By Alayna Een
The Utah Shakespeare Festival (USF) in Cedar City, Utah, is a premiere theater company that has put enormous effort into crafting each of its 63 seasons. USF excels in the personal touches, with a free Greenshow performance at night, free seminars and guided discussions throughout the day, and live piano music performed by community members before curtain—all of which complement the high quality performances. There is something for everyone in the list of incredible plays, but Lauren Gunderson’s Silent Sky is an especially bright star in this season’s lineup. It is a constellation of all the things I love: the bond between sisters, women’s history, accessibility, hope, discovery, loss, faith, love, purpose, passion, suffrage, music, and light. I will give it the greatest compliment I know how to form: it is poetry. And the USF brings this beautiful play to life with cosmic clarity, thanks to the dedicated crew and luminous cast.
The story centers on 19th Century scientist Henrietta Leavitt, an overlooked historical figure whose scientific discoveries had an astronomical impact on our understanding of the universe and our place in it. The Leavitt sisters, Henrietta and Margaret, have widely distinct ambitions, and Henrietta is thrilled to join a team of astronomers in Harvard. Her enthusiasm is quickly tempered when she discovers, upon arriving in Boston, that she is expected to join Annie Cannon and Williamina Flemming in the much more menial task of computing and charting the sky. Henrietta clashes with Peter Shaw (the bumbling supervisor), feels drawn to a strange anomaly she finds within a star class, and soon has to choose between a burgeoning discovery, family responsibilities, and an unexpected chance for love.
The Anes Theatre is the perfect setting for this intimate play. Scenic designer Jo Winiarski capitalizes on the space and Joe Payne amplifies it with projections that contribute to the storytelling and include Hubble photographs, ethereal swirls, and star clusters that expand to fill the whole theater. David Kay Mickelsen (who was also costumer for the Silent Sky premier) firmly establishes the time period and highlights character growth with the crisp costumes, and Jaymi Lee Smith honors the central theme of light through space with her lighting design. The props are few but precise, contributing to the overall atmosphere of the production.
At intermission, with the ethereal music (ien DeNio)—based star tones—surrounding me and the low murmur of conversation on every side, I feel like I’m catching glimpses of planets in orbit: retirees taking obvious effort to be there, parents explaining to tweens how choice and timing matter in love, adults looking up Henrietta Leavitt’s biography before the second act begins, the artistic director shaking hands with a man in the row in front of him. I turn in slow circles, taking it all in. We have half the show left to see. After that, our orbits will carry us away. But for this moment, for this performance, our stars aligned. The second act begins, and we laugh in unison. We cry quietly. We experience the wonder of the journey together and feel the change individually.
The true stars of the show are the few but mighty actors. Katie Cunningham brings Henrietta Leavitt to life, highlighting the complexities of the character’s quest for discovery, search for meaning, and emotional journey. Cunningham expertly balances Henrietta’s indomitable spirit and softer uncertainty. Kat Lee portrays Margaret Leavitt as a foil to Henrietta, bringing out the spunk and humor and frustration of the character with an unmistakable base layer of loving concern for her sister. Lee’s comedic timing is excellent. Peter Shaw, Hentietta’s bumbling boss and unexpected suitor, is played by Abdul-Khaliq Murtadha, who gives the character an obtuse but good nature that makes him the easy butt of Annie and Williamina’s barbs. Murtadha is likable, and he creates dramatic contrasts in his character’s responses throughout the play.
Henrietta’s two coworkers are played by Alia Shakira (Annie Cannon) and Sarah Shippobotham (Williamina Flemming), whose quick wits and character strength make them immediately likable. But the two actors also hit the emotional notes with precision. Shakira creates a formidable character who is also deeply caring, and Shippobotham’s Scottish stoicism and humor (aided by dialect coach Adi Cabral) are high notes of the production. While each character is strong individually, the interactions are truly captivating and meaningful—a credit to the director. Melinda Pfundstein’s directing chops are obvious in the movement of the play, as characters move in individual orbits to highlight the passing of time or comment on connection and separation.
As a seasoned reviewer, I see a lot of plays. Very few of them have been as personally meaningful and memorable as Lauren Gunderson’s Silent Sky. So chart your course to see Silent Sky with the Utah Shakespeare Festival this summer!
Utah Shakespeare Festival presents Silent Sky by Lauren Gunderson.
Eileen and Allen Anes Studio Theatre, 101-199 W University Blvd, Cedar City, UT 84720
Plays on select dates until October 5, 2024, 2:00 PM and 8:00 PM
Tickets: $50–60 (some discounts available)
Contact: 435-586-7878 or 1-800-PLAYTIX
Utah Shakespeare Festival Facebook Page
0 Comments