News From the Festival
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.
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
http://pinterest.com/utahshakes/
Instagram:
http://instagram.com/utahshakespeare
Twitter:
https://twitter.com/#!/UtahShakespeare
Follow @UtahShakespeare
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.