Quinn Mattfeld and Kyle Eberlein with the 2014 REACH Cabaret

This summer is the tenth anniversary of the REACH Cabaret. Cabaret is every Thursday from 7/10 – 8/28 at the Grind (on Main Street across from City Hall). It starts no later than 11:10pm and will run for 45 minutes. Admission is $10 at the door.

Quinn Mattfeld (appearing in Sense and Sensibility and Twelfth Night) and Kyle Eberlein (appearing in Into the Woods, Henry IV, Part I and Measure for Measure) are the organizers and hosts this year.  We met with them to learn what they are planning.

Tell us about REACH and the Cabaret.

Kyle:      REACH was founded several years ago to help the Festival company have auditions during the season. Because we’re here for so long, we can’t travel to auditions. So REACH brings casting directors, agents and artistic directors here to Cedar City. The Cabaret is our primary fundraiser. We use the funds to pay for travel and lodging for our visitors. While they are here, they see all six plays, the three Greenshows and audition all interested REACH members.

Clein, Mattfeld, Eberlein

What do you have planned for this year’s Cabaret?

Quinn:    I wanted us to reimagine it, repackage it.  How are people used to watching shows late at night? They’re used to watching Jay Leno, David Letterman – that formula of a late night talk show. We can make this a fun variety show that has a lot of absurdity to it. For example: you have transitions where they’re changing mikes. Let’s fill it with something that’s totally silly. For example, for the first one, we think we’ll have Zack Powell juggle, tap dance and play the kazoo at the same time. 

Kyle:      Sam Clein’s going to be our music director. We want to reward our guests who come each week. If you return, you’ll see sketches and characters from prior weeks, so there’s some continuity.

Quinn – we really want to focus on our relationship with USF and have fun with that. We’re trying to get some company members to be regulars and play versions of themselves: Larry Bull, Deanna Ott and Natasha Harris…the way Carson would have people who show up and play versions of themselves.

Quinn – we want to put lots of variety in it. It won’t be nine people singing musical theatre. There will be people playing instruments, there’s going to be clown acts, all kinds of different stuff and we’re going to make it 45 minutes.

Do you have auditions lined up?

Kyle:      Yes! So far we have sixteen auditions. We work to create a balance between Chicago, LA and New York. Visitors include Jay Binder, a prominent NY Casting Director (his first time here!), several Shakespeare Theatres, Milwaukee Rep, Hartford Stage (origin of the Tony winning Gentlemen’s Guide) and Claire Simon Casting from Chicago.

What are some success stories?

Quinn:    I got my job at PCPA through a REACH audition.

Kyle:     Tina Scariano, Cody Craven and I all got jobs on the Disney Cruise ships via REACH auditions. And even if you don’t get a role, it’s an important way to get your name and talent out there.

How do we know who’s performing each week?

Kyle:      We have a Facebook page which we’ll update each Weds. with the program. https://www.facebook.com/ReachPresentsTheCabaret If you “like” our page, you can see the postings. And be sure to get to the Grind early as it’s always standing room only.

So mark your calendars for each Thursday from 7/10 – 8/28, 11pm for Cabaret at the Grind. Your $10 will help our company further their careers and you’ll have a great time!

#USF2014

The Greenshow with James Sanders and Molly Wetzel

Wetzel in rehearsal

This year, the Festival is presenting three new Greenshows, created and co-directed by Fred C. Adams, founder, and Josh Stavros, associate education director, with choreography by Christine Kellogg. These shows are a mixture of past favorites and new elements.

We recently met with two of the performers. Molly Wetzel is in her second year with the Festival. Last year she was in the Greenshow and Anything Goes. James Sanders is new to the Festival. Both are also appearing in Into the Woods and Sense and Sensibility.

Greenshow rehearsal 

Tell us about the Greenshows:

Molly:    There are three different shows: English (performed before Henry IV), Scottish (before Measure for Measure) and Irish (before The Comedy of Errors).

James:    We’re learning new songs and dances. There’s actually a lot more dancing than last year, including a sword dance, and the Egg Dance.

Are the shows totally new?

Molly:    There’s a nod to tradition, with elements such as the Maypole and Punch and Judy. The Irish show is similar to the Celtic night from last year. The Gael Byrds are back!

