News From the Festival
Connor Bond- Guest Blogger
Ashdown as Prince Hal & Bond as Edward Poins. Photo by Karl Hugh
We have many new faces to our acting company this year and one of them includes Connor Bond. He will be in Henry IV Part 1 as Poins and inSense and Sensibility as Robert Ferrars. Below are his comments on being at the Festival for the first time.
What brought you to Utah Shakespeare Festival?
This is my first time at the Festival, but I heard from so many fellow actors what a wonderful place it was to work. It’s been amazing getting to actually work here. The community is awesome. I was reminded what a small world it is coming here because I already knew a few people in the ensemble before I even got here, including three classmates from my recently graduated MFA class.
What brought you to your field and what keeps you doing your craft?
I started out as a jazz musician, playing tenor saxophone, and then decided I wanted my practicing to be in a community creating a piece, instead of alone in my room most of the day. I still play saxophone a lot, especially in productions, but acting provided a technique I could develop through myself and not through an outside instrument.
Where’s your home base?
I am originally from Portland, Oregon. The great Northwest!
What’s your education/training background?
I got my BA in drama and minor in music from the University of Portland and then immediately went on to get my MFA in acting from the University of California, Irvine.
What are you looking forward to the most this summer?
I’m most looking forward to being outside. Riding my bike, going on hiking adventures, and of course acting outside on the Adams. There is something supremely fulfilling and wholly connective about performing theatre (especially Shakespeare) out in wind, sky and trees that reminds you why you started acting in the first place.
Who/What inspired you to pursue your dream of acting/designing?
My family was probably my biggest influence. My mother was always pushing us to be apart of productions from a young age and my father is a videographer for Oregon Public Broadcasting, so I grew up in a television studio essentially.
What is your favorite musical/play/Shakespeare play?
My all-time favorites areJesus Christ Superstar,**Waiting for GodotandJulius Caesar.
What is your dream role?
I have many, but a big one is Brutus in Julius Caesar.
What is your dream show to design/craft?
I would love to one day direct The Creation of the World and Other Business by Arthur Miller.
If you could be a superhero, what would you want your superpowers to be?
I would want to be able to change the laws of gravity. I actually created this superhero as a comic book character. He had ancestry to Sir Isaac Newton.
Mary Jane Schaefer, NAPP Playwright
During August, the Festival features the New American Playwrights Project (NAPP). Playwrights submit their plays and only three are selected for a staged reading, with Festival company members directing and acting. Each play has three readings.
This week, we feature Hamlet’s Shakespeare by Mary Jane Schaefer. The play focuses on Will’s reaction to the death of Hamnet Shakespeare, his only son.
We talked with Ms. Schaefer to learn more about her and her inspiration for the play.
Mary Jane Schaefer
Tell us a bit about yourself.
I first read Romeo and Juliet when I was twelve years old and I fell madly in love with the play and the playwright. In college I performed a lot of Shakespeare. I’ve since acted professionally, taught, been a dramaturg and written many plays, including a monologue “The Great Will Shakespeare Speaks” that’s been performed in Canada and on the grounds of the Shakespeare Festival Theater in Stratford, Connecticut.
What was your inspiration for this play?
The kernel of the play came from a 24-hour playwriting festival, where a topic, actors, and director were assigned. The goal was to write a ten-minute play that would be performed 24 hours later. My assigned topic was “Shakespeare in the Dark”. From that nugget, I wrote this full- length play*: Hamlet’s Shakespeare.*
Rick Peeples- Actor in Hamlet’s Shakespeare
Ericka Haaland- Actor in Hamlet’s Shakespeare
What do you expect as a result of this experience?
I’ve seen some of director, Henry Woronicz’s, work and I feel I’m in very good hands. I’m eager to see what his emphasis will be and what he’d like changed. I’d like to hear how the script sounds, how the actors respond – what they’re comfortable and uncomfortable with. And, of course, I’d very much like to hear from the audience, especially what they would name the play because I don’t think this title is the final one.
Being here is a tremendous experience for me, as well as a wonderful honor. I want to participate as fully as possible, get to know people, and enjoy this great Festival.
