News From the Festival
Young Theatre Artists Invited to Train with Festival Actors at Summer Camp
Each season the Festival hosts a series of summer camps that are the perfect opportunity for young aspiring theatre lovers to experience a once-in-a-lifetime opportunity of training with industry professionals, while meeting other students of a similar age.
For those interested in attending, consider these reasons:
- It’s an amazing chance to learn from theatre artists in Festival productions.
- For students in high school, there is an intensive pre-professional college training camp taught by Festival artists.
- Sleep-away summer camps allow students to spend a week at the Festival learning and playing with other like-minded students.
- Actor training camps are divided into two age groups: one for pre- and early teens and one for older teens.
- Those choosing overnight camps get to have the experience of staying in Southern Utah University student housing. (It’s also a perfect opportunity to check out the beautiful campus!)
- Have a beginner and unsure about sleep-away camp? That’s okay; there is also a day camp option for those living or staying in the area.
- There are scholarships available! Please click here for more information on the program you are interested in.
Playmakers Summer Day Camp
June 9-21, 2025
Ages 5-17
From 2-4 p.m. Monday to Friday, students will have the opportunity to build theatre skills through movement, voice, improv, and more with a final Saturday performance. Tuition is $150 and includes a T-shirt and a ticket to one play.
Click here to register. Registration closes May 30, 2025.
Junior Actor Training
July 14-19, 2025
Ages 12-14
Taught by professional Festival actors, this week-long sleep-away camp is for young actors who want to train in scene work, stage combat, voice and movement, and more. Tuition is $1,200 and includes all meals, tickets to seven plays, and dormitory accommodations. There is also a payment option of $600, which includes all of the above excluding dormitory accommodations.
Click here to register. Registration closes July 4, 2025.
Actor Training
July 21-26, 2025
Ages 15-18
Taught by professional Festival acting and artistic company members, this week-long sleep-away camp is for all older teenage actors who want to train in scene work, stage combat, voice and movement, and more. Tuition is $1,200 and includes all meals, tickets to seven plays, and dormitory accommodations. There is also a payment option of $600, which includes all of the above excluding dormitory accommodations.
Click here to register. Registration closes July 4, 2025.
Questions for the Education Department? Call 435-865-8333 or email usfeducation@gmail.com.
Also, it’s not too early to get your 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.
Youth Casting Call for Macbeth
The Utah Shakespeare Festival is seeking young actors based in Southern Utah for its upcoming summer production of Macbeth. Auditions will be held Saturday, March 22, 2025, from 9 a.m. to 1 p.m. at the Festival in the Frehner Rehearsal Hall. Please sign up for an audition slot HERE. Each child who is cast will be paid a stipend of $600 for the season.
Rehearsals and performances will be scheduled from May 5 to September 4. All actors must be available for all scheduled rehearsals and performances. Please note that this will not mean every day, but will include some Saturday rehearsals. Once the play opens, Macbeth plays two times a week (Monday and Thursday), June 19 to September 4 at 8 p.m. in the outdoor Engelstad Shakespeare Theatre.
Macbeth by William Shakespeare
Directed by John DiAntonio
The Macduff children appear in one significant scene in the second act of the play.
Role: Macduff’s Son
Age: 10-15
- This role requires acting ability, including learning lines and staging.
- We encourage children of any gender and ethnicity to audition for the role.
- For the audition, please prepare this page from the play, Act 4, Scene 2. Young
performers will be asked to read this scene with someone from our casting department.
The lines don’t need to be memorized for the audition, but being familiar with the lines and meaning is preferred. They may also be asked to tell us a favorite story.
Role: Macduff’s 2nd Child
Age: 7-10 (can be older, but should look young)
- This role does not have any scripted lines, but the actor should be able to follow
direction and remember staging. - We encourage children of any gender and ethnicity to audition for the role.
- For the audition, young performers may be asked to tell us a favorite story, and may be asked to act out some stage business with someone from our casting department.
A note to parents: This Shakespeare play is a tragedy and includes themes of fear, corruption, violence, and greed. The full script can be found here. Macduff’s family, his wife, and all their children are murdered in the play (Act 4, Scene 2). We are still in discussion of how much stage violence will take place on or off the stage. If your child is interested in being a part of the stage combat, please let us know during the audition.
For questions, please email casting@bard.org.
Windsor Court Makeover Is Happening!
