News From the Festival
Meet the Cast: Silent Sky
The Utah Shakespeare Festival is excited to announce the cast of Silent Sky by Lauren Gunderson, directed by Melinda Pfundstein.
Telling the true story of nineteenth century scientist Henrietta Leavitt, the play is a celebration of science, family, discovery, female achievement, and the light in all of us.
“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,” Pfundstein said. “I believe that this play is an invitation to do just that.”
The cast is as follows:
Katie Cunningham is returning to the Festival as Henrietta Leavitt in Silent Sky. Previous roles at the Festival include Lady Macbeth in Macbeth, Rebecca Heminges in The Book of Will, Maria in Twelfth Night, and more. Off-Broadway credits include those at The Actors’ Company Theatre. Other credits include eleven seasons at Clarence Brown Theatre, Asolo Rep, PlayMakers Rep, and more. She received a Master of Fine Arts in Acting from Florida State University and a bachelor of arts degree from University of North Carolina, Chapel Hill. Cunningham is an Assistant Professor of Theatre and Head of Acting at University of Tennessee, Knoxville and is a member of Actors’ Equity Association.
Kat Lee is returning to the Festival as Margaret Leavitt in Silent Sky. Previous roles at the Festival include Mrs. Weston in Jane Austen’s Emma The Musical, Lady Montague in Romeo and Juliet, and Ensemble in Ragtime and The Greenshow. Other credits include A Christmas Carol at Denver Center, Clue at Oregon Cabaret Theatre, Into The Breeches at Lyric Repertory Theatre, and more. Lee received the Festival’s 2023 Michael and Jan Finlayson Actor Award. She received a Bachelor of Fine Arts in Musical Theatre from Otterbein University.
Abdul-Khaliq Murtadha is debuting at the Festival as Peter Shaw in Silent Sky and Dr. Martin Luther King Jr. in The Mountaintop. He has performed at LaJolla Playhouse, Seattle Rep, and Asolo Rep, and many others. Television credits include Days of Our Lives, NCIS-LA, All My Children, and more. Film credits include Shirley (starring Regina King) and 8989 Redstone. Murtadha is a founding member of Africana Repertory Theatre of IU Indianapolis, an ensemble member of the Fonseca Theatre Company, and on the artistic board of Crescent City Stage in New Orleans. Awards include Best Actor at the New Orleans Short Film Festival and the NAACP Award for Best Ensemble at The Matrix Theatre in Los Angeles. He is an Assistant Professor in the BFA Acting program and Co-Artistic Director of The Mosaic Theatre Company at Auburn University. Murtadha received a Bachelor of Arts from Indiana University and Master of Fine Arts from University of California, San Diego. He is a member of Actors’ Equity Association.
Alia Shakira is debuting at the Festival as Annie Cannon in Silent Sky and Camae in The Mountaintop. Other credits include The House That Will Not Stand at Horizon Theater, A Lady and A Woman at Impact Theater, numerous plays at New Federal Theatre, and more. Television credits include The First Lady, The Come Up, Woke, and the film The Color Purple. Shakira received a Bachelor of Fine Arts in Acting from Howard University and is thrilled to be making her Festival debut.
Sarah Shippobotham is returning to the Festival as Williamina Fleming in Silent Sky. She previously played Duchess of York in Richard III and multiple roles in Pericles, The Comedy of Errors, and The Conclusion of Henry VI: Parts Two and Three at the Festival. She recently wrote and performed in the world premiere of her one-woman show Can I Say Yes to That Dress at Salt Lake Acting Company. She has worked as a voice and dialect coach at the Shaw Festival for eighteen years and as a dialect coach at Pioneer Theatre Company. She received her education at the Royal Central School of Music and Drama in London and the Royal Welsh College of Music and Drama in Cardiff, Wales, and is thrilled to be back for another season.
Produced in the intimate Eileen and Allen Anes Studio Theatre, Silent Sky previews July 12 and runs until October 5. Visit bard.org to purchase tickets.
Welcome to the 2024 Seasonal Company
The Utah Shakespeare Festival welcomed this summer’s seasonal company on Monday, May 6, with an opening meeting and a day full of first rehearsals, costume measurements, tours of the facilities and workspaces, and more for those working to put the 2024 season together.
