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.

Accessibility and Educational Offerings at the Festival this Fall

It’s that time of year when students, teachers, staff, and administrators go back to school and schedules fill up. It’s also a special time of year at the Utah Shakespeare Festival when a multitude of accessibility opportunities and educational offerings are available. So don’t miss out!

Sensory-Friendly Performances
September 4 - The Taming of the Shrew at 8:00 pm
September 12 - Much Ado About Nothing at 2:00 pm

The Festival is again pleased to present Sensory-Friendly Performances this fall at a reduced ticket price of 50% off. Patrons ages six and above who would enjoy attending the theatre in a more relaxed environment, such as house lights on at a low level throughout the performance, the use of fidget items, audience members being welcome to stand or move around, and more. Those for whom this is designed includes––but is not limited to––those with sensory sensitivities, autism spectrum disorders, anxiety, dementia, learning challenges or differences, and other neurodiversities.

See The Taming of the Shrew on September 4 at 8:00 pm in the outdoor Engelstad Shakespeare Theatre and Much Ado About Nothing on September 12 at 2:00 pm in the indoor Randall L. Jones Theatre by calling or visiting the ticket office at 800-PLAYTIX (800-752-9849).

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Educating and inspiring theatre lovers is a huge part of the Festival’s mission, and this often begins with young thespians.

Students can get a Student Access Pass for only $40 which allows them to get one ticket per performance day-of to unlimited performances during the season. This pass is available to enrolled elementary through university students and homeschoolers; a student ID must be provided when purchasing the pass. Limit of one pass per student; expires October 5, 2024.

For teachers with school groups, Shakespearience is a must!

Shakespearience
Monday through Friday Matinees (2:00 pm, through September 27)

Shakesperience events are for school groups and include a performance, access to Festival-created study guide materials, and a selection of seminars, orientations, and other Festival programs like a workshop or backstage tour.

Utah public and public charter school groups of 12 students or more can get $10 tickets, courtesy of the Professional Outreach Programs in the Schools (POPS) sponsored by the Utah State Legislature (excludes premier seating and is subject to availability). Additional events like those mentioned above are included in the ticket price.

Out-of-state, private, parochial schools, residential treatment centers, and homeschool groups/co-ops of 12 students or more may receive $15 tickets (excludes premier seating and is subject to availability). Additional events may include an extra cost based on the activity and the size of the group.

For non-educational group rates, please contact the ticket office. For more information, click here.

USF School Days
September 5 - Much Ado About Nothing at 2:00 pm
September 11 - Silent Sky at 2:00 pm (SOLD OUT)

On September 5 and 11, Utah public and public charter school groups can attend the matinees of Much Ado About Nothing and Silent Sky for free! Due to funding from the state’s POPS program, the Festival is excited to offer these two shows at no cost for Utah public and public charter school students.

Designed to serve school groups, to qualify for this free program there must be a minimum of 12 people in your group and at least 75 percent of the attendees must K-12 students. For more information, click here.

To book Shakespearience and USF School Days tickets, call the ticket office. Questions for the Education Department? Call 435-865-8333 or email usfeducation@bard.org.

The Festival’s 63rd season includes Shakespeare’s Henry VIII, The Winter’s Tale, and The Taming of the Shrew which close by September 7, and Much Ado About Nothing, The 39 Steps, Silent Sky, and The Mountaintop, which run until October 5.

Silent Sky and Astronomy Encounters

Join us in celebrating the incredible story of Silent Sky, a powerful play that highlights the groundbreaking work of astronomer Henrietta Leavitt. Henrietta was one of Harvard’s first female “computers” and made significant contributions to our understanding of the cosmos. Enhance your experience by participating in one of these special astronomy-related activities.

Group Discussions with Astronomer Matthias Schmitt

Explore Dark Sky Science with Astronomer Matthias Schmitt from Cedar Break National Monument on Tuesdays or Wednesdays after the matinee performance of Silent Sky (September 3, 11, 18, 25). Gather in the Balcony Bard’s Seminar Grove for an engaging discussion from 4:30 to 5:15 p.m. Come check out the reproduction plates and fly spankers mentioned in the play that were used to uncover the mysteries of variable stars.

