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September 08, 2021 News » Cover Story

The Arts Issue 2021 

Utah arts groups rev up to find a new normal

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As was the case for a lot of things in 2020, our annual City Weekly Arts Issue didn't happen. It proved pretty impossible for us to preview what would be taking place in the Utah arts scene when there was no way to be sure what could be taking place—where it could be happening, how people could be watching, etc. And if it was impossible for us, imagine what it was like for the organizations and creators in the arts community themselves.

Nobody is operating under the delusion that we're back to "normal," but the 2021 City Weekly Arts Issue is in some ways all about how the local arts community managed to survive 18 months of complete chaos and what that community looks like from where we stand now.

We talked to local arts leaders about how organizations adapted and the tools they were able to use to allow them to even consider a 2021-2022 arts season. The King's English Bookshop founder Betsy Burton talks about how the pandemic shaped her decision to retire. We offer some "must-see" items to remind you of the unique parts of the Utah art scene that you should experience now and that you shouldn't take for granted that they'll always be there. For those ready to support the community however they can, we've included a calendar of upcoming performing arts productions. (A directory to local art galleries and museums is available on the following pages.)

We're still not sure what the rest of 2021 will bring, but we know that 2020 taught us how much we should value the arts community we have in Utah. Here's to them, and to the creative spirit that lets us believe they're never leaving us.

Scott Renshaw
Arts & Entertainment Editor

The Living Traditions festival adopted a multi-venue format for its 2021 event - TRISTAN SADLER
  • Tristan Sadler
  • The Living Traditions festival adopted a multi-venue format for its 2021 event

State of the Arts
A look from the top at 18 tumultuous months of adaptation and survival.
By Scott Renshaw

It already feels like an eternity ago, but there was a moment there—in the late spring of this year—when it felt like a corner had been turned. Events calendars that had been empty or filled with virtual events suddenly started to promise festivals, performances and other ways to appreciate the arts live and in person again. After more than a year, we saw a light at the end of the tunnel. And then that light turned out to be the lamp on a runaway train called the Delta variant.

The ongoing uncertainty about what to expect a few months or even a few weeks down the road now feels like a part of life for all of us, and the Utah arts community has faced unique challenges in figuring out how to invite patrons back safely in the face of rising case counts and confusing, counterproductive or unenforceable rule-making at various levels of government. But through it all, these organizations keep moving forward, surviving on a combination of crucial funding support and creative thinking.

As we reach a milestone 18 months into the COVID-19 pandemic, leaders of local arts organizations and government arts entities are able to reflect on a time of ever-evolving plans and rapid pivots to remain vital and relevant. Where the state of the arts in Utah might have seemed precarious not too long ago, these voices now paint a picture of cautious optimism for a community that has always shown a passion for supporting the arts.

Memories of March
In March 2020, after weeks of uncertainty, the world as we knew it took a radical turn as the lockdown period commenced, and most Utah businesses—including artistic and cultural venues—closed their doors. Throw in an earthquake just a few days later, and the sense of instability only became more pronounced.

"We started, and we stopped, and we started, and we stopped, and we started again," recalls Felicia Baca, director of the Salt Lake City Arts Council. "When we left the office, we put some voicemail reminders on and said, 'We'll be back in two weeks,' and none of us really knew what was coming."

Like a lot of people, Vicki Bourns—director of the Utah Division of Arts & Museums—also thought that the shutdown period would be short-lived.

"Early on, I was optimistic, thinking this would be over by fall of 2020," she says. "Things shifted, and we realized that wasn't going to happen. We made some strategic decisions about not meeting in person, so we wouldn't be spinning our wheels planning something, then having to pull back."

Bourns adds that the earthquake delivered a double whammy to the tremendous challenges involving the state's own art collection, including damage to storage facilities. "It was a tense and stressful time," Bourns says. "We have a way of storing the art, and they all collapsed. Paintings were like dominos against the wall. It took us a while to get in and figure out what was going on."

All organizations faced the uncertainty of the new disease, including lack of definitive information about what activities and behaviors were most dangerous, and what it would take to return to "normal." But at the governmental level, groups began working together on solutions in a way that the participants describe as immediate and nearly unprecedented.

"We immediately joined in with our partners around the state," Bourns says, "and for a while did a weekly call to try to share information, whatever resources we knew."

