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.

Festival Awards 2024 Chesley Design and Finlayson Acting Awards

By Liz Armstrong, guest writer

We are proud to announce the recipients of the 2024 Gene Chelsey Memorial Design and Michael and Jan Finlayson Acting Awards. Recipients of these awards are selected by Festival leadership and presented by Artistic Director John DiAntonio and Executive Managing Director Michael Bahr. This year Ash Cox and Darin F. Earl II are the awardees.

Gene Chesley Memorial Design Award

Each season, this award is presented to a young Festival technician or designer in recognition of outstanding talent and dedication.

Ash Cox from the props department was selected this season, due to her work and expertise as the props supervisor on Much Ado About Nothing and The Taming of the Shrew and past contributions to the props department and run crew. She has already signed on as props supervisor for the Engelstad shows for next season, which will mark her seventh year with the Festival.

“Ash has a unique knack for figuring things out. She has an intuitive sense for props and has picked up many amazing skills in the last six years,” Properties Director Ben Hohman said. “She has a fearlessness and a willingness to try things that makes her an exceptional prop person.”

The Festival’s Chesley Award was established by Michael and Susan Addison, to recognize promising young designers and technicians with significant artistic talents and potential for future theatrical achievements. This award is named in honor of Gene Chesley who was the primary stage designer for the Festival in the 1970’s and continued until his unexpected death in 1981. He was a stage designer, theatre historian, theatre consultant, and professor of theatre at the University of California at Davis, and President of the Association for National American Theatre preservation.

Michael and Jan Finlayson Acting Award

The Finlayson Actign Award is given each year to a returning early career actor to acknowledge significant talent, artistic development, and dedication to the Festival.

Darin F. Earl II (Frankie) was chosen for the award this season. Currently in Henry VIII and Much Ado About Nothing, the actor is also leading the Festival’s Juvenile Justice Program with the Education Department. Earl’s past work at the Festival includes Timon of Athens, Coriolanus, and the Shakespeare in the Schools tours of Hamlet and Othello.

Education Director Stewart Shelley has worked closely and collaboratively with Earl and praises his work.

“Frankie is not only a mainstay during the summer season, but has been on the educational tour twice and been an incredible force for good both on and offstage. Frankie played Othello in the 2023 Tour, and Claudius in the 2024 Hamlet tour, and the students love him,” Shelley expressed.

“Frankie is an incredibly thoughtful actor, who devotes the time to understanding the depth and nuance of each character he plays. I have been so impressed with the professionalism, kindness, talent, and overall joy that Frankie brings to each and every experience.”

Michael Finlayson was an early voice in the Festival’s dedication to excellence in performance.

He directed a number of memorable Festival productions and conducted the literary seminars that are today a Festival tradition. Before joining the Festival staff, Michael had earned an international reputation as a director for the Shakespeare Memorial Theatre, Stratford-upon-Avon, and other English companies. He was invited to the United States as a guest artist and visiting professor at several major universities’ theatre programs.

The Festival expresses gratitude and offers its congratulations to both Ash Cox and Darin F. Earl II for their contributions and dedication. To see both recipients’ work at the Festival this season, visit bard.org or call 800-PLAYTIX to purchase tickets today.

Q&A with Director Aaron Galligan-Stierle on The 39 Steps

After 14 years, the Utah Shakespeare Festival is doing The 39 Steps once again—and led by a familiar face. Aaron Galligan-Stierle, who gave a side-stitching performance as one of the two clowns in 2010, returned to the show, but this time as the director. In addition to The 39 Steps, Galligan-Stierle has a long list of acting credits here at the Festival, including leading roles in Clue, Sweeney Todd, Ragtime, Richard III, The Comedy of Errors, Twelfth Night, Peter and the Starcatcher, The Taming of the Shrew, and The Merchant of Venice.

His Broadway credits include Monsieur Andre in The Phantom of the Opera, Henry Ford in Ragtime, and Papa Who in The Grinch. His career spans a wide range of roles at various theaters, including the Kennedy Center, Oregon Shakespeare Festival, Papermill Playhouse, PCLO, The Rev, TUTS, Pennsylvania Shakespeare Festival, and the national tour of White Christmas. He was also the executive producer of the film Ruin Me.

