Behind-the-Scenes: How The Play That Goes Wrong Went Right

By Liz Armstrong

Director Geoffrey Kent said that The Play That Goes Wrong is one of the funniest comedies written in the past 10 years. As an accessible, family-friendly play that will have your sides hurting from laughter, it’s a must-see this season.

But for those involved, this play was extremely challenging to pull off. Because it is so technically complex and physically demanding, we chatted with Kent and Properties Director Ben Hohman to find out how they made The Play That Goes Wrong. . . go right.

Without giving too much away, we’ll let you in on part of the behind-the-scenes process.

“We have a hard time talking about The Play That Goes Wrong, because the premise of the play is given in the title, but we don’t want to give spoilers,” Kent warned.

However, he and Hohman shared some fun facts that won’t interfere with the element of the surprises the play brings.

Starting Early

Kent noted that something that made the process run smoothly was starting on the show as early as possible.

“We knew we had to get ahead of it. We had our first design meeting in August of 2022,” Kent said. “[The Festival] was still producing Clue, and we had already designed the set and costumes.”

Several decisions were made very early, such as prioritizing and spending extra time on actor safety.

“We spent lots of extra time before our typical ‘tech’ period working with the actors, design team, director, and stage management, both in the rehearsal room and on set to work through the more complicated technical elements,” Hohman said. “[This way], we had time to adjust and improve the items and action to keep storytelling front and center while also ensuring actor and crew safety.”

As Kent mentioned, set design was planned out before the 2022 season at the Festival had even closed.

“We decided early on to not employ any motors, solenoids, or other electronics to pull off the tricks, so everything is manually controlled by crew people backstage,” Hohman noted.

In the long run, this decision was made because of the goal of consistency. But, because of this decision, the research and development that went into the creation of all the scenery, props, costumes, and effects was much more intense.

Sound Effects

“We do a lot of extensive impact, with sound effects using slapsticks offstage,” Kent said.

The problem was, that once they were on set, they discovered they could no longer hear the sound effects, and those operating the slapsticks couldn’t see what was happening in the play.

“To solve this problem, we drilled small holes in the set, where the sound effect actors can look through to see what’s going on,” Kent said.

The Props

Kent calls the chaise lounge in the show a “diva prop” because it takes up more time and attention than other aspects of the set.

“The chaise gets thrown around, fallen on, hidden behind, tripped over, climbed upon, and more. This means that it had to be light and strong, and still look like a period piece,” Kent said.

So the props department engineered it with this in mind; but in rehearsal, the actors kept breaking it. Eventually, the chaise was perfected.

“The chaise is built out of aluminum and is capable of doing much more than it [would normally] do,” Kent said.

Hohman said that through the rehearsal process, many items held up better than expected, while others required the making of several duplicates to get through the run of the show.

“Almost everything in the show we have multiple copies of, because of the abuse the set goes through in the play,” Kent said. “Everything had to be designed to go through 80 performances.”

To prioritize actor safety, some alterations to the set were made, one of which was the rug in the center of the stage.

“The rug is padded, because so many actors fall down on it, so we had to give them a little bit of protection to make it safe for them,” Kent said.

The Challenges

There’s something to be said about producing a play where everything goes wrong, but making sure that behind-the-scenes, everything else is going right.

“The show is frustrating to me because it makes it look like all the technical staff don’t know how to do their jobs, though making it look that way is really difficult to pull off,” Hohman said candidly.

Hohman said that The Play That Goes Wrong is one of the most challenging he’s encountered in over 30 years at the Festival.

“Everything needs to be designed to look like it was done by a community theater, which is a bit lower level of detail than we are used to creating,” Hohman said. “But it also needs to hold up to major abuse for months.”

Producing the show in repertory, nearly 80 times throughout the season, brought a whole new set of obstacles.

“Most people who do this show attach the set to their theater to help with the physics on the set, but our set is on casters and has to roll into storage [because our shows rotate in repertory],” Hohman said. “So the amount of work the scenery department had to do to figure out the stresses on the set and to counteract that was pretty extraordinary.”

Ultimately, the show is something that all involved are extremely proud of.

“I do appreciate that the audience doesn’t know what is supposed to (scripted) go wrong, and what on any given day does (mistake) go wrong,” Hohman said. “That is due to a remarkable cast and crew who keeps the story moving, as well as a great amount of preparation and planning from every department for a year.”

Hohman noted that this was followed by an amazing rehearsal period and a willing design team.

“[We were able to] pull together a show that is funny, charming, unexpected, and delightful, while also at times terrifying for theater people to watch,” Hohman said.

With just three weeks left to see the show, don’t wait to purchase tickets. Visit bard.org or call the ticket office at 800-PLAYTIX to get yours.

Q&A with Director Geoffrey Kent on The Play That Goes Wrong

Geoffrey Kent directed this season’s production of The Play That Goes Wrong. This is Kent’s fourth season at the Utah Shakespeare Festival, with three seasons under his belt as an actor and fight director. 