Why should our patrons attend this play reading?
I think my play presents a new and dramatic impression of what Shakespeare might have been like as a man. I used a form of Elizabethan English to create an illusion of being there, in his world, in his mind, so we feel what he might have been going through while he wrote *Hamlet,*after his son’s death.
Hamlet’s Shakespeare will be directed by Henry Woronicz. Actors include Bailey Duncan, Ericka Haaland, Sara Griffin and Rick Peeples. Performances are August 22, 23 and 29, 10am in the Auditorium Theatre. Tickets are $10 and can be purchased online at www.bard.org or by calling 800-PLAYTIX
Dan Borengasser, NAPP Playwright
During August, the Festival features the New American Playwrights Project (NAPP). Playwrights submit their plays and only three are selected for a staged reading, with Festival company members directing and acting. This provides an opportunity for the playwright to make changes, both during rehearsals and as a result of feedback received during the talkbacks after the first two performances.
This week, we’re featuring Breakout by Dan Borengasser. “Roach” Rhinowsky and Russell Sloan share a jail cell, but they don’t agree on much. Then the prison adopts a theatre program as a form of rehabilitation, and the two concoct a shared goal. They decide the play the inmates will produce Hamlet, will be the perfect distraction for a breakout.
We chatted with Dan to learn more about him and his play.
Dan Borengasser
Tell us about your background.
I was with a film and video production company. I wrote scripts with them. We made commercials and corporate videos. After retiring, I continued writing screen plays and then stage plays. I’ve entered many contests and had readings all over the world. One play, *The Gospel According to Bowser,*has been produced and performed in New York, LA, Florida, India, Australia and New Zealand.
Cassandra Bissell-one of the actors in Breakout
What is the inspiration for “Breakout?”
After listening to an NPR program about Shakespeare in prison, I wrote a ten-minute screenplay called *Breakout.*I entered in a contest and the film was made. Then I decided to expand it to a full-length stage play.
What’s the difference between writing a screen play and a stage play?
Screen plays tend to be more streamlined and action driven. Stage plays are more dialogue driven. Pacing is important because the audience needs time to absorb the material.
What do you expect as a result of this week?
I expect to do some rewriting. I’ll see what works and what doesn’t and get it back out there. This workshop experience is unusual in that I have the opportunity to get live feedback from the director, actors and audience.
Why should our patrons attend this play?
It’s a rare opportunity to see a work in progress and provide feedback that could affect the outcome, the final product.
Breakoutis directed by Quinn Mattfeld. Actors include Cassandra Bissell, Drew Shirley and Kipp Moorman. Performances are August 15, 16, 28 at 10am in the Auditorium Theatre. Tickets are $10 and can be purchased online at www.bard.org or by calling 800-PLAYTIX.
Levi Miles- Guest Blogger
The Festival requires an army to create our shows. Some of the soldiers are not onstage, but in the shops making sure the costumes are built. Meet Levi Miles our costume design supervisor who helped create the costumes for this season.
Have you ever worked at the Festival before? If so, for how many years and in what capacity?
This is my third season at the Festival. In 2012, I worked as a wardrobe technician in the Adams Theatre, working on Titus Andronicus, Merry Wives of Windsor, and Merry Stuart. Last season, I served as a wardrobe technician in the Randall Theatre, on Peter and the Starcatcherand Anything Goes. I’ve also done some work in the costume crafts department, as well as giving backstage tours. This year I’m working as the costume design supervisor, assisting the costume director, the designers, and attempting to keep everything running smoothly in the shop.
What brought you to Utah Shakespeare Festival? What is it about the Festival that brings you back?
I came to the Festival to further my education, and was hired by Jeff Lieder, who is the costume director here at the Festival, as well as my professor back home. USF is a really unique opportunity for costumers because it allows you to further your building and
crafting skills in May, and then watch your pieces come to life on stage throughout the summer.
I come back because of the friendships you make. You develop a really close bond with
your fellow artisans, and the performers you are responsible for taking care of during the
run of the show.