Galligan-Stierle received his BFA in musical theatre at Shenandoah University, and an MFA in acting at Penn State. He currently serves as the head of musical theatre at Slippery Rock University.

The Festival met up with Galligan-Stierle to find out more about his experience with The 39 Steps.

The Festival: You acted in the Festival’s last production of The 39 Steps as one of the clowns. What is it like transitioning into the director’s seat for this production?

Galligan-Stierle: The 39 Steps was a highlight for me. I loved the team, and it was a turning point in my career. Up until that point, I had played smaller roles at the Festival, but playing one of the clowns was a big role, and it was an honor. That was my first union contract, which led me into other amazing leading roles that were mostly comedic, from playing Dromio [in The Comedy of Errors] to Wadsworth [in Clue]. Now directing this piece is another turning point for me and hopefully gets to be another chapter for me at the Festival.

It’s a really complicated show; it’s 150 characters played by four actors. I have clear memories from the last production of things that worked brilliantly, and things that we were challenged by. From those lessons, I [could] better help set up this round of actors for success.

The Festival: What similarities and differences have you found in directing and acting in this show?

Galligan-Stierle: I approach both of them in very similar ways, which is being in a big melting pot of fun ideas where we work together to tell the story. My approach is always to find and create a group of humans that can problem-solve and find fun solutions.

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

Galligan-Stierle: I consider the Festival as my artistic home. For me, that means it’s the place where I am seen as a full artist and allowed to explore parts of my artistry that maybe I haven’t been able to explore elsewhere. There are new opportunities such as working as a member on the new play committee for Words Cubed, to being an assistant director to David Ivers which led me to more assistant director jobs, to now coming back and getting to direct at a major regional theatre. These are major moments of my career…and that doesn’t even include the personal side of it. One summer, my wife and I planned our wedding in Utah; another summer was when my daughter was 3 months to 9 months; another was getting to perform in Ragtime with my wife and two children.

It’s a place that has incredible personal meaning to me as the place I keep coming back to as an artist and a human and get the opportunity to continue to develop. I have amazing relationships with the artists here.

I love art that is really funny but also meaningful; and what I love about The 39 Steps is that it’s hilarious, but it also has this focus on a character that starts the play lost, unsure of his meaning in the world, with a lack of community and connection—who then, through a great amount of luck, discovers his purpose and relationship that gives him meaning in the world. That, to me, speaks to our world and who we are as humans, and the need for everyone to get up off the couch and have these extraordinary moments, and find connection with other people in this world.

The Festival: The 39 Steps is heavily inspired by classic cinema. How do you balance the film and the theatrical elements of the show?

Galligan-Stierle: The piece is an homage to film, but it is specifically theatrical. What’s wonderful about the play is that it tells a story in a way that can only be told on the stage. Although we…have certain images with lighting and the set that will be reminiscent of film noir, we are specifically leaning into the highly theatrical.

The Festival: What are some of the challenges of directing this show?

Galligan-Stierle: In 2024, the way we look at plays—and the world—is different. Re-exploring this piece with a new perspective on the world due to the pandemic and various social changes… it’s opened up new possibilities for us. I think this will make it even more fun, accessible, and joyful. It has been a challenge, but it’s allowed for an immense amount of opportunity as well.

The Festival: Are there any special “Easter eggs” you have implemented in the show?

Galligan-Stierle: If you are a fan of Alfred Hitchcock, we have quite a number of Easter eggs throughout the show that will be homages and visual and verbal references to his movies.

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

Galligan-Stierle: This is my 11th season at the Festival; the [previous] 10 seasons I was an actor. My first year was 2004. My whole life I feel like I’ve been directing in various ways, but I haven’t been doing it professionally for very long. When I was a kid, I was the one who convinced all the other kids on the block to put on a show, and I would cast everyone and tell them what to do. I’ve been a teacher for a long time, and teaching and directing are very closely related.

