Production Stage Manager
Assistant Stage Manager
TONY KUSHNER Plays include A Bright Room Called Day; Angels in America, Parts One and Two; Slavs!; Homebody/Kabul; Caroline, or Change, a musical with composer Jeanine Tesori; and The Intelligent Homosexual's Guide To Capitalism And Socialism With A Key To The Scriptures. He wrote the libretto for the opera A Blizzard on Marblehead Neck, also with Ms. Tesori. He has adapted and translated Pierre Corneille's The Illusion, S.Y. Ansky's The Dybbuk, Bertolt Brecht's The Good Person of Sezuan and Mother Courage and Her Children; and the English-language libretto for the opera Brundibár by Hans Krasa. He wrote the screenplays for Mike Nichols' film of Angels In America, and Steven Spielberg's Munich. His books include Brundibar, with illustrations by Maurice Sendak; The Art of Maurice Sendak, 1980 to the Present; and Wrestling With Zion: Progressive Jewish-American Responses to the Palestinian/Israeli Conflict, co-edited with Alisa Solomon. Kushner is the recipient of a Pultizer Prize, two Tony Awards, three Obie Awards, two Evening Standard Awards, an Olivier Award, an Emmy Award and an Oscar nomination, among other honors. In 2008, he was the first recipient of the Steinberg Distinguished Playwright Award. He lives in Manhattan with his husband, Mark Harris.
CHARLES NEWELL was recently awarded the 2013 SDCF Zelda Fichandler Award, “which recognizes an outstanding director or choreographer who is transforming the regional arts landscape through singular creativity and artistry in theatre.” Charlie has been Artistic Director of Court Theatre since 1994, where he has directed over 40 productions. He made his Chicago directorial debut in 1993 with The Triumph Of Love, which won the Joseph Jefferson Award for Best Production. Charlie’s productions of Man of La Mancha and Caroline, Or Change have also won Best Production Jeffs. Other directorial highlights at Court include The Moliere Festival (Moliere & Tartuffe), Proof, Angels In America, An Iliad, Porgy & Bess, Three Tall Woman, The Year Of Magical Thinking, The Wild Duck, Titus Andronicus, Arcadia, Uncle Vanya, Raisin, The Romance Cycle, Glass Menagerie, Travesties, Who’s Afraid Of Virginia Woolf, The Invention Of Love, and Hamlet. Charlie has also directed at Goodman Theatre (Tom Stoppard’s Rock ‘N Roll), Guthrie Theater (Resident Director: The History Cycle, Cymbeline), Arena Stage, John Houseman’s The Acting Company (Staff Repertory Director), the California and Alabama Shakespeare Festivals, Juilliard, and New York University. He has served on the Board of Theatre
Communications Group, as well as on several panels for the NEA. Opera directing credits include Marc Blitzstein’s Regina (Lyric Opera of Chicago), Rigoletto (Opera Theatre of St. Louis), Don Giovanni and The Jewel Box (Chicago Opera Theatre), and Carousel (Summer 2014) Glimmerglass Festival. Charlie was the recipient of the 1992 TCG Alan Schneider Director Award, and has been nominated for 16 Joseph Jefferson Director Awards, winning four times. In 2012, Charlie was honored by The League of Chicago Theatres with their Artistic Achievement Award.
JOHN CULBERT recently designed Court Theatre’s productions of Angels in America, Invisible Man, and Porgy and Bess, Writer’s Theatre’s Sweet Charity, Chicago Shakespeare Theater’s Romeo and Juliet, Timeline Theatre’s The Farnsworth Invention, Northlight Theatre’s Civil War Christmas, and Lyric Opera of Chicago’s Regina. He also designed Lookingglass Theatre’s Argonautika, Goodman Theatre’s Rock ‘n’ Roll and Mirror of the Invisible World, and Long Wharf Theatre’s Hughie. He has designed productions for the Singapore Repertory, Opera National du Rhin, Berkeley Rep, McCarter Theatre, and the Shakespeare Theatre. He serves as the dean of The Theatre School at DePaul University.
Nan has designed costumes for theatre, film, television, opera and dance. At the Court Theatre, she has designed Glass Menagerie, The Piano, Travels with My Aunt, Celimene and the Cardinal and The Misanthrope at the Court Theatre. At Steppenwolf Theatre she has designed costume for Clybourne Park, Who's Afraid of Virginia Woolf?, American Buffalo, Glengarry Glen Ross, Top Dog Underdog, The Dresser, among many others Other Chicago credits include Chicago Shakespeare Theatre, the Goodman Theatre and Writers’ Theatre. Regional credits include costume designs at Oregon Shakespeare Festival, Seattle Repertory Theatre, McCarter Theatre, Kansas City Repertory Theatre, Alliance Theatre, Hartford Stage Company, Dallas Theatre Center, the Alley in Houston, American Repertory Theatre Public Theatre, ACT Seattle, Manhattan Theatre Club, and The Kennedy Center She was the original costume designer for the American premier of Glengarry Glen Ross at the Goodman Theatre and she also did the original Broadway and tour productions of Glengarry Glen Ross and Speed the Plow. Ms Cibula-Jenkins is a recipient of the Michael Merritt Award for Design and Collaboration, and she has also been a recipient of the Hollywood Dramalogue Critics Award and the Joseph Jefferson Award for Costume Design. She is the head of the Costume Design program at The Theatre School at DePaul University in Chicago.