Schmitt says: “Silent Sky reminds us that breakthroughs in science and especially astronomy take dedication and grit over long periods. Sometimes, astronomers who work on big questions never find the answer in their lifetime. Henrietta Leavitt discovered the period-luminosity relationship of variable stars that helps us determine distances to extragalactic objects. Her work should have won a Nobel Prize, but unfortunately, she passed away too early. Astronomy surrounds us, and we encounter it daily, especially with our closest star, the Sun. Silent Sky allows visitors to travel back in time and see Leavitt’s and other women’s work at the Harvard College Observatory. Astronomy can be funny, as the play shows. We at Cedar Breaks are grateful to support the Festival with astronomy talks during the day and evening, so guests can understand the monumental achievement of Henrietta’s work. Come touch the stars with us.”

Play Seminars with Astronomer Cameron Pace

Astronomer Cameron Pace joins our regularly scheduled Play Seminars in the Balcony Bard’s Seminar Grove on the following dates:

August 7, 9, 14, 16, 21, 23, 28, 30 - 9:00 a.m.
September 4, 6, 12, 19, 26 - 9:00 a.m.
September 11, 18, 25 - 10:00 a.m.

Dark Sky Tours at Cedar Breaks National Monument

Join park rangers from Cedar Breaks National Monument and learn more about the area’s viewable astronomy, including stars, planets, and nebulas at one of the nation’s officially designated International Dark Sky Parks. Experience a nighttime of wonder and observe astronomical features through telescopes. These programs will be conducted every Friday, Saturday, and Sunday at the Point Supreme Overlook, which sits at 10,350 feet elevation.

6:30 p.m. - Solar Viewing
8:00 p.m. - Astronomy Talk
8:00-10:00 p.m. - Telescope Viewing

Ashcroft Observatory Public Night

Experience the cosmos at the Ashcroft Observatory located at 745 Hillcrest Dr, Cedar City. Join us every Monday night at sunset for a public viewing session.

Let’s honor the women who have shaped science and continue to inspire future generations! Come and immerse yourself in the stars after witnessing the inspiring story of Silent Sky! For more information, visit bard.org/plays/astronomy-encounters or call 800-PLAYTIX.

2024 Military Appreciation Days

The Utah Shakespeare Festival is celebrating our Armed Forces by offering free tickets to military personnel for performances from September 2 to 4. Our Military Appreciation Days recognize the invaluable sacrifices, commitment, and unwavering dedication of our veterans and active-duty members.

“Like the returning soldiers in Much Ado About Nothing, we are thrilled to celebrate our patrons from the Armed Forces and welcome them to the Festival,” says Artistic Director John DiAntonio.

Eligible patrons—those with a military ID or DD214 form, whether active or veteran—can receive two complimentary tickets per ID and choose from the following shows:

Monday (9/2)

Much Ado About Nothing, 2:00 pm, Randall L. Jones Theatre

The Mountaintop, 2:00 pm, Anes Studio Theatre

Henry VIII, 8:00 pm, Engelstad Shakespeare Theatre

The 39 Steps, 8:00 pm, Randall L. Jones Theatre

Tuesday (9/3)

The 39 Steps, 2:00 pm, Randall L. Jones Theatre

Silent Sky, 2:00 pm, Anes Studio Theatre

The Winter’s Tale, 8:00 pm, Engelstad Shakespeare Theatre

Much Ado About Nothing, 8:00 pm, Randall L. Jones Theatre

Wednesday (9/4)

Much Ado About Nothing, 2:00 pm, Randall L. Jones Theatre

The Mountaintop, 2:00 pm, Anes Studio Theatre

The Taming of the Shrew, 8:00 pm, Engelstad Shakespeare Theatre
*Sensory-Friendly performance (click here for more details)

The 39 Steps, 8:00 pm, Randall L. Jones Theatre

These tickets can be used for a single performance or two different performances. Please note, these tickets cannot be redeemed for premier seating sections.

