News From the Festival
Construction Company Announced
Construction Company Announced for Beverley Taylor Sorenson Center for the Arts
Cedar City, UT – The Division of Facilities Construction and Management of the State of Utah and Southern Utah University announced that Big-D Construction of Salt Lake City will be the general contractor for the Beverley Taylor Sorenson Center for the Arts.
The $35 million-plus project includes two new Utah Shakespeare Festival Theatres, an artistic and production facility, and the Southern Utah Museum of Art.
The new Engelstad Theatre will replace the aging outdoor Adams Shakespearean Theatre. It will still have the same intimate actor/audience relationship and will feel very similar to the Adams Theatre. The space has updated amenities and modern accessibilities, including an elevator and increased ADA seating.
The Eileen and Allen Anes Studio Theatre is a new 200-seat studio which will provide a third, flexible option for Festival programming, allowing the production of small, intimate plays to complement the offerings in the new Engelstad Theatre and the Randall L. Jones Theatre.
The Southern Utah Museum of Art will feature approximately 5,300 square feet of exhibition space composed of four galleries, as well as dedicated space for collection storage, care, and research. It will showcase work by renowned Utah artist Jim Jones, as well as exhibit international work and regional pieces by art and design students and faculty.
Festival Executive Director R. Scott Phillips said, “We are very excited to partner with Big-D Construction. They are a capable and imaginative firm which we are sure will bring to fruition this long-term dream of an arts center for the Festival and Southern Utah University.”
“We look forward to bridging the gap from our current antiquated facility into a more innovative theatre that will continue to enhance the quality of live performance that has become our signature,” said Artistic Director Brian Vaughn.
“We are excited to begin this thrilling relationship with Big-D and all of our partners as the Festival and SUU realizes it’s long held dream to construct a world-class facility,” said Artistic Director David Ivers. “The new Center for the Arts will draw artists, educators and patrons alike to southern Utah, and we are deeply grateful to our supporters.”
The team from Big-D Construction includes Jack Livingood, project executive; Jim Allison, project director; Kenton Wall, senior project manager; Guy Cuskelly, senior superintendent; Brian Thompson, senior superintendent; Brandon Soderquist, senior estimator; and Brandon Bulloch, estimator.
Shakespeare On the Road
Scholars and lovers of Shakespeare will be traveling this summer from England to America to study why Shakespeare is so popular here, and the Utah Shakespeare Festival is on their list of places to visit.
A team from the University of Warwick and the Shakespeare Birthplace Trust, which is based in Shakespeare’s home town of Stratford-upon-Avon, will visit the Festival as part of a 60-day road trip visiting 14 Shakespeare-related theatre festivals across America.
The team will fly to Kansas City on July 4 and hit the road from there, building up a picture of how Shakespeare is being performed and celebrated across the United States during the 450th birthday of Shakespeare in 2014.
Each festival will be given a commemorative plaque to mark the visit, and the project team will give presentations about their work and the work of the Shakespeare Birthplace Trust, the charity that cares for the five Shakespeare family homes in Stratford-upon-Avon and promotes the appreciation of Shakespeare worldwide. The festivals will be invited to deposit material in the trust’s archives to create a permanent record of their activities. Regular updates on the visit will be blogged during the 60-day road trip. Rev. Dr. Paul Edmondson, the Shakespeare Birthplace Trust’s head of research and knowledge, and Dr. Paul Prescott, associate professor at the University of Warwick, will also compile a book about their experiences.
Edmondson said, ”For centuries America has topped the list of nations flocking to visit Shakespeare’s Birthplace in Stratford-upon-Avon. Americans were the first to sign our oldest surviving visitors’ book at Shakespeare’s Birthplace back in 1812, and now we welcome hundreds of thousands of visitors from the USA every year. Shakespeare on the Road is a reverse pilgrimage, to record and salute the troupes and groups who keep Shakespeare’s genius burning brightly across America.”