"What really stands out for me," Baca says, "is that probably more than any time I've experienced in my career, a number of organizations and governments and individuals came together in a really collaborative way to solve these challenges. Despite physical distance and working from home, I've seen my peers and colleagues more than I ever have."

Thinking Differently
If the earliest days of the pandemic were spent focusing on what people shouldn't do, the ensuing weeks for arts organizations became a test of figuring out what they could do. If they couldn't gather audiences in a theater, could they do it virtually? If they couldn't perform inside, could they do it outside? And could arts organization employees apply their skills to different notions, like Pioneer Theatre Co.'s costume shop creating masks from archived costumes?

"I was so impressed with all of the groups we worked with," Bourns says. "They all did such an incredible job. ... All of the dance companies—Ballet West, Ririe-Woodbury, Tanner Dance and more—started to stream performances, but also dance classes and interactive activities. We actually learned that sometimes performing virtually allowed more access. As much as we love to meet in person, our state is so large. Having some trainings and classes and workshops allowed us to have more people participate."

Baca notes that the long-running Living Traditions Festival adapted by moving its typical annual event—held in a single location at the Salt Lake City & County Building—to multiple venues around the valley, in addition to creating the "Living Legacy" series of online videos. Like many of the innovations necessitated by the pandemic, Baca believes this can have an ongoing positive impact on the cultural community groups that they serve.

"A lot of those communities may not have digital or promotional assets for their food truck or their community nonprofit or dance group," she says, "so it became not only documentation for future generations, but an important tool for, essentially, promoting the small businesses that artists are."

Derek Dyer, director of the Utah Arts Alliance, also believes that the pandemic provided an opportunity for new creative thinking, even though different kinds of organizations faced different kinds of challenges with such adaptation.

"It may be easier for smaller or mid-size organizations to pivot a little more," Dyer says. "If you've been doing the same thing for half a century, it might be a little harder to change direction. ... But figuring out new ways to be able to connect with the community is only going to be good for the community going forward. Like thinking of alternative venues—we're going to use a parking lot, or a drive-in, or whatever. That doesn't need to end when COVID ends. A theater group can think, 'We don't necessarily need to spend $10,000 on a venue for this play; let's go to a park.'"

Public  funding through Zoo, Arts & Parks helped keep doors open - COURTESY PHOTO
  • Courtesy Photo
  • Public funding through Zoo, Arts & Parks helped keep doors open

Staying Alive
As much as organizations and individuals were able to come up with some innovative ways to keep creating, they still faced tremendous financial pressures from the inability to operate normally. Those pressures took varying forms, from the loss of admissions revenue during closures to the additional costs that some venues incurred once they began operations again.

"Zoological organizations and botanical gardens were among the first allowed to open," Bourns says, "and even though they had to reduce their capacity, it actually took more people to safely sanitize and ensure proper distancing. Even though they were allowed to open, they lost so much money, because they needed so much stuff to get people through their facilities."

Among the keys to keeping organizations solvent was the funding at the federal level through the 2020 CARES Act and 2021 American Rescue Plan (ARP), which was administered through the state. According to Laurel Cannon Alder, grants manager for the Utah Division of Arts & Museums, more than $26 million was disbursed at the state level to roughly 150 organizations and 800 individual artists. And that funding was able to get into the right hands with surprising efficiency.

"We were one of the first state agencies to have allocations from the state Legislature to fund impacted organizations," Alder says. "It usually takes us months to plan for and open a grant, but we were able to work exceptionally quickly to get money where it was needed."

"We had this large wave of emergency funding," Baca says, "and we thought, 'We're going to develop rubric and criteria, make the application process easy so that people can access what they need.' ... At a time when swiftness was important, we were really able to expedite payments, and we were able to do it as teams that might really never have worked together before."

"We did see in the early days that the need outweighed the demand," Baca adds, "and that's still the case. ... While we know that demand exceeded what there was, we're all seasoned grant-makers. That's something we've done before. But it's still hard, still instances where there wasn't enough to go around."

In addition to the emergency funds provided by the federal and state governments, many local arts organizations also benefited from the stable source of revenue provided by the Salt Lake County Zoo, Arts & Parks (ZAP) program. ZAP director Kirsten Darrington says that in 2020, nearly $19 million was provided to 220 recipients.