What brought you to your field and what keeps you doing your craft?
I fell into costuming. In all honesty I never really planned on being a costumer, or a
crafter. I went into school knowing I wanted to tell stories, and I bounced around a couple
of majors (English education, performance, journalism … etc) before landing in the
costume shop. I still plan on going into storytelling and journalism, but I really enjoy making things, and I love the challenge of taking a 2D rendering and making it into a real object.
Where’s your home base?
I’m based out of Milwaukee, WI.
What’s your education/training background?
Next May I will be graduating from UW-Milwaukee with a BFA in Costume Production,
a BA in History, and a BA in Religious Studies, with a focus on Early Christianity.
How will you spend your time off while here?
We have a lot of fun playing games, particularly Dungeons & Dragons or Pathfinder
after the shows and on the weekends. It’s a lot of fun, and it’s made possible by having the awesome game store on Main Street (Gunjah) having everything we need to play!
What is your favorite musical/play/Shakespeare play?
DefinitelyTitus Andronicus.
What is your dream show to design/craft?
I think the show I’d most like to design would be She Kills Monsters, by Qui Nguyen.
If you could be a superhero, what would you want your superpowers to be?
I think I’d like to have the power to alter reality or grant wishes – like the Scarlet Witch from the Marvel universe.
Rose-Mary Harrington, NAPP Playwright
During August, the Festival features the New American Playwrights Project (NAPP). Playwrights submit their plays and only three are selected for a staged reading, with Festival company members directing and acting. Each play has three readings.
This week’s play is Six Seconds, written by Rose-Mary Harrington. The play presents the events surrounding the JFK assassination through the vortex of the women caught in its awful grip: Lady Bird Johnson, Jackie Kennedy, Nellie Connally and Marina Oswald.
We met with Rose-Mary to learn more about her and the play.
Tell us a bit about yourself.
I was born and educated in England, just outside of London. I’ve lived in the US for many years and currently live in Charleston, S.C. I’ve written several full-length plays, had a play performed at the Kennedy Center and was named the Oregon Literary Fellow for Drama in 2009. My plays are diverse in subject matter. I am drawn to writing about those who do not have a voice.
Bull plays LBJ
What was your inspiration for this play?
I received a solicitation in 2012. They were looking for plays to commemorate the 50th anniversary of JFK’s death. As I researched, I realized the women who were involved possessed a unique perspective – I could relate to them – they’re all mothers and wives. On the outside they were all together and presented themselves very well. They played the traditional role of the wife at home and they supported their men. Each of them had a story to tell.
What do you expect as a result of this NAPP experience?
I want to iron out the wrinkles, see what works, what doesn’t, what needs to be added or deleted. Hearing the play read aloud by actors allows me to listen to the cadences and rhythms of the language and make adjustments. As a playwright I am solitary. Witnessing the interpretations of the director and actors together with their feedback has been invaluable.
It’s a treat and an honor for me to be here.
Allred plays Jackie Kennedy
Why should our patrons attend this play?
It’s a chance to revisit that turning point in history – it is very emotional. This is about the people involved. In six seconds it not only changed their lives, it changed the whole nation.
You can see Six Seconds, directed by Charles Metten and featuring Tracie Thomason as Lady Bird Johnson, Samantha Allred as Jackie Kennedy and Larry Bull as LBJ on August 8, 9 and 27 at 10am in the Auditorium Theatre. Tickets are $10 and can be purchased online at www.bard.org or by calling 800-PLAYTIX.
Grant Goodman- Guest Blogger
Meet Grant Goodman who plays Duke Orsino in Twelfth Night and Colonel Brandon in Sense and Sensibility.
Have you ever worked at the Festival before? If so, for how many years and in what roles/capacity?
This is my third season at the Festival. In years prior I played Macbeth, Petruchio inThe Taming of the Shrew, Bassanio in Merchant of Venice and Le Bret in Cyrano de Bergerac.
What brought you to Utah Shakespeare Festival?
