We are thrilled to announce the cast of The Gospel at Colonus, conceived and adapted by Lee Breuer, with music composed by Bob Telson.
Meet the talented performers bringing this production to life (from left to right, top to bottom): Kelvin Roston, Jr., Timothy Edward Kane, Aeriel Williams, Kai A. Ealy, Ariana Burks, Mark Spates Smith, Shari Addison, Eric A. Lewis, Juwon Tyrel Perry, Jessica Brooke Seals, Jerica Exum, Shantina Lynet', Isaac Ray, Eva Ruwé, and Cherise Thomas.
Directed by Mark J.P. Hood and Marilyn F. Vitale Artistic Director Charles Newell - and featuring Associate Director TaRon Patton - The Gospel at Colonus is an exuberant odyssey, and these artists can't wait to take you on this redemptive musical journey.
Running from May 12 - June 11, tickets for The Gospel at Colonus are available for purchase online or by calling the Box Office at (773) 753-4472.
Mourn no more. Retribution comes.
Based on an adaptation of Sophocles' Oedipus at Colonus in the version by Robert Fitzgerald and incorporating passages from both Sophocles' Oedipus Rex and Antigone in the versions by Dudley Fitts and Robert Fitzgerald, which are published as The Oedipus Cycle of Sophocles, a Harvest/HBJ Book, Harcourt Brace Jovanovich, Inc.
" ["post_date"]=> string(19) "2023-03-22 14:12:25" ["post_excerpt"]=> string(0) "" ["post_parent"]=> int(0) ["post_status"]=> string(7) "publish" ["post_title"]=> string(38) "Meet the Cast of THE GOSPEL AT COLONUS" ["post_type"]=> string(4) "post" ["slug"]=> string(38) "meet-the-cast-of-the-gospel-at-colonus" ["__type":protected]=> NULL ["_edit_lock"]=> string(13) "1679518037:16" ["_edit_last"]=> string(2) "16" ["add_feed"]=> string(1) "0" ["_add_feed"]=> string(19) "field_5939a562bed44" ["article_description"]=> string(47) "Say hello to the cast of THE GOSPEL AT COLONUS!" ["_article_description"]=> string(19) "field_5927045f742d7" ["article_byline"]=> string(0) "" ["_article_byline"]=> string(19) "field_592de516b020a" ["_yoast_wpseo_primary_category"]=> string(2) "14" ["_yoast_wpseo_primary_subscription-type"]=> string(0) "" ["_yoast_wpseo_primary_production-section"]=> string(0) "" ["_yoast_wpseo_content_score"]=> string(2) "30" ["_yoast_wpseo_estimated-reading-time-minutes"]=> string(1) "2" ["_yoast_wpseo_wordproof_timestamp"]=> string(0) "" ["_thumbnail_id"]=> string(5) "20351" ["post_date_gmt"]=> string(19) "2023-03-22 19:12:25" ["comment_status"]=> string(4) "open" ["ping_status"]=> string(6) "closed" ["post_password"]=> string(0) "" ["post_name"]=> string(38) "meet-the-cast-of-the-gospel-at-colonus" ["to_ping"]=> string(0) "" ["pinged"]=> string(0) "" ["post_modified"]=> string(19) "2023-03-22 15:47:15" ["post_modified_gmt"]=> string(19) "2023-03-22 20:47:15" ["post_content_filtered"]=> string(0) "" ["guid"]=> string(37) "https://www.courttheatre.org/?p=20340" ["menu_order"]=> int(0) ["post_mime_type"]=> string(0) "" ["comment_count"]=> string(1) "0" ["filter"]=> string(3) "raw" ["status"]=> string(7) "publish" } [1]=> object(Timber\Post)#5419 (51) { ["ImageClass"]=> string(12) "Timber\Image" ["PostClass"]=> string(11) "Timber\Post" ["TermClass"]=> string(11) "Timber\Term" ["object_type"]=> string(4) "post" ["custom"]=> array(13) { ["_edit_lock"]=> string(13) "1675190057:16" ["_edit_last"]=> string(2) "16" ["add_feed"]=> string(1) "0" ["_add_feed"]=> string(19) "field_5939a562bed44" ["article_description"]=> string(62) "Say hello to the newest member of Court's staff: Jarrett King!" ["_article_description"]=> string(19) "field_5927045f742d7" ["article_byline"]=> string(50) "by Camille Oswald, Associate Director of Marketing" ["_article_byline"]=> string(19) "field_592de516b020a" ["_yoast_wpseo_content_score"]=> string(2) "30" ["_yoast_wpseo_estimated-reading-time-minutes"]=> string(1) "4" ["_yoast_wpseo_wordproof_timestamp"]=> string(0) "" ["_yoast_wpseo_primary_category"]=> string(2) "17" ["_thumbnail_id"]=> string(5) "19594" } ["___content":protected]=> NULL ["_permalink":protected]=> NULL ["_next":protected]=> array(0) { } ["_prev":protected]=> array(0) { } ["_css_class":protected]=> NULL ["id"]=> int(19530) ["ID"]=> int(19530) ["post_author"]=> string(2) "16" ["post_content"]=> string(6368) "For Jarrett King, the connection between the arts and arts education is clear: "Art has a unique ability to synthesize the human condition. Education transforms that synthesis into a shared experience."
