A Tour of the Utah Shakespeare Festival Statue Garden

By Katie Neves, guest writer

Located just south of the Balcony Bards Seminar Grove, the Catherine and Robert Pedersen Shakespeare Character Garden is an artistic tribute to the works of William Shakespeare. Walk around the grounds, and you’ll see some of his most iconic characters in vivid detail. From tragic heroes like King Lear to the comical Falstaff, these statues bring Shakespeare’s timeless figures to life. Let’s take a closer look at each statue and the stories they tell.

William Shakespeare

Where better to start than with the Bard of Stratford on Avon himself? Born in 1564, Shakespeare wrote, acted, and produced his plays in several theatres in England, most famously the Globe Theatre in London. His works have only grown in popularity since his death over four centuries ago. In fact, he is the most performed playwright in history. Standing at a podium filled with books and facing out toward all the characters he created, this statue captures his enduring legacy as a master storyteller.

Festival Fun Fact: When the now-retired Adams Memorial Shakespeare Theatre was built in 1977, it was one of the world’s most accurate replicas of the original Globe. Its authentic design was so impressive that the British Broadcasting Company filmed a program in it in 1981 about Elizabethan theatre.

Hamlet

Perhaps Shakespeare’s best-known hero, this brooding and philosophical prince of Denmark delivers some of Shakespeare’s most famous words. From “Alas, poor Yorick” to “To be or not to be,” Hamlet delves deep into the human psyche as he seeks to avenge his father’s murder. He’s best known for his indecision and inner turmoil—traits which, ultimately, lead to his tragic end.

Festival Fun Fact: The small, pale tree behind Hamlet is known as a ghost pine. This is meant to represent the ghost of Hamlet’s father, who haunts the court of Elsinore and sets the play in motion.

Juliet

Juliet is the young heroine of one of Shakespeare’s most beloved plays. At just 13 years old, she falls deeply in love with Romeo—a star-crossed relationship that defies the bitter feud between their families. Juliet is one of Shakespeare’s most adapted characters, appearing in hundreds of operas, ballets, musicals, stage plays, paintings, animations, and live-action films.

Festival Fun Fact: This statue was modeled after USF founder Fred Adams’ oldest daughter, Dorcas Adams Woodward.

King Lear

“Blow, winds, and crack your cheeks,” this statue seems to cry, tearing his clothes and dropping his crown to the ground. He yells at the elements with all the grief and rage that Shakespeare gave him. A king of ancient England, Lear contends with evil daughters, traitorous courtiers, and his own madness as he suffers the consequences of his vanity and foolishness.

Festival Fun Fact: In 2015, USF’s production of King Lear starred acclaimed actor Tony Amendola. Audiences may recognize him from his roles in Stargate SG-1, Once Upon a Time, and Continuum.

Lady Macbeth

Ambitious and ruthless, Lady Macbeth is one of Shakespeare’s most chilling villains, known for her sinister influence over her husband. As the play progresses, the guilt of her murderous actions slowly overcomes her, and she descends into madness. This statue depicts the famous sleepwalking scene, where she desperately tries to wash King Duncan’s blood off her hands.

Festival Fun Fact: When referring to her, most theater folk call her “Lady M.” According to urban legend, the word “Macbeth” is cursed, and it’s bad luck to say it in a theater. Next year, audiences will see Lady Macbeth return to the Festival stage as a part of the 2025 season.

Falstaff

Sir John Falstaff is one of Shakespeare’s most beloved characters. Making his first appearance in Henry IV Part 1, he is a close friend and (terrible) mentor to Prince Hal. This statue depicts the famous pillow scene, where Falstaff puts a cushion on his head as a makeshift crown and pretends to be King Henry IV. As Falstaff and Hal playfully banter back and forth, Shakespeare foreshadows the heavy weight of kingship young Hal will soon have to bear.

Festival Fun Fact: According to legend, Queen Elizabeth I was distraught when Falstaff was killed offstage in Henry V. She demanded that Shakespeare write Falstaff a new play—a comedy, where he could fall in love. That, supposedly, is where The Merry Wives of Windsor comes from.

Henry V

King Henry V is Shakepseare’s most famous military leader. After learning that he has a claim to the French throne (and after a very rude gift from the French prince), Henry gathers his troops and goes to war. This statue depicts his famous St. Crispin’s Day speech, where he rallies his outnumbered soldiers before the Battle of Agincourt. In the end, he’s miraculously victorious, and returns home as King of England and heir of France.

Festival Fun Fact: USF’s last production of Henry V, in 2016, was one of the first shows to be produced in the new Engelstad Shakespeare Theater.

