After a thirty-year tenure at Court Theatre, the professional theatre of the University of Chicago, Charles Newell has decided to transition out of his role as Marilyn F. Vitale Artistic Director in June 2024. Newell will program the 2024/25 season, in which he will direct the premiere of an original work, and he will then assume the role of Senior Artistic Consultant through June 2025. As Senior Artistic Consultant, Newell will bolster fundraising initiatives, foster creative innovation, empower developing leaders, and cultivate relationships across the University. The Office of the Provost at the University of Chicago will lead a comprehensive international search for Court Theatre’s next Artistic Director in the coming months.
University of Chicago Provost Katherine Baicker thanked Charlie for his artistic leadership: “In my time at the University, I have had the good fortune to witness the monumental impact of Charles Newell's work,” she remarked. “He has played a vital role in Court Theatre becoming the nationally recognized, Tony Award-winning cultural institution that it is today. His contributions have been instrumental in defining the University of Chicago’s place within the creative ecosystems of both Hyde Park and the greater Chicago area. Charlie leaves an enduring legacy of artistic excellence.”
“Congratulations to Charlie on his amazing thirty-year career at Court,” added Court Theatre Board Chair Gustavo Bamberger. “Charlie is an accomplished artist and a thoughtful leader whose extraordinary vision has shaped how Court is redefining classic theatre. Court received the 2022 Regional Theatre Tony Award for its ‘continuous level of artistic achievement,’ confirming what its patrons have known for years: Court is an institution unlike any other. That is in no small part thanks to Charlie Newell.”
Executive Director Angel Ysaguirre joined Court Theatre in 2018 and has worked alongside Charlie for the past five years. Reflecting on this relationship, he said, “Charlie is the closest collaborator I've ever had. It's always been a joy to think with him, to consider what Court Theatre is and where it's going. His care for the plays we produce has led to consistently high-quality work and his quiet spirit of adventure is exciting. While his relationship with Court will change, I am pleased that he'll remain a vital part of the theatre and the arts community at large.”
“Court Theatre and the University of Chicago have been my artistic home, a sanctuary of creativity, and a well of inspiration for more than three decades. I will be forever grateful to Founding Artistic Director Nicholas Rudall for generously welcoming me to Court in 1993 and providing me with what would be the opportunity of a lifetime.
Court has irrevocably changed me, while affirming my core belief in collaboration. The unwavering commitment of the staff, the boundless creativity of the artists, the intellectual passion of University scholars, and the remarkable relationship with our audiences have confirmed my faith in theatre’s power to confront humanity and connect us as people.
I have put considerable thought into this transition and its timing. There is almost never an ideal moment for a change like this. However, as we build back from the pandemic, we find ourselves at a unique inflection point. We are emerging stronger and more resilient with the addition of talented new staff members, the establishment of a new Engagement division, and a closer relationship to Chicago’s South Side. It has been my life’s honor to lead Court Theatre to this point and I eagerly anticipate welcoming a new Artistic Director who will lead us into the future.
In the meantime—much like Court—I, too, am at an inflection point. I am thrilled to be planning Court’s 2024/25 season with my colleagues, and I look forward to supporting the theatre and the University of Chicago as Senior Artistic Consultant. Additionally, I’ll be able to pursue artistic projects that were previously impossible, given my steadfast devotion to Court. I look forward to new opportunities as I look back on the past thirty years with deep gratitude.
Thank you, Court Theatre, for being my home to explore, create, and contribute for most of my career. Thank you to our audiences for your support throughout this journey. Thank you to the South Side community; thank you to the Board, our donors, and our partners; thank you to the vibrant Chicago theatre community; and thank you to the University of Chicago.
I have no doubt that Court will continue to flourish and impact the lives of many, just as it has done for me.”
- Charles Newell
In 1993, Charles Newell made his unforgettable Court Theatre debut with The Triumph of Love. This production went on to win the Joseph Jefferson Award for Best Production, a recognition that would be the first of many for Charlie. Since then—and since his appointment as Artistic Director only a year later in 1994—Court Theatre has prospered.