Prescott added, “The amount of Shakespearean theatre-making in America dwarfs that of any other country, the UK included. Every summer, from sea to shining sea – and at all points in between – from spit-and-sawdust performances in local parks to slick professional productions in reconstructed Elizabethan playhouses, the Bard busts out all over the USA. This trip will take the pulse of Shakespeare in America over the course of one remarkable summer in 2014 and is a perfect way of celebrating his enduring popularity and the 450th anniversary of his birth.”
“The Utah Shakespeare Festival is excited to be a part of this amazing study being undertaken by the University of Warwick and the Shakespeare Birthplace Trust,” said Festival Executive Director R. Scott Phillips. “We are anxious for them to meet our guests and artists to discover what makes the Festival so unique. We have such a loyal and discerning audience base which recognizes that language and story telling is at the heart of everything we do. Chronicling the love affair that America has with master William Shakespeare is astounding and to have it being done by our friends from the UK is even more astonishing.”
Tickets are on sale for the Festival’s 53rd season, which will run from June 23 to October 18, 2014. The eight-play season includes Shakespeare’s Measure for Measure, The Comedy of Errors, Henry IV Part One, and Twelfth Night. The season will also include the world premiere adaptation of Jane Austen’s Sense and Sensibility written by Joseph Hanreddy and J. R. Sullivan, Stephen Sondheim’s Into the Woods, Steven Dietz’s adaptation of Sir Arthur Conan Doyle’s Sherlock Holmes: The Final Adventure, and Boeing Boeing by Marc Camoletti. For more information and tickets visit www.bard.org or call 1-800-PLAYTIX.
You can follow their journey on their website at shakespeareontheroad.com
The Reviews are In!
The Reviews Are In
Read what the reviewers across the West are saying about this summer’s plays. Check back often because we will update this page as additional reviews are published.
Henry IV Part One
“Henry IV Part One” is majestic rendering
— Blair Howell, The Deseret News
An impressive launch to an ongoing story
— Barbara M. Bannon, The Salt Lake Tribune
Henry IV Part One explores honor and history
— Andrea Gunoe, Utah Theatre Bloggers Association
It takes game of thrones to get young prince to find his way
— Carol Cling, Las Vegas Review-Journal
Story of “Henry IV” finds powerful beginning
— Brian Passey, The Spectrum
Shakespeare’s “Henry IV Part One” opens at Festival
— Holly Coombs, Iron County Today
The Comedy of Errors
“Comedy of Errors” is brilliantly hysterical
— Blair Howell, The Deseret News
“The Comedy of Errors” is frenetic and funny
— Barbara M. Bannon, The Salt Lake Tribune
Comedy of Errors strikes gold
— Kat Webb, Utah Theatre Bloggers Association
With Gold Rush-era “Comedy of Erros,” there’s droll in them thar hills
— Carol Cling, Las Vegas Review-Journal
Delightful “Comedy” improves on source material
— Brian Passey, The Spectrum
Western “Comedy” presented at Utah Shakespeare Festival
—Holly Coombs, Iron County Today
Measure for Measure
“Measure for Measure” poses thorny moral questions that remain relevant
— Barbara M. Bannon, The Salt Lake Tribune
“Measure for Mesaure” tackles the giant question of justice
— Erica Hansen, The Deseret News
Measure for Measure not a “problem play” at the Utah Shakespeare Festival
— Russell Warne, Utah Theatre Bloggers Association
“Measure” of human struggle, marked by moral knots, fistfuls of foibles
— Carol Cling, Las Vegas Review-Journal
Strong dialogue anchors “Measure for Measure”
— Brian Passey, The Spectrum
Into the Woods
“Into the Woods” is robustly performed, enormously enjoyable
—Blair Howell, The Deseret News
“Into the Woods” draws life lessons from a tuneful pastiche of fairy tales
— Barbara M. Bannon, The Salt Lake Tribune
Into the Woods was all I could wish for
— Amber Peck, Utah Theatre Bloggers Association
Deep in “Woods” lies tale of human truths (witch warts and all)
