Utah University theatre program,” Hugh said. “In 1997, I told [the Festival] I was ready to go for the full production shots at the Festival.”
Adjusting with the Times
Since Hugh began photography at the Festival, he’s used ten different cameras.
“It used to be on slide film, and then we transitioned to digital in 2002,” Hugh said. “When we first started production shots [digitally], the camera was very low resolution and it would take about a minute to process the shot.”
Hugh said that because of this, the production would have to be stopped for several minutes while the camera caught up.
With film photography, “[it] had to be flown to Salt Lake City to be developed and sent back that night,” Hugh said. “We never knew if we got good shots until the next day, and so it was very stressful.”
Now, Hugh quietly photographs without interrupting the shows. He mostly takes photos during dress rehearsals or preview performances, but if he shoots during regular performances, patrons may not even notice pictures are being taken. Another advantage to today’s digital cameras is that the photographs are available almost instantaneously, aiding in the speed of being able to use them for various purposes.
“It’s been amazing to watch the technology improve every year,” Hugh said.
Now, not only are his photographs used to market the productions and the Festival, they are also shared extensively on social media, used on the Festival’s website (bard.org), and shared in the annual souvenir program and playbill, among other important uses.
How the Festival Impacted Hugh
“When I started, I knew nothing about Shakespeare,” Hugh said. “I’ve really learned to appreciate [theatre].”
Now, Hugh sees all of the Festival productions and brings as many family members as he can each season.
“I’ve been a part of the behind-the-scenes of what it takes to put together a production since 1994,” Hugh said. “I’ve always loved the artistry and creativity that goes into every production, and I can’t wait for the next season.”
Hugh has also made valuable friendships with staff, performers, and artisans over the years.
“I think the people at the Festival are some of the most creative, gifted people I’ve ever worked with,” Hugh said.
Hugh has formed friendships with many actors, and has kept in touch with them throughout the years.
“I love seeing them in different productions,” Hugh said. “My whole takeaway from working with the Festival is that the artistry that happens here is amazing to see.”
Although Hugh doesn’t do photography full-time these days, he returns each year to do production shots for the Festival because he enjoys it so much. He is selective about the photography jobs he takes, now mostly focusing on real estate and aerial photography.
To see Hugh’s production photography from 1999-2023, visit bard.org/about/photos.
The Magic of Strike: Making Sets Vanish
Curtains have closed on the 2023 season but there is still an immense amount of work to be done after a busy year of production. Properties Director Ben Hohman and Production Manager Richard Girtain have revealed just where— and how— the sets disappear when Festival shows close.
Strike
The process of removing props, scenery, and equipment is referred to as strike.
“Strike is really intense,” Girtain said. “We are trying to do a lot in a short amount of time. We have six months to put [everything] together, perform for three months, and then a week to take everything down.”
Although it’s a process, Girtain noted that it’s also a cathartic end to the season.
“You feel kind of sad, but it’s the natural end of the process,” Girtain said. “We are ready to start anew with the next season, because we feel good about what we did. It’s the life cycle of theatre.”
Hohman and his team, the Properties Department, come in first and “undress” the set.
“Scenery builds the house, and Props makes it a home,” Girtain explained. “Everything you would take if you were loading a moving van is a prop, while scenery is the walls left behind.”
The scenery, or “walls” of the set are removed and finally, lighting and electrics remove their equipment.
Props
“We load trucks and transfer everything to the props warehouse, which is about 6,000 square feet,” Hohman said.
There is also a 3,500 square foot tent, where scenery is stored. On the same five acre property, there is also a storehouse for costumes.
“It will take us anywhere between two weeks and two months, depending on the shows, to get everything taken apart and put away,” Hohman said. “All of the [props] are in an inventory software, and so pictures and measurements are taken and stored.”
Although most everything is stored for future Festival use, some is donated or recycled.
“For example, there are some pieces that will not be used again, like the oversized grandfather clocks from The Play That Goes Wrong that an actor had to fit in,” Hohman said. “So, we are breaking down and recycling the aluminum and just keeping one of the doors.”
Some props are so specialized that they probably won’t see Festival stages again, due to the unique preferences of different directors and designers. These pieces are broken down into smaller, more reusable parts, recycled, or even sold to schools at the annual Shakespeare Competition.
Hohman and his team also display some props in their warehouse as a reminder of the work they’ve done.
“We throw away very few things,” Hohman noted. “If a chair is broken and can’t be repaired, we will pull the arms off the chairs and store those for future use.”
The entire process of putting away and organizing props is a long one.
“People think once you’re out of the theatre, you’re all done, but we won’t be done putting everything from this season away until early December,” Hohman said. “We get it finished right around the time we really have to start getting ready for next year.”
Then, the process starts all over for next season.