When I was in New York, I spent a lot of time developing new work. It wasn’t until a lead through Utah, I made a connection with Sacramento Theatre Company and directed The Tempest. I got the job as head of Musical Theater at Slippery Rock University [PA] four years ago, and as part of that, I get to direct 1-2 shows every year. That has allowed me to hone my craft as a director while still allowing me to perform.

The Festival: What do you hope audience members will take away from this play?

Galligan-Stierle: I want them to leave delighted and refreshed. I want them to feel that it is possible to get up and have an adventure and have meaning in your life in the most fun, creative, adventurous way possible.

To purchase tickets to The 39 Steps, visit bard.org or call 800-PLAYTIX. The play runs until October 5.

Festival’s Words Cubed Program to Feature Two New Plays

The Utah Shakespeare Festival is pleased to announce two new plays to be presented through their Words Cubed new play program in the month of August. Crisis Goalie by Tom Lavagnino and Six Men Dressed Like Joseph Stalin by Dianne Nora were chosen from among 575 submissions.

Words Cubed seeks to nurture and develop openly submitted plays by providing a professionally supported platform for readings and workshops. Playwrights spend a week at the Festival in rehearsals with directors, actors, and stage managers as they refine and rework their plays. At the end of the week, the revised plays are presented as staged readings, followed by a lively, interactive discussion between the playwright, actors, and audience.

Crisis Goalie
By Tom Lavagnino
August 9, 10, 21, and 23, 2024
Anes Studio Theatre

The play, Crisis Goalie, written by Tom Lavagnino and directed by Britannia Howe, is the story of two siblings––Carl and Peg––who create an artificial intelligence robot named Joanie to help care for their aging mother and attend to her every need. But things don’t go according to plan for Joanie or the family. Crisis Goalie is a play of today…and of tomorrow.

The cast includes Festival company members Chauncy Thomas, Cassandra Bissell, Evelyn Carol Case, and Elise Thayn, with stage directions read by Matthew Wangemann.

Lavagnino says, “I am super-honored to have the opportunity to work with the Utah Shakespeare Festival’s wondrous Words Cubed resources, personnel, and audiences to ‘sharpen the knife’ of Crisis Goalie.” Lavagnino is a native of Indianapolis, a graduate of NYU’s Tisch School of the Arts and AFI’s Center For Advanced Film Studies, and currently resides in Los Angeles. He is an award-winning playwright, editor, film writer, and consulting producer.

He comments that the story tells of “robotics, sibling rivalry, A.I., familial responsibility, the Dewey Decimal System (remember that?), the necessity of maintaining a medication schedule for the optimization of health, and (perhaps most saliently) the inevitability of aging.”

Six Men Dressed Like Joseph Stalin
By Dianne Nora
August 16,17, 22, and 24, 2024
Anes Studio Theatre

The second play in development is Six Men Dressed Like Joseph Stalin, written by Dianne Nora and directed by John DiAntonio. When Soso is left for dead on the Eastern Front, he’s taken in by the Kremlin due to his shocking resemblance to a certain someone. Koba is tasked with training him to perform the role of a lifetime: Stalin’s body double.

It features Festival company members John Harrell as Koba and Christopher Centinaro as Soso, with stage directions read by Valerie Martire.

Nora is a playwright, dramaturg, and comedy writer. Besides theatre works, she has contributed to The Onion, Funny Or Die, and The Hard Times. She holds degrees from Columbia University, Trinity College Dublin, and New York University.

“I’m so grateful for the opportunity to develop my play Six Men Dressed Like Joseph Stalin with John DiAntonio and the artists at Utah Shakespeare Festival,” Nora says. “While much of the story is taken from historical sources, it’s also a deeply personal play for me, so I feel especially lucky to share it. I hope the play’s provocations on the nature of power and performance will resonate with audiences at the Festival, and that I’ll emerge with a stronger, more production-ready script after my time with Words Cubed. The opportunity to focus on the script while surrounded by exceptional artistry and natural beauty means the world to me, and I’m thankful for Utah Shakes’ continued dedication to new play development.”

