The Festival Announces the Cast of Macbeth

The Utah Shakespeare Festival is excited to announce the cast of this season’s production of Shakespeare’s tragedy Macbeth, in the Engelstad Shakespeare Theatre. Last produced at the Festival in 2019, this will be the ninth production during its 64-year history and it will be directed by Festival Artistic Director John DiAntonio. 

“It’s not everyday the supernatural, raw heart, and edge-of-your-seat battles collide in one play. I cannot wait to share with audiences the tragic story, the blood, the witches, and the haunting language of Shakespeare’s Macbeth,” says DiAntonio.

The lead artistic staff designing this play’s world are Scenic Designer Apollo Mark Weaver, Costume Designer Lauren T. Roark, Lighting Designer Shannon McKinney, Sound Designer/Composer Lindsay Jones, Music Director Andrew Flasch, Voice/Speech/Text Coach Jeremy Sortore, Dramaturg Isabel Smith-Bernstein, Choreographer Trey Plutnicki, Fight Director Geoffrey Kent, Intimacy Coordinator Sacha Comrie, and Stage Manager Martinique M. Barthel.  

This play features both new and returning cast members and is as follows:

Lavour Addison is making his debut at the Festival, playing Macduff in Macbeth. He has also worked at Long Wharf Theatre; Idaho, Lake Tahoe, and Colorado Shakespeare Festivals, Cleveland Playhouse, and Creede Repertory Theatre. He received his MFA in Acting from Case Western Reserve and is a member of Actors’ Equity Association.  

Cassandra Bissell returns for her fifth season at the Festival, this time playing Lady Macbeth in Macbeth. She has acted regionally at the Actors’ Theatre of Louisville, Arizona Theatre Company, and Cleveland Playhouse, among many others. She earned a BA in Gender Studies from University of Chicago and is a member of Actors’ Equity Association and SAG-AFTRA.    

Evelyn Carol Case is returning to the Festival, as a Weird Sister in Macbeth. Previous roles at the Festival include Verges/Attendant in Much Ado About Nothing, Brandon/Patience/Celebrant in Henry VIII, Mrs. Bates/Ensemble in Jane Austen’s Emma The Musical, and more. She has appeared onstage with Prague Shakespeare Company, Shakespeare Orange County, Steppenwolf Theatre Company, The Laguna Playhouse, and ten seasons as a resident artist with the Alabama Shakespeare Festival.

Emma Cox is new to the Festival, playing Gentlewoman/Minion in Macbeth. She has appeared in Southern Utah University’s Julius Caesar as Brutus, Roe as Sarah Weddington, Twelfth Night as Malvolio, and Cloud 9 and Maud/Victoria. She received a BFA in Acting and a BS in History at SUU and is appearing courtesy of the SUU Fellowship Program.

Gabriel W. Elmore debuts this season, as Donalbain/Soldier (Menteith)/Minion in Macbeth. He has appeared with Quintessence Theatre Group, InterAct Theatre Company, and Delaware Theatre Company, among others. He was also in the film Alice Heart and taught at Temple University where he received his MFA in Acting.

Austin Fronk is debuting this summer, as Macbeth’s Servant/Soldier/English Soldier/Youth Apparition/Minion. 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.

Blake Henri returns for his third season, playing Porter/Seyton/Minion in Macbeth. He was previously seen at the Festival in The Taming of the Shrew, Much Ado About Nothing, The Play That Goes Wrong, and A Raisin in the Sun. He has worked at the American Shakespeare Center; the National Arts Festival in Grahamstown, South Africa; Cleveland Playhouse, and Dallas Theatre Center, among many others. He has appeared in numerous television shows such as HBO’s Love and Death and The Chosen, as well as the films American Underdog and Great Plains. He holds a BFA from University of Oklahoma.   

Elijah Eliakim Hernandez is debuting on the Festival’s mainstage as Young Siward/Soldier/Murderer/Minion in Macbeth. They just returned from tour with the Festival’s Shakespeare in the School production of Henry IV as Hotspur and have performed with Tennessee and Wisconsin Shakespeare Companies. They earned a BA in Theatre Performances from University of Texas Rio Grande Valley.    

Kayland Jordan returns to the Festival, as a Weird Sister in Macbeth. She previously performed in A Raisin in the Sun and A Midsummer Night’s Dream in 2023. She has also acted off-Broadway and at Theatre SilCo and American Stage Theatre Company, among many others. She has appeared in HBO’s Betty, ABC’s Emergence and The Brides, and in the films Gap Year and Keep Me At Bay. She is a resident teaching artist at the AT&T Performing Arts Center, earned a BFA in Acting from Pace University, and is a member of Actors’ Equity Association.

Geoffrey Kent returns for his sixth season, as Lennox/Murderer in Macbeth. Last season he played Polixenes in The Winter’s Tale and Buckingham/Lord Chancellor in Henry VIII. He has also been seen in The Merry Wives of Windsor, Shakespeare in Love, Treasure Island, and Complete Works of William Shakespeare (abridged). He spent fourteen seasons with Colorado Shakespeare Festival, and multiple seasons with The Denver Center, as well as time at Orlando Shakespeare Theater, Arvada Center, and American Shakespeare Center. He has taught at University of Northern Colorado, University of Denver, and ASOLO MFA. He is a member of Actors’ Equity Association and Stage Directors and Choreographers Society.     

Walter Kmiec is returning for his second season, as Macbeth in Macbeth. He previously portrayed Benedick in Much Ado About Nothing and Norfolk in Henry VIII. He has also worked at Colorado Shakespeare Festival, Orlando Shakespeare Festival, Endstation Theater Company, and People’s Improv Theater, among others. He has taught at Stetson University and Florida State University, where he received an MFA in Directing. He is a member of Actors’ Equity Association.

Kat Lee returns for her fifth season, as a Weird Sister in Macbeth. She was seen last season as Margaret Leavitt in Silent Sky, as well as in Jane Austen’s Emma The Musical and as the Narrator in the 2023 tour of Every Briliant Thing, among others. She has also appeared at Denver Center, Oregon Cabaret Theatre, and Lyric Repertory Company. She received the Festival’s 2023 Finlayson Acting Award and her BFA in Musical Theatre from Otterbein University.   

Chris Mixon is returning for his thirteenth season at the Festival and will be seen as Duncan/Siward/Soldier in Macbeth. Some of his previous Festival roles include last year’s Cardinal Wolsey in Henry VIII, Baptista in The Taming of the Shrew, and Old Shepherd in The Winter’s Tale, as well as roles in Jane Austen’s Emma The Musical, The Play That Goes Wrong, Big River, The Foreigner, The Book of Will, and Mary Poppins, among many others. He has been in the Broadway tour of How to Succeed in Business Without Really Trying and on off-Broadway at the Pearl Theatre Company and Manhattan Theatre Club. His work has also been seen at The Denver Center, Milwaukee Rep, Pioneer Theatre Company, as well as in the film The Rosa Parks Story and on the television shows All My Children, One LIfe to Live, and Law & Order. He is a member of Actors’ Equity Association and SAG-AFTRA.

AJ Newbury is new to the Festival and will appear as Caithness (Soldier)/English Soldier/Minion in Macbeth. 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.