— Carol Cling, Las Vegas Review-Journal
“Into the Woods” a toe-tapping triumph
— David Cordero, The Spectrum
“Into the Woods” a favorite
— Holly Coombs, Iron County Today
Sense and Sensibility
Utah Shakespeare Festival premieres a satisfying “Sense and Sensibility”
— Barbara M. Bannon, The Salt Lake Tribune
“Sense and Sensibility” is filled with just that
— Erica Hansen, The Deseret News
Difficult to adapt to this Sense and Sensibility
— Amber Peck, Utah Theatre Bloggers Association
You said it, sisters: Finding right romance requires keeping wits
— Carol Cling, Las Vegas Review-Journal
Fall in love with actors, script in Austen’s “Sense”
—Lisa Larson, The Spectrum
Austen’s “Sense and Sensibility” brings life to USF stage
— Holly Coombs, Iron County Today
Austen’s Sense and Sensibility Delights at Utah Shakespeare Festival
— Jonathan Decker, Meridian Magazine
Twelfth Night
“Twelfth Night” is musical and funny
— Barbara M. Bannon, The Salt Lake Tribune
Utah Shakespeare Festival’s Twelfth Night justly “plays on” through the fall
—Dave Mortensen, Utah Theatre Bloggers Association
“Twelfth” finds its best, true self with balance of heart and humor
— Carol Cling, Las Vegas Review-Journal
Comedy takes center stage in “Twelfth Night”
— Lisa Larson, The Spectrum
Quinn Mattfeld and Kyle Eberlein with the 2014 REACH Cabaret
This summer is the tenth anniversary of the REACH Cabaret. Cabaret is every Thursday from 7/10 – 8/28 at the Grind (on Main Street across from City Hall). It starts no later than 11:10pm and will run for 45 minutes. Admission is $10 at the door.
Quinn Mattfeld (appearing in Sense and Sensibility and Twelfth Night) and Kyle Eberlein (appearing in Into the Woods, Henry IV, Part I and Measure for Measure) are the organizers and hosts this year. We met with them to learn what they are planning.
Tell us about REACH and the Cabaret.
Kyle: REACH was founded several years ago to help the Festival company have auditions during the season. Because we’re here for so long, we can’t travel to auditions. So REACH brings casting directors, agents and artistic directors here to Cedar City. The Cabaret is our primary fundraiser. We use the funds to pay for travel and lodging for our visitors. While they are here, they see all six plays, the three Greenshows and audition all interested REACH members.
Clein, Mattfeld, Eberlein
What do you have planned for this year’s Cabaret?
Quinn: I wanted us to reimagine it, repackage it. How are people used to watching shows late at night? They’re used to watching Jay Leno, David Letterman – that formula of a late night talk show. We can make this a fun variety show that has a lot of absurdity to it. For example: you have transitions where they’re changing mikes. Let’s fill it with something that’s totally silly. For example, for the first one, we think we’ll have Zack Powell juggle, tap dance and play the kazoo at the same time.
Kyle: Sam Clein’s going to be our music director. We want to reward our guests who come each week. If you return, you’ll see sketches and characters from prior weeks, so there’s some continuity.
Quinn – we really want to focus on our relationship with USF and have fun with that. We’re trying to get some company members to be regulars and play versions of themselves: Larry Bull, Deanna Ott and Natasha Harris…the way Carson would have people who show up and play versions of themselves.
Quinn – we want to put lots of variety in it. It won’t be nine people singing musical theatre. There will be people playing instruments, there’s going to be clown acts, all kinds of different stuff and we’re going to make it 45 minutes.
Do you have auditions lined up?
Kyle: Yes! So far we have sixteen auditions. We work to create a balance between Chicago, LA and New York. Visitors include Jay Binder, a prominent NY Casting Director (his first time here!), several Shakespeare Theatres, Milwaukee Rep, Hartford Stage (origin of the Tony winning Gentlemen’s Guide) and Claire Simon Casting from Chicago.
What are some success stories?
