Midsummer Magazine 2007 - Utah Shakespearean Festival

Summer/Fall 2006 • Your Complimentary Guide to the Festival and Southern Utah

Ya don’t wanna belate for the play!If ya know what I mean.We Deliver!586-1111Our buffet is hot, fresh, and ready!Lunch—11 a.m. - 2:30 p.m.$6. 99 Dinner—5 - 8 p.m.All you can eat pizza, salad, soup, and drink!Locally Owned and Operated11 a.m. to 10 p.m.Monday through Saturday241 N. Mainin the Depot Building435-586-1111

Espresso, Loose Leaf Tea,Chai, Fruit Smoothies,Pastries, Desserts,and MoreFeaturing“Off-The-Cuff”Comedy Improv Friday NightsandLive Music Saturday NightsWe Proudly ServeOpen Mon–Sat 7 a.m.–10 p.m.Sunday 8 a.m.–5:30 p.m.19 N. Main • Cedar City435-867-5333Summer 2007 • Twenty-Eighth Edition • Cedar City, UtahContentsSomething for Every Taste!. 8Celebrating Forty-Six Years at the Utah Shakespearean FestivalTwelfth Night. 10This Is Illyria, LadyCoriolanus. 14History or FictionKing Lear . 17“Ay, Every Inch a King”The Matchmaker. 20Live a Little!Candida . 23A Century Old, but Still CurrentLend Me a Tenor: The Musical. 26A Modern ClassicThe Mousetrap. 28Delightful, Engaging, Entertaining‘Art’ . 30You Won’t Go Away IndifferentThe Tempest. 33Probing Our Imaginations2007 Season Calendar . 36Dates and Times for Everything at the FestivalGetting Tickets Is Easy. 39And There’s Always Plenty of Seats AvailableCedar City, Utah. 40A World of Contrast and BeautyBrian Head Resort. 43It’s Not Just for Winter AnymorePublisher and Editor.Bruce C. LeeContributing Writers.Kelli Allred, Stephanie Chidester,Leonard Colby, Michael FlachmannClaudia W. Harris, Lawrence Henley,Ace G. Pilkington, Elaine Pilkington,Olga Pilkington, Diana Major Spencer, Howard WatersPhotography. Karl Hugh (play photos), Cedar City/Brian HeadTourism and Convention Bureau (scenery photos)Cover Photo: Britannia Bahr, The Greenshow, 2006You can contact Midsummer Magazine at 435-586-1972 or lee@bard.org.Tickets and information about the Utah Shakespearean Festival are availableby calling 1-800-PLAYTIX or visiting the website at www.bard.org. • Midsummer Magazine 2007

Enjoy your time at the UtahShakespearean Festival andin its hometown, Cedar CityTRAVEL BACK IN TIMEDiscover the Past at the Iron Mission State Park MuseumWelcometo theFestivalBy Bruce C. LeeWELCOME TO THE UTAHShakespearean Festival andMidsummer Magazine. Thisis my twenty-sixth year with this magazineand my thirty-second attending the Festival.Some of you are probably here for the firsttime, and some have been attending forall forty-six years of the Festival’s history.Most of you have experiences somewhere inbetween.Either way, I hope you enjoy your timehere. Cedar City, host to the Festival fromthe beginning, is a wonderful place to live inand to visit. Don’t miss the adventures thatare all around you.First, of course is the Tony AwardwinningUtah Shakespearean Festival, adiamond in the crown of a much bejeweledcity. You won’t want to miss the plays, TheGreenshow, the seminars, and just hangingaround the courtyard enjoying a snack.But then you really should branch out.The Braithwaite Fine Arts Gallery is only acouple minutes stroll from the Festival. TheIron Mission State Park Museum is only acouple minutes drive. And then there arethe lakes, forests, national monuments, andnational parks that are all easy to get to, withthe Festival and Cedar City as your base.So relax, immerse yourself, enjoy. Aswe like to say at the Festival, “Share theExperience.”Open 9am to 5pm635 North MainCedar City435-586-9290ironmission@utah.govwww.stateparks.utah.govPioneer History ExhibitsLiving History WorkshopsChildren’s Story Time 2nd Tuesday of the MonthSpecial Summer Exhibit - Utah State Parks50th Anniversary Exhibit • May 19 - Sept. 15Bring this ad in for 20% off in gift shopMidsummer Magazine 2007 •

June 21 to October 27Cedar City, UtahThe FestivalOffersSomethingfor EveryTasteBy Howard WatersIf variety is, indeed, the SPICEof life, then the 2007 season of the TonyAward-winning Utah ShakespeareanFestival will certainly offer a cornucopia offlavors and tastes for everyone. The summerseason, June 21 to September 1, featuressix plays in repertory Monday throughSaturday. The fall season will continue thetheatrical feast with three different plays,September 14 to October 27.The forty-sixth season will start withShakespeare’s hilarious Twelfth Night. Whatwords can do justice to this popular comedy?Lyrical? Playful? Magical? Shakespeareis at his comedic best as his characters takedelight in confusing each other. Orsinaloves Olivia (who won’t give him the time ofday). Olivia loves Viola (whom she thinks isa boy). Viola loves Orsino (who doesn’tLillian Castillo (left) and Lilian Matsudain The Greenshow, 2006. • Midsummer Magazine 2007

even know she’s a girl). Malvolio loves himself(naturally), and Sir Andrew, Sir TobyBelch, and Maria love life to its fullest (andits most outrageous).Shakespeare’s Coriolanus is next onthe menu, relating the tale of a man wellschooled by his forceful mother in theRoman lessons of honor, nobility, and classsuperiority. But his devoted and sensitivewife sees, instead, arrogance, prejudice,and dangerous intrigue. This monumentalstruggle of wills literally fills the stage in thisrarely performed play.King Lear is one of the greatest tragediesever written. The king is plaguedby intrigue, betrayal, and his own willfulvanity. “A very foolish old man, fourscoreand upward,” Lear has sorely misjudgedhis daughters as he divides up his kingdomamong them. Who will be merciful to Lear,or will he be forsaken by all?The Randall L. Jones Theatre offersthree plays by other classic playwrights.George Bernard Shaw’s classic playCandida will engage and charm. TheReverend James Morell’s joy in his comfortablemarriage to Candida is shaken by thearrival of the young poet, Marchbanks.Both men adore her, in quite different waysand for quite different reasons, and she isattracted to each of them for their very differentqualities. They both forget she is herown woman.The romantic comeday, TheMatchmaker, by Thornton Wilder, relatesthe now familiar and very funny story ofthe widow matchmaker, Dolly Levi. WhenHorace Vandergelder hires her to find awife for him, the matchmaker decides on avery unusual match—herself. The story, theinspiration for the musical “Hello Dolly!,”is one of America’s greatest farces, filled withdelightful surprises and fun for the entirefamily.The orchestra is warming up, the producersand cast are abuzz with excitement,the curtain will soon rise, but wait! Whereis the world-renowned lead tenor? Thusbegins the Festival’s high-spirited worldpremiere of Lend Me a Tenor: The Musical,an adaptation of Ken Ludwig’s enormouslysuccessful Lend Me a Tenor. The show mustgo on in this giddy screwball comedy ofmistaken identity, hysterical plot twists, androllicking confusion.The fall season will continue the excitementwith three new productions set amidthe beautiful fall colors of southern Utah.Start out with Shakespeare’s wonderfulflight of fancy, The Tempest. A tale of magicand mystery, Shakespeare’s last romancewill take you to a small island with thedeposed Duke Prospero and his daughter,Miranda. There, they face monsters andfairies, storms and spectacle, as they learn ofharmony and humanity and struggle to findtheir place in a “brave new world.”.Yasmina Reza’s comic play, ‘Art’, providesus with an interesting conundrum.When Serge buys an outrageously simplemodern painting for an outrageous amountof money, he and his friends have widelyvarying opinions regarding its value. Howdoes one define art anyway? Thus beginsanew the ages-old discussion, a very amusingone in this case.Murder lurks around every corner inAgatha Christie’s famous The Mousetrap,and everyone is a suspect—and a possiblevictim. Is the murderer the architect whowould rather be a chef, the retired Armymajor, the strange young man who says hiscar overturned in a nearby snowdrift? Forover fifty years this, the English world’s longest-runningplay, has kept audiences guessingand shuddering with delight.There is always something to look forwardto at the Festival. Tickets for the 2007season may be purchased online at www.bard.org or by telephone at 800-PLAYTIX.Southern Utah UniversityCollege of Performing and Visual ArtsPhoto courtesy of Utah Shakespearean FestivalF i n e A r t s G a l l e r yLocated on the ground floor of theBraithwaite Liberal Arts Center on theeast end of the beautiful SUU campus.For more information contact the galleryat 435-586-5432 or visit our web sitewww.suu.edu/pva/artgallerySetting the Stage at the Utah Shakespearean FestivalExhibit: June 21–August 25Opening Reception: Thursday, June 21, 2007 | 7:00 p.m.Cedar City Art Committee 64th Annual Art ExhibitExhibit: June 28–August 25Opening Reception: Thursday, June 28, 2007 | 7:00 p.m.Frederic Remington Makes Tracks: Adventures andArtistic ImpressionsExhibit: September 6–October 20, 2007FREE AdmiSSiOnGallery Hours:Tuesday–Saturday, noon -7:00 p.m.Midsummer Magazine 2007 •

June 21–September 1Adams Shakespearean TheatreTwelfthNight:This IsIllyria, LadyBy Michael FlachmannFOR SHAKESPEARE’S MAJORcharacters, geography often leadsto destiny. In A Midsummer Night’sDream and Cymbeline, for example, thelovers’ journey to the woods helps liberatethem from patriarchal and societal restrictionsso they can mature and prosper, whileDesdemona’s sea voyage from the sophisticationof Venice to the male-dominated,claustrophobic, and licentious world ofCyprus helps doom her precarious relationshipwith Othello. In the same manner, thephysical location of Twelfth Night in Illyriaoffers some crucial clues to an attentiveaudience about the dramatic world of thisbeloved comedy.Oddly, modern scholarship has been oflittle help in decoding the relevance ofKieran Connolly (left) as Sir John Falstaff andRiley Griffiths as Robin in The Merry Wivesof Windsor, 2006

“place” to “play” as far as Illyria is concerned.Generally dismissed as a “mythical”or “fantastical” locale, its importancein Twelfth Night may be summarized bythe following assertion from Isaac Asimov,who echoes the opinion of many othercritics when he says that “we need not beoverconcerned with actual geography” inTwelfth Night, since “Shakespeare’s Illyria,like his seacoast of Bohemia in The Winter’sTale and his Forest of Arden in As You LikeIt, really exists nowhere but in the play.”On the contrary, however,Shakespeare’s choice of Illyria as the settingfor Twelfth Night eloquently revealsthe playwright’s purpose in selecting suchan offbeat and infrequently traveled milieufor his script. Although Illyria was a reallifelocation during Shakespeare’s time inthe western part of the Balkan Peninsula,which today comprises much of Yugoslaviaon the eastern shores of the Adriatic Sea,the great allure of this scenic location canbe summed up in a single word: pirates!Orsino refers contemptuously to Antonioas a “notable pirate” and a “saltwater thief”and asks “What foolish boldness broughtthee to their mercies / Whom thou interms so bloody and so dear / Hast madethine enemies” (5.1.57–60). The only otherreference to Illyria in Shakespeare’s playsoccurs in Henry VI Part Two, where Suffolkrebukes the Lieutenant as more threateningthan “Bargulus, the strong Illyrian pirate”(4.1.108), thereby con-firming the associationbetween piracy and Illyria in theminds of Shakespeare’saudience.This relationship between piratesand the Balkans dates back to at least250 B.C., when tribes like the Ardriaiiand Antariates preyed on Greek colonistson the eastern coast of the Adriatic andaround such neighboring islands as Pharosand Corfu. Impatient with this disruptionin their trade routes, the Romans duringthe Illyrian Wars of 229 B.C. and 219 B.C.overran outlaw settlements in the NeretvaValley, captured Gentius (the last King ofIllyria), and curtailed the piracy that hadIntermountain InstaCareBecause Accidents Aren’t ScheduledIf you live in Iron County, it’s nice to know you cantake care of many urgent health needs at the nearbyIntermountain InstaCare. We offer walk-in servicefor urgent-care problems including sore throats,minor accidents, ear infections and more. Bothevenings and weekends, our physicians are happyto treat children as well as adults. The next time theunexpected happens, remember the IntermountainInstaCare in Cedar City. We’re here when you need us.HOURSMonday – Saturday9:00 a.m to 9:00 pmClosed Sunday HomeCookin’madeworthLOCATION962 Sage DriveCedar City, Utah 84720435.868.3440thatthe WestwinningThe physical location ofTwelfth Night in Illyria offerssome crucial clues to anattentive audience aboutthe dramatic world of thisbeloved comedy.Valley View Medical Centeris a not-for-profit hospitaloffering high-qualityhealthcare and the ability totreat patients with a widespectrum of needs.1303 North Main StreetCedar City, Utah 84720435.868.5000Midsummer Magazine 2007 • 11