"We were holding our breath at the beginning of 2020, [expecting] we'd see a big hit to the revenue stream," Darrington says. "But our program did much better than others; we were pretty flat, which was a huge sigh of relief for our grantees."

Darrington says that while the ZAP program is not completely unique nationwide—similar funding structures exist in cities like Denver, and in communities in Pennsylvania and Ohio, for example—it's a relatively uncommon type of public funding source for local arts organizations. And its importance to the recipients is something that Darrington was extremely aware of over the past year.

"What has been most surprising to me," she says, "is hearing from different sizes of organizations—whether it's a multimillion-dollar organization or one that's all volunteer. It was, 'We could keep our doors open because of ZAP, we didn't have to lay anyone off.' ... I kept thinking, 'Oh, we're going to see people close their doors.' But I haven't been hearing that."

All the world was a stage for scaled-back performances - COURTESY PHOTO
  • Courtesy Photo
  • All the world was a stage for scaled-back performances

"Plan A, B, C and D"
Surviving financially has been challenging enough over the past 18 months. A different kind of challenge emerged, however, from the inability to make plans that would make sense a few weeks down the road. Whether it was from the earliest realizations that this wouldn't just be a shutdown of a few weeks, to the troubling COVID-19 spike resulting from the Delta variant, to shifting public health guidelines, the idea of "long-range planning" has begun to seem almost comical.

"For us, having to already go through 2020 with COVID and having to pivot," Dyer says, "we've had to have plan A, B, C and D, wherever we are in the moment. Everyone postponed events until the fall, so now everyone's competing for the same events for the same audience. It's frustrating for everyone. You're having your 20,000 person festival the same weekend as another one? Maybe you only get 10,000.

"One of the things that was frustrating to me was, come the spring, we went from like zero to 100 [percent] overnight, rather than kind of baby-step towards recovery," Dyer adds. "The flood waters were released in the spring. For our organization, we still kind of tried to pull back and keep some precautions in place."

"Planning is much more difficult, because we are still living in uncertain times," Bourns says. "What we're planning for is, it's easier to plan for smaller events. I think what I'm hearing or seeing is that masks are starting to be required in theaters again. We're planning to continue to do things either in a hybrid or virtual model as we move forward."

"It's, of course, challenging," Baca notes, "but I feel like we have acclimated in a way, where our expectations for a week-to-week period are very real. ... The name of the game is responsiveness. If you feel that you're helping, or making someone safe or making sure someone gets paid, you're driven to do that."

Film fans attend an outdoor screening from the Utah Film Center - COURTESY PHOTO
  • Courtesy Photo
  • Film fans attend an outdoor screening from the Utah Film Center

Prognosis Positive
In the midst of such uncertainty and pain—both physical and fiscal—it's understandable that emotions can fluctuate almost as much as the conditions of the pandemic itself. There have been periods of optimism that seem to be followed almost immediately by shifts to greater concern. So where does the Utah arts community find itself not just after this particular 18-month leg of the COVID journey, but looking toward the future?

It's certainly true that organizations and individual artists have felt the impact of the pandemic, in ways as varied as their fields—and that the cancellation of arts events impacts parts of the community beyond the artists themselves.

"There are different parts of the arts community that may be struggling more than others," Baca says. "An art gallery for a visual artist is very different from a promoter of a concert. As a state, and by the numbers, we did better than other states. But we still have artists who are struggling. And there is a trickle-down. People who go to a Twilight Concert spend on dinner, a babysitter, public transit—so there's an economic ripple effect."

For most of the local leaders however, including Baca, the picture is relatively optimistic, in large part due to the way arts organizations have almost always had to deal with big challenges to their existence.

"Most of us struggle with something or another constantly, whether it's funding or locking down permits," Dyer says. "We're always running into impossible obstacles and hurdles. It's just part of the job. A lot of us in the arts are artists, too, so using that creative problem-solving process has helped a lot in this sector."

Bourns adds, "What's really incredible is our resilience. It's been hard. There have been times it's been really hard. But we have pulled ourselves together, we've done what we've needed to do. We've pushed through. It shows the discipline in our fields. It's really helped us to be resilient—rehearsing every day, even if you don't feel like rehearsing. We've internalized that ethic."

