Find Your Passion!
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PAID
OREM, UT
PERMIT 380
Hosted by
Southern Utah University
351 W. Center Street
Cedar City, Utah 84720
Fall 2008
Volume 31, No. 2
What’s Inside
Page 2
• Fall Season Actors
• Gone with the Wind:
Rewriting the Rewrite
• Christmas Show on
Vacation
Page 3
• Interview: Delving into
Julius Caesar
• Fall Plays (of Course)
and So Much More
• On the Web: The Latest
Info on the Festival
Page 4
• Enter a World of
Mystery, Secrets,
Madness
• Announcing 2009: Find
Your Passion!
The 2008 Utah
Shakespearean Festival runs
June 19 to October 25 and
features William Shakespeare’s
Othello, The Two Gentlemen
of Verona, The Taming of the
Shrew and Julius Caesar, as
well as Cyrano de Bergerac,
Fiddler on the Roof, The School
for Wives, Moonlight and
Magnolias, and Gaslight.
Tickets may be
ordered over the internet
at www.bard.org; by telephone at 800-PLAYTIX
(800-752-9849); by mail
at Ticket Office, Utah
Shakespearean Festival,
351 West Center Street,
Cedar City, UT 84720; or
in person at the Ticket Office,
300 West and Center streets
in Cedar City.
A
Fred C. Adams, Founder
Power: Struggle
s Americans, we all relish our right to “life, liberty,
the conspirators that their actions must be guided by honor
and the pursuit of happiness.” The Romans of the
and the love they bear for Rome. He says they must “kill him
Republic also valued the right to live as free citizens
boldly, but not wrathfully;” (2.1.172) and that their purpose
above all else, and they were willing to fight for it, even to
is “necessary, and not envious,” (2.1.178). Brutus believes that
the death. From the foundation of Roman civilization, the
their actions will be appreciated by the people of Rome: “We
Romans resisted the rule of kings. The Roman Republic
shall be call’d purgers, not murderers” (2.1.180).
was established in 510 b.c. when the last ruling family,
Shakespeare suggests that Caesar is indeed “ambitious,”
the Tarquins, were banished and the senate became the ruling
a truly frightening notion to those who lived in the wellbody of the Republic.
ordered Elizabethan society. Caesar himself expresses to Mark
In Julius Caesar, Shakespeare
Antony that he believes himself invincible. And Calpurnia
explores another struggle
warns Caesar “Alas, my lord, / Your wisdom is consum’d in
for power that shook the
confidence” (2.2.48–49). Caesar dismisses the warnings of his
Roman Republic in
wife, the soothsayer, and the priests when he decides to ven44 b.c. when Julius Caesar
ture to the senate house on
was about to be crowned
the ill-fated Ides of March.
dictator.
Once Caesar has been
In The Republic, Plato
slain, Cassius says the men
describes the ideal governhave acted honorably and
ment as a city-state ruled
he predicts that the fight
by a wise philosopher-king,
for freedom will be enactwhere everyone knows his
ed throughout history.
or her place. According to
“How many ages hence /
Neil Friedman rehearses a scene
Plato, greed destroys an
Shall this our lofty scene
from Julius Caesar.
oligarchy, and democracy is
be acted over/ In states
a breeding ground for chaos. In
unborn and accents yet
Remi Sandri and Jeff Cummings
rehearse
a
scene
from
Julius
Caesar.
both cases the citizens will
unknown!” (3.1.111–113).
eventually elect a tyrant to
The conspirators in Shakespeare’s play express the
restore order and put down the
desire to be remembered by future generations as the
rich. By 44 b.c. the Roman
“men who gave their country liberty” (3.1.118), and
Republic had become an estabthe men believe themselves to have “the boldest and
lished oligarchy, and the Senate
best hearts in Rome” (121).
no longer represented the
Yet, the well-meaning “purgers” who kill Caesar,
people. If one applies the phifail to bring order to the world of the play and their
losophy of Plato to the situation
actions incite even more chaos. Antony prophesizes
facing the Roman Republic at
over Caesar’s body that “domestic fury and fierce
this point in history, it is easy to
civil strife” shall come (3.1.263), and his oration
see how Julius Caesar was able
at Caesar’s funeral incites the people to riot. At the
to rise to the position of dictator
conclusion of the play, the key conspirators includand why the senators feared the
ing Brutus and Cassius take their own lives in the
potential dictatorship.
grand Roman fashion of theatricalized suicide, makIn Julius Caesar, it is Cassius
ing them free from the rule of Antony and Octavius.
who initiates the conspiracy
These performative acts demonstrate that Brutus and
to kill Caesar, because he fears
Cassius are not only willing to kill for freedom and
Daniels (top), Emily Frank, Remi Sandri, and
Caesar’s unbridled rise to power. Luke
honor, but they are also willing take their own lives
Neil Friedman rehearse a scene from Julius Caesar.