James:    We’ve got lots of audience participation. Also, we start in the Auditorium inviting patrons at the orientations and sing people out to the Adams courtyard.

Molly:    In addition to the eight full time cast members, this year we’ve added four SUU Fellows (Juniors and Seniors in the SUU College of Performing and Visual Arts) as well as two Playmaker members: Kailey Gilbert and Georgianna Arnell (both appeared in A Midsummer Night’s Dream in 2011).

Talk about the transition from the Greenshow to your shows in the Randall:

Molly:    We have less than twenty minutes to get ready for the Randall shows. We race across the street. The dressers are so efficient – they know we’re coming and get us costumed and wigged in an amazing amount of time.

What’s it like for young actors here?

James:    It’s like a master class every day – there’s so much support.

Molly:    Not every theatre treats the non-equity actors well. We are treated so well – it’s like family. I love it here!

The Greenshow is just one of the many free activities that can be part of your Festival experience. You can see the free Greenshows six nights a week from June 23 through August 30 in the Adams Courtyard. The show begins at 7:10 and runs for thirty minutes. Many local families enjoy this free performance as a family event. And it’s a great way to get into the mood before the performance as well.

You can purchase tickets for the plays online at www.bard.org or by calling 800-PLAYTIX.

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Sanders practicing sword dance

REACH Cabaret

Late Night Festival Offerings Include the REACH Cabaret

Cedar City, UT – Every year actors from the Utah Shakespeare Festival come together and put on a Cabaret as part of REACH (Really Eager Actors Crying Hire) fundraising efforts. These company members sing, dance and perform to raise money to bring artistic directors and casting agents from across the country to Cedar City to audition Festival actors for upcoming jobs.

The Cabaret will be performing every Thursday night throughout the summer season at The Grind Coffee Shop from 11 p.m. to midnight. Tickets are $10 at the door and 100 percent of the proceeds go to support REACH.

Quinn Mattfeld and Kyle Eberlein are coordinating the Cabaret this year, and they are repackaging it so it will have more of late night talk show feel. Audiences will get a new show every week, but with a feeling of “episodes” which will have material referring to the previous Cabaret.

Mattfeld and Eberlein wanted to make a fun variety show that has a lot of absurdity to it. “We really wanted to focus on our relationship with the Festival and have some company members be regulars and play versions of themselves throughout the summer,” said Mattfeld. The Cabaret will also be shorter than other years, about forty-five minutes. There will be people playing instruments, clown acts, singing and comedic sketches. It will be a nice treat for audiences who spent the whole day at the Festival and want something to wind down with.

Tickets are on sale for the Festival’s 53rd season, which will run from June 23 to October 18, 2014. The eight-play season includes Shakespeare’s Measure for Measure, The Comedy of Errors, Henry IV Part One, and Twelfth Night.  The season will also include the world premiere adaptation of Jane Austen’s Sense and Sensibility written by Joseph Hanreddy and J. R. Sullivan, Stephen Sondheim’s Into the Woods, Steven Dietz’s adaptation of Sir Arthur Conan Doyle’s Sherlock Holmes: The Final Adventure, and Boeing Boeing by Marc Camoletti. For more information and tickets visit www.bard.org or call 1-800-PLAYTIX.

Festival Family Days

Festival Family Days

Cedar City, UT — The Utah Shakespeare Festival has once again announced Festival Family Days. This program is geared at families and offers a significant discount so the entire family can attend at a “family friendly” price.

This year’s family friendly matinee is The Comedy of Errors. For a limited time tickets are $15 for select performances: July 9, 12, 15, 18, 23, 26 and 30 and August 2, 8, 14, 19, 22 and 30. Discounted tickets must be purchased by July 15. Use the coupon code FAMILY when purchasing tickets online at www.bard.org.

“Families should have affordable access to our work and the work of William Shakespeare,” said David Ivers, artistic director. “As such we are happy to continue our family friendly pricing and hope the young and old continue to cultivate a love for Shakespeare and the Festival.” Parents have an affordable opportunity to share the Bard’s work with their children and create an early appreciation for his language and the power of theatre.

The Comedy of Errors is about, not one, but two sets of bewildered twins who are in the same small town but who don’t know about each other. Every dusty road they turn down looks just like the last one, and every prospector and saloon girl seems to know more about them than they know about themselves. The more they try to unravel the lunatic events swirling around them, the more farcical their lives become. It’s double the laughter with two sets of twins and twice the fun when Shakespeare’s hysterical comedy is re-imagined in the California gold rush of 1849.

