News From the Festival
Festival’s Words Cubed Program to Feature Two New Plays
The Utah Shakespeare Festival is pleased to announce two new plays to be presented through their Words Cubed new play program in the month of August. Crisis Goalie by Tom Lavagnino and Six Men Dressed Like Joseph Stalin by Dianne Nora were chosen from among 575 submissions.
Words Cubed seeks to nurture and develop openly submitted plays by providing a professionally supported platform for readings and workshops. Playwrights spend a week at the Festival in rehearsals with directors, actors, and stage managers as they refine and rework their plays. At the end of the week, the revised plays are presented as staged readings, followed by a lively, interactive discussion between the playwright, actors, and audience.
Crisis Goalie
By Tom Lavagnino
August 9, 10, 21, and 23, 2024
Anes Studio Theatre
The play, Crisis Goalie, written by Tom Lavagnino and directed by Britannia Howe, is the story of two siblings––Carl and Peg––who create an artificial intelligence robot named Joanie to help care for their aging mother and attend to her every need. But things don’t go according to plan for Joanie or the family. Crisis Goalie is a play of today…and of tomorrow.
The cast includes Festival company members Chauncy Thomas, Cassandra Bissell, Evelyn Carol Case, and Elise Thayn, with stage directions read by Matthew Wangemann.
Lavagnino says, “I am super-honored to have the opportunity to work with the Utah Shakespeare Festival’s wondrous Words Cubed resources, personnel, and audiences to ‘sharpen the knife’ of Crisis Goalie.” Lavagnino is a native of Indianapolis, a graduate of NYU’s Tisch School of the Arts and AFI’s Center For Advanced Film Studies, and currently resides in Los Angeles. He is an award-winning playwright, editor, film writer, and consulting producer.
He comments that the story tells of “robotics, sibling rivalry, A.I., familial responsibility, the Dewey Decimal System (remember that?), the necessity of maintaining a medication schedule for the optimization of health, and (perhaps most saliently) the inevitability of aging.”
Six Men Dressed Like Joseph Stalin
By Dianne Nora
August 16,17, 22, and 24, 2024
Anes Studio Theatre
The second play in development is Six Men Dressed Like Joseph Stalin, written by Dianne Nora and directed by John DiAntonio. When Soso is left for dead on the Eastern Front, he’s taken in by the Kremlin due to his shocking resemblance to a certain someone. Koba is tasked with training him to perform the role of a lifetime: Stalin’s body double.
It features Festival company members John Harrell as Koba and Christopher Centinaro as Soso, with stage directions read by Valerie Martire.
Nora is a playwright, dramaturg, and comedy writer. Besides theatre works, she has contributed to The Onion, Funny Or Die, and The Hard Times. She holds degrees from Columbia University, Trinity College Dublin, and New York University.
“I’m so grateful for the opportunity to develop my play Six Men Dressed Like Joseph Stalin with John DiAntonio and the artists at Utah Shakespeare Festival,” Nora says. “While much of the story is taken from historical sources, it’s also a deeply personal play for me, so I feel especially lucky to share it. I hope the play’s provocations on the nature of power and performance will resonate with audiences at the Festival, and that I’ll emerge with a stronger, more production-ready script after my time with Words Cubed. The opportunity to focus on the script while surrounded by exceptional artistry and natural beauty means the world to me, and I’m thankful for Utah Shakes’ continued dedication to new play development.”
Words Cubed is hosted annually during the month of August. Information on play submissions for 2025 will be available on the Festival’s website in the fall. As a general note, the plays in this series are written for contemporary adult audiences, and may contain themes and language not appropriate for children and that some may find offensive.
For more information about the Words Cubed program, click here. Tickets for Words Cubed are $10 and can be purchased at the Festival Ticket Office, online at bard.org, or by calling 800-PLAYTIX.
Thrilling Performances at the Randall L. Jones Theatre: Much Ado About Nothing and The 39 Steps
For decades, the Randall L. Jones Theatre at the Utah Shakespeare Festival in Cedar City has been a cornerstone of exceptional theatre production. This season, it continues its tradition of excellence with two must-see productions: Shakespeare’s Much Ado About Nothing and the comedic thriller The 39 Steps.