Christopher Joel Onken makes his Festival debut, as Malcolm in Macbeth. He was on Broadway in The Inheritance and off-Broadway at Red Bull Theatre in The Inn at Lydda. He has also performed at Colorado Shakespeare Festival, Orlando Shakespeare Theater, and Playhouse on the Square as well as many others. He has been in CBS’s FBI and the web series This is B.S. He earned his BA in Theatre from Clemson University and is a member of Actors’ Equity Association.    

Benjamin E. Rosengren is brand new to the stage and will be performing as the younger Macduff son in Macbeth. He is age eight and will be entering the third grade in the fall. He loves to play the piano, read books, sing in choir, spend time with family, and play board/card games. He is grateful for the opportunity to be in Macbeth and is most excited to be in the play with his older brother, to see how everything works behind the scenes.

Jacob C. Rosengren is new to the Festival, appearing as the older Macduff son in Macbeth. He is eleven and will be in sixth grade this fall. He likes making up stories, reading, playing piano, singing in choir, camping, and enjoys being part of a local scout troop. He participated in a nationwide commercial for United We Stand and after having attended plays at the Festival, he is now so excited to actually be in one.

Chauncy Thomas returns for his second season at the Festival, as Banquo/Doctor in Macbeth. He was seen in last season’s The Winter’s Tale as Leontes and in Henry VIII as Duke of Suffolk. He has performed at Alabama Shakespeare Festival, Bay Street Theatre, Illinois Shakespeare Festival, and Gulfshore Playhouse. HIs television work includes Madam Secretary and Run the World, and is a winner and five-time nominee for St. Louis Theater Circle Awards for his work at St. Louis Black Rep. He holds a BA in Drama and Psychology from Washington University and is a member of Actors’ Equity Association. 

Kathryn Tkel is making her Festival debut, as Lady Macduff in Macbeth. Her previous work includes productions at Arena Stage, Ford’s Theatre, Folger Theatre, Arizona Theatre Company, and many more. She was seen in the film Harriet and currently teaches at Southern Utah University. She has an MFA from The Shakespeare Theatre Company’s Academy for Classical Acting, as well BAs in Drama and Anthropology from University of California, Irvine. She is a member of Actors’ Equity Association.     

Patrick Vest returns for his second Festival season, as Ross in Macbeth. His previous work includes last season’s Much Ado About Nothing and Henry VIII. Other theatres where he has performed include Rubicon Theatre, Laguna Playhouse, Nebraska Shakespeare Festival, and Asolo Rep. He earned an MFA in Acting from Alabama Shakespeare Festival. 

Amara Webb returns as Fleance/Banquet Server in Macbeth. She was previously seen as Miranda in The Tempest, Diana in All’s Well That Ends Well, and Ensemble in Ragtime and The Pirates of Penzance at the Festival. She was in Little Shop of Horrors at Oregon Cabaret, The Tempest at Heart of America Shakespeare Festival, and A Christmas Carol at the Kansas City Rep. She has a BFA in Musical Theatre from Webster University.

Caitlin Wise is returning for her second season, as Hecate in Macbeth. She played Kate in The Taming of the Shrew and Emilia in The Winter’s Tale in last year’s season. She has also worked at The Denver Center, Arvada Center, and Creede Repertory Theatre, among others. She received a Henry Award, Denver Post Ovation Award, and Donald R. Seawell ANTA Fellowship. She earned an MFA from the National Theatre Conservatory and is a member of Actors’ Equity Association.

The 2025 season runs June 16 through October 4. Tickets are on sale now at bard.org or by calling 800-PLAYTIX.

The Festival Announces the Cast of Steel Magnolias

The Utah Shakespeare Festival is thrilled to announce the cast of this season’s production of Steel Magnolias in the Randall L. Jones Theatre. Making its debut at the Festival, the play is a story of resilience, friendship, and grief. A tribute to his sister, playwright Robert Harling depicts how connection and humor can get us through the most difficult of times. 

“Ours is a story of sisterhood. Through thick and thin, our magnolias are there for each other, to celebrate each other’s successes and, most importantly, to buoy one another through every grief and heartache,” says Director Melissa Maxwell. “Though there is a lot of wacky humor in this play, what makes it so beloved and why it stands the test of time, is its heart.”

Lead production staff working with Maxwell to design the world of Steel Magnolias in 1980s Chinquapin, Louisiana are: Scenic Designer Jo Winiarski, Costume Designer Lauren Roark, Lighting Designer Jessica Greenberg, Composer/Sound Designer Scott O’Brien, Voice/Speech/Text Coach Gwendolyn Schwinke, Fight/Intimacy Director Jason Spelbring, and Stage Manager Terence Orleans Alexander.  

This production includes both new and returning cast members:

Evelyn Carol Case is returning to the Festival, as Ouiser in Steel Magnolias. Previous roles at the Festival include Verges/Attendant/Candle Bearer in Much Ado About Nothing, Brandon/Patience/Celebrant in Henry VIII, Mrs. Bates/Ensemble in Jane Austen’s Emma The Musical, and more. She has appeared onstage with Prague Shakespeare Company, Shakespeare Orange County, Steppenwolf Theatre Company, The Laguna Playhouse, and ten seasons as a resident artist with the Alabama Shakespeare Festival.

Olivia D. Dawson is debuting at the Festival, as M’Lynn in Steel Magnolias. She has performed at Steppenwolf Theatre, Chicago Shakespeare Theatre, and Indiana Repertory Theatre to name a few. Television credits include Chicago Med, The Resident, Cobra Kai, and more. Dawson’s film credits include Honk for Jesus and teaching credits from UW Madison. She received the 2020 Arts and Social Justice Fellowship and Emory University and was the 2021 Fellow with the Hambidge Center. Dawson has a BA and MFA and is a member of Actors’ Equity Association. 

Valerie Martire is returning, as Annelle in Steel Magnolias. Previous roles at the Festival include Margaret in Much Ado About Nothing and Bianca/Player in The Taming of the Shrew. She has been in productions of Mauritius, The Wolves, and Appropriate at Illinois Wesleyan University, where Martire also received a BFA. Awards include Best Actress in an Indie Film (Top Shorts 2023).

Alia Shakira is returning, as Truvy in Steel Magnolias. Previous roles at the Festival include Camae in The Mountaintop and Annie Cannon in Silent Sky. Other credits include those at Horizon Theater, Impact Theater, New Federal Theatre, and more. Television credits include The First Lady, The Come Up, Woke, and the film The Color Purple. Shakira received a BFA in acting from Howard University.

Sarah Shippobotham is returning, as Clairee in Steel Magnolias. Previous roles at the Festival include Williamina Fleming in Silent Sky, Duchess of York in Richard III, and multiple roles in Pericles, to name a few. 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.

Amara Webb is returning to the Festival, as Shelby in Steel Magnolias. Previous roles at the Festival include Miranda in The Tempest, Diana in All’s Well That Ends Well, and more. She has performed at Oregon Cabaret, Heart of America Shakespeare Festival, and Kansas City Repertory Theatre. Webb received a BFA in musical theatre from Webster University.

The 2025 season runs June 16 through October 4. Tickets are on sale now at bard.org or by calling 800-PLAYTIX.

The Festival Announces the Cast of Antony and Cleopatra

The Utah Shakespeare Festival is excited to announce the cast of this season’s production of Shakespeare’s rarely-done tragedy Antony and Cleopatra in the Engelstad Shakespeare Theatre. Last produced at the Festival almost 20 years ago in 2006, this will be only the fourth production in its 64-year history and it will be directed by Carolyn Howarth. 