“We are eager to once again offer our Military Appreciation Days discounts as we have for many years,” says Executive Managing Director Michael Bahr. “This is an important part of our season and we are grateful for the essential service that military personnel provide.”

(As noted, in addition to our regular shows, the Festival is also offering a Sensory-Friendly performance during this same week, with another on September 12 for Much Ado About Nothing*. These are performances designed for individuals with sensory sensitivities, those on the autism spectrum, and other neurodiversities, but all are welcome. We encourage patrons to be thoughtful when choosing to attend these shows to ensure they align with their unique needs. Our team is available to answer any questions and to help ensure a memorable theatre experience for all.)

The 2024 season lineup is Henry VIII, The Winter’s Tale, and The Taming of the Shrew which close by September 7; Much Ado About Nothing, The 39 Steps, Silent Sky, and The Mountaintop run through October 5. Reserve tickets now by calling 800-PLAYTIX (800-752-9849) or by visiting the ticket office near the Eileen and Allen Anes Studio Theatre. Please note: this special offer cannot be reserved online and spaces are limited.

Q&A with Director Britannia Howe on The Greenshow

Britannia Howe returned to the Utah Shakespeare Festival this season to write and direct her fifth Greenshow season. With three different nights (Royals, Folk Festival, and Commedia) audiences can experience the wide range of her excellent work. Howe’s other previous work at the Festival includes directing Cymbeline in 2021 and the touring productions of A Midsummer Night’s Dream and Every Brilliant Thing.

In addition to the Festival, Howe has worked with Southern Utah University, Utah Symphony, Illinois State University, Utah State University, Illinois Shakespeare Festival, Eugene O’Neill Theatre Center, Women of Will, Coalescence Theatre Company, and Nomad Theatre Company. She also won the Kennedy Center American College Theatre Festival National Directing Fellowship in 2011.

Howe earned an MFA in Directing from Illinois State University, as well as a BFA in Classical Acting/Theatre Education from Southern Utah University. Her teaching credits include Illinois State University and Southern Utah University, as well as the Utah Shakespeare Festival Playmakers and Actor Training.

The Festival caught up with her to ask her about her experience with this season’s Greenshow.

The Festival: Why were you excited to write and direct again this season?

Howe: I love the spirit of The Greenshow. It invites audiences into our space to play, laugh, and sing. The Greenshows are necessary for our world-building.

The Festival: What special moments are you most excited about in The Greenshows?

Howe: They’re chock-full of moments where we invite the audience to play with us. In previews and early performances, I was very excited to see how these moments would work out between actor and audience. I’m surprised by just how many people stand––old and young––to perform the actions for “Bog Down in the Valley-O.”

The Festival: All The Greenshow performers this season are either SUU students or alumni. Was this intentional when casting?

Howe: It was not intentional, but I’m so happy with this dynamite group.

The Festival: Are there any special “Easter Eggs” you’ve implemented into the shows?

Howe: Folk Festival has Shakespeare “Easter eggs” and puns about our current season. My favorite pun is “The Shaming of the Two” because it speaks to complications that the play The Taming of the Shrew has in our contemporary day. There is also a nod to Silent Sky because we tell the story of Ursa Major and ask audiences to be a part of the constellation by holding stars. Also, in Folk Festival we reference the two giant sycamore trees that have been on the grounds for more than 70 years.

The Festival: What challenges came with preparing to direct The Greenshows?

Howe: The challenge this year was to create new content. I’ve created 14 Greenshows for the Festival, so I am always looking for new tales and curating new song lists, while still keeping the nostalgia of the Festival Greenshow. The Greenshows this year have the staples of folk stories, partner dances, audience participation, lively songs, and magic.