Much Ado About Nothing
Much Ado About Nothing, one of Shakespeare’s most beloved comedies, is a highlight of the season. Directed by longtime Festival artist Brad Carroll, this timeless play explores themes of love, deception, and redemption with a perfect blend of wit and drama. The story revolves around two pairs of lovers: the sharp-tongued Beatrice and Benedick, and the innocent Hero and young Claudio. As misunderstandings and schemes unfold, the play offers a delightful journey through the complexities of romance and honor.
Festival Artistic Director John DiAntonio says, “There’s so much to love about Much Ado. Shakespeare literally invented the romantic comedy with this play. Beatrice and Benedick are the ultimate sparring partners.”
According to a recent review by Front Row Reviewers, Much Ado About Nothing “leans heavily into the comedy.” The production features “[Melinda] Parrett and [Walter] Kmiec well paired as the sharp-tongued Beatrice and the reluctant Benedick. Both deliver Shakespeare’s lines with just the right amount of modern intonation and sarcasm to add to the comedy.” The review highlights the physical comedy brought to life by Carroll’s expert direction, noting that “the bumbling scenes [of the night watch] had the audience in stitches.” Fun for the whole family!
The 39 Steps
For those seeking a fun and gripping experience, The 39 Steps is an absolute must-see. This fast-paced comedy is a theatrical adaptation of Alfred Hitchcock’s 1935 film, itself based on John Buchan’s novel of the same name. The story follows Richard Hannay, an ordinary man who becomes entangled in a web of espionage and intrigue after meeting a mysterious woman. As he races to clear his name and thwart a sinister plot, the play offers non-stop action and humor.
The 39 Steps is renowned for its inventive staging, where four actors play over 150 roles. This dynamic approach creates a whirlwind of characters and scenes, keeping audiences on the edge of their seats. DiAntonio shares, “The 39 Steps is a brilliant mix of suspense and comedy. It’s a true testament to the magic of theatre, where a handful of actors can create an entire world on stage.”
Utah Theatre Bloggers recently proclaimed the show to “uproariously entertaining” and “overflowing with sheer absurdity.” DiAntonio says “Audiences are in for a thrilling and unforgettable experience.” Perfect for all ages!
Get Your Tickets
Don’t miss these incredible productions at the Randall L. Jones Theatre through October 5. Secure your tickets now by visiting bard.org or calling 800-PLAYTIX for more information.
Back-To-School with the Bard: Utah Shakespeare Festival is the Perfect Last-Minute Getaway for Utah Families
As summer winds down and back-to-school season approaches, a quick trip to the Utah Shakespeare Festival in Cedar City is the perfect way to make lasting family memories. The Festival offers a blend of culture, entertainment, and fun for all ages, making it an ideal last-minute getaway for Utah families. The Festival’s all-day offerings make planning your trip a snap.
Begin your morning with engaging seminars, where you and your family can gain behind-the-scenes insights into the world of theatre. These sessions provide a unique opportunity to hear directly from the artists about their creative processes and the realities of bringing theatre to life.
After a morning of inspiration, explore Cedar City and enjoy a meal at one of the local restaurants. From cozy cafes to family-friendly eateries, there’s something for everyone.
As afternoon turns into evening, return to the Festival grounds for play orientations and The Greenshow, a free outdoor 30-minute performance featuring music, dance, and comedy inspired by the Festival’s plays. Bring a blanket, grab a tart from one of the vendors, and enjoy this charming prelude under the open sky.
Experience the magic of Shakespeare under the stars at the Engelstad Shakespeare Theatre, modeled after London’s iconic Globe Theatre, patrons can experience the rarely-performed Henry VIII, and more familiar works like The Winter’s Tale and The Taming of the Shrew. This outdoor venue offers an immersive experience under the stars. For a change of pace, laugh out loud at Much Ado About Nothing and The 39 Steps in the indoor Randall L. Jones Theatre, known for its dynamic and comedic productions. The 200-seat Anes Studio Theatre hosts the compelling Silent Sky and The Mountaintop in an intimate and versatile black box setting.
Cedar City’s location makes it an ideal hub for outdoor enthusiasts. The Festival is just a short drive from some of the most stunning national and state parks in the country. Zion National Park, Bryce Canyon National Park, and Cedar Breaks National Monument offer breathtaking landscapes, perfect for hiking, photography, and family adventures. Combine your love of theatre with the great outdoors for a truly unique summer (or weekend!) getaway.