“I’ve never been quite so surprised by a play as I am by Antony and Cleopatra,” says Howarth. “Its personality is unique. Sometimes tragedy, sometimes history, oftentimes comedy, now poetry, now prose…At its core are magnificently messy, complicated characters, feeling the most human of emotions, and looking to fulfill their humanity, both here and in the afterlife.”

Working with Howarth to create the world of this show are the following lead artistic staff: Scenic Designer Apollo Mark Weaver, Costume Designer Raven Ong, Lighting Designer Shannon McKinney, Sound Designer/Composer Lindsay Jones, Music Director Andrew Flasch, Voice/Speech/Text Coach Jeremy Sortore, Dramaturg Isabel Smith-Bernstein, Choreographer/Intimacy Coordinator Sacha Comrie, Fight Director Geoffrey Kent, and Stage Manager Caleb Thomas Cook.

Returning and new actors to the Festival make up this cast, which is as follows:

Lavour Addison is making his first appearance at the Festival as Scarus/Ensemble in Antony and Cleopatra. He has also worked at Long Wharf Theatre; Idaho, Lake Tahoe, and Colorado Shakespeare Festivals, Cleveland Playhouse, and Creede Repertory Theatre. He received his MFA in acting from Case Western Reserve and is a member of Actors’ Equity Association.    

Cassandra Bissell returns for her fifth season at the Festival, playing Agrippa/Ensemble in Antony and Cleopatra this season. She has acted regionally at the Actors’ Theatre of Louisville, Arizona Theatre Company, and Cleveland Playhouse, among many others. She earned a BA in gender studies from University of Chicago and is a member of Actors’ Equity Association and SAG-AFTRA.    

Olivia D. Dawson is debuting at the Festival as Maecenas/Soothsayer/Ensemble in Antony and Cleopatra. She has performed at Steppenwolf Theatre, Chicago Shakespeare Theatre, and Indiana Repertory Theatre to name a few. Television credits include Chicago Med, The Resident, Cobra Kai, and more. Dawson’s film credits include Honk for Jesus and teaching credits from UW Madison. She received the 2020 Arts and Social Justice Fellowship at Emory University and was the 2021 Fellow with the Hambidge Center. Dawson has a BA and MFA and is a member of Actors’ Equity Association.  

Gabriel W. Elmore is debuting this season as Octavius Caesar in Antony and Cleopatra. He has appeared with Quintessence Theatre Group, InterAct Theatre Company, and Delaware Theatre Company, among others. He was also in the film Alice Heart and taught at Temple University where he received his MFA in acting.

Blake Henri returns for his third season, playing Eros/Ensemble in Antony and Cleopatra. He was previously seen at the Festival in The Taming of the Shrew, Much Ado About Nothing, The Play That Goes Wrong, and A Raisin in the Sun. He has worked at the American Shakespeare Center; the National Arts Festival in Grahamstown, South Africa; Cleveland Playhouse; and Dallas Theatre Center, among many others. He has appeared in numerous television shows such as HBO’s Love and Death and The Chosen, as well as the films American Underdog and Great Plains. He holds a BFA from University of Oklahoma. 

Elijah Eliakim Hernandez is debuting on the Festival’s mainstage, as Menas/Ensemble in Antony and Cleopatra. They are currently on tour with the Festival’s Shakespeare in the School production of Henry IV as Hotspur and have performed with Tennessee and Wisconsin Shakespeare Companies. They earned a BA in theatre performances from University of Texas Rio Grande Valley.   

Kayland Jordan returns to the Festival, as Alexas/Menecrates/Ensemble in Antony and Cleopatra. She previously performed in A Raisin in the Sun and A Midsummer Night’s Dream in 2023. She has also acted off-Broadway and at Theatre SilCo and American Stage Theatre Company, among many others. She has appeared in HBO’s Betty, ABC’s Emergence and The Brides, and in the films Gap Year and Keep Me At Bay. She is a resident teaching artist at the AT&T Performing Arts Center, earned a BFA in acting from Pace University, and is a member of Actors’ Equity Association.

Geoffrey Kent returns for his sixth season, as Mark Antony in Antony and Cleopatra, as well as Fight Director for these three productions. Last season he played Polixenes in The Winter’s Tale and Buckingham/Lord Chancellor in Henry VIII. He has also been seen in The Merry Wives of Windsor, Shakespeare in Love, Treasure Island, and Complete Works of William Shakespeare (abridged). He spent fourteen seasons with Colorado Shakespeare Festival, and multiple seasons with The Denver Center, as well as time at Orlando Shakespeare Theater, The Arvada Center, and American Shakespeare Center. He has taught at University of Northern Colorado, University of Denver, and ASOLO MFA. He is a member of Actors’ Equity Association and Stage Directors and Choreographers Society. 

Walter Kmiec is returning for his second season, as Canidius/Ensemble in Antony and Cleopatra. He previously portrayed Benedick in Much Ado About Nothing and Norfolk in Henry VIII. He has also worked at Colorado Shakespeare Festival, Orlando Shakespeare Festival, Endstation Theater Company, and People’s Improv Theater, among others. He has taught at Stetson University and Florida State University, where he received an MFA in directing. He is a member of Actors’ Equity Association.

Chris Mixon is returning for his thirteenth season at the Festival and will be seen as Enobarbus in Antony and Cleopatra. Some of his previous Festival roles include last year’s Cardinal Wolsey in Henry VIII, Baptista in The Taming of the Shrew, and Old Shepherd in The Winter’s Tale, as well as in productions of Jane Austen’s Emma The Musical, The Play That Goes Wrong, Big River, The Foreigner, The Book of Will, and Mary Poppins, among many others. He has been in the Broadway tour of How to Succeed in Business Without Really Trying and on off-Broadway at the Pearl Theatre Company and Manhattan Theatre Club. His work has also been seen at The Denver Center, Milwaukee Rep, Pioneer Theatre Company, as well as in the film The Rosa Parks Story and on the television shows All My Children, One Life to Live, and Law & Order. He is a member of Actors’ Equity Association and SAG-AFTRA.

Alia Shakira is returning, as Charmian in Antony and Cleopatra. Previous roles at the Festival include Camae in The Mountaintop and Annie Cannon in Silent Sky. Other credits include those at Horizon Theater, Impact Theater, New Federal Theatre, and more. Television credits include The First Lady, The Come Up, Woke, and the film The Color Purple. Shakira received a BFA in acting from Howard University and is a member of Actors’ Equity Association.

Chauncy Thomas returns for his second season at the Festival, as Pompey/Ensemble in Antony and Cleopatra. He was seen in last season’s The Winter’s Tale as Leontes and in Henry VIII as Duke of Suffolk. He has performed at Alabama Shakespeare Festival, Bay Street Theatre, Illinois Shakespeare Festival, and Gulfshore Playhouse. His television work includes Madam Secretary and Run the World, and is a winner and five-time nominee for St. Louis Theater Circle Awards for his work at St. Louis Black Rep. He holds a BA in drama and psychology from Washington University and is a member of Actors’ Equity Association. 

Kathryn Tkel is making her Festival debut as Cleopatra in Antony and Cleopatra. Her previous work includes productions at Arena Stage, Ford’s Theatre, Folger Theatre, Arizona Theatre Company, and many more. She was seen in the film Harriet and currently teaches at Southern Utah University. She has an MFA from The Shakespeare Theatre Company’s Academy for Classical Acting, as well BAs in drama and anthropology from University of California, Irvine. She is a member of Actors’ Equity Association.  