Words Cubed is hosted annually during the month of August. Information on play submissions for 2025 will be available on the Festival’s website in the fall. As a general note, the plays in this series are written for contemporary adult audiences, and may contain themes and language not appropriate for children and that some may find offensive.

For more information about the Words Cubed program, click here. Tickets for Words Cubed are $10 and can be purchased at the Festival Ticket Office, online at bard.org, or by calling 800-PLAYTIX.

Thrilling Performances at the Randall L. Jones Theatre: Much Ado About Nothing and The 39 Steps

For decades, the Randall L. Jones Theatre at the Utah Shakespeare Festival in Cedar City has been a cornerstone of exceptional theatre production. This season, it continues its tradition of excellence with two must-see productions: Shakespeare’s Much Ado About Nothing and the comedic thriller The 39 Steps.

Much Ado About Nothing

Much Ado About Nothing, one of Shakespeare’s most beloved comedies, is a highlight of the season. Directed by longtime Festival artist Brad Carroll, this timeless play explores themes of love, deception, and redemption with a perfect blend of wit and drama. The story revolves around two pairs of lovers: the sharp-tongued Beatrice and Benedick, and the innocent Hero and young Claudio. As misunderstandings and schemes unfold, the play offers a delightful journey through the complexities of romance and honor.

Festival Artistic Director John DiAntonio says, “There’s so much to love about Much Ado. Shakespeare literally invented the romantic comedy with this play. Beatrice and Benedick are the ultimate sparring partners.”

According to a recent review by Front Row Reviewers, Much Ado About Nothing “leans heavily into the comedy.” The production features “[Melinda] Parrett and [Walter] Kmiec well paired as the sharp-tongued Beatrice and the reluctant Benedick. Both deliver Shakespeare’s lines with just the right amount of modern intonation and sarcasm to add to the comedy.” The review highlights the physical comedy brought to life by Carroll’s expert direction, noting that “the bumbling scenes [of the night watch] had the audience in stitches.” Fun for the whole family!

The 39 Steps

For those seeking a fun and gripping experience, The 39 Steps is an absolute must-see. This fast-paced comedy is a theatrical adaptation of Alfred Hitchcock’s 1935 film, itself based on John Buchan’s novel of the same name. The story follows Richard Hannay, an ordinary man who becomes entangled in a web of espionage and intrigue after meeting a mysterious woman. As he races to clear his name and thwart a sinister plot, the play offers non-stop action and humor.

The 39 Steps is renowned for its inventive staging, where four actors play over 150 roles. This dynamic approach creates a whirlwind of characters and scenes, keeping audiences on the edge of their seats. DiAntonio shares, “The 39 Steps is a brilliant mix of suspense and comedy. It’s a true testament to the magic of theatre, where a handful of actors can create an entire world on stage.”

Utah Theatre Bloggers recently proclaimed the show to “uproariously entertaining” and “overflowing with sheer absurdity.” DiAntonio says “Audiences are in for a thrilling and unforgettable experience.” Perfect for all ages!

Get Your Tickets

Don’t miss these incredible productions at the Randall L. Jones Theatre through October 5. Secure your tickets now by visiting bard.org or calling 800-PLAYTIX for more information.

Back-To-School with the Bard: Utah Shakespeare Festival is the Perfect Last-Minute Getaway for Utah Families

As summer winds down and back-to-school season approaches, a quick trip to the Utah Shakespeare Festival in Cedar City is the perfect way to make lasting family memories. The Festival offers a blend of culture, entertainment, and fun for all ages, making it an ideal last-minute getaway for Utah families. The Festival’s all-day offerings make planning your trip a snap.

Begin your morning with engaging seminars, where you and your family can gain behind-the-scenes insights into the world of theatre. These sessions provide a unique opportunity to hear directly from the artists about their creative processes and the realities of bringing theatre to life.

After a morning of inspiration, explore Cedar City and enjoy a meal at one of the local restaurants. From cozy cafes to family-friendly eateries, there’s something for everyone.

