Q&A with Director Derek Charles Livingston on A Raisin in the Sun

Derek Charles Livingston is the Interim Artistic Director and Director of New Play Development at the Utah Shakespeare Festival. This season, however, he has also taken on the role of directing Lorraine Hansberry’s A Raisin in the Sun. 

“I am a director because I love the theater and love helping to shape moments, bringing stories to life, and I enjoy working with actors and finding out what makes a play speak to us,” Livingston said. “I do so in a style that at times leans into theatricality as a way of telling, not reality, but truth. I like to be a storyteller and a truth teller.”

Last season, Livingston portrayed Thurgood Marshall in the Festival’s production of Thurgood. He has also served as the Managing Artistic Director at Celebration Theatre and the Program Manager at Playwrights Project. Livingston received the New Hampshire Drama Award for Lead Actor in Driving Miss Daisy. 

Livingston received a Bachelor of Arts from Brown University and Master of Fine Arts from the University of California, Los Angeles School of Film and Television.

The Festival: As playgoers, why should people come see this play? 

Livingston: People should come see this play because it is a really terrific piece of writing that’s an American classic. Speaking a bit immodestly, this production has really terrific performances that have moved the audiences tremendously in the weeks that it has been in our stages. People walk away in tears, and I have had a number of people tell me how impactful the play is to them. Raisin at the Utah Shakespeare Festival is indeed something that is proving to be a moving theatrical experience. That is what we do here. 

The Festival: What should we watch for in this play that would help us enjoy/understand it better? 

Livingston: I think if people want to have a richer understanding going into the play they should look up the Supreme Court case Hansberry v Lee because it provides an insight into the playwright’s inspiration. What I appreciate about the play is that [playwright] Lorraine Hansberry takes an experience––neighborhood integration––and makes it so relatable and personal through this one family, the Youngers. Audiences should also pay attention to the moments of love and triumph in this production. It was something that was very important for me as a director to represent the idea of love within this family and to celebrate black joy. 

The Festival: Are there any special “easter eggs” you have implemented into the play as a director? 

Livingston: There are some fun things for people to understand about what they are seeing on the set itself. Our set designer has relatives from working class Chicago, so there are elements on the set that come directly from his understanding and his memory of visiting his grandparents in the Chicago area, particularly the pipe stove in the kitchen and the doilies on the sofa and the chair. I also have a friend who had an apartment in New York in the 80’s that shared a bathroom in the hallway to which everyone had their own key to the shared bathroom, so that was something that was happening thirty years after the play that you are seeing.

The Festival: What statement/realization/feeling do you hope audience members leave with after seeing the play?

Livingston: I hope that people walk away from this play really appreciating the fine dramatic writing…the dialogue, and the structure of the play itself. There is a reason that it is an American classic, it is taught in schools, and has been revived on Broadway three times. And in the characters of Walter Lee Younger and Lena Younger, Lorraine Hansberry has given us characters that stand alongside Willy Loman in Death of a Salesman or Martha in Who’s Afraid of Virginia Woolf. 

I also want audience members to walk away appreciating the Younger family itself and identifying the similar values in their own families. I have been saying for well over a year that there is much that I think Utah Shakespeare Festival patrons share with the Raisin family: a family led by a person of faith; that works hard; that values life; that lives multigenerational; and that sticks together. 

The Festival: How long have you been directing plays? Why are you a director? 

Livingston: I have been directing plays since I was in college. I had an interesting experience. Paula Vogel, who is a well known playwright and playwright instructor, taught playwriting at my college, and she had asked me to direct a play written by another undergraduate who went on to have a very successful career. That undergraduate, Rachel Shenkin, now teaches playwriting at Yale Drama School. Rachel also won a Tony Award for writing the musical The 25th Annual  Putnam Spelling Bee. Early on, I really enjoyed the aspect of looking at a play from the outside as director and shaping it, making decisions about how the picture will look, what the rhythms of the play would be, and illuminating and highlighting certain lines. 

The Festival: What challenges came with directing this play? 

Livingston: Because the play has such emotional weight, with highs and lows and such an emotional journey for Walter Lee Younger, the work to fully represent the scope of Lorraine Hansberry’s genius was compressed and intense. There are also some other interesting challenges. The play takes place in 1954, so every now and then we would run across some information that someone who is younger (no pun intended) in our cast didn’t know. One funny rehearsal moment was explaining to someone how a record player works, or the time it takes to use a dial phone. 