Patrick Vest returns for his second Festival season, as Thidias/Ensemble in Antony and Cleopatra. His previous work includes last season’s Much Ado About Nothing and Henry VIII. Other theatres where he has performed include Rubicon Theatre, Laguna Playhouse, Nebraska Shakespeare Festival, and Asolo Rep. He earned an MFA in acting from Alabama Shakespeare Festival. 

Graham Ward is debuting at the Festival as Lepidus/Ambassador/Clown in Antony and Cleopatra. He has performed at The Arvada Center, Creede Repertory Theatre, and Lone Tree Arts Center. He has performed with Boomtown Improv Comedy and at Ghostlight RPGs. He received a BFA in acting from Brigham Young University and is a member of Actors’ Equity Association. 

Amara Webb returns as Iras in Antony and Cleopatra. She was previously seen as Miranda in The Tempest, Diana in All’s Well That Ends Well, and Ensemble in Ragtime and The Pirates of Penzance at the Festival. She was in Little Shop of Horrors at Oregon Cabaret, The Tempest at Heart of America Shakespeare Festival, and A Christmas Carol at the Kansas City Rep. She has a BFA in musical theatre from Webster University.

Caitlin Wise is returning for her second season, as Octavia in Antony and Cleopatra. She played Kate in The Taming of the Shrew and Emilia in The Winter’s Tale in last year’s season. She has also worked at The Denver Center, The Arvada Center, and Creede Repertory Theatre, among others. She received a Henry Award, Denver Post Ovation Award, and Donald R. Seawell ANTA Fellowship. She earned an MFA from the National Theatre Conservatory and is a member of Actors’ Equity Association.

The Festival’s 64th season runs June 16 through October 4. Tickets are available online at bard.org or by calling 800-PLAYTIX.

The Festival Announces the Cast of A Gentleman’s Guide to Love and Murder 

Coming this summer to the Festival is the Tony Award-winning musical comedy A Gentleman’s Guide to Love and Murder in the Randall L. Jones Theatre. It will be directed by Amanda Berg Wilson with music direction/conducting by Brad Carroll, who has called the play “clever, smart, hilarious, and infected with the British sense of humor” but the feeling and spirit of “American Vaudeville.”

“I’m thrilled about the cast that is going to bring A Gentleman’s Guide to Love and Murder to life,” says Berg Wilson. “Some I’ve worked with before, some I’ve seen their work before, and some I’ll be meeting for the first time at our first rehearsal, and in all cases, I’m giddy. Our music-hall production of the piece requires performers who are as playful as they are skilled, as game as they are good, and we’ve the cast that’s up to the task.”

The lead artistic staff working to build this production are Scenic Designer Jo Winiarski, Costume Designer K.L. Alberts, Lighting Designer Jessica Greenberg, Sound Designer Scott O’Brien, Voice/Speech/Text Coach Gwendolyn Schwinke, Choreographer Diana Dresser, Fight/Intimacy Director Jason Spelbring, and Stage Manager Tanya J. Searle.  

The Festival welcomes new and returning cast members and is as follows:

Zac Barnaby is returning, as Man 3 in A Gentleman’s Guide to Love and Murder. Last season, he made his debut as Lord/Mariner/Shepherd in The Winter’s Tale and 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. 

Laura Brennan is also returning, as Woman 2 in A Gentleman’s Guide to Love and Murder. She was last seen at the Festival as Harriett in Jane Austen’s Emma The Musical, as well as in The Play That Goes Wrong and in the Shakespeare in the Schools educational tour of Much Ado About Nothing. Other theatres where she has performed include Texas Shakespeare Festival, Citadel Theatre, and Cider Mill Playhouse. She has a BFA in acting from Ithaca College.

Katie Drinkard is debuting at the Festival as Sibella in A Gentleman’s Guide to Love and Murder. She has performed at The Arvada Center, Creede Repertory Theatre, The Denver Center, and more. Other credits include an audiobook narration of Trained to Protect. Drinkard received a BFA in musical theatre from Ithaca College and is a member of Actors’ Equity Association.

Nicole Eve Goldstein is debuting as Phoebe in A Gentleman’s Guide to Love and Murder this season. She has performed off-Broadway and at Carnegie Hall, as well as with Red River Lyric Opera and Ridgewood Gilbert and Sullivan Players, among others. She was in the film Dead Reckoning and received the Emerging Talent Award from the Lotte Lenya Competition. She has a BM in vocal performance from Oberlin Conservatory and also attended the New York Film Academy.    

Luke Sidney Johnson is returning, as Man 1 in A Gentleman’s Guide to Love and Murder. Last season, he understudied Leontes in The Winter’s Tale and Richard Hannay in The 39 Steps. Prior to that he was in Romeo and Juliet, The Sound of Music, and Sweeney Todd, among many others. He has performed at Alabama Shakespeare Festival, Hunterdon Hills Playhouse, and Playmill Theatre. Johnson received a BFA in musical theatre from Southern Utah University. 

Frank Oden is debuting at the Festival as Man 2 in A Gentleman’s Guide to Love and Murder. He has performed at Shakespeare in the Wild, The Arvada Center, Boulder Ensemble Theater Company, and much more. Other credits include touring as a solo artist for Poetry in Concert where he did original performance poetry, appearing with symphony orchestras nationwide. He has received the Denver Drama Critics Award for Best New Play and publications include Plays and Musicals: Holly Alaska!, Easy Money, The Winter Rose, and more. Oden has a BA in theater from Arizona State University. 

Mikki Pagdonsolan is debuting at the Festival as Woman 3 in A Gentleman’s Guide to Love and Murder. 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. 

Melinda Parrett is returning to the Festival, this time as Miss Shingle/Woman 1 in A Gentleman’s Guide to Love and Murder. Previous roles include Beatrice In Much Ado About Nothing, Annie in The Play That Goes Wrong, Mrs. White in Clue, Titania/Hippolyta in A Midsummer Night’s Dream, and many more. Parrett is currently on the National Broadway Tour of Annie. She has also performed at The Denver Center, Goodspeed Opera House, Geva Theatre, and more. She is a member of Actors’ Equity Association.

Rob Riordan is returning to the Festival, as Monty Navarro in A Gentleman’s Guide to Love and Murder. Previous roles at the Festival include Ellard Simms in The Foreigner and Huck Finn in Big River. He has performed off-Broadway in the world premiere of Vermont and Sea Gull at Adult Film NYC. Other acting credits include TUTS Houston, Alabama Shakespeare Festival, Geva Theater Center, and more. Film credits include roles in Concessions, The Rebels of PT-218, and The Surprise Visit, for which he received Best Actor Award from the San Diego Art Film Festival. He is also a member of Actors’ Equity Association.

Graham Ward is debuting at the Festival as the D’Ysquith Family in A Gentleman’s Guide to Love and Murder. He has performed at The Arvada Center, Creede Repertory Theatre, and Lone Tree Arts Center. He performed with Boomtown Improv Comedy and at Ghostlight RPGs. Ward received a BFA in acting from Brigham Young University and is a member of Actors’ Equity Association. 

The 2025 season begins June 16 and runs through October 4. Get your tickets now at bard.org or by calling 800-PLAYTIX.