Cassius challenges the honor of
for the glory of Rome.
the people because of their willingness to stand by and let
Shakespeare’s Julius Caesar deals with the threat of uninhibCaesar take the power: “Rome, thou hast lost the breed of
ited power and the sacrifices that courageous men are willing to
noble bloods!” (1.2.151).
make in order to restore balance to the government and honor
Though Cassius continuously baits Brutus with the idea
to the people. It is a study in power and freedom that is rewritof Caesar’s dangerous rise to power, it is the idea of Caesar’s
ten by every generation in every country as men and women
coronation that alarms Brutus and spurs him to action. Once
struggle for life, liberty, and the perfect form of government.
Brutus believes that Caesar is after the crown, he believes that
—By Amanda Caraway
it is his duty to save Rome from the dictator. He instructs
Fall Season Gone with the Wind: Rewriting the Rewrite
Actors
T
Elisabeth Adwin*
Calpurnia/Ensemble in
Julius Caesar; Elizabeth
in Gaslight
Elijah Alexander*
Marc Antony in
Julius Caesar; Mr.
Manningham in
Gaslight
Kate Cook
Miss Poppenghul in
Moonlight and Magnolias;
Artemidora/Ensemble
in Julius Caesar
Jeff Cummings*
Cassius/Ensemble in
Julius Caesar
Luke
Daniels
Cinna/Ensemble in
Julius Caesar
Nicholas Dillenburg
Octavius Caesar/
Ensemble in Julius
Caesar; Policeman in
Gaslight
Emily Tate Frank
Nancy in Gaslight
Neil Friedman*
Julius Caesar in Julius
Caesar; David O.
Selznick in Moonlight
and Magnolias
Tyler Layton*
Portia/Ensemble in
Julius Caesar; Mrs.
Manningham in
Gaslight
Mark Murphey*
Lucilius in Julius
Caesar; Rough in
Gaslight
Gaslight
Eric Parks
Cicero/Aide to
Octavius Caesar/
Ensemble in Julius
Caesar; Policeman in
Remi Sandri*
Marcus Brutus in
Julius Caesar; Ben
Hecht in Moonlight
and Magnolias
Demetrios Troy
Decius Brutus/
Ensemble in Julius
Caesar
Brian Vaughn*
Caska/Ensemble in
Julius Caesar; Victor
Fleming in Moonlight
and Magnolias
Martin Yurek*
Metellus Cimber in
Julius Caesar
*Member of Actors’ Equity
Association, the union of
professional actors and stage
managers in the United States
composing the script for Gone
omorrow is another day,”
The story that Moonlight and
with the Wind, it covers only
states Scarlett O’Hara.
Magnolias tells is quite well-known
one part (and shows only one
But before this worldand can be found in numerous
script writer) of the process—the
famous phrase saw the light of
books about Gone with the Wind.
five days in David O. Selznick’s
day, three men had to work as if
It is told by Ben Hecht in his autooffice. In reality, Ben Hecht did
there were no tomorrow. In fact,
biography, A Child of the Century.
not write the script from scratch.
Ben Hecht, David O. Selznick,
However, as some authors suggest,
Hutchinson mentions other
and Victor Fleming had only a
it should be regarded “more with
drafts, but does not elaborate
workweek to complete the script
humor than with credibility”
on the idea. When Ben Hecht
for Gone with the Wind. Ron
(Vertrees, 49). Richard Harwell
requests “a screenHutchinson takes
noted that “Hecht’s account of the
play to work from,”
two acts to tell
film’s screenwriting is ‘so full of
Selznick provides him
their story.
demonstrable untruths and exagwith “First drafts,
Moonlight
gerations that it should be heavily
second drafts, third
and Magnolias is a
discounted’” (cited in Vertrees, 50).