Under Charlie’s leadership, Court has pushed the boundaries of producing classic texts. Where the definition of a classic was once narrow and limiting, over the course of several decades, Court conceptualized a richer and broader view. The theatre’s interpretation now spans cultures, defies genre, and gives voice to those who have previously been excluded from—or marginalized within—the theatrical canon.
For six seasons after Charlie’s initial debut, the theatre performed plays in rotating repertory, putting works in dialogue with one another to illuminate fresh perspectives. He made Court a hub where groundbreaking artists like JoAnne Akalaitis, Anne Bogart, and Christopher Bayes could challenge audiences with their radical interpretations of classics. In addition, almost twenty years ago, Charlie began an artistic collaboration with Ron OJ Parson, who soon became Court's Resident Artist. This partnership between Charlie and Ron expanded Court's audience and invigorated the conversation about what constitutes a classic and who determines that distinction. Deep and meaningful artistic collaborations such as these are a hallmark of Charlie’s legacy.
With Charlie at the helm, Court began not only interrogating classics, but also reimagining musicals, and commissioning new works and adaptations like Invisible Man, Native Son, Man in the Ring, and The Adventures of Augie March. Charlie devoted himself to long-term, deep explorations of acclaimed playwrights—notably Tom Stoppard—by consistently mining their bodies of work for new resonances. He developed a close working relationship with University of Chicago faculty and honed his signature directorial style grounded in rigorous dramaturgy and emotional complexity. Charlie’s contributions to Court are characterized by evolution, and this evolution reached new heights when he and Executive Director Angel Ysaguirre accepted the 2022 Regional Theatre Tony Award on behalf of the entire Court Theatre community.
Court’s mission to redefine classic theatre and Charlie’s tireless advancement of that goal have not gone unnoticed. The late Wall Street Journal critic Terry Teachout proclaimed that Court was “the most consistently excellent theatre company in America” and Charlie has personally received numerous accolades, including the SDCF Zelda Fichandler Award, TCG’s Alan Schneider Award, the League of Chicago Theatres’ Artistic Achievement Award, four Joseph Jefferson Awards, and seventeen nominations for directing.
Alongside his commitment to Court Theatre and the University, Charlie is equally dedicated to Chicago’s Hyde Park neighborhood, where he currently resides. Together with Joanie Friedman, Harry Davis, and Gabrielle Randle-Bent, he is a co-founder of the Civic Actor Studio, a program that creates space for South Side community members to practice the embodiment of civic leadership. Charlie plans to continue serving the South Side for years to come through both artistic endeavors and civic engagement.
Newell has directed more than sixty productions at Court Theatre, including:
The Gospel at Colonus (2023, co-directed with Mark J.P. Hood, Court and the Getty Villa)
The Tragedy of Othello, the Moor of Venice (2021, co-directed with Gabrielle Randle-Bent)
An Iliad (2020, revival at the Institute for the Study of Ancient Cultures)
Oedipus Rex (2019)
The Adventures of Augie March (2019, world premiere)
All My Sons (2018)
Iphigenia in Aulis (2017, revival at the Getty Villa)
The Hard Problem (2017, Chicago premiere)
Man in the Ring (2016, world premiere)
One Man, Two Guvnors (2016, Chicago premiere)
Satchmo at the Waldorf (2016, Midwest premiere)
Agamemnon (2015)
The Secret Garden (2015)
Iphigenia in Aulis (2014)
M. Butterfly (2014)
An Iliad (2013, revival)
Tartuffe (2013)
The Misanthrope (2013)
Proof (2013)
James Joyce’s “The Dead” (2012)
Angels in America (2012)
An Iliad (2011)
Porgy and Bess (2011, Jeff Award: Director - Musical)
Three Tall Women (2011)
The Illusion (2010)
The Year of Magical Thinking (2010, Chicago premiere)
The Wild Duck (2009, world premiere translation)
Caroline, or Change (2008, Chicago premiere, Jeff Award: Production - Musical, Director - Musical)
Carousel (2008)
Titus Andronicus (2008)
Arcadia (2007)
Uncle Vanya (2007)
Raisin (2006)
The Glass Menagerie (2006)
Man of La Mancha (2005, Jeff Award: Production - Musical, Director - Musical, Ensemble)
Travesties (2005)
The Importance of Being Earnest (2004)