Tickets are on sale for the Festival’s 53rd season, which will run from June 23 to October 18, 2014. The eight-play season includes Shakespeare’s Measure for Measure, The Comedy of Errors, Henry IV Part One, and Twelfth Night.  The season will also include the world premiere adaptation of Jane Austen’s Sense and Sensibility written by Joseph Hanreddy and J. R. Sullivan, Stephen Sondheim’s Into the Woods, Steven Dietz’s adaptation of Sir Arthur Conan Doyle’s Sherlock Holmes: The Final Adventure, and Boeing Boeing by Marc Camoletti. For more information and tickets visit www.bard.org or call 1-800-PLAYTIX.

The Comedy of Errors Chris Amos (Dromio of Syracuse) and Aaron Galligan-Stierle (Antipholus of Syracuse)

Chris Amos, based in Chicago, is in his third season at the Festival. Last year we saw him as Slank inPeter and the Starcatcher and Pembroke in King John. Aaron Galligan-Stierle is in his sixth season (over a ten year period). Last year he played Smee in Peterand Lord Evelyn Oakleigh in Anything Goes.

This year, they are each one part of a set of twins in The Comedy of Errors, master (Dromio) and servant (Antipholus)

Tell us your thoughts about setting this production during the California Gold Rush.

Chris:    I think the concept is brilliant. It’s a man in search of himself through other people. During the gold rush period there were people from all over the world. What better place to look for somebody than the place everybody else is going?

Costume Sketch by David Kay Mickelson, Antipholus

Aaron:    I’ve been taken by how well it fits. As you read the text, you see how many references there are to gold. It’s been really fascinating; it doesn’t feel forced. This feels totally natural to me.

We’re doing our best to always honor Shakespeare and hopefully be able to let audiences experience this particular play in a new way. It’s the same thing as when two different actors say the same speech, you hear different things.

Talk about your character:

Chris:    It’s a play about identity and the confusion of what you think about yourself versus what others think about you. It’s amplified in this situation with two people who are confused with each other. My character, Syracuse, is on this voyage to find himself. He has such a loose idea of who he is that he’s easily swayed by these strange circumstances.

Fristensky & Galligan-Stierle as the Dromios

What about playing twins?

Aaron:    I have to do a shout out to the wig and costume department. I cannot believe how good of a job they have done! It is incredible how similar Misha Fristensky (playing Dromio of Ephesus) and I look. That’s also a testament to Brian and David for their casting.

Why do you choose to be at the Festival?

Chris:    The best of the best come back here. There are amazing directors and actors and really appreciative audiences who know and love these plays and support us at every turn. It’s a long way from my home and wife in Chicago and I wouldn’t be here if it wasn’t worth it. It’s such an amazing experience.

Costume Sketch by David Kay Mickelson, Dromios

Aaron:    Every department is working at such a high level. The sets, the prop, the music…it’s amazing. It feels like a family. Here, over the course of a season and over the course of many seasons, you have the opportunity as an actor and an artist to showcase the whole of you. I feel more challenged as an artist and more inspired as an artist in this place because I’m also surrounded by other people who are going through the same thing. That’s why I want to be here every year I possibly can.

Why should people see this play?

Chris:    Shakespeare was fabulous in his understanding of what it means to be human. The play is full of really rich, well rounded human beings. In the midst of all this comedy, you have a man who’s genuinely searching for his identity. I believe in Shakespeare’s ability to tell a well-rounded story through his language. And I think that’s always relevant.

Aaron:    The comedy is hilarious. It’s fun, over the top - good for the entire family. People are going to come and have an extraordinarily wonderful time.

The Comedy of Errors opens on June 30 and plays through August 30. You can learn more about the play at

http://www.bard.org/plays/comedy2014.html. You can purchase tickets online at www.bard.org or by calling 800-PLAYTIX.

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The Comedy of Errors Preview

Jonathon Smoots

Drew Shirley

Misha Fristensky

The Comedy of Errors

William Shakespeare

Directed by Brad Carroll

This week, we’re opening the Stage Door for The Comedy of Errors**,** a romp of disguise and mistaken identity. Today’s preview is the first look behind The Comedy of Errors’ stage door; check back each day this week on Facebook, Twitter, and Pinterest as we bring you director and actor interviews as well as podcasts, design renderings and more.