Plan your trip today and discover why the Festival is a beloved tradition for generations of families. Visit bard.org or call 800-PLAYTIX for tickets and more information. The Festival welcomes you to a season of extraordinary theatre and unforgettable experiences!
Q&A with Director Brad Carroll on Much Ado About Nothing
Director Brad Carroll returned to the Festival this season with his delightfully heartwarming production of Shakespeare’s Much Ado About Nothing. Audiences may remember Carroll from his many Festival productions. As music director/conductor he helmed Jane Austen’s Emma The Musical, Ragtime, and The Pirates of Penzance; as director he led Sweeney Todd, Joseph and the Amazing Technicolor Dreamcoat, The Liar, Murder for Two, South Pacific, The Comedy of Errors, Les Misérables, Johnny Guitar, The Spitfire Grill, H.M.S. Pinafore, Camelot, 1776, and Man of La Mancha.
Carroll is the composer of Lend Me a Tenor: The Musical, which had its world premiere at the Festival. It also played at Theatre Royal, Plymouth (England); Opera Leipzig (Germany); and the Gielgud Theatre in London’s West End, where it received a cast recording. Additionally, Carroll is the composer of “A” Train, which won best production at the United Solo Festival in New York City.
In addition to his Festival credits, Carroll has worked at PCPA, Idaho Shakespeare, Great Lakes Theater Festival, Shakespeare Festival of St. Louis, Utah Festival Opera, Anchorage Opera, Phoenix Theater, UC-Santa Barbara, and UCLA. He also served as a creative consultant/director for Walt Disney International in Tokyo.
The Festival sat down with Carroll to visit about his experience in directing Much Ado About Nothing.
The Festival: Why were you excited to direct this play?
Carroll: I’ve always liked the play, and I’ve seen the last three productions that the Festival has done and it’s so fun. I love how light it is, and the fireworks between Beatrice and Benedick. When we get to the part where it turns bad, I always forget that that’s coming, and that speaks to how well-crafted the play is.
I don’t do Shakespeare very often. At the Festival I’m known as “the music guy,” and it’s a kind of terrifying thrill to direct Shakespeare with this group of people. Also, it’s one of Shakespeare’s comedies with the most music in it.
The Festival: This is our ninth production of the play, but the first time it will be produced in the Randall L. Jones Theatre. Why were you excited to direct in this space and how does it affect the production?
Carroll: I love working in the Randall; practically everything I’ve done at the Festival has been in that theatre. The aesthetic for the outdoor theatres has always been the Elizabethan approach, and all of our Much Ado About Nothing productions have been done similarly. By moving it indoors, the theatre relaxes that aesthetic.
It’s terrifying and exciting that this is the first time it’s been indoors, and I am much more of a traditionalist, and I love that “once upon a time” feeling in Shakespeare plays. In this production, we are working on not setting it in a certain place and year. We’ve found that this has been freeing. It will still have a traditional feeling, and be beautiful to look at.
The Festival: What challenges came with preparing to direct this play?
Carroll: The biggest challenge is keeping it all clear, and trying to cut information that isn’t pertinent to the story or might confuse the audience, but also making sure that all those seeds get planted so that they can be tracked by the audience. For example, there’s a lot of information that gets communicated by the party scene, and so trying to keep the focus of the audience to see the communication between certain characters is challenging because you can’t just put the camera on them like in a movie.
The Festival: In design meetings, you noted that you drew inspiration from artist Maurice Prendergast. What other inspiration did you draw from?
Carroll: The inspiration isn’t so much literal as it is just a feeling. Prendergast’s work is fun and freeing. In his paintings, he’ll paint a scene in Venice in the background, but the people in the foreground are the focus, and for me this play is about real people. It doesn’t rely on the supernatural or other Shakespearean tricks; it’s just people at face value.
For our set, I wanted to give the actors an area for the play to happen rather than a lifelike Italian villa onstage. My mind wants it to be more imaginative, and invite the audience to use their imaginations.
The Festival: As playgoers, what should we watch for in this play that would help us more fully enjoy or understand the play? Are there any special “Easter eggs” you have implemented in the show?
Carroll: This play is so riddled with its own Easter eggs because it’s a play about misunderstanding; so tracking those is its own job for the audience. When I was first reading it, I kept having to turn back to see how the information got misconstrued, and so I think Shakespeare has given us all the “Easter eggs” we need.
The Festival: What do you hope audience members will take away from this play?
