A Gentleman's Guide to Love and Murder First Look

A Gentleman’s Guide to Love and Murder previewed on June 19, officially opens June 26, and runs through October 3 at the Randall L. Jones Theatre. Members of our artistic teams have been busy preparing the musical for audiences, designing the hair, makeup, and costumes that transform each performer seen here in this first glimpse.

A Gentleman’s Guide to Love and Murder costume design by K.L. Alberts. Wigmaster Wednesday Estes. Assistant wigmaster Joan Harlow. All photos by Karl Hugh.

See the rest of their work on our Randall L. Jones stage this season. Tickets available at bard.org or by calling 800-PLAYTIX.

The Musical Magic in A Gentleman’s Guide to Love and Murder 

By Liz Armstrong, guest writer 

Musicals have long been part of what patrons love to see at the Utah Shakespeare Festival. Hearing our patron’s requests, and after not producing one last season for various reason, the Festival is thrilled to share the magic of the musical, A Gentleman’s Guide to Love and Murder, this season.

Additionally, the Festival is doing something it rarely does. Music Director Brad Carroll plays the piano live on stage, bringing the feeling and spirit of British Music Hall––an equivalent to American Vaudeville––to the Randall L. Jones Theatre. Carroll will conduct the actors, as needed, while also playing the live music alongside pre-recorded tracks, sound effects, and comedic interludes.

“Instead of standing in the booth in the back and triggering all the cues with my index finger [on a computer], I’ll be sitting at the piano cueing them with my left foot,” Carroll said. “I say, ‘Why not?’” 

Regarding the decision for the fresh take on the show, Director Amanda Berg Wilson said she “was inspired by opportunities where we can invite the audience into the space with us.” She and Carroll, along with Festival technical and props artisans, built an interconnected piano, computer, and sound system.

The Festival talked with Carroll about the show and creating this fresh take of live music onstage.

Festival: Have you worked on A Gentleman’s Guide to Love and Murder before? 

Carroll: It’s a fairly new play; it’s only about ten years old. We haven’t done it at the Festival, but I directed a production in 2018 at Pacific Conservatory Theatre [in California]. So I’m very familiar with the play, but it’s fun to be now just focusing on the music. 

Festival: Why are you excited for this show? 

Carroll: Amanda’s whole conceit for the play is so much fun. It’ll be really theatrical, which just opens up a whole new world for the play. Gentleman’s Guide is clever, smart, and hilarious. It’s so infected with the British sense of humor, which I really love. 

Festival: Why should our patrons come see the show? 

Caroll: It’s fresh and new. It’s based on an old movie, and a book before that, that most people don’t know. It’ll be a constant series of surprises for our audiences––it’s so engaging and there’s so much to love about it. 

Festival: How do you feel about having a more active role [onstage] this season? 

Caroll: I’m going to be doing a lot more than playing the piano. But I have a history of that; my first professional job was at a Vaudeville house. So I go way back doing this kind of wacky stuff. I love this whole idea. 

Festival: How are you going to tackle it? 

Caroll: The more I work on creating these tracks . . . it’s a lot for two hands and two feet and two ears to take on. There’s so much to juggle. We’re using a lot of technology. The piano that I’ll be sitting at is like a control center. There’s a computer in it; there’s an electronic keyboard; there’s a foot pedal for me to cue all the sound cues as they come. As the sound cue starts playing, I will be playing along with it. The technology has been around for awhile, we’ve just never used it this way [at the Festival]. 

Festival: What would you say to our patrons who are thinking about attending the show? 

Caroll: This is going to be such a romp. It’s a musical, but it’s also a hilarious comedy, sort of like Clue. One actor plays nine different people, and you get to see some of the transitions. We are letting the audience in on those theatrical notions. If people like the magic of theatre, they’re going to get to see it in Gentleman’s Guide. 

Festival: What should patrons expect regarding the content of the play?

Caroll: I think people see the word “murder” and get nervous, but there’s nothing to be nervous about. It’s going to be absolute fun. And the music is comical and beautiful and so accessible . . . it’s like British Broadway. 

The Festival invites patrons to join in on this theatrical escapade, as A Gentleman’s Guide to Love and Murder is the perfect blend of humor, music, and fun, making it the ideal play for both first-time and experienced theatregoers. 

For a quick synopsis of the play and content advisory, click here. A Gentleman’s Guide to Love and Murder previewed on June 19 and closes October 3. Tickets are available to purchase at 800-PLAYTIX or online.