drafts, polishes, notes
funny yet (someTrue or not, the story
of story meetings,
what) realistic
that Ron Hutchinson tells in
scene breakdowns”
and truthful
Moonlight and Magnolias is hilariand a list of names of
portrayal of the
ous, witty, charming, and the
the previous writers,
collaboration
one that audiences everywhere
“Winston Miller—
between Selznick,
are bound to love. It adds to the
John Balderston—
Hecht, and
fabulous collection of facts and
Russell Treyz, director
Michael Foster—
Fleming.
fables that surround Gone with
Edwin Justus Mayer— the Wind. Ben Hecht’s recollecPauline Bartel
Scott Fitzgerald—“ (Dramatists
in her book The Complete Gone
tion of the five days of excruciatPlay Service, Inc., 2005, p.20).
with the Wind Trivia Book: The
ing work and not-so-good acting
At that point in the play, Selznick
Movie and More describes the
in Selznick’s office might be a
is conveniently interrupted by
creation of the script in these
little inaccurate. After all, living
words, “In
on nothing but
Selznick’s office
bananas and
for . . . five days
peanuts for five days
and nights Hecht
is not that easy!
attacked the script
In the end,
mercilessly in
it looks as if Ron
18- to 24-hour
Hutchinson took
stretches. Since he
the advice regardwas not familiar
ing Ben Hecht’s
with the characstory with humor
ters, Selznick and
and produced
Fleming acted
a play that will
out each scene”
light up every
(Taylor Publishing
face in the audiCompany,
ence. Moonlight
1989, 67). Ron
and Magnolias is a
Hutchinson
must for the fans
draws on this
of Gone with the
and many other
Wind, and those
facts to create his
who have their
Neil Friedman (left), Brian Vaughn, and Remi Sandri rehearse a scene from Moonlight and Magnolias.
work. Throughout
reservations about
Ben Hecht, and never gets to
the play, the three main charthe film will be able to see the
mention Sidney Howard, whose
acters have to assume the roles
story from a different angle and
“two-year-old draft” the real Ben
of Gerald and Ellen O’Hara,
perhaps fall in love with it. This
Hecht
called
a
“’superb
treatment’
Scarlett, Rhett Butler, Ashley
play is as vivacious as Scarlett, as
that needed only substantial editWilkes, and Melanie Hamilton.
determined as Rhett Butler, and
ing” (Bartel, 67). Hecht ended up as memorable as the movie itself.
Alan David Vertrees in Selznick’s
basing his “rewrite on Howard’s
Vision: Gone with the Wind and
A great theatrical experience!
script” (Bartel, 67).
Hollywood Filmmaking uses Ben
—By Olga Pilkington
Hecht’s own words to describe
these impersonations, “The two
(David O. Selznick and Vic
Fleming) darted about acting . .
he Utah Shakespearean
decided the winter months would be
. David specializing in the parts
Festival’s popular Christmas
the best time.
of Scarlet [sic] and her drunken
show is going on vacation
“The Christmas show has
father and Vic playing Rhett
this year.
become an annual tradition and
Butler” (University of Texas
For several seasons now, the
a gift to our community,” said
Press, 1997, 50).
Festival has produced a Christmas
Executive Director R. Scott Phillips,
The audience can expect to
show (most recently A Christmas
“but the work that is necessary in the
Carol: On the Air) each December.
Randall Theatre can only be done
see many of the beloved scenes
However, because of a major upgrade
during December and January, so
from Gone with the Wind
planned
for
the
lighting
system
in
the
we decided that the show will take a
including Rhett Butler appearing
Randall L. Jones Theatre, the show
year off.”
from behind a couch having
will not be mounted this year.
“We apologize to our patrons
heard Scarlett’s declaration of love
The Randall Theatre is now
who look forward to spending a
to Ashley Wilkes, the birth of
twenty years old and in need of
holiday evening with us. But we
Melanie Hamilton’s baby, Scarlett
upgrades, especially in the lighting
are sure they will understand the
shooting a Union soldier, and
system. The theatre is used extennecessity of moving ahead with this
much more.
sively throughout the year, and so
work,” concluded Phillips. “We
While Moonlight and
scheduling the work was difficult.
hope they will join us in anticipating
Magnolias is a play about
In the end, Festival administrators
future plans for the Festival.”
Christmas Show on Vacation
T
Interview: Delving into Julius Caesar
D
irector Kate Buckley is back.
