News From the Festival
Behind-the-Scenes: How Production Pulls off the Magic of The 39 Steps
By Liz Armstrong, guest writer
This season’s The 39 Steps is a fast-paced “whodunit” and a refreshing romp for audience members, but it’s highly complicated for the four actors onstage that never stop moving and the 15 people working backstage to keep everything going seamlessly. Join us as we dive into how the Festival production team pulls it off behind-the-scenes.
The Props
Production Manager Richard Girtain said that The 39 Steps leans into theatrical magic and doesn’t shy away from showing the audience how different production elements are put together to create different scenes and characters.
“Transforming a lectern into a car, making a ladder into a train bridge, quickly switching hats to run through multiple characters. . .it’s the kind of performance that shows what is special about live theater,” Girtain said.
Many of the props have duplicates in order for the stage crew to get everything where it needs to be.
“Not only are we tracking all of the scenic pieces, but we also have a lot of prop doubles, so there was a lot of paperwork for this show to make sure we were keeping track of everything,” Assistant Stage Manager Kathryn Whilden said.
Some props and scenic elements took extra time to build because of their complexity. Ash Cox from the props department and run crew shared her experience working on the show, as well as her favorite prop: the armchair used throughout the play.
“The chair needed to be reupholstered, but an arm also needed to be removable for a bit in the show,” Cox said. “This chair is a wing-back which means all of the structure for the chair is in the arm rests. Upholstery is my specialty, so I immediately jumped on the challenge.”
Cox explained what it was like to get this armchair onstage.
“The armchair ‘magically’ slides out on stage, but what the audience doesn’t know is there is a crew member responsible for that chair that has practiced pushing on that chair over 100 times to make it slide out at the right angle, the right speed, and the right length,” Cox said.
For Whilden, the ladder in the show was one of the most challenging parts of making sure the action runs smoothly.
“We have this huge ladder that is supposed to be a bridge, and we had to take a big chunk of time during tech to figure out how we were going to do this,” Whilden said. “It’s the most difficult thing to maneuver because it’s so huge and it’s taken onstage by just two actors, one of which is on the ladder.”
The Process
Girtain went on to explain the process. How does the production team accomplish a successful run of the show, six times a week?
Whilden’s job included creating “tracks,” which is the process of laying out each person’s order of operations for the entire show, both for techicians and performers.
“When I created these tracks, [for mine] I tried to give myself enough so that I can have some fun and also be available when there could be problems, especially during the really hectic moments,” Whilden explained.
Creating these tracks and running through them before the opening of the season in technical rehearsal is necessary to make the show possible.
“My favorite part of the job is getting to map out the puzzle of how a show is going to run backstage. I like knowing all of the things we have to make happen and then being part of figuring out how we do that,” Whilden said.
Every detail counts and it’s very much like choreography. Whilden explained they even plan out where each person stands backstage, so that they can stay out of each other’s way and meticulously keep track of the foot traffic to make the process as smooth and safe as possible.
“The actors never stop moving and need safe, reliable, and quick technicians to be in the right place at the right time,” Girtain said. “Between handoffs of props, quick changes, and just the occasional drink of water, the show backstage is action packed just like the one onstage.”
Cox seconded this, commenting that “for 80 percent of the show, we are running around like mad men.”
“We have one transition where we have 40 seconds to set 11 furniture props; we time this transition everyday to make sure that we are not seen on stage,” Cox said.
It’s the competency between both technicians and performers that makes this work. Just like the actors, the run crew has understudies that come backstage in place of their absence, as every single person is needed.
“The acting company’s sprint from curtain up to curtain down may be the most challenging part. The four cast members are like Olympic athletes,” Girtain said. “They are put to the test every day to deliver a fun and high energy performance.”
The People
For Girtain, the best part of this whole process is the people and “seeing the creative ways the team found to make ordinary objects become entirely different things.”
Ash Cox said the biggest challenge was coming late to the run crew process and the unpredictability of the show. Despite the challenges, Cox is doing a stellar job, having been awarded the Festival’s Gene Chesley Memorial Design Award for her work this season and for her past five years of contributions.