Who’s Afraid of Virginia Woolf? (2004)
Cyrano (2004, world premiere translation, co-directed with Jim Lasko)
Guys and Dolls (2004)
James Joyce’s “The Dead” (2003, revival)
The Romance Cycle - Pericles (2003)
The Romance Cycle - Cymbeline (2003)
James Joyce’s “The Dead” (2002, Chicago premiere)
Hamlet (2002)
Piano (2001, American premiere)
The Invention of Love (2000, Midwest premiere)
The Learned Ladies (2000)
Fair Ladies at a Game of Poem Cards (2000, American premiere)
La Bête (1999)
The Little Foxes (1999)
Nora (1998)
An Ideal Husband (1998)
The Cherry Orchard (1998)
The Philadelphia Story (1997)
Travels with My Aunt (1996)
The Barber of Seville (1996)
King Henry IV: The Shadow of Succession (1996)
Celimene and the Cardinal (1995, Jeff Award: Director - Play)
Travesties (1994)
The Misanthrope (1994)
Once in a Lifetime (1994)
The Triumph of Love (1993, Jeff Award: Production - Play)
We are delighted and honored to share that Court Theatre has received nine Jeff Award nominations for the 2022/23 season! These nominations are a credit to the actors, musicians, designers, and crews who bring classic stories to life on our stage, and we are proud to work with each and every one of them. Congratulations to all of the nominees!
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 55th annual Jeff Equity Awards on Monday, October 2. The ceremony will be held at Drury Lane Theatre in Oakbrook. More information can be found at www.jeffawards.org.
Production – Musical (Large)
The Gospel at Colonus
Short Run – Production
The Island
Ensemble – Musical or Revue
The Gospel at Colonus
Director of a Musical (Large)
Mark J.P. Hood and Charles Newell – The Gospel at Colonus
Music Direction
Mark J.P. Hood – The Gospel at Colonus
Performer in a Principal Role – Musical
Kelvin Roston Jr. (Oedipus) – The Gospel at Colonus
Short Run – Performer
Ronald L. Conner (Winston) – The Island
Kai A. Ealy (John) – The Island
Scenic Design (Large)
John Culbert – Arsenic and Old Lace
We'd also like to give a special shout-out to our fellow nominee, Resident Artist Ron OJ Parson, who was nominated for Best Director for Toni Stone and Trouble in Mind.
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 the 2023/24 season! Centering timeless themes in strikingly rich interpretations, next season finds the fresh in the familiar with a carefully curated blend of beloved texts and new voices.
Jeff-nominated director, Ron OJ Parson, helms The Lion in Winter; Gabrielle Randle-Bent, director of the Jeff-nominated The Island, brings the Oedipus Trilogy to a thrilling conclusion with Antigone; Jeff-nominated director Charles Newell returns to the Court stage with Rosencrantz and Guildenstern Are Dead; and the final production is the world premiere of Stokely: The Unfinished Revolution. That's quite the lineup!
With packages starting at $37 per ticket, subscribing is the most flexible and cost-effective way to see the season. Learn more →
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These artists have a wealth of experience in both education and theatre, and we feel honored to partner with them for our Artists-in-the-Schools program. For this inaugural post, we're featuring Teaching Artist Sonia Goldberg!
When did you know you wanted to work in theatre? At what age did that become clear?
I’ve been invested in theatre for my entire life. Even when I was too shy to show it, I was HOOKED. Growing up, my local Chicago Park District summer camp was at Indian Boundary Park. The camp put on a musical every summer, and I was a camper every year, starting at 6 years old. When I aged out, I studied theatre through After School Matters’s Gallery 37 apprentice program. Theatre is the chief thing that guided me to be bold, to be myself. It’s always been my passion.
Was there a teacher, teaching artist, or mentor that helped you find your love of theatre? Tell us about them and how their guidance still helps you today.
Mr. Winkler! He’s the drama teacher at Whitney M. Young Magnet High School. Whitney’s theatre group is called The Young Company, and it continues to be a home for young theatre artists. Mr. Winkler was just as invested in the quality of the productions as we were. No babying, no shrugging and saying, “Good enough!” He gave us consistent, actionable notes and tracked the development of the shows overall. In other words, he was treating us like professionals. This set my standards for myself quite high, which has only worked to my benefit.