Rosalind: Bold and Brilliant in Breeches

By Kathryn Neves

Any Shakespeare buff can tell you, the Bard loved writing powerful women. His plays are packed with powerful heroines, from The Merchant of Venice’s Portia to Titus Andronicus’s Tamora. But of all Shakespeare’s female characters, none of them quite hold a candle to Rosalind. The intrepid star of As You Like It, Rosalind is maybe the most empowered woman in Shakespeare’s canon.

As You Like It is brimming with sparkling wit—thanks, in no small part, to Rosalind. She is quick with a comeback, has a knack for clever turns of phrase, and freely gives out monologues with an intelligence far above the other characters in the play. The only other person who can sometimes match her wit is Touchstone the fool—and Shakespeare fans know that his fools are usually the smartest characters on the stage. Rosalind, though, steals every scene she’s in.

It isn’t just the content of her dialogue that sets her apart. Even outside the text of the play, we can get a good idea of Rosalind’s importance, simply by counting her lines! Rosalind has a whopping 685 lines—more than any female character in Shakespeare’s entire canon. Not only that, but Rosalind has the most lines in As You Like It—giving her the honor of being the only Shakespearean woman to have the leading number of lines in her given play. In fact, she has more than double the lines of her runner-up, Orlando!

As You Like It is one of Shakespeare’s most beloved comedies—and, like the other plays in the genre, it involves a lot of cross-dressing. Rosalind (like Viola and Portia and Imogen) spends a good chunk of the play dressed as a man. In order to protect herself and her cousin, she disguises herself as a man named Ganymede—“Jove’s own page”—and, while dressed this way, gets caught up in a messy love plot with a few forest dwellers. While dressed as Ganymede, she encounters Orlando: the man she loves. She teaches Orlando how to woo her, pretending to be Rosalind—meaning, she is a woman, dressed as a man, pretending to be a woman! (And, to add to the shenanigans, Rosalind would have been played by a man in Shakespeare’s day.)

But Rosalind’s defiance of gender roles goes beyond her masculine disguise. Throughout the play, Rosalind refuses to play by the rules. Women were expected to be passive, docile, and sweet; they were usually seen as weak and helpless, and most often at the mercy of the men in their lives. Rosalind, though, takes action. She provides for and protects herself and her family. She actively pursues Orlando, rather than waiting to be wooed. And she takes charge, giving commands and arranging matches and advising those around her. Rosalind refuses to be confined by the traditional gender roles her society so strictly enforced.

Because of her reputation as one of Shakespeare’s best heroines, many of the world’s greatest actresses have lined up to play her. From Vanessa Redgrave and Helen Mirren, to Patti Lupone and Bryce Dallas Howard—to past Festival productions starring Cassandra Bissell, Melinda Parrett, and Suzanne Cryer—Rosalind is a highly coveted role. And for good reason! You’ll see for yourself just how captivating she is, this summer at the Utah Shakespeare Festival. Directed by Beth Lopes and starring Kayland Jordan as Rosalind, it’s a production that’ll have you saying “Oh wonderful, wonderful, and most wonderful!” 

Get your tickets today at bard.org or by calling 800-PLAYTIX.

As You Like It First Look

As You Like It begins previews on June 18, officially opens June 21, and runs through September 6 at the Engelstad Shakespeare Theatre. To prepare for an exciting season, members of our artistic team have worked tirelessly designing the hair, makeup, and costumes that transform each performer, seen here in this first look.

As You Like It costume design by Bill Black. Assistant costume designer Andrew Hauter. Wigmaster Saylor Hartner. Assistant wigmaster Bria Hansen. All photos by Karl Hugh.

See the rest of their work on our Engelstad stage this season. Tickets available at bard.org or by calling 800-PLAYTIX.

Antony and Cleopatra First Look

Antony and Cleopatra begins previews on June 17, officially opens June 20, and runs through September 5 at the Engelstad Shakespeare Theatre. But before the audiences arrive, members of our artistic team have been busy behind the scenes—designing the hair, makeup, and costumes that transform each performer seen here in this first glimpse.

Antony and Cleopatra costume design by Raven Ong. Hair and Makeup Director Dana Rochester. All photos by Karl Hugh.

See the rest of their work on our Engelstad stage this season. Tickets available at bard.org or by calling 800-PLAYTIX.