There were more serious aspects too, such as reminding people just what a dangerous decision Lena Younger had made in deciding to move a black family into a white neighborhood in 1954. The other challenges were sometimes the language; the patois that Lorraine Hansberry writes is very particular to a Southern and Midwestern experience, and many of our actors are not from those areas. Marrying those patterns to the poetic way in which Lorraine Hansberry writes is something on which we spent time in during the rehearsal process. 

The Festival: Why were you excited to direct this play? 

Livingston: I’ve known about this play my entire life, mostly because of the movie version with Sidney Poitier as well as in part of its time on Broadway. There was never a time that I did not know about an A Raisin in the Sun. I had read it in high school and I have seen two of the filmed versions of it. I also recognize the impact and weight of it as a piece of American drama. 

But also, there are some of the things that I very much identify with. I am the grandson and great grandson of domestic workers, and two of the characters are domestic workers. I came from a family in which two generations ago home ownership did not happen for my family, and the next generation, on my matrilineal side, three of those four children were homeowners. When that generation had passed away, they were able to pass down wealth in a way that had not happened prior to that. In the last few years the topic of home ownership and the ability to pass down wealth and how that was denied to a large section of the African American community due to things like redlining and restrictive covenants has reached greater awareness. 

On that level I really tap into what Lena Younger is doing by trying to provide a house for her family. What is beautiful about what happens in this play is that she is not doing it for any sociological reason or political reason. For her, it is about her trying to provide something for her family with money from her late husband’s life insurance policy. Literally, giving his life is able to increase the wealth of the next generation. Improving the lot for the next generation is part of the American story, but is particularized in the African American community in this play. That is very personal to me. The chance to move through that with this amazing cast of actors, many who have had this same experience and dynamic in their families, was not only theatrically rewarding but personally rewarding for all of us. 

To purchase tickets to A Raisin in the Sun this season, visit bard.org or call 800-PLAYTIX to purchase tickets.

Festival Honors Passing of Costume Designer Janet Swenson

By Liz Armstrong

Janet Swenson was a beloved Festival seasonal staff member for just under 20 years. As a costume designer, Swenson was an essential part of the productions each season. 

Swenson was born in 1947 in Seattle Washington, and passed “with dignity and humor” on July 20, 2023, after dealing with illness for many months. The Utah Shakespeare Festival acknowledges her beautiful work and commitment to the Festival for so many years, and offers condolences to Swenson’s family and friends.

During her theatre career of over 50 years, Swenson designed costumes for over 280 productions. She was also a makeup artist for more than 50 productions, and a millinery designer for eight. 

Her first role as Costume Designer at the Festival was for Timon of Athens in 1993. Since then, Swenson was the Costume Designer for over 22 shows, including Richard III (1994), Pericles (1997), Peter Pan (2000), My Fair Lady (2004), Camelot (2005), Twelfth Night (2007), and Much Ado About Nothing (2010) to name a few.

In addition to Swenson’s tremendous work at the Festival, Swenson taught at Brigham Young University for 39 years and served as Resident Designer at Robert Redford’s Sundance Theatre. Other professional credits include costume design for Disney Channel, California’s Pacific Conservatory of the Performing Arts, Guthrie Theatre, Idaho Shakespeare Festival, Hale Theatre, and more. 

Festival Costume Director Jeffrey Lieder worked closely with Swenson.

“Her contributions to the Festival were remarkable . . . especially the beautiful A Midsummer Night’s Dream she designed with Fred C. Adams in 2011,” Lieder said. “She was an excellent teacher, designer, collaborator and artist, and a true and loyal friend.” 

Steven Schmid also worked closely with Swenson in the costume shop. As the draper for Timon of Athens this season, working on the show has been a full-circle moment. His first season at the Festival was in 1993, when Swenson was the Costume Designer for Timon of Athens––the first, and only other time the Festival has produced the show. 

“I’ve been thinking about Janet, and what she would’ve thought of this production,” Schmid said. “I think she would’ve loved it, as [this production] is a great example of what we can do at the Festival.” 