Principal Characters:

Solinus, duke of Ephesus, played by Jonathon Smoots: Functioning mainly as a sympathetic ear allowing Egeon’s story to be told, Solinus is a noble and compassionate duke, but one who also believes that law must be followed, thus prompting his condemnation of Egeon.

Egeon, played by Roderick Peeples: A merchant from Syracuse, Egeon is the father of twin boys (both named Antipholus) and the husband of Emilia. He is sentenced to death for venturing into the enemy city of Ephesus while looking for his lost son. In the end, however, he is reunited with his entire family.

Antipholus of Ephesus, played by Drew Shirley: The son of Solinus and Emilia and twin brother of Antipholus of Syracuse, this Antipholus, after being separated from his father and brother in a shipwreck, ends up in Ephesus where he has become an established citizen.

Antipholus of Syracuse, played by Chris Amos: The son of Solinus and Emilia and twin brother of Antipholus of Ephesus, this Antipholus ended up with his father after the shipwreck, but has recently set out looking for his lost twin, which eventually brings him to Ephesus.

Dromio of Ephesus, played by Misha Fristensky: The slave of Antipholus of Ephesus and twin of Dromio of Syracuse, this Dromio lives a melancholy life with his master in Ephesus.

Dromio of Syracuse, played by Aaron Galligan-Stierle: The slave of Antipholus of Syracuse and twin of Dromio of Ephesus, this Dromio is traveling with his master when the play begins.

Summary:

Antipholus and Dromio are bewildered. Every dusty road they turn down looks just like the last one, and every prospector and saloon girl seems to know more about them than they know about themselves. The more they try to unravel the lunatic events swirling around them, the more farcical their lives become. It’s double the laughter with two sets of twins and twice the fun when Shakespeare’s hysterical comedy is re-imagined in the California gold rush of 1849.

For more details (synopsis, podcasts, etc.) about this play, please visit http://www.bard.org/plays/comedy2014.html

The Comedy of Errors opens June 23 in preview and runs through August 30. You can buy tickets at www.bard.org or by calling 800-PLAYTIX.

Ways to Connect Online:

Facebook:

https://www.facebook.com/utahshakespeare

YouTube:

http://www.youtube.com/utahshakespeare1

Pinterest:

http://pinterest.com/utahshakes/

Instagram:

http://instagram.com/utahshakespeare

Twitter:

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Follow @UtahShakespeare

Roderick Peeples

Chris Amos

Aaron Galligan-Stierle

Into the Woods Misty Cotton (the Witch), Tina Scariano (Cinderella), Deanna Ott (Little Red Riding Hood)

Our musical this summer season is Sondheim’s Into the Woods. Misty Cotton returns to the Festival as the Witch; we last saw her in Johnny Guitar. Tina Scariano plays Cinderella; she played Cosette in Les Mis. And Deanna Ott is here for her third season, playing Little Red Riding Hood.

Tell us your thoughts about this play.

Deanna:   While the show is fun and recognizable, especially the first act, the deeper meanings of the show resonate with you differently at different times in your life.

Misty:   That’s the beauty of the show. I’ve seen it a few times. Every time you see it or perform it, different things resonate. It’s about life. People know these fairytale characters, and these stories are written in very black and white. They’re written that way because children’s brains can’t see grays and they are meant to teach lessons. But as you get older, many factors come in and I think the second act is more of the reality – the grays. It becomes much more complicated.

Rehearsal - Pfundstein (Baker’s Wife), Scariano (Cinderella)

Tina:    I love the song “Children Will Listen” because we all reference our parents in it. There’s always that person in our life that we looked up to or listened to and then in the second act it’s the harsh reality of realizing they were wrong, they were human, they erred. Your parents are people. It’s this awful/wonderful realization – you now have to decide for yourself.

Rehearsal - Ott (Little Red Riding Hood)

Can you describe this show from a musical perspective?

Misty:    Some people have a hard time with Sondheim: “I can’t go out humming the songs”. That’s not true in this show because there are some very beautiful songs like “No One is Alone.” He’s putting dialog to music. But there are moments when it’s melodic.