Cleopatra

Regal and brilliant, Cleopatra is one of Shakespeare’s most formidable heroines. As the Queen of Egypt, she wields her intelligence and charisma to navigate the battlefields of love and politics alongside her lover, the Roman general Marc Antony (remember him from Julius Caesar?). Cleopatra’s tragic fate (a bite from a venomous snake) cements her legacy as a woman who refuses to be subdued.

Festival Fun Fact: The last time the Festival produced Antony and Cleopatra was in 2006—almost 20 years ago! Audiences will see Cleopatra return next year as a part of the 2025 season.

Bottom and Puck

One of the most hilarious characters in literary canon, Bottom from A Midsummer Night’s Dream is a terrible actor who has a run-in with fairies in the woods outside Athens. As a part of a devious prank, he is transformed into a hideous donkey, and catches the eye of the bewitched fairy queen Titania. Whispering in his donkey ear is a tiny Puck—Oberon the fairy king’s loyal servant, and the mischievous menace who transforms Bottom and sets the mischief in motion.

Festival Fun Fact: This statue is the newest in the garden, and was from Festival founder Fred C. Adams’ favorite Shakespeare plays. It’s also the only statue to feature two characters (unless you count Cleopatra’s snake and Hamlet’s skull).

Bonus Statues
Titania

Moving outside the statue garden, you’ll find Titania—the enchanting Queen of the Fairies—nestled in a planter at the west entrance to the Randall L. Jones Theatre. After a fight, her husband, Oberon, magically tricks her into falling in love with Bottom—a grotesque donkey man. At the end of the play, all is resolved; she and Oberon reunite, and the fairy kingdom is at peace once more.

Festival Fun Fact: With Titania, Bottom, and Puck, A Midsummer Night’s Dream is the only Shakespeare play that has multiple statues of various characters at the Utah Shakespeare Festival.

Lear’s Head

Next to the grand staircase of the Engelstad Shakespeare Theatre you’ll see a small bronze head—the crownless head of King Lear. Unassuming and simple, this statue represents Lear as he is by the end of the play: a powerless shadow of who he once was. Lear shows the wide spectrum of the human experience—mighty to humble, sane to mad, cruel to remorseful. It’s no wonder he’s often considered Shakespeare’s most tragic hero.

Festival Fun Fact: King Lear is the only Shakespeare character who has two statues at the Utah Shakespeare Festival.

Fred C. Adams

Situated near Ellen’s Sweet Shop and Engelstad gift shop, the statue of Fred C. Adams is a tribute to the founder of the Utah Shakespeare Festival. Along with his wife Barbara, he started the Festival in 1961 and continued his work until his death in 2020. Beginning with a thin plywood stage on the grass, then moving to the Adams Memorial Theatre, and finally to the Beverley Taylor Sorenson complex as it stands today, Fred made it his life’s work to bring quality theatre to southern Utah.

Festival Fun Fact: If you look really closely, you can see the watch on his wrist is a Mickey Mouse watch—something he wore every day in real life.

As you stroll through the Utah Shakespeare Festival grounds, be sure to make a stop at the statue garden. From the haunting Lady Macbeth to the contemplative Bard himself, each figure captures an enchanting piece of Shakespeare’s literary legacy. Whether you’re a lifelong Festival enthusiast or a newcomer to the theatre, the statue garden offers a unique glimpse into the brilliant world of William Shakespeare. (Final Festival Fun Fact: come back in December and this statue garden––and the rest of the Beverley Center––will be marvelously lit with holiday lights and decor.)

2024 Season is Almost Over; Get Your Tickets Now

It hardly seems believable that the 2024 season at the Utah Shakespeare Festival is almost over. With only a week and a half remaining, you still have time to catch Shakespeare’s witty comedy Much Ado About Nothing, the hilarious and zany whodunit The 39 Steps, the moving and historical Silent Sky, and the poignant The Mountaintop before they close on October 5. And there are plenty of ways to snatch a good seat to either the matinees or the evening performances.

For residents of Iron, Beaver, Washington, Kane, Garfield, Piute, and Lincoln counties, we encourage you to participate in our Fall Food Drive discount. For every five non-perishable food items donated, guests receive a half-price ticket to a play of their choice. Seats may be reserved in advance but tickets must be purchased in person, as this offer is not available online. There is no limit on the number of half-off tickets local guests can get. Please note that premier seating is not available for this promotion. See here for more info.

With one T-bird Tuesday remaining, students from Southern Utah University can get $10 tickets on Tuesday, October 1. We love when SUU students fill our theatres and bring their enthusiasm and excitement. Students can also still get a Student Access Pass for $40 and see as many shows as they like, based on availability. As a bonus, pass holders can bring a friend for free on Tuesday and Wednesday, October 1 and 2.