Exploring Duality in Antony and Cleopatra

By Liz Armstrong

One of the most obvious themes of Shakespeare’s Antony and Cleopatra is that of the battle of reason versus emotion, something the Roman leader Antony grapples with as he falls deeper into his all-consuming love for Cleopatra. But there are a plethora of examples of duality threaded throughout the play, especially as Shakespeare’s flair for the dramatics intertwines with historical references. 

Shakespeare vs Plutarch 

In 1579, Sir Thomas North published the English translation of Plutarch’s The Lives of Noble Grecians and Romans. Shakespeare used this as his primary source, but zoomed in on Antony and Cleopatra’s relationship. Plutarch and Shakespeare had something in common: focusing not only on the politics but the complexities and personalities of the characters. The philosopher and playwright both approached history as a storyteller would––comprehensively.

But there are differences—and significant ones at that. One example is in Plutarch’s work, he lays down the facts and outlines Antony’s marriage to Octavia that lasts years and includes the children they have together. In Shakespeare’s play, he glosses over the marriage, making the reference to the “alliance” short-lived. 

History vs Tragedy 

Compared to Julius Caesar, Antony and Cleopatra dives deeper than the historical narrative, exploring family matters and reputations. This results in a play that is difficult to categorize in just one of the following genres: history, comedy, tragedy, or even Liebestod (a story about lovers dying for love). Folger Shakespeare Library suggests that it challenges “traditional notions of dramatic tragedy” with its very structure of “its profusion of short scenes and elimination of staged battles.” Folger Shakespeare Library continues:

“The arguments in Julius Caesar center on questions of political philosophy and civic duty, but in Antony and Cleopatra these issues are complicated by attention to spheres of erotic experience and family life that we now think of as private.”

In reference to its classification of a history, Folger Shakespeare Library notes that “Shakespeare seems peculiarly aware of the extent to which historical narratives are shaped by myths and legends.” While Plutarch often worked to separate myth and history, Shakespeare offers “mythic invocation alongside a chastening skepticism.”

Rome vs Egypt

Perhaps the most glaring contrast is that of Rome and Egypt’s culture. Folger Shakespeare Library describes the differences: “The play’s Rome, on the one hand, is a predominantly male social order encouraging individual discipline, valor, and devotion to the state. Egypt, on the other hand, is a looser society valuing sensual and emotional pleasure.” 

Antony vs Cleopatra

Antony and Cleopatra reflect their culture through their characteristics. The irony cannot be overlooked, that while Antony’s complexity and reason are at odds with Cleopatra’s sensuality and charisma, their love makes them dependent on each other. 

But there is also an intriguing level of irony in their very beings. 

Antony, on one hand, is a political leader, and according to history, wielded immense power. Yet this power did not give him autonomy. Folger Shakespeare Library suggests that Antony has a “melancholic recognition that he does not own or control his existence.” 

Torn between loyalty to Rome and his love for Cleopatra, Antony compares himself to a shape in the clouds, feeling “he cannot hold this visible shape.” Although he was known for commanding armies, the responsibility the power brought with his position ironically chained him to a life serving Rome. 

The irony of Cleopatra is that although she was the Queen of Egypt, she was in fact, Greek. Although she was born in Egypt, she was the last monarch of the Ptolemaic dynasty. Unlike her Macedonian predecessors, however, she embraced Egyptian culture.

Lastly, Antony and Cleopatra’s fates illustrate a tragic dichotomy––that the passionate love they held for each other is what ultimately destroys them.

Antony and Cleopatra explores both the political clashes of Rome and Egypt and the internal struggles of lovers, creating a timeless message of the human experience—the battle between reason and duty versus desire and emotion.

This rarely-produced play is directed by Carolyn Howarth, and features returning actor Geoffrey Kent as Antony and Festival new-comer Kathryn Tkel as Cleopatra. 

For tickets or more information, visit bard.org.

Macbeth First Look

Macbeth previews June 16, opens June 19, and runs until September 4 in the Engelstad Shakespeare Theatre. But before our cast can take the stage, our artistic team is hard at work designing and creating hair, makeup, and costumes that bring each character to life. Did you know that every summer the Festival brings in dozens of artisans from all over the country to craft each costume and wig by hand? Enjoy this first look at their work.

Macbeth costume design by Lauren T. Roark. Assistant costume designer Tori Niemiec. Wigmaster Fox Snead. Assistant wigmaster Joan Harlow. All photos by Karl Hugh.

