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Show Popular directors and plays join for 15th Shakespearean Festival Three favorite Shakespearean plays and three talented directors will join together this season at the Utah Shakespearean Festival to provide audiences with insight , and entertainment. The tragedy of JULIUS CAESAR will offer a dark and somber contrast to the two comedies, ' LOVE'S LABOUR'S LOST and THE TEMPEST, which offer an interesting in-teresting contrast in themselves. These two comedies were near the first and last written by Shakespeare, and as audiences and scholars explore insights, points of view and understandings, un-derstandings, the two plays span and humor. The resolution of the play, in which Prospero forswears for-swears his magical art and resolves to leave his world of fantasy and return to his homeland provides a poignant similarity to Williamn Shakespeare himself leaving the fantasy of the theatre world to return to his native village of Stratford, where he lived as a gentleman until his death five years later. The tragedy of JULIUS CAESAR has been called the greatest of political plays. It is also possibly Shakespeare's most studied play, and offers a philosoDhv which is both com position of godhood. The failings in all five characters must bring about their destruction, and' likewise the destruction, of Roman rule by the people. Assassinations are sjill often executed for "lofty" purposes, but we might remember Rome, where assassination led to the death of rule by the people, and replaced' this rule with dictatorship. dic-tatorship. The three directors preparing these plays for Utah Shakespearean Festival audiences bring to the Southern Utah State College campus a variety of backgrounds and talpnts Rnh Lpnnarrf whn is tour and in stock and regional theatres throughout the country before turning to directing in 1967. Since then he has been in residence at the Alley Theatre and has also guest-directed at Purdue University, Miami University Summer Theatre, Hull House Theatre and Goodman Good-man Theatre in Chicago. He has been associated with the University of Minnesota Bureau of Concerts and Lectures and the University of Wisconsin Extension Ex-tension Division as an actor, director, and writer, and was recently named Director of the Arts Company at Penn State University where he will begin THE TROJAN WOMEN, RICHARD III, OF MICE AND MEN, LONG DAY'S JOURNEY INTO NIGHT, TANGO, HAPPY DAYS, and LITTLE MURDERS. MUR-DERS. This April he directed a readers' theatre production based on American political theatre for the Bicentennial Humanities Program at the Kennedy Center in Washington, D.C. He has acted over 70 roles since 1961, when he began his theatre career at Southern Utah State College, appearing in THE' TAMING OF THE SHREW. He " has played title roles in HAMLET, OTHELLO, KING LEAR, and TARTUFFE, and has been a member of the Hilberry Repertory Theatre Directing LOVE'S LABOUR'S LOST is Sanford Robbins, who received his training at Los Angeles City College and Carnegie-Mellon University, where he received a M.F.A. degree. Sandy has directed for Kenwood Players, Holiday Stage, Cafe La Mama, and The Los Angeles Shakespeare Festival. He has taught acting, voice, and movement at Carnegie-Mellon University' and at1 the Los Angeles City ' College Theatre Academy, as well as heading the voice-speech department at the American Academy of Dramatic Arts-West. Beginning in September, Sep-tember, Mr. Robbins will assume ' the Chairmanship of the : Department of Theatre at the University of Wisconsin- Milwaukee. ' the development of Shakespeare as a comedy playwright. In LOVE'S LABOUR'S LOST, which was written by a young, exuberant William Shakespeare, the action contrasts illusion and reality. The characters move from the youth, warmth and sumptious delight of self delusion to the maturity, chill, and austere awareness of their true natures. The four young men of Navarre make vow after vow, each time with the best of in-. in-. tentions, and f course one by one the vows are broken. As is characteristic of many of Shakespeare's plays, only the fool and the servant see the plex and disturbing. The playwright asks a question which he cannot fully answer. Are the conspirators justified in killing Caesar? Shakespeare answers with an indefinite, "No." Perhaps this is because in addition ad-dition to Caesar there are fourmajor characters in the tragedy, and for each of them, Shakespeare arouses in us some admiration, but also he brings out some disturbing defects of character. Likewise with Caesar, Shakespeare does not deny his greatness, but he also shows a man corrupted by pride and ambition, and aspiring to a directing THE TEMPEST, comes to the Festival after eight years as Staff Director at the Alley Theatre in Houston, Texas, where he has staged over 20 productions, including A MIDSUMMER NIGHT'S DREAM, TWELFTH NIGHT, TAMING OF THE SHREW, SCHOOL FOR WIVES, THE FRONT PAGE, and this season's new Preston Jones Play, THE LAST MEETING OF THE KNIGHTS OF THE WHITE MAGNOLIA. A graduate of Chicago's Goodman Theatre School of Drama, Mr. Leonard spent seven years as an actor on work this fall." He is married to actress-choreographer Joann Rose and the Leonards have one son, Joshua, who celebrates his first birthday in Utah this summer. JULIUS CAESAR is being directed by Howard Jensen, who is returning as director for his second season with the Festival, last summer directing TWO GENTLEMEN OF VERONA. He is currently an Assistant Professor and Head of the Acting and Directing Program at Indiana In-diana University, Bloomington, where he has taught and directed for four years. He holds a B.A. Hporpp from thp ITniversitv of D- - - ---- J Utah, M.A. degree from the University of California, Davis, and a Ph. D. degree from Wayne State University. His directing credits include IN THE BOOM ROOM, THE BALD SOPRANO, world, and their betters, with clarity. At the end of the play, inevitable death comes to Navarre, and under its sovering influence the young men realize their follies. At last they are able to make vows that are genuine and will be kept. ' The mood of the play is, until the very end, as light as meringue, and is enchanting and delightful with the beauty of Shakespeare's poetry, his high-spirited high-spirited young people, and his colorful assortment of courtiers, pedants, servants, soldiers and swains. In contrast with the youth and exuberance displayed in LOVE'S LABOUR'S LOST, THE TEMPEST, TEM-PEST, which is generally believed to be the last play written before Shakespeare retired from the London stage, gives reins to the author's boundless imagination. The story was based on the tru6 tate of the SEA VENTURE, a ship' attempting to supply the ' small Jairiesfown colony in 1609. Following a shipwreck, the occupants oc-cupants were miraculously preserved, and told tales of being shipwrecked in "the richest, healthfullest, and pleasing land." Using his boundless imagination, Shakespeare created from this story the romantic, the wonderful, and the wild, in the most beautiful poetry his pen had ever known. In this final play, Shakespeare concerns himself with a magical mixture of fantasy, philosophy, spectacle |