Kent first appeared at the Festival in The Complete Works of William Shakespeare (Complete) (2009). He returned as Oliver in As You Like It (2017), Billy Bones in Treasure Island (2017), and the Prince of Arragon in The Merchant of Venice (2018). He has also worked at DCPA Broadway, Colorado Shakespeare Festival, and Arvada Center. Kent received a Henry Award for Excellence in Fight Direction. His teaching credits include University of Northern Colorado, University of Denver, and Asolo Conservatory. 

This is the first time The Play That Goes Wrong has ever been produced in a repertory theatre, which is a big deal. This means that the play alternates alongside other productions. This is a difficult task, as the play is extremely physically demanding on the set, actors, and staff involved. 

The Festival had the chance to visit with Kent about the exciting and challenging experience of directing such a difficult––and ridiculously fun––show. 

The Festival: The Play That Goes Wrong is such a comical and fun play. Why should our patrons see it? 

Kent: It’s one of the funniest plays written in the last 10 years, and you never want to pass up an opportunity to see a great comedy. Quite frankly, great comedies are harder to find than great tragedies.

And, it requires no prior knowledge to understand it, you can just show up and have a good time. It’s completely accessible and perfect for families. You can bring your kids and they’ll laugh alongside you. 

The Festival: As playgoers, what should we watch for that would help us enjoy it even more? 

Kent: The tricks can kind of upstage the story, if the audience is waiting for the next thing to go wrong versus how the characters are surviving. It will be [most interesting] for the audience to watch how our actors as the characters in the play do their best to keep the story alive and running—when what they should probably be doing is stopping. 

The Festival: Are there any special “Easter eggs” you have implemented into the play as a director?

Kent: The portrait of the dog on the wall is of my dog that I lost in March to an accident. His name is Monty, and I sent a photo of him to our scenic designer Jason Lajka and he designed the portrait. It always brings a smile to my face when I see it. 

Later, when the dog character is missing, as written in the script, Max is supposed to come running out with an invisible dog on a leash, but our Costume Designer Lauren T. Roark and Actor Jim Poulos together came up with this idea of, “What if he takes this big raccoon coat that he wears and rips apart and uses that as a solution to the problem?” We created a lot of humor with that, that a lot of other productions don’t have. 

The Festival: What do you hope audience members walk away with from this production?

Kent: I hope their sides hurt from laughing. I hope that they have faith in the theatrical process. The motto we’ve built theatre around is “the show must go on,” and when it’s all over [these characters] have made it to the end of the play. 

There’s something to be said about watching this team overcome hundreds of obstacles and still manage to get to the last line of the play, and I hope that the audience members feel proud and satisfied that they did that. 

The Festival: What were the largests challenges of directing this play? 

Kent: Physical safety. In a show that is this physically demanding, we were constantly asking ourselves, “Can we do this 80 times?” It is the most technically complex show I have ever directed. Every single page required specific choreography for safety or comedy. 

The Festival: Why did you enjoy directing this show? 

Kent: It felt like a dare. What draws me to theatre are plays that feel like they’re challenging you to stage it and try and pull this off. What excited me about this play was the challenge of creating a physical story this complicated that could be done safely all the way through October.

Also, I am drawn to laughter because it engenders empathy. Once someone makes you laugh, you care about them. [The actors] are all so funny, and so you care about them, and when everything goes wrong, you continue to care about them and go on that journey with them. 

The Festival: How long have you been directing? Why do you continue to direct? 

Kent: I’ve been directing for about 15 years. What drew me to directing was fight direction, because as a fight director, I had to interact with not just the actors and directors, but props, costumes, and more. Eventually that made me want a wider lens, because I was pushing at the boundaries as a fight director. I wanted to be the orchestrator of a complete story instead of simply part of one. 

To purchase tickets to The Play That Goes Wrong this season, visit bard.org or call 800-PLAYTIX. 

For more information on Kent, visit his website at geoffreykent.com or on Instagram @geoffreykent.

Fall Food Drive: Get Half-Off Tickets!

The Utah Shakespeare Festival is back with its 19th annual Fall Food Drive, taking place now through October 7.

This year, the Festival is collaborating with the Iron County Care and Share to make a meaningful impact in the community by supplying food to those who need it most. And by helping, you can get half-price tickets.

Residents of Iron, Beaver, Washington, Kane, Garfield, Piute, and Lincoln counties are invited to donate. For every five non-perishable food items donated, guests receive a half-price ticket to a play of their choice.

This special offer will replace the standard local discount for the duration of the food drive. There is no limit on the number of half-off tickets local guests can get. Please note that Premier Seating is not available for this promotion.

“Supporting local food and homeless shelters is not just an act of charity; it’s a powerful statement of our community’s compassion and resilience,” Director of Development and Communication Donn Jersey said. “When nourishing our neighbors in need, we nurture the bonds that hold us together, creating a stronger, more caring society for all.”

Iron County Care and Share is a private, non-profit organization dedicated to providing compassionate assistance and resources to individuals and families in need, offering them exits from crises and pathways to increase their stability and self-sufficiency.