Prestige RealtyReal EstateIs OurPassion!www.southernUTrealestate.com463 W. 200 N. • 877-586-2112 or 435-586-2112You'll enjoy this year'sproduction of The Tempest. Butyou don't need a tempest in yourlife when you buy a car or pickup.We believe that you'll enjoydealing with Lunt Motor. Nopressure. No hidden charges. Nosurprises. We promise you a treat,not a treatment, when you buya Dodge or Chrysler from us.®Since 1934Cedar City, Utah • 435-586-6591St. George, Utah • 435-673-3241made the Adriatic unsafe. By Shakespeare’stime, however, the Balkans had taken onthe additional characteristic of an unconventionallocale perched dangerously onthe great divide between Christendom andIslam where the infusion of many differenttribes and cultures created a flavorful stewof gypsies, mountaineers, prostitutes, andother socially marginalized creatures whodwelt alongside the truly devout followersof two wildly divergent religions. In fact,George Sandys, a well-known Renaissanceauthor of travel literature, wrote the followingcolorful description of Illyrians duringhis voyage to the region in 1610, justnine years after Twelfth Night was first produced:“The men wear half-sleeved gownsof violet cloth with bonnets of the same.They nourish only a lock of hair on thecrown of their heads, the rest all shaven.The women wear theirs not long and dyethem black for the most part. Their chiefcity is Ragusa, heretofore Epidaurus, acommonwealth of itself, famous for merchandiseand plenty of shipping” (from ARelation of a Journey Begun Anno Domini1610).Into this exotic world of pirates, gypsies,religious fanatics, and other semi-fictionalizedinhabitants, Shakespeare depositsViola, his recently shipwrecked heroine,whose disconnect between her abandonedcondition and the foreign universe she nowinhabits liberates her from responsibilityand facilitates the discovery of her trueidentity unencumbered by social, moral, orgender restrictions. Although she initiallyadopts a male disguise for self-preservation,Viola soon discovers that men inthe Renaissance were permitted muchmore flexibility in their social and moralendeavors than their female counterparts.Impersonating a young man, she enjoysthe luxury of getting to know Orsino as afriend and confidant as they slowly fall inlove with each other. The same regenerativeeffect of liberty may be seen in Olivia’ssudden infatuation with Cesario, whichpermits the heiress to shed her mourningpretense and experience the genuine, heartfeltpassion that she later happily bestowson Sebastian.Perhaps the most obvious embodimentof Twelfth Night’s Illyrian atmosphereis Feste the Clown, whose inspired anticsturn the world of the play upside down,especially in his impersonation of Sir Topas12 • Midsummer Magazine 2007

the Curate when wisdom and folly changeplaces. The well-known motif of the “wisefool” implies that behaving foolishly, particularlywithin a region consecrated topiracy and gypsy lore, is a wise course ofaction, since it helps each of the principalcharacters find themselves through theliberating effects of love, wine, music, mistakenidentity, and the play’s many othertempting aphrodisiacs. Only Malvolio,in this cast of libertines, fails to prosperthrough the Illyrian aspect of the play,since he is a puritanical scapegoat who carriesaway the sins of the other charactersthrough dramatic catharsis. Bloated withself-pride, he takes himself much too seriouslyin a world where the spirit of licentiousnessrewards love over law, revelry oversententiousness, and license over the dullmonotony of moralistic values.Inspired by the miracle of theatre,Shakespeare’s audience also finds its trueself through the exotic experience of theplay. As C. L. Barber argues in Shakespeare’sFestive Comedies, viewers of a play likeTwelfth Night move from “release” to“clarification,” as do its central characters,through the dramatic progress of the play.Just as Viola, for example, discards theconventions of femininity to find true lovewith the duke, so too are the play’s audiencemembers released from their everydayconcerns by ensconcing themselves in atheatrical reverie that lets them see theirlives more clearly after “the two hours’ trafficof our stage.” As we immerse ourselvesin this alien world and allow Shakespeare’spoetic brilliance to wash over us, we arecleansed and refreshed by the magicalpower of the stage. Like Arion, rescuedon the dolphin’s back because of the sweetmusic he played on his lyre (1.2.15), we arebuoyed upward by the fortunes of the play’ssuccessful characters as we ascend throughthe spiritual and aesthetic artistry of thisjoyful dramatic event. In theatre, as in lifeitself, strange, new worlds like Shakespeare’sIllyria rejuvenate and replenish us, scouringaway that which is old and tired andunproductive in order to restore our moreperfect selves.Inspired by the miracle oftheatre, Shakespeare’saudience also finds its trueself through the exoticexperience of the play. Food thatBringsthe CowboysRunningNo matter what type ofconstruction project you areconsidering, one phone callto the Iron County Home BuildersAssociation can help you find the best peoplefor the job. We can supply you with information on builders,architects, carpenters, electricians, plumbers, painters, excavators, landscapers, interiordesigners, and . . . well, you get the idea. So before you begin your construction project,give us a call and we’ll help make sure you step off on the right foot.The Iron County Home Builders Association • 435-865-1113For information about ICHBA, the “Parade of Homes” (every Labor Day weekend and followingweekend) the “Spring Building Products Fair,” and other events, visit us at www.ichba.org.Midsummer Magazine 2007 • 13

June 22–August 31Adams Shakespearean TheatreCoriolanus:History orFiction?By Ace G. PilkingtonCORIOLANUS THEcharacter has been praised andabused for centuries. He hasbeen admired for his terse strength anddespised for his unyielding cruelty; he hasbeen held up as a model of family valuesand descried as a marvel of mother-dominatedfolly. The disagreements are muchthe same for the play. For Bernard Shaw,Shakespeare “was utterly bewildered” bythe complexities of life and serious dramaand therefore, “The play of Coriolanus isthe greatest of Shakespeare’s comedies”(Edwin Wilson, ed., Shaw on Shakespeare:An Anthology of Bernard Shaw’s Writings onthe Plays and Production of Shakespeare [NewYork: E.P.Dutton & CO., INC., 1961],225). For Park Honan, “Coriolanus is itsauthor’s best analysis of politics”(Shakespeare: A Life [Oxford: OxfordHenry Woronicz as Richard in Richard III, 2003

University Press, 1998], 347). Swirlingaround such disagreements is the centralquestion of the title character’s reality. IsShakespeare explaining in his own fashionwhat truly was, or is he creating (with helpfrom his sources) an imaginary being, successfulon a stage like the Globe but impossiblein a state such as Rome?Two of the most common answersto this question can be found in theworks of Isaac Asimov. In Asimov’s Guideto Shakespeare, he writes, “The eventsdescribed in the play are . . . of extremelydubious value historically, for they takeplace a century before the destruction ofthe Roman annals by the Gallic invaders”(Volume One [New York: Avenel Books,1978], 214). In The Roman Republic,however, Asimov is much less dismissive,“Even if the details are legendary, the nubof the story is probably true” ([Boston:Houghton Mifflin Company, 1966], 32).But there are still other possibilities. PerhapsShakespeare (plus Plutarch and Livy, hismain sources) got most of the story rightand not just its political through line. Itwould be hard to prove such a claim absolutelybecause around 387–386 b.c., “anarmy of ten thousand to fifteen thousandRomans” was defeated by a larger and betterequipped force of Gauls, who, “three dayslater arrived at the city, which . . . they proceededto overrun, setting its buildings onfire” (Michael Grant, History of Rome [NewYork: Charles Scribner’s Sons, 1978], 52).Many (but not all) historical records werelost in the destruction, and some peopleassume that Roman history before the Gaulsdestroyed the city is more fable than fact.However, even in a worst case scenario,“Certain types of document such as treaties,laws, dedications, and building inscriptions,were recorded on . . . stone or bronze” (T.J.Cornell, The Beginnings of Rome: Italy andRome from the Bronze Age to Punic Wars(c. 1000–264 b.c.) [London: Routledge,1995], 16) and would not have burned. Anespecially apposite example is “an inscriptionrecently uncovered at Satiricum” that,in the form of a dedication to Mars, “providescontemporary [500 b.c.] evidence of agroup who define themselves not as citizensof a state or members of an ethnic group,but as companions of an individual leader”(Cornell, 144). T. J. Cornell gives the namesof several such warlords who are especiallywell-known, including, of course, “MarciusCoriolanus” (144). In any event, the evidenceis not confined to stone and bronze.“Most scholars accept the authenticity of theconsular list (the Fasti) which goes back in Eat UntiltheCowscomeHomeHearty BreakfastsFresh PiesLunch SpecialsChicken Fried SteakRustic, WesternAtmosphereHome-Town HospitalityAirport Rd.I-15200 NorthCenter StreetSUUCampusWest of town on 200 North,at the Cedar Livestock Auction.Open Monday - Saturday6 a.m. to 9 p.m.586-9325It’s the Service that Counts!Residential • Commercial • Land • Investment Property1020 S. Bentley Blvd. • Cedar City, UT 84720Toll Free: 866-428-3948 • Office: 435-586-1090www.exitcedarcityrealty.comMidsummer Magazine 2007 • 15

a continuous series to the beginning of theRepublic” (Cornell, 13). A more detailedbut equally ancient source of informationwas the Annales maximi, “a chronicle keptby the pontifex maximus . . . that . . . recorded,year by year, all important public events”(Cornell, 14). It is probable that otherreligious and civil institutions had theirown records and that some survived. Afterall, “during the invasion by the Gauls,” theneighboring Etruscan city-state of Caere had“helped Rome . . . by giving refuge to thesacred objects from its temples” (Grant, 54).In the light of such evidence (andthe work of later Roman historians),T.J. Cornell is almost ready to guaranteeCoriolanus’ existence. He writes,“Capturing one city after another,Coriolanus’ forces advanced as far as the . .. outskirts of Rome. . . . Leaving aside theromantic details, we can reasonably acceptthat the story reflects a genuine popularmemory. . . . The chronology is insecure,however, since none of the leading personsin the story appears in the consular Fasti;but the Romans’ belief that the events tookplace in the early years of the fifth century isprobably correct” (307).An informed judgement aboutCoriolanus must also include some estimateof Livy and Plutarch, who were notonly vital to Shakespeare but also two ofthe most important sources for much ofRoman history. It is clear that though theywere writing centuries after the eventsthey chronicled, they consulted materialsthat were contemporary to their subjects.Livy, in fact, “alludes to his sources witha frequency unusual among ancient historians”(M.L.W. Laistner, The GreaterRoman Historians [Berkeley: University ofCalifornia Press, 1963], 84). He is at oncea careful and elegant writer, unwilling toaccept any assertion without an examination.For instance, here is how he weighs thequestion of Coriolanus’ death, “There arevarious accounts of his ultimate fate: He issaid by some to have sunk under the burdenof resentment which his behaviour broughtupon him, though the manner of his deathis not known. I have read in Fabius, ouroldest authority, that he survived to oldage: Fabius states at least, that he used oftento say towards the end of his life that exilewas a more bitter thing when one was old”(Livy, The History of Early Rome [Norwalk,Connecticut: The Easton Press, 1978],160). Livy’s work was so successful that hesurpassed and suppressed his predecessorsand competitors. “Narratives on a largescale of Republican Rome ceased to be composed,at least in Latin” (Laistner, 101).Luckily for Plutarch, who was bornnearly thirty years after Livy’s death, hewrote in Attic Greek. He served as a priestof Apollo at the Delphic Oracle, and hisParallel Lives were so popular that theysurvived nearly intact, emerging as an internationalhit in the Renaissance. As T. J.Cornell says, “Plutarch is important becausehe read voraciously and faithfully reportedwhat he found. . . . He drew heavily on Livyand . . . Dionysius of Halicarnassus, but healso provides much additional informationnot contained in their accounts, including. . . material taken from antiquarians andothers” (3). So, to conclude, Shakespearehas a subject for his play who was probablyreal and a set of political and emotionalissues which are very likely true even if theyaren’t completely factual. Plus, Shakespeare’ssources are intelligent scholars and skilledwriters (good enough to steal from). LikeShakespeare, Livy and Plutarch are as muchconcerned with philosophy as they are withhistory, with the meaning of life as well asthe happenings in lives. Shakespeare did notwrite (and was not trying to write) a documentary;this is a tragedy with much historyin it.Fine Dining in a Unique,Comfortable Atmosphere.Featuring:Seafood • Choice Black Angus BeefVariety Specials • Catering164 South 100 West • Cedar City, UT16 • Midsummer Magazine 2007

June 23–September 1Adams Shakespearean TheatreKing Lear:“Ay,Every Incha King!”By Diana Major SpencerOF THE VARIOUS ROLES INhis cosmic repertoire,Shakespeare’s King Lear knowsonly one—and that one imperfectly.He is King—autocratic, absolute and,presumably, invulnerable. The tragedy ofKing Lear follows his imprudent abdicationof the only role he knows or has everknown, an act which eradicates his identity.Father, friend, guest, human being—roleswithout the trappings of crown andthrone—lie beyond his understanding. Hisjourney in this three hours’ traffic on thestage takes him toward his humanity.Though Regan recognizes that “hehath ever but slenderly known himself”(1.1.293–94) and Gloucester remarksthat “the king falls from bias of nature”(1.2.111) with regard to his daughters andSusan Shunk (left) as Desdemona and David Toneyas Othello in Othello, 2002