Last fall the Utah Shakespeare Festival announced an exciting project called “Extreme Makeover––Windsor Court Edition” where the Cedar City community was invited to adopt a living space or two at the Festival’s Windsor Court apartments and help improve the aging facility. Participants were given guidelines to help freshen up, redecorate, or renovate their chosen apartment before they are needed to house the Festival’s seasonal company, coming later this spring.
Festival Company Manager Karin Edwards and Assistant Company Manager Bailey Rodriguez created the idea alongside the Cedar City Chamber of Commerce and have been in charge of the project. They have contributed countless hours to the project, including arranging and collecting donations from businesses and organizations, reaching out to volunteers, setting up Festival staff work days, and so much more.
Located on the Festival grounds, the Windsor Court apartments consist of 35 units on the corner of 100 West and Shakespeare Lane, all in various states of comfort. Nine units are part of the makeover project this go-around. Additionally, six other apartments are receiving attention by the Festival’s facilities department who make improvements on an annual basis. Other units received improvements in recent years. The plan is to make sure that all 35 have been touched in at least the last three years.
There has been a wonderful response to this project by the community. Businesses and groups that are sponsoring improvements in at least one unit include Habitat for Humanity/ReStore, Cedar City Chamber of Commerce, Cedar Valley Roofing, Visit Cedar City-Brian Head Tourism Bureau, Potter & Son’s Floor Store, as well as individual members of the Festival staff. These participants have been hard at work with designs for their apartments, most of whom have chosen specific decorative themes. As Extreme Makeover participants, they will compete for fun awards to celebrate their work and creativity once the makeover work period ends on March 7.
There have also been many businesses who have stepped up to provide generous support through donations and contributions.
American Pacific Corporation president Kris Griffith donated $5,000 to assist with the refurbishment. ReStore donated $50 worth of store credit to each team. Kustom Kontainers donated a 40-foot shipping container in which supplies and donations have been stored onsite. BZI donated welding materials that Festival Production Manager Richard Girtain is using to improve the stairs. Legacy Flooring, Pioneer Flooring, and Millcreek Flooring in St. George donated various types of flooring that participants are welcome to choose from and use. ACE Hardware, Home Depot, Lowes, and The Mattress Store donated essentials. Sherwin-Williams and Jones Paint and Glass donated lots and lots of paint. FRDM Turf is hoping to help make improvements to the grounds around the apartments.
Other organizations that have been involved in various ways include the Guild of the Utah Shakespeare Festival, Ye Olde Catholic Thrift Shoppe, and JustServe volunteers. Visit Cedar City has offered to donate beautiful photos of our area for decor.
If you’re still interested in assisting with this project, monetary donations help immensely. Or there are lots of smaller projects that volunteers can help complete even if you only have short periods of time. The competition part of the Extreme Makeover may be ending March 7, but there is still plenty of work to do beyond that before the seasonal company arrives.
“This project is more than just improving these living spaces,” says Edwards. “It has once again shown me how amazing this community is in working together; contributing time, resources, and skills to help others; and building meaningful bonds with others in our town.”
For more information about this project, visit FAQs or contact Edwards or Rodriguez at companymanager@bard.org.
Festival Announces New Director of Communications
The Utah Shakespeare Festival is excited to announce Brittney Corry as the new Director of Communications. Corry has served as the Festival’s Marketing Manager since August of 2022, and began her new position last month.
She is a Cedar City native and graduated from Southern Utah University with a degree in strategic communication. She has also taught dance throughout the area for many years and owned her own studio. In addition, she has also done freelance graphic design work, enjoys spending time with her family in the outdoors, and loves making connections and giving back to the community.
“We are thrilled that Brittney will be serving as the Festival’s Director of Communications,” says Executive Managing Director Michael Bahr. “She is an energetic, articulate, and organized leader who cultivates relationships and strategic initiatives that have made an impact on the Festival.”
Her role includes leading the comprehensive marketing, advertising, and creative communication strategies of the Festival, adhering to the mission, vision, values, and goals of the organization. She also works closely with community, campus, and media partners in order to promote connection and memorable experiences for Festival guests. Continuing to tell the story of the Festival and importance of theatre and the arts is something very important to her.
“I feel incredibly grateful to step into this role,” Corry said. “Theatre has the power to inspire, challenge, and connect us in ways that feel more important than ever. The Festival is so much more than the plays on stage—it’s the conversations they spark and the experiences they create for our audiences. I’m excited to continue sharing that story in meaningful ways.”
One of the things she is most looking forward to is “building on the incredible work that has been done and finding new ways to engage with Festival audiences. This organization has a rich history of storytelling, and I’m eager to collaborate with our team to ensure that tradition continues in fresh and innovative ways.”