And, as Court Theatre's new Director of Education, he has the opportunity to bring those shared experiences to young people and audiences across Chicagoland.
"As a longtime educator and storyteller, I see much alignment between Court’s mission to innovate and expand the theatrical canon and my mission to awaken the need for artistic contact through education," says King. "So often, learning is seen as a one-sided interaction: someone teaches and, hopefully, someone else learns. I see that exchange as very much two-sided, where both parties impart gifts of knowledge to the other in an open system."
That collaboration will be paramount. In his new position, King will lead Court’s partnership with Chicago Public Schools, create and maintain quality theatrical programming for young people, and implement education outreach efforts. He will also work closely with Court’s new Director of Engagement, Kamilah Rashied.
Rashied, for one, can't wait to get started: "Jarrett brings with him a great wealth of insight and experience as our new Director of Education, having an extensive background in youth-focused arts outreach and teaching. What really sets him apart, in my opinion, is his experience working within organizations to advance change and develop new programs with core values at the center. I have confidence that with his skills, in addition to the pool of incredible talent in our department, we will advance our work in the community with a blueprint that is more intentional and integral to Court's mission than ever before.”
Executive Director Angel Ysaguirre echoed her sentiments, saying: "Court Theatre has made great strides in gaining understanding of the needs and talents of the young people we serve and in making our programs more effective in order to contribute to their success. As Kamilah Rashied moves to the role of Director of Engagement, Jarrett will bring a great depth of knowledge as an educator and a youth development expert to further grow our program.”
"To build upon what both Kamilah and Angel have said, I am thrilled to welcome Jarrett as a member of Court staff," added Marilyn F. Vitale Artistic Director Charles Newell. "Jarrett comes to us with a vast breadth of skills. He has served as an educator, a performer, and a playwright, and his nuanced understanding of theatre and pedagogical practice is formidable. Jarrett will play an integral role in shaping Court’s educational programming, and, with his involvement, I’m sure our Education department will not only grow, but flourish. I, for one, feel very lucky that he has joined us.”
Jarrett King's background is rich and varied, his qualifications immaculate. His myriad skills are important, without question, but King also understands that those skills in isolation aren't enough; the key to this work lies with the young people of Chicago. Framing them as co-creators, King believes that young people are central to Court's work as a classic theatre company. They're why he does what he does in the first place: "I look forward to learning from teens in our residencies, our post-show discussions, and other initiatives where our work can cross the age divide and invite more voices into the conversation.
"Particularly as a classics theatre company, we have a responsibility to enliven new lifelong art appreciators by enriching our work with their stories. As Director of Education, I’m honored to serve the South Side, to work to remove learning barriers, and, crucially, to listen deeply to our audiences. By tuning classic theatre to the frequency of often overlooked constituents, we can create work that is not only timeless, but eternal. I’m excited to steward this exchange."
Jarrett King (he/him) has held a variety of administrative and educational positions with several Chicago organizations, including Steppenwolf Theatre, Chicago Shakespeare Theater, Silk Road Rising, Vagabond School of the Arts, Auditorium Theater, Hearts to Art, Unsilence, Bravo Performing Arts Academy, Chicago Public Schools, and American Theater Company, where he oversaw the in-school residency program American Mosaic. He is an Adjunct Professor of Theatre at Loyola University, teaching courses in Acting, Teaching Artistry, and Theatre Appreciation. Throughout 2020 and 2021 he directed Black Teen Lives Matter with Silk Road Rising, a four-part virtual showcase of plays written by Black teens. He is the Associate Artistic Director at Penfold Theatre Company in Austin, Texas, where his award-winning play A War of the Worlds premiered in summer 2022. He is part of the 2022-2023 cohort of the Goodman Playwrights Unit, and his play Box, based on the life of Henry Box Brown, will premiere in summer of 2023. Learn more at iamjarrettking.com.