See the rest of their work on our Engelstad stage this season. Tickets available at bard.org or by calling 800-PLAYTIX.

Macbeth: A Scottish Play for a Scottish King

By Kathryn Neves

The year was 1606. Queen Elizabeth I had died three years earlier, and a brand new king sat on England’s throne––James I: the same individual known as James VI of Scotland, the son of a well-known English traitor, and a man paranoid about political assassinations, coups, and—of all things—witchcraft.

Shakespeare had done well under Elizabeth; she was a well-known patron of theater, and his company had flourished under her reign. By the time of her death, they’d become popular enough to attract the attention of the new king—an opportunity that left Shakespeare’s troupe more profitable than ever. In 1603 they became the King’s Men: King James was their official patron. Now all they had to do was stay on the king’s good side.

To that end, Shakespeare wrote a play tailor-made to cater to all of James’ interests; a Scottish play for a Scottish King. The result was one of the great masterpieces of the English language. 

Gunpowder Plot Paranoia

At the time Shakespeare wrote Macbeth, James was reeling from a major assassination attempt: the Gunpowder Plot. A group of Roman Catholics, tired of religious persecution, viewed James as a tyrant—and they wanted to get rid of him. They planned to blow up the House of Lords while James and other powerful nobles were all together in one place, then establish James’ 9-year-old daughter on the throne. However, after an anonymous tip, authorities found Guy Fawkes with dozens of barrels of gunpowder, leading to the arrest and execution of all the conspirators.

With this in mind, Shakespeare wrote a political thriller all about a man who assassinates a king. Macbeth conspires with his wife to murder King Duncan in his sleep, as part of a plot to place himself on Scotland’s throne. But Shakespeare doesn’t let Macbeth get away with it. Instead of ruling peacefully, the Macbeths are crippled by guilt, fear, and their own ambition. They spiral deep into madness and evil. And at the very end of the play, Macbeth dies and his head is paraded around Scotland.

A clear and visceral message for anyone considering regicide.

Besides the general theme of political assassination, scholars have found a few specific references inside Macbeth. One of these is the practice of equivocation. Equivocation is the practice of concealing the truth without lying; it’s a way to confuse, misdirect, and obfuscate. The Gunpowder Plotters all famously used equivocation in their defense. 

You can see equivocation all throughout Macbeth; especially with the Weird Sisters. “Macbeth shall never vanquished be until great Birnam Wood to high Dunsinane Hill shall come against him,” they tell him, without mentioning that soldiers will carry branches from the forest when they march on the castle. “None of woman born shall harm Macbeth,” they tell him—not revealing that Macbeth’s mortal enemy was born via C-section. 

The famous porter scene contains an even more specific reference to the Gunpowder Plot. Rambling to himself, the porter brings up an equivocator: “Faith, here’s an equivocator that could swear in both the scales against either scale, who committed treason enough for God’s sake yet could not equivocate to heaven.” In the same passage the porter refers to a hanged farmer. One of the more famous Gunpowder conspirators was named Henry Garnet—and he used “Farmer” as an alias. Of all the conspirators, he was the most famous for his equivocating defense.

The Gunpowder Plot was the big news of the day, and Shakespeare’s audiences would definitely have picked up on the references—especially King James.

King James’ (Fictional) Ancestor

Macbeth, while mostly fictional, is loosely based on accounts of a historical Scottish king. Various parts of the play come from Hollinshed’s Chronicles—including key characters like Lady Macbeth, the Weird Sisters, and Banquo. It was later proven that these last two were fictional, but during Shakespeare’s time, everyone thought they were real. Banquo was especially interesting; people—including the king—believed that Banquo was a direct ancestor of James I—and, therefore, proof that the Stuart line had a solid claim to Scotland’s throne.

Knowing this, Shakespeare included Banquo in the play, and even took it a step farther; he made Banquo into a heroic and tragic figure. In Hollinshed’s Chronicles, Banquo was listed as a co-conspirator in Duncan’s murder. Shakespeare, though, needed King James to like him; so he made James’ (fictional) ancestor into a sympathetic victim of the Macbeths’ ambition.

An Obsession with Witchcraft

Of all the Macbeth elements Shakespeare wrote for James, the most interesting is definitely the witchcraft. The Weird Sisters, and the chaos they bring, turn Macbeth from a standard tragedy into a horror. 