The Festival: How are the shows similar/different to The Greenshows from previous years? What is your approach when deciding on the themes for them?

Howe: There have been many different themes in past Greenshows, like Strawberry Nights and Fairy Nights. When I was growing up I remember themes of countries, like Scotland. Scottish Night was always my favorite Greenshow because of the music and the Highland Games.

When I was asked in 2018 to write and direct, I needed a box to create in, so I looked to the settings found in the Engelstad play selection as a starting place. For example, the first year I created The Greenshow, Merry Wives of Windsor was being produced; but it was set in the early 1900s. I was curious about the music of America during that time so I built an Americana Greenshow with tap dancing, classic Americana tunes, and a silent film skit.

English night is a popular theme, and I have wanted to have Queen Elizabeth appear on The Greenshow stage for years. This year I thought it was the right opportunity because of the connection to Henry VIII, as she was his and Anne Boleyn’s daughter.

The Festival: Tell us about your background with the Festival.

Howe: I grew up attending Greenshows in the courtyard of the Adams Theatre. I remember peering over the back wall of the Adams to see the Shakespeare shows when I didn’t have a ticket, or watching through the gate. You can’t do that anymore. In 2017, I was hired to direct the touring production of A Midsummer Night’s Dream; that was my first time directing for the Festival. In 2018 I wrote and directed my first Greenshow. In 2021, I directed Cymbeline in the Anes.

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

Howe: I’ve been directing for the past 15 years. I am drawn to directing because of the analysis and relationships it requires. The analysis isn’t just inside these stories but also making connections between the story and our present-day points of view. The relationship between actor and audience matters to me. One of my favorite relationships is between the director and the designers; it’s electric to be in a design meeting building connections with a team to highlight themes and motifs.

The Festival: What is the purpose of The Greenshow? What do you want the audience to take away from it?

Howe: The Greenshow is a touchstone. The goal is to bring audiences to the Festival and gift them a friendly, fun, theatrical experience. We encourage littles and the mature to dance, sing, and play with us. When writing the show I try to build a script that feels new and also nostalgic by calling back to the history of the Festival and Cedar City.

The Greenshow is a perfect way for patrons of all ages to enjoy the Festival Experience, 7:10 pm, Monday through Saturday, now through September 7. Visit bard.org/plays/greenshow for more information.

From Campus to Center Stage: SUU’s Impact on The Greenshow

By Katie Neves, guest writer

Since its beginning in 1961, the Utah Shakespeare Festival has always been closely connected with Southern Utah University in Cedar City. Founded by professor Fred C. Adams and initially performed primarily by college students, the Festival has grown hand-in-hand with its academic partner over the past six decades.

This year, that tradition continues: for the first time in a very long time every Greenshow performer––along with director Britannia Howe––is either a current SUU student or alumnus. These talented performers bring their passion from the classroom to the stage, embodying the Festival’s strong commitment to students and the university.

The members of this year’s Greenshow cast (in the accompanying photo; top row, left to right) are Gracelyn Erickson, Matthew Wangemann, Zac Barnaby, Ashley Aquino, (then front row) Emily Wheeler, and Rockwell MacGillivray.

For many of these performers, their first exposure to the Festival—and to SUU—was through USF’s annual Shakespeare Competition. “I fell in love with SUU and its campus [while] spending three years competing,” said Wheeler, who won the Larry Lott Scholarship to SUU her senior year. “What drew me to SUU was the Festival. I loved watching The Greenshows and other productions while competing here in high school.”

Erickson also discovered the school through the competition. “I immediately fell in love with the beautiful campus, the stunning Beverley Center for the Arts, and the welcoming atmosphere. Honestly, I don’t think I even toured any other colleges. I just knew that I wanted to go to SUU.”

Years ago, the Festival and SUU created a fellowship program for acting and technical theatre, allowing students the opportunity to work in a professional theatre setting while still pursuing their degrees. Those interested in the acting fellowship submit a video audition and wait for months to be accepted into the program. Aquino, who came to SUU for its theatre program, was one of the fellowship’s recipients last year. “I auditioned every year while I was attending SUU for a spot,” she said. “I was lucky enough to get chosen my senior year.”