“It was a great honor to receive this award,” Cox said. “This job is behind-the-scenes and it’s unusual to be in the spotlight. I came to this Festival only having basic skills and wouldn’t be where I am without the mentorship of Props Director Ben Hohman.”
Cox and Whilden both agreed that The 39 Steps was both the hardest and most rewarding shows they’ve ever worked on.
“But because of the challenges, it is also one of the most rewarding shows. When we make that 40 second transition in 20.94 seconds, we all cheer silently backstage. When our crew member pushes the chair out just right, we praise them. The actors, hair and makeup crew, wardrobe crew, electrics, stage managers, and all of us run crew members work so hard to make this show the success that it is every night,” Cox expressed.
It’s an impressive feat both onstage and off, and one Festival patrons won’t want to miss. With just five weeks left to see the show, make sure you get your tickets today at bard.org or 800-PLAYTIX.
Accessibility and Educational Offerings at the Festival this Fall
It’s that time of year when students, teachers, staff, and administrators go back to school and schedules fill up. It’s also a special time of year at the Utah Shakespeare Festival when a multitude of accessibility opportunities and educational offerings are available. So don’t miss out!
Sensory-Friendly Performances
September 4 - The Taming of the Shrew at 8:00 pm
September 12 - Much Ado About Nothing at 2:00 pm
The Festival is again pleased to present Sensory-Friendly Performances this fall at a reduced ticket price of 50% off. Patrons ages six and above who would enjoy attending the theatre in a more relaxed environment, such as house lights on at a low level throughout the performance, the use of fidget items, audience members being welcome to stand or move around, and more. Those for whom this is designed includes––but is not limited to––those with sensory sensitivities, autism spectrum disorders, anxiety, dementia, learning challenges or differences, and other neurodiversities.
See The Taming of the Shrew on September 4 at 8:00 pm in the outdoor Engelstad Shakespeare Theatre and Much Ado About Nothing on September 12 at 2:00 pm in the indoor Randall L. Jones Theatre by calling or visiting the ticket office at 800-PLAYTIX (800-752-9849).
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Educating and inspiring theatre lovers is a huge part of the Festival’s mission, and this often begins with young thespians.
Students can get a Student Access Pass for only $40 which allows them to get one ticket per performance day-of to unlimited performances during the season. This pass is available to enrolled elementary through university students and homeschoolers; a student ID must be provided when purchasing the pass. Limit of one pass per student; expires October 5, 2024.
For teachers with school groups, Shakespearience is a must!
Shakespearience
Monday through Friday Matinees (2:00 pm, through September 27)
Shakesperience events are for school groups and include a performance, access to Festival-created study guide materials, and a selection of seminars, orientations, and other Festival programs like a workshop or backstage tour.
Utah public and public charter school groups of 12 students or more can get $10 tickets, courtesy of the Professional Outreach Programs in the Schools (POPS) sponsored by the Utah State Legislature (excludes premier seating and is subject to availability). Additional events like those mentioned above are included in the ticket price.
Out-of-state, private, parochial schools, residential treatment centers, and homeschool groups/co-ops of 12 students or more may receive $15 tickets (excludes premier seating and is subject to availability). Additional events may include an extra cost based on the activity and the size of the group.
For non-educational group rates, please contact the ticket office. For more information, click here.
USF School Days
September 5 - Much Ado About Nothing at 2:00 pm
September 11 - Silent Sky at 2:00 pm (SOLD OUT)
On September 5 and 11, Utah public and public charter school groups can attend the matinees of Much Ado About Nothing and Silent Sky for free! Due to funding from the state’s POPS program, the Festival is excited to offer these two shows at no cost for Utah public and public charter school students.
Designed to serve school groups, to qualify for this free program there must be a minimum of 12 people in your group and at least 75 percent of the attendees must K-12 students. For more information, click here.
To book Shakespearience and USF School Days tickets, call the ticket office. Questions for the Education Department? Call 435-865-8333 or email usfeducation@bard.org.