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Running from February 16 - 26, Chicago Theatre Week is an excellent opportunity to see world-class theatre at a fraction of the price. Tickets for all (yes, ALL!) Chicago Theatre Week performances are $30 or less, and specially-priced tickets are on sale now at ChicagoTheatreWeek.com. Here's what you can expect:
As part of Chicago Theatre Week, we'll be offering $30 tickets to our production of Caryl Churchill's Fen. Use the code CTW23 and select Discount Price when purchasing tickets for performances from February 16 - 26 (limit 50 per performance).
Follow along on Instagram, Facebook, and Twitter with the hashtags #CTW23 and #ChiTheatre.We'll see you at the theatre!
" ["post_date"]=> string(19) "2023-01-11 13:21:49" ["post_excerpt"]=> string(0) "" ["post_parent"]=> int(0) ["post_status"]=> string(7) "publish" ["post_title"]=> string(42) "Chicago Theatre Week Returns This February" ["post_type"]=> string(4) "post" ["slug"]=> string(42) "chicago-theatre-week-returns-this-february" ["__type":protected]=> NULL ["_edit_lock"]=> string(13) "1674500226:16" ["_edit_last"]=> string(2) "16" ["add_feed"]=> string(1) "0" ["_add_feed"]=> string(19) "field_5939a562bed44" ["article_description"]=> string(153) "Chicago Theatre Week is back! Attend productions throughout the city at a discounted rate, including our production of FEN. We'll see you at the theatre!" ["_article_description"]=> string(19) "field_5927045f742d7" ["article_byline"]=> string(0) "" ["_article_byline"]=> string(19) "field_592de516b020a" ["_yoast_wpseo_estimated-reading-time-minutes"]=> string(1) "2" ["_yoast_wpseo_wordproof_timestamp"]=> string(0) "" ["_yoast_wpseo_primary_category"]=> string(2) "17" ["_yoast_wpseo_content_score"]=> string(2) "90" ["_wp_old_date"]=> string(10) "2023-01-10" ["_thumbnail_id"]=> string(5) "19456" ["post_date_gmt"]=> string(19) "2023-01-11 19:21:49" ["comment_status"]=> string(4) "open" ["ping_status"]=> string(6) "closed" ["post_password"]=> string(0) "" ["post_name"]=> string(42) "chicago-theatre-week-returns-this-february" ["to_ping"]=> string(0) "" ["pinged"]=> string(0) "" ["post_modified"]=> string(19) "2023-01-11 13:21:50" ["post_modified_gmt"]=> string(19) "2023-01-11 19:21:50" ["post_content_filtered"]=> string(0) "" ["guid"]=> string(37) "https://www.courttheatre.org/?p=19436" ["menu_order"]=> int(0) ["post_mime_type"]=> string(0) "" ["comment_count"]=> string(1) "0" ["filter"]=> string(3) "raw" ["status"]=> string(7) "publish" } [3]=> object(Timber\Post)#4149 (61) { ["ImageClass"]=> string(12) "Timber\Image" ["PostClass"]=> string(11) "Timber\Post" ["TermClass"]=> string(11) "Timber\Term" ["object_type"]=> string(4) "post" ["custom"]=> array(23) { ["_edit_lock"]=> string(13) "1672930368:16" ["_edit_last"]=> string(2) "16" ["add_feed"]=> string(1) "0" ["_add_feed"]=> string(19) "field_5939a562bed44" ["article_description"]=> string(95) "Resident Artist Ron OJ Parson has been recognized as the 2022 Chicagoan of the Year for Theater" ["_article_description"]=> string(19) "field_5927045f742d7" ["article_byline"]=> string(50) "by Camille Oswald, Associate Director of Marketing" ["_article_byline"]=> string(19) "field_592de516b020a" ["_yoast_wpseo_content_score"]=> string(2) "90" ["_yoast_wpseo_estimated-reading-time-minutes"]=> string(1) "0" ["_yoast_wpseo_wordproof_timestamp"]=> string(0) "" ["_thumbnail_id"]=> string(5) "19314" ["_yoast_wpseo_primary_category"]=> string(2) "17" ["_oembed_6226db780ec11fb1efa96aa417a1ad7e"]=> string(270) "" ["_oembed_time_6226db780ec11fb1efa96aa417a1ad7e"]=> string(10) "1672106424" ["_oembed_d2441dbea17b2a931651d44757c0a9ff"]=> string(261) "" ["_oembed_time_d2441dbea17b2a931651d44757c0a9ff"]=> string(10) "1672106424" ["_oembed_0b8a25555d3b8ed309bc80e993399f6b"]=> string(313) "" ["_oembed_time_0b8a25555d3b8ed309bc80e993399f6b"]=> string(10) "1672106424" ["_oembed_327b4813bb56fbb645a76c792048e051"]=> string(312) "" ["_oembed_time_327b4813bb56fbb645a76c792048e051"]=> string(10) "1672106424" ["_oembed_88825ab694fd464ff369fda66d6ab4f8"]=> string(312) "" ["_oembed_time_88825ab694fd464ff369fda66d6ab4f8"]=> string(10) "1672106424" } ["___content":protected]=> NULL ["_permalink":protected]=> NULL ["_next":protected]=> array(0) { } ["_prev":protected]=> array(0) { } ["_css_class":protected]=> NULL ["id"]=> int(19310) ["ID"]=> int(19310) ["post_author"]=> string(2) "16" ["post_content"]=> string(5620) "
Ron OJ Parson has had a banner year. A few weeks ago, he received the 2022 Zelda Fichandler Award from the Stage Directors and Choreographers Foundation and today, he was recognized as the Chicago Tribune's Chicagoan of the Year for Theatre!