Kent, Lear thinks he is merely exercising hisaccustomed authority. He hasn’t changed,but his relationships to authority and hisdaughters have. Learning non-kingly virtueswill require stripping away the superfluitiesof rank and accoutrement.In contrast to Lear, banished Kentwillingly dons country clothes, a phonyaccent, and a brusque manner to stay nearhis king. Lear greets this stranger by askingnot who he is, but what he is—not a person,but an object to the superior king. The Earlof Kent, having discarded his title, wealth,and noble speech to continue his lovingservice to Lear, answers simply, “A man,sir” (1.4.10). Unlike Lear, Kent knowswho he is.In the same scene, Lear’s, “Who am I?”(implying, “Don’t you recognize that I amthe King?”), elicits what Lear perceives asOswald’s insult: “My lady’s father” (1.4.78–79)—another role he doesn’t know. TheFool then calls Lear “an O without a figure”(1.4.192)—i.e., a zero without a precedingnumeral to give it value: 0, as opposed to10, 100, or 1,000. Frustrated, Lear criesout, “Does any here know me? . . . Who is itthat can tell me who I am?” (1.4.226, 230).Exiled Kent, in disguise, knows himself aman; Lear is mortally confused.The idea of nothingness that so terrifiesand infuriates Lear, ironically solaces thethird shape-shifter, Edgar, who obliterates hisidentity along with his clothes in desperationof his father’s edict against him. Like Lear, herecoils from his unaccustomed treatment byfamily members, but like Kent he recognizesthe benefits of anonymity: “Whiles I mayscape / I will preserve myself, and . . . takethe basest and most poorest shape / Thatever penury, in contempt of man, / Broughtnear to beast” (2.3.5–9). Naked, grimy,unkempt, he’ll enact the bedlam beggar tosave his life: “Poor Tom! / That’s somethingyet: Edgar I nothing am” (2.3.5–21). Learis nothing, Edgar is nothing, but Kent is aman.Lear’s older daughters conduct the nextvolley against their father in a competitionto “allow” him the fewest retainers. Reganhalves Goneril’s limit; Goneril halves itagain. Lear, watching his value diminish,insists that the loss is too great. Why, thedaughters ask, should he need even onefollower when theirs can serve him: “O,reason not the need!” he entreats. “Ourbasest beggars / Are in the poorest thingssuperfluous. / Allow not nature more thannature needs, / Man’s life is cheap as beast’s”(2.4.264–67). He breaks off, imploringheaven for patience and seeking the storm.On the heath as his rage subsides, Learacknowledges that he too has ebbed: “HereI stand your slave,” he tells the elements, “Apoor, infirm, weak, and despis’d old man”(3.2.19–20). His first signs of humanity beginto emerge. At first, he loves the external stormbecause it mutes his inner turmoil: “Pritheego in thyself,” he tells Kent, who leads him toshelter; “seek thine own ease. / This tempestwill not give me leave to ponder / On thingswould hurt me more” (3.4.23–25).Then he prays, for the first time prayingfor others: “Poor naked wretches, wheresoe’eryou are, / That bide the pelting of this pitilessstorm, / How shall your houseless heads andunfed sides, / Your [loop’d] and window’draggedness, defend you / From seasons suchas these?” He acknowledges his own faultand its cure: “O, I have ta’en / Too little careof this! Take physic, pomp, / Expose thyselfto feel what wretches feel, / That thou maystshake the superflux to them, / And show theheavens more just” (3.4.2836).At this level of despair, Lear sees thatPoor Tom, one of the “poor naked wretches”for whom he has just prayed, has even less:“Thou ow’st the worm no silk, the beast nohide, the sheep no wool, the cat no perfume. . . Thou art the thing itself: unaccommodatedAS YOULIKE IT!At Wendy’s the decision is yours. You’ll find atempting variety of hot-off-the-grillhamburgers and chicken sandwiches, fresh crispsalads, hot baked potatoes, and tasty chili.® ®LIN’S MARKETOpen Monday-Saturday, 10:00am to 10:00pm, Sundays, 10:30am to 10:00pm.Drive-through open until midnight.EXITEXIT#59#59I-15I-15200 N.200 N.WENDY'SWENDY'S300 W.300 W.UTAHSHAKESPEAREANUTAHSHAKESPEAREANFESTIVALFESTIVALN1250 W. 200 N.Cedar City, UtahNWEST STATE STREETEXITEXIT#112#112 WENDY’SWENDY'SWENDY'SI-15I-151150 WESTMAIN ST.MAIN ST.GRAND CIRCLE PLAZAN N N1149 W. StateHurricane, Utah18 • Midsummer Magazine 2007

man is no more but such a poor, bare, fork’danimal as thou art. Off, off, you lendings!Come, unbutton here. [Tearing off hisclothes]” (3.4.103–109). Lear gains humanityas the superfluities fall away.Edgar, too, grapples with degradationas he escapes with his forlorn life. Hestruggles to find strength: “Yet better thus,and known to be contemn’d / Than stillcondemn’d and flatter’d. To be worst, / Thelowest and most dejected thing of fortune, /Stands still in esperance, lives not in fear. /The lamentable change is from the best, /The worst returns to laughter” (4.1. 1–6).Then he sees his blinded father, Gloucester,and laments, “Who is’t can say, ‘I am atthe worst’? . . . The worst is not / So longas we can say, ‘This is the worst’” (4.1.25,27–28). Gloucester responds to the OldMan’s description of “Poor mad Tom” with,“I’ th’ last night’s storm I such a fellow saw,/ Which made me think a man a worm. Myson / Came then into my mind” (4.1.32–34).King Lear was “at the worst,” then Edgar.Seeing Poor Tom softened Lear. NowGloucester’s despair inspires hope in Edgarthat he can ease his father’s pain despite hiscertainty that Gloucester hates him. Edgarleads the way toward Dover.Nearly there, Gloucester hears thevoice of flower-adorned, mad Lear saying,“They flatter’d me . . . To say ‘ay’ and ‘no’to every thing that I said . . . ; they told meI was every thing. ’Tis a lie, I am not agueproof.”Gloucester asks, “Is’t not the King?”“Ay, every inch a king!” Lear proclaims,and Gloucester cries, “O, let me kiss thathand!” “Let me wipe it first,” says theKing; “it smells of mortality.” Lear revealshimself as human being and friend, even ashe reiterates his kingship. His subsequentmeeting with Cordelia, blessing on her, andgrief for her redeem him as a father.Lear’s journey, accompanied andpunctuated by Kent, Edgar and Gloucester,has taken him the long way around tocomprehend his essence as mortal, friend,and father. The deaths of Lear, Gloucester,and Cordelia, as disappointing as theywere to the great Dr. Johnson, do notdiminish the redemptive power of theirmeetings and revelations. In the end, thehorrible humiliations and torture they haveundergone through their own and others’imperfections bring them to their ownhumanity.Lear’s journey . . . has takenhim the long way around tocomprehend his essence.Take a Bit ofShakespeareHome This Year!Festival Shirts & GiftsSouvenir ProgramsStudy AidesBooksNotecardsPostcardsThe Festival Gift ShoppeOn the Festival ComplexOpen 10 a.m. to 10 p.m.586-1975 or 586-7995For ShakespeareanItems All Year Long,See Our Website:www.bookstore.suu.edu555 W. Center StreetCedar City, UT 84720Off Exit 57 in the Wal-Mart Shopping Center1322 Providence Center Drive, #100 • Cedar City, UT 84720435-586-8805Need a place to relax and enjoya great cup of Java or an Espresso drink?Smoothies • Iced Coffees • Italian SodasSoups Made DailyDelicious Sandwiches and Wraps Made to OrderCakes • Cookies • Muffins • Pastries • SconesBring in your laptop for wireless accessor use one of our Internet stations available for patrons.Buy One Get One Free of Equal or Less ValueAny Specialty Beverage or SandwichLimit one coupon per person per visitCoupon Expires 10/31/07Midsummer Magazine 2007 • 19

June 25–September 1Randall L. Jones TheatreTheMatchmaker:Live aLittle!By Elaine PilkingtonIN 1938 THORNTON WILDERwrote the critically acclaimed PulitzerPrize-winning play Our Town. Laterthat year Wilder’s The Merchant of Yonkerspremiered. It was based on the 1842Austrian comedy Einem Jux will es sichMachen which had been based on A DayWell Spent, an English original from 1835.Unfortunately, The Merchant of Yonkers wasnot a popular or critical success, despiteWilder’s collaboration with director andproducer Max Reinhart.Always attached to the story, Wilderrevised the play as The Matchmaker. Thistime the play was well received at theEdinburgh Festival in Scotland and theTheatre Royal in London before opening inNew York on August 12, 1955, and runningfor 486 performances. A film versionA. Bryan Humphrey (left) as Harry Binion and BrianVaughn as Gordon Miller in Room Service, 2006

starring Shirley Booth, Anthony Perkins,and Shirley MacLaine appeared in 1958, butperhaps the story’s most memorable incarnationwas the Broadway musical Hello, Dolly!It opened in 1964 with Carol Channingplaying Dolly Levi, ran for 2844 performances,and won ten Tony Awards.What might explain the longevity ofthis story? What would appeal to Londonersof the 1830s, Austrians in the 1840s, andAmericans from the 1950s to the twentyfirstcentury? Several things. First, the charactersof The Matchmaker follow a literarytradition that stretches back through Frenchfarce, commedia dell’ arte, and Roman newcomedy. They are stock characters whosefamiliarity immediately makes a theatreaudience feel comfortable. In the play awealthy, cranky, older man attempts to preventthe marriage of a pair of young lovers.Horace Vandergelder, a successful merchant,adamantly opposes the marriage of his nieceErmengard to Ambrose Kemper becauseAmbrose is an artist and Uncle Horacebelieves that Ambrose cannot adequatelysupport his niece. “A living is made . . . byselling something that everybody needs atleast once a year. . . . And a million is madeby producing something everybody needsevery day. You artists produce somethingthat nobody needs at any time” (ThorntonWilder, 3 Plays [New York: PerennialClassics, 1957], 257).Though the young lovers could easilyelope, Ermengard is sufficiently conventionalto resist the plan, and other measures mustbe used to ensure the couple’s marriage.Matchmaker Dolly Levi, a character inspiredby Frosine in Plautus’s The Miser, decidesto help Ambrose and Ermengard (AmyBoratko, “The Matchmaker, Its Versions andIts History,” The Thornton Wilder Society,www.tcnj.edu/~wilder/work/index.html).Add to the mix two servants/clerks, onetricky and one less so, and the most importantcharacters of farce are in place.Other farcical elements rapidly shift thecharacters from one adventure to another,making the play just plain fun. Like anygood farce, the plot moves so quickly thatthe audience has no time to question thecomic absurdities but must be swept awayin the energy of the action. To justify closingVandergelder’s store for a one-day holiday inNew York City, Cornelius and Barnaby, histwo clerks, explode some of the bulging cansof tomatoes by holding a candle to them.Once in New York, they inexplicably endup in the same street as their boss and mustquickly hide in a milliner’s shop. WhenVandergelder enters the shop, they concealthemselves wherever they can, attemptingto remain hidden despite an errant sneezeor two. Later they pay for an expensive dinnerwith money from Vandergelder’s wallet,dance within inches of him, and thenescape by disguising themselves in women’shats and coats. These farcical elements givethe play wonderful moments of misrule,the lowly clerks besting their overbearingemployer at every turn.But The Matchmaker is not merelyfarce. It is also romantic comedy. Of course,Ambrose and Ermengarde are the thwartedyoung lovers, but there are other romanticcomplications as well. Uncle Horace,though obstructing Ermengarde’s marriage,is himself looking for a wife. Widow IreneMolloy is thinking about marrying Horace,and Cornelius and Barnaby have vowed notto go back to Yonkers until they have kisseda girl. Of course, getting married and kissinggirls are not without their risks. In fact, gettingmarried can be downright foolish.Horace Vandergelder is well aware ofthis. In the past, he was “young, which wasfoolish . . . fell in love, which was foolish . . .REALT Y CENTERTop Producing Officein Iron CountyCall or visit your local ERA agents259 W. 200 North • Cedar City435-586-2777800-819-2771www.cedarcityERA.comWe have over 45 agents to serveYOUR Real Estate Needs!If all the world's a stage, you need to dress the part.We can help you!Men's and Women's Fashion from Head to Toe74 North Main Street, Cedar City • 586-6161Midsummer Magazine 2007 • 21

Share the Experiencethe Design,the Imagination,the Rehearsals,the Direction,the Construction,the Opening!Our members enable the Festival to create a one-of-a-kindtheatre experience. Won’t you join the hundreds of memberswho have already made their commitment? Stop bythe office, call 435-586-7880, or go online to www.bard. org.Share the experience by becoming a memberor renewing your membership today!Gifts of $50 or more allow you to purchase ticketstwo weeks before public sales!and got married, which was foolish” (Wilder269). His wife foolishly died. Having spentthe majority of his years sensibly acquiringmoney, Vandergelder is now ready to marryagain, in part because he needs a goodhousekeeper and women do a better jobof running a house if they have the feelingthat they own it. But that is only one reasonto marry. Vandergelder freely admits that“There’s nothing like mixing with womento bring out all the foolishness in a man ofsense. . . . I’ve just turned sixty, and I’ve justlaid side by side the last dollar of my firsthalf million. So if I should lose my head alittle, I still have enough money to buy itback. After many years’ caution and hardwork, I have a right to a little risk. . . . Yes,like all you other fools, I’m willing to risk alittle security for a certain amount of adventure”(Wilder 270).His intended bride, the widow IreneMolloy, wants a certain amount of adventuretoo. Fearful that any social life wouldbe bad for business, she has not gone torestaurants, balls, the theatre, or operas.Though she does not love Horace, she hasdecided to marry him (if he asks) so thatshe can get away from her hated millinerybusiness. But, just like Horace, practicalityis not the only reason for her. She will marryHorace because he seems that he wouldmake a good fighter, and “the best part ofmarried life is the fights. The rest is merelyso-so” (Wilder 301).Dolly, on the other hand, wants tomarry Horace for his money. Not becauseshe loves money but because money canbuy the “four or five human pleasures thatare our right in the world” (Wilder 409).She intends to send Vandergelder’s moneyout doing all the things her first husbandtaught her, to rejoin the human race insteadof retiring into herself with her cat and herevening rum toddy, “thanking God that .. . [she is] independent—that no one else’slife [is] mixed up with . . . . [hers]” (Wilder408). For Dolly, “money . . . is like manure;it’s not worth a thing unless it’s spread aboutencouraging young things to grow” (Wilder409).Appropriately, Dolly instructs Barnaby,the youngest person in the play, to tell theaudience the moral of the play. Barnabybelieves “it’s about adventure . . . . [andhopes] that in your lives you have just theright amount of—adventure!” (Wilder 415).Or as Thornton Wilder wrote, “My play isabout the aspirations of the young (and notonly of the young) for a fuller, freer participationin life” (Wilder xiii).22 • Midsummer Magazine 2007