Quinn: I got my job at PCPA through a REACH audition.
Kyle: Tina Scariano, Cody Craven and I all got jobs on the Disney Cruise ships via REACH auditions. And even if you don’t get a role, it’s an important way to get your name and talent out there.
How do we know who’s performing each week?
Kyle: We have a Facebook page which we’ll update each Weds. with the program. https://www.facebook.com/ReachPresentsTheCabaret If you “like” our page, you can see the postings. And be sure to get to the Grind early as it’s always standing room only.
So mark your calendars for each Thursday from 7/10 – 8/28, 11pm for Cabaret at the Grind. Your $10 will help our company further their careers and you’ll have a great time!
#USF2014
The Greenshow with James Sanders and Molly Wetzel
Wetzel in rehearsal
This year, the Festival is presenting three new Greenshows, created and co-directed by Fred C. Adams, founder, and Josh Stavros, associate education director, with choreography by Christine Kellogg. These shows are a mixture of past favorites and new elements.
We recently met with two of the performers. Molly Wetzel is in her second year with the Festival. Last year she was in the Greenshow and Anything Goes. James Sanders is new to the Festival. Both are also appearing in Into the Woods and Sense and Sensibility.
Greenshow rehearsal
Tell us about the Greenshows:
Molly: There are three different shows: English (performed before Henry IV), Scottish (before Measure for Measure) and Irish (before The Comedy of Errors).
James: We’re learning new songs and dances. There’s actually a lot more dancing than last year, including a sword dance, and the Egg Dance.
Are the shows totally new?
Molly: There’s a nod to tradition, with elements such as the Maypole and Punch and Judy. The Irish show is similar to the Celtic night from last year. The Gael Byrds are back!
James: We’ve got lots of audience participation. Also, we start in the Auditorium inviting patrons at the orientations and sing people out to the Adams courtyard.
Molly: In addition to the eight full time cast members, this year we’ve added four SUU Fellows (Juniors and Seniors in the SUU College of Performing and Visual Arts) as well as two Playmaker members: Kailey Gilbert and Georgianna Arnell (both appeared in A Midsummer Night’s Dream in 2011).
Talk about the transition from the Greenshow to your shows in the Randall:
Molly: We have less than twenty minutes to get ready for the Randall shows. We race across the street. The dressers are so efficient – they know we’re coming and get us costumed and wigged in an amazing amount of time.
What’s it like for young actors here?
James: It’s like a master class every day – there’s so much support.
Molly: Not every theatre treats the non-equity actors well. We are treated so well – it’s like family. I love it here!
The Greenshow is just one of the many free activities that can be part of your Festival experience. You can see the free Greenshows six nights a week from June 23 through August 30 in the Adams Courtyard. The show begins at 7:10 and runs for thirty minutes. Many local families enjoy this free performance as a family event. And it’s a great way to get into the mood before the performance as well.
You can purchase tickets for the plays online at www.bard.org or by calling 800-PLAYTIX.
Ways to Connect Online:
Facebook:
https://www.facebook.com/utahshakespeare
YouTube:
http://www.youtube.com/utahshakespeare1
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Sanders practicing sword dance
REACH Cabaret
Late Night Festival Offerings Include the REACH Cabaret
Cedar City, UT – Every year actors from the Utah Shakespeare Festival come together and put on a Cabaret as part of REACH (Really Eager Actors Crying Hire) fundraising efforts. These company members sing, dance and perform to raise money to bring artistic directors and casting agents from across the country to Cedar City to audition Festival actors for upcoming jobs.
The Cabaret will be performing every Thursday night throughout the summer season at The Grind Coffee Shop from 11 p.m. to midnight. Tickets are $10 at the door and 100 percent of the proceeds go to support REACH.
Quinn Mattfeld and Kyle Eberlein are coordinating the Cabaret this year, and they are repackaging it so it will have more of late night talk show feel. Audiences will get a new show every week, but with a feeling of “episodes” which will have material referring to the previous Cabaret.