Ron OJ Parson's contributions to the Chicago theatre community are innumerable. As Resident Artist at Court, he has played a central role in what redefining classic theatre is and can be, in part through the Spotlight Reading Series.
The goal of the Spotlight Reading Series is to introduce more Chicagoans to rarely-produced playwrights of color and their work, and Ron OJ Parson curated the series for years. The Spotlight Reading Series builds community connections beyond our mainstage productions with neighborhood-based cultural institutions, nonprofits, and civic groups who often host our readings, and all performances are free and open to the public.
Whether it be through the Spotlight Reading Series or his keen directorial eye, Ron's impact is profound. In fact, Chicago Tribune's Chris Jones described Ron's recent production of Two Trains Running as: "a live-wire revival at Court Theatre, the Hyde Park theater that just happened to win the Tony Award for excellence in regional theater around that time. Parson has been associate artist at Court for years and has done more than any other single individual to remind all of the South Side of Chicago that it has a world-class theater in its midst."
Ron most recently directed Court Theatre’s production of Arsenic and Old Lace. Other past productions include Two Trains Running, Fences, Gem of the Ocean, Seven Guitars, Ma Rainey’s Black Bottom, The Piano Lesson, and Jitney by August Wilson; The Mountaintop by Katori Hall; and Waiting for Godot by Samuel Beckett, among many others. Ron is the former co-founder and artistic director of the Onyx Theatre Ensemble, and co-founder of the Beyond the Stage Theatre Project. He is also a company member of TimeLine Theatre, and associate artist at Writers Theatre and Teatro Vista.
While he describes himself as simply "a Chicago director and actor," we think Ron is much more. He's a visionary. He's a warm and generous presence, both inside and outside of the rehearsal room. And now, he's the Chicagoan of the Year for Theater.
We are incredibly fortunate that Ron OJ Parson is Resident Artist at Court Theatre. Please join us in celebrating Ron, and wishing him a heartfelt congratulations!
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The Civic Actor Studio (CAS) is ringing in the holiday season with cheer! On Friday, December 9th, the Civic Actor Studio will be hosting a participatory pop-up choir - led by civic actors Lonnie Norwood, Jr. and Mollie Stone -for CAS participants to explore leading and following through choral music. Attendees will learn how to sing in four-party harmony within a community of care, perfectly complementing CAS's mission of examining leadership roles, engaging in civic dialogue, and embodying civic action.
We're always so proud of the Civic Actor Studio, and projects like this remind us why. This pop-up, like many of CAS's initiatives, reinforces how the arts are a tool for building community and strengthening leadership skills. We have so much to learn from the arts, and we have so much to learn from each other.
Happy holidays from the Civic Actor Studio and all of us here at Court!
The Civic Actor Studio (CAS) at the University of Chicago is a four-day leadership retreat for established and emerging civic leaders, led in partnership with Court Theatre. Participants read dramatic texts and take part in theater-based exercises and discussions, creating scenes onstage designed to help actors access their voice, power, and the wide range of “characters” they contain. Retreat participants must live and/or work on the South Side of Chicago and serve the community through paid or volunteer work. Nominations and self-nominations are accepted throughout the year by completing this nomination form.
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We are utterly thrilled to announce that Ron OJ Parson, Court's Resident Artist, is the recipient of the 2022 Zelda Fichandler Award. He will receive an unrestricted award of $5,000 from SDCF, the Stage Directors and Choreographers Workshop Foundation, and will join the ranks of past esteemed honorees, including Marilyn F. Vitale Artistic Director Charles Newell.
Recognizing theatre artists "who have demonstrated great accomplishment to date with singular creativity and deep investment in a particular community or region," this award is named after Zelda Fichandler, founding Artistic Director of Arena Stage in Washington, D.C. Nominees for this year were all from the Central United States and the finalist, Lili-Anne Brown, is a South Side native and a fellow local Chicago director. The recognition of both Ron OJ Parson and Lili-Anne Brown is a tremendous accomplishment for the Chicago theatre community, and is a testament to the creativity, tenacity, and artistry of this region.