The Greenshow director Britannia Howe is also a proud SUU alum, and a current Assistant Professor of Theatre. During the university’s fall 2023 semester she directed a production of Ride the Cyclone, which featured several of this season’s Greenshow performers. Wheeler cites her experience in the show as the driving factor behind her current work with the Festival. “Britannia inspired me to strengthen my work ethic, believe in myself, and create meaningful art. So, when she encouraged me and my fellow cast mates to audition for the Festival, I jumped at the opportunity to potentially work with her again.”

The Greenshow, as conceptualized by creator Barbara Adams in 1961, exists to easily immerse guests into the enchanting world of live theatre. With a special focus on accessibility and engagement, it’s the perfect setting for building connections and sparking inspiration. “I believe that the goal of The Greenshow is to motivate. It motivates children to…learn from playing and be storytellers. It motivates adults to find their inner child and find the sparkle in life,” said Erickson. “It motivates patrons to see the mainstage shows by welcoming them to the Festival with open arms.”

For these students and alums, The Greenshow is more than just an opportunity for performing; it’s about community and connection. “I think the ultimate goal of The Greenshow is to be a gift to the community,” said Wangemann. “We offer a free thirty-minute show six nights a week for families to come laugh and enjoy time together. On a personal note, being a performer in The Greenshow has brought me immense joy and allowed me to tap into my inner child as an actor, which isn’t something I often get to do.”

Through its blend of tradition, talent, and community spirit, the family-friendly Greenshow remains a Cedar City favorite. As these current and former SUU T-Birds bring their talents to the stage, they’re continuing in a legacy that has enriched both the Festival and the university for decades.

This season, be sure to check out the different versions of The Greenshow through September 5: Royals (same nights as Henry VIII), Folk Festival (same nights as The Winter’s Tale), Commedia (same nights as The Taming of the Shrew), and, as a special partnership this summer, Paiute Heritage and Celebration on August 29 only. For more information, visit bard.org/plays/greenshow.

Shrews and Sharp Wits: A Dive Into Shakespeare’s Strong Comedic Women

By Katie Neves, guest writer

This season at the Festival, we’re celebrating Shakespeare’s remarkable women. From the valiant Queens Katherine and Hermione in Henry VIII and The Winter’s Tale, to the fiery Katherina––or Kate––in The Taming of the Shrew and Much Ado About Nothing’s strong-willed Beatrice, Cedar City’s stages are showcasing the best women Shakespeare has to offer. But while Shakespeare was known for crafting unique and memorable characters, he also had a knack for recycling his ideas. Any Shakespeare buff could tell you about his favorite tropes: mistaken identities, twins, misunderstandings, and miscommunications. Even his settings repeat themselves; more than a third of his plays take place in Italy!

Shrew and Much Ado are perfect examples. They follow Shakespeare’s classic comedic structure: an A and a B story with a main and secondary couple that move the story forward, and shenanigans from buffoonish clowns. But the most remarkable similarity has to be the heroines themselves. It’s impossible to ignore the resemblance between Kate and Beatrice, the Bard’s most sharp-witted women. They may have their differences, but their shared traits and roles tell us a lot about Shakespeare’s perspective on women and their roles in society.

Relationships

One of the most obvious similarities is in the romantic relationships at the heart of these shows. They might be some of the earliest—and best—examples of the iconic “enemies to lovers” trope. From the very beginning, Beatrice voices her withering disdain for Benedick: “Signior Mountanto,” she calls him (being roughly translated as “Mr. Fancy Fighter,” mocking his abilities as a soldier). She spends the first half of the play insulting Benedick to his face (and to all his friends). Kate, too, absolutely loathes Petruchio from the get-go in Shrew (or does she?). She refuses all suitors generally, and takes a particular disliking to Petruchio and his crass, overbearing ways.