And don’t forget the extras! We still have play seminars and orientations happening, along with our final costume and actor seminars this Friday and Saturday, September 27 and 28. These are amazing ways to supplement your knowledge about the shows, as well as get your questions answered about the Festival, how the productions come together, and the experience our actors have.

Also wrapping up this weekend are the exhibits at our closest neighbor, the Southern Utah Museum of Art (SUMA), on the corner of University Boulevard and 300 West, just north of our Randall L. Jones Theater. Multiple exhibits are on display through September 28, and as always, entrance is free! Hours are 10 a.m. to 8 p.m.

As an exciting end to the season (and a head’s up to you, our patrons), our Shakespeare Competition is happening during our closing weekend of October 3-5. What does this mean? Nearly 3,000 students from over 100 middle and high schools gather on our grounds and the campus of Southern Utah University for three days of performances, competitions, adjudications, and activities based on the works of Shakespeare. Not only does it include theatre scenes, but dance and choral groups compete as well. The public is welcome to watch these performances. And of course, our shows are filled with these dynamic students. If you’ve ever wanted to watch one of our plays along with excited and invested students, grab a ticket (if you can!) and join us closing weekend!

For tickets and information, visit our plays webpage, call 800-PLAYTIX, or come to our Ticket Office near the Anes Studio Theatre.

Donn Jersey to Depart Utah Shakespeare Festival and Embark on New Ventures

The Utah Shakespeare Festival announces the upcoming departure of Donn Jersey, director of development and communications, at the end of the season after six and a half years of leadership. Jersey will continue his involvement in the arts and mental health fields as he transitions into advisory roles with arts organizations and other nonprofits, offering expertise in fundraising, communications, and strategic planning with his new endeavor, Strategic 3C.

“Donn’s leadership and tireless work have been critical to the Festival’s success,” said Michael Bahr, executive managing director. “His energy and drive in building relationships is remarkable. His impact, particularly in fundraising and outreach, will continue to shape the Festival for years to come.”

Jersey, who joined the Festival in 2018, was instrumental in driving its growth and securing financial stability through key fundraising and communication initiatives, enhancing digital technology, and analytics. Under his leadership, donations grew to record-setting levels, from 18% to 50% of the Festival’s annual budget in just three years. He spearheaded the $10 million Fred C. Adams Endowment, a $3 million campaign for theatrical equipment, and the ‘Believe’ campaign in 2023 and 2024.

“As a long-time attendee and supporter, I have witnessed firsthand the profound impact Donn Jersey has had on the Utah Shakespeare Festival. His visionary leadership and innovative spirit have elevated the Festival to new heights,” said Shelley Berkley, honorary co-chair of the Fred C. Adams Endowment and former Congresswoman from Nevada.

During the COVID-19 shutdown, Jersey played a critical role in guiding the Festival through one of its most challenging periods, helping to keep its community connected and informed and leading several public outreach efforts. A campaign focusing on gratitude set a new fundraising record during a season when the Festival was closed.

“Donn is the most talented businessman we’ve ever had the pleasure of working with,” said Eileen and Allen Anes, longtime Festival donors and current members of the Board of Governors. “We will profoundly miss seeing Donn at the Festival.”

One of Jersey’s most impactful contributions was his involvement in the Festival’s Every Brilliant Thing touring production, a play about teen depression and suicide prevention. From 2019 to 2024, this initiative reached over 50,000 students across Utah through 220 performances, aiming to break down stigmas and transform lives.

“How fortunate I feel to have found a home with the Utah Shakespeare Festival in Cedar City,” expressed Jersey. “I will look forward to participating as an audience member to witness the magic of this extraordinary storytelling institution that has captured my family’s hearts.”

As a principal with the consulting organization Strategic 3C, Jersey will advise several arts organizations in and outside of Utah. Some of his first projects will be with the West Valley Arts Foundation, the Sedona International Film Festival, and Encore Theatre in St. George, Utah. He plans to continue his work with Mission High School, a recovery high school he co-founded in Las Vegas in 2017. Furthermore, he is actively involved in launching the grand opening of his family’s new restaurant, Jersey’s Corner, in Parowan, Utah, and is preparing to publish the first in a series of children’s books in 2025, inspired by adventures with his granddaughter.

The Festival wishes Donn all the best in his future endeavors.

The Art of Rosa Lazaro: Seeing the World in Abstract

By Katie Neves, guest writer

If you haven’t had a chance to wander through Rosa Lazaro’s photography exhibit in the Randall L. Jones Theater lobby, now’s the perfect time to lose yourself in her work. Known for her background as the Utah Shakespeare Festival’s costume crafts supervisor, Lazaro brings a unique perspective to her photography—offering Festival patrons a new and dynamic view of the world.