I aim to honor my students with that same experience of professionalism. I hold my students to high standards because I know what they’re capable of. My goal is for them to surprise themselves with their own ability - and we all have fun along the way, too!
Why did you want to become a teaching artist? Has it changed how you view theatre, more generally?
I went from being a very shy and sensitive kid, to a boisterous and confident one. I’ve had a hunger to learn more about theatre for my whole life, and I’ve been blessed with teaching artists who’ve challenged me and supported me. Passing on your love and understanding of art is the gift that keeps on giving! It is an honor to teach theatre to Chicago youth; I see myself in them every day.
Towards the beginning of my serious study of theatre, it felt like I could never learn enough, and that was a bit discouraging. What felt daunting before, is liberating to me now – the exploration never stops. How cool is that! When I was really struggling with stage combat at the London Academy of Music and Dramatic Art (LAMDA), a tutor told me, “It’s called learning, not knowing!” and that was a real lightbulb moment. As a teaching artist, I want to stoke the flame in my students, while guiding them to be flexible, lifelong learners!
What's your favorite thing about being a TA at Court, specifically?
SEVERAL factors that all meld together: We get to build original curriculums based on our own interests and strengths. We are partnered with one school long-term, and can develop an understanding of what our students would like to explore. This allows for a meaningful community to form, with the opportunity for ongoing mentorship and collaboration. Each class feels like an ensemble, and that’s special!
What play, or character from a play, best describes you?
I’m going to go with a combo. Olga from Three Sisters – she’s incredibly caring and attentive, often placing others before herself (for better and for worse). And Mercutio from Romeo and Juliet – I’m vibrant, intelligent, social, a bit goofy, and benefit from the grounding of my friends and loved ones.
Sonia Goldberg (she/they) is a Jeff-nominated actress, writer, musician, and teaching artist. They’re a queer, Black Chicago native. She has worked with Chicago Shakespeare Theater, Northlight, Chicago Children’s Theatre, and Montana Shakespeare in the Parks. Sonia’s a frequent collaborator with Filament Theatre, where her play Think Fast, Jordan Chase! will premiere. She’s a company member with Playmakers Lab. They have a BA in Theatre from Butler University, and certificates from LAMDA and The Moscow Art Theatre School.
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Court Theatre, in partnership with UChicago Presents, is delighted to welcome acclaimed musical ensemble, Eighth Blackbird, to our space for a limited-run performance of their innovative and enchanting work, composition as explanation.
Eighth Blackbird (8BB) has been pushing the interpretative boundaries of chamber music since its first choreographed program in 1996. So far, the organization has created seven full evening-length staged productions. What began as an experiment has become a repertoire coined as “Super Chamber Music” by composer David Lang. This still-unofficial genre falls in the cracks between music and theater and has been a conundrum for marketing professionals for two decades. Nonetheless, 8BB does it anyway. This playground between disciplines is an inevitable extension of Eighth Blackbird’s inner workings. It is the guts and it is the bones of their artistry.
composition as explanation is 8BB’s next foray into uncharted aesthetic territories. This time the evening is composed by David Lang and directed by Anne Bogart, though the true hero of the evening is Gertrude Stein. Her essay (by the same name) is the heart and breath of this work.
How should 8BB bring an audience into the repetitive and plainspoken and circular format of Stein’s writing? She has blurred the relationship between her content, her form, and her performance. 8BB follows her lead and blurs performance distinctions between instrumental virtuosity, chamber ensemble dexterity, acting, singing, costume, lighting, audio, and staging.
Is this work really all about Stein though? No. Her writing is the catalyst, but what the audience leaves with is a new point of inquiry regarding how they absorb art. Any art. By lifting Stein’s enigmatic oration from the printed page, 8BB creates layers of interpretation and reveals the human relationship with art from an entirely unprecedented perspective. A perspective that is experienced, rather than erudite, as thoughtful, clever, humorous, intuitive, insightful, and joyful.
composition as explanation runs from Sept 28 - 30, 2023 and tickets are on sale now! Tickets can be purchased online or by calling the Box Office at (773)753-4472.