Stitched Together: Schmid Family to Work Together at the Festival This Season

By Liz Armstrong, guest writer 

A student at Southern Utah University at the time, Steven Schmid’s first year at the Utah Shakespeare Festival was in 1993. Working in the costume shop, Steven met Kathie, who was also acting that season. The two fell in love with theatre and each other and got engaged two weeks after they started dating. They’ve been married now for over 30 years and have since had three children, all of whom are pursuing a career in the arts in some capacity. 

“We always joked with our kids, ‘There’s nothing wrong with an accounting degree,’ but they’ve followed us into the arts,” Steven said.

It’s been nearly 32 years since they worked side by side at the Festival, but the couple is thrilled to return to Cedar City this season, where their love story began over three decades ago.

“Cedar City has always felt like a second home,” Kathie said. “Even when we haven’t been working for the Festival, we try to come most summers to see the shows, and it always feels like coming home.” 

August, their oldest son, will be joining his mother and father working at the Festival this season, making the 64th season a bit of a Schmid Family Affair. 

As a child, August would attend rehearsal with his mother when she was designing for Tuacahn Center for the Arts. Exposed to the arts at a young age, he naturally drifted toward theatre. Last season, August worked as an electrician alongside Festival Electrics Director Scott Palfreyman and will do so again this season. 

Steven also worked at the Festival last season, returning to the Festival each year since 2014, often working closely with Costume Designer Bill Black. This season, he will be the Black’s draper for The Importance of Being Earnest. A draper is the artist who takes a costume designer’s renderings as well as performers’ measurements and creates the patterns from them in order to build the costumes.

Kathie will work this season in the costume crafts department, primarily as a milliner, returning for the first time since 1993. Since then, she has worked as a milliner at Utah Opera and Pioneer Theatre Company in Salt Lake City. Kathie did freelance work at several other theatres before she was hired 13 years ago as a Professor of Theatre at Brigham Young University-Idaho. 

“I’m returning to the Festival as part of my sabbatical experience from BYU-I,” Kathie said. “I am excited to have this break to come back to the Festival not just to work, but to learn from my colleagues and make sure I’m still training my students in the things they should know as I send them out into the workforce.”

Steven said he is excited for his wife to come to the Festival and praises her talent and organization. 

“It is rare that Steve and I get to work together,” Kathie said. “When he taught full time, I did freelance work and now that I teach full time, he travels for freelance work. It will be fun to be in the same place, at least for a [short amount of time].”

Although Steven didn’t see August much last season due to their busy schedules, having three of the six Schmid family members working at the Festival this summer is a unique opportunity and will allow them to experience their “home away from home” in Cedar City together.

Steven is excited to return again because of the quality of the work. 

“When you walk up and down the corridor of the costume shop, you are just amazed at the caliber and quality and creativity of what is being produced,” Steven said. 

Steven noted that the work is “exemplary,” and praised Costume Director Jeff Lieder’s organization and efficiency. 

”The ‘incubation’ period we have of working and creating and collaborating…that build up to [opening night] is so exhausting,” Steven said. “But it’s so fulfilling because you get to see all the components come into play.” 

To see the work that Steven, Kathie, and August contribute to this summer, purchase tickets to the 2025 season today.

The Festival Announces the Cast of As You Like It

The Utah Shakespeare Festival is excited to announce the cast of this season’s production of Shakespeare’s beloved pastoral comedy, As You Like It, in the Engelstad Shakespeare Theatre. Last seen on the Festival stage in 2017, this will be the tenth production in its sixty-four year history and will be directed by Beth Lopes. 

“Part comedy, part drama, part romance, and all adventure: As You Like It is a giant, sweeping story where the danger and pain are real, but deep down we know that good will triumph,” says Lopes. “In the Forest of Arden, who you are is no longer trapped in the shadow of who you used to be and relationships that were fractured by grief are healed with love to be born anew. As You Like It is Shakespeare’s celebration of nature, liberty, resilience, and the transformative power of love.” 

Working with Lopes to bring this show to life are the following lead artistic staff: Scenic Designer Apollo Mark Weaver, Costume Designer Bill Black, Lighting Designer Shannon McKinney, Sound Designer/Composer Lindsay Jones, Music Director Andrew Flasch, Voice/Speech/Text Coach Jeremy Sortore, Dramaturg Isabel Smith-Bernstein, Choreographer Trey Plutnicki, Fight Director Geoffrey Kent, Intimacy Coordinator Sacha Comrie, and Stage Manager Martinique M. Barthel.  

The Festival welcomes new and returning cast members and is as follows:

Lavour Addison is making his debut at the Festival playing Charles/Forester/William in As You Like It. He has also worked at Long Wharf Theatre; Idaho, Lake Tahoe, and Colorado Shakespeare Festivals; Cleveland Playhouse; and Creede Repertory Theatre. He received his MFA in Acting from Case Western Reserve and is a member of Actors’ Equity Association.  

Cassandra Bissell returns for her fifth season at the Festival, this time playing Jacques in As You Like It. She has acted regionally at the Actors’ Theatre of Louisville, Arizona Theatre Company, and Cleveland Playhouse, among many others. She earned a BA in Gender Studies from University of Chicago and is a member of Actors’ Equity Association and SAG-AFTRA.  

Laura Brennan is returning, as LeBeau in As You Like It. She was last seen at the Festival as Harriett in Jane Austen’s Emma The Musical, as well as in The Play That Goes Wrong and in the Shakespeare in the Schools tour of Much Ado About Nothing. Other theatres where she has performed include Texas Shakespeare Festival, Citadel Theatre, and Cider Mill Playhouse. She has a BFA in Acting from Ithaca College.

Taya Christiansen is new this season and will be seen as Courtier/Forester in As You Like It. She is currently pursuing a BFA in Musical Theater at Southern Utah University where she 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.

Gabriel W. Elmore debuts this season as Orlando in As You Like It. He has appeared with Quintessence Theatre Group, InterAct Theatre Company, and Delaware Theatre Company, among others. He was also in the film Alice Heart and taught at Temple University where he received his MFA in Acting.

Nicole Eve Goldstein is debuting as Phoebe/Courtier/Forester in As You Like It. She has performed off-Broadway and at Carnegie Hall, as well as with Red River Lyric Opera and Ridgewood Gilbert and Sullivan Players, among others. She was in the film Dead Reckoning and received the Emerging Talent Award from the Lotte Lenya Competition. She has a BM in Vocal Performance from Oberlin Conservatory and attended the New York Film Academy as well.   

Blake Henri returns for his third season, playing Amiens/Courtier in As You Like It. He was previously seen at the Festival in The Taming of the Shrew, Much Ado About Nothing, The Play That Goes Wrong, and A Raisin in the Sun. He has worked at the American Shakespeare Center; the National Arts Festival in Grahamstown, South Africa; Cleveland Playhouse; and Dallas Theatre Center, among many others. He has appeared in numerous television shows such as HBO’s Love and Death and The Chosen, as well as the films American Underdog and Great Plains. He holds a BFA from University of Oklahoma.   

Elijah Eliakim Hernandez is debuting on the Festival’s mainstage as Silvius/Courtier in As You Like It. They are currently on tour with the Festival’s Shakespeare in the Schools production of Henry IV as Hotspur and have performed with Tennessee and Wisconsin Shakespeare Companies. They earned a BA in Theatre Performances from University of Texas Rio Grande Valley.   