“Brittney is electric in a collaborative situation, offering key suggestions that move ideas forward and amplifying others on her team,” Bahr says. “We are fortunate to have a leader like Brittney, who understands the importance of the Festival’s future, effectively communicates this vision, implements plans and supports those around her. I believe it is her authentic love of people and mission-centric strategies that make her effective.”
“Collaboration is at the heart of everything I do,” Corry says. “Some of the best ideas come from conversations where people feel heard and valued, and I’m eager to continue fostering that environment at the Festival.”
Corry has spent the past few years bringing a unique perspective to the Festival. “As a local, I understand the values of this community, and I also recognize what visitors are looking for when they come to experience the Festival,” Corry said. “It’s been incredible to bridge those perspectives and find ways to make the Festival even more engaging and welcoming.”
Looking ahead, she’s eager to continue strengthening those connections. “The Festival has always felt larger than life to me—something truly special. Now, having been part of it for several years, I’m even more inspired by its impact. I’m excited to take on this new role and help the Festival continue to thrive for years to come.”
Festival Expresses Thanks in Reaching 'Believe in One Million' Goal
By Liz Armstrong, guest writer
“I can no other answer make but thanks and thanks, and ever thanks.” – Twelfth Night
In 2023, the Utah Shakespeare Festival launched the Believe Campaign to inspire connectivity, asking beloved patrons to believe in the power of live theatre. We would like to express our heartfelt thanks to our donors and patrons, who came together in 2024 to help our goal of one million dollars in Individual Giving become a reality.
For year two of the three-year campaign, the Festival launched “Believe In One Million.” As a nonprofit organization, the Festival relies heavily on donations from individuals, businesses, government, and corporations.
Development Associate Emily Cacho explained that to emphasize the importance of giving, this campaign was launched to inspire patrons to help the Festival reach its goal of one million dollars in Individual Giving.
“Believe In One Million was the goal [in 2024],” Development Associate Cacho said. “We usually get around $850,000 each year from individuals, and we wanted to push the marker further.”
With our donors’ help and extreme generosity, the Festival not only met this goal– but exceeded it.
“The Believe Campaign went really well. Our donors are really important to us and they all came together to help make our $1,00,000 goal possible,” Cacho expressed.
Cacho expresses a heartfelt thank you and explains that the idea for the Believe campaign hearkens back to the beloved moment in Peter Pan when the audience is asked to believe in order to save Tinkerbell: the Festival is asking patrons to believe in hope and good and the magic it brings.
Our beloved patrons did just that.
“I believe in the Utah Shakespeare Festival and the magic it has provided over my time here the past eight years and I think our donors and patrons believe just as strongly as I do,” Cacho said. “It is amazing what we have been able to accomplish together.”
To witness for yourself what this goal will help the Festival achieve and to immerse yourself in the magic Cacho refers to, purchase tickets to the 2025 season today. Enjoy the power of live theatre with Shakespeare’s Macbeth, Antony and Cleopatra, and As You Like It;the comedy The Importance of Being Earnest; the musical comedy A Gentleman’s Guide to Love and Murder; the touching Steel Magnolias; and the endearing Dear Jack, Dear Louise.
“We are so excited and grateful,” Cacho concluded. “This will mean a great start to 2025 and will continue on for years to come."
Festival Announces Passing of Former Longtime Art Director
It is with sadness that the Festival announces the passing of Phil Hermansen, former Art Director and graphic designer, on February 15, 2025. Phil spent 22 years at the Festival, from 1995 to 2017, and left an indelible mark during decades when the Festival grew and changed in significant ways.
“Phil was an incredible artist who was instrumental in providing the ‘look’ of the Festival starting in the mid-1990’s,” says Executive Managing Director Michael Bahr. “His graphic images were fundamental in capturing the stories of the plays and the entire Festival Experience.”
Phil was known for his creativity, his love of art and visual storytelling, and his reserved but warm professionalism. As a part of the Festival’s marketing and publications team, he was a generous collaborator on all kinds of projects.
Kami Terry Paul, now general manager, was part of the same marketing team for many years with Phil. “He created the graphic look of the Festival for years. Several logos, dozens of souvenir programs, and hundreds of ads, posters, and graphics came directly from his creative skill,” Paul says.
“Phil was always actively imagining and creating magnificent designs,” Bahr continues. “Some of my favorite memories were when he would share ideas and drawings. I could see a tip of the iceberg of the brilliance flashing through the sketches on his drawing pads that he always kept nearby.” Many of these hand-drawn sketches and illustrations played a visual part in designs and campaigns throughout the years.