It was founded in 1984 by local churches to address hunger in the community, and almost 40 years later, the Care and Share is still working to help those in need.

Executive Director of the Iron County Care and Share James Jetton expressed that Iron County faces the second-highest poverty rate in Utah, which means many face food insecurity daily.

“Through food drives, we come together, offering a helping hand to those in need,” Jetton said. “It’s not about being heroes, but about being good neighbors, ensuring everyone has a seat at the table.”

This season, there’s a heightened demand for items like canned meat, peanut butter, and beans. The pantry is also in need of pasta and rice.

The Festival typically receives over 3,500 pounds of food each year for the Iron County Care and Share. Hosting its 19th annual Fall Food Drive, the hope is to gather just as much - if not more - to contribute.

To participate, bring food items and proof of residency to the Festival ticket office, open 10 am–5 pm on Mondays and 10 am–8 pm Tuesday through Saturday. Phone service ends at 7pm. Seats may be reserved in advance. Tickets must be purchased in person, as this offer is not available online. For questions, call 800-PLAYTIX.

“The Festival cares deeply about our community. Please join us in supporting our local Care and Share,” Jersey said.

Monetary donations are accepted as well. Click here to donate to the Iron County Care and Share.

Festival Feature: Meet Terry Alexander, Stage Manager for Jane Austen’s Emma The Musical

Terry Alexander has been a part of the Utah Shakespeare Festival’s seasonal artistic staff for a total of 22 years. This season is the stage manager for Jane Austen’s Emma The Musical in the Randall L. Jones Theatre. 

“I love coming back here and working; it’s kind of my work home,” Alexander said. “It’s where I cut my teeth and have learned what I know about stage management.” 

About Terry Alexander 

Alexander received two bachelor’s degrees, one in business from the University of North Carolina at Chapel Hill, and another in theatre performance from University of South Florida, Tampa. 

His first year as a production assistant at the Festival was in 1994, when he was in graduate school at University of Delaware. Although Alexander was originally accepted into the acting program at UD, he transferred into stage management, where he earned his Master of Fine Arts.

The first shows he stage managed were Henry V and The Boyfriend in 1997. Alexander loves stage management because he gets to be both creative and technical. 

“I get to use both sides of my brain,” Alexander said. “I have a business and performance background, and so I get to use skills from both. I can contribute artistically, as well as in the maintenance of the show.”

Some of his favorite shows he has stage managed at the Festival include Stones in His Pockets (2005), The Foreigner (2018), Hamlet (2019), and The Pirates of Penzance (2001 and 2021).

About Stage Management 

The job of a stage manager is critical to the production process and changes throughout the season. At the beginning, Alexander strives to create an environment where directors and actors are free to be creative in the rehearsal room.

“I make sure that the time we have in rehearsal is used efficiently, that actors know when they’re going to be needed, and act as eyes and ears for the designers,” Alexander said. 

He also acts as a “hub” of communication between the various departments at the Festival that affect the production on which he is working. 

“I write rehearsal reports, where I include questions from directors, what happens in rehearsal, and more,” Alexander said. 

In the reports, Alexander will include notes about making alterations to costumes, when and where scenery or props should be moved on and offstage, and many other details. As stage manager, it is critical to communicate and keep track of specifics such as these during the entire process.

During technical rehearsals, Alexander works with the designers to coordinate lighting and sound effects. It’s during technical rehearsals that Alexander makes sure that costume, prop, and scenery changes run smoothly. 

“After the director leaves once the show is open, the artistic integrity of the show is in my hands,” Alexander said. “The show continues to grow, and the actors do too as their relationships with the characters deepen. I oversee that their ideas still fit in with the director’s vision.” 

In attendance at every performance of Emma throughout the season, Alexander will be behind-the-scenes with his headset, calling cues and helping run the show. 

About Jane Austen’s Emma The Musical

“For Emma, I have about 400 light cues,” Alexander said. “I’ll call the cues and then the board operator will hit the button that the lighting designer has programmed into the show, which will change the lights into the next look.” The same process is followed for scenery changes as well.

Alexander noted he is constantly talking into the headset, communicating lighting and scenery cues. He also completes performance reports, which is a summary of the production and includes things that need attention or that may have gone wrong, such as costume mishaps. 

Although he is working a show at the Randall L. Jones Theatre every day, Monday through Saturday throughout the season, Alexander said that performances aren’t repetitive because he is keeping an eye on so many things. 

“Every show is different,” Alexander said. 

And Alexander loves his job. He’s felt fortunate to work on Emma this year. 

“I get to go to work every day and be around people who enjoy the same things I do. It’s something that you don’t get in every profession,” Alexander said. “I feel very fortunate to be here at this time with these people, as the interactions I have with them makes me a better person.” 

Alexander loves Emma in particular because the play points out how complex it is to be a human being. 

“We want to tell stories that resonate with people in different ways, and Emma helps us look at ourselves in a lighter way—we can laugh at ourselves and our foibles,” Alexander said. 