June 26–August 30Randall L. Jones TheatreCandida:A CenturyOld, but StillCurrentBy Claudia HarrisAT THE BEGINNING OFCandida, George Bernard Shaw(1856–1950) has ProserpineGarnett exclaim, “Candida here, andCandida there, and Candida everywhere! It’senough to drive anyone out of their sensesto hear a perfectly commonplace womanraved about in that absurd manner merelybecause she’s got good hair, and a tolerablefigure” (Four Plays by Bernard Shaw [NewYork: Washington Square Press, 1965] 89).With those frustrated words from the plain,unmarried secretary of Candida’s husband,Shaw underscores the central focus of theplay. Certainly, none of the men thinkShaw’s title character is commonplace;for her husband, father, and two youthfuladmirers, she lives up to the name Candida,a name no doubt derived from candidus,Joe Cronin (left) as Theodore Swanson andAnne Newhall as Aaronetta Gibbs inMorning’s at Seven, 2004

Shaw claims in Candida tohave turned Ibsen’s A Doll’sHouse upside down byshowing the doll in the houseto be a man.candida, Latin for clear white like a sparklingcrystal.Candida is an early Shaw play, hisfourth of more than sixty. Self-taught inthe British Museum reading room, Shawcontinued to write even in his ninety-fourthyear when he died after falling from a treehe was pruning. In addition to the plays andtheir extended prefaces, this man of letterswrote five novels, several volumes of musicand theatre criticism, numerous politicaltreatises, and at least 250,000 letters.Written in 1894, Candida was firstperformed in 1895 by the Stage Society, aprivate London theatre club. The play wasfirst published in Plays Pleasant (1898); inthe preface to that volume, Shaw claimshe “purposely contrived” Candida to beinexpensive so managers might “experimentwith half a dozen afternoon performances”(The Complete Prefaces I [London: PenguinPress, 1993] 43]. Even the confident Shawmight be surprised; with its small cast andsingle setting, the play has been producedthousands of times throughout the world.The first Broadway production was in1903, followed by fourteen others with thelast in 1993. Candida was performed duringthe opening season of Canada’s ShawFestival in 1962. When Shaw died, theatrelights in New York and London weredimmed in tribute.Shaw subtitled the play A Mystery,meaning both mysterious as well as amystery play about the Madonna. In a letterto Ellen Terry, Shaw declares Candida“the Virgin Mother and nobody else” andthat he has written “THE Mother Play”(Collected Letters I [New York: Dodd ,Mead, 1965] 641). His Candida plays themother well, not just to her off-stage childrenbut also to her husband the ReverendJames Morell, to her businessman fatherBurgess, as well as to the curate Lexy Milland the poet Eugene Marchbanks. Theymay think they are in love with her beauty—Lexy:“I think her extremely beautiful,Miss Garnett. Extremely, beautiful. Howfine her eyes are!” (89)—but it is the maternalcare she gives them that exalts her to thepedestal Shaw has prepared.Candida is the embodiment of Shaw’sbiological Life Force. Home is the centerof her universe, but she does not havethe same queenly power outside. J. EllenGainor defines Shaw’s term “as an inescapableforce in nature that draws men andwomen together for procreation. In Shaw’swork, this force is most often acted uponby women” (Shaw’s Daughters [Ann Arbor:University of Michigan Press, 1991] 247).Shaw’s public Life Force is embodied inMorell, the Christian socialist reformer whotires himself in speaking for the bettermentof all. Michael Holroyd explains that “ForShaw the world consisted of a Life Forceonly slightly differentiated into individualhuman beings. A sermon could directlyactivate the universal energy in everyone”(The Genius of Shaw [New York: Holt,Rinehart and Winston, 1979] 126). Shawoften used the idea of the Life Force as ametaphor for his own creative energy.Shaw claims in Candida to haveturned Ibsen’s A Doll’s House upside downby showing the doll in the house to be aman. As Candida says about Morell, herEl Rey Inn& Suites80 South Main800-688-6518 • 435-586-6518www.bwelrey.comExperience a TradLuxury Suites • Deluxe Poolside RoomsIn-Room Micro/Fridges • Fitness CenterElevator • Free Breakfast • Pool & SpaComplimentary Airport Shuttle • Free High-Speed InternetIn Cedar Chotels, offerinhospitalityworld seClosest Accomto the F(Just a 5-Mi24 • Midsummer Magazine 2007

“boy,” “When there is money to give, hegives it; when there is money to refuse, Irefuse it. I build a castle of comfort andindulgence and love for him, and standsentinel always to keep little vulgar caresout. I make him master here, though hedoes not know it.” In response, Morellkneels at her chair: “It’s all true, everyword. What I am you have made me withthe labor of your hands and the love ofyour heart! You are my wife, my mother,my sisters: you are the sum of all lovingcare to me” (144).Morell may appear weak and evenrefers to himself as a “fool” to Burgess,but he is nonetheless a caring clergymanand loving husband. Besides Morell andCandida, the play displays a spectrum ofBritish social classes—a member of thepeerage (Eugene), a capitalist (Burgess),a worker (Proserpine and perhaps Lexyas well). These characters allow Shaw toexplore in this discussion play a range ofclass issues within a rather confined space.All the action takes place in Morell’s studywithin his home, the home Candida rules.Candida’s mothering extends to theyoung nobleman Eugene, a poet rescued bythe Morells because he is incapable of caringfor himself. Eugene displays almost anoedipal attachment to Candida. His ability“to live without happiness” finally exposes“the secret of the poet’s heart” (144–45).The “secret” Eugene holds in his heart,according to Shaw, is that “domestic life isnot a poet’s destiny” (Sixteen Self Sketches,in Standard Edition of the Works [London:Constable, 1949] 101). Shaw may havebeen speaking of himself here because heoften referred to himself as a dramaticpoet.According to Holroyd, the play’spopularity depends on a “sentimentalmisunderstanding.” He believes that Shawemphasizes the mystery thus concealing the“odiousness of Candida” and the “revulsionfrom domestic ideals” (167) that Eugeneshows at the play’s end. To underscore hispoint, Holroyd quotes the notes Shawmade when writing The Intelligent Woman’sGuide to Socialism and Capitalism (1912):“A slave state is always ruled by those whocan get round the masters. The slaveryof women means the tyranny of women.No fascinating woman ever wants toemancipate her sex; her object is to gatherpower into the hands of Man because sheknows she can govern him. A cunning andattractive woman disguises her strength aswomanly timidity, her unscrupulousnessas womanly innocence, her impunities aswomanly defencelessness [sic]: simple menare duped by them” (168).Despite this take on the play, Candidaremains an appealing character. Like thefeminist Shaw claimed to be, he grantsCandida, in the final discussion scene, theright to make her own choice (Gainor,27). Shaw peoples his plays with pleasant,recognizable characters who do unpleasantthings, and that contradiction createsthe drama and the comedy. Through thelaughter, individuals come to recognize thecontradiction.Candida, written more than a centuryago, still seems uncomfortably current: howmany women are admired solely for theirmaternal or physical attributes, and howmany men are infantilized by manipulativewomen? Shaw’s sexual politics continuesto speak to audiences far removed from hisown. Although the irony underlying theplay may have shifted subtly, the overallmessage of the play is still relevant.ition of Excellenceity's finestg old worldwith newrvices.modationsestivalnute Stroll)100% Non-Smoking Property • Poolside RoomsFree Breakfast • Outdoor Pool & Spa • Free High-Speed InternetIn-Room Micro/Fridges • Free Airport ShuttleComplimentary Passes to Gold’s Gym • Guest Laundry18 South Main435-586-2433877-688-8884www.stratfordcourthotel.comMidsummer Magazine 2007 • 25

June 27–September 1Randall L. Jones TheatreLend Me aTenor: TheMusical—A ModernClassicBy Lawrence HenleyTHE JOB OF PRODUCINGdirector, whether for a theatretroupe, symphony, ballet, or operacompany, isn’t necessarily what it’s crackedup to be. When lay persons think of showbusiness and the highest performing artforms, what are their first impressions? Ah,yes—of course it’s the glamour, prestige, andthe glory! The limousines, soirees, and lavishpremieres! Fancy luxury homes completewith swimming pools shaped like treble clefsand masks of comedy and tragedy. Rubbingelbows with fascinating artists and celebrities.Yes, certainly that’s the sweet, succulent lifeof the typical producing director—well isn’tit? Hmm. Not exactly.The world of performing arts managementis every bit as complicated and stressfulfor the guys and gals in charge asany high visibility profession, perhaps moreso. “Really,” you would say? Exactly what arethe pitfalls common to this career? For starters,many performing arts (especially theatre,ballet and opera) are known as “the collaborativearts.” This being the case, it standsto reason that problems in dealing with artistsand support staff one collaborates withwould be a good place to begin looking forVictoria Adams-Zischke (left) as Little Buttercup andMark Light-Orr as Captain Corcoran inH.M.S. Pinafore, 2006

complications. An initial sampling of thesehassles might include union and other laborproblems involving stagehands, designers,musicians, dressers, etc. Other wackycharacters could be ersatz board members,demanding donors, and testy patrons.Still, most of that tedium and hasslepales in comparison to the Numero Unoscourge of the entertainment producer: dealingwith the big ego dons and divas of thebusiness who believe the world (and everyoneand thing in it) is their plaything. Ruleswere meant to be broken, right? Many a starperformer exemplifies this cliché, which wasseemingly invented to justify their behavior.In some cases, producers grapple with starsthat also have a penchant for good wine,extramarital romances, and prescriptionsubstances (such as barbiturates). With thatrevelation, welcome to the world of Lend Mea Tenor: The Musical’s Henry Saunders.Poised at the brink of the biggest grossingnight in the history of the ClevelandOpera, Mr. Saunders believes that he’s aboutto open his doors for a final dress rehearsalwhich will welcome to his stage the greatestoperatic tenor on the planet. Instead,he opens up a sarcophagus full of troubleand confusion which, at one point in theproceedings, appears to be a double funeral:a real one for the tenor, and a figurative onefor Henry’s career as a producer.Lend Me a Tenor: The Musical fieldsa solid creative team, beginning with KenLudwig, the author of the original stageplay upon which the musical is based.Lend Me a Tenor debuted at Broadway’sRoyale Theatre in 1989, garnering a pairof Tony Awards. Since its initial New Yorkrun of 476 performances, the show hasbeen produced non-stop nationally andinternationally. Fortunately for audiencesat the Utah Shakespearean Festival, it hasnow inspired the musical adaptation whichwill debut at the Festival in the summer of2007. Lend Me a Tenor: The Musical is thebrainchild of inveterate Utah ShakespeareanFestival Director Brad Carroll (Man of LaMancha, Spitfire Grill, Christmas Carol: Onthe Air) and actor/playwright/screenwriterand Southern Utah University theatre professorPeter Sham, a favorite actor at theFestival (My Fair Lady, 1776, Camelot, AsYou Like It).Stripped of the new musical score andbook, Ken Ludwig’s Lend Me a Tenor isalready a modern comedy classic worthy ofcomparison to the wildest French and Italianfarces and the best zany domestic comediesof George S. Kaufman and Moss Hart, theMarx Brothers, or Mel Brooks. The play isas funny a pre-WWII showbiz/hotel roomcaper as you are likely to see. The prospectsfor transforming Lend Me a Tenor into acan’t-miss musical evening of “who’s-behindthat-next-door”hilarity were obvious. All ofthe classic character ingredients for a greatmusical comedy are present: Saunders, thedesperate impresario who stands either togain national prominence and a cool fiftygrand, or lose face and a ton of dough; Max,the deserving and honest romantic—a buddingyoung singer waiting in the wings;Maggie, Henry’s daughter and the appleof Max’s eye; Diana, the resident diva whohas “been around the block” a time or two(at least); Tito Merelli, an international starof song to rival the great Caruso (who alsohas a world-class taste for good wine andbeautiful women); Merelli’s (justifiably)jealous wife, Maria; Rupp, the wily bell hop/understudy and would-be composer; and agaggle of star struck guild ladies out to meetMerelli, no matter the obstacles.The humor of desperation is a key elementto this extreme form of stage comedy.On this September Saturday in 1934, justabout everybody in the Cleveland Operahas something on the line. Saunders haspulled out all of the fiscal stops for the galabenefit performance, the American debut ofthe world-renowned “Il Stupendo” (a.k.a.Morelli). Even the President and valued supporterssuch as the Vanderbilts are expectedin the house! Any sort of disaster couldresult in mega-refunds and a catastrophicloss of reputation and support. The voluptuousDiana is looking for her chance to getout of Cleveland and is willing to do anythingfor Morelli in exchange for it. Max isfearful of losing Maggie to the charms of thesemi-lecherous Il Stupendo. Rupp wants thegreat idol to hear his new opera score, hopingfor his big break.At great expense, the stage has been lavishlyset for Verdi’s Otello. A huge contingentof singers, musicians, and support staff are allin place for the biggest musical event in thehistory of Cleveland. Everything is in readiness—exceptfor the star attraction. He hasn’tshown up yet! There’s no real need to go anyfurther into the show’s plot, but rest assured,a grand opera house full of hilarity ensues.The appropriateness of introducingshow tunes to a plot surrounding the operais obvious, and many non-musical comedieshave been adapted successfully to this format:A Funny Thing Happened on the Way tothe Forum, The Producers, My Fair Lady, KissMe Kate, plus lots of others. The addition ofa musical score and book to an already amazingshow should do nothing but augmentits popularity. Prediction: This show and itssongs are definitely bound for “hitsville!”Such Stuffas Dreamsare Made of.—The TempestServing allof SouthernUtah!• Residential• Cabins• Acreage• CommercialCedar City Office227 S. Main Street866-586-9402John Skougaard,Principle BrokerDuck Creek Office72 Movie Ranch Road866-682-2049Dave Skougaard,Branch BrokerMidsummer Magazine 2007 • 27