Not one to praise his own work, it frequently received recognition and awards, and he helped to establish the Festival’s standard of high quality visual art and publications. Through his close bond with so many, but especially the late former publications manager Bruce Lee and Festival photographer Karl Hugh, he brought joy, creativity, and inspiration to the organization.
“He was so dedicated to the Festival, and he was always trying new things to improve himself as an artist,” continues Paul.
Current Art Director Clare Campbell comments how much she enjoyed getting to learn from him as their time at the Festival overlapped.
“Phil was so kind and creative. He was also a great mentor to learn from, whether it was in person or through the legacy he left behind through his work,” Campbell says.
A Memorial Service will be held on Saturday, Feb. 22 at 2 pm at the LDS meetinghouse located at 500 West 400 North in Cedar City, Utah. The full obituary can be found at mcmillanmortuary.com/obituaries/philip-hermansen.
Phil’s Festival family sends our deepest condolences, prayers, and love to his family during this difficult time.
This Season's Shakespearean Power Couples
By Kathryn Neves, guest writer
Valentine’s Day is here, bringing with it boxes of chocolates and candy hearts. This time of year, love is greeting cards and rose bouquets and heart-shaped jewelry. For Shakespeare, though, love is rarely so simple; after all, as he tells us, “the course of true love never did run smooth.”
This year at the Utah Shakespeare Festival, we’ll see three of his most sensational romances take the center stage—showing us that love can be thrilling, tragic, powerful, and even a little mischievous. Let’s take a closer look at these Shakespearean lovebirds––romantic, tragic, and just the right kind of messy for Valentine’s Day.
Rosalind and Orlando—As You Like It
“That thou didst know how many fathom deep I am in love! But it cannot be sounded: my affection hath an unknown bottom, like the bay of Portugal.” Act 4, Scene 1
As You Like It is one of Shakespeare’s best romantic comedies. With mistaken identities, role reversals, and a forest full of love letters nailed to trees, this play is always an audience favorite. The story follows Rosalind and Orlando, who fall in love at the beginning of the play. After being banished from the court, Rosalind flees and disguises herself as a young man named Ganymede—and, upon meeting Orlando in the woods, offers to cure him of his lovesickness. Still disguised as a young man, she acts out a romantic relationship with Orlando––Rosalind is playing Ganymede playing Rosalind. In the end [spoiler alert], all is revealed; there’s a wedding, the lovers return to the court, and they all live happily ever after.
Rosalind and Orlando have one of the most fun relationships of any Shakespearean couple in the canon. Their witty banter rivals even Beatrice and Benedick, or Kate and Petruchio. While disguised as Ganymede, Rosalind has the freedom to say exactly as she feels, and to display her wit in all its glory. In fact, Rosalind has the most lines of any female Shakespeare character—and is the only woman to have more lines than any of the men in her play. And she fits perfectly with Orlando; from his silly love letters posted on all the trees, to Rosalind’s teasing and clever turns of phrase, these two wordsmiths are made for each other.
Antony and Cleopatra—Antony and Cleopatra
“My heart was to thy rudder tied by th’ strings, / and thou shouldst tow me after.” Act 3, Scene 11
Antony and Cleopatra is the story of the tragic and tumultuous love affair between Cleopatra, the Queen of Egypt, and Antony, a triumvir of Rome. In the middle of a complicated and violent political conflict, Antony continually chooses Cleopatra over himself, his men, and all of Rome; [and another spoiler alert] the result of their story is a disaster that ends in a double suicide (à la Romeo and Juliet), and the formation of the new Roman Empire.
For centuries before Shakespeare wrote Romeo and Juliet, people considered Antony and Cleopatra––though older in age–– to be the prime example of star-crossed lovers. Separated by their nations and their families, caught up in violent conflict, and driven to desperation at the thought of being apart, these historical figures (and their countless fictional counterparts over the centuries) were prime fodder for Shakespeare’s pen. Like Romeo and Juliet, these lovers are overly hasty and reckless. Their rash decisions lead to heartbreak. But, like the best romantic dramas, Antony and Cleopatra’s passion is unstoppable—and always entertaining.