Having directed Much Ado
about Nothing in 2003,
Romeo and Juliet in 2005, and The
Merry Wives of Windsor in 2006,
she returns to direct a modernized
version of Julius
Caesar for the Utah
Shakespearean Festival’s
fall 2008 season.
Buckley currently
lives in Knoxville,
Tennessee, where she is
a theatre professor
at the University of
Tennessee. She has
also taught at DePaul
and Northwestern
Universities, as well
as doing Shakespeare
workshops across the country and
in Europe. Her directing experience
began years ago in Chicago. While
there she was a founding member
of and taught in the professional
training program for the Chicago
Shakespeare Theatre, which this year
won the Tony Award for Outstanding
Regional Theatre. She was also the
artistic director of The Next Theatre
in Chicago.
With political fascinations
running high here in the United
States and abroad, Julius Caesar could
scarcely be presented at a better time.
Updating this play to the current day
provides an opportunity for audiences
to explore such issues as power,
idealism, and responsibility through
a dateless lens. Buckley hopes her
production will be “timely as well
as timeless.”
The Shakespeare Globe caught
up with Buckley to visit about this
upcoming production.
The Shakespeare Globe: How did
the opportunity to direct Julius Caesar
this fall come about and what are your
feelings about updating it to modern
times?
Kate Buckley: I was approached
about directing this play well over a
year ago. I’ve never directed it before,
but did do coaching on a production
in Chicago. [Festival Executive
T
Director] Scott [Phillips] brought up
the subject of a modern production.
I thought it would work quite well.
Of course, it is not without its
challenges. However, other issues,
like the possession of power and what
it does to man,
unfortunately
haven’t changed
over the centuries.
Globe: The
current political
atmosphere
continues to be
at a fever pitch
here in the U.S.
What ties, if any,
do you hope to
create with the
political themes
that exist in Julius Caesar?
Buckley: Every play one does
should relate to the times we live in
on some level. But it’s up to the
audience to make those connections.
I don’t presume to tell the audience
what to think or how to make correlations to the current political climate
in the U.S. The play is the play,
no matter where we set it, and the
brilliant Shakespeare made his themes
universal and for all times and all
people.
Globe: Perhaps you could give us
a little insight into your directing style
and preparation process.
Buckley: I like to consider myself
a text-based director. That is, rather
than thinking my ideas or concepts as
paramount, I consider the text as the
most important tool . . . at my disposal.
I’m keen on making sure the text is
accessible to the audience. If they don’t
understand Shakespeare’s words and
intent, then I’m not doing my job.
One of the wonderful things
about directing is that we are able, in
fact we must, immerse ourselves in
many different subjects. Once I begin
work on a play, I study the subject
matter for months. I not only study
the play, all its facets, . . . I do a fairly
hefty amount of research on location,
myths, archaic meanings of words and
delve into the emotional life of each
character by paying attention to the
language Shakespeare chose to use.
Once I have a reasonable amount of
information I start speaking with my
designers about the . . . physical world
we will attempt to create.
Globe: In an essay by Katharine
Eisaman Maus, she says commentators throughout the ages have viewed
Caesar’s assassination as an act of
“heroism, expediency, or villainy and
celebrated, excused, or denounced
its perpetrators accordingly.” What
thoughts can you share about the
actions of these heroes/perpetrators?
Buckley: What defines a tragic
hero? A seemingly good man makes
an error in judgment and the actions
associated with that error result in
death. In this play, it could be said
there are many tragic heroes—Caesar,
Brutus, Cassius, conspirators. All are
motivated by what they believe is right
for Rome. They may be misled or
misguided, but they are striving for a
higher ideal, a better way. Shakespeare
not only explores this desire, but
he masterfully expresses their selfrealization of failure. The irony is, that
through their actions to make Rome
a better place, they created a path for
. . . one of the most famous rulers the
world has ever known— Augustus
Caesar.
Globe: This will be the Festival’s
fifth staging of Julius Caesar in its
forty-seven year history. What are
you most excited about with this
production?
Buckley: What I am most excited
about in this production are the actors
and what they will bring to the stage
in terms of clarity and honesty. [They
are] all fine, fine actors, with enormous amounts of talent.
Globe: And finally, what attracted
you to theatre?