Ultimately, Alexander likes being a storyteller and being a part of the communal aspect that theatre provides. 

“Theatre brings forth what it is to be human in a very physical and visceral way…that’s what brings me back to loving what I do—being able to contribute to that.” 

Don’t miss out on this season’s Jane Austen’s Emma The Musical, The Play That Goes Wrong, Coriolanus, and Timon of Athens, which run through October 7. For more information, to purchase tickets, and more, visit bard.org or call 1-800-PLAYTIX.

SUU Students Receive Opportunity of a Lifetime Through Fellowship Program

Each year, the Utah Shakespeare Festival selects a group of Southern Utah University students to be a part of the SUU Fellowship Program, some in acting, others in technical theatre. This gives the university students the chance to perform with or work alongside theatre professionals before they even graduate. 

“My favorite part of the Festival this year has been getting to see all of these brilliant artists do what they are passionate about,” SUU Fellow Zina Johnstun said. “The attention to detail that these performers have to make their characters fully fleshed-out is astounding.” 

Students interested in joining the program send in video auditions and then must wait months to find out if they have been accepted into the program. Many of the roles of SUU Fellows in acting are to work as understudies, memorizing multiple parts in different plays. Oftentimes, it’s a demanding and thankless job—but the hard work is worth it, as students get the opportunity of a lifetime, working at a Tony Award-winning and world-renowned theater alongside professional actors.

 Meet the Acting Fellows

This year, the acting fellows chosen for the 2023 season are Ashley Aquino, Zina Johnstun, Jarod D. Lewis, Avery Peterson, and Matthew Wangemann. 

Ashley Aquino was cast as Mustardseed in A Midsummer Night’s Dream and Featured Performer for The Greenshow (front row in green in the photo above). She is also an understudy for Lady Montague/Paris’s Page/ensemble in Romeo and Juliet.

Zina Johnstun landed the roles of Fiddlefern in A Midsummer Night’s Dream, ensemble in Romeo and Juliet, and understudy for Flute/Snug in A Midsummer Night’s Dream and Balthasar/Gregory in Romeo and Juliet. 

“I believe that theatre is essential to humanity. It is a way of storytelling that one can physically see the emotions and experiences that are different from [oneself],” Johnstun said. “This creates an empathy that we need more of in this world.” 

Jarod D. Lewis is Gregory in Romeo and Juliet, while understudying an astounding ten roles in A Midsummer Night’s Dream, Romeo and Juliet, Coriolanus, and Timon of Athens. 

“Keeping all those tracks straight in my head has truly been a huge task,” Lewis said. “This experience has given me confidence in my ability to learn quickly and hold lots of actor information all at once.” 

Avery Peterson is in Romeo and Juliet as ensemble and The Greenshow as Featured Performer (back row in blue in the photo above), and is an understudy for five roles between Jane Austen’s Emma the Musical and A Midsummer Night’s Dream. 

“I have made valuable connections that I hope will last a lifetime, and learned so much from so many talented professionals,” Peterson said. “It’s easy to be intimidated by such talent, especially when it’s your first professional gig, but I’m fortunate to say that I got to work with some of the kindest, most supportive performers around.” 

Peterson noted that she was asked to sign her autograph for two girls in the audience. 

“I used to practice my signature when I was little, in hopes that someone would think I was cool enough to ask for an autograph,” Peterson said. “It felt like a full-circle moment, since I remember asking actors for their autographs growing up, too.” 

Matthew Wangemann was cast as Thistleweed in A Midsummer Night’s Dream, Featured Performer in The Greenshow (back row in the hat in the photo above) and various understudy roles in A Midsummer Night’s Dream and Romeo and Juliet. 

“I had the unique opportunity to cover a role for a couple weeks while a replacement was found, and the amount of love and support I received from the cast and crew was overwhelming,” Wangemann said. “I felt very seen and appreciated.”

Meet the Tech Fellows

For students interested in other areas of theatre, the Fellowship Program also selects five students to help in the technical area. The following were selected for the 2023 season: Mikayla Adams (hair and makeup/run crew), Nora Asplund (wardrobe), Ro Christiansen (carpenter/stage crew), Angella Lopez (carpenter), and Dora Watkins (production assistant to stage management and youth stage manager). 

Nora Asplund expressed her gratitude for making lifelong friends at the Festival this season, and for learning valuable life lessons, one of which was the importance of advocating for oneself.

“I had to spend a lot of time learning that I was just as important as the shows are,” Asplund said. “If the members of the cast and crew are not at their best, the show will never be.”

This season, Asplund spent a lot of time creating and modifying costumes for Coriolanus and Romeo and Juliet. As the season progressed, she switched to primarily working on The Greenshow, where she was in charge of laundry, repairs, and making sure the costumes always looked their best. 

“My primary focus is making sure the designer’s vision is upheld throughout the entire run of the show,” Asplund said. 

Asplund believes that theatre is crucial to the world we live in, and that it is an amazing tool both for those who create it and those who watch it. 