This exhibit, found in the Randall lobby near the main level concessions stand, celebrates Lazaro’s ability to view the world from unexpected angles. “I gather my inspiration from the ability to view the world through the abstract,” she explained. Whether through her bold use of color or her deep attention to detail, her work invites viewers to pause and consider the everyday world in a new way. As a seasoned costume designer, her focus on texture and form is reflected in each photo, giving her work an unmistakably theatrical quality.

Originally from Delta, Utah, and now a professor of costume design at Texas A&M University-Corpus Christi, Lazaro’s artistic journey began in scenic design, where she learned the importance of composition. She eventually transitioned into costume design, which gave her new understandings of color, texture and pattern. “All of these lessons learned in theatre aid me greatly as I work on my photography,” said Lazaro. Her award-winning photography has been seen on the cover of Bend magazine, as well as in various galleries, museums, and art centers in Texas. The Randall exhibit is her first in Utah: “I’m delighted I can show my work for the first time in my home state.”

One of the standout aspects of Lazaro’s work is her macro photography. “My macro photography is some of my most successful and loved work by both myself and the public,” she said. Her macro photos transform ordinary subjects into dazzling displays of vibrancy and texture, challenging the viewer to look deeper at the world. “Viewing the world differently is truly a thrill,” said Lazaro. “”I want nothing more than to share that with others.”

Among the many beautiful photos in the exhibit, one holds a special place in her heart: a piece she calls “Fred.” Named after Fred C. Adams, the founder of the Utah Shakespeare Festival, the piece captures a nostalgic moment of reflection.

One evening, she visited the Adams Memorial Theatre and thought back on her many years at the Festival. She remembered years past, sitting at the back of the theater after rehearsals; without realizing she was there, actors would come back onstage to run through their lines again. “I loved watching them hearing the echoes of their words,” she said. “It was work I would never see or hear onstage; they were faceless in the dark, they were taking risks they never would onstage. That was true theatre magic to me.”

As she reminisced, Lazaro remembers watching as a ray of sunshine hit the hanging Adams sign. “I felt as if it was Fred saying ‘hi,’ or maybe thanking me for visiting our home—the home Fred built for us all,” she said. This piece, steeped in nostalgia and personal significance, not only honors a beloved figure but also captures the essence of Lazaro’s deep connection to the Utah Shakespeare Festival.

Ultimately, Lazaro hopes her exhibit will leave a lasting impact on Festival patrons. “I want people to feel triggers—warmth, peace, happiness. Maybe a piece can remind them of a moment,” she says. Her abstract works, in particular, encourage viewers to question what they see and to explore new perspectives. “I love when people ask me what a piece is—it shows they’re seeing the world differently.”

Rosa Lazaro’s exhibit runs through October 5. Be sure to visit the Randall L. Jones Theater and catch her incredible work which can be purchased, as well as Much Ado About Nothing and The 39 Steps playing in the Randall, and Silent Sky and The Mountaintop in the Anes Studio Theatre, before the season closes! For tickets and more information, visit bard.org. For more information from Lazaro about her photography, email her at rmlazarodesigns@gmail.com.

Find Deals and Treasures at the Festival’s Surplus Sale

Need a costume for Halloween? Or props for an upcoming production? Visit the Utah Shakespeare Festival’s upcoming surplus sale! A sale on costumes, props, scenery, and lighting is scheduled to take place during this year’s Shakespeare Competition in early October. While nearly 3,000 students come to town to perform, compete, and enjoy Festival shows, this sale is an opportunity to take home pieces of theatre history.

Competition participants, other theatre groups, and the general public are invited to check out the available merchandise. “The sale is open to the public, but we are hoping a lot of the items go to school groups as they will benefit the most from them,” says Festival Costume Director Jeffrey Lieder. “The sale happens during the competition but is not held every year; generally only when we have enough items we’d like to pass along.”

Scheduled for October 3 and 4 (9 a.m. to 5 p.m.) and October 5 (9 a.m. to 4 p.m.), there will be hundreds of pieces from past productions at the Festival to choose from. Items available include costumes, furniture, lighting equipment, mini fog machine, miscellaneous trims and decor, hand props, par lights, scenery pieces, and more.

“The production departments at the Festival have limited storage space and we hate to throw things away, so every once in a while we need to make some room by selling off items we’re not able to use anymore,” says Festival Props Director Ben Hohman. “This sale is our chance to sell items we can no longer store to other theater groups and the community.”

Everything will be available for bargain prices, sold “as is”, and are non-refundable. Credit/debit cards, cash, and checks will be accepted. The sale will be held in the Festival Costume Shop. Entrance will be on Shakespeare Lane (the one-way street that runs along the back side of the Engelstad Shakespeare Theatre), between 100 West and 200 West. Please note that nearby parking may be limited and the adjacent administration parking lot is for Festival employees only, but that there are places to pull over to load vehicles near the loading dock of the Engelstad Theatre and the Pedersen Shakespeare Character Garden on Shakespeare Lane.

