Wait Until Dark

RON OJ PARSON is the cofounder and former Artistic Director of the Onyx Theatre Ensemble of Chicago, and he is currently the Resident Artist at Court Theatre. He has worked with such Chicago theatres as Steppenwolf Theatre, Goodman Theatre, Victory Gardens Theater, Northlight Theatre, Black Ensemble Theatre, eta Creative Arts Foundation, Chicago Theatre Company, Eclipse Theatre Company, Congo Square Theatre Company, City Lit Theater Company, Urban Theater Company, Writers’ Theatre, and a variety of arts in education programs. Regionally, Ron has directed at Actors Theatre of Louisville, Portland Stage Company, Virginia Stage Company, Pittsburgh Public Theater, Madison Repertory Theatre, Studio Arena Theatre in Buffalo, Ensemble Theatre of Cincinnati, Signature Theatre Company in New York City, Centerstage in Baltimore, and the world premiere of Palmer Park at the Stratford Shakespeare Festival in Ontario, Canada. Most recently, he directed August Wilson’s Two Trains Running at Geva Theatre in Rochester, New York. For Court Theatre, Ron has directed Wilson’s Ma Rainey’s Black Bottom, The Piano Lesson and Fences, The First Breeze of Summer, Wait Until Dark, Flyin’ West, and last year’s season finale Sizwe Banzi is Dead.  Ron also recently directed The Old Settler at Writers’ Theatre. Ron will be remounting his production of Ma Rainey’s Black Bottom at Actors Theatre of Louisville and Milwaukee Rep this season. He is a proud member of Actors’ Equity Association and SDC, the stage directors’ union.

JOSHUA HORVATH Court: Spunk, Porgy and Bess, The Illusion, Ma Rainey’s Black Bottom, Wait Until Dark, Caroline, or Change, First Breeze of Summer, Carousel, Titus Andronicus, Arcadia, Flyin’ West, Raisin, Lettice and Lovage, Fences, Man of La Mancha, and Endgame.  Chicago credits: Goodman Theatre, Steppenwolf Theatre Company, Chicago Shakespeare Theater, Northlight Theatre, Next Theater, TimeLine Theatre Company, The House Theatre of Chicago, Eclipse Theatre Company Chicago, Lifeline Theatre, and Shattered Globe Theatre.  Regional: Lincoln Center, Kennedy Center, Hartford Stage, Long Wharf Theatre (New Haven), Baltimore Center Stage, Kansas City Repertory Theatre, Milwaukee Repertory Theater, First Stage Children’s Theater (Milwaukee), Milwaukee Shakespeare, Madison Repertory Theatre (WI), Illinois Shakespeare Festival, Great River Shakespeare Festival (MN), California Shakespeare Theater (Berkeley), and Center Theatre Group (LA). Mr. Horvath is a four-time Jeff award winner and eleven-time nominee. He teaches sound design for theatre and film at Northwestern University, and is an artistic associate at Lookingglass Theatre Company. Current and upcoming shows: The Pitmen Players (TimeLine), The Great Fire, Mr. Ricky Calls a Meeting, and Eastland (Lookingglass Theatre Company), Follies (Chicago Shakespeare), and Angels in America (Court Theatre).

RAY NARDELLI Past Court Credits include Wait Until Dark, First Breeze of Summer, What the Butler Saw, Flyin West, Endgame, Who's Afraid of Virginia Woolf?, Fraulein Else (Jeff Nomination). Ray has composed music and designed sound at The Goodman Theatre, Steppenwolf Theatre Company, Chicago Shakespeare Theater, Northlight Theatre, AppleTree Theatre, Lookingglass Theatre, Victory Gardens Theatre, The Gift Theatre, Northwestern Theatre, Depaul Theatre, Notre Dame Summer Shakespeare, Meadow Brook Theatre, Dolphinback Theatre, American Girl Theatre, Skylight Opera. Memberships include ASCAP, IATSE #2 and USA #829.

JACK MAGAW lives in Chicago and teaches design at both DePaul and Northwestern Universities. He most recently designed Sizwe Banzi is Dead for Court Theatre. Other recent Chicago and regional theatre credits include A Life and Lowdown Dirty Blues (Northlight Theatre), Heroes (Peninsula Players Theatre), The Mystery of Irma Vep (Court Theatre), Funny Girl (Drury Lane Oakbrook Theatre), Mauritius (TheatreSquared), She Loves Me, The Old Settler, and Picnic (Writers’ Theatre), All My Sons (TimeLine Theatre), Evie’s Waltz (Geva Theatre), This Wonderful Life (Indiana Repertory Theatre), Radio Golf (Pittsburgh Public Theatre), Winesburg, Ohio and A Flea in Her Ear (Kansas City Repertory), Four Places (Victory Gardens Theater), and Love’s Labour’s Lost (Clarence Brown Theatre). He received Joseph Jefferson Award nominations for Picnic and Bus Stop (Writers’ Theatre), Fences (Court Theatre), and Seven Guitars (Congo Square Theatre). Upcoming projects include Madagascar (Next Theatre) and Eclipsed (Northlight Theatre).

RACHEL LARITZ is honored to be joining Court for her second time, after designing Wait Until Dark. Regional credits: Milwaukee Rep, Illinois Shakespeare Festival, Northlight Theatre, Pearl Theatre, Remy Bumppo Theatre, Peninsula Players Theatre, Route 66, TimeLine Theatre, Next Act, Renaissance Theatreworks, Chamber Theatre, Skylight Opera, and the University of Michigan. Other professional credits: NBC’s Law & Order, American Players Theatre, Chicago Opera Theatre, Garsington Opera (London), and Spoleto Festival USA. Rachel is a recipient of a 2009 Joseph Jefferson Award.

MARC STUBBLEFIELD is currently in his 11th year as Court’s Director of Production. Spunk is his seventh design for Court, having previously worked with Artistic Director Charlie Newell on Glass Menagerie, Arcadia, and Three Tall Women, and Ron OJ Parson on Ma Rainey’s Black Bottom, The Piano Lesson, and The First Breeze of Summer.  He also teaches Lighting Design at the University of Chicago.  He has worked at the Geffen Playhouse, the Berkshire Theatre Festival, and the Alley Theatre among others. He received a dual MFA in Production Management and Scenic Design from UCLA’s school of Theatre, Film and Television, and his BA in Technical Theatre from Rice University.

KATE BREDESON is Resident Dramaturg at Court Theatre and Lecturer in the Theatre and Performance Studies Program at the University of Chicago. She comes to Chicago after working as Assistant Professor of Theatre at Dalhousie University in Halifax, Nova Scotia, and living in Paris for several years before that. She has earned awards including a Fulbright, a residency at the Camargo Foundation in Cassis, France, and fellowships from the Killam Foundation, Mellon Foundation and the Institut Français de Washington. She is currently working on a book about theatre and performance surrounding the May 1968 events in France. Kate holds an MFA and a doctorate in Dramaturgy and Dramatic Criticism from the Yale School of Drama, regularly presents at international conferences, and has published articles in Theater, Theatre Symposium, Modern and Contemporary France, The Tennessee Williams Literary Journal, and Time Out Paris. As a dramaturg, she has worked at theatres such as the Guthrie and the Yale Repertory Theatre, and with the Ensemble Company of Performing Arts.