Kayland Jordan returns to the Festival, as Rosalind in As You Like It. She previously performed in A Raisin in the Sun and A Midsummer Night’s Dream in 2023. She has also acted off-Broadway and at Theatre SilCo and American Stage Theatre Company, among many others. She has appeared in HBO’s Betty, ABC’s Emergence and The Brides, and in the films Gap Year and Keep Me At Bay. She is a resident teaching artist at the AT&T Performing Arts Center, earned a BFA in Acting from Pace University, and is a member of Actors’ Equity Association.

Geoffrey Kent returns for his sixth season, as Duke Frederick in As You Like It. Last season he played Polixenes in The Winter’s Tale and Buckingham/Lord Chancellor in Henry VIII. He was also in The Merry Wives of Windsor, Shakespeare in Love, Treasure Island, and Complete Works of William Shakespeare (abridged), among many others. He spent fourteen seasons with Colorado Shakespeare Festival, and multiple seasons with The Denver Center, as well as time at Orlando Shakespeare Theater, Arvada Center, and American Shakespeare Center. He has taught at University of Northern Colorado, University of Denver, and ASOLO MFA. He is a member of Actors’ Equity Association and Stage Directors and Choreographers Society. 

Walter Kmiec is returning for his second season, as Touchstone in As You Like It. He previously portrayed Benedick in Much Ado About Nothing and Norfolk in Henry VIII. He has also worked at Colorado Shakespeare Festival, Orlando Shakespeare Festival, Endstation Theater Company, and People’s Improv Theater, among others. He has taught at Stetson University and Florida State University, where he received an MFA in Directing. He is a member of Actors’ Equity Association.

Kat Lee returns for her fifth season, as Celia in As You Like It. She was seen last season as Margaret Leavitt in Silent Sky, as well as in Jane Austen’s Emma The Musical and as the Narrator in the 2023 Festival tour of Every Briliant Thing, among others. She has also appeared at The Denver Center, Oregon Cabaret Theatre, and Lyric Repertory Company. She received the Festival’s 2023 Finlayson Acting Award and her BFA in Musical Theatre from Otterbein University. 

Pixie Isabel Merkley is making her debut at the Festival as Courtier/Forester in As You Like It. 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.

Chris Mixon is returning for his thirteenth season at the Festival and will be seen as Adam in As You Like It. Some of his previous Festival roles include last year’s Cardinal Wolsey in Henry VIII, Baptista in The Taming of the Shrew, and Old Shepherd in The Winter’s Tale, as well as in productions of Jane Austen’s Emma The Musical, The Play That Goes Wrong, Big River, The Foreigner, The Book of Will, and Mary Poppins, among many others. He has been in the Broadway tour of How to Succeed in Business Without Really Trying and off-Broadway at the Pearl Theatre Company and Manhattan Theatre Club. His work has also been seen at The Denver Center, Milwaukee Rep, Pioneer Theatre Company, as well as in the film The Rosa Parks Story and on the television shows All My Children, One Life to Live, and Law & Order. He is a member of Actors’ Equity Association and SAG-AFTRA.

Christopher Joel Onken makes his Festival debut as Oliver in As You Like It. He was on Broadway in The Inheritance and off-Broadway at Red Bull Theatre in The Inn at Lydda. He has also performed at Colorado Shakespeare Festival, Orlando Shakespeare Theater, and Playhouse on the Square as well as many others. He has been in CBS’s FBI and the web series This is B.S. He earned his BA in Theatre from Clemson University and is a member of Actors’ Equity Association.      

Chauncy Thomas returns for his second season at the Festival, as Duke Senior in As You Like It. He was seen in last season’s The Winter’s Tale as Leontes and in Henry VIII as Duke of Suffolk. He has performed at Alabama Shakespeare Festival, Bay Street Theatre, Illinois Shakespeare Festival, and Gulfshore Playhouse. His television work includes Madam Secretary and Run the World, and is a winner and five-time nominee for St. Louis Theater Circle Awards for his work at St. Louis Black Rep. He holds a BA in Drama and Psychology from Washington University and is a member of Actors’ Equity Association. 

Kathryn Tkel is making her Festival debut as Audrey/Courtier/Forester in As You Like It. Her previous work includes productions at Arena Stage, Ford’s Theatre, Folger Theatre, Arizona Theatre Company, and many more. She was seen in the film Harriet and currently teaches at Southern Utah University. She has an MFA from The Shakespeare Theatre Company’s Academy for Classical Acting, as well as BAs in Drama and Anthropology from University of California, Irvine. She is a member of Actors’ Equity Association.    

Patrick Vest returns for his second Festival season, as Old Sir Rowland/Corin in As You Like It. His previous work includes last season’s Much Ado About Nothing and Henry VIII. Other theatres where he has performed include Rubicon Theatre, Laguna Playhouse, Nebraska Shakespeare Festival, and Asolo Rep. He earned an MFA in Acting from Alabama Shakespeare Festival. 

The 2025 season runs June 16 through October 4. Tickets are on sale now at bard.org or by calling 800-PLAYTIX.

Utah Shakespeare Festival Invites Local Community to Open House

By Kathryn Neves, guest writer

The Utah Shakespeare Festival is inviting local community members and partners to a Community Open House at the Beverley Taylor Sorenson Center for the Arts on April 22 from 4-6 p.m. in the Randall L. Jones Theatre lobby and patio (at approximately 300 West and Shakespeare Lane).

Intended to provide a behind-the-scenes look at the Festival, guests will tour the theaters, learn about the Festival’s history, and discover what it takes to put on a professional theatrical season. Guests will also get a sneak peak into the 2025 lineup and see the artistic vision behind each production.

“This event aligns with one of the key strategic goals of the organization: Community,” says Artistic Director John DiAntonio. “Our organizational goal states: ‘We will strengthen the connection to our stakeholders and cultivate a culture of co-ownership by investing in new and existing relationships, affirming key partnerships, engaging in constructive conversations, and respecting differences.”

Community-building has always been an integral part of the Festival’s mission and purpose. This year’s open house coincides with another beloved community event during school day hours on April 21-23: Bard’s Birthday Bash. Each year, the Festival invites young students in the Iron County School District to the Festival grounds to celebrate Shakespeare’s birthday and discover the joy and value in his work.

Beginning under the leadership of former Education Director, now Executive Managing Director Michael Bahr, students rotate through five party stations: jousting, performance, court dancing, mask making, and birthday cake with Queen Elizabeth and William Shakespeare since the Bard’s birthday is April 23. “We get to welcome thousands of young students to the Beverley Center, introduce them to our theaters, and have them perform text from Shakespeare’s plays,” said Education Director Stewart Shelley. “It’s a lighthearted and fun way to learn a wee bit about the Bard, his plays, his time, and the Utah Shakespeare Festival.”

While Bard’s Birthday Bash is exclusively for students K-5, all community members are welcome to come to this year’s open house anytime between 4 and 6 p.m. on April 22. “We want to be a great community partner and invite our friends, neighbors, businesses, and anyone who’s interested to learn more about who we are and what we do,” said Shelley. “We want every resident of Cedar City and Enoch to get excited about the upcoming 2025 season. There will even be birthday cake!”

“If you’ve never been to the Festival but are curious to learn more, or if you’ve been coming for years and want to get to know us on a deeper level, this is a fantastic time to visit!” said DiAntonio. “Stop by; bring the whole family or come solo; all are welcome. We can’t wait to meet you.”