September 15–October 27Randall L. Jones TheatreTheMousetrap:Delightful,Engaging,EntertainingBy Kelli AllredAGATHA CHRISTIE’S THEMousetrap has kept audiencesguessing for five decades. Nowin its fifty-fifth incredible year, this worldrecord-breaking production continues toattract audiences to the St. Martin’s Theatrefrom every corner of the globe. The UtahShakespearean Festival is thrilled to presentThe Mousetrap during its 2007 season. Formost audience members, this will be theirfirst time to experience a theatrical piece byAgatha Christie.Agatha Mary Clarissa Miller ChristieMallowan (1890–1976) became one of thebest-selling writers of all time. She enjoyeda pleasant childhood, which included homeschooling by tutors. Throughout her formativeyears, she learned to play the piano, readvoraciously, dance, sing, and speak Germanand French. With such a wealthof performance skills, it’s a marvel AgathaChristie was not the one on the stage.However, her natural tendency was towardshyness, and eventually she found her educationmost useful as a writer.Shortly after she turned eleven, herfather died and her mother’s health beganto deteriorate. The family rented out itsLeslie Brott (left) as Martha and Laurie Birminghamas Abby in Arsenic and Old Lace, 2001

English manor and used the proceeds totravel to Cairo, Egypt, where her motherwas able to recover in the warm, dry climate.Throughout her life, Agatha Christieshunned the spotlight. She kept from thepublic her struggles with depression andisolation.After returning to England, Agatha metand married R.A.F. Lieutenant ArchibaldChristie in 1914. They had one child together,but later divorced. In 1930 she marriedarchaeologist Max Mallowan, who wouldremain with her until her death in 1976(http://flfl.essortment.com/agathachristie_rlxk.htm).Agatha wrote her first and second novelsin the early 1920s. From that time on, shewould never want for money. Her vast bodyof written works was to provide her with asteady and ample income for the rest of herlife. Her grandson, Mathew Prichard, inheritedall royalties from The Mousetrap.A new literary genre—mystery fiction—originated in England during the late 1700sbut did not become widely accepted untilthe first great group of American writersemerged in the 1830s. Many of them wrotemysteries, as well as science fiction, adventurestories, sea stories, and realistic novels. Theearliest mysteries—still much read today—were written by Edgar Allan Poe, HermanMelville, Mark Twain, and Jules Verne.By the 1860s, British authors hadbegun writing sensational novels, such as TheWoman in White (Wilkie Collins). Thesewere followed by fairly realistic crime storiesabout the police who hunted criminals.Sensational novels were the forerunners ofthe detective fiction, in which policemenoften made clever deductions based onphysical evidence at crime scenes. By thelate 1800s a new writer of mystery storiesemerged: Sir Arthur Conan Doyle. Doylecreated Sherlock Holmes, the great detective,and starred him in a series of short stories.Doyle’s puzzle-plot stories ushered inthe intuitionist writers of the early twentiethcentury. The period from 1920 to 1945 isknown as the Golden Age of mystery fiction,when the intuitionists wrote of detectiveswho solved mysteries through pure thinking.Their mystery plots tended to be extremelyclever puzzles, with tricky, surprising solutions.Their books and plays remain entertainingreads, and they include the greatestmystery writer of all time—Dame AgathaChristie, sometimes called “The Queen ofCrime” (http://www.agathachristie.com).In a murder mystery, the playwrightutilizes various plot devices to engage viewersand to keep them guessing. Most writersface the challenge of making the plot “seemreal without appearing contrived.” (Henry,Laurie, The Fiction Dictionary [Ohio: StoryPress], p.222). Audiences might enjoy usingthe following list to ask which plot devicesAgatha Christie used in The Mousetrap:• A character notices something odd, butcan’t identify it.• The detective draws an inference fromsomething overheard or unconnected.• A significant item is hidden in plain sight.• Identities are concealed.The twist ending is another of the literarydevices used by playwrights to keepaudiences guessing until and through thelast scene. The play will end when the audience’s“desires for the characters are satisfied”(ibid). Which of the following twist endingsapply to The Mousetrap?• The murderer appears to be the victim.• The conspirators in a murder appear tohate one another.• The murders are unconnected.• The murderer is exactly who it appears.(http://en.wikipedia.org/wiki/Plot_devices_in_Agatha_Christie’s_novels.)The Mousetrap, a two-act play, couldbe considered a forerunner to today’s televisiondrama, “Crime Scene Investigation.”Christie borrows from Doyle the idea thata murder has taken place and that the murdererlingers amid a gathering of innocents.This perpetuates a game-like atmospheretainted by mystery and suspicion.In Act One the police investigatorreveals to the guests that—“a notebook waspicked up near the scene of the crime. Inthat notebook was written two addresses. . .. Below the two addresses was written ‘ThreeBlind Mice,’ and on the dead woman’s bodywas a paper with ‘This is the First’ writtenon it, and below those words, a drawing ofthree little mice and a bar of music.” Onecan already see the confluence of plot devicesused by the playwright.In the final scene, the theme song—Three Blind Mice—signals the commencementof the play’s climax: the detectiveassembles the surviving characters in themansion’s parlor with a plan to set a trap forthe suspected murderer—or murderers. Noone is above suspicion, and Trotter remindsthe surviving guests, “This isn’t a game. . .. One might almost believe that you’re allguilty by the looks of you.” A major charactercontinues the music by eerily whistlingthe tune, and warns the others of “the lastlittle mouse in the trap.”Audiences will find The Mousetrap to bedelightfully engaging and entertaining. Theplay is rich with vivid characters and plotdevices. While the setting and time periodmay seem a bit antiquated, both will serveto transport audiences to a bygone era wellworth the price of admission.Depression Glass & PotteryWestern & CountryMemorabiliaOPEN DAILY 10 A.M. - 6 P.M.SUMMER HOURS: 9 A.M. - 7 P.M.1181 South Main StreetCedar City, Utah435-586-7221Midsummer Magazine 2007 • 29

September 15–October 26Randall L. Jones Theatre‘Art’:You Won’tGo AwayIndifferentBy Olga PilkingtonWAS BORN IN PARIS.Yasmina Reza wrote the‘ART’play in 1994. In Octoberof that year, the Comedie des Champs-Elysees staged the first production of thepiece. From that point on, ‘Art’ embarkedon a journey to Berlin (1995), London(1996), Moscow (1997), Madrid (1998),and, finally, Broadway with Alan Alda asMarc (1998). Along the way, Reza’s internationalhit collected several high profileawards including the Moliere Award forBest Author and for Best CommercialProduction, the Evening Standard andLaurence Olivier Awards for Best Comedy,the Drama Critics Circle Award, and a TonyAward for Best Play in 1998. Together withthe awards and fame came criticism. Thereviewers are as divided on the subject of‘Art’ as are the three friends in Reza’s play.Serge, Marc, and Yvan argue throughoutthe whole performance. What theargument is about might seem clear atfirst—Serge bought an extortionately expensivepainting which is completely white, andhis friends are not happy about the acquisi-David Ivers (left) as Jake and Brian Vaughn as“Brother Gerard” in Stones in His Pockets, 2005

tion. However, things are not this simple.The three buddies debate the nature of art(modern and classical), but end by discoveringthe nature of friendship. At least, this isby far the most common interpretation ofReza’s comedy. Many reviewers agree that‘Art’ “is more successful in examining friendshipthan it is art” (Complete Review, http://www.complete-review.com/reviews/rezay/art.htm). Others point out that it is, in fact,a “dispute over aesthetics,” (M.V. Moorhead,“But Is It?” Phoenix New Times onlinehttp://www.phoenixnewtimes.com/1999-11-04/news/but-is-it/, November 4, 1999 ).While the critics disagree whether theplay is about art or friendship, not one ofthem doubts Reza’s talent in creating “razorsharpdialogue that never allows for a dullmoment” (Tu M. Tran, “‘Art’ thou ready forsomething different?” [The Daily Trojan,Vol. 136, No. 04, 1999], 11). The friendscasually trade such remarks as “Listen, oldfruit, we’re not talking about you, if you canimagine such a thing!” or “I can’t love theSerge who’s capable of buying that painting”(all references are to Yasmina Reza, ‘Art’[London: Faber and Faber, 1996], 37–45).No matter how sharp or funny the dialogue,how snappy or frivolous the language,this is not what the play is about. And it isnot about the white two hundred thousandfranc painting either. The true drama ofYasmina Reza’s work comes from the heartsof the three friends, who, perhaps, for thefirst time take a shot at an honest conversationwith each other. While the paintingmight take the center stage, its role is merelythat of a mirror. The Antrios is a plain whitecanvas until Serge shows it to his friends.In the same way, Marc, Serge, and Yvan areordinary old buddies until they are confrontedby the painting. As the three friendsgive way to their emotions, they (withoutquite knowing it) provide justification forSerge’s extravagance, find the root of Marc’sobjections, and discover Yvan’s sensitivenature. In other words, the painting givesthe three men a chance to take a new lookat themselves and their friendship. And inreturn, they provide a reason for such art asthe Antrios.A white painting bought for two hundredthousand francs (approximately fortythousand dollars) is sure to cause a stir. Is itworth the price? Serge’s answer to this questionis ready in a snap, “Huntingdon wouldtake it off my hands for two hundred andtwenty” (Reza, 1). Is this reason enoughto call this painting a work of art? Do wemeasure the artistic value of an object by itsprice? Or is it an audience’s approval thatmakes any piece of art worth while? Sergeis obviously convinced it is the latter. Ifnot, why would he be so disturbed by therude remarks of his friends. He adamantlydemands an explanation of Marc’s assessmentof the painting, ”What do you mean?”exclaims Serge when Marc describes theAntrios in not so kind terms. “By whosestandards is it [worthless]? You need to havesome criterion to judge it by” (Reza, 3).What bothers Serge the most is not thewords Marc chose to describe the painting,but the “Way he reacted” there was “nowarmth when he dismissed [the painting]out of hand” (Reza, 4). Serge would nothave minded criticism coming from a concernedfriend, but he can not take the “Vile,pretentious laugh” from a “Condescending,narrow-minded . . . fossilized” observer(Reza, 50). At the same time, Marc is notreally upset about the white painting, butabout being replaced with this painting:Serge: Are you saying, I replaced you withthe Antrios?Marc: Yes.Serge: . . . I replaced you with the Antrios?Marc: Yes. With the Antrios . . . and all itimplies (Reza, 51).From this point on, the play finallymakes that shift from the subject of art tothat of relationships. The audience nowrealizes that the fight is really about Serge’saffection. For whatever reason, both Marcand Yvan crave his friendship. Marc displayshis need by openly confronting Serge andthe object that threatens their friendship,“You’ve found a new family. Your penchantfor idolatry has unearthed new objects ofworship” (Reza, 53). Yvan takes a differentapproach. He thinks that by approving ofthe painting he can become closer to Serge:Serge: It’s a seventies Antrios . . .Yvan: Yes, Yes. Expensive?Serge: In absolute terms, yes. In fact, no. Youlike it?Yvan: Oh, yes, yes, yes.Serge: Plain.Yvan: Plain, yes. . . . Yes. . . . And at thesame time . . .Serge: Magnetic.Yvan: Mm . . . yes . . . (Reza, 13).To the disappointment of both Marcand Yvan, people cannot be scared orabused into a friendship; neither can theygenuinely appreciate a friend who neverdisagrees. Fortunately, by the time thecurtain falls, the three fellows seem to haveremembered they were in a comedy andbrought their relationship back to life withthe help of a good laugh, some “nibbles,”and “one of [Yvan’s] famous felt-tips” (Reza,59–60). Yasmina Reza’s ‘Art’ is sure to sparkcontroversy, and no audience member will goaway indifferent to its issues. After all, thereis an art critic and a friend in each one of us.AMPHITHEATRE • NEAR ST. GEORGELet our mountainsspeak to you…then sing for you…then dance for you.The magic eruptsat sundown.Rodgers & Hammerstein’sCINDERELLAMY FAIR LADY42ND STREETplus Little Shop of Horrorsin the Indoor Hafen TheatreProfessionaloutdoor theatreat the base of1500-foot redrock cliffs!Ask aboutour deliciousPre-Showdinners!1-800-746-9882www.tuacahn.orgTMMidsummer Magazine 2007 • 31