While there have been some seasonal staff in Cedar City who started the build process earlier this year, the majority of the performing company, production artists, stage managers, and company management staff began on or around May 6. Additionally, the lead design teams, including directors, designers (scenic, costume, lighting, sound, and projection), choreographers, dramaturgs, music director, fight/intimacy directors, voice and text coaches, props, and hair and makeup artists began their work last fall, though most didn’t arrive on site until last week.
Executive Managing Director Michael Bahr and Artistic Director John DiAntonio enthusiastically welcomed all those in attendance at the opening meeting in the Randall L. Jones Theatre.
“You are in an extraordinary place,” said DiAntonio. “You’re at 6,000 feet elevation, in a rural mountain town––where it can snow at any instant [referencing the late spring snow storm the day before]––surrounded by national parks, some of the best artists in the nation, and a community that is thrilled to have you. I hope you fill your cup this season.”
That evening the Guild of the Utah Shakespeare Festival hosted a welcome dinner in the courtyard of the beloved retired Adams Memorial Theatre for all those artists spending their summer in Cedar City. Also in attendance were year-round staff, families and friends, and special guests.
Over 300 seasonal staff come to town, many of whom return year after year, calling the Festival their artistic home. They come from all over the country, including New York City, Chicago, Los Angeles, and Denver, among many other places. Later, closer to the shows’ openings, more staff will arrive, including house management/ushers, ticket office staff, and concessions personnel. In addition, volunteers from the local community fill out the ranks of people it requires to put on a successful season.
The casts and crews have approximately six weeks to rehearse and build five shows for the Engelstad and Randall Theatres, as well as three different Greenshows, with preview audiences arriving on June 17. The second wave of performing company members, lead design staff, and production artists arrive mid-June to prepare two more shows, these for the Anes Studio Theatre. These productions welcome audiences on July 12.
“It’s simply incredible the amount of work and artistry that goes into making sure the season is ready to welcome our guests––the audiences,” says Bahr. “Our 63rd season promises to be one celebrating history makers and extraordinary characters. Don’t miss it!”
Tickets are available by calling 800-PLAYTIX or visiting bard.org. The season runs through October 5.
Shelley Takes Helm as Education Director
The Utah Shakespeare Festival is pleased to announce that Stewart Shelley has been appointed as education director following Katherine Norman’s departure last month. He has been with the Festival for two years in other education roles and is excited to take on the position as director.
Education is a fundamental part of the Festival’s mission. Executive Managing Director Michael Bahr believes Shelley will carry on the educational legacy that has distinguished the Festival for decades and provide a vision for its continued growth.
“Stewart has such a love for the work of educating students, patrons, teachers, and anyone interested in learning more about the world of theatre and Shakespeare,” says Bahr.
Artistic Director John DiAntonio emphasizes Shelley’s influence on the Festival’s success in building connections through education: “He has played an essential role in the Education Department over the last two years, creating a major impact on the Festival’s renowned Shakespeare Competition, our audience engagement work in the Seminar Grove, the recent Bard’s Birthday Bash, and much more.”
Shelley attended Brigham Young University, where he received a bachelor’s degree in Theatre Arts Education, and later earned a master’s degree in Education Administration from Grand Canyon University.
He spent 19 years as a high school theatre teacher. Stewart’s experience with the Festival runs deep, as he attended the Festival’s Shakespeare Competition as a teenager and later brought his own students to the competition as a teacher.
“The programming that Michael Bahr and Katherine Norman created as former education directors is really strong and rooted in the community,” says Shelley about the durability of the education program at the Festival.
DiAntonio adds, “Stewart, too, brings a wealth of experience and deep knowledge, especially of the Utah educational system. I cannot wait to see where he and the team take the Education Department in the years to come.”
Programs overseen by Shelley’s department throughout the year include the Shakespeare in the Schools tour, PlayTeam workshops, and Shakespeare Competition, among other things.
During the summer they manage the pre-show orientations and post-show play seminars in the Balcony Bards Seminar Grove. They are also responsible for Backstage Tours, Shakespearience, School Days, and summer camps and classes.