Carroll: I hope they feel great. To me, this play is a comedy that borders on tragedy, and at the end it’s a play about forgiveness and second chances. It’s an important theme in our world today. In order to truly forgive someone for something, you have to give up a piece of yourself, and not everyone is capable of doing that. I want the audience to see how big the characters’ hearts become after the tragedy of the play, [when they] forgive and move on.
The Festival: How long have you been directing plays? How long have you worked with the Festival? What draws you to be a director?
Carroll: I’ve been directing for over 40 years, and I’ve been with the Festival since 2002. I’ve been a music director, I’ve been an actor, but what I like about directing is the global viewpoint the director has of the play. It forces me to expand my thinking beyond my own world. I feel like I’ve traveled the world just by doing research on plays.
To purchase tickets to Much Ado About Nothing, visit bard.org or call 800-PLAYTIX. The play runs until October 5.
Derek Charles Livingston Announced as New Artistic Director of Stages in Houston
The Utah Shakespeare Festival announces the departure of Derek Charles Livingston, the director of New Play Development, this season’s director of Henry VIII, and former Interim Artistic Director. Livingston will be leaving the Festival to join Stages in Houston as their new Artistic Director.
Livingston will take over in August for Kenn McLaughlin, who is retiring after 23 years with the Houston performing arts organization.
During his tenure at the Festival, Livingston made significant contributions to the Festival’s artistic community. His leadership in directing productions, fostering new play development, performing, and guiding the Festival through various important transitions has left an indelible mark on the organization. Notable roles at the Festival include directing this season’s Henry VIII and last season’s A Raisin in the Sun, as well as performing as Thurgood Marshall in Thurgood in 2022. His work on Henry VIII was particularly noted for its innovative approach and dynamic storytelling on a play that is rarely done.
He was also responsible for introducing a number of shows to Festival audiences including Trouble in Mind in 2022, Jane Austen’s Emma The Musical in 2023, and Polar Bears, Black Boys, & Prairie Fringed Orchids in 2022’s Words Cubed new play development program.
“Derek has been an invaluable member of our team, and while we are sad to see him go, we are also incredibly proud and excited for his next chapter,” said Executive Managing Director Michael Bahr. “His vision and passion for the arts have greatly enriched our organization, and we know he will bring the same level of dedication and creativity to Stages in Houston.”
Prior to his time at the Festival, Livingston had other extensive and impressive positions in the theatre industry. He has served as the Managing Artistic Director at Celebration Theatre, Program Manager/Production and New Play Producer at Playwrights Project, and Festival Artistic Producer at Plays in Progress, Cygnet Theatre. He has also taken on acting roles at various theatres and directed multiple plays.
Livingston’s work has earned him numerous accolades, including the New Hampshire Drama Award for Lead Actor in Driving Miss Daisy, LA Scenie Awards for directing Sweeney Todd and M. Butterfly, and LA Ovation nominations for directing Shakespeare’s R&J, for producing for Pinafore!, and producing Hedwig and the Angry Inch (winner). He also received LA Weekly nominations for directing Insurrection: Holding History and M. Butterfly.
“I am thrilled to be joining Stages in Houston and look forward to the opportunity to work with such a vibrant and innovative community,” said Livingston. “While I will always cherish my time at the Utah Shakespeare Festival, I am excited about the new possibilities and challenges that lie ahead.”
For further reading, visit Stages website and American Theatre Magazine.
Healing Through Theatre: Shakespeare in Utah’s Juvenile Justice System
By Katie Neves, guest writer
“All the world’s a stage, and all the men and women merely players,” Shakespeare observed. For 31 years, the Utah Shakespeare Festival has embraced this philosophy, turning the Southwest Utah Youth Center into a stage where disadvantaged youth can step into exciting roles, develop new skills, and gain confidence through the transformative power of theater.
The Festival’s Juvenile Justice program began in 1993, when Cedar City’s Judge Thomas Higbee reached out to the Festival. He worked with the Southwest Utah Youth Center as part of a Scout Troop program—and, understanding the impact that theatre can have––asked the Education Department to bring a little of the Festival into the correctional facility.
For more than three decades, a team of teaching artists and actors visit the Center and introduce the works of Shakespeare to the youth there. They share performances, teach basic theatre concepts, and help the youth direct and perform scenes and monologues. During the summer, the program corresponds with the Festival’s season. This year they’ve covered Much Ado About Nothing, Henry VIII, The Winter’s Tale, and The Taming of the Shrew, as well as USF’s non-Shakespearean shows of the season: The 39 Steps, Silent Sky, and The Mountaintop.