Macbeth and Lady Macbeth—Macbeth
“This have I thought good to deliver thee, my dearest partner of greatness, that thou might’st not lose the dues of rejoicing by being ignorant of what greatness is promised thee.” Act 1, Scene 5
One of Shakespeare’s most brilliant works, Macbeth is a tragic tale of ambition, greed, vulnerability, and fear coming together to cause ruin, culminating in one of the bloodiest tragedies in the English language. After three witches prophesy that he will be king, Macbeth and his wife take fate into their own hands. They murder the current king, discredit his heirs, and embark on a bloodbath that ends with dozens of bodies slain across the field of Dunsinane—[yet another spoiler alert] including themselves.
This horror and bloodshed might not seem like a great atmosphere for a romance; but believe it or not, Lady Macbeth and her husband are one of the best power couples in the entire canon. From the very beginning, Macbeth only trusts one person: his wife. Likewise, Lady M drops everything in order to support her husband’s plans (and okay, sure. Those plans are murder—but she’s a “ride-or-die” kind of wife). The Macbeths are on equal footing; something especially meaningful in Shakespeare’s time, when women were considered the property of men. They counsel and confide in each other; they make plans together; and when the danger comes, the Macbeths face it together. Really, if they weren’t committing regicide, we’d probably all be rooting for them.
Shakespeare’s greatest love stories remind us that love is rarely straightforward, and that’s what makes it unforgettable. This Valentine’s Day, we’re celebrating love in all its messy, wonderful forms. We hope to see you this summer for an unforgettable season of romance at the Utah Shakespeare Festival. Happy Valentine’s Day!
A Special Announcement About Our 2025 Season
The Utah Shakespeare Festival is excited to announce the addition of the play Dear Jack, Dear Louise by Ken Ludwig to its 2025 season.
Directed by Michael Perlman, Dear Jack, Dear Louise will preview on July 11, open July 12, and run through October 4 in the Festival’s intimate Eileen and Allen Anes Studio Theatre.
“We are thrilled to add a show in the Anes this summer,” says Artistic Director John DiAntonio. “The intimacy of that space is an essential part of the Festival’s repertory experience. Dear Jack, Dear Louise couldn’t be a better fit for our 2025 lineup with its beautiful heart-wrenching, edge-of-your-seat storytelling. I can’t wait for audiences to fall in love with this play.”
Perlman, a New York-based writer and director, will lead the artistic and production team. He has directed at Barrow Street, Public Theatre, Creede Repertory Theatre, Boise Contemporary Theatre, Goodspeed Opera House, and Cleveland Playhouse, among others, as well as directing his own plays From White Plains and At the Table off-Broadway at Roundabout Theatre. He has taught at Juilliard School of Drama and Brown University, where he earned his BA and MFA. He is a member of Stage Directors and Choreographers Society (SDC) and is a Drama League Directing Fellow.
“I’m so excited to bring Dear Jack, Dear Louise to the USF audiences,” says Perlman. [It is a] poignant reminder that the most important things in our lives are our relationships, and the ways in which those connections help us move through even the most challenging obstacles.”
Executive Managing Director Michael Bahr agrees. “It is a perfect addition and is a joyful, comic, tender, and moving love story that will touch our hearts, reminding us of our own dear ones in our lives.”
This charming two-person show tells the story of the playwright’s parents meeting during WWII. U.S. Army Captain Jack Ludwig is a military doctor who is stationed in Oregon. He begins writing to aspiring actress and dancer Louise Rabiner in New York City, hoping to meet her in person someday. Opposites attract and they can only hope the war doesn’t threaten the relationship before it even has a chance to start.
Bahr continues: “The Anes is a perfect venue for this intimate story. We know audiences love this space and will really connect to seeing this play there.”
Patrons who have donated or wish to donate to the Festival get the first opportunity to purchase tickets, starting today, February 13, by calling the ticket office at 800-PLAYTIX between noon and 5 pm, Monday through Friday. You can also email guestservices@bard.org anytime and our ticket office staff will reach out to you as soon as they are able. All other patrons can purchase tickets beginning Monday, February 17, by visiting bard.org or calling the ticket office during the office hours listed above. Click here for more information.
Shakespeare in the Schools Education Tour: Why Henry IV?
By Liz Armstrong, guest writer
Shakespeare in the Schools education tour director Marcella Kearns loves Shakespeare’s histories more than any of his other plays, a sentiment not all theatre-goers agree with. Kearns is keenly aware of this and urges us to reshape our opinions regarding the genre.
“When people think of Shakespeare’s history plays, they think, ‘Oh, it’s going to be a history lesson,’” Kearns said. “No! It’s an epic adventure. We should rename the history genre as the ‘epic genre.’ Within the histories, you have comedy, tragedy, and adventure.”
