Congratulations to Utah Theatre Arists in 2025!
Utah theatre is built on the artistry, leadership, and imagination of the individuals who bring stories to life on our stages. From directors and choreographers shaping the big picture, to performers delivering unforgettable moments, to designers and creators pushing the boundaries of form and craft, this year’s Excellence Article celebrates the people whose work stood out in 2025. Sometimes these are the brightest stars in a shimmering production, and others are heroic efforts in productions that needed their strength. These highlights reflect a wide range of voices, styles, and disciplines, showcasing the depth of talent that continues to define and elevate theatre across the state.
To see our write up about excellent work from theatre companies, click here for part 2.
Excellent Directing and Choreography
If a director can take a show that I had long ago decided was not for me and make it into something that moves me deeply, that shows wisdom and talent beyond traditional praise. This is exactly what Cassidy Mae Wixon-Heise did with Jesus Christ Superstar at the Ziegfeld Theatre this year. Her realistic and raw interpretation still gives me chills, and I will never look at the Webber musical in the same light. —Maren Swensen
The Ruth’s “An American in Paris” was everything one could want in a dance musical. Great acting, dancing, and choreography? Check, check, and check. Jennifer Hill Barlow’s show masterfully combined movement, talent and stagecraft, and was impeccably performed by all four outstanding leads. Performances were indelible, and Penny Saunders’ choreography was rich with storytelling and wonderfully expressive. I adored how the choreography conveyed emotional movement and character growth. —B.F. Issacson
I have a lot of experience and education in theatre making. It’s not often I look at a show where I think to myself, ‘yeah, I couldn’t have pulled that off.’ I felt that way about Tommy at American Crossroads (formerly Simonfest in Cedar City). The show has very little spoken word in the first 10 minutes of the play and yet told a story so visceral and powerful I can still see it in my mind’s eye. This was one of those times where the staging and visual storytelling were at such a high level that I just sat and was amazed the whole time. —Scott Savage
Excellent Acting
One unforgettable performance I saw this year was Taylor J. Smith as Quasimodo in Hunchback of Notre Dame at West Valley Arts. Smith’s performance was powerful yet delicate. I am still in awe of how precise his vocals, dialogue, etc., were despite the physical demands placed on him throughout the performance. —Emily Clark
Equity: The entire company at Utah Shakes this year was on another level, but I have to recognize Cassandra Bissell’s Lady Macbeth and Jacques in As You Like It. She brought such juicy range to both, shifting from the calculated ambition (and grief) of Lady Macbeth to the solemn wanderer of Jacques. Her final speech in As You Like It made me weep. —Joni Newman
Non-Equity: I have to shout out the entire cast of Something Rotten at The Ruth, but especially Marshall Lamm, Joey Branca, and Mark Gordon as Nostradamus, Brother Jeremiah, and Shylock. Lamm brought such specificity to his choices, and Branca and Gordon elevated parts that might normally fade into the background with some truly wild character decisions that lifted the entire show to new levels of comedy. I haven’t laughed that hard in a long time. —Joni Newman
From the actors, to the set, to the merchandise, Steel Magnolias at the Utah Shakespeare Festival is everything you look for when going to theatre on vacation. A moving reminder of love and friendship. A look at community and the importance of those bonds. A reminder of loss and grief. The actresses that took that stage delivered every line with precision. Whoever decided on the t-shirts in the festival shop deserves a raise. If you know, you know. —Maren Swensen
Kayland Jordan was fab as Rosalind in Utah Shakespeare Festival’s “As You Like It.” Funny, spunky, perfect. Great performance. —B.F. Issacson
Excellent New Works
We have had the beauty of fostering new ideas and new work. In its 10th year, the Great Salt Lake Fringe Festival offered up numerous opportunities to see local talent perform and local writers debut their work. I commend the entire team at the Fringe for keeping the idea of the festival alive, making it through the Covid years, and coming out stronger and better this side of Covid. Likewise, companies are getting into staged readings and debuting new works. I got to attend a staged reading of Heretics at Scaffold Theatre by local playwright Bradley Moss, and I actively seek and hope for more performances like this. —Maren Swensen
Western Minerals and Their Origins by fledgling company Footpath Theatre was a stunning little production. Performed at Salt Lake Acting Company as part of SLAC’s Making Space For Artists program, the program is an excellent opportunity for a professional company to nurture grassroots companies. The simplicity of the space, stacked high with mountains of boxes, which serves both as a cluttered garage and the rugged wilderness of Southern Utah, was truly astonishing. The talented cast and skillful writing created a delightfully thought-provoking production. —Jennifer Hoisington
I really loved The Robertassy at Salt Lake Acting Company. Penny Caywood told a really profound and emotional story with her cast. The metaphor of literally losing a father is one that was so thoughtfully written and engaging throughout. I loved actors in multiple roles, I loved the simplicity and irreverence of some of the comedy, and I loved it because the way Roberta processes grief in the story is so very similar to my own experiences. Laughter through tears always resonates with me. —Scott Savage
Excellent Technical Design
One of the best productions I saw this year was The Woman in Black at Parker Theatre. The acting was superb and the lighting and sound design were executed perfectly. My attention was captured from beginning to end, with this show being one of the scariest most intense plays I’ve ever seen. I hope Parker will consider this to be an annual production. —Emily Clark
It’s hard to ignore the incredible accomplishment of design in HCT’s The Musical Comedy of Murders of 1940. It was such an ambitious concept that was carried off to perfection. A truly stunning technical feat that supported the storytelling beautifully. —Joni Newman
Other Excellence in Utah Theatre
Having the opening of the Ruth in Utah County has added a gem to the Utah theatre community. Two productions of note stood out this year. Choosing to start the year with the sweeping epic Ragtime was ambitious, yet the Ruth was prepared in so many ways. From the amazing musical direction by Anne Puzey to the full understanding of the story by the ensemble, Ragtime was so haunting and beautiful that I returned twice. Later in the year, the show Flowers for Mrs. Harris made its United States debut, having only been performed previously in the U.K. The charming story showcased a plot and script perfect for more mature actors, and offered beautiful set and costume designs that I still think about. I truly look forward to what the Ruth brings next. —Maren Swensen
The inaugural season at The Ruth has been really exciting. I wasn’t able to make it to the entire season, but every show I did see was really impressive. I was curious if the new spaces would shift the impact of the old HCTO’s intimate space, but they’ve done a good job of making use of the new facilities without sacrificing what made them great—a dedicated attention to putting the story at the center of each production. —Joni Newman
One of my favorite theatre experiences of the year happened in the final weekend of Dear Jack, Dear Louise at the Utah Shakespeare Festival. The two person cast was truly exceptional, and the show was well written, fun and engaging. But what really got me was the overwhelming impact the show’s story had on the teenagers in the audience. Tell me that theatre is dead and that old and that no one loves a rom-com, and I will show you the absolute crying/laughing/hugging mess of the student audience members around me at the performance. I heard so many auditory responses, gasps, and sobbing tears from people who saw theatre that was incredible and loved it. This was a beautifully done play and had an impressive audience reaction. I was laughing and crying, too. —Scott Savage