The Southwest Utah Youth Center is also the first stop of the Festival’s Shakespeare in the Schools Tour each winter. Leading up to that performance, the Juvenile Justice program spends time contextualizing, studying, and dissecting the play––making it more accessible than ever to youth who’ve never experienced Shakespeare.
“The ultimate goal of this program is to allow these boys to have a meaningful experience with theater arts, specifically Shakespeare,” said Stewart Shelley, Education Director. “Most of these boys have not had a lot of exposure to the arts, and look forward to the weekly class. We make honest theatre and have a lot of fun doing it.”
While students may initially be reluctant to step into the role of actor or director, Festival actors and teachers work to pull them out of their shells and recognize their own abilities. Whether by breaking down a monologue word by word, coming up with fun nicknames for tricky Shakespeare characters, or simply providing a space for students to tell their own stories, the Juvenile Justice program builds meaningful connections with the kids who need it most.
Program Manager Darin F. Earl II (who audiences will recognize onstage in Much Ado and Henry VIII this season) was introduced to the program while starring in the Othello Shakespeare in the Schools Tour in 2023. “It’s one of the best educational experiences I’ve ever had in my decade of being a teaching artist,” they said. “While the prospect may seem intimidating to people who may not be familiar with ‘The System,’ it truly is as simple as remembering that these students are looking for company and support.”
Along with Earl, other company members, such as actors Abdul-Khaliq Murtadha and Alia Shakira, and intimacy director Sacha Comrie have also spent time with the youth at the Center this summer.
The Utah Shakespeare Festival is deeply committed to the educational power of the theatre. Through its longstanding relationship with the Southwest Utah Youth Center, the Festival offers more than just performances; it fosters an environment of growth and healing for some of Utah’s most vulnerable youth.
“In my eyes, the opportunity to teach is to create and share space together,” said Earl. “In that space we create, there are an infinite amount of possibilities. We can help, we can hear, we can hide, and we can heal.”
To get involved with the Education Department or to learn more about the program, visit bard.org/education.
Props to Pages: Properties Director Ben Hohman Publishes Book
By Liz Armstrong, guest writer
Properties Director Ben Hohman has been at the Utah Shakespeare Festival for over 30 years, working with his staff to build everything from a Model T Ford (in Ragtime) to board game pieces (in Clue) to a life-size bear puppet (in this season’s The Winter’s Tale).
The past couple of years, however, Hohman tried his hand at something different, shifting from props to pages. This past Tuesday, July 23, Hohman’s book 101+ Tips and Tricks Every Prop Maker Should Know was released.
Although the book is targeted to those that work in the theater industry, there’s plenty of Festival lore included. For a behind-the-scenes look at the props the Festival has had on stage, how-to’s, and life lessons, we encourage Festival patrons to pick it up as well.
The Process
Hohman had considered writing a book years ago, but it wasn’t until he presented a workshop at USITT, a theater conference he attends every year, that the opportunity to do so finally came about.
“I did a workshop on how we use texture in props at the Festival. A book editor had watched my presentation, and I got an email asking if I knew anyone who was interested in writing a book or if I had any ideas for one,” Hohman said
Hohman pitched three ideas, and soon he was working on 101+ Tips and Tricks Every Prop Maker Should Know. At first 101 ideas seemed like a lot, but Hohman soon realized that, due to his time at the Festival, he had more than enough tips and tricks to share.
“I’m used to explaining things hands-on in my shop, but having to write it down so someone else could pick it up and do it without having seen it is a little more challenging,” Hohman said. “I learned that I’m not a great writer, I’m a much better demonstrator, so luckily I had my wife and editors to [help].”
The process took longer than Hohman thought. He began writing 18 months ago, through the Festival’s 2023 season.
“My last deadlines were right before we got into heavy buildup for this season,” Hohman said. “Last summer, there were days that were really challenging balancing technical rehearsals and deadlines.”
Hohman compared the experience to getting a show onstage on time, noting there’s lots of little details at the end you have to rush through. Just like countless shows Hohman’s done at the Festival, he pulled it off.
The Content
“Two-thirds of the book is aimed at people building props in the film or theater industry,” Hohman said. “I’ve included products or equipment or tools and tricks of how to do things faster, cheaper, or easier.”