Funeral services will be held this Friday, July 28, at 11:00 am in Pleasant Grove, Utah. 

To send flowers or a card and to read Swenson’s full obituary, click here.

The Royal Academy of Dramatic Art to Perform The Comedy of Errors at the Festival

By Liz Armstrong

As part of a strategic partnership with the Utah Shakespeare Festival, the Royal Academy of Dramatic Art (RADA) in London is bringing The Comedy of Errors to Festival audiences.

The production will run from August 1-5, 9:30 a.m. in the Eileen and Allen Anes Studio Theatre. 

“Our audiences are in for such a treat,” Interim Artistic Director Derek Charles Livingston said. “[RADA] has put together a whiz-bang version of one of our audience’s favorites of Shakespeare’s.” 

This is an exceptional experience that Festival patrons won’t want to miss out on––as the actors have extensive training from this prestigious London academy. 

“This is the second year of our partnership with the famed British acting school, and the presentation last year of Much Ado About Nothing was pure delight,” Livingston said. The emphasis of this partnership is on the art of contemporary Shakespeare performance and training from the Bard’s homeland. 

The RADA training program boasts a number of exceptional alumni that have seen success as actors, including Alan Rickman, Allison Janney, Anthony Hopkins, Glenda Jackson, Roger Moore, Joan Collins, and Richard Attenborough. And the next RADA “star” just may be on the Festival stage this summer.

In addition to seeing such accomplished actors, The Comedy of Errors is 90-minutes of fast-paced Shakespeare. RADA describes it as “a classic farce of mistaken identity sprinkled with Shakespearean magic and heart.”

“This one-week-only presentation of one of the Bard’s most funny plays is being presented in our Anes Theatre, where our audiences will be up close to all the action and wit in The Comedy of Errors,” Livingston said. 

To purchase tickets, which are $20, visit bard.org/plays/rada-the-comedy-of-errors, call 800-PLAYTIX, or visit the ticket office in person.

Festival Feature: Meet 2023 Lighting Board Operator April Salazar

By Liz Armstrong

In theater, the lighting board operator’s main responsibility is to make sure that the lighting equipment is working and running smoothly throughout the run of the show. After all, what’s a play if you can’t see and experience it properly? Additionally, they run the cues from designers, making them an instrumental part in the success of a production.

Meet April Salazar, a light board operator for the 2023 season. From Laredo, Texas, Salazar is a graduate of Texas A&M University-Corpus Christi. After graduating with her Bachelor of Fine Arts in Theatre with an emphasis in lighting design, Costume Crafts Supervisor Rosa Lazaro invited Salazar to come work at the Festival. 

Salazar’s Journey at the Festival 

In 2022, Salazar was the Technical Director for the Utah Shakespeare Festival’s Educational Tour of Much Ado About Nothing, making her responsible for managing sound, lighting, props, scenery, and costumes. After the tour, Salazar took a position at the Festival as a spotlight operator for Clue and The Sound of Music. 

Salazar didn’t stop there, returning to the Festival for the 2023 Educational Tour of Othello as the Technical Director. For Salazar, the Festival is an “enchanting” place to work. 

“There’s something that brings me back,” Salazar said. “The work environment is high production, but the people here are [welcoming].”

 Now, for the 2023 season, she has landed the title of Board Operator for A Raisin in the Sun and Jane Austen’s Emma The Musical in the Randall L. Jones Theatre. 

“I’m the person in the booth with the Stage Manager making sure everything works,” Salazar said. “I’m a part of the build crew, helping with lights and making them work during technical rehearsals. During the season, I’m essentially the designer’s fingers.” 

The Start of It All 

Salazar’s love for theatre started in middle school, when she began to act. Her transition into lighting, however, was where Salazar found her niche. 

“In high school, I was one of the only people that showed up to run a light board, and people kind of depended on me from then on,” Salazar said. 

Salazar was more than okay with that, voicing her love for the technology of lighting. 

“I like working behind-the-scenes and the software and programming,” Salazar said. “People just assume you plug in lights, but there’s much more to it. I love the math and build process––the troubleshooting.”

What’s kept Salazar in lighting is the problem-solving aspect. For some, the puzzle of it all would be dissuading, but for Salazar, it’s the career-niche she’s always wanted, combining computer-science with theatre.