The Festival’s 63rd season includes Shakespeare’s Henry VIII, The Winter’s Tale, and The Taming of the Shrew which close by September 7, and Much Ado About Nothing, The 39 Steps, Silent Sky, and The Mountaintop, which run until October 5.
Silent Sky and Astronomy Encounters
Join us in celebrating the incredible story of Silent Sky, a powerful play that highlights the groundbreaking work of astronomer Henrietta Leavitt. Henrietta was one of Harvard’s first female “computers” and made significant contributions to our understanding of the cosmos. Enhance your experience by participating in one of these special astronomy-related activities.
Group Discussions with Astronomer Matthias Schmitt
Explore Dark Sky Science with Astronomer Matthias Schmitt from Cedar Break National Monument on Tuesdays or Wednesdays after the matinee performance of Silent Sky (September 3, 11, 18, 25). Gather in the Balcony Bard’s Seminar Grove for an engaging discussion from 4:30 to 5:15 p.m. Come check out the reproduction plates and fly spankers mentioned in the play that were used to uncover the mysteries of variable stars.
Schmitt says: “Silent Sky reminds us that breakthroughs in science and especially astronomy take dedication and grit over long periods. Sometimes, astronomers who work on big questions never find the answer in their lifetime. Henrietta Leavitt discovered the period-luminosity relationship of variable stars that helps us determine distances to extragalactic objects. Her work should have won a Nobel Prize, but unfortunately, she passed away too early. Astronomy surrounds us, and we encounter it daily, especially with our closest star, the Sun. Silent Sky allows visitors to travel back in time and see Leavitt’s and other women’s work at the Harvard College Observatory. Astronomy can be funny, as the play shows. We at Cedar Breaks are grateful to support the Festival with astronomy talks during the day and evening, so guests can understand the monumental achievement of Henrietta’s work. Come touch the stars with us.”
Play Seminars with Astronomer Cameron Pace
Astronomer Cameron Pace joins our regularly scheduled Play Seminars in the Balcony Bard’s Seminar Grove on the following dates:
August 7, 9, 14, 16, 21, 23, 28, 30 - 9:00 a.m.
September 4, 6, 12, 19, 26 - 9:00 a.m.
September 11, 18, 25 - 10:00 a.m.
Dark Sky Tours at Cedar Breaks National Monument
Join park rangers from Cedar Breaks National Monument and learn more about the area’s viewable astronomy, including stars, planets, and nebulas at one of the nation’s officially designated International Dark Sky Parks. Experience a nighttime of wonder and observe astronomical features through telescopes. These programs will be conducted every Friday, Saturday, and Sunday at the Point Supreme Overlook, which sits at 10,350 feet elevation.
6:30 p.m. - Solar Viewing
8:00 p.m. - Astronomy Talk
8:00-10:00 p.m. - Telescope Viewing
Ashcroft Observatory Public Night
Experience the cosmos at the Ashcroft Observatory located at 745 Hillcrest Dr, Cedar City. Join us every Monday night at sunset for a public viewing session.
Let’s honor the women who have shaped science and continue to inspire future generations! Come and immerse yourself in the stars after witnessing the inspiring story of Silent Sky! For more information, visit bard.org/plays/astronomy-encounters or call 800-PLAYTIX.
2024 Military Appreciation Days
The Utah Shakespeare Festival is celebrating our Armed Forces by offering free tickets to military personnel for performances from September 2 to 4. Our Military Appreciation Days recognize the invaluable sacrifices, commitment, and unwavering dedication of our veterans and active-duty members.
“Like the returning soldiers in Much Ado About Nothing, we are thrilled to celebrate our patrons from the Armed Forces and welcome them to the Festival,” says Artistic Director John DiAntonio.