My first season here (back in 2008), when I came out to play Petruchio, I auditioned in Chicago. I didn’t really know anyone at the Festival but later, R. Scott Phillips, the Executive Director, told me that he knew quite a few people that knew my work. So, I guess that had a hand in my landing here too!
Grant Goodman as Orsino in Twelfth Night
Why Utah Shakespeare Festival? What is it about the Festival that brings you back?
First and foremost, the crowds and the atmosphere. USF has such a great fan base and following - like no other theatre in the country. It’s magical to be here in Cedar City at about 7pm when the Greenshow is about to begin and the sun is setting and the weather is perfect. The energy of the crowds as they watch the Greenshow and file into the Adams or the Randall is just tremendous. It’s a true festival feeling. One of the many other reasons I love it here is because of the energy and excitement generated by true rotating repertory theatre. Six shows plus the three Greenshows running at any one time, with a company of actors, designers, staff and crew that come from all over the world makes for an exhilarating environment!
What brought you to your field and what keeps you doing your craft?
I had some amazing teachers in high school that taught Shakespeare and made it come alive. They had us memorize speeches from his plays to learn from them. I loved it! I also saw a production at The Actors Theatre of Louisville of Macbethwhen I was in high school that made me want to become a Shakespearean actor.
What’s your education/training background?
I went to the National Shakespeare Conservatory and NYU’s Tisch School of the Arts.
Neil Geisslinger and Grant Goodman in Twelfth Night
What are you looking forward to the most this summer?
Again, I think the crowds and the enthusiastic reception of what we do here. The seminars in the grove and the panels and talkbacks etc., give us a great chance to meet the audiences. It’s so refreshing to see how much our work means to them.
Who/What inspired you to pursue your dream of acting?
My father was a football coach, and although he always encouraged me to pursue my interests, none of my other teachers in high school wanted to push me in the direction of the arts for fear of what my father might think! It wasn’t until I had a student teacher in drama say that she thought I should “move to New York and be an actor” that I actually thought it was a real possibility.
What is your favorite Shakespeare play?
My simple answer to this is usually - whatever Shakespeare play I happen to be doing at the time! Mainly because once you get in the inside of one of his plays, you see just how wonderfully crafted it is and how elegant the language is. Especially his later plays. If forced to choose I might say Pericles. It’s such a gorgeous story and it has two of the most beautiful scenes Shakespeare (and/or his collaborator!) ever wrote.
What is your dream role?
I actually just had the great, good fortune to play my dream role just prior to coming to Cedar City! - The title role in Hamlet!
Twelfth Night photos by Karl Hugh
Christopher DuVal- Guest Blogger
Christopher DuVal is our fabulous fight choreographer this season. His work can be seen all throughout the Festival in Henry IV Part 1, Comedy of Errors and Twelfth Night.
Have you ever worked at the Festival before? If so, for how many years and in what roles/capacity?
This is my fifth season, three as an actor from ’96 - ’98 and two as a fight director (Hamlet in the Fall season of 2012 and this season’s summer company)
What brought you to Utah Shakespeare Festival?
I love working here. The company, the artistic and administrative support, the artistic vision, the nature of an ensemble and of rotating rep - it’s all a joy and a gift to be a part of the work here.
What brought you to your field and what keeps you doing your craft?
I love the process of working with directors and helping actors stay safe in the development of creating moments within choreographed violence.
Where’s your home base?
I recently moved to Salt Lake City where I teach at the University of Utah, from Idaho where I was teaching and serving as the Head of BFA and MFA Performance at the University of Idaho. Prior to Idaho, home base was as a company member at the Oregon Shakespeare Festival.
What’s your education/training background?
I received an MFA in Acting from the University of California Irvine. I’ve also undergone additional teacher training with the Society of American Fight Directors, Dueling Arts International, and Fitzmaurice Voicework. I also hold a 2nd degree black belt in Aikido which influences all of my work.
What are you looking forward to the most this summer?
Being a part of seeing and participating with all the artists and support staff bringing these productions beautifully and viscerally to life.
Who/What inspired you to pursue your dream?