“What great joy it brings me to share the committee’s decision to honor Ron OJ Parson and finalist Lili-Anne Brown,” said D. Lynn Meyers, Chair of the committee of for the Fichandler Award. “Ron OJ Parson has worked brilliantly as a stage director. He has also changed the industry with his careful, thoughtful work in his community, which goes beyond Chicago to reach every part of this region. He is truly deserving and a great pioneer walking in Zelda Fichandler’s shoes. He has opened the door for so many artists along his path and continues to break new ground in growing the future of our work. And how exciting to celebrate Lili-Anne Brown for all that she has done already with anticipation of all that is to come!”
Artistic Director Charles Newell reflected on Ron's achievement, sharing: "This is a well-deserved moment of ecstatic celebration for Ron OJ and his impressive body of work. As a theatre artist, no one is as 'quintessentially Chicago' as Ron. Being his collaborator and friend has been one of the great pleasures of my life, and I know I speak on behalf of the entire Court Theatre family when I say that we're most proud and honored to have Ron OJ as the Resident Artist."
"Ron, both through his body of work and as an individual, has transformed Court Theatre and significantly impacted the community of artists and the larger community. It seems only right, then, that he would be recognized in this way," added Executive Director Angel Ysaguirre.
Ron most recently directed Court Theatre's production of Arsenic and Old Lace. Other past productions include Two Trains Running, Fences, Gem of the Ocean, Seven Guitars, Ma Rainey’s Black Bottom, The Piano Lesson, and Jitney by August Wilson; The Mountaintop by Katori Hall; and Waiting for Godot by Samuel Beckett, among many others. Ron is the former co-founder and artistic director of the Onyx Theatre Ensemble, and co-founder of the Beyond the Stage Theatre Project. He is also a company member of TimeLine Theatre, and associate artist at Writers Theatre and Teatro Vista.
Ron will be recognized in a virtual ceremony in winter 2023. This event will be open to the public and more information will be shared as it becomes available.
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Jeff Awards season is upon us! We are overjoyed to announce that we’ve been nominated for six awards for our productions during the 2021/22 season. This recognition is a testament to the artists and designers who share their talents with our audiences, and we could not be more proud.
Each year, the Joseph Jefferson Awards committee honors outstanding Chicago-area theatres and artists. We look forward to celebrating with the rest of the nominees at the 54th annual Jeff Equity Awards on Monday, October 17. The ceremony will be held at Drury Lane Theatre in Oakbrook and hosted by E. Faye Butler. More information can be found at www.jeffawards.org.
Production of a Play (Large):
“Two Trains Running” - Court Theatre
Ensemble for a Play
“Two Trains Running” - Court Theatre
Director of a Play (Large)
Ron OJ Parson - “Two Trains Running” - Court Theatre
Performer in a Principal Role - Play
Chaon Cross (Ellida) - “The Lady from the Sea” - Court Theatre
Scenic Design (Large)
Jack Magaw - “Two Trains Running” - Court Theatre
Sound Design (Large)
André Pluess - “The Lady from the Sea” - Court Theatre
And we’re in good company! We are delighted to see many Court collaborators included on the list of Jeff Award nominees, including: : E. Faye Butler, Tyla Abercrumbie, J. Nicole Brooks, Lisa Peterson, Cody Estle, Kirsten Fitzgerald, Kate Fry, Al’Jaleel McGhee, Deanna Reed-Foster, Linda Reiter, Susan Moniz, Alexis J. Roston, Bethany Thomas, Felicia P. Fields, Sheldon D. Brown, Jennifer Engstrom, Sean Fortunato, Elizabeth Ledo, Xavier Edward King, Alex Goodrich, Linda Buchanan, Rachel Hauck, Todd Rosenthal, Arnel Sancianco, Lindsay Mummert, Raquel Adorno, Christine Pascual, Izumi Inaba, Mara Blumenfeld, Ray Nardelli, Christopher Kriz, Jeffrey Levin, Lee Fiskness, Jason Lynch, Liz Gomez, Ben Collins-Sussman, Rasean Davonte Johnson, Mike Tutaj, and David Woolley.
We’d also like to give a special shout-out to Yi Zhao, nominated for Lighting Design (Large) for “Life After” at Goodman Theatre. Yi Zhao is an alumnus of the University of Chicago and was nominated for Best Lighting Design of a Play for “The Skin of Our Teeth” at the 2022 Tony Awards, wherein we were presented with the 2022 Regional Theatre Tony Award.