Speaking of which, now is the perfect time for anyone interested in participating in summer camps and classes to sign up! Shelley encourages students of all ages to dive in and learn more about the Bard.
“Playmakers Summer Day Camp is a perfect way for youth who are local to play on the stage,” says Shelley. Created for students ages five to seventeen, it’s perfect for those who have never been on a stage before to those who love to perform. It runs June 10-22, from 2-4 p.m. Monday to Friday. Students have the chance to build theatre skills through movement, voice, improv, and more, with a final Saturday performance for family and friends. Registration closes May 31.
Other youth camps include Junior Actor Training (for ages twelve to fourteen) on July 15-20 and Theatre Training (for ages fifteen to eighteen) on July 22-27, both of which are sleep-away camps where students get to work with professional Festival actors or production staff. Space in both is limited and registration closes July 5 and 12, respectively.
Teachers can also get in on fun summertime classes too. “Teaching Shakespeare” is specifically for English and Theatre educators and takes place July 15-18. “Tech for Teachers” is July 29-31 and is a great in-person professional development course for any educator or director, taught by Festival technicians and experts. Registration closes July 1 and 17, respectively.
For tuition costs or more information about these and other education offerings, please visit bard.org/about/education, call the Education Department at 435-865-8333, or email usfeducation@bard.org.
Meet the Cast: The Mountaintop
The Utah Shakespeare Festival excitedly announces the cast of The Mountaintop, directed by Cameron Knight. Knight is returning to direct at the Festival, having directed The Tempest and Richard III in the past.
Following Dr. Martin Luther King, Jr., audience members watch as he confronts both his mortality and the future of his work.
“It puts a human touch and human connection on the legend that is Martin Luther King Jr. and brings him back down to the people,” Knight said.
Although fictional, the play shows themes of being a figurehead versus a private human.
“I love how bold the play is, and how bold Katori Hall was willing to tell some truths about Dr. King and race and race relations in this country,” Knight said. “I promise you’ll enjoy it.”
The cast is as follows:
Abdul-Khaliq Murtadha is debuting at the Festival as Martin Luther King Jr. in The Mountaintop and Peter Shaw in Silent Sky. He has performed at LaJolla Playhouse, Seattle Rep, and Asolo Rep, and many others. Television credits include Days of Our Lives, NCIS-LA, All My Children, and more. Film credits include Shirley (starring Regina King) and 8989 Redstone. Murtadha is a founding member of Africana Repertory Theatre of IU Indianapolis, an ensemble member of the Fonseca Theatre Company, and on the artistic board of Crescent City Stage in New Orleans. Awards include Best Actor at the New Orleans Short Film Festival and the NAACP Award for Best Ensemble at The Matrix Theatre in Los Angeles. He is an Assistant Professor in the BFA Acting program and Co-Artistic Director of The Mosaic Theatre Company at Auburn University. Murtadha received a Bachelor of Arts from Indiana University and Master of Fine Arts from University of California, San Diego. He is a member of Actors’ Equity Association.
Alia Shakira is debuting at the Festival as Camae in The Mountaintop and Annie Cannon in Silent Sky. Other credits include The House That Will Not Stand at Horizon Theater, A Lady and A Woman at Impact Theater, numerous plays at New Federal Theatre, and more. Television credits include The First Lady, The Come Up, Woke, and the film The Color Purple. Shakira received a Bachelor of Fine Arts in Acting from Howard University and is thrilled to be making her Festival debut.
Produced in the intimate Eileen and Allen Anes Studio Theatre, The Mountaintop opens July 13 and runs until October 5. Visit bard.org to purchase tickets and to read the content advisory for the play.
Shakespeare in the Schools: Hamlet Tour Concludes
The Utah Shakespeare Festival would like to acknowledge and celebrate the closing of their 2024 tour of Shakespeare in the Schools. This year, a team of nine theatre professionals brought a condensed version of Hamlet, one of the world’s most recognized plays, to K-12 students.
Members of the touring company were Tour Manager Kellie M. Beck, Stage Manager Fiona Misiura, and actors (left to right in photo) Blaize Adler-Ivanbrook, Abigail Rose Nakken, Darin F. Earl II, Adam Koda, Gianna Porfano, Isa Guitian, and Darci Ramirez.