Buckley: In thinking about my
first experience as a child, seeing a
high school production of Bye Bye
Birdie, I was transported. I think that’s
what attracted me to theatre. It has
the power to transport us emotionally,
physically, and spiritually.
—By Marlo Ihler
Fall Plays (of Course) and So Much More
he fall is a great time to attend
the Festival. Besides the plays,
the orientations, and the
seminars, besides the beautiful, cool
evenings and the flashes of burning
color on the mountains, the Cedar
City area hosts a number of activities
for fall visitors.
Cedar City Fall Arts Festival
On the grounds of the Festival’s
Randall L. Jones Theatre and presented by the Cedar City Arts Council,
this annual art fair, September 26–27,
is a chance to view and purchase
some of the area’s best artwork, as
well as enjoy the live entertainment.
Admission is free. Go to cedarcityartscouncil.org for information.
Shakespeare Competition
The Utah Shakespearean Festival/
Southern Utah University Shakespeare
Competition, October 2–4, is an
annual competition which puts students in the limelight as they perform
and are professionally adjudicated in
theatre, dance, and visual art. Students
and teachers also have the opportunity
to take various workshops and learn
from some of the business’s best. Visit
bard.org/competition for details.
National Geographic Art
Exhibit
The exhibition “In Focus:
National Geographic Greatest
Portraits” will be featured at the
Braithwaite Fine Arts Gallery on the
campus of Southern Utah University
September 11 to November 1. Gallery
hours are 12 noon to 7 p.m. Tuesday
through Saturday. Admission is free.
Go to suu.edu/pva/artgallery for more
information.
Cedar Livestock and
Heritage Festival
An exciting celebration of the
agricultural industry in the area, the
festival, October 24–25, features a
stock dog competition, a quilt show,
a sheep parade, a dutch oven cooking
contest, tractor pulls, and Michael
Martin Murphey in concert. Visit
cedarlivestockfest.com for details.
Star Party
September 20 at beautiful Cedar
Breaks National Monument twentythree miles east of Cedar City, this star
viewing is conducted by park staff.
Star viewing will take place through
several large telescopes; visitors who
own their own telescopes are invited
to bring them along. Entrance to the
park is $4. Go to nps.gov/cebr for
details.
The Great Pumpkin Festival
Located on the grounds of the
Randall L. Jones Theatre on October
25 from 10 a.m. to 1 p.m., this is a
great event for the whole family. It
includes pumpkin carving and painting, cookie decorating, a leaf corral, and
other fun activities. Admission is $5.
Scenic Southern Utah
For a complete listing of area
events, visit the Cedar City/Brian Head
Tourism and Convention Bureau
website at scenicsouthernutah.com.
On the
Web
Shakespearience
Teachers, do you want to give
your students a complete theatre
educational experience this fall?
Students, would you like a fun and
exciting day at the Festival with your
classmates? Shakespearience is a day
created especially for school groups,
both teachers and students—and both
will learn from the experience. Attend
a matinee of Julius Caesar, Gaslight,
or Moonlight and Magnolias, take an
actor-guided backstage tour and an
acting workshop, and participate in a
pre-show discussion with the actors.
Teachers will receive a study guide
with cuuricular activities and lesson
plans. Full-day and half-day packages
are available.
www.bard.org/education/shakespearience.html
Complete Casting Online
The actors for the fall season are
here and rehearsals are well underway.
Do you want to know what actors are
playing your favorite roles? Or what
actors are returning from past years?
All this information is now online in
the About Us Section of our website.
You can see who is cast in what roles,
then click on an actor’s name to read a
bio and view a photo.
www.bard.org/about/actor.html
Prepare for the Fall
Season Plays
You can be prepared for the plays
this fall, and enjoy them more, by
spending a bit of time learning about
what you will see and hear. Each play
page has numerous links to a synopsis,
character lists, and articles about the
play and playwright. Now’s the time
to make your time at the Festival even
better.
www.bard.org/plays2008.html
Remember
the Summer Season
Photos and videos are of all the
summer plays are available online.