Tina:    Once you get it down, Sondheim makes your job really easy. Once you learn it, he puts the clues in the music, the inflections are all there.

Rehearsal - Cotton (The Witch)

Deanna:    It’s like Shakespeare – in Iambic – you have to be very careful to make sure the important words have the right inflection. When you sing a line, it’s exactly the way you might speak it. It has the same inflection as if speaking. The tune of it gives you more of a subtext than the actual lyrics would.

How do you feel about being part of the Festival?

Misty:    I feel so lucky to be here. If you’re a young artist – they have mentors, they have REACH programs, special classes. It’s really something special. I call this one of the best kept secrets.

Deanna:    I have loved every moment that I’ve spent here. The company is always fantastic. The creative process – the time we take is very precious. Nothing is glossed over. We work through everything. I really appreciate that.

Tina:    This place is like Disneyworld for actors. The best place on Earth. I love it. The caliber of human beings that are hired here is extraordinary. And then you find out they’re talented. I feel very nurtured here.

Into the Woods opens in preview on June 30 and runs through August 30. You can learn more about the play at http://www.bard.org/plays/woods2014.html. And you can purchase tickets online at www.bard.org or by calling 800-PLAYTIX.

Ways to Connect Online:

Facebook:

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Into the Woods Preview

James Sanders

Melinda Pfundstein

Misty Cotton

Into the Woods

Music and Lyrics by Stephen Sondheim

Book by James Lapine

Originally Directed on Broadway by James Lapine

Orchestrations by Jonathan Tunick

Directed by Jeremy Mann

This week, we’re opening the Stage Door for Into the Woods, a musical which wonders “is there really a ‘happily ever after’?” Today’s preview is the first look behind Into the Woods’ stage door; check back each day this week on Facebook, Twitter, and Pinterest as we bring you director and actor interviews as well as podcasts, design renderings and more.

Principal Characters:

Cinderella, played by Tina Scariano: – Even though she lives with her father, wicked stepmother, and two cruel stepsisters, Cinderella is kind and good and her only wish is to go to the Prince’s festival (a.k.a. the ball), but once she does go and the Prince pursues her, she is uncertain about how to proceed.

Jack, played by James Sanders: Young, foolhardy, and desperate for a better life, Jack sells his cow for magic beans which lead him on a journey of growing up and learning to accept consequences.

Baker, played by Brian Vaughn: The “hero” of the story (although his actions are not always heroic), the Baker feels he must “fix” his and his wife’s inability to have children and initially tries to pursue his quest without her; but he soon realizes he is much better off with her by his side.

Baker’s Wife, played by Melinda Pfundstein: Badly wanting a child, the Baker’s Wife would go to any length to have one. When her husband sets off into the woods to seek the things that would enable them to remove their “curse” of infertility, her assertiveness and stubbornness eventually helps bring about a change between her and her husband.

Little Red Riding Hood, played by Deanna Ott: A sassy, spoiled girl, Little Red Riding Hood must journey from youth and innocence into adulthood and responsibility through an adventurous and scary path.

Witch, played by Misty Cotton: Originally portrayed as “the villain,” the witch’s story is much more complicated. She has an ulterior motive when she reveals she was the one who placed the curse of infertility on the Baker’s family.

Summary:

An uncertain Cinderella. A bloodthirsty Little Red Ridinghood. A wicked witch—who sings and dances? They’re all among the cockeyed characters of this fractured fairy tale. But in this modern musical, happiness-ever-after is not always what it seems: Actions have consequences, charming princes have flaws, and, well, killing a giant can make the giant’s wife very angry.

For more details (synopsis, podcasts, etc.) about this play, please visit http://www.bard.org/plays/woods2014.html

Into the Woods opens June 25 in preview and runs through August 30. You can buy tickets a twww.bard.org or by calling 800-PLAYTIX.

Ways to Connect Online:

Facebook:

https://www.facebook.com/utahshakespeare

YouTube:

http://www.youtube.com/utahshakespeare1

Pinterest:

http://pinterest.com/utahshakes/

Instagram:

http://instagram.com/utahshakespeare

Twitter:

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Follow @UtahShakespeare.