Throughout the Intermountain West, the Festival’s touring program serves both rural and urban students and communities, providing access to professional theatre. The tour began in February and closed April 20, concluding with a total of 52 performances and 9,360 audience members served.
Tour Director and Education Director Stewart Shelley noted that the tour was a “soul-filling experience.”
“This year’s company brought such creativity, passion, and professionalism to our production of Hamlet, my personal favorite of Shakespeare’s,” Shelley said. “I am so grateful for the meaningful connections the company made with students, teachers, administrators, and communities around the state and Intermountain West region.”
The tour provided students with the opportunity to see Shakespeare performed live––often for the first time. Festival Executive Managing Director Michael Bahr noted that seeing the students engage with the play was a joy.
“They would gasp at moments of surprise, as a group reacting to major plot moments, and respond back to actors during key monologues,” Bahr said. “Every student should have the opportunity to see this important play from Shakespeare’s canon, come to life, on-stage, and not just studied from a text.”
For Bahr, it was imperative for students to see the production because Shakespeare’s plays teach lessons that everyone can learn from, and “a live production is the best way for this to happen."
Shakespeare in the Schools brought one of the Bard’s most gripping tragedies to the students, creating an intimate and impactful experience in the classroom.
“How fortunate for those thousands of students to take in the greatest tragedy ever written in the middle of an ordinary day of classes,” Artistic Director John DiAntonio said.
Koda, who played the role of Hamlet, reflected on the educational tour, noting that it was a dream to work with the company.
“The work always felt meaningful; I went to bed every night knowing that the next generation of artists is full of passion and excitement for theater,” Koda said.
Earl returned to the 2024 Shakespeare in the Schools tour to play Claudius/Ghost, after having participated in the Othello tour in 2023.
“I knew I wanted another opportunity to connect with the students in the Intermountain West with more creatives who were excited to learn from the students as well,” Earl said.
Theatre changed Earl’s life after discovering it in high school. And now, bringing the production to students was a way to help “young ones embrace themselves, challenge themselves, and even surprise themselves by engaging in something as timeless and accessible as Shakespeare.”
With education an important and valuable part of the Festival’s mission, the Shakespeare in the Schools tour is imperative to keeping the arts alive and thriving.
“The [tour] helps build the next generation of Shakespeare superfans,” DiAntonio said.
For more information on the Festival’s Education Department, visit bard.org/about/education. This summer, camps and classes will be offered for both students and educators. To sign up and for more information, click here.
Festival Celebrates Shakespeare’s Birthday with 23rd Annual Bard’s Birthday Bash
The Festival celebrated William Shakespeare’s 460th birthday last week with a three-day bash consisting of jousting, dancing the Maypole, performances, theatre games, birthday cake with Queen Elizabeth, and more.
The 23rd Annual Bard’s Birthday Bash took place on April 22-24 this year and hosted nearly 1,000 students.
“This three day celebration of William Shakespeare with Iron County’s K-5 students is a highlight of the year,” Education Director Stewart Shelley said. “The opportunity to share our love of Shakespeare with such eager and willing young people is inspiring and energizing.”
Since the Festival was founded in 1961 by the late Fred C. Adams, the Festival has celebrated the importance of Shakespeare’s works and continues to recognize him as the cornerstone of its mission. Hosting this event is a way to not only celebrate the Bard, but it’s a wonderful way to involve the community.
“These are some of my favorite days at the Festival, because we get to share with our youngest patrons our love of Shakespeare and pass that love along to the next generation,” Executive Managing Director Michael Bahr said. “This event gives us another opportunity to open up the Festival to our friends and neighbors.”
Recently-appointed Artistic Director John DiAntonio was able to attend the Bard’s Birthday Bash for the first time this year. What made the event even more special was that DiAntonio was able to bring his own children.
“What an amazing energy buzzing around [Festival grounds] all week,” DiAntonio said. “My three and five-year-old were able to go through the stations today. They met the Queen and were even knighted after the jousting competition. What a fun event for these local kids!”