“It’s one of those jobs that people don’t think you can have, running lights in theaters,” Salazar said. “So I decided to pursue it.” 

Eventually, Salazar plans to be a lead electrician and be able to work and manage shows as a leader. 

Salazar Voices Personal Connection to A Raisin in the Sun 

Salazar highly encourages patrons to come see A Raisin in the Sun this season. Personally, she didn’t expect to connect so fully to the show, but found herself in the character of Beneatha. 

“I resonate with Beneatha, because she tries to do something out of the ordinary. She wants to be a female doctor,” Salazar said. “I wanted to pursue a career in theatre––something those from my culture wouldn’t deem as a successful career path. But I am succeeding.” 

Salazar also connects to the racial themes in A Raisin in the Sun, having grown up in a bordertown in Texas. 

“I grew up in a [rougher] neighborhood,” Salazar said. “I like the exposure the play is bringing to that type of lifestyle.” 

To observe Salazar’s work at the Festival, purchase tickets to A Raisin in the Sun or Jane Austen’s Emma The Musical by calling 800-PLAYTIX or visit bard.org.

All Seven Productions Now Open at the Utah Shakespeare Festival

The Utah Shakespeare Festival is thrilled to announce that all seven main stage productions, plus three Greenshows, are now open for the 2023 season. 

This season, believe in the power of theatre and don’t miss out on an enchanting and thought-provoking lineup of productions, running until October 7. 

What’s On

A Midsummer Night’s Dream is Shakespeare’s popular tale of fairies, dreams, and changes of heart. Created in a combination of worlds very different than anything seen on our stages before, this popular comedy features Corey Jones as Theseus/Oberon, Cassandra Bissell as Hippolyta/Titania, and Max Gallagher as Philostrate/Puck, directed by Jessica Kubzansky.

Romeo and Juliet is one of Shakespeare’s most well-known tales of tragedy, focused on rash decisions, enmity, and “star-cross’d lovers," featuring Ty Fanning as Romeo and Naiya McCalla as Juliet. After playing Juliet in the Festival’s 2017 production, Betsy Mugavero returned to direct this production.

Jane Austen’s Emma The Musical, directed by Valerie Rachelle, is an enduring and charming love story featuring Allie Babich as the vivacious Emma and Rhett Guter as the straightforward Mr. George Knightley. If you know this story, but have never seen the musical version, its accessible and hummable melodies truly add a captivating dimension. 

The Play That Goes Wrong is a hilarious and chaotic ill-fated play-within-a-play, featuring the earnest but amatuer efforts of the Cornley Drama Society members putting on “The Murder at Haversham Manor.” Directed by Geoffrey Kent, the cast displays comic genius, including that of Chris Mixon as Dennis, Jim Poulos as Max, Melinda Parrett as Annie, and Rhett Guter as Chris.

A Raisin in the Sun is an American theatrical masterpiece that breaks down barriers, challenges assumptions, and restores hope. It features Corey Jones as Walter Lee Younger, Kayland Jordan as Ruth Younger, Maureen Azzun as Beneatha Younger, and Monique Gaffney as Lena Younger (Mama), and was directed by Derek Charles Livingston. 

Shakespeare’s rarely-done Timon of Athens explores friendship and the foibles of a materialistic society. Directed by OBIE Award-winner Lisa Peterson, who is also directing Coriolanus, the play features Elijah Alexander as Timon and Nell Geisslinger as Apemantus. 

Coriolanus is one of Shakespeare’s least-produced plays, and focuses on themes of ambition, power, and weaknesses in leaders. James Ryen plays the hot-headed Coriolanus, with Jasmine Bracey as Menenius Agrippa and Darin F. Earl II as Sicinius Velutus.

These seven productions along with three fantastic nightly Greenshows, free seminars and orientations, backstage tours, and more make for the perfect summer get-away to lovely Cedar City. For more information about the plays and to purchase tickets, call 800-PLAYTIX or visit bard.org/plays.

The Ultimate Utah Shakespeare Festival Experience

Our season is here and five of our seven main stage shows are now open. Don’t miss this season’s fantastic lineup of productions: A Midsummer Night’s Dream, Romeo and Juliet, Jane Austen’s Emma The Musical, The Play That Goes Wrong, and A Raisin in the Sun. Timon of Athens and Coriolanus will open July 17 and 18, respectively. 