Now, as ever, we are humbled by this acknowledgement. To the Jeff committee, thank you for recognizing our work; to our collaborators, thank you for your insight, dedication, and creativity; to our audiences, thank you for your unwavering support; and to the Chicago theatre community, thank you for being such an incredible home.
See all of the nominations here, and don’t forget to subscribe to our 2022/23 season! Featuring a classic comedy, a play based on a true story, a haunting drama, and an exuberant musical, each one of these productions is sure to delight, challenge, and inspire. Don’t miss the season opener, Arsenic and Old Lace, directed by Jeff Award nominee and Resident Artist, Ron OJ Parson!
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CPI connects Court with civic, non-profit, faith, and community-based organizations to provide equitable, meaningful access to our productions. And, given our location in Hyde Park, we’re committed to uplifting and supporting organizations that specifically empower the South Side of Chicago. In recent years, we’ve found that offering affordably-priced tickets through CPI is one of the most impactful ways to make a difference, eliminate barriers to access, and ensure that anyone can experience the life-changing power of theatre.
Though this model is ever-changing - we’re in the process of revamping it as we speak! - we’re delighted to share that we’ll continue providing this service during our upcoming season. We plan to offer 20 free tickets (per show) to each registered and interested community group. This means that each of our CPI partner organizations will receive 80 free tickets, in total, over the course of the year. This also means that members of the community will be able to see four captivating productions - Arsenic and Old Lace, The Island, Fen, and The Gospel at Colonus - at no cost to them. Given that next season is all about healing, redemption, and celebration, we certainly think this is something to celebrate!
We’re constantly adjusting our CPI model to fit the needs of the communities we serve with the resources we have, so we’re always looking for feedback about what an ideal partnership could look like! Your insight is vital to our improvement, and it makes the program better for all involved. If you - or a community organization to which you belong - would like to participate or share ideas of how to collaborate, please fill out our CPI Intake Form. Let’s get the conversation started!
" ["post_date"]=> string(19) "2022-07-13 16:11:15" ["post_excerpt"]=> string(0) "" ["post_parent"]=> int(0) ["post_status"]=> string(7) "publish" ["post_title"]=> string(56) "Community Partners Initiative Renewed for 2022/23 Season" ["post_type"]=> string(4) "post" ["slug"]=> string(56) "community-partners-initiative-renewed-for-2022-23-season" ["__type":protected]=> NULL ["_edit_lock"]=> string(12) "1675696481:6" ["_thumbnail_id"]=> string(5) "17361" ["_edit_last"]=> string(1) "6" ["_yoast_wpseo_content_score"]=> string(2) "30" ["_yoast_wpseo_estimated-reading-time-minutes"]=> string(1) "2" ["_yoast_wpseo_wordproof_timestamp"]=> string(0) "" ["article_description"]=> string(108) "Find out how you can get involved in Court's Community Partners Initiative (CPI) during our upcoming season." ["_article_description"]=> string(19) "field_5927045f742d7" ["article_byline"]=> string(0) "" ["_article_byline"]=> string(19) "field_592de516b020a" ["add_feed"]=> string(1) "0" ["_add_feed"]=> string(19) "field_5939a562bed44" ["_yoast_wpseo_primary_category"]=> string(2) "17" ["post_date_gmt"]=> string(19) "2022-07-13 21:11:15" ["comment_status"]=> string(4) "open" ["ping_status"]=> string(6) "closed" ["post_password"]=> string(0) "" ["post_name"]=> string(56) "community-partners-initiative-renewed-for-2022-23-season" ["to_ping"]=> string(0) "" ["pinged"]=> string(0) "" ["post_modified"]=> string(19) "2023-02-06 09:14:39" ["post_modified_gmt"]=> string(19) "2023-02-06 15:14:39" ["post_content_filtered"]=> string(0) "" ["guid"]=> string(37) "https://www.courttheatre.org/?p=17360" ["menu_order"]=> int(0) ["post_mime_type"]=> string(0) "" ["comment_count"]=> string(1) "0" ["filter"]=> string(3) "raw" ["status"]=> string(7) "publish" } [8]=> object(Timber\Post)#4156 (51) { ["ImageClass"]=> string(12) "Timber\Image" ["PostClass"]=> string(11) "Timber\Post" ["TermClass"]=> string(11) "Timber\Term" ["object_type"]=> string(4) "post" ["custom"]=> array(13) { ["_edit_lock"]=> string(13) "1677862579:16" ["_edit_last"]=> string(2) "16" ["article_description"]=> string(223) "This May, William Nalley joined Court Theatre's staff as Director of Development. Camille Oswald, Associate Director of Marketing, sat down with Bill to learn more about his fundraising background and his love for theatre. " ["_article_description"]=> string(19) "field_5927045f742d7" ["article_byline"]=> string(0) "" ["_article_byline"]=> string(19) "field_592de516b020a" ["add_feed"]=> string(1) "0" ["_add_feed"]=> string(19) "field_5939a562bed44" ["_yoast_wpseo_content_score"]=> string(2) "30" ["_yoast_wpseo_estimated-reading-time-minutes"]=> string(1) "6" ["_yoast_wpseo_primary_category"]=> string(2) "17" ["_thumbnail_id"]=> string(5) "17320" ["_yoast_wpseo_wordproof_timestamp"]=> string(0) "" } ["___content":protected]=> NULL ["_permalink":protected]=> NULL ["_next":protected]=> array(0) { } ["_prev":protected]=> array(0) { } ["_css_class":protected]=> NULL ["id"]=> int(17315) ["ID"]=> int(17315) ["post_author"]=> string(1) "6" ["post_content"]=> string(9502) "
This May, William Nalley joined Court Theatre's staff as Director of Development. Camille Oswald, Associate Director of Marketing, sat down with Bill to learn more about his fundraising background and his love for theatre.