Darrington offers a similar sentiment, one that underlines the notion of artists not just as creative problem-solvers, but as survivors: "One of the amazing things to me is that there never was a sense of, 'We're giving up.' It was, 'Let's find a way through this.' That sense of resilience is so baked into the arts and nonprofit community, that if anyone could make it through, it would be them."

Betsy Burton welcomes a new generation of booksellers - COURTESY PHOTO
  • Courtesy Photo
  • Betsy Burton welcomes a new generation of booksellers

English Lesson
Betsy Burton on running The King's English through the pandemic and her decision to retire.
By Scott Renshaw

This summer, Betsy Burton retired from and sold The King's English Bookshop after more than 40 years in operation. She was generous enough to respond via email about the store's history, and her future plans.

City Weekly: Did the challenges of the past 18 months ultimately convince you that now was the right time to retire?
Betsy Burton: I was already thinking of retiring—was well past 70 and looking for someone to buy in—when COVID raged into our lives and suddenly all we could think of at TKE was survival.

Many of us chose to stay home because they or family members were at high risk, and we closed our doors to the public. Those of us who felt safe going in with masks found ourselves working in a new environment—a book warehouse.

We took orders by internet and phone, our customers were amazingly steadfast, and we scraped by for several months. But business slowly dwindled, and survival became a real issue.

In August, things were desperate enough that we sent out a plea to our customers—at which point we received so many internet orders, we were completely inundated. Our customers' loyalty literally saved us. (Although, the sheer volume of their orders nearly killed us, too. Not that we're complaining!)

We're open again, thank God, and business is nearly back to normal. Oh, we still wear masks, we keep the doors open and the fans going, our events are mostly virtual, but The King's English Bookshop feels much like its old self again.

And to (finally) answer your question, this experience, as bracing as it was, signaled to me that it was truly time to retire. However necessary, I didn't like life as a warehouse worker. And the digital world is one I've entered only unwillingly. A new generation can do the work of the book business far more gracefully than I. So, the decision was a relief.

How did you get into bookselling in the first place?
A friend and I were renting the two rooms which are now the fiction and poetry rooms and working on bad novels. To put off the work at hand, we started dreaming about opening a bookstore with chairs and little rooms where we would serve tea and encourage browsing and talking about books. It seemed like such a good idea, we did it.

Best TKE memories you'll take with you?
One of the early ones was buying the building. Our landlord kept asking me out—I didn't want to go, but by then, my partner and I were so in love with the store that I didn't know what to do. So, I mortgaged my house and bought the building. Extreme, but it turned out to be a good business decision. In the '90s when the chains came and gobbled everything up so that rents skyrocketed, ours didn't. And to think I did it to get out of a date!

Chief among my memories are the years spent talking about books with customers, colleagues and fellow booksellers. And, of course, the events: midnight Harry Potter parties, writers from E.L. Doctorow to Margaret Atwood, Ivan Doig to Kent Haruf, Abraham Verghese to Isabel Allende, Anthony Doerr to Richard Powers. Just writing their names is an incantation of magic.

The online era has radically changed the marketplace for books. Why do independent bookstores remain important?
We've learned to participate in the online marketplace, and after a rocky start, we're up and running effectively. I believe any business needs to do both to be successful in today's world.

But it's the physical bookshop and the books and booksellers inside it that matter. The carefully selected inventory and the staff—all passionate about books, knowledgeable, in love with our customers and each other—make TKE what it is. We are a community, and very much a part of our greater community. On 9/11, we were swarmed—not with people in search of books but with people who needed a place to find others to talk to. To find solace. Community.

How did your customers and staff make it possible to keep going during COVID?
I already answered this question above, but I'd like to add my gratitude to our customers everywhere. I will never forget that outpouring of support, people offering money, emailing, calling, donating monthly until we were back on our feet! I knew people loved the store but had no idea of the depth of their feelings. When I talk about it, I start crying.

And the staff. Tireless, dedicated in ways I couldn't begin to describe. What became clear to me, if I hadn't already known it, is that this isn't my store at all. It is their store.