Check them out and relive your vacation here this summer. Also, fall season photos will be available any day
now, so check back often.
www.bard.org/news.html
Plan Now for the
2009 Seasons
Play descriptions, calendars, and
ticket information for the 2009 summer and fall seasons are now online,
and it’s never too early to plan for
next year. You can even purchase your
tickets online, and guarantee you get
exactly the seats you want when you
want them.
www.bard.org/plays2009.html
Become a Member of the
Festival Family
Give a gift to the Festival,
become a member, and (besides
helping us keep our artistic vision
alive and growing) enjoy the benefits
of membership, including early purchase privileges, invitations to special
events, members-only backstage tours,
complimentary beverages, discounts
in the Festival Gift Shop, and more.
www.bard.org/membership.html
Get the Latest
News Delivered
Get the latest news delivered
monthly right to your e-mailbox. Sign
up for our electronic newsletter, and
you can be among the first to know of
happenings at the Festival.
www.bard.org/emailsubscribe.
html
Thanks to our
production sponsors:
The George S. and
Dolores Doré Eccles
Foundation
S.J. and Jessie E.
Quinney Foundation /
The Ray Quinney and
Nebeker Foundation
The Ashton Family
Foundation
Cedar City-Brian Head
Tourism and Convention
Bureau
Zions Bank
Questar
Thomas and Leslie Thomas
The Emma Eccles Jones
Foundation
Marriner S. Eccles Foundation
Universal Business Insurance
The National Endowment
for the Arts
Wells Fargo
The Shubert Foundation
Thanks to our media
sponsors and partners:
Enter a World of Mystery, Secrets, Madness
P
repare yourselves for a bit of
flicker ominously, and she is unable to
mystery and suspense this fall
explain why she seems to continuously
when the Utah Shakespearean
misplace objects.
Festival presents Patrick Hamilton’s
It soon becomes evident that these
classic Victorian
misplaced items are
thriller, Gaslight.
not her doing at all,
Written by
but her husband’s.
Hamilton in 1938
John is purposeand set in London
fully arranging these
in the mid-1880s,
petty irregularities
Gaslight—also
in order to slowly
known as Angel
drive his wife insane
Street — tells a
and torture her into
chilling story of
believing they are
deception and
her fault.
paranoia. Bella
Thus the term
Manningham is
“gaslighting” entered
suffering from what
the English language,
she believes are
coined directly from
the early stages of
this play. It refers to
insanity, a disease
a form of psychoTyler Layton (top) and Elijah Alexander rehearse a
from which her
logical abuse where
scene from Gaslight.
mother died. Her
there is a deliberate
husband, John Manningham, once
attempt to gradually convince
loving, spends his evenings out on the
someone they are losing their grip
town in order to deal with the stress of
on reality, usually for the purpose
his wife’s illness.
of gaining some sort of advantage
Several things have affected Bella’s
over them.
anxious state of mind. She believes
One must ask then: what advanghosts haunt their home as the gaslights
tage is John trying to gain over Bella?
often inexplicably change intensity and
To what extent will he go in order to
—By
Marlo Ihler
Announcing 2009: Find Your Passion!
“Find Your Passion” will once
again be the theme as the Utah
Shakespearean Festival celebrates its
forty-eighth year in 2009. Nine plays,
as well as our usual line-up of greenshows, orientations, backstage tours,
and seminars await you as you plan
your time with us next year.
Tickets are already on sale at
www.bard.org or at the Ticket Office
at 800-PLAYTIX (800-752-9849).
And, if you order by December 20, you
can take advantage of the Early Bard
Discount of $4 per ticket on selected
performances.
Summer Season
June 29 to September 5
As You Like It
By William Shakespeare
Rosalind has a problem. Disguised
as a boy to help her father, she has also
fooled her beloved Orlando, who now
asks this boy/woman to help him woo
the woman of his dreams—none other
than Rosalind herself! What’s a girl (or
boy) to do? For Rosalind, the answer is
easy: play the game to the end in this
rollicking frolic of confused courtship,
beautiful poetry, and unsurpassed wit.
The Comedy of Errors
By William Shakespeare
Antipholus and Dromio are
bewildered. Everywhere they go,
they seem to have already been there.
And the more they try to unravel the
lunatic events around them, the more
farcical their lives become. It’s double
the laughter and twice the fun in
Shakespeare’s youthful comedy of,
not one, but two sets of twins and the
shenanigans swirling around them.
Henry V
We express our heartfelt thanks to each
individual, foundation, and corporation
for your generous contributions.
achieve it? Those details drive the
storyline and remain part of the mystery until the end of this suspenseful
and intriguing psychological drama.
“Enter into a world of mystery,
gaslight, secrets, hushed fears, paranoia,
and the stark edge of madness,”
explained director J.R. Sullivan.