Mattfeld and Eberlein wanted to make a fun variety show that has a lot of absurdity to it. “We really wanted to focus on our relationship with the Festival and have some company members be regulars and play versions of themselves throughout the summer,” said Mattfeld. The Cabaret will also be shorter than other years, about forty-five minutes. There will be people playing instruments, clown acts, singing and comedic sketches. It will be a nice treat for audiences who spent the whole day at the Festival and want something to wind down with.
Tickets are on sale for the Festival’s 53rd season, which will run from June 23 to October 18, 2014. The eight-play season includes Shakespeare’s Measure for Measure, The Comedy of Errors, Henry IV Part One, and Twelfth Night. The season will also include the world premiere adaptation of Jane Austen’s Sense and Sensibility written by Joseph Hanreddy and J. R. Sullivan, Stephen Sondheim’s Into the Woods, Steven Dietz’s adaptation of Sir Arthur Conan Doyle’s Sherlock Holmes: The Final Adventure, and Boeing Boeing by Marc Camoletti. For more information and tickets visit www.bard.org or call 1-800-PLAYTIX.
Festival Family Days
Festival Family Days
Cedar City, UT — The Utah Shakespeare Festival has once again announced Festival Family Days. This program is geared at families and offers a significant discount so the entire family can attend at a “family friendly” price.
This year’s family friendly matinee is The Comedy of Errors. For a limited time tickets are $15 for select performances: July 9, 12, 15, 18, 23, 26 and 30 and August 2, 8, 14, 19, 22 and 30. Discounted tickets must be purchased by July 15. Use the coupon code FAMILY when purchasing tickets online at www.bard.org.
“Families should have affordable access to our work and the work of William Shakespeare,” said David Ivers, artistic director. “As such we are happy to continue our family friendly pricing and hope the young and old continue to cultivate a love for Shakespeare and the Festival.” Parents have an affordable opportunity to share the Bard’s work with their children and create an early appreciation for his language and the power of theatre.
The Comedy of Errors is about, not one, but two sets of bewildered twins who are in the same small town but who don’t know about each other. Every dusty road they turn down looks just like the last one, and every prospector and saloon girl seems to know more about them than they know about themselves. The more they try to unravel the lunatic events swirling around them, the more farcical their lives become. It’s double the laughter with two sets of twins and twice the fun when Shakespeare’s hysterical comedy is re-imagined in the California gold rush of 1849.
Tickets are on sale for the Festival’s 53rd season, which will run from June 23 to October 18, 2014. The eight-play season includes Shakespeare’s Measure for Measure, The Comedy of Errors, Henry IV Part One, and Twelfth Night. The season will also include the world premiere adaptation of Jane Austen’s Sense and Sensibility written by Joseph Hanreddy and J. R. Sullivan, Stephen Sondheim’s Into the Woods, Steven Dietz’s adaptation of Sir Arthur Conan Doyle’s Sherlock Holmes: The Final Adventure, and Boeing Boeing by Marc Camoletti. For more information and tickets visit www.bard.org or call 1-800-PLAYTIX.
The Comedy of Errors Chris Amos (Dromio of Syracuse) and Aaron Galligan-Stierle (Antipholus of Syracuse)
Chris Amos, based in Chicago, is in his third season at the Festival. Last year we saw him as Slank inPeter and the Starcatcher and Pembroke in King John. Aaron Galligan-Stierle is in his sixth season (over a ten year period). Last year he played Smee in Peterand Lord Evelyn Oakleigh in Anything Goes.
This year, they are each one part of a set of twins in The Comedy of Errors, master (Dromio) and servant (Antipholus)
Tell us your thoughts about setting this production during the California Gold Rush.
Chris: I think the concept is brilliant. It’s a man in search of himself through other people. During the gold rush period there were people from all over the world. What better place to look for somebody than the place everybody else is going?
Costume Sketch by David Kay Mickelson, Antipholus
Aaron: I’ve been taken by how well it fits. As you read the text, you see how many references there are to gold. It’s been really fascinating; it doesn’t feel forced. This feels totally natural to me.