A lot of these examples spur from Festival shows, like how the props team built the giant tree in Fred C. Adams’ production of A Midsummer Night’s Dream in 2011.
“There’s close to 100 photos and illustrations to show people certain things like pieces of equipment, theater knots, or how to set a dining table for casual, semi-formal, and formal meals [for example],” Hohman said.
The rest of the book is a little more philosophical, explaining why props are important to not only telling a story, but telling it well.
At the end of the book, there’s a glossary of prop terms. One example is “antimacassar,” which refers to the “lace doilies you would see on your grandma’s couch.”
“There are also some things in there that could be for the general reader, like life lessons that you could apply to more than just props,” Hohman said.
To include other perspectives, Hohman interviewed nine people who are in different parts of the prop industry.
One of these voices is Walter Stark’s, who wrote the foreword. Stark worked for ten years in the Festival’s props department and was incredibly passionate about his work. In 2023, he passed away after a long battle with cancer.
“He said props created magic for the audience,” Stark’s partner, Judith Kilpatrick said. “He was immensely proud to be a part of the process, to the point of working his last seasons for only room and board.”
When Hohman decided to write the book, he went to Stark.
“I asked him if it was a good idea and if he would write the foreword,” Hohman said.
Stark was a scientist, and Hohman wanted that analytical viewpoint of prop-making to be included in the book. Stark reached out right after Christmas in 2022, letting Hohman know he’d sent him the foreword for the book. At this point, Hohman had only turned in the first chapter of his book.
Hohman found out Stark had given him the foreword so far in advance because his cancer had come back and he only had a few weeks to live.
“I told him to not worry about the book and to spend time with his family, but he said he wanted the [foreword] to be perfect for me,” Hohman recounted.
Ultimately, Stark pushed Hohman to do the book and share his knowledge with others and was a large part of why the book was published.
The Future
Writing another book isn’t off the table for Hohman. He has several ideas for future books, including anecdotes from his prop experience.
“We’ve done some crazy things and I often share with my staff a prop experience that didn’t work, like to not run with burlap sacks that are on fire,” Hohman joked.
For now though, he plans to keep working as the Festival Properties Director, presenting his highly popular props seminar during the Festival’s season, and teaching workshops. Hohman is content to have crossed “writing a book” off of his bucket list.
“I am happy that they decided to publish it and that this information is going out into the world,” Hohman said. “I think there are a lot of things in there that people will find useful.”
To purchase the book, click here.
To see props Hohman and his team created in action for this season, purchase tickets at bard.org/plays or by calling 800-PLAYTIX.
Festival Announces New Educations Programs Manager
By Katie Neves, guest writer
The Utah Shakespeare Festival is excited to introduce Sophia Grzywacz as the new Education Programs Manager. Her passion for theater and dedication to education will bring fresh energy and ideas to the Festival and its patrons.
Originally from Las Vegas, Grzywacz moved to Cedar City to attend Southern Utah University. She graduated this past April with a Bachelors in Business Management and Accounting and is looking forward to stepping into her new role with the Festival. While at SUU, she worked as an event coordinator for the university’s speaker series, Eccles APEX; she also spent the last two summers working at the Festival in Company Management. “We are thrilled to be welcoming Sophia to the department,” said Education Director Stewart Shelley. “Having an additional full-time member of our team will help us to continue the incredible legacy built by former Education Director (now Executive Managing Director) Michael Bahr.”
Grzywacz’s experience goes beyond management and coordination; she has a long history of education and the arts. She worked as a counselor at youth summer camps for several years, and has developed a lifelong love of theatre. She has fond memories of playing Eliza Doolittle in My Fair Lady and Wendy in Peter Pan in her middle and high school years. “When I was a child, theatre was a way for me to express myself. It helped me deal with the awkward life changes and find ways to compose and express myself amidst the chaos,” said Grzywacz. “I love what it did for me, and I love watching students come here each week and seeing the same impact it has on their lives.”
As the Education Programs Manager, Grzywacz will oversee and orchestrate the actor training camps, help coordinate and hire adjudicators for the annual High School Shakespeare Competition, and set up various partnerships and talkbacks that correspond with the Festival’s mainstage productions, among other things. “I am really excited to give back to the community that has given so much to me,” said Grzywacz. “I jumped into the craziness of this season and I love every single second! I truly am continually amazed by the actors, students, and community, and our Education Director Stewart Shelley. They go above and beyond, and are truly here for the patrons.”