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Court Theatre is proud to remount our production of The Gospel at Colonus at the Getty Villa in Malibu, California. Experience the joy, redemption, and healing of Chicago gospel all the way in the Golden State!
Each fall, the Outdoor Theater at the Getty Villa series features a classical tragedy or comedy in the Villa’s dramatic Barbara and Lawrence Fleischman Theater, an outdoor venue modeled after ancient Greek and Roman theatres. These productions are drawn from respected theatres across the nation, and an invitation to the Getty Villa is a highly-sought honor for theatres producing classical works. Court Theatre is honored to remount our production of The Gospel at Colonus at the Getty Villa stage in Malibu, California.
Mark J.P. Hood and Marilyn F. Vitale Artistic Director Charles Newell lead this reprisal at the Getty, joined by the majority of the original cast and band. Soulful and stirring, this one-of-a-kind theatrical event breathes new life into the Oedipus myth with a score of powerful gospel music. A bold collaboration from an extraordinary team, The Gospel at Colonus builds upon the strengths and experiences of its artists to bring this redemptive musical celebration to life.
“It is an honor to bring The Gospel at Colonus to the Getty Villa,” shares Director Mark J.P. Hood. “Charlie Newell and I have been developing this production for five years, and that time has been totally worth it. To finally be able to do this production in Chicago and have it be so well-received, and now, to be able to do it at the Getty? This is a God dream! As a native Chicagoan who now lives in Los Angeles, I can’t wait to take this production from one of my home cities to the other. Let’s go, LA!”
Director Charles Newell comments: “The Gospel at Colonus has been utterly life-changing, ever since I first saw it at the Brooklyn Academy of Music in 1983. The fact that I have been able to direct it, together with Mark J.P. Hood, has been such a gift, and the fact that Court’s staging has touched so many, so deeply is a testament to the incredible cast, band, production team, and creative team. My deepest thanks to Mark J.P. Hood; Mahmoud Khan; Nick Rudall, Court’s founding Artistic Director; and our Chicago audiences. We now take the exciting next step and bring The Gospel at Colonus to the Getty Villa in Los Angeles, and we can’t wait to share this production with you.”
The play will feature set design by John Culbert, costumes by Raquel Adorno, lighting design by Keith Parham, movement design by Cristin Carole, and sound design by Sarah Ramos.
Court Theatre was last at the Getty in 2017 for their staging of Iphigenia in Aulis, Euripides’s ancient tale of power and sacrifice. It has been over five years since a Court production has toured to the Getty space, and it is an immense honor to return.
“We are thrilled to welcome back Court Theatre to the Getty Villa for this year’s gospel musical production, The Gospel at Colonus,” says Timothy Potts, Maria Hummer-Tuttle and Robert Tuttle Director of the Getty Museum. “Theater was a fundamental component of religious and social life in ancient Greece, and our theater program continues to demonstrate the importance of classical drama in contemporary society.”
Performances of The Gospel at Colonus will be held at 8:00pm, Thursdays through Saturdays, from September 07 – 30, with previews on August 31 – September 02. American Sign Language (ASL) interpreted performances will take place on September 14 and 21.
Tickets are on sale now and can be purchased online or by calling the Getty Villa (310) 440-7300. We'll see you in California!
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The evening of June 10th came alive with music and dancing. Court Theatre’s gala - held at Venue West (221 N. Paulina) - was in full swing, with guests celebrating and grooving late into the night. The event served as the culmination of what has undoubtedly been a banner year for the theatre.
The theme of this year’s gala - Play, In Three Acts - reflected the sense of joyful community, gathering supporters together to celebrate Court’s 2022 Regional Theatre Tony Award. The gala also recognized Barbara Franke and Lorna Ferguson, both long-standing Court trustees, and Audrey Petty, director of the Sojourner Scholars program at Illinois Humanities.
All of the honorees were in attendance, in addition to members of the theatre’s Board of Trustees, University of Chicago faculty and administrators, artists, and theatre enthusiasts. Dana Levinson, Chief Program Officer for the Josiah Macy Jr. Foundation, and Andrea Sáenz, President and CEO of the Chicago Community Trust, chaired the event. Notable guests included Lieutenant Governor of Illinois Juliana Stratton, Field Foundation of Illinois President Daniel O. Ash, and Executive Director of the American Library Association Tracie D. Hall. The event was generously sponsored by The Chicago Community Trust and the Field Foundation of Illinois.