To register for next year’s Birthday Bash, email usfeducation@bard.org with the name of the school, the teachers, contact information, and the approximate number of students. For information about the Festival’s upcoming season and to purchase tickets, visit bard.org or call 1-800-PLAYTIX.
Tell your Students about Theatre Summer Camp: Ages 5-18 Can Train with Theatre Professionals
Festival summer camps are the perfect chance for young aspiring artists to experience a once-in-a-lifetime opportunity to train with professionals.
“Getting to see a Festival production and then study with the artists who you just saw onstage, or who work behind-the-scenes, is a unique opportunity for students,” says Education Director Stewart Shelley.
For those thinking about attending––or know students you might enjoy a summer theatre camp, here are several reasons to sign up today:
- It’s a chance to work with and learn from the artists you see onstage in Festival productions.
- Summer camps allow you to spend a week learning and playing with other like-minded students and theatre lovers.
- You can choose your focus! For high school students, there’s the option to study acting or technical theatre with Festival professionals. Unsure about sleep-away camp? That’s okay; choose what’s best for you and participate in our day camp instead.
- For those excited about our overnight camps, you can look forward to staying in Southern Utah University student housing and being completely immersed in the world of professional theatre.
- There are scholarships available! Please click here for more information on the program you are interested in.
Playmakers Summer Day Camp
June 10-22, 2024
Ages 5-17
From 2-4pm Monday to Friday, students will have the opportunity to build theatre skills through movement, voice, improv, and more, with a final Saturday performance.
Click here to register and for tuition costs and more information. Registration closes May 31, 2024.
Junior Actor Training
July 15-20, 2024
Ages 12-14
Taught by professional Festival actors, this week-long sleep-away camp is for young actors who want to train in scene work, stage combat, voice and movement, and more.
Click here to register and for tuition costs and more information. Registration closes July 5, 2024.
Theatre Training
July 22-27, 2024
Ages 15-18
This program allows students to choose their focus: Acting or Technical Theatre. Taught by professional Festival acting and production company members, this pre-college professional training program is for high school students looking for a week-long intensive sleep-away camp.
Click here to register and for tuition costs and more information. Registration closes July 12, 2024.
Questions for the Education Department? Call 435-865-8333 or email usfeducation@bard.org.
It’s not too early to purchase tickets for the 2024 season of the Utah Shakespeare Festival, as well. The play lineup for the 63rd season includes Shakespeare’s Henry VIII, The Winter’s Tale, The Taming of the Shrew, and Much Ado About Nothing, along with the hilarious The 39 Steps, the moving Silent Sky, and the inspirational The Mountaintop. The season runs June 17 through October 5.
Utah Shakespeare Festival Offers Theatre Courses for Educators
It’s not too early to purchase tickets for the 2024 season of the Utah Shakespeare Festival. But plays aren’t all that the Festival offers. Through our education department, specific courses are available for educators too. Supplement your Festival Experience with a class, and even earn credits from Southern Utah University!
For Educators
Teaching Shakespeare
July 15-18, 2024
Specifically for English and Theatre Educators, this in-person course provides active and engaging classroom approaches for any teacher of Shakespeare text. Click here to register and for more information. Registration closes July 1, 2024.
Tech for Teachers
July 29-31, 2024
This is a great in-person professional development course for any educator or director. Festival technicians and experts create a hands-on learning experience for designing, building, and running a production. Click here to register and for more information. Registration closes July 17, 2024.
The play lineup for the 63rd season includes Shakespeare’s Henry VIII, The Winter’s Tale, The Taming of the Shrew, and Much Ado About Nothing, along with the hilarious The 39 Steps, the moving Silent Sky, and the inspirational The Mountaintop. The season runs June 17 through October 5.
To purchase tickets and take advantage of these amazing educational offerings, call the Festival Ticket Office at 800-PLAYTIX or visit bard.org.
Amazing Education Opportunities for School Groups Not to be Missed
Educating and inspiring theatre lovers is a huge part of the Festival’s mission, and this often begins with young thespians. Shakespearience and USF School Days are a must!
Education Director Stewart Shelley explains the differences between the two offerings.