What was your background, prior to working at Court?
I have almost twenty years of direct fundraising experience, with most of my work in the Chicago area. My most recent position was with the Theatre School at DePaul University, which was my first experience fundraising for theatre within the context of a university. There, I had the good fortune to work with John Culbert, who recently retired as dean, and also is a longstanding artist here at Court Theatre. Now, he’s also serving as a member of our Board of Trustees. Before that, I spent approximately a decade working at the University of Illinois at Chicago. I had a wide-ranging set of constituencies and priorities there—I worked for Student Affairs, the University Library, and the College of Medicine—and I’ve also worked for a number of other small and mid-size nonprofits in Chicago, including a small local theatre company. I’m very fortunate that all of those different experiences can inform my work at Court.
What made you interested in Court Theatre? How did you hear about us?
I became familiar with Court as a consequence of knowing John [Culbert] and his work. He’d typically design one play a year at Court, often in collaboration with Charlie, so—through him—I became aware of the in-depth research and digging that the artists did to bring a production to life. You know, the very thoughtful considerations that went into every single element—the script choices, the design choices, the casting choices. All of those things were approached with such care, and that was very impressive to me.
The first production I saw was The Tragedy of Othello, The Moor of Venice. I was fascinated by how Court approached the text, looking at how race relations and racial inequities in our world informed the world of the play. It was a fantastic take on a production that a lot of people feel that they already know, and seeing that fresh perspective showed me that Court wants audiences to see things in a different light, which I love. There was a great deal uncovered in that particular production; I was just really blown away.
What are your goals for Court's Development Department?
My primary goal is to bring our philanthropy program to a level that matches the quality of the work being staged at Court. Court’s been doing excellent work for a very long time, and we were recognized for that with the Regional Theatre Tony Award. That honor is a clear sign that we’re generating highly compelling work, and I want people to know about that. I want to show as many people as possible the excellence of our productions and our educational programs, and share the impact of those works. I want to stoke peoples’ passion about Court, because the passion that our artists, board members, and staff have is off the charts.
I want there to be a focus on our education and community engagement programs, without question, and I’d really like to enhance the relationships that we have with corporate donors and partners. The Producers Circle and Directors Circle have been fantastic opportunities to give our supporters a deeper understanding of the works that we produce, so I want to build on that as well. I have nothing but fantastic expectations for our team moving forward.
What's your favorite part about working at Court so far?
Oh, without question, the enthusiasm of both our supporters and the people who work here. These are people who are passionate about theatre; passionate about the Hyde Park and South Side communities; they’re passionate about issues of social justice that animate so much of our work. We’re really fortunate to have such alignment between our artists and our supporters—this is a very tightly knit community, and that is absolutely a gift. Everyone here is constantly asking, “What can I do? How can I help?” Already, I’m so grateful for that, and so grateful to be here.
What is your first theatre memory?
My earliest memory is attending A Christmas Carol at the Guthrie Theatre when it was in its fantastic old space, next to the Walker Arts Center in Minneapolis. I was in elementary school, so I must’ve been around 10 years old. I remember that the Ghost of Christmas Present was a very Santa-like creature—large-bellied, surrounded by gifts and presents—and he was thrust onstage on a moving platform. I remember, as a child, being dumbstruck, like, “How did that happen?” It was a really stunning moment, and that’s when I realized what theatre makes possible through both imagination and technical ability.