For questions or more information, email guestservices@bard.org.

Silent Sky Playwright to Visit the Festival

The Utah Shakespeare Festival’s current production of Silent Sky tells the story of 19th Century scientist and astronomer Henrietta Leavitt and was written by playwright Lauren Gunderson, who will be visiting the Festival and Cedar City during the week of September 23.

Since 2015 Gunderson has been one of the most produced playwrights in the United States, reaching the top of that list three times, including in 2022/2023. She is an award-winning writer who won the Steinberg/ATCA New Play Award twice, the Lanford Wilson Award, and the Otis Guernsey New Voices Award. She has also been a finalist for the Susan Smith Blackburn Prize, Weisberger Award, and John Gassner Award for Playwriting. Her musical adaptation of The Time Traveller’s Wife premiered on The West End last year. Revolutionary Women––her new anthology of five plays––was published by Bloomsbury in 2023. She has authored numerous other theatre works and screenplays, as well as a picture book, Dr. Wonderful: Blast Off to the Moon, and hosts a creative podcast for theatre lovers called How To Playwright. She is a board member of The Playwrights Foundation, and a member of the Science & Society Program Advisory Council at The Aspen Institute.

In addition to Silent Sky, the Festival has also produced her play, The Book of Will, in 2019, both directed by longtime Festival artist Melinda Pfundstein.

“Lauren Gunderson is a prolific and powerful playwright whose works are produced extensively across the nation,” says Festival Executive Managing Director Michael Bahr. “It is a gift having her plays performed here. It is a double gift that she is able to share her experience and expertise with students and patrons.”

The public is invited to participate with these FREE events during her visit:

• Utah Shakespeare Festival’s Play Seminar in the Balcony Bard’s Seminar Grove on Wednesday, Sept. 25, 10-11 a.m. MDT
• Southern Utah University’s Eccles APEX Lecture Series with a book signing to follow, presenting “Theatre as Thought Experiment: Timeless Discoveries in New Plays”, on Thursday, September 26, 11:30 a.m. MDT, in the R. Haze Hunter Alumni Center Great Hall. Live streaming of this event can be found here.
• SUU’s Eccles APEX Radio Hour on Thursday, September 26, 3:00 p.m. MDT on KSUU Thunder 91.1. Live streaming can be found here.

For more information regarding SUU’s APEX Lecture Series, visit here. For more information about Gunderson, visit her website at laurengunderson.com.

Get your tickets today for Silent Sky, which runs through October 5. SUU students can take advantage of T-Bird Tuesdays ($10 tickets with an SUU student I.D.). Any student who has a Student Access Pass can bring a friend for free on Tuesdays and Wednesdays. And locals can ​​get a half-price ticket for every five non-perishable food items contributed to our Fall Food Drive. For more information, visit bard.org, calling 800-PLAYTIX, or stop by the Festival Ticket Office.

Q&A with Director Cameron Knight on The Mountaintop

Cameron Knight returned to the Festival this year to direct Katori Hall’s The Mountaintop about Dr. Martin Luther King, Jr.’s final night on earth. He also directed Richard III in 2021 and The Tempest in 2022 here at the Festival. He has worked with the Ensemble Studio Theatre on off-Broadway and numerous other regional theatres as a director, such as American Shakespeare Center, Resident Ensemble Players, and Notre Dame Shakespeare Festival.

Knight also has experience as an actor at The Kennedy Center, Oregon Shakespeare Festival, Milwaukee Rep, among others. His television work includes Blue Bloods, Chicago Med, and The Orville, in addition to film work on Widows, Sister Carrie, The World Without You, and Intrusion.

His teaching credits include Rutgers University, Carnegie Mellon University, DePaul University, and University of North Carolina. He received an MFA at University of Delaware and a BFA at University of Michigan-Flint.

The Festival caught up with Knight to ask about his experience directing The Mountaintop.

The Festival: What kind of personal connection do you feel to the play or characters and why were you excited to direct this play?

Knight: I know this play very well, I’ve seen productions of it and I’ve worked on it as an actor and coach, and it’s beautiful telling the story of [an African American hero], so I feel a connection to it because of that.

I love how bold the play is, and how bold Katori Hall was willing to be to tell some truths about Dr. King and race and race relations in this country, which are oftentimes glamorized, and this play [removes] that veil.

Because it’s such a small play in terms of cast, we can really tear it apart and put it back together in some fun ways that you can’t do with larger plays.

I was also drawn to direct this play because of the impact a story like this can have. Going into a political election year, that really stood out to me and the idea of hero worship and not making space for people’s health and mental health.