But we offer more than just world-class theatre. Attending just one of our productions can be a transformative and unforgettable experience in itself, but your ultimate Festival experience can be an entire day full of learning, enjoying, and believing in theatre, starting at 9:00 am and ending late at night when the final curtain closes. 

Allow us to walk you through an ideal day at the Festival:

Free Play Seminars, 9 am and 10 am:

The following day after every performance, a free seminar is held in the Seminar Grove to discuss the previous day’s matinee play at 9 am, while the 10 am seminar will center around the evening performances. Theater scholars, accompanied occasionally by directors and actors, will lead lively discussions, encouraging audience members to share their interpretations. 

Free Producer, Actor, Prop, or Costume Seminars at 11 am:

All of these seminars are the perfect opportunity to learn from Festival administration, actors, Properties Director Ben Hohman, and Costume Director Jeff Lieder. For more information and dates for these free events, visit bard.org/plays/#activities. 

Orientation at 1:15 pm:

This is a perfect––and free––opportunity to better understand the plays before experiencing them firsthand. Conducted by theater experts, expect a play introduction and question-and-answer session that will only accentuate your play experience. This orientation time is for matinee plays, and will be held throughout the season. 

Matinee play at 2 pm: 

After grabbing lunch at one of Cedar City’s many top notch restaurants, it’s time for a matinee play! Visit bard.org/plays for our play lineup. On your way out, take a stroll through the grounds and enjoy our statue garden and beautiful flowers. 

Visit the Southern Utah Museum of Art:

With time to spare before dinner and the next play orientation at 6:45 pm, we suggest stopping by SUMA, located directly north of the Randall L. Jones Theatre. 

In one of the exhibits, Artists Aïsha Lehmann and Vitus Shell have contributed works to an exhibit that reflect the themes of the Festival’s 2023 production of A Raisin in the Sun, on display now through September 23. The exhibit is titled: “A Dream Deferred: New Perspectives on Black Experience.” For more information visit suu.edu/suma.

Orientation at 6:45 pm 

This orientation will follow the same format as the matinee orientation, except that it will be centered around the evening performances. Shakespeare can be a bit intimidating, so whether you are a first-time play-goer or a loyal patron, we encourage you to stop by before The Greenshow. 

The Greenshow at 7:10 pm 

The Greenshow is a free, lively, and audience participatory experience. This year, we have three themed shows that will rotate throughout the season: The Hills of Appalachia, English Regency Garden Party, and Paiute Heritage and Celebration. During the performance, don’t forget to purchase one of our world-famous tarts––we promise you won’t regret it! 

Evening play at 8:00 pm 

Finally, it’s time to end the day with enchanting performances in the open-air Engelstad Shakespeare Theatre, the beautiful Randall L. Jones Theatre, or (in a couple of weeks) the intimate Eileen and Allen Anes Studio Theatre. After a busy day, this is the perfect time to relax and enjoy the magic that live theater brings.

To purchase tickets for the 2023 season, visit bard.org, call 800-PLAYTIX, or visit the Ticket Office onsite.

Returning Festival Actors: Who's Back?

By Liz Armstrong

The Festival officially opened last week and will run until October 7. We are thrilled to welcome our friends and guests back for our 62nd Season! We’re also thrilled to welcome back members of our performing company. For a full calendar view of all our shows, visit bard.org/calendar. 

Romeo and Juliet by William Shakespeare

Romeo and Juliet is directed by Betsy Mugavero, whom Festival audiences will remember as a member of the performing company in eight seasons between 2008 and 2019. Returning Festival actors in lead roles include: Cassandra Bissell as Lady Capulet, Ty Fanning as Romeo, Tim Fullerton as Capulet, Alex Keiper as Nurse, Gilberto Saenz as Tybalt, and Marco Antonio Vega as Paris.

A Midsummer Night’s Dream by William Shakespeare

A Midsummer Night’s Dream is Shakespeare’s beloved tale about fairies, dreams, and lovers and is directed by Jessica Kubzansky. Returning Festival actors in lead roles include Cassandra Bissell as Hippolyta/Titania, Ty Fanning as Demetrius, Corey Jones as Thesues/Oberon, and Alex Keiper as Petra Quince. 