Henry IV, Part I is one of his most popular histories, but ranks lower in popularity when the tragedies and comedies are thrown into the mix. So why choose it to be the play for the 2025 Shakespeare in the Schools tour?
Education Director and Producer Stewart Shelley is excited to explain.
“Everybody knows Hamlet. Everybody knows Romeo and Juliet. Or even if they don’t know the story, they know enough to have preconceived notions,” Shelley said. “But with Henry IV, we’re going into it with a completely blank slate. It’s a powerful story for young people to find themselves and see themselves in.”
Henry IV: An Origin Story
A coming of age story is perfect to bring to primarily middle and high school students across the Intermountain West, as each student is experiencing their very own coming of age story. But there’s another layer.
“It’s also an origin story, which is so popular now,” Kearns said. “I think that will speak so beautifully to the young people we are visiting.”
The 75-minute condensed version of Part I tells of King Henry IV and his son Prince Hal, and how the prince is faced with growing up and preparing to assume the throne. It ends with the battle between Prince Hal and his rival Hotspur.
“That really hearkens to a lot of these students, who are at the very edge of this high school experience and are at the jumping off point for adulting,” Kearns continued.
In this particular production, Kearns is exploring how both Prince Hal and Hotspur react to the circumstances they’re given.
“One of them is constantly learning, while the other makes some choices that lead him in the wrong direction. One of them wins and one of them doesn’t. But in this play, as an [origin story] no one in this play is a villain,” Kearns said. “Everyone is just making choices about what they think is right based on what they think is most important.”
Exploring Generational Influence and Morality
Kearns noted that in this production, they’re exploring the expectations the older generation has for the younger generation and how the younger generation has surprised the older generation.
“What we’re also learning is whether they can admit how much each generation really needs each other,” Kearns said. “That was unexpected to me, but it’s something this particular company is naturally bringing forward.”
For actor Anna Rock, this theme was imperative to share.
“It’s important to share with young audiences a story that features teenage characters and their struggle to stand up for what they believe in while reckoning with responsibility, honor, and expectations from their elders,” Rock said.
The other major questions Kearns is leaning into are: “How do you define your moral compass?” and “What do you do with the circumstances you’ve been put in and what’s been given to you?”
“Shakespeare was an invisible playwright; he offers up everybody’s opinions and gives them validity,” Kearns said. “These histories in particular are so beautiful because they give us a chance to swim in the questions rather than think we have fixed answers of how everybody should be.”
Simplifying the Production
Shelley noted that the tour will be different from years’ past because they are bringing the production of Shakespeare’s work back to its roots.
Over the years, the tour has grown more complex, including a lighting and sound system, backdrops, and large amounts of “spectacle to support the story.”
“This summer, I had discussions with theatre teachers at our Tech for Teachers camp, and I just kept hearing over and over again: ‘We can’t do that at our school, we don’t have the equipment,’” Shelley said.
From those discussions, Shelley wanted to simplify the tour.
“We can build this tour in a way that is story-centric and character focused, in a way that’s just as exciting and important and visceral for students watching the production without [the equipment],” Shelley said.
Kearns agreed, telling Shelley she really could do Henry IV with only an “apple crate.”
Shelley and Kearns wanted to show that any school can do the play with just the actors and minimal needs.
“There will be very simple costume changes,” Kearns explained.
The seven actors play a myriad of characters and will make small changes in their physical appearance, so they will focus on transforming themselves vocally and stylistically.
Another change is that the tour is using only actor-generated sound, as opposed to the pre-recorded sound used in previous years.
“We are going back to the roots of theatre and storytelling as a whole, rather than trying to supplement with other things,” Shelley said.
Kearns’ Journey with the Festival
The director’s first experience with the Festival was as an educator.
“I brought my own group of students to the [Shakespeare] competition,” Kearns said. “Being able to come here and see the work and passion of young people from so many places reinforced my desire to work here.”
Kearns actually directed the Festival’s former education director, Katherine Norman, years prior.
“She liked my approach [as a director]. She proposed the tour to me without knowing I had just worked on Henry IV for the first time,” Kearns said.
For Kearns, it felt kismet, and as an educator, the tour is especially important.
“We see such a cross section of humanity in this play,” Kearns said. “All of these characters are deeply human and flawed, and this play has a way of speaking to young people and the expectations that are put upon them. I hope they can thread the needle and think of how they should live their lives given whatever is put in their laps.”
The Public Performance
There will be a free public performance in Cedar City, UT, on Friday, February 7 in the Southern Utah University Auditorium Theatre at 7:30 pm.