What's next for you as you change gears?
The good news is, I've found someone wonderful to buy my share of the store. Calvin Crosby is experienced, kind, knowledgeable, literary, creative. What's more, he's a joy to be around! So, I can rest easy on that front. And I do enjoy putting words on a page, so I think I'll write another book. Not about the bookstore this time, that I do know. But for now, that's all I know. I'll continue editing The Inkslinger (the store's quarterly newsletter). That's my baby, and I'm not ready to give it up. But otherwise, what I most want is time just to be. And to read, of course.

Mural stroll: “Sanacion A Madre Tierra” - by RootsArtCollective located at Mr. Muffler - 107 W. 2100 South - THEMURALFEST.COM
  • Mural stroll: “Sanacion A Madre Tierra”by RootsArtCollective located at Mr. Muffler107 W. 2100 South

My Must-Sees
Don't wait too long to check these local art classics off your bucket list.
By Benjamin Wood

Remember the beginning of summer, when it felt like everything we Salt Lakers love was coming back for good after a COVID-imposed shutdown? The Delta variant and the shrugging indifference to human suffering displayed by our elected leaders put an end to that kind of optimism, but hope—as they say—springs eternal.

As we have all been newly reminded that life is fragile and time waits for no one, here's a few of my suggestions for taking in the local arts scene while you still have the opportunity.

Want to add to my list? Send your arts "must-sees" to

Red Butte Garden Outdoor Concert Series
Sure, most of us who attend a concert at Red Butte are relegated to the cheap seats—if you can get a ticket at all—but it's still hard to beat the venue's bring-your-own-blanket lawn seating and bring-your-own-beer hospitality. With the Wasatch mountains on one side and the setting sun on the other, it's no surprise that organizers regularly pull in big-name acts as they tour the country, as well as showcase the Utah Symphony orchestra (tip: those performances are often the least expensive on the Red Butte roster—and some of the last to sell out).

South Salt Lake Mural Walks
The greater Salt Lake area is blessed with an abundance of excellent street art (tip: check out runner and mural-mapper Bryant Heath's @slsees Instagram account), but South Salt Lake has taken things to another level with its annual Mural Fest. The event—its fourth was held last spring—sees 10 pieces commissioned by the city each year, all clustered in the vicinity of South Salt Lake's burgeoning brewery row. The past years' walking routes, or a full Google map of the city's murals, are available at Grab a beer or two while you check it out.

Anthony's Fine Art and Antiques
From Eric Biggart, who suggested this item: "There is no reason Anthony's should exist in Salt Lake City, but it does, and we are all better for it. Anthony's is three stories of world-class European, American, Utah and Asian art, furniture and decorative pieces. They are truly unparalleled in their mastery and knowledge, so every visit is a learning experience. If you are fortunate enough to purchase a piece for your home, congratulations!—you have a conversation starter for the rest of your life. There may only be a handful of galleries on this side of the pond that compare in quality, scale and just plain old awe." More information at

Gilgal Sculpture Garden
No list of quintessential SLC art spaces is complete without mentioning Gilgal, the collection of bizarre Latter-day-Saint-themed sculptures tucked away off 500 South just east of Trolley Square. The infamous Joseph Smith sphinx is the marquee attraction, but there's considerably more to see throughout the garden and plenty of quiet corners to take a break away from the bustle of Salt Lake City's larger, more visible parks. (Tip: If you've already been to Gilgal, other sculptures noted by readers included the UFO missionaries on 300 South, the cats at Steenblik Park and the sugar beets in and around Hidden Hollow)

Ballet West
There's a reason Utah's own Ballet West is among the most widely recognized and renowned dance companies in the country. After almost 60(!!) years in operation, Ballet West is as impeccable as ever, expanding its reach into film and television projects and maintaining a seemingly nonstop performance schedule. That the company performs in the historic Capitol Theatre—a bucket list venue in its own right—is just icing on the cake.

(Tip: Salt Lake is home to a wealth of live dance performances. Among numerous regional and community dance companies, there are standouts like Ririe-Woodbury Dance Co., Repertory Dance Theatre, Odyssey Dance and the University of Utah's Marriott School of Dance, which showcases the work of university students and faculty.)