We’re doing our best to always honor Shakespeare and hopefully be able to let audiences experience this particular play in a new way. It’s the same thing as when two different actors say the same speech, you hear different things.
Talk about your character:
Chris: It’s a play about identity and the confusion of what you think about yourself versus what others think about you. It’s amplified in this situation with two people who are confused with each other. My character, Syracuse, is on this voyage to find himself. He has such a loose idea of who he is that he’s easily swayed by these strange circumstances.
Fristensky & Galligan-Stierle as the Dromios
What about playing twins?
Aaron: I have to do a shout out to the wig and costume department. I cannot believe how good of a job they have done! It is incredible how similar Misha Fristensky (playing Dromio of Ephesus) and I look. That’s also a testament to Brian and David for their casting.
Why do you choose to be at the Festival?
Chris: The best of the best come back here. There are amazing directors and actors and really appreciative audiences who know and love these plays and support us at every turn. It’s a long way from my home and wife in Chicago and I wouldn’t be here if it wasn’t worth it. It’s such an amazing experience.
Costume Sketch by David Kay Mickelson, Dromios
Aaron: Every department is working at such a high level. The sets, the prop, the music…it’s amazing. It feels like a family. Here, over the course of a season and over the course of many seasons, you have the opportunity as an actor and an artist to showcase the whole of you. I feel more challenged as an artist and more inspired as an artist in this place because I’m also surrounded by other people who are going through the same thing. That’s why I want to be here every year I possibly can.
Why should people see this play?
Chris: Shakespeare was fabulous in his understanding of what it means to be human. The play is full of really rich, well rounded human beings. In the midst of all this comedy, you have a man who’s genuinely searching for his identity. I believe in Shakespeare’s ability to tell a well-rounded story through his language. And I think that’s always relevant.
Aaron: The comedy is hilarious. It’s fun, over the top - good for the entire family. People are going to come and have an extraordinarily wonderful time.
The Comedy of Errors opens on June 30 and plays through August 30. You can learn more about the play at
http://www.bard.org/plays/comedy2014.html. You can purchase tickets online at www.bard.org or by calling 800-PLAYTIX.
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The Comedy of Errors Preview
Jonathon Smoots
Drew Shirley
Misha Fristensky
The Comedy of Errors
William Shakespeare
Directed by Brad Carroll
This week, we’re opening the Stage Door for The Comedy of Errors**,** a romp of disguise and mistaken identity. Today’s preview is the first look behind The Comedy of Errors’ stage door; check back each day this week on Facebook, Twitter, and Pinterest as we bring you director and actor interviews as well as podcasts, design renderings and more.
Principal Characters:
Solinus, duke of Ephesus, played by Jonathon Smoots: Functioning mainly as a sympathetic ear allowing Egeon’s story to be told, Solinus is a noble and compassionate duke, but one who also believes that law must be followed, thus prompting his condemnation of Egeon.
Egeon, played by Roderick Peeples: A merchant from Syracuse, Egeon is the father of twin boys (both named Antipholus) and the husband of Emilia. He is sentenced to death for venturing into the enemy city of Ephesus while looking for his lost son. In the end, however, he is reunited with his entire family.
Antipholus of Ephesus, played by Drew Shirley: The son of Solinus and Emilia and twin brother of Antipholus of Syracuse, this Antipholus, after being separated from his father and brother in a shipwreck, ends up in Ephesus where he has become an established citizen.
Antipholus of Syracuse, played by Chris Amos: The son of Solinus and Emilia and twin brother of Antipholus of Ephesus, this Antipholus ended up with his father after the shipwreck, but has recently set out looking for his lost twin, which eventually brings him to Ephesus.
Dromio of Ephesus, played by Misha Fristensky: The slave of Antipholus of Ephesus and twin of Dromio of Syracuse, this Dromio lives a melancholy life with his master in Ephesus.