“Participating in theatre helps increase compassion and promotes an understanding…that is so crucial to living a healthy, happy life,” Asplund said. 

Don’t miss out on witnessing the hard work of these SUU Fellows, so purchase tickets today. 

The 2023 season lineup is Romeo and Juliet, A Midsummer Night’s Dream, A Raisin in the Sun, and The Greenshow which close by September 9; The Play That Goes Wrong, Jane Austen’s Emma The Musical, Coriolanus, and Timon of Athens which run through October 7. For more information, to purchase tickets, and more, visit bard.org or call 1-800-PLAYTIX.

Celebrating 19 Years Of Volunteering: Diane and Steve Sharp on Words Cubed

Diane and Steve Sharp have spent countless hours volunteering at the Utah Shakespeare Festival, and it is with grateful hearts that we celebrate their nineteenth year of work, especially highlighting their time and dedication spent on Words Cubed.

“The Sharps have been the lifeblood of the Festival’s new play program for many years,” Executive Managing Director Michael Bahr said. 

About Words Cubed

Words Cubed is the Utah Shakespeare Festival’s new play program that seeks to nurture and develop openly-submitted, solicited, and commissioned plays by providing a professionally supported platform for readings, workshops, and fully realized productions. 

Part of an ongoing commitment to create a diverse body of work, playwrights spend a week at the Festival in rehearsals, working closely with actors, directors, the Sharps, and more, refining and rewriting their plays. 

This past August Words Cubed featured two new plays. The Value by Nicholas Dunn, directed by Elijah Alexander, featured a cast with Dylan J. Fleming, Tim Fullerton, Alex Keiper, James Ryen, and Marco Antonio Vega. Horse Thief by Christine Whitley was directed by Lisa Quoresimo and featured Jasmine Bracey, Nathan Hosner, and Marissa Swanner. 

The Beginning 

The Sharps first started attending the Festival in 1992, although their love for theatre started long before that. 

“I took Diane to a play right after we were married in Salt Lake,” Steve said. “We’ve been married 57 years. We’ve always loved live theatre, but never wanted to be involved in it.” 

But that changed in 2005. 

“We told Scott Phillips and [late Festival founder] Fred C. Adams that the Festival had given us so much, and now that we were both retired, we wanted to give back,” Diane said.  

So, the Sharps began their volunteer work in the new play program. The couple candidly admitted that this is because they weren’t Shakespeare fans at first. That, of course, changed over the years, and although they now enjoy Shakespeare productions, their devotion to new plays stayed consistent. 

“It’s been a real joy in our lives,” Steve said. “If you would have asked me 20 years ago if I would be doing this, I would’ve said you were crazy. But we have felt so embraced, and volunteering is our way to give back for all the good times we’ve had at the Festival.”

As the new play program developed and grew into what is now Words Cubed—and as the Festival has grown—the Sharps’ responsibilities shifted.

“No job is beneath them, from preparing apartments, transporting playwrights, copying scripts, preparing and setting up rehearsal, and house managing,” Bahr said. “They understand and respect the process of play development and cultivation of new work and are eager to do anything to assist.”

From initially taking on a company management role, volunteering at the Shakespeare Competition, and more, they now primarily serve as hosts for the new playwrights visiting. The goal through it all has been one thing—to give back.

“Words Cubed is a Gift” 

“Little did we know, this volunteer work would change our lives,” Diane said. 

Although the couple spends half the year in a retirement community in Arizona, they return to  Cedar City from approximately March to September to volunteer at the Festival. But even out of state, they are still involved with theatre. 

“There’s community theatre [in Arizona], and Steve works the light board and I work as an assistant director and producer,” Diane said. “It’s been so rewarding, and we realized how much we’ve learned from the Festival.” 

The Sharps explained that Words Cubed has only deepened their love for live theatre, as knowing what goes on behind the scenes has taught them to appreciate productions more fully. 

“We know now what it takes to put a play together, and can point out exactly why we like [certain plays],” Diane said. 

Another joy the program gives the Sharps is discovering new talent. Because the program seeks out contemporary playwrights, the couple enjoys how Words Cubed gives these playwrights hope and highlights their up-and-coming work in theatre.

“We discover the future playwrights who are going to make a difference, and [in turn] their work is a gift to us,” Diane said. 

Although they have formed a fondness for most of the plays that have come through the program because of their close work with the playwrights, Diane especially loves Shunned by Larry Parr, while one of Steve’s favorites is How to Fight Loneliness by Neil LaBute.

However, it’s not just their love for the plays, the new play program, and live theatre that keeps them coming back, but the relationships they have made through the years at the Festival.

“It’s been phenomenal. We’ve made amazing friendships with patrons, actors, and playwrights,” Diane said. 

The Festival echoes these sentiments—expressing our gratitude for their work and friendship for nearly twenty years. Interim Artistic Director and Director of New Play Development Derek Charles Livingston expressed his gratitude profusely. 