The proverbial first act, Cocktails With Antoinette, gave attendees the opportunity to take photos of themselves holding the award upon their arrival at the event. Most guests jumped at the chance to hold “Antoinette,” as Court staff refer to the Tony statuette. Guests mingled, sampled hors d’oeuvres and signature drinks, and viewed a number of vignettes comprised of props and costumes from past Court shows. These exquisite stage pieces, curated by Properties Manager Lara Musard, provided guests with a glimpse into the company’s storied production history. Attendees also bid on Silent Auction items that offered a variety of items and experiences, ranging from a Nick Cave print to a stay at an Italian villa.
As the event transitioned into its second act, guests were then treated to a multi-course meal and remarks from Marilyn F. Vitale Artistic Director Charles Newell and Executive Director Angel Ysaguirre. The contributions of honorees Barbara Franke, Lorna Ferguson, and Audrey Petty were then acknowledged from the stage.
Ron OJ Parson, Resident Artist and the Chicago Tribune’s Chicagoan of the Year for Theater, concluded the second act with an emotional toast, reflecting on Court’s artistic and community impact, its accomplishments, and its future successes.
Act three, Have A Ball, kicked off with a performance from Mark J.P. Hood, a Chicago native, musician and theatrical artist who served as Director and Musical Director for Court’s production of The Gospel at Colonus. He led a rousing medley of gospel staples highlighting Chicago’s gospel history. Hood then led attendees to the dance floor, where they were greeted by tunes and remixes from DJ Tess. The dance party brought the evening to an exuberant conclusion - there was even a Soul Train line! – and many guests commented on how much they enjoyed the event as they departed.
In all, the Court gala was a rousing success, raising over $300,000 to support the theatre’s artistic initiatives and educational programming. Court Theatre would like to thank all the attendees, honorees, and sponsors who brought this year’s gala to life; thank you for your continued support and partnership, and thank you for making Play, In Three Acts a night to remember!
All proceeds from the gala support Court Theatre’s artistic initiatives and education programs. Court Theatre is the Tony Award–winning professional theatre of the University of Chicago, dedicated to innovation, inquiry, intellectual engagement, and community service. Functioning as the University’s Center for Classic Theatre, Court and its artists mount theatrical productions and audience enrichment programs in collaboration with faculty. These collaborations enable a reexamination of classic texts that pose the enduring and provocative questions that define the human experience.
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This next season marks a thrilling inflection point in our history, catalyzed by the 2022 Regional Theatre Tony Award. Centering timeless themes in strikingly rich interpretations, the 2023/24 season finds the fresh in the familiar with a carefully curated blend of beloved texts and new voices. 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This next season marks a thrilling inflection point in our history, catalyzed by the 2022 Regional Theatre Tony Award. Centering timeless themes in strikingly rich interpretations, the 2023/24 season finds the fresh in the familiar with a carefully curated blend of beloved texts and new voices. We can’t wait to celebrate the transformational power of possibility with you.
Marilyn F. Vitale Artistic Director Charles Newell shares: “This season, we’re staging a number of well-known works in innovative and creative ways, inviting audiences to reconsider their potential, their cultural and theatrical significance, and their essential message. We commissioned a new work that complicates historical narratives and reinvigorates the form of the memory play. And we remain ever curious about what makes a classic and why. This season will be wonderfully satisfying, without question.”
Executive Director Angel Ysaguirre comments: “We received the 2022 Regional Theatre Tony Award for our history of excellent productions and for building participation among residents in our surrounding communities on the South Side. This season continues that work as we artistically invest in telling important stories, reimagine stories we think we know, and continue to deepen relationships and be a place of artistic and civic engagement for our neighbors on the South Side of Chicago. These plays all examine issues of who we are and how we act responsibly toward one another.”
It is Christmas in the 12th century, and Henry II’s family is in tatters. His once-loving wife and now sworn enemy, Eleanor of Aquitaine, has been released from prison and is seeking vengeance at any cost; his three sons - Richard, Geoffrey, and John - are profoundly incompetent, consumed by petty sibling squabbles and gridlocked in duplicitous scheming; and his mistress (who just happens to be betrothed to his son) is running out of patience, demanding either a wedding or the return of her much-needed dowry. And you thought your holidays were complicated!