Explore our galleries.Discover unique gifts. Have lunch or a latté.Take an art class.RED MOUNTAINKAYENTAIVINSKayenta PkwyHwy 91Pioneer PkwySnow Canyon PkwyNORTHJourney Intothe UnexpectedNORTHSANTA CLARASunset Blvd.ST. GEORGEClose to St. George ~Far From OrdinaryGETTING THERE:Kayenta is 7 miles west of St. George -take Sunset Blvd through Santa Clara and continue on Old Hwy 91.Turn right on Kayenta Parkway and drive one mile.Bluff St.St. GeorgeBlvd.I-15BLUE RAVEN STUDIOCOYOTE HUNGRY CAFÉDATURA GALLERYEARTH & LIGHT GALLERYJUNIPER SKY FINE ART GALLERYROYDEN CARD FINE ARTXETAVA GARDENSZIA POTTERY STUDIODESERT COMMUNITYO P E N D A I L Y(435) 688-8535 coyotegulchartvillage.com

September 14–October 27Randall L. Jones TheatreTheTempest:Probing OurImaginationsBy Stephanie ChidesterIN HEROIC LEGEND, JASON“sowed the serpent’s teeth behind theplough,” and soldiers grew from thefertile soil (Ovid, The Metamorphoses, Trans.Horace Gregory [New York: Mentor, 1958],191). Like Jason, Shakespeare sows wordsin our imaginations, and from that fecundground springs a world of creatures—villains,lovers, soldiers, sots, spirits, hobgoblins,shepherds, and kings. He takes us toa reality beyond the surface of imperfectplayers: in the mind’s eye, Cleopatra isimpossibly beautiful, even when played bya boy actor, and the battlefields of Franceand Henry V’s vast army come to gloriouslife in our minds, though the small stage ispeopled with only a few dozen actors. InShakespeare’s hands, the theatre becomes aproving ground where he probes the limitsof our imaginations and where his creaturesexplore the boundaries of human nature.In no play is this more true than TheTempest; Shakespeare seems to ask each ofus just how far our imaginations can takeus. The play opens with a violent sea storm,where a ship is tossed on mountainouswaves and beset by St. Elmo’s fire. We areasked to envision Caliban, a man describedby Prospero as “a freckled whelp, hagborn”(1.2.283), and by others as “a strange fish,”a “mooncalf,” and a “monster” (2.2.28, 116,154; all references to line numbers are fromElijah Alexander (left) as Bassanio and Sara KathrynBakker as Portia in The Merchant of Venice, 2006

The Complete Signet Classic Shakespeare, Ed.Sylvan Barnet [New York: Harcourt BraceJovanovich, 1972]). Much more difficultto conjure in our minds is Ariel, a spirit offire and air who transforms his shape at will,who is invisible to everyone but Prospero,and who is played by a too, too solid actor.Shakespeare also invites us to hear“sounds and sweet airs that give delight andhurt not. / . . . a thousand twangling instruments. . . [humming] about [our] ears”(3.2.141–42), to see a magically vanishingbanquet served by spirits “of monstrousshape, yet . . . gentle” (3.3.31–32), who dissolveinto thin air. The masque performedfor Ferdinand and Miranda—“a most majesticvision” (4.1.118) featuring goddessesJuno, Ceres, and Iris—also begs assistancefrom our imaginations.Critics might also argue that theaudience’s vision is put to the test duringthe expository passages in which Prosperoexplains to Miranda all that occurred beforethey were cast adrift on the ocean. To fullyappreciate the events that will unfold laterin the play, both Miranda and the audienceneed to understand this story. Here,Shakespeare chooses to tell rather than toshow, requiring us to listen and to imagine,but Miranda struggles with this request, asdo many audience members. Prospero stopsseveral times to recall Miranda’s (and our)attention to his tale, demanding, “Dost thouattend me?” (1.2.78), “Thou attend’st not?”(1.2.87) and “Dost thou hear?” (1.2.106).Just as Shakespeare queries the audience’spowers of imagination, Prosperotests the capacity and quality of the othercharacters’ minds. Prospero knows (as doesShakespeare) that what lies hidden in theimagination can take real shape and canspill over into words and deeds. AlthoughProspero already knows the souls he studies,he sets out to reveal the intents hidden ineach heart; he creates situations in which hissubjects dream of power, and he watches tosee where their imaginations will lead them.Miranda is the first to tell her father justwhat she would do with authority, if she hadit. After witnessing the violent shipwreck,she runs to her father—who does havepower to calm the seas—and chastises him:“Had I been any god of power, I would /Have sunk the sea within the earth or ere / Itshould the good ship so have swallowed and/ The fraughting souls within her” (1.2.10–13). Gonzalo, who is similarly compassionate,describes at length what he would do ifhe were king of the island. Although his utopianfancies are sometimes self-contradictoryand even ridiculous, they reveal a tender soulwho dreams of a world where happiness,kindness, and innocence prevail.If Gonzalo’s mind is filled with visionsof paradise, Antonio’s and Sebastian’s areovergrown with “nettle seed” and “docks”and “mallows” (2.1.149). When Ariel putstheir companions to sleep, Antonio’s darkMAIN STREET GRILL6 a.m. – 2 p.m., Seven Days a WeekBreakfast anytime • Lunch after 11 a.m.155 North Main Street • 586-838934 • Midsummer Magazine 2007Our Only Rule in the Kitchen:Throw away the can opener, use fresh products,measure everything, and stay out of the cook’s way!dreams surface—clearly not new-minted,but old and cherished—and like a contagion,those dreams infect Sebastian, whoseimagination already teems with ambition.Eager to transform fantasy into reality,their daggers are drawn, ready to murderking and councilor, when Ariel intervenes.Just as certainly as Prospero knowshis daughter’s heart, he knows Caliban’s.“This thing of darkness” (5.1.275) dreamsof freedom from slavery—not an unworthyambition—but also from moral restraint.He envisions the rape of Miranda as well asthe gruesome murder of Prospero: “Thoumayest knock a nail in his head . . . or witha log / Batter his skull, or paunch himwith a stake, / Or cut his wezand with thyknife” (3.2.65,93–95). Caliban’s foolishimagination also misleads him into seeingStephano as “a brave god” and the “Man i’th’ Moon” (2.2.122,144).Ariel—Caliban’s opposite—seemsalmost limitless in thought and action. Theairy spirit “flames amazement” (1.2.198),“tread[s] the ooze / Of the salt deep,” and“run[s] upon the sharp wind of the North”(1.2.252–54). But even Ariel’s imaginationis expanded as he observes human behavior.As he witnesses the courtship of Ferdinandand Miranda, he becomes curious aboutProspero’s emotions (“Do you love me,master? No?” [4.1.48]), and he is moved tocompassion by the suffering of Gonzalo andProspero’s enemies: “If you now beheld them,your affections / Would become tender. . . .Mine would, sir, were I human” (5.1.18–20).The play draws to a close as Prosperogives Caliban and Ariel their freedom andstrews forgiveness like confetti. But much ofthe happy conclusion is reserved for a futuretime; the Neapolitans have yet to board theship which will take them home; Ferdinandand Miranda have yet to wed; and Prosperohas yet to “retire to [his] Milan” (5.1.311).In the Epilogue, Prospero addresses the audience,explaining that without our aid, everythingmust remain in this unfinished state.Prospero tells us, “Now, ’tis true, / I must behere confined by you, / Or sent to Naples.Let me not, / . . . dwell / In this bare islandby your spell” (Epilogue.3–8). The audience,not Ariel and his fellow spirits, must breatheair into the ship’s sails, and our hands mustfree Prospero from his island prison (9-12).We are reminded that Prospero existsnot merely as an actor on a stage, but also asa character in our hearts and minds, wherewe exert an influence far greater than anymagic Prospero wields in the play. As Theseusreminds us in A Midsummer Night’s Dream,“imagination bodies forth / The forms ofthings unknown,” and “the poet’s pen / Turnsthem to shapes and gives to airy nothing / Alocal habitation and a name” (5.1.14–17). Itis the magic of imagination which ultimatelysets Prospero free and which gives life andpower to Shakespeare’s creations.

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June 21 toOctober 27MONDAYTUESDAYThe Matchmaker (preview), 2 p.m.25 26Twelfth Night (opening), 8 p.m.Candida (preview), 2 p.m.Coriolanus (opening), 8 p.m.The Matchmaker, 2 p.m.July 2 3Twelfth Night, 8 p.m.Lend Me a Tenor: The Musical, 2 p.m.Coriolanus, 8 p.m.Candida, 8 p.m.Peggy Scott (left) as Ethel Thayer and Richard Kinteras Norman Thayer Jr. in On Golden Pond, 2006.2007SeasonCalendarCandida, 2 p.m.9 10Twelfth Night, 8 p.m.The Matchmaker, 8 p.m.Candida, 2 p.m.16 17Twelfth Night, 8 p.m.The Matchmaker, 8 p.m.Candida, 2 p.m.23 24Twelfth Night, 8 p.m.The Matchmaker, 8 p.m.Lend Me a Tenor: The Musical, 2 p.m.Coriolanus, 8 p.m.Candida, 8 p.m.Lend Me a Tenor: The Musical, 2 p.m.Coriolanus, 8 p.m.Candida, 8 p.m.Lend Me a Tenor: The Musical, 2 p.m.Coriolanus, 8 p.m.Candida, 8 p.m.Evening Performances of Twelfth Night, Coriolanus, and KingLear are in the Adams Shakespearean Theatre (inclement weather,Auditorium Theatre); Lend Me a Tenor: The Musical, The Matchmaker,and Candida are in the Randall L. Jones Theatre.Matinee Performances of Twelfth Night are in the AuditoriumTheatre; Lend Me a Tenor: The Musical, The Matchmaker, and Candidaare in the Randall L. Jones Theatre.All Performances of The Tempest, ‘Art’, and The Mousetrap are in theRandall L. Jones Theatre.Backstage Tours begin in the Randall L. Jones Theatre lobbyTuesdays, Wednesdays, Fridays, and Saturdays at 10:15 a.m. July 3 toSeptember 1 and Thursdays and Saturdays at 11 a.m. September 22 toOctober 27.The Greenshow is performed in the courtyard surrounding theAdams Shakespearean Theatre Mondays through Saturdays at 7:15 p.m.June 21 to September 1.The New American Playwrights Project presents plays August 9,10, 16, 17, 23, 24, 29, 30,and 31. They begin at 10:15 a.m. in theAuditorium TheatreLiterary Seminars are in the Seminar Grove (inclement weather, theAdams Shakespearean Theatre) the day after each play beginning at 9a.m. for the Adams Shakespearean Theatre plays and 10 a.m. for theRandall L. Jones Theatre plays June 22 to September 1 and at 10 a.m.on the Randall L. Jones Theatre lawn September 15 to October 27.Props Seminars are in the Auditorium Theatre at 11 a.m. Mondaysand Thursdays July 2 to August 30 and in the Randall TheatreThursdays and Saturdays September 27 to October 27.Costume Seminars are in the Auditorium Theatre at 11 a.m.Tuesdays and Fridays July 3 to August 31.Actors Seminars are in the Seminar Grove at 11 a.m. Wednesdaysand Saturdays June 27 to September 1 and on the Randall Theatre lawnWednesdays and Fridays from September 26 to October 26.Play Orientations begin at 1 p.m. for matinee performances and7 p.m. for evening performances Monday through Saturday in theAuditorium Theatre from June 21 to September 1 and at 1 p.m. Playorientations from September 14 to October 27 begin at 1 p.m. and6:45 p.m. on Tuesdays through Saturdays on the lawn of the Randall L.Jones Theatre (inclement weather, Auditorium Theatre).36 • Midsummer Magazine 2007Candida, 2 p.m.30 31Twelfth Night, 8 p.m.The Matchmaker, 8 p.m.Candida, 2 p.m.6 7Twelfth Night, 8 p.m.The Matchmaker, 8 p.m.Candida, 2 p.m.13 142027Twelfth Night, 8 p.m.The Matchmaker, 8 p.m.Candida, 2 p.m.Twelfth Night, 8 p.m.The Matchmaker, 2 p.m.Twelfth Night, 8 p.m.212825Lend Me a Tenor: The Musical, 2 p.m.Coriolanus, 8 p.m.Candida, 8 p.m.Lend Me a Tenor: The Musical, 2 p.m.Coriolanus, 8 p.m.Candida, 8 p.m.Lend Me a Tenor: The Musical, 2 p.m.Coriolanus, 8 p.m.Candida, 8 p.m.The Mousetrap (Student Matinee), 2 p.m.The Tempest, 7:30 p.m.Oct. 291623Lend Me a Tenor: The Musical, 2 p.m.Coriolanus, 8 p.m.Candida, 8 p.m.Lend Me a Tenor: The Musical, 2 p.m.Coriolanus, 8 p.m.Candida, 8 p.m.The Tempest (Student Matinee), 2 p.m.‘Art’, 7:30 p.m.The Mousetrap (Student Matinee), 2 p.m.The Tempest, 7:30 p.m.‘Art’, 2 p.m.The Mousetrap, 7:30 p.m.The Tempest (Student Matinee), 2 p.m.‘Art’, 7:30 p.m.