Many people have influenced me and continue to do so. I’d have to say that being given the opportunity to assistant fight direct Randy Kovitz here in ‘94 and to be given an opportunity to have worked here during the late 90’s acting and assistant fight directing Robin McFarquhar has been one of the most influential influences of my career.
How will you spend your time off while here?
Hiking with my wife and daughter, as well as finishing a book I’m working on for Methuen Drama on stage combat as it relates to acting and voice work.
What is your dream project**?**
I’ve acted in several productions of The Three Musketeers and Cyrano de Bergerac and would love to fight direct them at some point.
Jason Michael Spelbring and Bardway Baby
2011 Bardway Baby
If you were lucky enough to be at the Festival in August over the last four years, you might have attended Bardway Baby, a pops style concert that raises money for the Artistic Initiative Fund. This year, there will be two performances: August 1 at 11:30pm and August 8 at 11:30pm. Tickets are $25, available online and at the ticket office. All proceeds go to the Artistic Initiative Fund.
We caught up with one of its founders and this year’s organizer, Jason Michael Spelbring, to get some history and an update on what we can expect this year.
Tell us a bit about the origins of Bardway Baby.
Aaron Galligan-Stierle and I were co-chairs for the REACH Cabaret in 2010. That was the summer that Brian and David became co-artistic directors and announced the Artistic Initiative Fund. This fund has three objectives:
- Establish and identify a core group of actors, directors, and designers who regularly appear on and off our stages.
- Utilize resources from the fund to support, enhance, and increase the size and scope of our production design aesthetic.
- Increase the Utah Shakespeare Festival’s national and international exposure and profile; this includes attending national conferences, utilizing new technology to support our marketing strategies, and exploring outreach and touring opportunities.
When Aaron and I heard that, we thought “What can we do? What if we do a sexy version of Cabaret? Like a Pops Concert format for one night only following a performance in the Auditorium Theatre.” We added water and it happened. That first year I came out the stage door to see a line of people around the fountain down to the lawn. I was completely blown away. We had 700+ patrons attend.
Tell us about the program for this year.
This year it’s Bardway Baby: An Evening of Rodgers and Hammerstein. You’ll hear songs across the canon of their amazing work. Performers include Aaron as host, with special guests Brian Vaughn and David Ivers. There will be ten performers: Larry Bull, Brian Vaughn, James Sanders, Kyle Eberlein, Peter Saide, Melinda Pfundstein, Misty Cotton, Bree Murphy, Bri Sudia, and Tina Scariano. There will be a group opening number, each singer performs a solo and then a fantastic closing number – a choral arrangement of two classics, created by our musical director, Sam Clein.
Tickets are $25 and you get an assigned seat so you don’t have to wait in line.
What about the coordination with the Education Department?
In late July, there is an advanced Tech Camp, where attendees learn about stage management and lighting. For their hands-on experience, the students will light the August 1st show. Those cues will be saved and reused on August 8th. We’re excited that we’re also able to support the education component of the Festival.
How can our patrons support the Artistic Initiative Fund if they can’t attend?
If you go to the Donation page, there is a drop-down menu, with the Artistic Initiative Fund as one of the options. https://boxoffice.bard.org/TheatreManager/95/tmlogin.html?DC_SEQ=0
You can purchase tickets for this year’s Bardway Baby (August 1 & 8) online at www.bard.org or by visiting or calling the ticket office at 800-PLAYTIX. Tickets are $25.
Bardway Baby!
For Two Nights Only: An Evening of Rodgers & Hammerstein
Bardway Baby! is back at the Utah Shakespeare Festival for its fifth annual night of musical entertainment. Bardway, Baby! is a late-night concert event featuring classic Broadway show tunes. Performed by Festival actors, the concert will be held on August 1 and 8 at approximately 11:30 p.m. in the Auditorium Theatre. Tickets are $25 for reserved seating and are available now at the Festival ticket office or by calling 1-800-PLAYTIX.