Late Nights at the Tower Theatre
COVID put the brakes on the Salt Lake Film Society's annual Summer Late Nights series, a funky collection of cult classics, experimental horror and other genre fare that play to an equally funky crowd through the wee hours of the morning. But the Film Society's brick-and-mortar venues—Broadway Centre Cinemas and Tower Theatre—are scheduled to reopen this fall, just in time for January's Sundance Film Festival, which is planning to host in-person screenings again after an online-only event last year. Keep an eye out for special SLFS screenings after October, as well as the titles in Sundance's grab-bag "Midnight" category, which fit the Tower like a glove.

Utah Museum of Fine Arts
Museums are often on the lists of places to visit when a person travels but are sometimes neglected by the folks at home. If you fit that category, then it's high time you made a point to patronize the state's flagship art space. Even if you've been before, Utah Museum of Fine Arts' rotating collections mean there's always something new to see, like the "Space Maker" exhibit on display from now through December. The collection—composed of work by University of Utah faculty—features a variety of media, and explores the myths and histories that shape our experiences of the world around us. (Tip: Looking for more things to do? Visit for online listings of galleries and museums. Keep reading for local performance calendars.)

The Show Must Go on!
Utah Performing Arts Calendar 2021-22

Schedules subject to change due to evolving pandemic conditions.

Ballet West & Ballet West II
Oct. 22-30: Dracula
Nov. 5-6: The Little Mermaid
Dec. 4-26: The Nutcracker
Feb. 11-19: Romeo & Juliet
April 1-9: Carmina Burana / Glass Pieces
May 11-15: Choreographic Fest V

Broadway at the Eccles
Oct. 26 – Nov. 13: Disney’s Frozen
Nov. 30 – Dec. 5: Mean Girls
Dec. 28 – Jan. 23: Hamilton
Feb. 15-20: Anastasia
March 15-20: The Band’s Visit
May 10-15: Jesus Christ Superstar
June 14-19: Charlie and the Chocolate Factory
Aug. 2-7: Hadestown
Sep. 6-11: To Kill a Mockingbird

Egyptian Theatre Co., Park City
Sept. 10-19: 9 to 5—The Musical
Oct. 29-31: Evil Dead Film Fest with Bruce Campbell
Nov. 12-27: Monty Python’s Spamalot
May 19-29: Pump Boys and Dinettes

Good Company Theatre
Sept. 16 – Oct. 3: Fremont Jr. High is NOT Doing Oklahoma!
Nov. 4-21: Heartbreakers in Hell
Jan. 13-30: Two Character Play
March 24 – April 10: Man and Moon
May 5-22: it’s not a trip, it’s a journey

Hale Centre Theatre, Sandy
Through Oct. 23: The Secret Garden
Sept. 13 – Nov. 20: The Mousetrap
Nov. 8 – Jan. 8: Chitty Chitty Bang Bang
Nov. 29 – Dec. 27: A Christmas Carol
Jan. 10 – April 2: One for the Pot
Jan. 29 – March 19: Treasure Island
April 18 – June 18: The Light in the Piazza
June 15 – Aug. 13: Singin’ in the Rain
June 27 – Aug. 27: Silent Sky

Live at the Eccles
Sept. 12: Bill Maher
Sept. 16: Armchaired & Dangerous Live
Sept. 25: The Last Podcast on the Left
Sept. 26: Bianca Del Rio
Oct. 14: Tom Segura
Nov. 17: David Sedaris
Nov. 19: Hasan Minhaj
Nov. 20: Alton Brown
Nov. 21: Cirque Musica Holiday Spectacular

Live at the Eccles
Dec. 14: Mystery Science Theater 3000 Live
Jan. 29: Fran Lebowitz
Feb. 26: Jo Koy
March 4-6: Riverdance
March 7: Neil deGrasse Tyson
March 22: Trixie and Katya Live
March 28-29: Carol Burnett
April 9: #IMomSoHard
May 5: Whose Live Anyway

Odyssey Dance
Sept. 20 – Oct. 30: Thriller
Dec. 17-23: It’s a Wonderful Life

Pioneer Theatre Co.
Sept. 10-25: Ain’t Misbehavin’
Oct. 22 – Nov. 6: Ass
Dec. 3-18: Elf: The Musical
Jan. 14-29: A Messenger
Feb. 25-March 12: Something Rotten
April 1-16: Fireflies
May 13-28: Hello, Dolly!