The Lion in Winter depicts - with acerbic wit - a family’s attempt to persevere in the face of staggering egos, ruthless ambition, and deceit at every turn as the fate of their country hangs in the balance. Resident Artist Ron OJ Parson (Two Trains Running, Arsenic and Old Lace) directs the Tony Award-winning play that inspired the Oscar-winning film, staging this thrillingly clever epic with humor, heart, and renewed relevance.
As Antigone mourns her brothers who have murdered each other in a civil war, she must decide if she will sacrifice her life to balance the scales of justice. Her victorious brother is posthumously exalted; her treasonous brother is left unburied by order of King Creon, Antigone’s uncle and adversary. Antigone deliberately defies the king's edict and buries her traitorous brother, igniting a devastating chain of events and thrusting urgent questions of justice to the fore.
With Antigone, Sophocles’ timely masterwork, Associate Artistic Director Gabrielle Randle-Bent (The Island) brings Court’s Oedipus Trilogy - Oedipus Rex, The Gospel at Colonus, and Antigone - to an exhilarating conclusion. Randle-Bent's striking interpretation - featuring Aeriel Williams in the titular role and Timothy Edward Kane as King Creon - not only completes this theatrical odyssey, but renders Sophocles' classic tale electrifyingly alive, inviting audiences to hear his poetry anew. As a result, Randle-Bent frees Antigone from the trap of martyrdom, situates her in our modern conversation about the price of democracy, and asks - crucially - if it's a price we're willing to pay.
Everyone dies, but not everyone’s death is pre-ordained by Shakespeare. Rosencrantz and Guildenstern Are Dead puts the spotlight on two of Shakespeare’s minor characters as they wrestle with fundamental, pressing questions of identity, loss, fate, friendship, and the absurdity of existence. As they hurtle towards their imminent demise, Rosencrantz and Guildenstern unlock what it means to be truly alive.
After directing The Hard Problem, Arcadia, Travesties, and The Invention of Love at Court and Rock ‘n’ Roll at Goodman Theatre, Director Charles Newell turns his expert eye to Tom Stoppard once more. His deconstructed interpretation of one of Stoppard’s earliest and best-known works propels the story forward with newfound immediacy. And, in so doing, Newell unveils the emotional in the existential, and urges us to reconsider what we know about Rosencrantz and Guildenstern, Hamlet, and perhaps even Tom Stoppard himself.
Civil rights activist Kwame Ture, born Stokely Carmichael, was a towering icon; a man of immense domestic and international importance; a man who refused to back down, step aside, or remain silent. But he was also just that: a man. Blending the historical and the personal with astonishing grace, Stokely: The Unfinished Revolution depicts one man’s rise to prominence and the many people who made it possible, begging the question: what does it mean to trust someone with a movement when you can’t trust them with your heart?
Tasia A. Jones makes her Court directorial debut with playwright and Prince Prize winner Nambi E. Kelley’s (Native Son) evocative world premiere. Tracing the journey from Stokely Carmichael, the man, to Kwame Ture, the legend, Kelley illuminates the power of imperfection to humanize, and the power of that humanity to change the world.
Subscriptions are on sale now! Purchase or renew your subscription online or by calling the Box Office at (773) 753-4472. Individual tickets for all shows will be available in summer 2023.