Eligible patrons—those with a military ID or DD214 form, whether active or veteran—can receive two complimentary tickets per ID and choose from the following shows:
Monday (9/2)
Much Ado About Nothing, 2:00 pm, Randall L. Jones Theatre
The Mountaintop, 2:00 pm, Anes Studio Theatre
Henry VIII, 8:00 pm, Engelstad Shakespeare Theatre
The 39 Steps, 8:00 pm, Randall L. Jones Theatre
Tuesday (9/3)
The 39 Steps, 2:00 pm, Randall L. Jones Theatre
Silent Sky, 2:00 pm, Anes Studio Theatre
The Winter’s Tale, 8:00 pm, Engelstad Shakespeare Theatre
Much Ado About Nothing, 8:00 pm, Randall L. Jones Theatre
Wednesday (9/4)
Much Ado About Nothing, 2:00 pm, Randall L. Jones Theatre
The Mountaintop, 2:00 pm, Anes Studio Theatre
The Taming of the Shrew, 8:00 pm, Engelstad Shakespeare Theatre
*Sensory-Friendly performance (click here for more details)
The 39 Steps, 8:00 pm, Randall L. Jones Theatre
These tickets can be used for a single performance or two different performances. Please note, these tickets cannot be redeemed for premier seating sections.
“We are eager to once again offer our Military Appreciation Days discounts as we have for many years,” says Executive Managing Director Michael Bahr. “This is an important part of our season and we are grateful for the essential service that military personnel provide.”
(As noted, in addition to our regular shows, the Festival is also offering a Sensory-Friendly performance during this same week, with another on September 12 for Much Ado About Nothing*. These are performances designed for individuals with sensory sensitivities, those on the autism spectrum, and other neurodiversities, but all are welcome. We encourage patrons to be thoughtful when choosing to attend these shows to ensure they align with their unique needs. Our team is available to answer any questions and to help ensure a memorable theatre experience for all.)
The 2024 season lineup is Henry VIII, The Winter’s Tale, and The Taming of the Shrew which close by September 7; Much Ado About Nothing, The 39 Steps, Silent Sky, and The Mountaintop run through October 5. Reserve tickets now by calling 800-PLAYTIX (800-752-9849) or by visiting the ticket office near the Eileen and Allen Anes Studio Theatre. Please note: this special offer cannot be reserved online and spaces are limited.
Q&A with Director Britannia Howe on The Greenshow
Britannia Howe returned to the Utah Shakespeare Festival this season to write and direct her fifth Greenshow season. With three different nights (Royals, Folk Festival, and Commedia) audiences can experience the wide range of her excellent work. Howe’s other previous work at the Festival includes directing Cymbeline in 2021 and the touring productions of A Midsummer Night’s Dream and Every Brilliant Thing.
In addition to the Festival, Howe has worked with Southern Utah University, Utah Symphony, Illinois State University, Utah State University, Illinois Shakespeare Festival, Eugene O’Neill Theatre Center, Women of Will, Coalescence Theatre Company, and Nomad Theatre Company. She also won the Kennedy Center American College Theatre Festival National Directing Fellowship in 2011.
Howe earned an MFA in Directing from Illinois State University, as well as a BFA in Classical Acting/Theatre Education from Southern Utah University. Her teaching credits include Illinois State University and Southern Utah University, as well as the Utah Shakespeare Festival Playmakers and Actor Training.
The Festival caught up with her to ask her about her experience with this season’s Greenshow.
The Festival: Why were you excited to write and direct again this season?
Howe: I love the spirit of The Greenshow. It invites audiences into our space to play, laugh, and sing. The Greenshows are necessary for our world-building.
The Festival: What special moments are you most excited about in The Greenshows?
Howe: They’re chock-full of moments where we invite the audience to play with us. In previews and early performances, I was very excited to see how these moments would work out between actor and audience. I’m surprised by just how many people stand––old and young––to perform the actions for “Bog Down in the Valley-O.”
The Festival: All The Greenshow performers this season are either SUU students or alumni. Was this intentional when casting?
Howe: It was not intentional, but I’m so happy with this dynamite group.
The Festival: Are there any special “Easter Eggs” you’ve implemented into the shows?
Howe: Folk Festival has Shakespeare “Easter eggs” and puns about our current season. My favorite pun is “The Shaming of the Two” because it speaks to complications that the play The Taming of the Shrew has in our contemporary day. There is also a nod to Silent Sky because we tell the story of Ursa Major and ask audiences to be a part of the constellation by holding stars. Also, in Folk Festival we reference the two giant sycamore trees that have been on the grounds for more than 70 years.