The play opens with the Weird Sisters plotting to meet Macbeth, and just a few scenes later they seal his fate. They prophesy he’ll be king, and later entice him with a terrifying ritual and more dangerous prophecies—all of which lead to his eventual death. While the Weird Sisters do appear in some historical accounts, Shakespeare’s versions are tailor-made for King James. They take front and center in the play, and they provide the driving force of the conflict. This was all meant to appeal to the king—who had a strong obsession with witchcraft.

James’ interest in witches dates back to an incident from 1590. While travelling on the seas, James’ ship was suddenly caught in a massive tempest, and almost sank. James was convinced that the stormy weather was actually supernatural—a targeted attack from nearby witches. His paranoia resulted in the North Berwick witch trials. Under torture, the suspected women “confessed” to using witchcraft, and ultimately around 70 people were executed.

James’ fascination with witches eventually led him to write Daemonologie—a book all about witchcraft, demons, and the supernatural. He tried to prove the existence of witchcraft, and even included some rituals and incantations—which the Weird Sisters end up performing in Macbeth.

A Timeless Classic

Four centuries later, the connection between James I and Macbeth is mostly just trivia for scholars and hardcore Bard lovers. The real excitement comes from the play itself. With terrifying characters, beautiful language, and an edge-of-your-seat plot, there’s a reason Macbeth is considered one of Shakespeare’s best. 

Don’t miss your chance to see this incredible show. Directed by Festival Artistic Director John DiAntonio, and starring returning actors Walter Kmiec as Macbeth and Cassandra Bissell as Lady Macbeth; this season’s production will have you coming back “tomorrow, and tomorrow, and tomorrow.”

For tickets or more information, visit bard.org.

Utah Shakespeare Festival and Larry H. Miller Utah Summer Games Come Together to Celebrate

The Utah Shakespeare Festival and the Larry H. Miller Utah Summer Games are excited to announce a new collaboration for 2025. Both organizations are hosted on the campus of Southern Utah University in Cedar City, and are popular destinations for theatre and sports enthusiasts from throughout the state and region. 

Both organizations have existed independently for decades as departments of Southern Utah University. However, this year is the first time in both of their storied histories where the two departments are strategically working together to enhance the experience of both groups’ participants and guests. 

“Both institutions––the Festival and the Games––were created by visionaries, Fred C. Adams and Gerald R. Sherratt,” says Festival Executive Managing Director Michael Bahr. “Their vision was always about bringing people together in a communal celebration of art and sport. How wonderfully poetic that their vision is being strengthened through this collaboration.” 

USG is excited to invite Festival patrons to visit Cedar City for their Opening Ceremony on Friday, June 6, 2025, at 8:00 pm in the SUU Eccles Coliseum. It will feature music from Neon Circus––a Brooks and Dunn tribute band, the largest fireworks display in USG history, and more. For more information or to purchase tickets, visit utahsummergames.org.

Likewise, the Festival is pleased to invite USG participants and their families to experience their award-winning live theatre while in Cedar City. Celebrate “Utah Summer Games Night at the Festival” on Thursday, June 26, with two free tickets and up to four half-price tickets to that night’s performance of Macbeth at 8 p.m. in the outdoor Engelstad Shakespeare Theatre. Athletes can reserve their complimentary tickets by calling 800-PLAYTIX or by visiting the Festival Ticket Office in person (after June 2, when the public windows open), and must either be wearing their USG athlete t-shirt or have proof of USG registration when picking up their tickets. 

“It is an honor to collaborate with the Utah Shakespeare Festival on an initiative to involve our participants with the Tony Award-winning programming of the Festival,” said Jon Oglesby, Executive Director of the Larry H. Miller Utah Summer Games. “We are grateful to our campus colleagues Michael Bahr, John DiAntonio, and members of their teams for creating a special experience to merge art and sport in a unique way.”

In addition while in Cedar City, USG participants are invited to also attend The Greenshow––a free, 30-minute family-friendly Festival pre-show––which plays each evening Monday through Saturday at 7:10 p.m. on the outdoor Greenshow stage. On “Utah Summer Games Night at the Festival,” the theme will be Scottish Highland Games, a perfect complement to the USG athletic experience.

To experience even more Festival, USG athletes and their families can return and get additional tickets throughout the season. From June 26 through August 23 enjoy 10% off, or a special 50% off discount from August 25 through October 3 (excluding closing performances). 

Please visit bard.org/about/utah-summer-games-2025 for more information. 