“Diane and Steve’s dedication [to the Festival and the new play program] is not just tremendous—but invaluable,” Livingston said. “Not only do they bring a ‘We’ll do anything spirit,’ and ethos, their longevity brings an institutional knowledge that rivals that of anyone on staff when it comes to Words Cubed work.” 

For more information on the Words Cubed program that the Sharps have shaped, visit bard.org/plays/words-cubed.

Utah Shakespeare Festival Unveils New Leadership Team

John DiAntonio as Artistic Director and Michael Bahr as Executive Managing Director

Utah Shakespeare Festival (USF) is pleased to announce John DiAntonio as its new Artistic Director and Michael Bahr as Executive Managing Director. DiAntonio is currently the Producing Artistic Director at Creede Repertory Theatre (CRT) in Creede, Colorado, and brings seven years of executive leadership experience with a rotating repertory company in a rural destination setting. 

Bahr has been serving as USF’s Interim Managing Director since November of 2022 and previously served as USF’s Education Director for over twenty years.

DiAntonio will join USF’s leadership team later this year with the newly appointed Bahr. Derek Charles Livingston, currently serving as the Festival’s Interim Artistic Director, will continue as Artistic Associate and Director of New Play Development. 

“John has a great love for Shakespeare, experience with rotating repertory, and embraces the complexity and sustainability of theatrical processes,” Bahr says. “He will be a great asset to our present ensemble of artists, artisans, staff members, volunteers, and the community. I’m thrilled that he is joining our artistic team, building on the legacy of the past and illuminating our bright future.”

Born and raised in Pittsburgh, Pennsylvania, DiAntonio discovered theatre at age 16 through improvisation and the works of Shakespeare. He received his BA in Theatre and Psychology from Case Western University in Cleveland, Ohio. He earned his MFA in acting from the National Theatre Conservatory in Denver, Colorado, with additional training in classical acting from the British American Drama Academy in London. A member of Actors Equity Association, he and his wife Caitlin Wise DiAntonio, an actor who came up through USF’s education programming as a participant in its annual Shakespeare Competition, lived in New York for six years before beginning his leadership career with CRT. Before this, he was a freelance actor, director, playwright, and teacher. Under his leadership, CRT has achieved both artistic and financial success. DiAntonio and CRT are celebrated by two articles in the New York Times: “Friday Night Footlights: How Theatre Bonds a Colorado Town” and “In a Small Mountain Town, a Beloved Theatre Company Prevails.”

“What an honor to join the extraordinary artists of the Utah Shakespeare Festival,” says DiAntonio. “I cannot wait to connect with the Cedar City community, recruit more theatre lovers, and bring the magic of the Bard to the stage as we embark on the 63rd season.”

“​From a board member’s perspective, John has a wonderful balance of vision for USF accompanied by proven administrative skills and artistic leadership,” said Bryan Watabe, immediate past board chair and co-chair of the search committee. “I believe the Festival will thrive with him as our Artistic Director.”

In addition, Bahr excels at community building and stresses that all Festival productions, orientations, seminars, and Greenshows are designed to bring artists and the community together to expand perspectives.

“I am so pleased Michael has accepted this important appointment," said Southern Utah University President Mindy Benson. “He has a long history of audience development, creative programming, and cultivating connections to art not only within the community and on campus but with patrons, donors, and those with whom he works daily. As a result, I have confidence and optimism about the future of the Festival.”

Utah Shakespeare Festival’s 2023 season presents Shakespeare’s Romeo and Juliet and A Midsummer Night’s Dream, and the American classic A Raisin in the Sun, which close by September 9; the hilarious The Play That Goes Wrong, the lovely Jane Austen’s Emma The Musical, and Shakespeare’s Coriolanus and Timon of Athens run through October 7. These productions are accompanied by other enriching and educational experiences such as backstage tours, orientations, literary and production seminars, and the ever-popular Greenshow. For more information and to purchase tickets, visit bard.org or call 1-800-PLAYTIX.

A More Relaxed and Inclusive Theatre Environment: Half-Off Sensory-Friendly/All-Access Performances

The Utah Shakespeare Festival is committed to offering a theatre-going experience in which everyone feels confident and comfortable. It is with this commitment in mind that the Festival is offering two Sensory-Friendly/All-Access performances during the 2023 season at a reduced ticket price. 

These are performances designed for individuals with sensory sensitivities, those on the autism spectrum, those with other physical and neurodiversities, and anyone who would enjoy attending live theatre in a more flexible and relaxed environment. Our team is available to answer any questions and to help ensure a positive theatre experience for all: please feel free to call the Education Department at 435-865-8333.

Tickets will be fifty percent off, and patrons can see A Midsummer Night’s Dream at 8:00 pm on September 4 in the outdoor Engelstad Shakespeare Theatre, or Jane Austen’s Emma The Musical at 2:00 pm on September 9 in the indoor Randall L. Jones Theatre. To purchase tickets, contact the box office at 800-PLAYTIX.