The Festival: What challenges came with preparing to direct The Greenshows?
Howe: The challenge this year was to create new content. I’ve created 14 Greenshows for the Festival, so I am always looking for new tales and curating new song lists, while still keeping the nostalgia of the Festival Greenshow. The Greenshows this year have the staples of folk stories, partner dances, audience participation, lively songs, and magic.
The Festival: How are the shows similar/different to The Greenshows from previous years? What is your approach when deciding on the themes for them?
Howe: There have been many different themes in past Greenshows, like Strawberry Nights and Fairy Nights. When I was growing up I remember themes of countries, like Scotland. Scottish Night was always my favorite Greenshow because of the music and the Highland Games.
When I was asked in 2018 to write and direct, I needed a box to create in, so I looked to the settings found in the Engelstad play selection as a starting place. For example, the first year I created The Greenshow, Merry Wives of Windsor was being produced; but it was set in the early 1900s. I was curious about the music of America during that time so I built an Americana Greenshow with tap dancing, classic Americana tunes, and a silent film skit.
English night is a popular theme, and I have wanted to have Queen Elizabeth appear on The Greenshow stage for years. This year I thought it was the right opportunity because of the connection to Henry VIII, as she was his and Anne Boleyn’s daughter.
The Festival: Tell us about your background with the Festival.
Howe: I grew up attending Greenshows in the courtyard of the Adams Theatre. I remember peering over the back wall of the Adams to see the Shakespeare shows when I didn’t have a ticket, or watching through the gate. You can’t do that anymore. In 2017, I was hired to direct the touring production of A Midsummer Night’s Dream; that was my first time directing for the Festival. In 2018 I wrote and directed my first Greenshow. In 2021, I directed Cymbeline in the Anes.
The Festival: How long have you been directing? What draws you to be a director?
Howe: I’ve been directing for the past 15 years. I am drawn to directing because of the analysis and relationships it requires. The analysis isn’t just inside these stories but also making connections between the story and our present-day points of view. The relationship between actor and audience matters to me. One of my favorite relationships is between the director and the designers; it’s electric to be in a design meeting building connections with a team to highlight themes and motifs.
The Festival: What is the purpose of The Greenshow? What do you want the audience to take away from it?
Howe: The Greenshow is a touchstone. The goal is to bring audiences to the Festival and gift them a friendly, fun, theatrical experience. We encourage littles and the mature to dance, sing, and play with us. When writing the show I try to build a script that feels new and also nostalgic by calling back to the history of the Festival and Cedar City.
The Greenshow is a perfect way for patrons of all ages to enjoy the Festival Experience, 7:10 pm, Monday through Saturday, now through September 7. Visit bard.org/plays/greenshow for more information.
From Campus to Center Stage: SUU’s Impact on The Greenshow
By Katie Neves, guest writer
Since its beginning in 1961, the Utah Shakespeare Festival has always been closely connected with Southern Utah University in Cedar City. Founded by professor Fred C. Adams and initially performed primarily by college students, the Festival has grown hand-in-hand with its academic partner over the past six decades.
This year, that tradition continues: for the first time in a very long time every Greenshow performer––along with director Britannia Howe––is either a current SUU student or alumnus. These talented performers bring their passion from the classroom to the stage, embodying the Festival’s strong commitment to students and the university.
The members of this year’s Greenshow cast (in the accompanying photo; top row, left to right) are Gracelyn Erickson, Matthew Wangemann, Zac Barnaby, Ashley Aquino, (then front row) Emily Wheeler, and Rockwell MacGillivray.
For many of these performers, their first exposure to the Festival—and to SUU—was through USF’s annual Shakespeare Competition. “I fell in love with SUU and its campus [while] spending three years competing,” said Wheeler, who won the Larry Lott Scholarship to SUU her senior year. “What drew me to SUU was the Festival. I loved watching The Greenshows and other productions while competing here in high school.”