Grzywacz is dedicated to fostering an environment of development and learning, ensuring that the Education Department continues to thrive. “She is incredibly organized, thoughtful, and approaches challenges methodically and creatively,” said Artistic Director John DiAntonio. “Sophia’s exemplary leadership qualities and exceptional interpersonal skills with colleagues, stakeholders, and external partners will be a huge asset.”
With her accomplished background and deep commitment to arts and education, Sophia Grzywacz is poised to make a significant impact. The Festival is excited to see the innovative programs and inspiring leadership she brings to her new role.
Q&A with Director Valerie Rachelle on The Taming of the Shrew
Director Valerie Rachelle is returning to the Utah Shakespeare Festival this season with an uproariously funny production of Shakespeare’s The Taming of the Shrew. Festival audiences may remember her as the director of last year’s delightful Jane Austen’s Emma The Musical. Additionally, Rachelle was the Assistant Director of USF’s 2005 production of All’s Well That Ends Well.
Her other directing credits include the Utah Festival Opera, Syracuse Opera, PCPA Theatrefest, Sierra Repertory Theatre, Oregon Shakespeare Festival, and the Oregon Cabaret Theatre, where she also serves as the Artistic Director. In addition to directing, Rachelle has an extensive academic career, with teaching experience at the University of Southern California, PCPA, and Southern Oregon University.
Rachelle received her MFA in Directing from UC Irvine, and her BFA in Acting at CalArts.
The Festival met up with Rachelle to ask her more about her experience here this season.
The Festival: Why were you excited to direct this play?
Rachelle: I [was] excited because of the challenge and the design we’ve come up with. It’s a world you want to watch and be a part of… and to surprise the audience with what we’re going to do. I’m excited that Lindsay Jones is creating new music and to be in the outdoor theater, because you’re out in the elements and you have to accept the world you’re in and live in this live environment.
The Festival: This play is often considered “problematic” because of its challenging themes of patriarchy, abuse, and sexism. How do you plan on tackling the “problem areas” of the play?
Rachelle: A lot of people don’t [perform] the induction Shakespeare wrote, which includes two scenes before the play starts. It includes Christopher Sly mistreating a female innkeeper, and some higher-ups observe this and decide to take Christopher Sly, dress him up as a lord, and show him The Taming of the Shrew to teach him a lesson. The whole point of the play is not to teach men how to tame their women, but to teach Christopher Sly how to treat others better.
Shakespeare actually didn’t finish the play. Usually [other productions] will bookend the induction with an [epilogue]. We aren’t adding any text, but we will highlight what Christopher Sly has learned.
We are setting up The Taming of the Shrew as a play-within-a-play; as theatre magic. It’s going to be colorful and cartoony. All of the violence in it is going to be done with feathers and food items. There’s no weapons in the show. We are approaching the abuse as slapstick farce, not actual abuse. It’s to heighten it and show Christopher Sly how ridiculous he is treating people.
The Festival: As playgoers, what should we watch for in this play that would help us more fully enjoy and understand it better?
Rachelle: The first goal is for audience members to laugh. It’s going to be very silly on purpose. We want to take this world and put it into something that isn’t real life. We want audience members to see these characters and recognize their faults—we will heighten them to the extreme, so we can laugh at them.
We are adding musical numbers, and so my goal is for audience members to be cheering them on to change Christopher Sly. I also want them to see that in the play, there is true love. Kate and Petruchio do love each other, and if society would allow them to be who they are, they wouldn’t have to live in this cocoon of “the man is in charge and the woman has to follow.” They have an understanding of their relationship and that it’s more equal, but society is forcing them to act a certain way.
The Festival: What challenges came with preparing to direct this play?
Rachelle: The biggest challenge [was] trying to make the theme work in a contemporary society. It’s hard to show a lesson that’s like “The woman should follow the man in every footstep.” We’ve found a way to present it in a way that we’re showing these behaviors—not to say that that’s how it should be, but that’s what it shouldn’t be.
True love is more about listening and responding to each other honestly, rather than forcing will upon somebody. But we’re going to illustrate this in a way that will make you laugh rather than make you cry. We’re going to use music, color, and comedy to do this.