A little later, in high school, they needed someone to run a spotlight, so I started doing tech work. Well, I don’t know if I’d call it tech work—they needed someone to get on a catwalk and point lights where an adult told you to point them. But that got me started, and I ultimately became a thespian by the final play of the year: The Hobbit. I was cast as Gandalf, the lead. They had me on stilts the entire time so I would be taller than the rest of the hobbits. I was tall anyway, I definitely think that was part of why I was cast, but on stilts, I could just tower over everybody. It was a great deal of fun! Unfortunately there are no pictures of me in the outfit anywhere, but that was how I got my one acting credit. I was Gandalf in a high school play, long ago.
If you could be any character in any play, who would you be and why?
I love the character of Prospero in The Tempest. I don’t think that I’d want to be exiled from my kingdom and stuck on an island designing things, but that said, there’s an intoxicating aspect to his love of creation and his need to build. I also really admire the fact that he eventually breaks the staff and says, “Nope. I’m not doing this anymore.” Perhaps out of a realization that, “This didn’t do what I wanted it to do,” and I have great respect for that sort of decision. So, that’s a really good one….Gandalf was incredibly fun, though. The power of magic, and being so much taller than everyone was a blast.
Any last words or final comments?
I’m incredibly excited to be on the Court Theatre team and I’m curious to see what the future will bring for this wonderful company. I’m really looking forward to what we can accomplish together.
When you engage with Court's fundraising and development efforts - such as those led by Bill - you invest in artistic excellence onstage, in classrooms, and in the community. We encourage you to consider a donation to Court, if you're so inclined, to support our theatrical and educational programming.
Gifts such as these ensure that Court's tradition of artistic excellence will extend well into the future, touching lives for years to come. Thank you.
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We want to be a part of it - New York, New York! On Sunday, June 12th Court staff was awarded the Regional Theatre Tony Award at Radio City Music Hall as part of the 75th Annual Tony Awards.
The Court group had staggered arrivals throughout the weekend, taking the time prior to the awards show to both prepare and explore. Marilyn F. Vitale Artistic Director Charles Newell and Executive Director Angel Ysaguirre attended a rehearsal for the award presentation, and met with members of our Board, while other staff took in exhibits at the Whitney and the Frick, attended productions at the Metropolitan Opera and on Broadway, and walked the High Line. We made sure to do right by the city that never sleeps!
On the day of the event, there was a pre-show reception held in midtown Manhattan, just around the corner from Radio City. Staff, trustees, and artists shared small plates and drinks, as University of Chicago Provost Ka Yee Lee, Gustavo Bamberger, and Charles Newell all gave toasts.
A highlight of the reception was the outfit worn by Trustee Diane Anderson. This outfit was, in fact, a costume from the 1992 Court production of The Mystery Cycle: The Creation. Featuring stunning beadwork and a vibrant lining, this piece was a sight to behold and a lovely symbol of Diane’s longtime commitment to Court.
After the pre-show reception, the group made their way to Radio City Musical Hall, wherein everyone presented their COVID-19 pass and was granted entry. Charlie and Angel walked the red carpet (which was actually silver!) and met the rest of the group inside. One hour prior to the start of the ceremony, there was an “Act One” streaming segment - hosted by Julianne Hough and Darren Criss - presenting Tony awards to creative and design team members.
The televised broadcast then began, hosted by Ariana Debose. Court attendees were thrilled, watching each performance in awe and celebrating each win as if it were our own. University of Chicago alumnus Mikhail Fiksel was presented with the Tony Award for Best Sound Design, a tremendous recognition for both the university and the Chicago theatre community. Fiksel was the sound designer for the 2021 Court production of Titanic (Scenes from the British Wreck Commissioner’s Inquiry, 1912) and has collaborated with the Goodman Theatre, Chicago Shakespeare Theater, Victory Gardens, and Writers Theatre, among others.
The telecast continued and - just after Bernadette Peters performed “Children Will Listen” to honor the late Stephen Sondheim - Charlie and Angel were presented with the Regional Theatre Tony Award onstage by Kelly Coffey of City National Bank. Court staff and friends applauded and cheered, as Charlie and Angel delivered their acceptance remarks. At a break in the telecast, Charlie and Angel re-joined the group and brought the award with them. Everyone had the opportunity to hold the award - remarking on both its weight and its spinning disk - with many taking photos to send back to friends, family, and colleagues in Chicago.
Upon the conclusion of the Tony Awards, Court attendees re-assembled at a nearby bar for celebratory drinks. Charlie gave a brief, emotional speech thanking everyone from Court’s past and present who made this award possible. The celebrations continued until about 2:00am, at which point, the last staff members (this writer included), stumbled home to get some rest after a truly memorable evening.
As Charlie said in his post-show toast: “This is an extraordinary moment…Steve Albert said, ‘We gotta have big dreams, we’re Chicago. We’ve gotta have big plans.’ Steve Albert challenged us to think big, have big ambitions, and we achieved one of those goals tonight.”