The Festival’s 64th season runs June 16 through October 4, and includes Shakespeare’s Macbeth, Antony and Cleopatra, and As You Like It, along with the Tony Award-winning musical comedy A Gentleman’s Guide to Love and Murder, Oscar Wilde’s popular satire The Importance of Being Earnest, the touching and hilarious Steel Magnolias, and the WWII love story Dear Jack, Dear Louise.

The Festival Announces the Cast of The Greenshow

The Festival is pleased to announce this year’s cast of The Greenshow. As a beloved part of the Festival Experience, The Greenshow features performers who sing, dance, tell stories, and interact with the audience during this free 30-minute, family-friendly pre-show on the outdoor Greenshow stage. 

Written and directed by Britannia Howe, it plays every night, Monday through Saturday, from June 16 through September 6, and rotates between three lively themes. Additionally, on July 18 and August 2, The Greenshow will feature music, stories, and cultural dance by the Paiute Tribe of Utah.

“This summer, I’m really excited that The Greenshow lawn will come alive again with these bold and entertaining nights under the open sky!” says Howe. “The Highland Games are storming The Greenshow with bagpipes, brawny feats of strength, flying sheep, and tug-o-war. Then, Mariners Greenshow docks with sea shanties, sirens, sailor antics, and a hilariously reimagined Roman tragedy aboard a ship-shaped stage. Finally, Mountain Wilderness Greenshow offers a love letter to the American West—filled with folk songs, audience line dances, soaring parachutes, and the magic of falling in love for the first time beneath a big, endless sky. I’m excited to begin working with this talented cast and our design team’s incredible concepts. Please join us for music and mischief.”

This design team includes Scenic Designer Ben Hohman, Costume Designer Diana Girtain, Music Directors Brandon Grayson and Andrew Flasch, Voice/Speech/Text Coach Jeremy Sortore, Choreographer Trey Plutnicki, Fight/Intimacy Director Jason Spelbring, and Stage Manager Grace Porter.  

The cast features nearly all new-to-the Festival actors:

Zac Barnaby is returning, as a Featured Performer in The Greenshow. Last season, he made his debut as Lord/Mariner/Shepherd in The Winter’s Tale and a Featured Performer in The Greenshow. Other credits include Jason in Falsettos, Snoopy in You’re A Good Man Charlie Brown, Ricky Potts in Ride the Cyclone, and more at Southern Utah University where he is currently studying for a BFA in musical theatre. 

Taya Christiansen is new this season and will be seen as a Featured Performer in The Greenshow. She is currently pursuing a BFA in Musical Theater at Southern Utah University and has performed in Ride the Cyclone, The Wolves, and Sweet Charity. She is appearing courtesy of the SUU Fellowship Program, a partnership program between the Festival and SUU.

Austin Fronk is debuting this summer, as a Featured Performer in The Greenshow. At Southern Utah University, he played Jason in Medea, Lucius in Julius Caesar, McCluskey in Roe, and Chip Tolentino in 25th Annual Putnam County Spelling Bee while studying for a BFA in Musical Theatre. He also received Improv Actor of the Year from Ridgeline Theatre Society and is appearing courtesy of the SUU Fellowship Program.

Pixie Isabel Merkley is making her debut at the Festival as a Featured Performer in The Greenshow. She is currently pursuing her BA in Theatre Arts from Southern Utah University where she has performed in The Secret Garden and The Wolves, as well as in Annie with St. George Musical Theatre. She is appearing courtesy of the SUU Fellowship Program.

AJ Newbury is new to the Festival and will appear as a Featured Performer in The Greenshow.. As a student at Southern Utah University, he has played Oscar in Sweet Charity, Mischa in Ride the Cyclone, and Tuzenbach in Three Sisters. He also performed at Village Theatre SIP as Jimmy Ray in Bright Star, received Outstanding Leading Actor by 5th Ave Awards, and is appearing courtesy of the SUU Fellowship Program.

Mikki Pagdonsolan is debuting at the Festivalas a Featured Performer in The Greenshow. She has performed at Nocturne Theatre, Musical Theatre West, CSU Fullerton, and more. Other credits include performing with Filipino American Symphony Orchestra and being a chorus member for Do You Hear the People Sing? Music of Les Miserables, Miss Saigon, and More at the Hollywood Bowl with the LA Philharmonic. She has a BM in vocal performance and BA in business administration from CSU Fullerton. 

The Festival’s 64th season begins June 16 and runs through October 4. Get your tickets today at bard.org or by calling 800-PLAYTIX.