The Festival: Speaking of that, you noted that you planned on approaching mental health in this play through a more modern lens. Can you talk about this?

Knight: The advantage we have today is that we have so much more language and understanding about mental health than we did during King’s time. We are in a place now of hero worship, where we make a person bigger than they ever were, and we often lose sight of the human aspect of a person, like what they must have been going through. A lot of my family is in the military, and the term they used was “shell-shocked,” but now we know there’s a term called PTSD, and that distinction can be very helpful to the individual and the community.

It’s important to not necessarily diagnose, but look back and say, “What impacts might these very real things that we didn’t talk about because of pride, or culture… have had.” That can really open up the play for the audience today.

The Festival: For those that aren’t familiar with this play, why is it important and why should patrons come see it?

Knight: It puts a human touch and human connection on the legend that is Martin Luther King Jr. and brings him back down to the people. There’s also a strong religious element, and this very real thing of when we lose someone, a hope that they’re not alone.

I think the further we get from the events of loss of a human being––certainly someone as iconic as Martin Luther King Jr.––they start to transform in our memories. With Dr. King, we’ve tried to make him larger than life, and some people have tried to tear him down, but I do think bringing a human element to him, which Katori Hall has done so beautifully in this play, is something that people will be intrigued by.

It’s surprisingly funny. It’s a heartfelt play, but it’s very funny. I promise you’ll enjoy it.

The Festival: What challenges came with preparing to direct this play?

Knight: The big thing I’m aware of while working on this play is balancing people’s image in their mind of Dr. King and the reality of the King that’s written in the script. You have a real person on the stage, and people have their image of King…there will be audience members that were alive during King’s time and “know” King…and so I want to be sensitive to their memory and experience but also move the conversation forward. Striking the balance of that will be a delicate thing.

The Festival: As playgoers, what should we watch for in this play that would help us enjoy/understand it better? Are there any special “Easter eggs” you have implemented into the play as a director?

Knight: We [did] a lot with projections in this play to really bring the story to the forefront. I love those psychological thriller/horror elements, so there will be things like that that have been included in my previous work.

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

Knight: I hope people are motivated to vote, and to go out and impact their communities and listen to each other. I hope they’re inspired to check in on their quiet friends, you know the ones that are always “doing well,” and to have more space for each other.

The Festival: How long have you been directing plays? How long have you been with the Festival? What draws you to be a director?

Knight: I’ve been directing for 12 years, I still act a little bit but mostly direct. This is my third season with the Festival, having directed Richard III and The Tempest. What I love about directing is being able to bring people together and tell stories that people are concerned or afraid to tell…there’ve been so many conversations about inclusion over the years, but people weren’t doing that work.

I find that I can empower artists from the seat of the director better than I can as an actor and take bold stabs at stories to impact audiences in the time that we are in.

To purchase tickets to The Mountaintop, visit bard.org or call 800-PLAYTIX. The play runs through October 5.

Q&A with Director Melinda Pfundstein on Silent Sky

Longtime Festival favorite Melinda Pfundstein returned to the director’s chair this season with her production of Lauren Gunderson’s Silent Sky. Throughout her years with the Festival, she has directed All’s Well That Ends Well, The Book of Will, The Merchant of Venice, Words Cubed’s The Virgin Queen Entertains her Fool, and a Shakespeare in the Schools tour of A Midsummer Night’s Dream. Her acting credits include starring roles in Ragtime, Richard III, King John, The Winter’s Tale, Cyrano de Bergerac, The Taming of the Shrew, My Fair Lady, Les Misérables, Into the Woods, Love’s Labour’s Lost, King Lear, and Twelfth Night. She was also a past recipient of the Festival’s Michael and Jan Finlayson Actor Award.

In addition to her expansive Festival career, Pfundstein has also performed with Milwaukee Repertory Theatre, Renaissance Theaterworks, Milwaukee Chamber Theatre, Skylight, Lake Dillon Theatre Company, First Stage Children’s Theatre, and Nevada Conservatory Theatre.

Pfundstein holds an MA in Arts administration from SUU, where she also served as an assistant professor of Theatre Arts.

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

Pfundstein: I love exploring parts of history that have been a bit buried in the history books or have gone wholly untold. Lauren Gunderson often writes such stories, using the parts that we think we know as a backdrop to explore the buried parts. I could not wait to bring my own daughters to learn about Henrietta Leavitt, Annie Cannon, Williamina Flemming, and their great contributions to science and our world.

The Festival: What challenges came with directing this play?

Pfundstein: No challenges to speak of. It was particularly delightful to co-create our physical and aural world with the designers, in hopes of bringing the audience’s senses online as we share space in the theater.

The Festival: In the design meetings, you noted that you want to explore the theme of maturation, of “expanding and discovering instead of shrinking.” Where did this idea come from?

