"Words, words, words."

Announcing a new program for new plays: words3


The Utah Shakespeare Festival has announced a new name, an increased commitment, and an enhanced mission, for its new plays program. Formerly the New American Playwright's Project, the Festival's primary vehicle for exploring new works is now a new program, Words Cubed at the Utah Shakespeare Festival. The new name comes from a line in Hamlet, “Words, words, words,” and focuses the new program firmly on the text and the work of playwrights. 

Words Cubed nurtures and develops openly submitted and commissioned-based new plays by providing a professionally supported platform for readings, workshops, and fully realized productions as part of an ongoing commitment to create a diverse body of work.


Discover a new play when playwrights spend a week at the Festival and Festival actors and artists present their plays as staged readings, followed by an instructive discussion between the playwright, actors, and audience. Tickets are $10 and can be purchased at the Ticket Office, online, or at the door. 

IMPORTANT NOTE: The plays in this series are written for contemporary adult audiences, and some plays may contain themes and language not appropriate for children and that some may find offensive. Check the content advisories for each new play for more information. 

By Amy Freed
August 4, 5, and 30 and September 1
Eileen and Allen Anes Studio Theatre

"It will not do. It will not do./We can no longer bear to see this shrew!" What if The Taming of the Shrew were written by a woman friend, helping Shakespeare make his battle of the sexes more palatable to the "modern" audience? What would be different? Find out in this hilarious retelling of Shakespeare's popular comedy.

By Art Manke
August 11, 12, and 31 and September 2
Eileen and Allen Anes Studio Theatre

A performer, writer, and special delegate to the United Nations in a racially-charged mid-twentieth century America, Pearl Bailey was a trailblazer for African-American women. Yet a talk-show host in 1987 questions many of her motives; so Bailey responds the only way she knows how—through her music.




Top photo: a rehearsal for the New American Playwright's Project.