Jane Austen’s Emma The Musical with book/music/lyrics by Paul Gordon; orchestrations by Brad Haak, Paul Gordon, and Brian Allan Hobbs; based on the novel by Jane Austen

This is Austen’s enduring love story featuring an imperfect, but loveable, main character. Returning Festival actors in lead roles include Allie Babich as Emma, Laura Brennan as Harriet, Tim Fullerton as Mr. Weston, Rhett Guter as Mr. Knightley, Kat Lee as Mrs. Weston, Chris Mixon as Mr. Woodhouse, Melinda Parrett as Miss Bates, Jim Poulos as Mr. Elton, and Gilberto Saenz as Frank Churchill.

A Raisin in the Sun by Lorraine Hansberry

This piece of classic American theatre, A Raisin in the Sun, tells of a family’s dreams, breaking down barriers, and defining hope. It is directed by Derek Charles Livingston, the Festival’s interim artistic director/director of new play development. Returning Festival actors include Corey Jones as Walter Lee Younger and Nazlah Black as Mrs. Johnson. 

The Play That Goes Wrong by Henry Lewis, Jonathan Sayer, and Henry Shields

The Play That Goes Wrong is a hilarious, chaotic, and ill-fated play-within-a-play. Returning Festival actors include Nazlah Black as Sandra, Laura Brennan as Stage Hand, Rhett Guter as Chris, Chris Mixon as Dennis, Melinda Parrett as Annie, and Jim Poulos as Max. 

Timon of Athens by William Shakespeare

Shakespeare’s Timon of Athens is rarely performed and explores friendship, wealth, and the foibles of a materialistic society. Returning Festival actors include Elijah Alexander as Timon, Anatasha Blakely as Isadore/Poet, Jasmine Bracey as Lucullus/Caphis, Darin F. Earl II as Varro/Painter, Nell Geisslinger as Apemantus, and Jeremy Thompson as Ventidius/Factotumus/Soldier.

Coriolanus by William Shakespeare

Coriolanus is another of Shakespeare’s rarely-produced plays that focuses on themes of ambition, family, love, and power. Returning Festival actors include Elijah Alexander as Aufidius/Roman Citizen, Anatasha Blakely as Valeria/Roman Citizen, Jasmine Bracey as Menenius Agrippa/Roman Citizen, Darin F. Earl II as Sicinius Veletus/Roman Citizen, Nell Geisslinger as Junius Brutus/Roman Citizen, and Jeremy Thompson as Titus Lartius/Roman Citizen. 

To purchase tickets or for more information for the 2023 season, visit bard.org or call 800-PLAYTIX.

Producing Quality Theatre for 20 Years: Meet Costume Crafts Supervisor Rosa M. Lazaro

By Liz Armstrong

There’s a lot that goes into producing high quality plays––including everything from props, sound, set design, costumes, and more. Rosa Lazaro has been a part of this process for over twenty years now at the Utah Shakespeare Festival, and it’s people like her that have kept the organization producing quality productions since it was founded in 1961. 

The Beginning 

For Lazaro, it all started when she was a high school student in Delta, Utah. The Festival’s late Founder Fred C. Adams visited Delta, his hometown. 

“He got me interested and excited [in theatre],” Lazaro said. 

But Adams inspired the young student in more ways than one, influencing not just her interest in theatre, but also her educational journey. 

“I was a first generation college student. My father was an immigrant from Mexico, and my prospects of going to college were very slim,” Lazaro said. 

One of seven children, Lazaro was the first to successfully attend college. 

“A lot of that was due to Fred, knowing that these amazing people came out of Delta,” Lazaro reflected. “I’m not sure I would’ve ever left [my hometown] had Fred not come through when he did.”

Lazaro’s Start at the Festival 

Lazaro enrolled at Utah State University and first came to the Festival in 1996 as a scenery mover. At the time, she was primarily interested in carpentry, properties, and technical directing and spent about three years working in scenery and at the prop shop with Properties Director Ben Hohman. 

Adams, along with other early Festival framers Doug Cook and and Cam Harvey, showed Lazaro that every member of the company counts. 