“It takes months to build everything and get everything to the theatre, and then [seemingly] two days to make it all disappear,” Hohman said.
Smaller props are sometimes sold to interested patrons. The Guild of the Festival sold rosettes created for the set of A Midsummer Night’s Dream in the gift shops this season. They’ve also sold meat pies from Sweeney Todd, maps from King Lear, and bags made from extra costume and upholstery fabric.
“We made six dog portraits for The Play That Goes Wrong,” Hohman said. “We are thinking about offering to sell those.” The Guild uses these sales as fundraising for the Festival.
Scenery
As the production manager, Girtain oversees all physical backstage production, including lighting, sound, props, hair and makeup, costumes, paint, carpentry, and more. All these departments are busy with their own strike process.
“During strike, we try to get the scenery to a neutral place,” Girtain said. “For example, we will paint the floor black.”
Girtain said he looks at keeping items that are “stock building blocks.”
“I like to think of them as Legos, like platform sections that are standard sizes,” Girtain said. “Two-thirds of the platforming are taken from stock each year. Speciality items like doors, windows, and hardware are also put back into stock.”
There are some aspects of the scenery that are very custom, like the immense amount of steel used for the walls of The Play That Goes Wrong.
“The vast majority of [that steel] was recycled,” Girtain said.
This year, duplicates of the scenery for The Play That Goes Wrong were given to the Southern Utah University Film Department to use in their studio.
Enoch Elementary, who does a yearly production of A Midsummer Night’s Dream, will put this year’s wall panels of the same production to good use for many shows to come.
“We left the floor of the Engelstad Theatre shows out for the Southern Utah University’s Theatre Department, who repainted it for their fall production of Twelfth Night,” Girtain said.
Ultimately, the props and scenery that aren’t stored for future productions at the Festival are taken care of in various ways.
“We do our best to reuse, recycle, donate, or sell, so that the items continue to have a new life,” Hohman said.
Not everything can be given away or sold, as the props and scenery are assets of the Festival and Southern Utah University. Special permission is often needed, but for those interested in obtaining certain set items, contact Hohman at propsdir@bard.org or Girtain at productionmanager@bard.org.
2023 Season in Review: Thank you for Believing in Us!
With the 2023 season officially over, we’d like to thank our amazing patrons and donors for attending and supporting us once again this year. It was, ultimately, a season that encouraged all of us to BELIEVE in the organization and the transformative power of live theatre.
Our Believe Campaign which launched this year is meant to inspire connectivity, and it was a magical experience connecting with our beloved patrons as they were immersed in our 2023 productions.
Here is what our leadership and staff at the Utah Shakespeare Festival have to say in reflection of the 62nd season:
Interim Artistic Director/Director of New Play Development Derek Charles Livingston
“What a wonderful season of work at the Festival,” Livingston said. “What I consistently heard from audiences throughout it was that, show-for-show, the Festival provided memorable and high quality work.”
For Livingston, no matter how pleased Festival employees are with the productions, our patrons’ satisfaction is the most important and highest stamp of approval.
“We presented a healthy mix of known titles—Romeo and Juliet and A Midsummer Night’s Dream,” Livingston said. “And rarely-performed Shakespeare plays in up close and intimate ways—Timon of Athens and Coriolanus, and Festival premieres of more contemporary works—Jane Austen’s Emma The Musical, A Raisin in the Sun, and The Play that Goes Wrong.”
For Livingston, this lineup of plays “provided a balance of love and loss as well as drama and comedy all presented with professionalism and heart.”
Director of Development and Communications Donn Jersey
Jersey noted that it was a fabulous year in so many ways.
“The 2023 season was a captivating masterpiece for our audience, going beyond mere plays, actors, staff, theaters, tarts, chocolates, and the grounds,” Jersey said.
For Jersey, the combination of these elements ignited an unwavering belief in the magic of the Festival.
“The Believe Campaign embodies this spirit, encompassing the very essence of our theatrical experience,” Jersey said.
General Manager Kami Terry Paul
The season was not without its challenges. Paul noted that the rising costs of materials and labor continue to make the work very difficult from the operational side.
“But the reward of the incredible stories told on our stages and the audiences who flock to the shows and eagerly immerse themselves in the other Festival activities make those challenges worth it,” Paul said.
“We have an incredible team assembled who are ready to meet these challenges and continue to produce the incredible artistic and human experiences that are the Utah Shakespeare Festival.”
Education Department: Katherine Norman and Stewart Shelley
The education department celebrated its successes, welcoming Education Director Katherine Norman this year. The 2023 Shakespeare in the Schools tour of Othello reached approximately 10,000 students in many schools across the intermountain west.