“It’s an opportunity to welcome our community into this experience and share that the tour is integral to educating our future audience members,” Shelley said.
Shelley added that the tour is not possible without incredible sponsorships, which primarily comes from the Utah Legislature through the Professional Outreach Programs in the Schools (POPS).
“We also have a grant from Arts Midwest that makes it possible for us to go out of state and capture more of the Intermountain West,” Shelley said.
Other sponsors include Ally Bank, The Guild of the Utah Shakespeare Festival, and Orem Care, with special thanks to Southern Utah University.
Finally, Shelley would like to thank the Festival production team.
“What they do is Herculean,” Shelley said. “It’s not an easy thing to do, and they all do it with a smile on their face and excitement and enthusiasm to teach the rising generation of theatre artists and patrons.”
For more information on the tour click here.
Shakespeare In the Schools Education Tour: Meet the Team for Henry IV
By Liz Armstrong, guest writer
The Utah Shakespeare Festival is thrilled to announce its 2025 touring team for Shakespeare in the Schools, its annual education tour production. This year, the touring team of nine artists will tour to bring Shakespeare’s Henry IV to elementary through high school students across the region.
Throughout the Intermountain West, the Festival’s touring program serves both rural and urban students and communities, providing access to professional theatre. This year, a condensed version of Henry IV Part I will highlight power, honor, and rebellion.
Actor Lucas Prizant notes that the production is a war drama, but “it is also a coming-of-age story about two teenage boys with tremendous responsibilities,” making it the ideal play to share with young students.
Meet the lead creative team:
Stewart Shelley, Education Director and Producer
Along with producing this year’s Shakespeare in the Schools tour, Shelley is the Festival’s education director. He has also filled the roles of associate education director, education programs manager, and summer camp coordinator for the Festival and has directed over 50 plays in educational and community theatre.
“It’s such a powerful story for students to see themselves in,” Shelley said about Henry IV. While Shelley won’t tour with the group, he was essential in preparing the group to hit the road.
He received a Master of Arts in Education Administration from Grand Canyon University and is part of both the Utah Advisory Council of Theatre Teachers and the Shakespeare Theatre Association.
Marcella Kearns, Director
Making her debut at the Festival, Kearns is also the artistic associate of Forward Theater Company and former education director of Milwaukee Shakespeare. She boasts teaching credits at First Stage’s Young Company, Marquette University, and University of Wisconsin-Milwaukee.
“Henry IV was not only something that was personally of great passion to me, but something that will speak to young people everywhere,” Kearns said. As a point of excitement, this is the first time this Shakespeare play has been used for the Festival’s Shakespeare in the Schools.
Kearns received a Master of Fine Arts in Acting from University of South Carolina and a Bachelor of Arts in English from Canisius University. She is a member of Actors’ Equity Association. She, too, will not go on tour with the group.
Other members of the artistic team include Scenic Designer Benjamin Hohman, Costume Designer Diana Girtain, Props Designer Marielle Boneau, Voice and Text Coach Evelyn Carol Case, and Fight Director Amie Root.
The touring company includes:
Darin F. Earl II, Tour Manager
Earl II is taking on a new role, moving from actor to tour manager, having performed in last year’s Hamlet tour and Othello the year before. He was also in the 2023 season’s main stage productions of Timon of Athens and Coriolanus.
Earl II’s acting credits also include productions of Ye Bear & Ye off-Broadway, and A Midwinter’s Night Dream, Romeo and Juliet, and more at Shakespeare Theatre of New Jersey. He received a Bachelor of Arts from Rider University.
Fiona Misiura, Stage Manager
Misiura is returning as stage manager, having filled this role for Hamlet last year. Previously at the Festival, she was stage manager for Much Ado About Nothing in 2024 and the production assistant for Jane Austen’s Emma The Musical and The Play That Goes Wrong in 2023.
She has also worked at Urban Stages and United Solo Festival as a stage manager, and American Academy of Dramatic Arts Company as a production stage manager. Misiura received a Bachelor of Arts in Theater and History from Ramapo College of New Jersey.
Calvin Adams, Actor––Northumberland/Falstaff/Glendower
Joining the tour for the first time, Adams’ acting credits include Hamlet and A Midsummer Night’s Dream at Montana Shakespeare in the Parks, A Christmas Carol at Guthrie Theater, and Romeo and Juliet at Park Square Theatre.
Adams received a Bachelor of Fine Arts from University of Minnesota.