As afternoon turns into evening, return to the Festival grounds for play orientations and The Greenshow, a free outdoor 30-minute performance featuring music, dance, and comedy inspired by the Festival’s plays. Bring a blanket, grab a tart from one of the vendors, and enjoy this charming prelude under the open sky.

Experience the magic of Shakespeare under the stars at the Engelstad Shakespeare Theatre, modeled after London’s iconic Globe Theatre, patrons can experience the rarely-performed Henry VIII, and more familiar works like The Winter’s Tale and The Taming of the Shrew. This outdoor venue offers an immersive experience under the stars. For a change of pace, laugh out loud at Much Ado About Nothing and The 39 Steps in the indoor Randall L. Jones Theatre, known for its dynamic and comedic productions. The 200-seat Anes Studio Theatre hosts the compelling Silent Sky and The Mountaintop in an intimate and versatile black box setting.

Cedar City’s location makes it an ideal hub for outdoor enthusiasts. The Festival is just a short drive from some of the most stunning national and state parks in the country. Zion National Park, Bryce Canyon National Park, and Cedar Breaks National Monument offer breathtaking landscapes, perfect for hiking, photography, and family adventures. Combine your love of theatre with the great outdoors for a truly unique summer (or weekend!) getaway.

Plan your trip today and discover why the Festival is a beloved tradition for generations of families. Visit bard.org or call 800-PLAYTIX for tickets and more information. The Festival welcomes you to a season of extraordinary theatre and unforgettable experiences!

Q&A with Director Brad Carroll on Much Ado About Nothing

Director Brad Carroll returned to the Festival this season with his delightfully heartwarming production of Shakespeare’s Much Ado About Nothing. Audiences may remember Carroll from his many Festival productions. As music director/conductor he helmed Jane Austen’s Emma The Musical, Ragtime, and The Pirates of Penzance; as director he led Sweeney Todd, Joseph and the Amazing Technicolor Dreamcoat, The Liar, Murder for Two, South Pacific, The Comedy of Errors, Les Misérables, Johnny Guitar, The Spitfire Grill, H.M.S. Pinafore, Camelot, 1776, and Man of La Mancha.

Carroll is the composer of Lend Me a Tenor: The Musical, which had its world premiere at the Festival. It also played at Theatre Royal, Plymouth (England); Opera Leipzig (Germany); and the Gielgud Theatre in London’s West End, where it received a cast recording. Additionally, Carroll is the composer of “A” Train, which won best production at the United Solo Festival in New York City.

In addition to his Festival credits, Carroll has worked at PCPA, Idaho Shakespeare, Great Lakes Theater Festival, Shakespeare Festival of St. Louis, Utah Festival Opera, Anchorage Opera, Phoenix Theater, UC-Santa Barbara, and UCLA. He also served as a creative consultant/director for Walt Disney International in Tokyo.

The Festival sat down with Carroll to visit about his experience in directing Much Ado About Nothing.

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

Carroll: I’ve always liked the play, and I’ve seen the last three productions that the Festival has done and it’s so fun. I love how light it is, and the fireworks between Beatrice and Benedick. When we get to the part where it turns bad, I always forget that that’s coming, and that speaks to how well-crafted the play is.

I don’t do Shakespeare very often. At the Festival I’m known as “the music guy,” and it’s a kind of terrifying thrill to direct Shakespeare with this group of people. Also, it’s one of Shakespeare’s comedies with the most music in it.

The Festival: This is our ninth production of the play, but the first time it will be produced in the Randall L. Jones Theatre. Why were you excited to direct in this space and how does it affect the production?

Carroll: I love working in the Randall; practically everything I’ve done at the Festival has been in that theatre. The aesthetic for the outdoor theatres has always been the Elizabethan approach, and all of our Much Ado About Nothing productions have been done similarly. By moving it indoors, the theatre relaxes that aesthetic.

It’s terrifying and exciting that this is the first time it’s been indoors, and I am much more of a traditionalist, and I love that “once upon a time” feeling in Shakespeare plays. In this production, we are working on not setting it in a certain place and year. We’ve found that this has been freeing. It will still have a traditional feeling, and be beautiful to look at.