KEITH PARHAM Court Theatre: Tartuffe, The Misanthrope, Proof, Angels in America I and II, An Iliad. New York: The Model Apartment (Primary Stages); Through the Yellow Hour (Rattelstick Theater); Tribes, Mistakes Were Made, and Red Light Winter (Barrow Street Theatre); Stop the Virgens (Karen O at St. Ann's Warehouse); Ivanov, Three Sisters (CSC); A Minister's Wife (Lincoln Center Theatre); Adding Machine (Minetta Lane); Crime and Punishment, Sunset Limited (59E59). International: Stop the Virgens (Sydney Opera House); Homebody/Kabul (National Theatre of Belgrade, Serbia). REGIONAL: The Dumb Waiter, Fulton Street Sessions, Baal (TUTA Theatre, Company Member); Teddy Ferrara, Sweet Bird of Youth, Red, Mary, The Seagull (Goodman Theatre); The Birthday Party, Time Stands Still, Sunset Limited, Red Light Winter (Steppenwolf). Arena Stage, The Alley Theatre, The Milwaukee Repertory, Trinity Repertory, Shakespeare on the Sound, American Player's Theatre, Actors Theatre of Louisville, Northlight Theatre, Writers' Theatre, Lookingglass Theatre, Chicago Opera Theatre, and TUTA Theatre West among others. Awards: Obie, Lortel, Afterdark, and Michael Maggio.
JOSHUA HORVATH Court credits include: James Joyce’s “The Dead,” Jitney, Angels in America, Invisible Man, Spunk, Porgy and Bess, The Illusion, Ma Rainey’s Black Bottom, Wait Until Dark, Carolin, or Change, The First Breeze of Summer, Carousel, Titus Andronicus, Arcadia, Flyin’ West, Raisin, Lettice and Lovage, Fences, Man of La Mancha, Endgame, Who’s Afraid of Virginia Woolf, Guys and Dolls, and The Romance Cycle. Regional: The Kennedy Center, The Lincoln Center, Long Wharf Theatre, Hartford Stage, Centerstage, The Alliance, Milwaukee Rep, Madison Rep, Kansas City Rep, Center Theatre Group, Illinois Shakespeare, Great River Shakespeare, and California Shakespeare. Chicago: Goodman, Steppenwolf, Chicago Shakespeare, Writer’s Theatre, Lookingglass, About Face, Northlight, Next, TimeLine, Lifeline, A Red Orchid, and The House. Mr. Horvath teaches sound design for theatre and film at Northwestern University, is an artistic associate of Lookingglass, a collaborative partner of the Goodman Theatre, a Company Member at House Theatre of Chicago, and has one LA Ovation Award and four Joseph Jefferson awards.
MIKE TUTAJ returns to Court Theatre having designed projections for The Year of Magical Thinking and Angels in America. Recent credits include: By the Way Meet Vera Stark (Goodman Theatre); Shrek and Sunday in the Park with George (Chicago Shakespeare Theater); Still Alice (Lookingglass Theatre); Beyond the Score: The Tristan Effect (Chicago Symphony Orchestra); Fiddler on the Roof and Annie (Paramount Theatre Aurora); Sunset Boulevard and Xanadu (Drury Lane Oakbrook); Concerning Strange Devices from the Distant West and 33 Variations (TimeLine Theatre Company). He was a recipient of the Michael Maggio Emerging Designer Award in 2012. Mr. Tutaj is an artistic associate with TimeLine Theatre and a company member of Barrel of Monkeys Productions.
DREW DIR is the Resident Artist at Court Theatre, where he oversees dramaturgy and literary management. Production highlights include Orlando, The Comedy of Errors, Ma Rainey’s Black Bottom, The Illusion, Porgy and Bess, An Iliad, and Angels in America. He is also co-Artistic Director of Manual Cinema, a Chicago-based shadow puppetry company, whose productions include Ada/Ava and Lula del Ray. Drew is a lecturer in Theater and Performance Studies at the University of Chicago, where he co-teaches History and Theory of Drama with Professor David Bevington.
WILLIAM COLLINS is in his eighth season with Court Theatre. William has worked at The Goodman Theatre (Other Desert Cities, Rock N’ Roll, Vigils, and Blue Surge), Peninsula Players Theatre in Door County Wisconsin (Chicago, Murder On The Nile, Sherlock Holmes: The Final Adventure, and Around the World in 80 Days), Paramount Theatre (My Fair Lady), Drury Lane Theatre (Sugar), The Chicago Humanities Festival, Redmoon Theater, About Face Theatre, and The Guthrie Theatre.
AMBER JOHNSON is very excited to be back at Court Theatre this season. Court credits include Angels in America, Spunk, Comedy of Errors, and Three Tall Women. Other Chicago stage management credits: A Girl With Sun in Her Eyes (Pine Box Theatre), The Colored Museum (Congo Square Theatre Co.), The MLK Project (Writers’ Theatre), Jersey Boys (Sub SM, Broadway in Chicago), It’s a Wonderful Life: Live at the Biograph! (American Blues Theatre), Dreamlandia, La Posada Magica (Teatro Vista), Three Sisters (Strawdog Theatre Co.), As Much As You Can, Clouds (Dog & Pony Theatre Company), and Orange Flower Water (Steppenwolf). Regional credits include: Williamstown Theatre Festival and Antelope Valley Ballet. Amber graduated from the University of Oklahoma with a BFA in Theatre with Stage Management emphasis. As always, Boomer Sooner!
SUSANA PELAYO is happy to be returning to Court Theatre for her third year, where she was previously floor manager. She is a graduate of the London Academy of Music and Dramatic Art. Court Theatre credits include Porgy and Bess, Orlando, Three Tall Women, Home, Sizwe Banzi is Dead, The Comedy of Errors, The Illusion, The Year of Magical Thinking, The Mystery of Irma Vep, and Ma Rainey’s Black Bottom.