Erickson also discovered the school through the competition. “I immediately fell in love with the beautiful campus, the stunning Beverley Center for the Arts, and the welcoming atmosphere. Honestly, I don’t think I even toured any other colleges. I just knew that I wanted to go to SUU.”
Years ago, the Festival and SUU created a fellowship program for acting and technical theatre, allowing students the opportunity to work in a professional theatre setting while still pursuing their degrees. Those interested in the acting fellowship submit a video audition and wait for months to be accepted into the program. Aquino, who came to SUU for its theatre program, was one of the fellowship’s recipients last year. “I auditioned every year while I was attending SUU for a spot,” she said. “I was lucky enough to get chosen my senior year.”
The Greenshow director Britannia Howe is also a proud SUU alum, and a current Assistant Professor of Theatre. During the university’s fall 2023 semester she directed a production of Ride the Cyclone, which featured several of this season’s Greenshow performers. Wheeler cites her experience in the show as the driving factor behind her current work with the Festival. “Britannia inspired me to strengthen my work ethic, believe in myself, and create meaningful art. So, when she encouraged me and my fellow cast mates to audition for the Festival, I jumped at the opportunity to potentially work with her again.”
The Greenshow, as conceptualized by creator Barbara Adams in 1961, exists to easily immerse guests into the enchanting world of live theatre. With a special focus on accessibility and engagement, it’s the perfect setting for building connections and sparking inspiration. “I believe that the goal of The Greenshow is to motivate. It motivates children to…learn from playing and be storytellers. It motivates adults to find their inner child and find the sparkle in life,” said Erickson. “It motivates patrons to see the mainstage shows by welcoming them to the Festival with open arms.”
For these students and alums, The Greenshow is more than just an opportunity for performing; it’s about community and connection. “I think the ultimate goal of The Greenshow is to be a gift to the community,” said Wangemann. “We offer a free thirty-minute show six nights a week for families to come laugh and enjoy time together. On a personal note, being a performer in The Greenshow has brought me immense joy and allowed me to tap into my inner child as an actor, which isn’t something I often get to do.”
Through its blend of tradition, talent, and community spirit, the family-friendly Greenshow remains a Cedar City favorite. As these current and former SUU T-Birds bring their talents to the stage, they’re continuing in a legacy that has enriched both the Festival and the university for decades.
This season, be sure to check out the different versions of The Greenshow through September 5: Royals (same nights as Henry VIII), Folk Festival (same nights as The Winter’s Tale), Commedia (same nights as The Taming of the Shrew), and, as a special partnership this summer, Paiute Heritage and Celebration on August 29 only. For more information, visit bard.org/plays/greenshow.
Shrews and Sharp Wits: A Dive Into Shakespeare’s Strong Comedic Women
By Katie Neves, guest writer
This season at the Festival, we’re celebrating Shakespeare’s remarkable women. From the valiant Queens Katherine and Hermione in Henry VIII and The Winter’s Tale, to the fiery Katherina––or Kate––in The Taming of the Shrew and Much Ado About Nothing’s strong-willed Beatrice, Cedar City’s stages are showcasing the best women Shakespeare has to offer. But while Shakespeare was known for crafting unique and memorable characters, he also had a knack for recycling his ideas. Any Shakespeare buff could tell you about his favorite tropes: mistaken identities, twins, misunderstandings, and miscommunications. Even his settings repeat themselves; more than a third of his plays take place in Italy!
Shrew and Much Ado are perfect examples. They follow Shakespeare’s classic comedic structure: an A and a B story with a main and secondary couple that move the story forward, and shenanigans from buffoonish clowns. But the most remarkable similarity has to be the heroines themselves. It’s impossible to ignore the resemblance between Kate and Beatrice, the Bard’s most sharp-witted women. They may have their differences, but their shared traits and roles tell us a lot about Shakespeare’s perspective on women and their roles in society.
Relationships
One of the most obvious similarities is in the romantic relationships at the heart of these shows. They might be some of the earliest—and best—examples of the iconic “enemies to lovers” trope. From the very beginning, Beatrice voices her withering disdain for Benedick: “Signior Mountanto,” she calls him (being roughly translated as “Mr. Fancy Fighter,” mocking his abilities as a soldier). She spends the first half of the play insulting Benedick to his face (and to all his friends). Kate, too, absolutely loathes Petruchio from the get-go in Shrew (or does she?). She refuses all suitors generally, and takes a particular disliking to Petruchio and his crass, overbearing ways.