Dromio of Syracuse, played by Aaron Galligan-Stierle: The slave of Antipholus of Syracuse and twin of Dromio of Ephesus, this Dromio is traveling with his master when the play begins.
Summary:
Antipholus and Dromio are bewildered. Every dusty road they turn down looks just like the last one, and every prospector and saloon girl seems to know more about them than they know about themselves. The more they try to unravel the lunatic events swirling around them, the more farcical their lives become. It’s double the laughter with two sets of twins and twice the fun when Shakespeare’s hysterical comedy is re-imagined in the California gold rush of 1849.
For more details (synopsis, podcasts, etc.) about this play, please visit http://www.bard.org/plays/comedy2014.html
The Comedy of Errors opens June 23 in preview and runs through August 30. You can buy tickets at www.bard.org or by calling 800-PLAYTIX.
Ways to Connect Online:
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Roderick Peeples
Chris Amos
Aaron Galligan-Stierle
Into the Woods Misty Cotton (the Witch), Tina Scariano (Cinderella), Deanna Ott (Little Red Riding Hood)
Our musical this summer season is Sondheim’s Into the Woods. Misty Cotton returns to the Festival as the Witch; we last saw her in Johnny Guitar. Tina Scariano plays Cinderella; she played Cosette in Les Mis. And Deanna Ott is here for her third season, playing Little Red Riding Hood.
Tell us your thoughts about this play.
Deanna: While the show is fun and recognizable, especially the first act, the deeper meanings of the show resonate with you differently at different times in your life.
Misty: That’s the beauty of the show. I’ve seen it a few times. Every time you see it or perform it, different things resonate. It’s about life. People know these fairytale characters, and these stories are written in very black and white. They’re written that way because children’s brains can’t see grays and they are meant to teach lessons. But as you get older, many factors come in and I think the second act is more of the reality – the grays. It becomes much more complicated.
Rehearsal - Pfundstein (Baker’s Wife), Scariano (Cinderella)
Tina: I love the song “Children Will Listen” because we all reference our parents in it. There’s always that person in our life that we looked up to or listened to and then in the second act it’s the harsh reality of realizing they were wrong, they were human, they erred. Your parents are people. It’s this awful/wonderful realization – you now have to decide for yourself.
Rehearsal - Ott (Little Red Riding Hood)
Can you describe this show from a musical perspective?
Misty: Some people have a hard time with Sondheim: “I can’t go out humming the songs”. That’s not true in this show because there are some very beautiful songs like “No One is Alone.” He’s putting dialog to music. But there are moments when it’s melodic.
Tina: Once you get it down, Sondheim makes your job really easy. Once you learn it, he puts the clues in the music, the inflections are all there.
Rehearsal - Cotton (The Witch)
Deanna: It’s like Shakespeare – in Iambic – you have to be very careful to make sure the important words have the right inflection. When you sing a line, it’s exactly the way you might speak it. It has the same inflection as if speaking. The tune of it gives you more of a subtext than the actual lyrics would.
How do you feel about being part of the Festival?
Misty: I feel so lucky to be here. If you’re a young artist – they have mentors, they have REACH programs, special classes. It’s really something special. I call this one of the best kept secrets.
Deanna: I have loved every moment that I’ve spent here. The company is always fantastic. The creative process – the time we take is very precious. Nothing is glossed over. We work through everything. I really appreciate that.
Tina: This place is like Disneyworld for actors. The best place on Earth. I love it. The caliber of human beings that are hired here is extraordinary. And then you find out they’re talented. I feel very nurtured here.
Into the Woods opens in preview on June 30 and runs through August 30. You can learn more about the play at http://www.bard.org/plays/woods2014.html. And you can purchase tickets online at www.bard.org or by calling 800-PLAYTIX.
Ways to Connect Online:
Facebook:
https://www.facebook.com/utahshakespeare
YouTube:
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http://instagram.com/utahshakespeare
Twitter:
https://twitter.com/#!/UtahShakespeare
Follow @UtahShakespeare