Lazaro reflected on her first season at the Festival, when she was working on scenery for The Three Musketeers. Adams introduced himself to her, and from then on, remembered her. 

“Everyone was so important to him, even the people who pushed the scenery,” Lazaro said. 

“Later I would add many [other Festival] mentors like Lew Haslam, Phil Haslam, R. Scott Phillips, and, of course, Jeffrey Lieder,” Lazaro said. “All helped me see my own potential. I’m sure there were many others, but honestly the support from my Festival family has never rested.”

Furthering Her Education 

In 1999, after finishing her undergraduate degree at Utah State University, Lazaro heard that Southern Utah University needed a part time assistant technical director. Since Lazaro had worked full time for several summers at the Festival, she was qualified for the job. 

“From there I was encouraged to go to graduate school to become a technical director,” Lazaro said.  “The Festival [instilled] in me that I could go to grad school. I discovered I could achieve more than I ever thought I could.” 

Lazaro is now a professor of theater at Texas A&M University, Corpus Christi. From a young girl not sure she could finish her undergraduate degree to a professor teaching everything from costume design and production to stage management, this was a massive accomplishment. 

“I get choked up thinking about what [those at the Festival] did for me,” Lazaro said. 

Now, as a professor, Lazaro strives to plant the same passion in her students that those at the Festival instilled in her. 

“In my interview at Texas A&M, I said I wanted to keep coming back to the Festival, and they told me they wanted me to do that, and to take students that I thought were good enough back with me,” Lazaro said. 

Lazaro has done just that, bringing young students and technicians to the Festival, and influencing them the way she once was influenced. 

“It’s amazing that [at the Festival], we touch each other’s lives and it has a domino effect,” Lazaro said. “We continue to pay it forward.” 

The Transition from Props to Costuming 

Lazaro began graduate school to become a technical director. From there, she discovered she loved costuming, and so she changed her graduate focus from technical directing to costume design. 

“Jeff Lieder was kind enough to give me a chance and brought me into costume crafts, which is kind of when properties and costumes has a baby,” Lazaro said. “Twenty years later, I am the Costume Crafts Supervisor. 

In this department, Lazaro and her team create things like shoes, armor, millinery, and accessories. She has been supervising since 2010. 

Lazaro’s favorite show she has worked on to date was Richard III in 2003, when Henry Woronicz played Richard, designed by Bill Black. 

“I built this beautiful piece of plate armor that I worked tirelessly on,” Lazaro said. “I remember Henry saying it was brilliant and hearing the applause when Henry walked out in it.”

For Lazaro, this was perhaps the most significant point in her career. 

“I couldn’t imagine going back to any other part of theatre after that,” Lazaro said. “It was so amazing to see the appreciation, and they had planted in me what I wanted to do for the rest of my life.” 

Why She Keeps Coming Back 

“Jeff tells everyone that the Festival is a very addictive place, and it’s true,” Lazaro said. “Not just because the people are wonderful to work with, but because of what it teaches you.”

“We work hard to create beautiful costumes to help tell impactful stories that can change people’s lives,” Lazaro said. “I couldn’t imagine working anywhere else. 

Lazaro reflects on where the Festival started, when it was only the Adams Memorial Theatre across the street to the three theatres, administration center, production shops, and rehearsal hall it boasts now. 

“I’m a part of that. Being able to look back where we started and knowing the passion that is put into each show . . . the standards at the Festival are something to be proud of,” Lazaro said. 

For Lazaro, it comes down to one simple question: Why do it at all if you’re not going to do it to such a brilliant standard? 

“We know what it takes to do great, great theatre,” Lazaro said. “That is what’s going to keep me coming back year after year.”

For more information or to purchase tickets for the 2023 season, visit bard.org or call 800-PLAYTIX.

Announcing the Festival's 2024 Season!

By Liz Armstrong

The Utah Shakespeare Festival is excited to announce its 2024 season, featuring seven plays from June 17 to October 5. In an effort to make it easy for loyal Festival guests to order their tickets well in advance, tickets go on sale beginning July 7, 2023. To purchase tickets, visit bard.org, call 800-PLAYTIX, or visit the Ticket Office near the Anes Studio Theatre. 

“We are thrilled to announce our shows for our sixty-third season in 2024,” says Interim Managing Director Michael Bahr. “We are proud to focus on our cornerstone of Shakespeare, presenting four of his marvelous works.”

