A Gentleman’s Guide to Love & Murder

UFOMT remains committed to informing audiences of specific content that might be disturbing or triggering to some patrons. This production may contain, but isn’t limited to, depictions of violence and war, mild adult intimacy, or mature situations/themes. Viewer discretion is advised.

Conductor Arthur Bosarge

Director/Choreographer George Pinney

Assistant Director/Choreographer Alyssa Weathersby

Set Designer Dennis Hassan

Projections Designer Michael Francis

Costume Designer Jess Wallace

Lighting Designer

John Mitchell

Associate Lighting Designer Willem Hinternhoff

Wig & Makeup Designer Melyssa Swensen

Sound Designer Bryan Richards

Cast

Monty Navarro

Stefan Espinosa

The Family D’Ysquith Curt Olds

Sibella Hallward Vanessa Ballam

Phoebe D’Ysquith Amy Owens

Miss Marietta Shingle Sarah-Nicole Cater

Lady Eugenia et al Tanya Roberts

Magistrate et al Blake Friedman

Tom Copley et al Charlie Tingen

Tour Guide et al Sharaé Moultrie

Inspector Pinckney et al Thomas Smith

Miss Evangeline Barley et al Trysten Reynolds

Associate Conductor/Chorus Master Matthew Stephens

Coach /Pianist Aaron Nash

Concert Master Carolynn Larson

Production Stage Manager Marisa Kilgallen

Assistant Stage Manager Lexie Secrist

Production Assistant Chris Vlamakis

Fight Coordinator

Stefan Espinosa

Act I

In the early 1900’s, Lord Montague “Monty” D’Ysquith Navarro, Ninth Earl of Highhurst, is in jail. He begins to write a memoir of his story. Two years prior, he was living in poverty with his mother when she passed away. A former servant of Monty’s mother, Miss Shingle, comes to visit during the mourning period and tells Monty that his mother was actually a member of the wealthy D’ysquith Family and had been disinherited when she married a Castilian named Navarro. Miss Shingle urges him to take his rightful place. At the same time, Monty is courting Sibella Hallward, but she refuses any serious commitment due to his lack of money. Monty tells her he is, in fact, a D’ysquith, but she says that eight people would have to die before he would get any money. Monty writes to the D’ysquith Family to see about reconnecting, only to be told not to contact them again.

What transpires over the next months is a series of accidental, circumstantial and purposeful deaths of seven members of the D’ysquith family, including Lord Reverend Ezekial D’Ysquith (a drunk who falls to his death), Asquith D’Ysquith, Jr. (skating accident), Henry D’Ysquith (excessive bee stings), Lady Hyacinth D’Ysquith (excessive travel), Lady Salome D’ysquith (bad acting and a prop gun accident), Lord Bartholomew D’Ysquith (weight-lifting accident), Lord Asquith D’Ysquith, Sr. (heart attack). Luckily for Monty, Miss Phoebe D’ysquith is not in the line of succession and he falls in love with her instantly when he realizes she doesn’t have to die for him to proceed. Their love causes great issue for Sibella who has since aquired a rich husband, but still longs for Monty. As Act I draws to a close, the current Earl of Highhurst, takes note that seven D’ysquiths have passed away, leaving him the last D’yquith standing before Monty would take the Earldom.

Act II

Monty and Sibella continue a torrid affair and she forbids him from marrying the sweet Phoebe. During an especially heated tryst, Phoebe arrives to announce she is ready to marry, throwing the household into farcical chaos.

Monty and Phoebe receive an invite to Highhurst so the current Earl, Lord Adlebert, can meet the next in line to the succession. Sibella has found a way to receive an invite herself and comes without her husband. At dinner, it is revealed that Miss Shingle works at Highhurst Castle herself. Monty makes a faulty attempt to poison Lord Adlebert’s food, but the Earl succumbs to poison placed in a glass of wine, leaving everyone in the castle as a suspect. Monty is arrested and a trial ensues. Any person from the dinner party is questioned. Both Sibella and Phoebe give testimony that, combined, would give cause for “reasonable doubt,” and Monty is released due to lack of incriminating evidence.

A guard at the jail finds Monty’s memoir, which would be proof he had killed many of the D’Ysquith family members. He returns the memoir to Monty without opening it. A traditional “happily ever after” begins, only to be stifled at the very end by an unknown D’Ysquith family member, Chauncy D’Ysquith, who claims he has “poison in his pocket” too.

July 8, 14, 20, 26m, 29, August 5m

Aida

COMPOSED BY GIUSEPPE VERDI

World Premiere: Khedivial Opera House, Cairo, December 24, 1871

Production Sponsored by:

Sung in German with English Supertitles

THERE WILL BE ONE 15–MINUTE INTERMISSION

UFOMT remains committed to informing audiences of specific content that might be disturbing or triggering to some patrons. This production may contain, but isn’t limited to, depictions of violence and war, mild adult intimacy, or mature situations/themes. Viewer discretion is advised.