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

Carroll: The biggest challenge is keeping it all clear, and trying to cut information that isn’t pertinent to the story or might confuse the audience, but also making sure that all those seeds get planted so that they can be tracked by the audience. For example, there’s a lot of information that gets communicated by the party scene, and so trying to keep the focus of the audience to see the communication between certain characters is challenging because you can’t just put the camera on them like in a movie.

The Festival: In design meetings, you noted that you drew inspiration from artist Maurice Prendergast. What other inspiration did you draw from?

Carroll: The inspiration isn’t so much literal as it is just a feeling. Prendergast’s work is fun and freeing. In his paintings, he’ll paint a scene in Venice in the background, but the people in the foreground are the focus, and for me this play is about real people. It doesn’t rely on the supernatural or other Shakespearean tricks; it’s just people at face value.

For our set, I wanted to give the actors an area for the play to happen rather than a lifelike Italian villa onstage. My mind wants it to be more imaginative, and invite the audience to use their imaginations.

The Festival: As playgoers, what should we watch for in this play that would help us more fully enjoy or understand the play? Are there any special “Easter eggs” you have implemented in the show?

Carroll: This play is so riddled with its own Easter eggs because it’s a play about misunderstanding; so tracking those is its own job for the audience. When I was first reading it, I kept having to turn back to see how the information got misconstrued, and so I think Shakespeare has given us all the “Easter eggs” we need.

The Festival: What do you hope audience members will take away from this play?

Carroll: I hope they feel great. To me, this play is a comedy that borders on tragedy, and at the end it’s a play about forgiveness and second chances. It’s an important theme in our world today. In order to truly forgive someone for something, you have to give up a piece of yourself, and not everyone is capable of doing that. I want the audience to see how big the characters’ hearts become after the tragedy of the play, [when they] forgive and move on.

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

Carroll: I’ve been directing for over 40 years, and I’ve been with the Festival since 2002. I’ve been a music director, I’ve been an actor, but what I like about directing is the global viewpoint the director has of the play. It forces me to expand my thinking beyond my own world. I feel like I’ve traveled the world just by doing research on plays.

To purchase tickets to Much Ado About Nothing, visit bard.org or call 800-PLAYTIX. The play runs until October 5.

Derek Charles Livingston Announced as New Artistic Director of Stages in Houston

The Utah Shakespeare Festival announces the departure of Derek Charles Livingston, the director of New Play Development, this season’s director of Henry VIII, and former Interim Artistic Director. Livingston will be leaving the Festival to join Stages in Houston as their new Artistic Director.

Livingston will take over in August for Kenn McLaughlin, who is retiring after 23 years with the Houston performing arts organization.

During his tenure at the Festival, Livingston made significant contributions to the Festival’s artistic community. His leadership in directing productions, fostering new play development, performing, and guiding the Festival through various important transitions has left an indelible mark on the organization. Notable roles at the Festival include directing this season’s Henry VIII and last season’s A Raisin in the Sun, as well as performing as Thurgood Marshall in Thurgood in 2022. His work on Henry VIII was particularly noted for its innovative approach and dynamic storytelling on a play that is rarely done.

He was also responsible for introducing a number of shows to Festival audiences including Trouble in Mind in 2022, Jane Austen’s Emma The Musical in 2023, and Polar Bears, Black Boys, & Prairie Fringed Orchids in 2022’s Words Cubed new play development program.

“Derek has been an invaluable member of our team, and while we are sad to see him go, we are also incredibly proud and excited for his next chapter,” said Executive Managing Director Michael Bahr. “His vision and passion for the arts have greatly enriched our organization, and we know he will bring the same level of dedication and creativity to Stages in Houston.”

Prior to his time at the Festival, Livingston had other extensive and impressive positions in the theatre industry. He has served as the Managing Artistic Director at Celebration Theatre, Program Manager/Production and New Play Producer at Playwrights Project, and Festival Artistic Producer at Plays in Progress, Cygnet Theatre. He has also taken on acting roles at various theatres and directed multiple plays.