This leads to some of the most entertaining scenes in both plays. In their first scene together, Kate and Petruchio’s dizzying wordplay leaves audiences in stitches. Beatrice and Benedick, too, banter like they’re in a duel to the death. Their battles of wits are some of the best scenes in the play. In both shows, Kate and Beatrice are the cleverest people around—and it’s only Petruchio and Benedick who can match their wits.
It’s pretty clear that underneath it all, they like each other. The Festival’s directors this season––Valerie Rachelle (Shrew) and Brad Carroll (Much Ado)––have certainly taken this point of view. The chemistry between the couples is tangible right off the bat, pulling audiences into the love story right away. Kate and Petruchio this season are even played by a real-life married couple: John DiAntonio (who is also the Festival’s Artistic Director) and Caitlin Wise. Beatrice and Benedick are played by Melinda Parrett and Walter Kmiec. The romantic tension between the comedic couples this season is palpable.
Family
Shakespeare also puts both women in similar family roles. Both of them are the oldest, unmarried daughters (or niece, in Beatrice’s case) of prominent men in the community. Each of them have a younger sister (or cousin) whose relationship puts pressure on them to marry. Both women are well known in their family and community for their fiery temperaments. Still, it’s the differences here that really show off the themes of each play. While Kate and Beatrice play similar roles, the overall family dynamics stand at complete polar opposites.
Kate is rejected at every turn. Her father Baptista is desperate to marry her off; her sister Bianca is the clear favorite, and in most productions, spends her time taunting and gloating over Kate. In turn, Kate gets angrier and meaner, growing more and more defiant and truly earning her “shrew” title. Unloved and unwanted, Kate uses her sharp wit and fierce disposition to keep her family at arms’ length.
On the other hand, everyone loves Beatrice. They call her merry and pleasant-spirited; they even enjoy her quips and jabs. No shrews here! Shakespeare is showing us the outcome of two similar women in two wildly different circumstances. Beatrice is allowed to flourish, while Kate is isolated, mocked, and scolded. Is it any wonder, then, that Kate’s behavior is so outrageous? Her family would make anyone shrewish!
Temperament
Of course, Beatrice and Kate have something very obvious in common: their fiery dispositions. These women are strong-willed and stubborn. They are fierce and independent. Their quick wits and sharp tongues are endlessly funny, and they’re more intelligent than everyone around them. They both proclaim that they’ll never marry—and by the end of the plays, they’re both “tamed” one way or another.
Still, there’s some important differences here. Kate is “shrewish” through and through. Beatrice, on the other hand, is more mellow. She can be harsh and insulting, but when she hurts someone she apologizes. She has more self-control and security. Most importantly, she makes the decision to change on her own; it’s not something that’s forced on her.
In both shows, the heroines are “tamed” so they can get married. But while Kate has seemingly less choice in the matter, Beatrice is gently puppeteered by her well-meaning friends, and makes the decision to soften on her own: “Benedick, love on; I will requite thee, taming my wild heart to thy loving hand” (3.1). What’s more, Beatrice is not the only one being “tamed” in Much Ado. Benedick, too, is manipulated by his friends, and he and Beatrice come together as equals.
So What?
Why does Shakespeare revisit these themes and characters over and over again? He isn’t just recycling—he’s showing us how women are treated by society. He’s asking us, “What happens when a strong woman meets societal constraints? How does society react when women refuse to conform?” As you laugh and cheer for some of Shakespeare’s most powerful women, you’ll see how Shakespeare’s timeless commentary on how he felt about women can still resonate today.
Experience the fiery wit and complex dynamics of these unforgettable women live on stage. Whether it’s the spirited battles in The Taming of the Shrew (through September 7) or the sharp-tongued exchanges in Much Ado About Nothing (through October 5), these performances will win over any audience. Secure your seats today at bard.org or call 800-PLAYTIX and witness Shakespeare’s powerful women come alive in Cedar City.