Not only is Bardway, Baby! an evening of delightful show tunes, but it’s the largest annual fundraiser for the Festival’s Artistic Initiative Fund, which was established by artistic directors David Ivers and Brian Vaughn. The fund serves to increase the size and scope of the Festival’s production design aesthetic, as well as increase the Festival’s national and international presence.
“This fund was established to help promote the Festival’s growth in artistic excellence, and we hope you’ll show your support by attending," said Jyl Shuler, Development Director. Nearly everyone participating in the concert has volunteered his or her time so that revenue may go directly to the Artistic Initiative Fund.
This year’s two-nights-only concert will feature An Evening of Rodgers & Hammerstein, the most consistently fruitful and successful partnership in the American musical theatre. Talented performers include Aaron Galligan-Stierle as the Host, Brian Vaughn, Melinda Pfundstein, Misty Cotton, Larry Bull, Kyle Eberlein, Tina Scariano, Bri Sudia, James Sanders, Peter Saide, and Bree Murphy.
Bardway Baby! is a must-see for any classic show tune lover said Shuler, and will showcase the caliber of talent here at the Festival.
Bree Murphy- Guest Blogger
Bree Murphy worked for the Festival’s Education Tour back in 2008 and is ecstatic to be in 3 shows this season. She is playing Jack’s Mother inInto the Woods, Mistress Quickly in Henry IV Part 1 and Mistress Overdone in Measure for Measure. Below is more information about the talented Bree Murphy.
Have you ever worked at the Festival before? If so, for how many years and in what roles/capacity?
I was a part of the Romeo and Juliet Educational Tour in 2008 as The Nurse.
What brought you to Utah Shakespeare Festival?
I first came to the festival for the Kennedy Center/ACTF competition in 1997. It was a competition for college students and 10 selected high school students. I was 16 years old. The Adams was covered in snow and I told my dad who was my chaperone for the weekend, that I would perform on that stage one day; here I am 14 years later.
Bree Murphy as Jack’s Mother and James Sanders as Jack in Into the Woods.
What brought you to your field and what keeps you doing your craft?
Audiences, stories to share, the sense of the magnetism a live performance gives all who are present. This is not the only thing I can do, it is the greatest use of my empathetic nature. I take others on a journey of a life fully realized complete with all the unsavoriness, joy, pain, and humanity that I can embody within each character I am fortunate enough to explore.
Where’s your home base?
Such a beautifully complicated question. Until August, my awesome husband and cats live in Irvine, California; after that it is our desire to make ourselves a home in Los Angeles. I was born and raised in Riverside, California and spent a good portion of my professional working experience on the Central Coast of California, my second home.
What’s your education/training background?
That SCETA competition in 1997 brought me to the attention of Paul Barnes and PCPA (The Pacific Conservatory of Performing Arts). I spent 2 years and summers in that certificate program. After, I transferred to Stephen College for women in Columbia, MO to complete my BFA. I then went out and started my professional life with the great fortune of 10 years continual work that took me to many incredible cities in the western United States. 3 years ago, it was time for a deeper reflection of my work and process as an actor so, I applied for and subsequently had the honor to be accepted into the MFA program at UC Irvine. This summer, I turned in my thesis on a Monday and was here to start rehearsals on Wednesday.
What are you looking forward to the most this summer?
Meeting this incredible community. I’ve reveled in getting to know the acting, technical, and administrative community of the company but my greatest joy lies in meeting the people who traverse distances to be a part of the story in the form of the most important character in any play, the audience.
Hiking in Oregon with my husband (Chuck McLane USF season 2011)
Who/What inspired you to pursue your dream of acting/designing?
My mother and father. And the greatest actress I’ve even known, Leslie Brott.
How will you spend your time off while here?
Hiking, camping, more hiking! I’m excited for Groovefest and the Neil Simon Festival as well!
What is your favorite musical/play/Shakespeare play?
Musical: Sweeny Todd
Shakespeare: Comedy: Twelfth Night, Tragedy: King Lear, History: Richard III
What is your dream role?
The one that has yet to be written. I aspire to create a story new and untold.
If you could be a superhero, what would you want your superpowers to be?
Self confidence in any and all circumstances or Omni-Linguism.