This leads to some of the most entertaining scenes in both plays. In their first scene together, Kate and Petruchio’s dizzying wordplay leaves audiences in stitches. Beatrice and Benedick, too, banter like they’re in a duel to the death. Their battles of wits are some of the best scenes in the play. In both shows, Kate and Beatrice are the cleverest people around—and it’s only Petruchio and Benedick who can match their wits.

It’s pretty clear that underneath it all, they like each other. The Festival’s directors this season––Valerie Rachelle (Shrew) and Brad Carroll (Much Ado)––have certainly taken this point of view. The chemistry between the couples is tangible right off the bat, pulling audiences into the love story right away. Kate and Petruchio this season are even played by a real-life married couple: John DiAntonio (who is also the Festival’s Artistic Director) and Caitlin Wise. Beatrice and Benedick are played by Melinda Parrett and Walter Kmiec. The romantic tension between the comedic couples this season is palpable.

Family

Shakespeare also puts both women in similar family roles. Both of them are the oldest, unmarried daughters (or niece, in Beatrice’s case) of prominent men in the community. Each of them have a younger sister (or cousin) whose relationship puts pressure on them to marry. Both women are well known in their family and community for their fiery temperaments. Still, it’s the differences here that really show off the themes of each play. While Kate and Beatrice play similar roles, the overall family dynamics stand at complete polar opposites.

Kate is rejected at every turn. Her father Baptista is desperate to marry her off; her sister Bianca is the clear favorite, and in most productions, spends her time taunting and gloating over Kate. In turn, Kate gets angrier and meaner, growing more and more defiant and truly earning her “shrew” title. Unloved and unwanted, Kate uses her sharp wit and fierce disposition to keep her family at arms’ length.

On the other hand, everyone loves Beatrice. They call her merry and pleasant-spirited; they even enjoy her quips and jabs. No shrews here! Shakespeare is showing us the outcome of two similar women in two wildly different circumstances. Beatrice is allowed to flourish, while Kate is isolated, mocked, and scolded. Is it any wonder, then, that Kate’s behavior is so outrageous? Her family would make anyone shrewish!

Temperament

Of course, Beatrice and Kate have something very obvious in common: their fiery dispositions. These women are strong-willed and stubborn. They are fierce and independent. Their quick wits and sharp tongues are endlessly funny, and they’re more intelligent than everyone around them. They both proclaim that they’ll never marry—and by the end of the plays, they’re both “tamed” one way or another.

Still, there’s some important differences here. Kate is “shrewish” through and through. Beatrice, on the other hand, is more mellow. She can be harsh and insulting, but when she hurts someone she apologizes. She has more self-control and security. Most importantly, she makes the decision to change on her own; it’s not something that’s forced on her.

In both shows, the heroines are “tamed” so they can get married. But while Kate has seemingly less choice in the matter, Beatrice is gently puppeteered by her well-meaning friends, and makes the decision to soften on her own: “Benedick, love on; I will requite thee, taming my wild heart to thy loving hand” (3.1). What’s more, Beatrice is not the only one being “tamed” in Much Ado. Benedick, too, is manipulated by his friends, and he and Beatrice come together as equals.

So What?

Why does Shakespeare revisit these themes and characters over and over again? He isn’t just recycling—he’s showing us how women are treated by society. He’s asking us, “What happens when a strong woman meets societal constraints? How does society react when women refuse to conform?” As you laugh and cheer for some of Shakespeare’s most powerful women, you’ll see how Shakespeare’s timeless commentary on how he felt about women can still resonate today.

Experience the fiery wit and complex dynamics of these unforgettable women live on stage. Whether it’s the spirited battles in The Taming of the Shrew (through September 7) or the sharp-tongued exchanges in Much Ado About Nothing (through October 5), these performances will win over any audience. Secure your seats today at bard.org or call 800-PLAYTIX and witness Shakespeare’s powerful women come alive in Cedar City.