A lot of companies decide not to do this show because it’s “problematic,” but I think they forget that the play is showing us what not to do, rather than what to do.
The Festival: What do you hope audience members will take away from this play?
Rachelle: I hope audience members leave laughing, and that they feel that Christopher Sly got what was coming to him. I want them to come to their own realization of how to better listen to and understand their own partners.
The Festival: You directed Jane Austen’s Emma The Musical last season. Can patrons expect any parallels with this show?
Rachelle: It’s a very different story and very different style of play, but similarities might be that it’s about being a better person, finding love, listening and changing, and following your heart.
The Festival: How long have you been a director? How long have you been with the Festival? What draws you to directing?
Rachelle: I’ve been directing since I was 22, which means I’ve been directing for 27 years. This is my third season with the Festival, and I continue to direct because I love it so much. It’s the love of my life.
The Festival: Anything else you want Festival audiences to know?
Rachelle: It’s all storytelling. Musical theater, dance, opera, anything live—it’s all storytelling, just done in different ways. That doesn’t mean the story changes; you’re just telling it in a different way. That’s what I love about live arts—it’s all just for the audience to be entertained, enlightened, and engaged. We create empathy by telling stories, and we don’t have to tell super serious stories to do that. Sometimes you worm your way into minds through laughter.
Get your tickets to The Taming of the Shrew, running now through September 7 in the Engelstad Shakespeare Theatre. Visit bard.org or call 800-PLAYTIX.
Education Department Honored with Prestigious Award
By Katie Neves, guest writer
Last week, Deseret News recognized the Utah Shakespeare Festival’s Education Department during their third annual Honors in Education Gala.
The gala, which is held in conjunction with First Lady Abby Cox’s “Show Up for Teachers” initiative, honors outstanding educators throughout the state of Utah. While primarily recognizing teachers and school staff, Deseret News also selected six businesses with an excellent record of educational programming and outreach—including the Utah Shakespeare Festival.
“This award means that our efforts are noticed,” said Education Director Stewart Shelley, “and that we have set a precedent over the past years in regards to educational programming. We’ve set a high standard to live up to.”
The Festival’s Education Department was selected for the award due to the wide variety and high quality of its programming. The Festival offers programs for learners of all ages and ability levels, serving districts and students across the state of Utah and beyond. Programs include the Shakespeare in the Schools tour, which brings free professional performances to the entire Intermountain West; and the Juvenile Justice program, which introduces the works of Shakespeare to youth in the Southwest Utah Youth Center.
In addition to summer camps and youth classes, Seminar Grove experiences, and various workshops, the Festival also hosts the annual Shakespeare Competition, which brings together thousands of students across the country to learn, compete, and collaborate in Shakespearean study and performance. Through its outreach, the Festival has worked with 34 school districts, 31 charter schools, 818 teachers, and 20,836 students in the 2023-2024 school year alone.
Education has always been a high priority for the Festival. Before becoming the Festival’s Executive Managing Director, Michael Bahr spent 24 years as the Education Director, fostering an environment of excellence, inclusivity, and innovation.
Current Education Director Stewart Shelley stepped into the role this past April, after working with the Department since 2022. After 19 years as a high school theatre teacher, a Bachelor’s in Theatre Arts Education from BYU, and a Master’s in Educational Administration from Grand Canyon University, Shelley understands the power of theater in the development and education of young people.
Currently, the Education Department is working to partner with schools throughout the state of Utah who haven’t yet been reached by the Festival. “We want to have a presence state-wide,” said Shelley. “The Festival is currently re-envisioning the strategic plan, and we are excited to see how our department can align with the new mission, vision, values, and goals.” With the recent addition of a new education staff member, Sophie Grzywacz as Education Programs Manager, and a continually-growing team of teaching artists, the Festival’s Education Department aims to make Shakespeare and theater arts more accessible than ever before.
Other ways the department is hoping to reach more students is through Shakespearience, a program that offers discounted matinee tickets and other perks throughout the months of August and September to school groups. Also, USF School Days where school groups can get free tickets to two selected performances in September, is due to generous funding from the state.
The Deseret News Honors In Education award underscores the Festival’s commitment to educational excellence and community outreach. It is a testament to the dedication and hard work of the entire Education Department, who strive to inspire and educate Utah students and teachers through the power of the theatre.
To learn more about the Festival’s Education Department, visit bard.org/about/education, or reach out at USFeducation@bard.org.