Crafting the Casts at the Utah Shakespeare Festival 

By Liz Armstrong, guest writer 

Casting is a crucial and complicated step in the world of repertory theatre, and it quite literally sets the stage for the season. The process involves collaboration between actors, directors, and Artistic Director John DiAntonio and Artistic Associate Tanya J. Searle. We’re letting you in on the behind-the-scenes, step-by-step, starting at the beginning of auditions and concluding with the actors walking onstage for performances throughout the season. 

The Crucial First Step

The process for a season starts about eighteen months out. That’s right, the “seasonal” Utah Shakespeare Festival works tirelessly year-round, with at least two seasons in the works at any given time.

“Once the shows are selected for the next season, and directors have been hired, the artistic team will study the plays and determine how many roles need to be cast,” DiAntonio explained. 

From there, DiAntonio and Searle create a detailed casting breakdown of all the season’s characters, and then estimate how many actors will be needed to fill all those roles. Sometimes multiple roles within a show can be performed by a single actor, reducing the number of actors needed to cast all the characters. With some Shakespeare plays having such large casts, there can be over a hundred characters in a season. 

“We post the ‘Casting Call’ on our website, the Actors’ Equity Association (AEA) website, and other platforms,” DiAntonio said. A casting call includes information for the actors on which roles are open to audition for, what is required from the actor, and how to audition. “From there, we start receiving auditions.”

Auditioning: An Audacious Art-Form 

The Festival holds auditions in a variety of formats. There are in-person auditions required by the AEA union for equity actors that are held in both Los Angeles and Cedar City, which also includes in-person auditions for Southern Utah University students. Actors can also audition virtually from across the county by submitting self-tapes. If a show requires children, in-person auditions may also be held for those roles in Cedar City.

“We have five acting fellows every year, which is a part of our ongoing partnership with SUU,” DiAntonio said. “These undergraduate actors bring an invigorating energy to the professional company each season.”

This year, DiAntonio even went to the Oregon Shakespeare Festival last fall to hold auditions for interested actors there.

“The use of video auditions has definitely increased since the pandemic,” Searle said. “There are some challenges for actors with video submissions, but it does open up access to folks who may not have been able to be seen in a more traditional, pre-pandemic, in-person format."

Due to this, there is no shortage of these video auditions. 

“This year we received 1,200 video auditions and 300 in-person auditions. We rely heavily on video because we are in a remote area,” DiAntonio said. “Some theatres fly to New York and use a casting director and in-person callback auditions with their finalists. It would be lovely to do that, but our talented company comes from all over the country, so using video is extremely useful.” 

The directors play a large role in the audition and casting process.

“We get recommendations from the play directors about what they are looking for in a particular role. We ask questions like: ‘For each role, what special quality do you hope the actor will bring?’ ”

In addition to asking the directors what type of actor they’re looking for, they can also provide the Festival with a list of actors from their network or from the Festival’s former company.

“We will take that list, and if they’re new to us, we’ll encourage them to submit a general audition,” DiAntonio said. 

The Festival also reaches out to the last few years of Festival alumni to let them know auditions are coming up and encourage them to submit an audition.

This is how the Festival gathers the primary group of candidates. From there, DiAntonio and Searle start going through audition submissions to create a pool of finalists, searching for people that may be a good fit for a particular role or series of roles. Since this is a repertory company, nearly every actor in the company will be in two to three shows and many will have at least one understudy assignment too.

DiAntonio noted that auditioning is an art form in itself. 

“Auditioning is a special skill set and can be very intimidating and stressful for actors. I try to make it an enjoyable process for everyone. Actors have to deal with so much rejection,” DiAntonio said. “We’re casting 40 people out of 1,500 auditions, so the odds are stacked against you. But people are still putting themselves out there: their talent, their time, their effort, and their heart. It’s vulnerable and nerve-wracking, and I understand that from my own experience as an actor.” 

Those few minutes of auditioning are vital, not only to landing a role, but as a form of artistic expression.

“It’s important to me that in those few minutes of an audition, that the actor can feel proud of what they did and say, ‘You know, I got to do a little bit of this art that I love today.’ So no matter the outcome, they feel proud of their work and they get a taste of the collaborative atmosphere that is synonymous with the Festival,” DiAntonio expressed.

The Challenges of Casting for Rep

Casting for repertory theatre is extremely nuanced and difficult. 

“It’s incredibly complicated,” DiAntonio explained. “In the 2025 rep matrix, every show conflicts with one other show because of the performance schedule. So an actor cast in Show A couldn’t be in Show B, for example, but they could be in the four other shows in the season.” 

Every role has to be covered by the understudy system as well. 

“We usually have five to seven external understudies, who are folks that are coming to the Festival [to exclusively] understudy multiple roles across different shows,” DiAntonio said. “However, the majority of roles are covered from within the production, so someone in a supporting role can cover a lead role, for example.” But there’s always a trickle-down effect when an understudy goes on, so external understudies are critical.  

Actors also have a limited number of performances they can do in a week, which is another important guide for Searle and DiAntonio.

“Every actor has a track, so they may be in two or three shows and they may have understudy assignments,” Searle said. “We try to make sure that everyone in the acting company has a balance of tracks and a reasonable number of shows per week.”

 Casting for rep also includes a great amount of compromise. 

“It’s about finding the best combination of people. It’s a collaboration, like everything we do, so there’s a lot of back and forth with the show directors and actors,” DiAntonio said. 

If an actor isn’t cast, it isn’t because they aren’t talented. 

“We see a tremendous number of really talented people that we end up not being able to hire. It’s very nuanced,” DiAntonio stressed. “The needs of a show can really fluctuate, so if we’re doing a musical, we may need actors who can sing certain parts or play instruments. Or, a play may require certain stage combat skills, or dance, or verse skills.”

Ultimately, it’s about finding the best combination of company members for the specific season.

“You want artists that will grow together and support each other, and that’s really in the fabric [of the Festival] that’s been cultivated over the years,” DiAntonio said. 

The Rewards of Casting for Rep

As each track is established, the difficult matrix of casting starts sliding into place. 

“It’s daunting at first, but it’s a good feeling when everything starts to come together in a beautiful way [like a puzzle],” DiAntonio said.

One of the most rewarding parts for the casting team is getting to experience the talent the actors share.

“It can be tedious at times reviewing so many audition videos. But it’s thrilling to discover new exciting talent who are passionate about the work we are doing and want to be a part of the Festival,” DiAntonio said.  

Repertory theatre can be rewarding for the actors, too. 

“I’ve heard many actors say that it is fun to get to play a dark drama one night and sometimes in another afternoon, you’re doing a musical or a comedy,” Searle explained. “So it’s fun to not have to do the same thing every single performance and to be able to work all of those muscles across the season. And it’s great for our audience to see those actors in [very different roles].”

Casting for repertory theatre is not easy, as it is both an art and a science. Creating a cohesive and collaborative ensemble is vital to the success of the season. 

Curious who was cast for our 2025 season? Stay tuned for our cast announcements coming soon!

Diving into Dramaturgy: Meet Isabel Smith-Bernstein 

By Liz Armstrong, guest writer 

Dramaturgy is a vital part of theatre, and Isabel Smith-Bernstein has been fulfilling this role at the Festival since 2015. Sometimes called the “experts on the play,” dramaturgs are there to support the director’s vision of the play and give context. 