Stars and Icons: Must-See Shows at Anes Studio Theatre
The Festival proudly presents two deeply moving and thought-provoking productions this season in the intimate Anes Studio Theatre: Silent Sky and The Mountaintop. Based on the lives of actual people, these plays not only offer rich storytelling and stellar performances but also invite audiences to reflect on history, legacy, and the human spirit. Secure your tickets now to witness these powerful productions that promise to inspire and captivate.
Silent Sky: A Celebration of Science and Determination
Silent Sky by Lauren Gunderson and directed by Melinda Pfundstein brings to life the inspiring true story of 19th-century astronomer Henrietta Leavitt. Leavitt’s groundbreaking discoveries in astronomy fundamentally changed our understanding of the universe, yet her journey was fraught with challenges. The play beautifully captures her struggle to balance family responsibilities and her relentless pursuit of scientific truth.
At the heart of Silent Sky is Henrietta’s unwavering determination and brilliance. The Festival’s production has garnered rave reviews for its compelling narrative and stunning technical execution. The use of light and projection design effectively symbolizes the enlightenment brought by Leavitt’s discoveries, creating an immersive experience that highlights the vastness of the universe she sought to understand.
Katie Cunningham’s portrayal of Henrietta is nothing short of mesmerizing, capturing the character’s intellect and vulnerability. Front Row Reviewers said: “Cunningham expertly balances Henrietta’s indomitable spirit and softer uncertainty” The supporting cast are equally suited for their roles. From Rhetorical Review: “Kat Lee’s Margaret Leavitt serves as an excellent contrast, bringing humor and frustration underpinned by sisterly love…Abdul-Khaliq Murtadha’s Peter Shaw is endearing, serving as a foil to Annie Cannon (Alia Shakira) and Williamina Flemming (Sarah Shippobotham). Shakira and Shippobotham deliver performances marked by wit coupled with just the right amount of attitude, creating formidable and memorable characters.”
Why You Should See It:
Silent Sky is not just a play; it’s a tribute to the power of perseverance and the indomitable spirit of women in science. It’s a story that will leave you in awe of the stars and the human spirit. Front Row Reviewers said “Silent Sky is an especially bright star in this season’s lineup.” Don’t miss this chance to be inspired by Henrietta Leavitt’s remarkable legacy.
The Mountaintop: A Deeply Human Look at an Icon
Katori Hall’s The Mountaintop transports audiences to the Lorraine Motel on the eve of Dr. Martin Luther King Jr.’s assassination. This fictional account provides an intimate look at King’s final night, blending humor, drama, and supernatural elements to explore the man behind the icon.
The Festival’s production, directed by Cameron Knight, has been praised for its powerful performances and insightful direction. Abdul-Khaliq Murtadha as Dr. King and Alia Shakira as Camae deliver masterful performances that capture the complexity and humanity of their characters. “Can a hero ever live up to all we expect them to be?” asks Utah Theatre Bloggers. The dynamic between King and Camae, a mysterious maid with a celestial purpose, offers “a many-faceted exploration” on King’s legacy and the ongoing struggle for social justice.
The play’s innovative staging and design elements, including evocative lighting, projection, and soundscapes, create a deeply immersive experience. The script’s blend of realism and fantasy challenges audiences to reflect on King’s achievements and the continued relevance of his message.
Why You Should See It:
The Mountaintop offers a rare glimpse into the private thoughts and fears of one of history’s greatest leaders. It is “raw and emotional” (as per Utah Theatre Bloggers), a poignant reminder of our shared humanity and the enduring impact of King’s work. A warning that this production has mature themes and language, but is a must-see for anyone interested in history, social justice, and the power of theatre to provoke thought and conversation.
Get Your Tickets Now!
Both Silent Sky and The Mountaintop are shining examples of the transformative power of theatre. These productions will leave you inspired, moved, and ready to see the world through a new lens. Visit bard.org or call 800-PLAYTIX to purchase your tickets today.
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.