Throughout the season, they leaned into the “Festival Experience,” emphasizing the invitation to come to pre-show orientations, post-show seminars, actor talk-backs, and props and costume seminars, among other offerings.
Most recently, the Shakespeare Competition concluded, with 3,000 students, 315 teachers, over 100 judges, and numerous volunteers from Southern Utah University participating.
“We are eagerly anticipating the 2024 year and are excited to begin our winter education tours of Hamlet and Every Brilliant Thing!” Associate Education Director Shelley said. “If 2024 is anything like this past season, we look forward to another great season of educational outreach and sharing the joy that is found in theatre and the works of the Bard.”
It’s never too early to purchase tickets for next season! Visit bard.org for our 2024 play lineup.
26 Fun Facts From Our 62nd Season!
Our 62nd season came to a close on October 7, after sixteen weeks of outstanding performances. Let’s reminisce on what a beautiful season it was. Enjoy 26 fun facts from our 62nd season below:
2023 Productions
- This is only the second time that Timon of Athens has been produced at the Festival in 62 years. The previous production was thirty years ago in 1993!
- Timon of Athens and Coriolanus director Lisa Peterson is a two-time OBIE Award-winner. Her most recent production prior to the ones at the Festival, Good Night, Oscar, is currently on Broadway. Actor Sean Hayes received a Tony Award for his performance.
- Romeo and Juliet Director Betsy Mugavero played Juliet the last time it was produced at the Festival in 2017.
- In addition to his positions at the Festival as Interim Artistic Director and Director of New Play Development, Derek Charles Livingston also took on the role as a director this season, successfully leading A Raisin in the Sun.
- The Play That Goes Wrong was our best-selling production, with approximately 26,900 tickets sold. Jane Austen’s Emma The Musical came in second, selling 19,950 tickets.
- A Raisin in the Sun was the first play written by an African-American woman to be produced on Broadway. This was also the first time Lorraine Hansberry’s play saw Festival stages.
- This is the 11th time A Midsummer Night’s Dream was produced at the Festival.
- Jane Austen was worried she had created a main character that “no one but herself would much like.” Ironically, Emma has become one of her most popular characters, however imperfect the female main character may be.
- This was the first season that another group outside of the Festival has ever been in charge of a Greenshow night. The Paiute Tribal Youth Performers from the Paiute Indian Tribe of Utah performed The Greenshow: Paiute Heritage and Celebration.
Other
- New leadership was selected and announced this season, with John DiAntonio as Artistic Director and Michael Bahr as Executive Managing Director.
- American Sign Language interpreted performances were reintroduced this season and were offered for A Midsummer Night’s Dream and The Play That Goes Wrong.
- 537 tickets were reserved for active military personnel and veterans at no charge for Military Appreciation Week.
- 3,390 pounds of food were donated to the local Iron County Care and Share during the Festival Fall Food Drive.
Props
- There were over 1,160 props this season, including 131 pieces of furniture.
- 937 trim rosettes were made for the set of A Midsummer Night’s Dream.
- 200 Thistleweed Fairies were made and handed out to children during The Greenshow: Appalachia Night.
- The chaise lounge in The Play That Goes Wrong had to be redone several times. It kept breaking in rehearsal because of the immense physical abuse the prop received. Eventually, it was perfected. Appearing like a period piece of furniture should, it was engineered to be light and strong and made out of aluminum.
- Almost all of the props in The Play That Goes Wrong had to have multiple copies made to survive the 80 performances of the physically demanding show.
Education
- 25,316 guests attended Festival events in the Seminar Grove, which included props, costume and actor seminars, and play orientations. This number accounts for 28 percent of our total audience.
- Backstage Tours, which have been on hold since 2019, made their return this season. Over 1,000 guests in school groups were led through Festival theatres with the Education Department. An additional 1,232 patrons were led on 27 ticketed tours.
- There are summer camps and courses available through our Education department, and this summer, 150 students and 24 educators attended.
- Festival actors Rhett Guter, Allie Babich, and Marco Antonio Vega once competed in the annual Shakespeare Competition. This season, they collectively acted on Festival stages in Romeo and Juliet, Jane Austen’s Emma The Musical, The Play That Goes Wrong, and A Midsummer Night’s Dream. Learn more about their journey here.
- The largest of its kind, the Shakespeare Competition hosted 105 schools and nearly 3,000 students from Utah, Arizona, Nevada, Washington, and Wisconsin.
- In a single weekend, the Shakespeare Competition equates to over $1 million dollars in economic impact on Cedar City.
- The Wooden O Symposium hosted scholars from across four continents.
- 982 students purchased Student Access Passes. Those passes were used for 4,837 admissions.
Thank you for helping make our 2023 season such a success. We can’t wait to see you next year! For a 2024 play lineup and to purchase tickets, click here.