October 19 – November 3, 2012

Written by John Steinbeck

The timeless American classic

Lennie and George, two Depression-era farm hands traveling from ranch to ranch looking for work, dreaming of owning their own place and “living off the fat of the land,” first stepped onto the stage over seventy-five years ago. They have since entered into the American consciousness as mythic characters. Steinbeck’s moving and tragic story, taught to generations of American high school students, is a powerful fable about the human impulse to make, and hold onto, spiritual connections with our fellow men as we travel through life.

Important Dates

Monday–Thursday 7:00 PM
Friday & Saturday 7:30 PM
Saturday 2:00 PM

ASL-interpreted performance: Saturday, October 7th @ 2 PM




Creative Team

MARY B. ROBINSON (Director) has directed over fifty productions of both classics and new plays off-Broadway and in regional theatre. In New York she has directed String Fever by Jacqueline Reingold at Ensemble Studio Theatre; Three Viewings by Jeffrey Hatcher at Manhattan Theatre Club; Lemon Sky by Lanford Wilson (for which she received a Drama Desk Nomination) and Moonchildren by Michael Weller, both at Second Stage; A Shayna Maidel by Barbara Lebow at Westside Arts; Copperhead by Eric Brogger at the WPA and Twelfth Night at Theatre for a New Audience. Regionally she has worked at Seattle Rep, Milwaukee Rep, South Coast Rep, Philadelphia Theatre Company, Actor’s Theatre of Louisville, Hartford Stage (where she was Associate Artistic Director) and Philadelphia Drama Guild (where she was Artistic Director). She was the first recipient of the TCG Alan Schneider Directing Award in 1987. Currently she heads the directing program at Playwrights Horizons’ Theatre School at NYU, and teaches in the Graduate Program at Brooklyn College.

JAMES NOONE (Scenic Designer) has worked for some of NYC’s most prestigious theatre companies including Playwrights Horizons, Manhattan Theatre Club, Lincoln Center Theatre, Roundabout Theatre Company and numerous others. Off-Broadway he designed the original productions of Terrance McNally’s Frankie and Johnny in the Clair de Lune, Edward Albee’s Pulitzer Prize-winning play Three Tall Women, the long-running solo shows Full Gallop and Fully Committed, Cowgirls and Breaking LegsA Bronx TaleBoys in the Band and the musicalRuthless. Broadway productions include Jekyll and HydeClass ActThe Persians, Judgment at Nuremberg, Night Must Fall, The Sunshine Boys, The Gin Game, A Bronx Tale and Come Back Little Sheba. He has designed national tours and at leading regional theatres across the country. His work in opera has been seen at Glimmerglass, NYC Opera, Lyric Opera of Chicago, Washington National Opera, and others. For television he designed Sweeney ToddCandide,PassionCamelot, Stephen Sondheim’s 80th Birthday Concert for PBS, and Company, seen in select movie theaters. Awards include the Drama Desk, American Theatre Wing Design Award, two Helen Hayes Awards (DC), the LA Ovation Award, and two NAACP Theatre Design Awards.

K.L. ALBERTS (Costume Designer) Previous designs at PTC include: the world premieres ofDumas Camille and Laughing Stock, as well as AnnieWhite Christmas42nd StreetMiss SaigonThe Producers, Les Misérables, MetamorphosesWest Side StoryRagtimeProof,PhantomCommunicating DoorsA Raisin in the SunDeath of a SalesmanThe Dining Room,Room ServiceInherit the WindLittle Shop of HorrorsPrivate Lives, Uncle Vanya, Scapino!,Born Yesterday, Rough Crossing and The Cripple of Inishmaan. Designs for the University of Utah’s Babcock Theatre include: On the VergeSummer and Smoke, The Cherry Orchard,School for Scandal, I Do! I Do!The Seagull, Table Manners and Edward II. For Salt Lake Acting Company, K.L. has designed RedboomAngels in AmericaGo, Dog. Go!, Dark PlayI Am My Own WifeRabbit HoleSexstingBad DatesGross Indecency, The Beauty Queen of Leenaneand The Beard of Avon among others. K.L. recently designed Infantry Monologues andShadows of the Bakemono for Meat & Potato Theatre Company, and has designed Ah! WildernessHay FeverThe MatchmakerFiddler on the Roof, Great Expectations: A New Musical and Les Misérables for the Utah Shakespeare Festival.

MICHAEL GILLIAM (Lighting Designer) Broadway credits include: Bonnie and ClydeBrooklyn,Big River and Stand-Up Tragedy. West End credits: Gershwin Alone. Off-Broadway: Mr. Joy,Striking 12Blue, End of the World Party, Zooman and the Sign and Menopause The Musical. National tours include Peter PanBrooklyn, Guys and Dolls and Big River. Regional: Arena Stage, The Globe Theatres, Mark Taper Forum, Seattle Repertory, The Goodman Theatre, The Guthrie Theater, The Pasadena Playhouse, The Geffen Playhouse, The Kennedy Center, Ford’s Theatre, Philadelphia Theatre Company, The Prince Music Theatre, Denver Center and Arizona Theatre Company.  Awards: Los Angeles Ovation Award, Drama-Logue Award, Garland Award and the 1999 Career Achievement Award from the Los Angeles Drama Critics Circle.

MATTHEW TIBBS (Sound Designer) Matthew is the Resident Sound Designer for Pioneer Theatre Company and Adjunct Faculty teaching sound design for the University of Utah. Recent sound designs for PTC include In the HeightsNext to Normal, and the world premier of Find and Sign. Matthew has previously worked for Great River Shakespeare Festival, Portland Center Stage, Artists Repertory Theatre, and Ensemble Theatre of Cincinnati. Matthew holds an M.F.A. in Sound Design from University of Cincinnati’s College-Conservatory of Music (CCM) and a B.A. from George Fox University.

AMANDA FRENCH (Hair and Makeup Designer) has been a Makeup and Hair Designer for over 20 years. She has worked for The Utah Shakespeare Festival, The Utah Opera, Egyptian Theatre Company, Montana Shakespeare in the Parks and the University of Texas at Austin. She is a contributing writer in the tenth edition of Stage Makeup by Corson, Glavan and Norcross, and her work can also be seen in The Costume Technicians Handbook by Ingham and Covey, and Wig Making and Styling: A Complete Guide for Theatre and Film by Ruskai and Lowery. She attended the College-Conservatory of Music at the University of Cincinnati where she studied with Hair and Makeup Designer Lenna Kaleva. She is a member of the United States Institute for Theatre Technology (USITT) and a current University of Utah instructor of wigs and makeup.



Content Advisory

Hello Dolly!

SYNOPSIS: Jerry Herman’s energetic Hello, Dolly! is a musical filled with charisma and heart. Matchmaker Dolly Levi is a widow, a matchmaker, and also a professional meddler –but everything changes when she decides that the next match she needs to make is to find someone for herself. Set in New York City at the turn of the century, Hello Dolly! is boisterous and charming from start to finish. Dolly Levi is one of the strongest and richest starring roles for a woman ever written for musical theatre.

LANGUAGE:  A few mild uses of  “damn.”

SMOKING AND DRINKING:  The characters sing of smoking although none is depicted, and wine and champagne are consumed during dinners.

SEX:  None.


FOR WHICH AUDIENCES?  Hello, Dolly! is suitable for all ages.


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