Elijah Eliakim Hernandez, Actor––Hotspur/Gadshill/Traveler/Sheriff
Hernandez performed in Twelfth Night and Romeo and Juliet at Wisconsin Shakespeare, and Hamlet and The Tempest at Tennessee Shakespeare Company. This is their debut at the Festival.
They received a Bachelor of Arts in Theatre Performance at University of Texas, Rio Grande Valley.
Adam Koda, Actor––Lancaster/Poins/Martimer/Douglas
Koda is a returning actor, having played Hamlet in last year’s tour. Some other productions have included Romeo and Juliet at Texas Shakespeare Festival, Sense and Sensibility at Pittsburgh Playhouse, and Twelfth Night at The Playground Theatre in London.
Koda received a Bachelor of Fine Arts from Point Park University and has been in American Rust on Showtime.
For Koda, the tour is important because of his own childhood.
“I hardly had access to arts education. I was lucky enough to have some great teachers later in life who showed me how exciting, relatable, and important Shakespeare can be today,” Koda said. “This tour is a way to make classical theater accessible for the next generation of artists.”
Kenneth Miller, Actor––King Henry IV/Peto/Traveler
Joining the tour for the first time, Miller performed in The Last White Man at Next Act Theatre, The Merry Wives of Windsor and Henry IV at Door Shakespeare, and The Merchant of Venice and Othello at Shakespeare at Notre Dame.
He boasts teaching credits at First Stage, Carthage College, Northern Illinois University, and more. Miller received a Master of Fine Arts from Northern Illinois University and a Bachelor of Fine Arts from Millikin University.
When Miller first experienced Shakespeare, he felt like another world had opened up to him.
“I’m looking forward to being a part of introducing students to not only Shakespeare and history but new ideas and ways to see the world.”
Lucas Prizant, Actor––Prince Hal
A first time tour member, Prizant acted in The Comedy of Errors and As You Like It at Montana Shakespeare in the Parks, Romeo and Juliet and A Midsummer Night’s Dream at Oak Park Festival Theatre, and A Christmas Carol at Richmond Shakespeare Festival.
Television and film credits include Paper Girls, Chicago Fire, and Save Face. He has taught at Montana Shakespeare in the Parks and received a Bachelor of Fine Arts in Acting from University of Cincinnati.
Prizant is thrilled to be making his debut at the Festival.
“To be a part of the season means that I get to contribute to that high bar of excellence,” Prizant said. “The Festival has a vested interest in pulling back the curtain on the professional actor’s process. It is our hope that our presence in the schools will empower the students to try something new or further refine their performance skills.”
Anna Rock, Actor––Worcerster/Bardolph/Traveler/Carrier
This is Rock’s first time on this tour. She has been in A Midsummer Night’s Dream and The Comedy of Errors at Shakespeare and Company, The Taming of the Shrew at Texas Shakespeare Festival, and The Tempest at The Rooted Voyageurs.
The actor boasts teaching credits from Shakespeare and Company, Story Pirates, and Lost Nation Theater. She received a Bachelor of Arts from Sarah Lawrence College.
Rock is excited to bring her experience to the tour and learn along the way.
“I was eager to do so because I haven’t explored this part of the country and I’ve never professionally performed one of Shakespeare’s history plays,” Rock said.
Sierra Miguela Tune, Actor––Westmorland/First Traveler/Hostess/Vernon
Tune performed in A Midsummer Night’s Dream and Othello at TheatreWorks and The City Dog and the Prairie Dog and ROY G. BIV at Creede Repertory Theatre. This is her debut at the Festival.
She received a Bachelor of Arts in Theatre and Dance form University of Colorado, Colorado Springs.
About the Tour
Shakespeare in the Schools brings quality Shakespeare performances and workshops to schools and communities throughout the Intermountain West, and has been doing so since 1993.
The tour offers either a 75-minute fully produced performance of the play, or an interactive 45-minute assembly designed for elementary audiences that explores elements of theatre and Shakespeare. Post-performance talkbacks and educational workshops are also included in the tour.
Funded by the State of Utah, the tour is offered free to all Utah public and public charter schools. At-cost and discounted rates are also available for private schools, public venues, and out-of-state locations.
The tour will start February 3 and run through April 18, 2025.
There will be a free public performance in Cedar City, UT, on February 7th in Southern Utah University’s Auditorium Theatre at 7:30 pm. Entrance is free.
“It’s an opportunity to welcome our community into this experience and share that the tour is integral to educating our future audience members,” Shelley said.
For more information on the tour, click here.