During the time of this play and
the decades immediately following,
psychology as a scientific field was
becoming more readily accepted; and,
as it did, so did literature exploring
the matters of the mind. The novella
The Beast in the Jungle by Henry James
(whose brother was William James,
a prominent American psychologist)
and the short stories “The Snows of
Kilimanjaro” by Ernest Hemingway
and “Barn Burning” by William
Faulkner are examples of literature
that employ psychological concepts.
“Gaslight is a brilliantly crafted
pyschological melodrama. The
audience members will find themselves
emotionally overwhelmed,” said
Festival Founder Fred C. Adams.
“The immediacy of this stage play
adds to the terror and tension for
the audience.”
By William Shakespeare
Prince Hal has inherited the throne
as King Henry V—and now faces his
first major challenge against the mighty
French army. Quickly, the new king
must act. He can fall back to his boisterous youth or he can rush to the fore
and attack. His St. Crispin’s Day speech
is stunning, but is it enough to rally his
countrymen around their new king?
Foxfire
By Susan Cooper and Hume Cronyn
“We was lucky. We didn’t have no
choices,” Hector once told his wife,
Annie. But Annie does have choices,
lucky or not. She can leave her
Appalachian farm, or she can stay on
the cabin porch with her memories,
the old apple orchard, and the expansive mountain vistas. This surprising,
emotionally-rich play will cause all of
us to think about our own roots, our
loves, and the choices we make.
Private Lives
By Noel Coward
Love nearly is a fight to the death
in this witty and glittering comedy.
Elyot and Amanda (once married to
each other) find themselves in adjoining honeymoon suites (now both
recently remarried to others). One
thing leads to another, and they soon
rekindle their old relationship, realizing that not only do they love, but
(more importantly) they love to hate
each other.
The Secret Garden
Book and Lyrics by Marsha Norman
Music by Lucy Simon • Based on the
Novel by Frances Hodgson Burnett
A beautiful story for the entire
family, this captivating musical tells of
the orphaned Mary who goes to live
with her emotionally stunted uncle.
She soon discovers a secret garden, long
locked away from the attentiveness of
any caretaker. Mary brings sunlight
and fresh air to the garden, and in the
process unleashes the healing power of
love and the miracle of rebirth.
Fall Season
September 25 to October 24
The Adventures of Pericles
By William Shakespeare
In this tale of high adventure,
Pericles undertakes a perilous odyssey,
searching for thrills, riches, and
family. But dangers and uncertainty
face him on every seashore as he
sails from country to country, from
intrigue to intrigue. His loves die. His
friends deceive him. The gods seem
to be against him. But, in the end, he
finds the most important treasure of
all: himself.
Pump Boys and Dinettes
By John Foley, Mark Hardwick,
Debra Monk, Cass Morgan, John
Schimmel and Jim Wann
Pull in and sit a spell at the
Double Cupp Diner. You’ll get to
know the “pump boys,” those filling
station fellas from across the blacktop,
and the “dinettes,” the table-waiting,
crooning Cupp sisters. Stories and
songs of fishing, farmer tans, and
“The Night Dolly Parton Was Almost
Mine” will have you singing and
tapping your toes all the way home.
The Woman in Black
By Stephen Mallatratt
From the Novel by Susan Hill
Haunted houses, supernatural
happenings, foggy and stormy nights,
and a mysterious, ghostly woman
all combine in this gripping and
thrilling mystery which taps into
our primal fears. Are Arthur Kipp’s
memories, which still terrorize him
years later, accurate? Did he really
see the woman in black? Can he ever
have peace again? The truth will
leave you shivering in this theatrical
Halloween ghost story.
Communications Director
Art Director
Marketing Director
Media and Public
Relations Director
Marketing Associate
Bruce C. Lee
Philip Hermansen
Kami Terry
Amanda Caraway
Marlo Ihler
All original materials in The Shakespeare Globe
are fully copyrighted. The Festival solicits
complimentary materials for inclusion, but
cannot assume responsibility for return of
materials and also reserves the right to accept
or reject any materials.
For Festival information, write:
Ticket Office, Utah Shakespearean Festival,
351 W. Center Street, Cedar City, UT 84720.
Telephone: 435-586-7878 or 800-PLAYTIX.
On the Internet: www.bard.org
E-mail: [email protected]