WEDNESDAYTHURSDAYFRIDAYSATURDAYTwelfth Night (preview), 8 p.m. Coriolanus (preview), 8 p.m. King Lear (preview), 8 p.m.June 21 22 23Lend Me a Tenor: The Musical (preview), 2 p.m.Lend Me a Tenor: The Musical (preview), 2 p.m.The Matchmaker (opening), 2 p.m.27 28 29 30King Lear (opening), 8 p.m.Twelfth Night, 8 p.m.Coriolanus, 8 p.m.Candida (opening), 2 p.m.King Lear, 8 p.m.Lend Me a Tenor: The Musical (opening), 8 p.m.Twelfth Night, 2 p.m.Candida, 2 p.m.Lend Me a Tenor: The Musical, 2 p.m.4 5 6 7The Matchmaker, 2 p.m.King Lear, 8 p.m.Lend Me a Tenor: The Musical, 8 p.m.Twelfth Night, 8 p.m.The Matchmaker, 8 p.m.Coriolanus, 8 p.m.Candida, 8 p.m.Twelfth Night, 2 p.m.The Matchmaker, 2 p.m.King Lear, 8 p.m.Lend Me a Tenor: The Musical, 8 p.m.Twelfth Night, 2 p.m.Candida, 2 p.m.Lend Me a Tenor: The Musical, 2 p.m.11 12 13 14The Matchmaker, 2 p.m.King Lear, 8 p.m.Lend Me a Tenor: The Musical, 8 p.m.Twelfth Night, 2 p.m.Candida, 2 p.m.Lend Me a Tenor: The Musical, 2 p.m.18 19 20 21The Matchmaker, 2 p.m.King Lear, 8 p.m.Lend Me a Tenor: The Musical, 8 p.m.Twelfth Night, 2 p.m.Candida, 2 p.m.Lend Me a Tenor: The Musical, 2 p.m.25 26 27 28The Matchmaker, 2 p.m.King Lear, 8 p.m.Lend Me a Tenor: The Musical, 8 p.m.Twelfth Night, 8 p.m.The Matchmaker, 8 p.m.Twelfth Night, 8 p.m.The Matchmaker, 8 p.m.Twelfth Night, 8 p.m.The Matchmaker, 8 p.m.Coriolanus, 8 p.m.Candida, 8 p.m.Coriolanus, 8 p.m.Candida, 8 p.m.Coriolanus, 8 p.m.Candida, 8 p.m.Twelfth Night, 2 p.m.The Matchmaker, 2 p.m.King Lear, 8 p.m.Lend Me a Tenor: The Musical, 8 p.m.Twelfth Night, 2 p.m.The Matchmaker, 2 p.m.King Lear, 8 p.m.Lend Me a Tenor: The Musical, 8 p.m.Twelfth Night, 2 p.m.The Matchmaker, 2 p.m.King Lear, 8 p.m.Lend Me a Tenor: The Musical, 8 p.m.Twelfth Night, 2 p.m.Candida, 2 p.m.Lend Me a Tenor: The Musical, 2 p.m.Aug. 1 2 3 4The Matchmaker, 2 p.m.King Lear, 8 p.m.Lend Me a Tenor: The Musical, 8 p.m.Twelfth Night, 8 p.m.The Matchmaker, 8 p.m.Coriolanus, 8 p.m.Candida, 8 p.m.Twelfth Night, 2 p.m.The Matchmaker, 2 p.m.King Lear, 8 p.m.Lend Me a Tenor: The Musical, 8 p.m.Twelfth Night, 2 p.m.Candida, 2 p.m.Lend Me a Tenor: The Musical, 2 p.m.8 9 10 11The Matchmaker, 2 p.m.King Lear, 8 p.m.Lend Me a Tenor: The Musical, 8 p.m.Twelfth Night, 2 p.m.Candida, 2 p.m.Lend Me a Tenor: The Musical, 2 p.m.15 16 17 18The Matchmaker, 2 p.m.King Lear, 8 p.m.Lend Me a Tenor: The Musical, 8 p.m.Twelfth Night, 8 p.m.The Matchmaker, 8 p.m.Twelfth Night, 8 p.m.The Matchmaker, 8 p.m.Coriolanus, 8 p.m.Candida, 8 p.m.Coriolanus, 8 p.m.Candida, 8 p.m.Twelfth Night, 2 p.m.The Matchmaker, 2 p.m.King Lear, 8 p.m.Lend Me a Tenor: The Musical, 8 p.m.Twelfth Night 2 p.m.The Matchmaker, 2 p.m.King Lear, 8 p.m.Lend Me a Tenor: The Musical, 8 p.m.2229Twelfth Night, 2 p.m.The Matchmaker, 2 p.m.King Lear, 8 p.m.Lend Me a Tenor: The Musical, 8 p.m.Twelfth Night, 2 p.m.The Matchmaker, 2 p.m.King Lear, 8 p.m.Lend Me a Tenor: The Musical, 8 p.m.Candida, 2 p.m.Lend Me a Tenor: The Musical, 2 p.m.23 24 25Twelfth Night, 8 p.m.The Matchmaker, 8 p.m.Coriolanus, 8 p.m.Candida, 8 p.m.Candida, 2 p.m.Lend Me a Tenor: The Musical, 2 p.m.30 31 Sept. 1Twelfth Night, 8 p.m.The Matchmaker, 8 p.m.Coriolanus, 8 p.m.Candida, 8 p.m.Twelfth Night, 2 p.m.The Matchmaker, 2 p.m.King Lear, 8 p.m.Lend Me a Tenor: The Musical, 8 p.m.Twelfth Night, 2 p.m.The Matchmaker, 2 p.m.King Lear, 8 p.m.Lend Me a Tenor: The Musical, 8 p.m.The Tempest (preview), 7:30 p.m.Sept. 14 15‘Art’ (preview), 2 p.m.The Mousetrap (preview), 7:30 p.m.20The Tempest (preview), 2 p.m.‘Art’ (preview), 7:30 p.m.The Mousetrap (preview), 2 p.m.21 22The Tempest (opening), 7:30 p.m.‘Art’ (opening), 2 p.m.The Mousetrap (opening), 7:30 p.m.‘Art’, 2 p.m.The Tempest, 2 p.m.The Mousetrap, 2 p.m.26 27 28 29The Mousetrap, 7:30 p.m.‘Art’, 7:30 p.m.The Tempest, 7:30 p.m.‘Art’, 2 p.m.The Mousetrap, 7:30 p.m.The Mousetrap, 2 p.m.‘Art’, 2 p.m.The Tempest, 2 p.m.3 4 5 6The Tempest, 7:30 p.m.The Mousetrap, 7:30 p.m.‘Art’, 7:30 p.m.The Mousetrap, 2 p.m.The Tempest, 7:30 p.m.‘Art’, 2 p.m.The Tempest, 2 p.m.The Mousetrap, 2 p.m.10 11 12 13The Mousetrap, 7:30 p.m.‘Art’, 7:30 p.m.The Tempest, 7:30 p.m.‘Art’, 2 p.m.The Mousetrap, 7:30 p.m.The Tempest (Student Matinee), 2 p.m.The Mousetrap, 2 p.m.‘Art’, 2 p.m.17 18 19 20‘Art’, 7:30 p.m.The Tempest, 7:30 p.m.The Mousetrap, 7:30 p.m.The Tempest, 2 p.m.‘Art’, 7:30 p.m.The Mousetrap, 2 p.m.‘Art’, 2 p.m.The Tempest, 2 p.m.24 25 26 27The Tempest, 7:30 p.m.The Mousetrap, 7:30 p.m.‘Art’, 7:30 p.m.The Mousetrap, 2 p.m.The Tempest, 7:30 p.m.Midsummer Magazine 2007 • 37

PTTP ad 7x10 11/19/03 4:08 PM Page 1U N I V E R S I T Y O F D E L A W A R EProfessional Theatre Training ProgramA Tradition of Successful GraduatesThe Alley Theatre's productionof A Midsummer Night'sDream with PTTP graduateElizabeth Heflin as Titania.Photo: Jim Caldwell, courtesy of the AlleyTheatrePTTP graduate Ty Jones in hisObie award winning performancein the Classical Theatre ofHarlem’s off-Broadway productionof The Blacks.Photo: Richard TerineThe Guthrie Theater's productionof Twelfth Night withPTTP graduate CheyenneCasebier as Olivia.Michal Daniel,courtesy of The Guthrie TheaterThe Actor's Theatre of Louisville’s productionof Macbeth with PTTP graduateMark Mineart in the title role.Courtesy of the Actor’s Theatre of LouisvilleuThe Shakespeare Theatre’s productionof The Duchess of Malfi with PTTP graduateRobert Tyree.Photo: Carol RoseggA Unique ApproachOnce every three years a small groupof exceptionally talented students is admitted.A distinguished faculty devotes itself tothe individual development of each student.Training is focused on the classic repertoire.Full tuition and living stipend availablefor all three years.Next Auditions and InterviewsJanuary/February/March 2008 for admission inSeptember 2008.Call (302) 831-2201 for further informationand application materials.Visit our website and apply online at:www.udel.edu/theatreS T A G E M A N A G E M E N T A C T I N G T E C H N I C A L P R O D U C T I O N

Great seats to the Festivalare always available.GettingTickets IsEasyGETTING TICKETS TO THEUtah Shakespearean Festival iseasy—and great seats are alwaysavailable.First, you can order via the internet:Visit our interactive Ticket Office site atwww.bard.org, and place your order electronicallyanytime.Second, you can order by telephone:Call 800-PLAYTIX (800-752-9849) or435-586-7878. Please have your credit cardnumber and expiration date ready.Third, you can order in person: Visitthe Ticket Office windows in the Randall L.Jones and Auditorium theatres near the cornerof 300 West and Center streets.Fourth, you can order by mail: Writedown your dates, seating preferences, andplays, and then mail them, along withpayment in full, to Ticket Office, UtahShakespearean Festival, Cedar City, UT84720.Ticket Office hours are as follows:Through June 15: Mondays throughFriday, 10 a.m. to 5 p.m.; telephone servicebegins at 9 a.m.June 18 to September 1: Mondaysthrough Saturdays, 10 a.m. to 8:30 p.m.;telephone service begins at 9 a.m.September 4 to September 13:Mondays through Fridays 10 a.m. to 5p.m.; telephone service begins at 9 a.m.September 14 to October 27:Mondays, 10 a.m. to 5 p.m.; Tuesdaysthrough Saturdays, 10 a.m. to 8 p.m.; telephoneservice begins at 9 a.m.Remember the Online Ticket Office isalways open.Please note: All plays, times, and prices aresubject to change without notice. For information,call 800-PLAYTIX.BABY RINGThe 3-stone Diamond Anniversary Ring.For your baby, your honey, the woman you’ll love forever.Surprise your baby with the ring that tells hershe just keeps getting better!• Fine Indian Jewelry• Professional Watch Repair• American WatchmakersInstitute Certified• Expert Clock Repair• Jewelry RepairGem Jewelers125 North Main StreetCedar City, Utah 847201-435-586-84641-800-636-8464Unique Gifts• Jewelry Design• Jewelry Manufacture• Graduate Gemologist• Expert Appraisal Service• Professional DiamondSetting79 North Main Street 435-586-6549Cedar City, Utah 84720www.hunter-cowan.comMidsummer Magazine 2007 • 39