“We have to understand what I call the four contexts of dramaturgy: when a play is written, when a play is set by the playwright, when a play is set by the director, and when the play is being performed,” Smith-Bernstein explained. “The ‘whens’ also function like ‘whys’ and it’s my job to understand how those contexts speak to each other.”

About Smith-Bernstein 

Smith-Bernstein defined dramaturgy as a job in contexts in storytelling. It makes sense that she pursued dramaturgy, as storytelling has always been a part of her life. As a child, her dad would make up “Ferdinand” stories at bedtime. At age three, Smith-Bernstein was exposed to more storytelling by attending a family-friendly Shakespeare-in-the-park. In just first grade, she participated in a musical adaptation of Tuck Everlasting. 

“Shakespeare came into my life in middle school, and it was an important part of my speech therapy,” Smith-Bernstein explained. “I’ve had a stutter my whole life and lines of verse were great for practicing speech therapy techniques.” 

What better way to help with speech than utilizing the work of The Bard?

In high school, she acted and unknowingly took on the role of dramaturgy. In college, Smith-Bernstein originally planned on becoming a lawyer, but that quickly changed.

“While I was there, I was introduced to the world of dramaturgy and I double-majored in dramaturgy and history,” Smith-Bernstein said. 

Later, she received a master’s in English Literature. Her educational journey didn’t stop there, though, and Smith-Bernstein completed her Ph. D. in performance in 2022.

“My dissertation, ‘Views of Tyranny in the United States Through Shakespeare’s Richard III, 1749-2022,’ was born while working on Richard III at the Folger Shakespeare Library in 2013 and I was working on Richard III [at the Festival] while I was completing it,” Smith-Bernstein said.

The Festival has been Smith-Bernstein’s artistic home for a decade now, and she wouldn’t have it any other way. 

“The Festival has a deep commitment to Shakespeare, and it’s a gift to be able to make plays with great people,” she said.  

Diving into Dramaturgy 

As a dramaturg, Smith-Bernstein will help with the world-building, cut parts of the script, do research, and summarize that research into an “actor packet” for the whole team working on the play to reference. She also attends rehearsals to answer contextual questions and make storytelling notes.

Smith-Bernstein clears up the expectation that she is supposed to be the “historical police.” 

“This can be the job if you’re working on a period piece and the goal is historical accuracy, but with Shakespeare it is actually rarely that,” Smith-Bernstein explained. “Shakespeare wasn’t historically accurate at all."

Ultimately, Shakespeare and Smith-Bernstein are both interested in how to tell the best story, the best way possible. For the dramaturg, this means focusing on consistency. 

“Does the internal logic of the world that the whole team has created with the director make sense? Does it track through the entire play? An example of this is the witches in [this season’s] Macbeth,” Smith-Bernstein said. “We’ve discussed just how magical they are and the rules and limitations of the magic. The world of the play has to be consistent rather than accurate to make it immersive and believable.” 

Studying Seminar Directing

Smith-Bernstein has been the dramaturg at the Festival since 2015. Some of her favorite plays at the Festival include The Winter’s Tale in 2024, Richard III in 2021, and Hamlet in 2019. She will be the dramaturg this upcoming season for As You like it, Macbeth, and Antony and Cleopatra. But her role doesn’t stop there. Smith-Bernstein also serves as Festival Seminar Director. 

After every single performance, the Festival hosts talkbacks the next morning in the Seminar Grove, where patrons who attended the previous day’s performance can come together to discuss the plays.

“No other theater in the United States has talkbacks following every performance. As Seminar Director, I facilitate this discussion,” Smith-Bernstein said. “I start with some background on the play, and then open up the Grove for questions and feedback. We have a deep discussion about the plays and the performances and what they mean to us.”

A bit of a biased fan of the shows in the Engelstad Shakespeare Theatre, Smith-Bernstein encourages patrons to attend this season. 

“The humanities, and theatre in particular, are vital to our nourishment and development as human beings in society. Through theatre, we are exposed to perspectives and ideas that differ from our own, and so we are taught empathy,” Smith-Bernstein said. 

“This season will be moving, exciting, and entertaining.” 

To purchase tickets this season, visit bard.org.

Festival Educational Offerings for Educators

Teachers, did you know that the Festival has summer classes just for you? You can expand your Shakespeare and theatre knowledge, come away from these onsite opportunities with lesson plans and hands-on experience to enrich your classrooms, and receive professional development credits for completing a course. 

“These camps are a fun and inspiring way to not only gear up for the coming school year, but also refresh, and refill your own cup before embarking on teaching adventures of the Fall,” says Education Director Stewart Shelley. 

Teaching Shakespeare 
July 14-17, 2025

Specifically for English and Theatre educators, this in-person course provides active and engaging classroom approaches for any teacher of Shakespeare text. Tuition is $300 and includes a ticket to four plays and three Southern Utah University professional development credits. 

COURSE DESCRIPTION
This course is aimed at providing active and engaging classroom approaches to language arts and theatre teachers and others who teach Shakespeare’s text - or really any classical texts. It’s all about speaking, hearing, and seeing the text on its feet rather than simply reading it. The course will teach you how to create learning activities to get your students out from behind their desks and explore connections to contemporary themes, characters, and stories that keep your students’ attention and help them find relevance in classical literature texts.

INTENDED AUDIENCE
Teachers in English Language Arts and/or Theatre or who teach Shakespeare in other forms or classes:

● Those who may be anxious about teaching Shakespeare.

● Those who want to better understand Shakespeare’s writing tools.

● Those who are willing to adopt an active, performative, student-centered mindset in approaching teaching Shakespeare and other classical texts in the classroom.

● Those who would like to explore how to use simple performance tools/techniques to actively engage students with Shakespeare’s texts.

● Those who are seeking to fulfill English or Theatre endorsement requirements/competencies such as: ELA - Critically Interpreting Texts and Speaking and Listening; Theatre - Contextualize Dramatic Text: Script Analysis and Theatre History

EXPECTED LEARNING OUTCOMES
Participants will be able to demonstrate their understanding of teaching Shakespeare in the classroom by participating in various exercises and activities surrounding Shakespeare’s text and exploring the curriculum created by the instructor.

● This course will consist of direct instruction, interaction with Festival company, learning activities and assessments that can be replicated by participants in Language Arts classes, Theatre classes, or other authentic educational settings.

● The instructor will incorporate pedagogy principles and demonstrate instructional strategies while teaching methodology; lesson planning evidence, handouts, and assessments will be provided as resources for participants.

● All course materials and instruction will be practical and shared with teachers so they can take them directly back to the classroom and make them applicable for their teaching situation and students.

Click here to register. Registration closes June 30, 2025. 

Tech for Teachers 
July 21-26, 2025

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. You will take home ready-to-teach tech theatre lesson plans and files of resources. Tuition includes a ticket to four plays, the opportunity to watch post-production scenic changeovers, and three Southern Utah University Professional Development Credits. 

Click here to register. Registration closes July 4, 2025.

It’s not too early to purchase tickets for the 2025 season of the Utah Shakespeare Festival. The play lineup for the 64th season includes Shakespeare’s Macbeth, Antony and Cleopatra, As You Like It, along with the Tony Award-winning musical A Gentleman’s Guide to Love and Murder, the classic The Importance of Being Earnest, the touching Steel Magnolias, and the nostalgic Dear Jack, Dear Louise. Get tickets by clicking here, or call the ticket office at (800) PLAYTIX.