“Both these programs give amazing opportunites for teachers and students. Shakespearience offers tickets at a discounted price for any matinees Monday through Friday in the months of August and September. It also incudes fun extras like workshops, talkbalks, and tours,” says Shelley
USF School Days, on the other hand, are two specific free performances set aside for Utah public and public charter school groups.
Shakespearience
Monday through Friday Matinees, August and September, 2024
Schools and education groups can enjoy a professional play, orientation, and other experiences with the Festival’s Shakespearience program for just $10 a person.
The experience offers access to study guide materials that extend learning in classrooms, and the option to schedule personalized talkbacks, workshops, or art center tours for schools. For more information, click here.
USF School Days - FREE!
September 5, 2024 - Much Ado About Nothing at 2 p.m.
September 11, 2024 - Silent Sky at 2 p.m.
Utah public and public charter school groups can attend these matinees of Much Ado About Nothing and Silent Sky for free thanks to funding from the state’s POPS program. For more information, click here.
To book Shakespearience and USF School Days tickets, call the ticket office at 800-PLAYTIX. Questions for the Education Department? Call 435-865-8333 or email usfeducation@bard.org.
It’s not too early to purchase tickets for the 2024 season of the Utah Shakespeare Festival. The play lineup for the 63rd season includes Shakespeare’s Henry VIII, The Winter’s Tale, The Taming of the Shrew, and Much Ado About Nothing, along with the hilarious The 39 Steps, the moving Silent Sky, and the inspirational The Mountaintop. The season runs June 17 through October 5.
The Mountaintop: 10 Fun Facts
The Mountaintop has never before been seen on Festival stages. Following Dr. Martin Luther King, Jr., audience members watch as he is forced to confront both his mortality and the future of his work. Although fictional, the play shows themes of being a figurehead versus a private human.
“What a perfect time to reexamine and meet our heroes,” Director Cameron Knight said. “It is important to me that we see the familiar struggles we all face. We are facing so many questions these days; who we are, what it all means, is it worth it, will it make a difference?”
Enjoy these facts about production below:
- Knight is returning to direct at the Festival, having directed The Tempest and Richard III in the past. His television credits include Blue Bloods and Chicago Med.
- The director plans to examine King’s mental health through a more modern lens in this production. “It’s important to look backwards and say, ‘What impacts might these very real things that we didn’t talk about because of pride, or culture… have had.’ That can really open up the play for the audience today,” Knight said.
- Playwright Katori Hall workshopped the play while she was in the Juilliard School’s playwriting program, writing The Mountaintop when she was only 29.
- Hall graduated from Harvard University with a Master of Fine Arts in acting.
- The Mountaintop was inspired in part by Hall’s family. Her mother’s name was Carrie Mae, so Hall named the character Camae after her. This is fitting, as Hall’s mother actually grew up around the corner from the Lorraine Motel in Memphis––where the play takes place––and she was very much a part of the Civil Rights Movement.
- Carrie Mae had tried to go see King’s speech in Memphis, but her mother wouldn’t allow it, saying: “You know they’re gon’ bomb that church, so you need to sit your butt down and you ain’t going to that church.” Carrie Mae’s mother said she regretted this, as the following day King was assassinated at the Lorraine Motel. For Hall, writing this play was a way to give her mother the opportunity she didn’t have in 1968.
- Hall became the first black woman in history to win the Olivier Award for Best New Play in 2010 for The Mountaintop.
- The play’s title comes from the speech King gave the night before his assassination; “I’ve Been to the Mountaintop.”
- The play approaches King in a more raw and human way. Hall wrote him with visible faults, the more obvious being his flirtation as a married man with the maid, the more subtle including him wearing socks with holes in them. This symbolism “brings King back down to the people,” as Knight notes.
- Knight is particularly drawn to horror and psychological elements, and so the design team will be heavily leaning into projections to bring these elements to the forefront, especially as the play delves into King’s psyche.
Produced in the intimate Eileen and Allen Anes Studio Theatre, The Mountaintop opens July 13 and runs until October 5. Visit bard.org to purchase tickets and to read the content advisory for the play. Utilize our study guide for more information on the playwright, character summaries, a full-length synopsis, and an article by Ryan Paul titled Reflecting on the Past.