Home of theUtah Shakespearean FstivalCedar City:A World ofContrast andBeautyBy Howard WatersNESTLED IN THE VALLEY ATthe foot of southwesternUtah’s juniper-studded mountains,Cedar City (home of the UtahShakespearean Festival) is a world ofcontrast. There are the seasons, of course.Wintertime tourists have been coming herefor years to sample nearby Brian Head’s“greatest snow on earth.” During the warmsummer months the international touristshave joined in, looking for a jumping offplace from which to be awed by the grandeurof Cedar Breaks, Zion Canyon, BryceCanyon, and more natural beauty than thesenses can take in, but Cedar City is muchmore than that.If you were to walk into one of the localCedar City eateries during any of the summermonths, you would probably notice aCedar Breaks National Monument, just a short driveeast of Cedar City

couple of the local ranchers sipping theircoffee and talking about the weather, theprice of hay, or the condition of the livestockmarket. That hasn’t changed overthe years. Genuine cowboys and ranchersare still a basic part of the area’s rich pioneerculture and heritage. Across the aisle,however, things might be very differentfrom what you might expect. You might,for example, see a table with six or sevenpeople seated around it, engaged in an animateddiscussion. They might be speakingGerman, French, or Sheffield English. Thetopic of discussion? Who is Shakespeare’smost complete, utter villain, Iago or RichardIII? Don’t be too surprised if one of theranchers leans over and says, “Iago, handsdown, no contest.” Oh yes, Cedar City is aworld of contrast.Established in the 1850s by Mormonpioneers who referred to the juniper treesthat surround the area as cedars, CedarCity is currently ranked the eleventh fastestgrowing city in the United States, accordingto the visitors guide published by thelocal chamber of commerce. The pure air,mountain retreats, and general, all-aroundcongeniality of the local folks all serve tomake Cedar City a very attractive locale forsettling down. The landscape that greetedthose early settlers, however, provided anoften bitter taste of contrast of a differentkind. First, there was the weather, oftenharsh and unpredictable. Growing crops wasdifficult, to say the least. Then there was thechallenge of mining the rich lodes of ironand coal that laced the western mountains.The logical thing to do in order to havesome relief from the daily grind of survivalseemed to be to build a Social Hall. So, in1862, a building was erected that served asa school, church, and theatre. These hardysettlers were largely European immigrantswho had brought their culture along withthem. Their days were filled with sweat andtoil, but in the evenings there was music,dance, and their beloved Shakespeare.One hundred years after the last performanceof Shakespeare on that SocialHall stage, a young actor and teacher by thename of Fred C. Adams, born and raised inDelta, Utah, moved from New York Cityto Cedar City to take on the job of theatreinstructor at the College of Southern Utah,now Southern Utah University. It seemedto him that the thousands of tourists whocame to see the local national parks mightstay around a bit longer if there were somethingelse to entertain them. Why notorganize a dramatic production or two onthe local college campus? In fact, why notShakespeare?Those early productions by Adams andhis students were well received, but whatAdams had in mind, was a Shakespeareanfestival. Why not? The descendents of thoseearly pioneers were people who loved thetheatre, and especially their Shakespeare.Cedar City continues to grow. TheUtah Summer Games are held here now,and attract hundreds of athletes from allover the country. Southern Utah Universitywas recently ranked among the ten bestin the nation by Consumers Digest for thequality and value of education to be hadthere and provides a variety of activities andevents that help to enrich the community.And what of Fred C Adams’s dream?Now in its forty-fifth season, the UtahShakespearean Festival attracts over 150,000patrons annually to its two beautiful theatres,and its annual budget tops $6 million.The Festival has an extensive educationaloutreach program, taking the magic of livetheatre into small communities that otherwisemight never be able to afford suchcultural riches. What about internationalrecognition? In 2000, the Festival wonthe coveted Tony Award for outstandingregional theatre.Breakin' WindWind DesignsUnique GiftsKitesHome Decor50 West Center StreetCedar City, Utah 84720435-586-8851866-383-8851www.breakinwindonline.comMidsummer Magazine 2007 • 41

Contrast? Just travel three hours southof Salt Lake City on I-15 and you’ll find aworld of it. Whether its natural splendoryou’re craving, a relaxing environmentamong friendly people or cultural enrichment,it’s here. It’s just an entirely differentattitude, one you’ll want to experience morethan once. You’ll undoubtedly take homemore than pictures of all the beauty that’shere. You’ll take home a wealth of memories,and, just maybe, an entirely new attitudeof your own.More To See and Do in Cedar CityWith seminars, greenshows, andmore, ou can stay busy all day at the UtahShakespearean Festival, but if you find yourselfwith a little spare time, you may wantto try out some of the many other activitiesavailable in and around Cedar City.For more information, contact the CedarCity-Brian Head Tourism and ConventionBureau at 581 N. Main Street, 800-354-4849 or 435-586-5124, or online atwww.scenicsouthernutah.com.Braithwaite Fine Arts Gallery: Locatedon the campus of Southern Utah University,the gallery features regional and national artexhibits. Open Tuesday through Saturdayfrom 12 noon to 7 p.m., the gallery is onthe ground floor in the Braithwaite LiberalArts Center just southwest of the AdamsShakespearean Theatre.Bryce Canyon National Park: Just twohours east and north of Cedar City, BryceCanyon is famous for very unique geology,including “hoodoos,” spires formed whenice and rainwater wear away the weak limestone.Cedar Breaks National Monument:A circle of painted cliffs, this monument,just thirty minutes east of Cedar City, offersfantastic views and hikes.Cedar City SkyFest: Located atBicentennial Park, the Cedar City SkyFestfeatures hot air balloons, kites, radio controlledairplanes, balloon competitions,vendors, and food.Cedar Ridge Golf Course: Located at200 E. 900 North, Cedar Ridge featureseighteen holes carved through Cedar City’sred hills. No tee times are required.Christmas in July Craft Faire: On thelawn of the Randall L. Jones Theatre at theFestival, this popular faire is July 27 and 28.GrooveFest American Music Festival:June 21-24, this free music festival is basedat the Cedar City Main Street Park.Iron Mission State Park Museum:Located at 635 N. Main Street, IronMission features pioneer history exhibits,living history workshops, children’s storytime the second Tuesday of each month,and other exhibits and events. Open from 9a.m. to 5 p.m., the museum gift shop offers20 percent off for anyone who brings intheir copy of Midsummer Magazine.July Jamboree Street Festival: On July14, Cedar City’s downtown comes alivewith a spectacular car show, live entertainment,and vendors.Utah Summer Games: This Olympicstylesports festival for athletes of all agesand abilities will celebrate its nineteenthyear from June 7 to 24.Zion National Park: No other place onearth can one find so many towering cliffs,finger canyons, and hanging gardens asthose concentrated in Zion. This beautifulpark is only an hour south of Cedar City.42 • Midsummer Magazine 2007

Take a Hike! Or a Bike Trip.Or Even a Chairlift RideBrian Head:It’s Not Justfor WinterAnymoreBy Leonard ColbyTake a short drive up CedarCanyon to an elevation of around10,000 feet, and you’ll find yourselfamid the cobalt blue sky of the DixieNational Forest. Take your time passingthrough gorgeous Cedar Breaks NationalMonument, and you’ll soon be filling yourlungs with the rare, pristine air of BrianHead Ski and Summer Resort.Winter visitors come here from all overthe world to sample “the greatest snow onearth.” That’s what Brian Head is usuallyfamous for. But don’t think for a momentthat the only things moving in the summerand fall are the wildflowers nodding in thebreeze. Brian Head has become a summertimeMecca for wheels, all sorts of wheels.Voted one of the “fifty best trips on theplanet” by Bicycling magazine, there are over1200 miles of single-track and overA mountain biker enjoys one of the many trailsnear Brian Head

sixty miles of back-country trails, as wellas a mountain bike park, featuring a wholenetwork of on-slope trails accessible bychairlift.If biking isn’t your thing, there areguided ATV tours, as well as individualATV rentals available. Maybe you’d preferto take a lunch on a relaxing chairliftride for a panoramic look at more naturalbeauty than you can imagine. Linger at thetop for as long as you like, then ride backdown when you’re ready. Perhaps a spatreatment would be exactly the right way toend your day.You can take a walk in the woods witha naturalist, watch weekend bike races,enjoy a dutch oven cook-off, go horsebackriding, and enjoy the evening musicalevents.Cedar Breaks National Monument, amagnificent sandstone amphitheatre createdby Mother Nature, is just five minutes upthe road. Bryce and Zion national parks,two of our nation’s best-kept travel secrets,are less than ninety-minute drives. And, ofcourse, the Utah Shakespearean Festival isonly forty minutes away in Cedar City.With over 3,500 beds, low lodgingrates, and several excellent restaurants, BrianHead has become a popular destination forFestival-goers and other summer visitors.It’s all good, and it’s all here for youto enjoy. Just use your imagination, andfill a few leisurely days with a rich supplyof wonderful memories to take home withyou.More To See and Do in Brian HeadOf course, there’s skiing in the winter;but in the summer, Brian Head is host tonumerous activities. And the weather isjust right, with cooler temperatures in thedaytime and fantastically clear skies nearlyevery night.For more information on the programsand activities below, call 888-677-2810 orvisit www.BrianHeadUtah.com.Brian Head Fire Department AnnualPancake Breakfast: July 4.Red, White, and Blue Concert andFireworks Display: July 4, Brian HeadTown Park.Thirteenth Annual Brian HeadSummer Art and Craft Festival: July 6–8,free admission.Thunder on the MountainMotorcycle Rally: July 20–21, barbeque,poker run, and touring ride.Mountain Musicjam Concert: August11, 1–3 p.m., free.Tour De Gap Staged Road Races:August 17–19.Epic 100 Bike Races: August 25–26.Labor Day Cool Concert and Bonfire:September 2, concert at the Giant StepsLodge, 1–3 p.m.; bonfire at the FireStation, 8 p.m.Potato Peel and Potluck Social:September 14, 6 p.m. at Navajo Lodge;bring your own paring knife and potluck.Brian Head Oktoberfest: September15–16, 12 noon to 8 p.m. at Navajo Lodge;enjoy authentic German food, music, andfun.Georg'sMountain Bikes, Shuttle & ATV Rentalsin Beautiful Brian Head435-677-2013geoskibike@infowest.combrianheadtown.com/georgs612 S. Highway 143Southern Utah'sFirst ChoiceReservation CenterOne-bedroom one-bath,up to three-bedroomtwo-bath condominiums• 45 minutes from the Festival• Fully furnished kitchens• All linens provided• Cable TV, VCR• Fireplaces• Hunting, hiking, fishing, biking• Quiet seclusion• Naturally cool temperatures• Jacuzzi and saunaCall for Your Reservations!Ask About OurMountain Bike Package435-677-2042800-845-9781P. O. Box 190055 • 356 S. Highway 143Brian Head, UT 84719www.brianheadtown.com/bhrc/44 • Midsummer Magazine 2007

We're the Lively Place across from the Cemetery!MEXICANRESTAURANTBring in this ad for10% OFFyour entire ticket.Not valid with any other discountand excludes alcohol.LunchSpecials$5.49890 N. Main • Cedar City586-4646ROLLING RUBBERCOMPLETE TIRE CARE SERVICETake the worry out of your drivingwith our exclusive, worry-freeNO HASSLESERVICE POLICYROAD HAZARD REPLACEMENT WARRANTY √MILEAGE WARRANTY (Most Passanger Tires) √FREE TIRE INSPECTION AND SAFETY CHECK √BALANCE GUARANTEE √FREE FLAT REPAIR √FREE ROTATION √WHEEL ALIGNMENT • SHOCK ABSORBERS • WHEEL BALANCING • TUNE-UPS • BRAKE SERVICE • WHEELS256 West 200 North • Cedar City, Utah 84720 • 435-586-6607Midsummer Magazine 2007 • 45

What’s A VacationWithout Golf?After All, You’re Here To Relax...What could be more relaxing than a round of golf at Cedar RidgeGolf Course? The beautiful scenery teeing off within minutes of arrivingand knowing that you can play in seclusion without being rushedthrough your round is pure relaxation.The Price Is Right...Not everything on your vacation has to cost a lot. At Cedar Ridge, youcan play for just over a dollar a hole. That’s nine holes for $11.50, and 18holes for $23. Carts and pull-carts are also available at great prices. (Ifyou’re over 60 or under 18, ask about discounted senior and junior rates).You'll Want to Try Our Redesigned Back-NineThe redesigned back-nine, with three completely new holes, adds anextra challenge and some great scenery to what was already one ofthe state’s finest community-operated golf courses. The course itselfis friendly enough for beginners but has plenty of challenges for theseasoned golfers. “Because of the way it’s laid out, it will offer mostgolfers a chance to use very club in his/her bag,” says John Evans,Cedar Ridge head pro and former PGA golfer. Cedar Ridge includes, ofcourse, a well-stocked pro shop and a clubhouse with a snack bar.Well, What Are You Waiting For?Cedar Ridge Golf Course is just a few minutes away. You’ll find it nestledagainst Cedar City’s red hills at 200 East 900 North, just off MainStreet across from the city cemetery. Any questions you might have canbe answered by calling the pro shop at 586-2970.You Forgot To Pack Your Clubs?Or your wife would like to play a round with you. Not to worry—you can rent a set for just six bucks for nine holes or $10 for the fullcourse.There’s Always Time For Golf...Even if your schedule is packed, you can usually get through nine holesin a couple of hours. If time’s a big issue, at least try out the drivingrange ($3, $4, or $5) or practice putting green.

Boomer’s Main Street PlazaBiggest Selection of American & Mexican Food in CedarBreakfast, Lunch, and Dinner Monday through SaturdayHalf-Pound Burgers • Salads • Sandwiches • Mexican FoodPrime Rib, Steaks, and Seafood Specials on Friday and Saturday Nights“You Won’t Leave Hungry”435-865-9665Grandma Boomer’sCandy FactoryBoomer’sBloomersFresh-Made FudgeChocolatesCandy of All KindsHuge Selection ofSugar-Free Candy586-6699Fresh FlowersSilk FlowersGiftsArrangementsWE DELIVER!boomersbloomers.com586-6769City GalleryCustom CreationsWorks from noted potographer Mike Batesand wildlife artist Brenda JohnsonPersonalized solid woodframes and mattingLet Your Imagination Go!Downstairs in Suite 101435-867-0999 • Citygallery5@yahoo.comThe Center of Downtown Cedar Cityon the Corner of Main and Center Streets

Discover the charms of Henley Manor, CedarCity’s newest bed-and-breakfast property and resortopportunity.With opulent Elizabethandécor, each room (as wellas those to come) areindividually decoratedto enhance yourShakespearience insouthern Utah.Enjoy a 16th century “Stay as You Like It” while weprovide the royal pampering. In the morning enjoyour hearty King’s breakfast, a historical experience.Ask how you may get freetickets to Shakespeareanplays and learn how youcould enjoy this samequality of experience yearafter year for much lessthan you might expect.FALL BACK TO HENLEY MANORBring your Midsummer Magazine and reservetwo nights at Henley Manor for the Fall UtahShakespearean Festival season and we’ll giftyou two tickets to the play of your choice.Vacation in authentic Shakespearean rooms in Cedar City, Utah • Call (888) 584-3747 • HenleyManor.com