The videotaping or other video or audio of this production is strictly prohibited.

Conductor Nichola Giusti

Director/ Choreographer John de los Santos

Dance Captain/Assistant Director Jordann Stoute

Set Designer Patrick Larsen

Projections Designer Sydney Sousa

Costume Designer Erin Carignan

Lighting Designer John Mitchell

Associate Lightin Designer Willem Hinternhoff

Wig & Makeup Designer Melyssa Swensen

Sound Designer Bryan Richards

Cast

Aida Carami Hilaire

Radamés Victor Starsky

Amneris Audrey Babcock

Ramfis Brandon Coleman

King of Egypt Christopher Job

Amonasro Thomas Cannon

A Messenger John Tibbetts

High Priestess Jasmine Ismail

Young Princes Lucas Rosario, Mason Rosario

Ensemble

Colin Anderson, Isabel Cossa, Annelise Burghardt, Jenna Grissom, Tamra Harkley, Paul Leland Hill, Hayden Höglund, Victoria Isernia, Jasmine Ismail, Melina Jaharis, Benjamin Krutsch, Layton Loucks, Timothy McGowan, Langelihle Mngxati, Victoria Okafor, Alexandria Orr, Jamie Powell, Michael Rick, Olivia Rominiyi, Maisah Outlaw, Caleb Sager, Matthew Soibelman, Andy Stoner, John Tibbetts, Malachi Watson, Devin Wieser

Associate Conductor/Chorus Master

Coach /Pianist

Concert Master

Stage Manager

Assistant

Stage Manager

Production Assistant

Fight Coordinator

Chloe Kim

Amy Glenn

Amanda Nix

Rachel Dane

Megan Ross

Crystal Espinoza

Stefan Espinosa

Ancient Egypt, during the reign of the pharaohs. The high priest Ramfis tells the warrior Radamès that Ethiopia is preparing another attack against Egypt. Radamès hopes to command the Egyptian army. He is in love with Aida, an enslaved Ethiopian woman, and he believes that victory would enable them to marry. But Princess Amneris loves Radamès, and she senses his feelings for Aida. The king names Radamès to lead the army. Left alone, Aida is torn between her love for Radamès and loyalty to her country, where her father, Amonasro, is king. In the temple, the priests consecrate Radamès, and Ramfis orders him to protect the homeland.

Ethiopia has been defeated, and Amneris awaits Radamès’s return. When Aida approaches, Amneris attempts to learn her feelings. Aida’s reactions leave no doubt that she loves Radamès. Amneris, certain she will be victorious, leaves for the triumphal procession.

The king and Amneris crown Radamès with a victor’s wreath. Captured Ethiopians are led in. Among them is Amonasro, who signals his daughter not to reveal his identity. Radamès asks for the prisoners to be freed. The king grants his request but keeps Amonasro in custody. The king declares that Radamès will have Amneris’s hand in marriage.

On the eve of the wedding, Ramfis and Amneris enter a temple on the banks of the Nile to pray. Aida, who is waiting for Radamès, is lost in thoughts of her homeland. Amonasro appears and coerces Aida to find out the Egyptian army’s plans from Radamès. Amonasro hides as Radamès arrives and assures Aida of his love. Aida asks him about his army’s plans, and just as he reveals the secret, Amonasro emerges. When he realizes Amonasro’s identity, Radamès is horrified by what he has done. Ramfis and Amneris step out of the temple. Amonasro and Aida are able to escape, but Radamès surrenders.

Radamès awaits trial. Amneris offers to save him if he renounces Aida, but he refuses. When he is brought before the priests, he is condemned to be buried alive. Amneris begs for mercy, but the judges are unwavering.

Aida has hidden in the vault to share Radamès’s fate. They express their love for the last time while Amneris prays in the temple above.

July 12, 15, 20m, 27m, August 3

NED ROREM’S OUR TOWN

Composed by Ned Rorem

Based on the play by Thornton Wilder

Production Sponsored by:

World Premiere: Indiana Univeristy Opera Theatre, February 25, 2006

Utah Premiere: Utah Festival Opera & Musical Theatre, Logan, UT 2023

Sung in English with English Supertitles

15 MINUTE INTERMISSION BETWEEN ACT II AND ACT III

Presented in arrangement with Boosey & Hawkes, Inc., publisher & copyright holder

UFOMT remains committed to informing audiences of specific content that might be disturbing or triggering to some patrons. This production may contain, but isn’t limited to, depictions of violence and war, mild adult intimacy, or mature situations/themes. Viewer discretion is advised.

The videotaping or other video or audio of this production is strictly prohibited.