“We are also delighted to bring back a previous comedy by popular demand, and two shows new to our audiences to complete our robust season,” comments Interim Artistic Director/Director of New Play Development Derek Charles Livingston. 

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 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, in the yearning for an heir, marries Anne Boleyn. 

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 follows King Leontes, his paranoia of his wife’s infidelity, and the consequences that follow. 

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. 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 wife. Suitors attempt to win her sister Bianca’s hand in marriage, but can only do so if Katherina weds first. 

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. 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. 

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 

Returning by popular demand, 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, the play balances both suspense and nonstop comedy, with a little splash of romance. 

IN THE EILEEN AND ALLEN ANES STUDIO THEATRE

Silent Sky 
by Lauren Gunderson 

This is the first time the Festival has produced Silent Sky. Following astronomer Henrietta Leavitt, this play explores what a women’s place in society was during a time of scientific discoveries in the 19th century. Including themes of gender equality and work/life balance, this play is one for the times – even though it takes place over one hundred years ago. 

The Mountaintop 
By Katori Hall 

The Mountaintop has never before seen Festival stages. Following Dr. Martin Luther King, Jr., audience members watch as he is forced to confront both his mortality, and the future of his people. Although fictional, the play shows themes of being a figurehead versus a private human. 

For details or to order, visit our website at bard.org or call the ticket office at 800-PLAYTIX.

The Utah Shakespeare Festival: What's On

Starting June 21, the Utah Shakespeare Festival will offer over three months of enchanting productions. Running Monday-Saturday and offering four different shows daily on most days, along with a free nightly Greenshow, there’s ample opportunity to believe in the power of theatre and attend this season. 

In the Engelstad Shakespeare Theatre: 

Seating over 900 patrons in a lovely outdoor space, our Engelstad Shakespeare Theatre is the ultimate place to enjoy a night of theatre. The classic Elizabethan-inspired architecture offers an unforgettable experience of watching Shakespeare under the stars––literally. We can’t wait for you to see our very own replica, boasting impressive similarity to Shakespeare’s Globe Theatre. 

A Midsummer Night’s Dream is Shakespeare’s luxurious tale of fairies, dreams, and finding love. This popular comedy features actors Topher Embrey as Bottom and Cassandra Bissell as Hippolyta/Titania. 

Romeo and Juliet is Shakespeare’s most popular and tragic tale of “star-cross’d lovers" featuring Ty Fanning as Romeo and Naiya McCalla as Juliet.

In The Randall L. Jones Theatre: 

The Randall is an indoor modern theatre, offering a comfortable theatrical experience––no matter the weather. Built to expand the Festival’s productions to musicals and more, the theatre was dedicated in 1989 and is named after a Cedar City native, known as the father of tourism in the area. 

Jane Austen’s Emma The Musical is a charming and enduring love story featuring Allie Babich as the vivacious Emma and Rhett Guter as Mr. George Knightley. 

The Play That Goes Wrong is a hilarious, chaotic, and ill-fated play-within-a-play featuring Chris Mixon as Dennis and Melinda Parrett as Annie. 

A Raisin in the Sun is a theatrical masterpiece that breaks down racial barriers and addresses hope and the American dream, featuring Corey Jones as Walter Lee Younger and Kayland Jordan as Ruth Younger. 

The Eileen and Allen Anes Studio Theatre: 

This intimate theatre was designed to produce smaller-scaled shows for the Festival and is home for our new plays program, highlighting the “Shakespeares of tomorrow.” Seating approximately 200 guests, the theatre is designed as a flexible space, with audience members this season surrounding three sides of the stage to ensure there isn’t a bad seat in the house. 

Shakespeare’s Timon of Athens explores wealth, friendship, and the foibles of a materialistic society. The Festival has only produced this play once before, thirty years ago. It features Elijah Alexander as Timon and Jasmine Bracey as Lucullus. 

Coriolanus is one of Shakespeare’s rarely-produced plays that focuses on themes of ambition, family, love, and power. James Ryen will play the hot-headed Coriolanus, with Sheila Tousey as Volumnia.

For more information or to purchase tickets for the 2023 season, visit bard.org or call 800-PLAYTIX.

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