Livingston’s work has earned him numerous accolades, including the New Hampshire Drama Award for Lead Actor in Driving Miss Daisy, LA Scenie Awards for directing Sweeney Todd and M. Butterfly, and LA Ovation nominations for directing Shakespeare’s R&J, for producing for Pinafore!, and producing Hedwig and the Angry Inch (winner). He also received LA Weekly nominations for directing Insurrection: Holding History and M. Butterfly.

“I am thrilled to be joining Stages in Houston and look forward to the opportunity to work with such a vibrant and innovative community,” said Livingston. “While I will always cherish my time at the Utah Shakespeare Festival, I am excited about the new possibilities and challenges that lie ahead.”

For further reading, visit Stages website and American Theatre Magazine.

Healing Through Theatre: Shakespeare in Utah’s Juvenile Justice System

By Katie Neves, guest writer

“All the world’s a stage, and all the men and women merely players,” Shakespeare observed. For 31 years, the Utah Shakespeare Festival has embraced this philosophy, turning the Southwest Utah Youth Center into a stage where disadvantaged youth can step into exciting roles, develop new skills, and gain confidence through the transformative power of theater.

The Festival’s Juvenile Justice program began in 1993, when Cedar City’s Judge Thomas Higbee reached out to the Festival. He worked with the Southwest Utah Youth Center as part of a Scout Troop program—and, understanding the impact that theatre can have––asked the Education Department to bring a little of the Festival into the correctional facility.

For more than three decades, a team of teaching artists and actors visit the Center and introduce the works of Shakespeare to the youth there. They share performances, teach basic theatre concepts, and help the youth direct and perform scenes and monologues. During the summer, the program corresponds with the Festival’s season. This year they’ve covered Much Ado About Nothing, Henry VIII, The Winter’s Tale, and The Taming of the Shrew, as well as USF’s non-Shakespearean shows of the season: The 39 Steps, Silent Sky, and The Mountaintop.

The Southwest Utah Youth Center is also the first stop of the Festival’s Shakespeare in the Schools Tour each winter. Leading up to that performance, the Juvenile Justice program spends time contextualizing, studying, and dissecting the play––making it more accessible than ever to youth who’ve never experienced Shakespeare.

“The ultimate goal of this program is to allow these boys to have a meaningful experience with theater arts, specifically Shakespeare,” said Stewart Shelley, Education Director. “Most of these boys have not had a lot of exposure to the arts, and look forward to the weekly class. We make honest theatre and have a lot of fun doing it.”

While students may initially be reluctant to step into the role of actor or director, Festival actors and teachers work to pull them out of their shells and recognize their own abilities. Whether by breaking down a monologue word by word, coming up with fun nicknames for tricky Shakespeare characters, or simply providing a space for students to tell their own stories, the Juvenile Justice program builds meaningful connections with the kids who need it most.

Program Manager Darin F. Earl II (who audiences will recognize onstage in Much Ado and Henry VIII this season) was introduced to the program while starring in the Othello Shakespeare in the Schools Tour in 2023. “It’s one of the best educational experiences I’ve ever had in my decade of being a teaching artist,” they said. “While the prospect may seem intimidating to people who may not be familiar with ‘The System,’ it truly is as simple as remembering that these students are looking for company and support.”

Along with Earl, other company members, such as actors Abdul-Khaliq Murtadha and Alia Shakira, and intimacy director Sacha Comrie have also spent time with the youth at the Center this summer.

The Utah Shakespeare Festival is deeply committed to the educational power of the theatre. Through its longstanding relationship with the Southwest Utah Youth Center, the Festival offers more than just performances; it fosters an environment of growth and healing for some of Utah’s most vulnerable youth.

“In my eyes, the opportunity to teach is to create and share space together,” said Earl. “In that space we create, there are an infinite amount of possibilities. We can help, we can hear, we can hide, and we can heal.”

To get involved with the Education Department or to learn more about the program, visit bard.org/education. This program with Southwest Utah Youth Center is funded in part by Arts Midwest and the National Endowment for the Arts.