What to Expect
For those attending these performances, visit our Accessibility Resources page for a full list of what to expect and what is being offered.

“We’re really not making changes to the shows, we’re just adjusting certain aspects to make the theatre-going experience more accessible,” Education Director Katherine Norman said.

Some of these changes include: a relaxed audience setting that encourages and embraces movement and noise, house lights staying partially on, closed captioning, additional signs around the theatre for more ease of navigation, designated quiet spaces for guests who would like a break, and more. 

Additionally, the theatres will be open prior to performances for anyone who would like to visit the space in a quieter setting before the performance. Specific times are listed on the Accessibility Resources page. Patrons may also find these social narratives and this video story helpful to see everything they need to know before attending. 

Guests will also have the opportunity to meet actors in the lobby following the Emma performance. At the performance of A Midsummer Night’s Dream, there will be a sensory table, where guests will be able to interact with items from the production, like pieces of Oberon’s shirt provided from the Costume Shop. 

Festival Partnerships
In an effort to expand accessibility resources, the Festival is working in partnership with Pink Umbrella Theatre/Stepping Stone Educational Services.

“They are a theatre company completely focused on theatre by and for people, mostly on the autism spectrum, but with all sorts of neurodiversities,” Norman said. “Since that is their expertise, they’ve been supporting us in expanding our offerings.”

Additionally, the Education Department is working directly with an advisory committee of Cedar City community members to make sure the Sensory-Friendly/All-Access performances are benefitting guests in the best way possible. Made up of theatre lovers who are neurodiverse themselves, as well as parents, teachers, and more, it has been a very collaborative process. 

“These community members came to the shows and have offered feedback on what extra resources or supports were needed, or how we could adapt to make guests feel more comfortable,” Norman said. 

For those interested in joining the committee next season, please email knorman@bard.org.

Military Appreciation Days and Sensory-Friendly/All-Access Performances
During the same time, the Festival is also celebrating our Armed Forces by offering free tickets to military personnel for performances from September 4 to 9. Our Military Appreciation Days recognize the invaluable sacrifices, commitment, and unwavering dedication of our veterans and active-duty members.

Eligible patrons—those with a military ID or DD214 form, whether active or veteran—can receive four complimentary tickets per ID to any 2023 show during the specified dates. Please contact the box office to redeem. These tickets can be split across multiple shows or all used for a single performance. Please note, these tickets cannot be redeemed for premier seating sections.

These tickets can be redeemed for Sensory-Friendly/All-Access performances during the same week. Our team is available to answer any questions and to help ensure a memorable theatre experience for all.

The 2023 season lineup is Romeo and Juliet, A Midsummer Night’s Dream, and A Raisin in the Sun which close by September 9; The Play That Goes Wrong, Jane Austen’s Emma The Musical, Coriolanus, and Timon of Athens which run through October 7. For more information, to purchase tickets, and more bard.org or call 1-800-PLAYTIX.

Military Appreciation Days 2023

The Utah Shakespeare Festival is celebrating our Armed Forces by offering free tickets to military personnel for performances from September 4 to 9. Our Military Appreciation Days recognize the invaluable sacrifices, commitment, and unwavering dedication of our veterans and active-duty members.

Eligible patrons—those with a military ID or DD214 form, whether active or veteran—can receive four complimentary tickets per ID to any 2023 show during the specified dates. These tickets can be split across multiple shows or all used for a single performance. Please note, these tickets cannot be redeemed for premier seating sections.

“I’m honored to be the son of a proud Vietnam veteran,” said Donn Jersey, director of development and communication, “and once again the Utah Shakespeare Festival wants to extend a warm welcome and humble thank you to all of those that made sacrifices for our country and every one of us.”

Reserve tickets now by calling 800-PLAYTIX 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.

Military Appreciation Performances Include:

MONDAY (9/4)

• A Raisin in the Sun, 2:00 pm, Randall L. Jones Theatre
• Timon of Athens, 2:00 pm, Anes Studio Theatre (SOLD OUT)
• A Midsummer Night’s Dream, 8:00 pm, Engelstad Shakespeare Theatre
  *Sensory-Friendly/All-Access performance (click here for more details)
• Jane Austen’s Emma the Musical, 8:00 pm, Randall L. Jones Theatre

TUESDAY (9/5)

• The Play That Goes Wrong, 2:00 pm, Randall L. Jones Theatre
• Coriolanus, 2:00 pm, Anes Studio Theatre
• Romeo and Juliet, 8:00 pm, Engelstad Shakespeare Theatre
• A Raisin in the Sun, 8:00 pm, Randall L. Jones Theatre

WEDNESDAY (9/6)

• Jane Austen’s Emma the Musical, 2:00 pm, Randall L. Jones Theatre
• Timon of Athens, 2:00 pm, Anes Studio Theatre
• Romeo and Juliet, 8:00 pm, Engelstad Shakespeare Theatre
• The Play That Goes Wrong, 8:00 pm, Randall L. Jones Theatre

THURSDAY (9/7)