Stars and Icons: Must-See Shows at Anes Studio Theatre

The Festival proudly presents two deeply moving and thought-provoking productions this season in the intimate Anes Studio Theatre: Silent Sky and The Mountaintop. Based on the lives of actual people, these plays not only offer rich storytelling and stellar performances but also invite audiences to reflect on history, legacy, and the human spirit. Secure your tickets now to witness these powerful productions that promise to inspire and captivate.

Silent Sky: A Celebration of Science and Determination

Silent Sky by Lauren Gunderson and directed by Melinda Pfundstein brings to life the inspiring true story of 19th-century astronomer Henrietta Leavitt. Leavitt’s groundbreaking discoveries in astronomy fundamentally changed our understanding of the universe, yet her journey was fraught with challenges. The play beautifully captures her struggle to balance family responsibilities and her relentless pursuit of scientific truth.

At the heart of Silent Sky is Henrietta’s unwavering determination and brilliance. The Festival’s production has garnered rave reviews for its compelling narrative and stunning technical execution. The use of light and projection design effectively symbolizes the enlightenment brought by Leavitt’s discoveries, creating an immersive experience that highlights the vastness of the universe she sought to understand.

Katie Cunningham’s portrayal of Henrietta is nothing short of mesmerizing, capturing the character’s intellect and vulnerability. Front Row Reviewers said: “Cunningham expertly balances Henrietta’s indomitable spirit and softer uncertainty” The supporting cast are equally suited for their roles. From Rhetorical Review: “Kat Lee’s Margaret Leavitt serves as an excellent contrast, bringing humor and frustration underpinned by sisterly love…Abdul-Khaliq Murtadha’s Peter Shaw is endearing, serving as a foil to Annie Cannon (Alia Shakira) and Williamina Flemming (Sarah Shippobotham). Shakira and Shippobotham deliver performances marked by wit coupled with just the right amount of attitude, creating formidable and memorable characters.”

Why You Should See It:

Silent Sky is not just a play; it’s a tribute to the power of perseverance and the indomitable spirit of women in science. It’s a story that will leave you in awe of the stars and the human spirit. Front Row Reviewers said “Silent Sky is an especially bright star in this season’s lineup.” Don’t miss this chance to be inspired by Henrietta Leavitt’s remarkable legacy.

The Mountaintop: A Deeply Human Look at an Icon

Katori Hall’s The Mountaintop transports audiences to the Lorraine Motel on the eve of Dr. Martin Luther King Jr.’s assassination. This fictional account provides an intimate look at King’s final night, blending humor, drama, and supernatural elements to explore the man behind the icon.

The Festival’s production, directed by Cameron Knight, has been praised for its powerful performances and insightful direction. Abdul-Khaliq Murtadha as Dr. King and Alia Shakira as Camae deliver masterful performances that capture the complexity and humanity of their characters. “Can a hero ever live up to all we expect them to be?” asks Utah Theatre Bloggers. The dynamic between King and Camae, a mysterious maid with a celestial purpose, offers “a many-faceted exploration” on King’s legacy and the ongoing struggle for social justice.

The play’s innovative staging and design elements, including evocative lighting, projection, and soundscapes, create a deeply immersive experience. The script’s blend of realism and fantasy challenges audiences to reflect on King’s achievements and the continued relevance of his message.

Why You Should See It:

The Mountaintop offers a rare glimpse into the private thoughts and fears of one of history’s greatest leaders. It is “raw and emotional” (as per Utah Theatre Bloggers), a poignant reminder of our shared humanity and the enduring impact of King’s work. A warning that this production has mature themes and language, but is a must-see for anyone interested in history, social justice, and the power of theatre to provoke thought and conversation.

Get Your Tickets Now!

Both Silent Sky and The Mountaintop are shining examples of the transformative power of theatre. These productions will leave you inspired, moved, and ready to see the world through a new lens. Visit bard.org or call 800-PLAYTIX to purchase your tickets today.