Plan-B Theatre Co.
Oct. 29: Radio Hour: Sleepy Hollow
Feb. 17-27: The Clean-Up Project
April 7-17: Aftershock
June 9-19: Mestiza, or Mixed

Pygmalion Theatre Co.
Oct. 8-23: Tragedy Averted
Feb. 11-26: Bella Bella
May 6-21: Body Awareness

Repertory Dance Theatre
Sept. 30 – Oct. 2: North Star
Nov. 18-20: Compass
Jan. 7-8: Emerge
March 5: Regalia
April 21-23: Six Songs from Ellis

Ririe-Woodbury Dance Co.
Sept. 16-18: Total Ellipse
Jan. 26-29: Fill in the Blank
April 27-30: Lo and Behold

Salt Lake Acting Co.
Sept. 29 – Oct. 31: Four Women Talking About the Man Under the Sheet
Dec. 3-30: Elephant & Piggie’s ‘We Are in a Play!’
Feb. 2 – March 6: Egress
April 6 – May 15: Passing Strange
July 13 – Aug. 21: SLC Cabaret 2022

Sting & Honey Theatre Co.
Sept. 10-25: Waiting for Godot
Dec. tbd: This Bird of Dawning

Now – Oct. 21: The Count of Monte Cristo
Now – Oct. 22: School of Rock
Now – Oct. 23: Beauty and the Beast: The Musical
Nov 26 – Dec. 22: A Christmas Story

Utah Opera
Oct. 9-17 The Barber of Seville
Jan. 15-23 Flight
March 12-20 Tosca
May 7-15 The Pirates of Penzance

Utah Shakespeare Festival
Through Oct. 9: Cymbeline
Through Oct. 9: The Comedy of Terrors
Through Oct. 9: Intimate Apparel
Through Oct. 9: The Pirates of Penzance
June 20 – Sept. 8: All’s Well That Ends Well
June 21 – Sept 9: Sweeney Todd
June 22 – Sept. 10: King Lear
June 23 – Oct. 8: The Sound of Music
June 24 – Sept. 9: Trouble in Mind
June 25 – Oct. 8: Clue
July 12 – Oct. 8: The Tempest

Utah Symphony
Sept. 9-10: Films in Concert: Star Wars: Return of the Jedi
Sept. 16-18: Hilary Hahn plays Brahms
Sept. 24-25: Stravinsky & Rachmaninoff
Oct. 21-23: Brahms 4, Verdi & Rota
Oct. 29-30: Films in Concert: Back to the Future
Nov. 2: Salute to Youth
Nov. 5-6: Brahms Piano Concerto No. 1
Nov. 12-13: Pink Martini
Nov. 18-20: Tchaikovsky 4, Arlene Sierra & Prokofiev
Nov. 27-28: Messiah Sing-In
Dec. 3-4: Mendelssohn’s Violin Concerto
Dec. 10-11: Ingrid Fliter plays Chopin’s Piano Concerto No. 2
Dec. 16-18: Holiday Pops starring Jodi Benson
Dec. 18: Here Comes Santa Claus
Dec. 21-22: Films in Concert: Home Alone
Jan. 7-8: Walker, Grieg & Stravinsky
Jan. 27-29: Rachmaninoff, Honegger & Nathan Lincoln de Cusatis
Feb. 3-5: Ravel, Liszt & John Adams
Feb. 11-12: Bravo Broadway! A Rodgers & Hammerstein Celebration
Feb. 18-19: Daniel Lozakovich plays Tchaikovsky’s Violin Concerto
Feb. 24-26: Films in Concert: Harry Potter and the Half-Blood Prince
March 3-5: Louis Schwizgebel plays Mozart’s Piano Concerto No. 12
March 17 & 19: Carnival of the Animals with Children’s Dance Theatre
March 24-26: Beethoven 6, Sibelius & Buxtehude
April 8-9: Hilary Hahn plays Ginastera and Serasate
April 15-16: Haydn 11, Arlene Sierra, Nielsen & Elgar
April 21-23: Cirque de la Symphonie
April 28-30: Steven Osborne plays Rachmaninoff’s Piano Concerto No. 2
May 20-21: Messiaen, Smetana & Sibelius 2
May 27-28: Beethoven’s Violin Concerto, Messiaen & Ravel

Wiseguys Gateway
Sept. 10-11: Sean Patton
Sept. 16: The Dollop
Sept. 17-18: Roy Wood, Jr.
Sept. 21: The Minimalists
Sept. 23-25: Jon Lovitz
Sept. 26: Aaron Woodall
Oct. 1-2: Shayne Smith
Oct. 8-9: David Spade
Oct. 12: Jeff Allen
Oct. 14: Cameron Esposito
Oct. 21: Garrett Gunderson
Oct. 22-23: Gary Gulman
Nov. 13-14: Kristina Kuzmic
Nov. 19-20: Felipe Esparza
Nov. 26-28: Christina P


Make the Scene
Visit a local art gallery or museum to see who is leaving their mark on Utah.