• A Raisin in the Sun, 2:00 pm, Randall L. Jones Theatre
• Coriolanus, 2:00 pm, Anes Studio Theatre
• A Midsummer Night’s Dream, 8:00 pm, Engelstad Shakespeare Theatre
• Jane Austen’s Emma the Musical, 8:00 pm, Randall L. Jones Theatre

FRIDAY(9/8)

• The Play That Goes Wrong, 2:00 pm, Randall L. Jones Theatre
• Timon of Athens, 2:00 pm, Anes Studio Theatre
• Romeo and Juliet, 8:00 pm, Engelstad Shakespeare Theatre - Closing Night
• A Raisin in the Sun, 8:00 pm, Randall L. Jones Theatre - Closing Night

SATURDAY (9/9)

• Jane Austen’s Emma the Musical, 2:00 pm, Randall L. Jones Theatre
  *Sensory-Friendly/All-Access performance (click here for more details)
• Coriolanus, 2:00 pm, Anes Studio Theatre
• A Midsummer Night’s Dream, 8:00 pm, Engelstad Shakespeare Theatre - Closing Night
• The Play That Goes Wrong, 8:00 pm, Randall L. Jones Theatre

(*As noted, in addition to our regular shows, the Festival is also offering two Sensory-Friendly/All-Access performances during this same week. These are performances designed for individuals with sensory sensitivities, those on the autism spectrum, and other neurodiversities. 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 2023 season lineup is Romeo and Juliet, A Midsummer Night’s Dream, and A Raisin in the Sun which close by September 9; The Play That Goes Wrong, Jane Austen’s Emma The Musical, Coriolanus, and Timon of Athens run through October 7. For more information and to purchase tickets, visit bard.org or call 1-800-PLAYTIX.

Festival Offers Affordable and Safe Child Care During Plays

The goal of the Festival’s productions are intended to “entertain, educate, and enrich regional and national audiences.” With that in mind, the Festival offers professional child care, so that busy parents and caretakers may also more easily enjoy the productions. 

For children up to ten years of age, child care is provided for all Festival plays. Because the program is sponsored by The Church of Jesus Christ of Latter-Day Saints Foundation, it is extremely affordable, just $10 per child per play. 

The facility is professionally-staffed, safe, and state-licensed, located just south of the Randall L. Jones Theatre at 123 South 300 West. 

Manager Kris Cooley has worked at Festival Child Care since 1981, although she started caring for children long before that. 

“When I was twelve years old, [our late Founder] Fred C. Adams asked me to tend kids in his office,” Cooley said. “It was always his vision to have child care at the Festival.”

That vision became a reality, and Cooley has watched children over the years grow up and return to the Festival, bringing their own kids to child care. 

“They trust their kids to us, which is their most treasured possession, so you create a bond with the families,” Cooley said. “We’ve received wedding and graduation announcements from kids we’ve watched . . . it becomes a family.”

The staff has extensive training, and there is always someone at the facility that is CPR certified. The program meets all state requirements, and Cooley noted that the facility is designed just for kids.

“It’s the best job ever,” Cooley said. “I taught school for 35 years, so I always had lesson plans and other things to do. At child care, the lesson plan is to be happy, make the kids happy, and make sure everyone has fun.” Clearly, Cooley loves children, having spent her summers off between teaching school to manage Festival Child Care.

At the facility, infants receive personalized attention, and are placed one-on-one with a child care worker. The facility is split up, with infants and toddlers in one area and older children in another. This way, the atmosphere, activities, and toys are suited specifically for each age group. There is even a backyard, with sandboxes, riding toys, and climbing equipment for children to explore. 

“We have wonderful employees; we hire good people,” Cooley said. “We have elementary principals and librarians and teachers on staff, and the younger staff members are involved in the community, serving on the mayor’s council and more.” 

Cooley is passionate about the program and wishes more patrons knew about and took advantage of Festival Child Care. 

Please note that children over the age of six may attend mainstage plays, but it’s important to visit bard.org to gather additional information about the plays, including content advisories, articles, study guides, and more in order to determine if the play is suitable for your family. 

Children of all ages are welcome at The Greenshow, playing Monday through Saturday at 7:10 p.m. With singing, dancing, stories, music, and audience participation, this is the perfect free and family-friendly entertainment. This season, there are three themes, including The Hills of Appalachia, English Regency Garden Party, and Paiute Heritage and Celebration, which rotate throughout the week. 

During the evening, Festival Child Care opens at 7 pm, so parents have the option of taking their children to The Greenshow and then dropping them off before the evening plays––or bringing them to child care so they can attend The Greenshow and the play that follows without them.

Please note that The Greenshows, Romeo and Juliet, A Midsummer Night’s Dream, and A Raisin in the Sun close by September 9. Jane Austen’s Emma The Musical, The Play That Goes Wrong, Timon of Athens, and Coriolanus continue running through October 7. Festival Child Care is available through the end of the season. 

To reserve child care, please visit bard.org or the Ticket Office onsite, or call 800-PLAYTIX.