Pfundstein: Silent Sky spans decades, beginning in the early 1900s, before the Suffragist movement, when Henrietta Swan Leavitt, a real-life “computer” of the stars wonders in Gunderson’s play, “I have questions, I have fundamental problems with the state of human knowledge! Who are we, why are we—where are we?” Henri’s journey to the end of her physical life is one of rooting into her knowledge, of speaking her discoveries into existence, of sharing her findings with her colleagues and then, long after her death to today, with the world. Aging is often thought of as a withering or fading away from the height of life. This story is a celebration of the exact opposite, as our characters’ wisdom, knowledge, impact, and legacy grow to create waves far beyond the limits of the body and mind on earth.

The Festival: How will light (both literally and figuratively) play a role in this play?

Pfundstein: Light and projection, designed for our play by Jaymi Smith, Tom Mays, and Joe Payne, will literally paint the picture of the galaxy and the various scene settings, as we navigate the characters’ journey to understanding the light of the stars. Henrietta Leavitt taught us to map the stars, and in the process of this telling of her life and contributions, we get to consider that there is wonder in our makeup and influence as human beings. As Henri says, “There’s a reason we measure it all in light.”

The Festival: What do you want audiences to take away from this play?

Pfundstein: I hope this story inspires our audience to consider the wonder in their own lives, the relationships they hold dear, and the legacy they hope to leave through the expression of their own light in the world. I believe that this play is an invitation to do just that. I invite audiences to lean into our characters’ journeys and perhaps a consideration of their own contributions in the world.

The Festival: How long have you been directing plays? How long have you been with the Festival? What draws you to be a director?

Pfundstein: I have been with the Festival for over 25 years, and I have been directing plays for about half of that time. The collaboration and dance between crafting big picture choices, combined with the moment-to-moment detail is thrilling to me. I find great joy in facilitating a creative space wherein our whole team can explore the limits of their own artistry. It is an honor to witness such creativity at work and to take hands with makers toward a common goal.

To purchase tickets to Silent Sky, visit bard.org or call 800-PLAYTIX. The play runs until October 5.

Give Full-Hearted and Enjoy Half-Price: Fall Food Drive is Back!

The Utah Shakespeare Festival returns with its 20th annual Fall Food Drive, taking place from September 10 through October 5.

The Festival is collaborating with the Iron County Care and Share to make a meaningful impact in the community by supplying food to those who need it most.

Residents of Iron, Beaver, Washington, Kane, Garfield, Piute, and Lincoln counties are invited to donate and join in for a good cause. For every five non-perishable food items donated, guests receive a half-price ticket to a play of their choice.

This special offer replaces the standard local discount for the duration of the food drive. There is no limit on the number of half-off tickets local guests can get. Please note that premier seating is not available for this promotion.

“It’s so important to us to help support members of our community who seek assistance from the local food and homeless shelter,” says Executive Managing Director Michael Bahr. “These are our neighbors in need, and Iron County Care and Share does such important humane and uplifting work.”

Iron County Care and Share is a private, non-profit organization dedicated to providing compassionate assistance and resources to individuals and families in need, offering them exits from crises and pathways to increase their stability and self-sufficiency.

It was founded in 1984 by local churches to address hunger in the community, and almost 40 years later, the Care and Share is still working to help those in need.

Executive Director of the Iron County Care and Share James Jetton expressed that Iron County faces the second-highest poverty rate in Utah, which means many face food insecurity daily.

“Through food drives, we come together, offering a helping hand to those in need,” Jetton said. “It’s not about being heroes, but about being good neighbors, ensuring everyone has a seat at the table.”

This season, there’s a heightened demand for items like soup, peanut butter, beans, and canned fruit and vegetables. The pantry is also in need of cereal, crackers, pasta, rice, macaroni and cheese, and ramen.

The Festival typically receives over 3,500 pounds of food each year for the Iron County Care and Share. Hosting its 20th annual Fall Food Drive, the hope is to gather just as much––if not more––to contribute.

To participate, bring food items and proof of residency to the Festival ticket office, open 10 am–5 pm on Mondays and 10 am–8 pm Tuesday through Saturday. Seats may be reserved in advance. Tickets must be purchased in person, as this offer is not available online. For questions, call 800-PLAYTIX or visit the ticket office. (Please keep in mind - phone service ends at 7pm on the evenings of performances.)

“The Festival cares deeply about our community. Please join us in supporting our local Care and Share,” Bahr said.

Monetary donations are being accepted as well. Click here to donate to the Iron County Care and Share.