Salt Lake City

15th Street Gallery
1519 S. 1500 East, SLC

A Gallery / Allen+Alan Fine Art
1321 S. 2100 East, SLC

Alpine Art
430 E. South Temple, SLC

Anthony’s Fine Arts and Antiques
401 E. 200 South, SLC

60 Exchange Place, SLC

Commerce and Craft
1950 S. 1100 East, SLC

David Dee Fine Arts
1709 E. 1300 South, SLC

David Ericson Fine Art
410 E. 3rd Ave., SLC

Evergreen Framing Co. and Gallery
3295 S. 2000 East, SLC

F. Weixler Co.
132 E St., SLC

Finch Lane Gallery / The Art Barn
54 Finch Lane, SLC

Hope Gallery of Fine Art
151 S. Main, SLC
801- 532-1336

Horne Fine Art Gallery
142 E. 800 South, SLC

Lanny Barnard Gallery
602 E. 500 South, No. 1, SLC

Local Colors of Utah
1054 E. 2100 South, SLC

Modern West
412 S. 700 West, SLC

Natural History Museum of Utah
301 Wakara Way, SLC

Petersen Art Center
1025 E. 2100 South, SLC

Phillips Gallery
444 E. 200 South, SLC

Relics Framemakers & Gallery
4685 S. Holladay Blvd, SLC

Rio Gallery
300 S. Rio Grande Street, SLC

Southam Gallery
152 S. Main, SLC

Trolley Art and Antique
600 S. 700 East, SLC

Urban Arts Gallery/Utah Arts Alliance
116 S. Rio Grande St., SLC

Utah Museum of Contemporary Arts
20 S. West Temple, SLC

Utah Museum of Fine Arts
410 Campus Center Drive, SLC

Williams Fine Arts
132 E St., SLC

Park City

David Beavis Fine Art
314 Main St., Park City

J GO Gallery
268 Main St., Park City

Julie Nester Gallery
1280 Iron Horse Drive, Park City

Kimball Art Center
1251 Kearns Blvd., Park City

Lunds Fine Art Gallery
591 Main St., Park City

364 Main St., Park City

McMillen Fine Art Photography
505 Main St., Park City

Meyer Gallery
305 Main St., Park City

Montgomery-Lee Fine Art
608 Main St., Park City

Mountain Trails Gallery
301 Main St., Park City

Old Towne Gallery
580 Main St., Park City

Park City Fine Art
558 Main St., Park City

Rich Haines Gallery
751 Main St., Park City

Summit Gallery
675 Main St., Park City

Southwestern Expressions
312 Main St., Park City

Susan Swartz Studios
260 Main St., Park City

Weber/Davis County

Bountiful Arts Center
90 N. Main, Bountiful

Eccles Art Center
2580 Jefferson Ave., Ogden

Gallery at the Station
2501 Wall Ave., Ogden

Gallery 25
286 25th St., Ogden

The Local Artisan Collective
2371 Kiesel Ave., Ogden

The Monarch
455 25th St., Ogden

Utah County

Brigham Young University Museum of Art
Campus Drive, Provo
801 422-8287

Springville Museum of Arts
126 E. 400 South, Springville

Woodbury Art Museum
240 W. 1800 South, Orem


Cache Valley Center for the Arts
43 Main St., Logan

Nora Eccles Harrison Museum of Art
650 N. 1100 East, Logan

Southern Utah

Illume Gallery of Art Fine Art
29 W. 200 North, St. George

Moab Arts Center
111 E. 100 North, Moab

The Torrey Gallery
160 W. Main, Torrey

Worthington Gallery
789 Zion Park Blvd, Springdale

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