Tina Scariano

Brian Vaughn

Deanna Ott

Henry IV, Part I Larry Bull (King Henry IV), Sam Ashdown (Prince Hal), Henry Woronicz (Falstaff)

This season, we continue the History Cycle with the third play in the cycle, Henry IV, Part I. These three actors have been hired with the commitment that they will continue their roles through Henry V.  Larry Bull (Henry IV) is here for his fourth season. Last year, he played Bolingbroke/Henry IV in the fall production of Richard II. Sam Ashdown (Prince Hal) is new to the Festival. And Henry Woronicz (Falstaff) has been here many times, most recently last season as Prospero in The Tempest.

Bull as Henry IV

Talk about your characters in this play:

Larry:     There’s little reflection on Bolingbroke’s part in Richard II about what he’s doing (usurping the throne). And you start to see that vessel crack in Henry IV, Part 1. There are batches of reflection, disdain, moodiness, jealousy, grief, self-doubt. The idea of counterfeit runs rampant through the play, and I think there’s a reason for that.

Henry:  Shakespeare was really good at juxtaposing the public and the private – he used that effectively in his plays and this is a great example of it. There’s rebellion in the world and rebellion at home.

Larry:     And it’s the ripple effect, the projection of the inward to the outward: turmoil in the soul where England is in turmoil. There’s doubt about my own place on the throne and a great need to make sure my son is up to the task. Otherwise the whole thing is a failure. And all the energy that was put into the reclamation of my lands, and the throne would be all for naught.

Sam:      For Hal, when the play starts, his dad is powerfully absent. And he finds this old, fat, drunken knight, Sir John Falstaff.  I think the play is about Hal searching out what he needs in different places. He is full of contradictions: who he is with Falstaff, who he is with his dad, and who he is on the battlefield.

Woronicz as Falstaff, Ashdown as Prince Hal

Talk about the long contract of playing these roles in multiple plays:

Henry:  The larger artistic piece is the chance to do these roles in sequence over a period of time. That’s closer to being in Shakespeare’s company.  It’s a great gift.

Larry:     I think of it as a once in a lifetime opportunity. In the media these days we’re used to the long format i.e. Game of Thrones, Harry Potter. We want to see what happens to these people. It’s fun to see the same characters, these children turn into adults. I think it’s exciting for audiences as well. Those who have seen Richard II get to follow it all the way through Henry V and see the development of the characters.

Ashdown as Prince Hal

Sam:      It’s exciting, it’s fun. Right now it’s about doing this play, because Hal doesn’t know what’s going to happen. There are so many questions. He’s riding a very uncertain wave through this play. The audience knows he’s going to be Henry V but he doesn’t.

How is this play relevant to today’s audiences?

Sam:      It’s about fathers and sons and growing up. What kind of man do you want to be? It’s very personal as well as political.

Larry:     It’s a magnificent portrayal of the human condition in all its messiness and and depth. Anything that takes you on that journey is worth paying attention to.

Henry IV, Part I opens in preview on June 23 and plays through August 30. You can purchase tickets online at www.bard.org or by calling 800-PLAYTIX.  You can learn more about the play a thttp://www.bard.org/plays/henry2014.html

Ways to Connect Online:

Facebook:https://www.facebook.com/utahshakespeare

YouTube:   http://www.youtube.com/utahshakespeare1

Pinterest:  http://pinterest.com/utahshakes/

Instagram: http://instagram.com/utahshakespeare

Twitter:       https://twitter.com/#!/UtahShakespeare 

Follow @UtahShakespeare

Photos by Karl Hugh

Cedar City Unplugged

Cedar City Unplugged: Attend a Greenshow

Help your kids to go outside this summer and “Play Unplugged.”

Play Unplugged is all about encouraging kids to put down their electronics and get outside and play. This is done by creating symbiotic relationships between kids, parents and local businesses. These relationships create an incentive for all to participate as one motivates the other.

The Utah Shakespeare Festival is participating this year by encouraging kids to attend a free Greenshow in order to earn a Festival Brag Badge. The Greenshow starts at 7:10 p.m. every Monday through Saturday night. It is free for the whole family to enjoy.

When a child attends The Greenshow, he or she can then pick can be up a Brag Badge at the Guest Services Booth near the Adams Shakespearean Theatre during the time of the Greenshow performance. Please post a picture of yourself attending the Greenshow on the Utah Shakespeare Festival Facebook page.