Behind-the-Scenes: How Production Pulls off the Magic of The 39 Steps

By Liz Armstrong, guest writer

This season’s The 39 Steps is a fast-paced “whodunit” and a refreshing romp for audience members, but it’s highly complicated for the four actors onstage that never stop moving and the 15 people working backstage to keep everything going seamlessly. Join us as we dive into how the Festival production team pulls it off behind-the-scenes.

The Props

Production Manager Richard Girtain said that The 39 Steps leans into theatrical magic and doesn’t shy away from showing the audience how different production elements are put together to create different scenes and characters.

“Transforming a lectern into a car, making a ladder into a train bridge, quickly switching hats to run through multiple characters. . .it’s the kind of performance that shows what is special about live theater,” Girtain said.

Many of the props have duplicates in order for the stage crew to get everything where it needs to be.

“Not only are we tracking all of the scenic pieces, but we also have a lot of prop doubles, so there was a lot of paperwork for this show to make sure we were keeping track of everything,” Assistant Stage Manager Kathryn Whilden said.

Some props and scenic elements took extra time to build because of their complexity. Ash Cox from the props department and run crew shared her experience working on the show, as well as her favorite prop: the armchair used throughout the play.

“The chair needed to be reupholstered, but an arm also needed to be removable for a bit in the show,” Cox said. “This chair is a wing-back which means all of the structure for the chair is in the arm rests. Upholstery is my specialty, so I immediately jumped on the challenge.”

Cox explained what it was like to get this armchair onstage.

“The armchair ‘magically’ slides out on stage, but what the audience doesn’t know is there is a crew member responsible for that chair that has practiced pushing on that chair over 100 times to make it slide out at the right angle, the right speed, and the right length,” Cox said.

For Whilden, the ladder in the show was one of the most challenging parts of making sure the action runs smoothly.

“We have this huge ladder that is supposed to be a bridge, and we had to take a big chunk of time during tech to figure out how we were going to do this,” Whilden said. “It’s the most difficult thing to maneuver because it’s so huge and it’s taken onstage by just two actors, one of which is on the ladder.”

The Process

Girtain went on to explain the process. How does the production team accomplish a successful run of the show, six times a week?

Whilden’s job included creating “tracks,” which is the process of laying out each person’s order of operations for the entire show, both for techicians and performers.

“When I created these tracks, [for mine] I tried to give myself enough so that I can have some fun and also be available when there could be problems, especially during the really hectic moments,” Whilden explained.

Creating these tracks and running through them before the opening of the season in technical rehearsal is necessary to make the show possible.

“My favorite part of the job is getting to map out the puzzle of how a show is going to run backstage. I like knowing all of the things we have to make happen and then being part of figuring out how we do that,” Whilden said.

Every detail counts and it’s very much like choreography. Whilden explained they even plan out where each person stands backstage, so that they can stay out of each other’s way and meticulously keep track of the foot traffic to make the process as smooth and safe as possible.

“The actors never stop moving and need safe, reliable, and quick technicians to be in the right place at the right time,” Girtain said. “Between handoffs of props, quick changes, and just the occasional drink of water, the show backstage is action packed just like the one onstage.”

Cox seconded this, commenting that “for 80 percent of the show, we are running around like mad men.”

“We have one transition where we have 40 seconds to set 11 furniture props; we time this transition everyday to make sure that we are not seen on stage,” Cox said.

It’s the competency between both technicians and performers that makes this work. Just like the actors, the run crew has understudies that come backstage in place of their absence, as every single person is needed.

“The acting company’s sprint from curtain up to curtain down may be the most challenging part. The four cast members are like Olympic athletes,” Girtain said. “They are put to the test every day to deliver a fun and high energy performance.”

The People

For Girtain, the best part of this whole process is the people and “seeing the creative ways the team found to make ordinary objects become entirely different things.”

Ash Cox said the biggest challenge was coming late to the run crew process and the unpredictability of the show. Despite the challenges, Cox is doing a stellar job, having been awarded the Festival’s Gene Chesley Memorial Design Award for her work this season and for her past five years of contributions.

“It was a great honor to receive this award,” Cox said. “This job is behind-the-scenes and it’s unusual to be in the spotlight. I came to this Festival only having basic skills and wouldn’t be where I am without the mentorship of Props Director Ben Hohman.”

Cox and Whilden both agreed that The 39 Steps was both the hardest and most rewarding shows they’ve ever worked on.

“But because of the challenges, it is also one of the most rewarding shows. When we make that 40 second transition in 20.94 seconds, we all cheer silently backstage. When our crew member pushes the chair out just right, we praise them. The actors, hair and makeup crew, wardrobe crew, electrics, stage managers, and all of us run crew members work so hard to make this show the success that it is every night,” Cox expressed.

It’s an impressive feat both onstage and off, and one Festival patrons won’t want to miss. With just five weeks left to see the show, make sure you get your tickets today at bard.org or 800-PLAYTIX.