[button link="/season-tickets/subscriptions/" text="Subscribe Now"]
" ["post_date"]=> string(19) "2023-04-04 11:43:47" ["post_excerpt"]=> string(0) "" ["post_parent"]=> int(0) ["post_status"]=> string(7) "publish" ["post_title"]=> string(58) "Find the Fresh in the Familiar with Court's 2023/24 Season" ["post_type"]=> string(4) "post" ["slug"]=> string(57) "find-the-fresh-in-the-familiar-with-courts-2023-24-season" ["__type":protected]=> NULL ["_edit_lock"]=> string(13) "1689715272:16" ["_edit_last"]=> string(2) "16" ["add_feed"]=> string(1) "0" ["_add_feed"]=> string(19) "field_5939a562bed44" ["article_description"]=> string(343) "We're thrilled to announce the 2023/24 season! This next season marks a thrilling inflection point in our history, catalyzed by the 2022 Regional Theatre Tony Award. Centering timeless themes in strikingly rich interpretations, the 2023/24 season finds the fresh in the familiar with a carefully curated blend of beloved texts and new voices. " ["_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(3) "508" ["_yoast_wpseo_content_score"]=> string(2) "30" ["_yoast_wpseo_estimated-reading-time-minutes"]=> string(1) "5" ["_yoast_wpseo_wordproof_timestamp"]=> string(0) "" ["_oembed_d11835da45b1d7339efa32bd7f3236db"]=> string(11) "{{unknown}}" ["_thumbnail_id"]=> string(5) "20515" ["_oembed_1d0fd79dd97181d2c553d15fa3a2f7ad"]=> string(281) "" ["_oembed_time_1d0fd79dd97181d2c553d15fa3a2f7ad"]=> string(10) "1680628515" ["_oembed_01fbba42fb90baab1434ca949b142d00"]=> string(265) "" ["_oembed_time_01fbba42fb90baab1434ca949b142d00"]=> string(10) "1680691090" ["_oembed_7e7f431eb5b615532ceecadfe568c771"]=> string(329) "" ["_oembed_time_7e7f431eb5b615532ceecadfe568c771"]=> string(10) "1680691090" ["_oembed_6bb1154086e6142900b98347af88a233"]=> string(329) "" ["_oembed_time_6bb1154086e6142900b98347af88a233"]=> string(10) "1680691090" ["_oembed_fad84a718fdb2764420c1ba4f3f827a4"]=> string(336) "" ["_oembed_time_fad84a718fdb2764420c1ba4f3f827a4"]=> string(10) "1680691091" ["_oembed_27f386e9798d3e77538b637c8dfd72df"]=> string(266) "" ["_oembed_time_27f386e9798d3e77538b637c8dfd72df"]=> string(10) "1680691091" ["_oembed_2a52888e66d221a24cd540e1c8590797"]=> string(284) "" ["_oembed_time_2a52888e66d221a24cd540e1c8590797"]=> string(10) "1680691091" ["_oembed_9ddc38b71b74cbe5b4964e368403931f"]=> string(276) "" ["_oembed_time_9ddc38b71b74cbe5b4964e368403931f"]=> string(10) "1680691091" ["_oembed_ac47a0170588d0519c5befe713aaec3f"]=> string(275) "" ["_oembed_time_ac47a0170588d0519c5befe713aaec3f"]=> string(10) "1680691091" ["post_date_gmt"]=> string(19) "2023-04-04 16:43:47" ["comment_status"]=> string(4) "open" ["ping_status"]=> string(6) "closed" ["post_password"]=> string(0) "" ["post_name"]=> string(57) "find-the-fresh-in-the-familiar-with-courts-2023-24-season" ["to_ping"]=> string(0) "" ["pinged"]=> string(0) "" ["post_modified"]=> string(19) "2023-07-18 16:21:12" ["post_modified_gmt"]=> string(19) "2023-07-18 21:21:12" ["post_content_filtered"]=> string(0) "" ["guid"]=> string(37) "https://www.courttheatre.org/?p=20451" ["menu_order"]=> int(0) ["post_mime_type"]=> string(0) "" ["comment_count"]=> string(1) "0" ["filter"]=> string(3) "raw" ["status"]=> string(7) "publish" } [7]=> object(Timber\Post)#3681 (53) { ["id"]=> int(20340) ["ID"]=> int(20340) ["object_type"]=> string(4) "post" ["ImageClass"]=> string(12) "Timber\Image" ["PostClass"]=> string(11) "Timber\Post" ["TermClass"]=> string(11) "Timber\Term" ["custom"]=> array(15) { ["_edit_lock"]=> string(13) "1689715319:16" ["_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(3) "504" ["_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" } ["___content":protected]=> NULL ["_permalink":protected]=> NULL ["_next":protected]=> array(0) { } ["_prev":protected]=> array(0) { } ["_css_class":protected]=> NULL ["post_author"]=> string(2) "16" ["post_content"]=> string(4046) "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.
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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!
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