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          string(3006) "<span style="font-weight: 400;">On January 20, Professor Tina Post and dramaturg Gabrielle Randle-Bent discussed the play’s one Black female character, the Woman, the significance of her presence, and how her character has been approached through a lens of movement and choreography. Here are 6 takeaways from their conversation.</span>

<strong>1. Dialogue</strong>

<span style="font-weight: 400;">She is a non-speaking character but is present for important moments and has a controlling stake in propelling the play forward. </span>

<strong>2. Script</strong>

<span style="font-weight: 400;">She is scripted to appear in the Prologue, Epilogue, and near the end of Act 1 to perform scripted action. However, dramaturgs have the liberty of placing her elsewhere as well as a silent presence overlooking everything. She can appear both in flesh and a spirit haunting the action.</span>

<strong>3. Hyena</strong>

<span style="font-weight: 400;">The hyena is a motif in every iteration of the Woman’s scripted appearance. When she appears, so does a hyena, calling back to the story of Modingo and why the hyenas have bitter laughter as told in the play.</span>

<strong>4. Projection</strong>

<span style="font-weight: 400;">Her corporeal presence is not clear. She can be interpreted as a projection of Tchembe’s mind, but even if staged as a haunting presence, she still retains her power and is perhaps even more powerful. She has symbolic power, but the nature of that power remains to be interpreted. She is an ancestral force and spirit, but there’s also a sense of futurity to her demands. </span>

<strong>5. Who is the Woman?</strong>

<span style="font-weight: 400;">Is she Tchembe’s mother, a future mixed-race daughter of Tchembe? There is no scripted sense of her embodiment other than she appears. Is she tangible rather than an all-seeing projection, an idea, and a person? She is as much an ancestral potentiality as a future one, someone who has already been or yet to be or both at once. There is no singularity, for where there is one, there is many. Her presence as a haunting emulates the haunting of the author with this text as we don’t know the extent of who wrote what and in what way, Lorraine Hansberry or Robert Nemiroff. </span>

<strong>6. Claims and Visuality</strong>

<span style="font-weight: 400;">The Woman makes a claim on Tchembe even after his time away in Europe and he responds. </span><span style="font-weight: 400;">Her embodiment perhaps suggests there is space for her to be however she wants to be on her own terms. </span>

<span style="font-weight: 400;">Interested in learning more about the Woman and viewing an original interpretative dance piece representing her character? Tune into our next </span><a href="https://www.courttheatre.org/about/blog/theatre-thought-lorraine-hansberrys-les-blancs-racial-injustice/"><span style="font-weight: 400;">session</span></a><span style="font-weight: 400;">!</span>"
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          string(3843) "<span style="font-weight: 400;">On January 13, UChicago Assistant Professor Tina Post and dramaturg Gabrielle Randle-Bent provided an overview of Lorraine Hansberry and her work</span><span style="font-weight: 400;">. Here are 5 key takeaways from their discussion.</span>

<strong>1. Hansberry’s Death</strong>

<i><span style="font-weight: 400;">Les Blancs</span></i><span style="font-weight: 400;"> was her magnum opus. She had been working on it for about four or five years before she died; it was left unfinished when she suddenly died from pancreatic cancer. Her former husband, dramaturg Robert Nemiroff, finished the play for her. Nemiroff also worked with producer Andrew Cohen and Ozzy Davis to finish it.</span>

<strong>2. Summary</strong>

<span style="font-weight: 400;">The play is set mainly at the mission, a hospital compound founded by Reverend Neilson forty years before. At the beginning of the play, reporter Charlie Morris arrives to do a report on the mission. There, he meets Marta (a white doctor), Willie DeKoven (another white doctor; disillusioned idealist), and Madame Neilson. Tchembe returns home after the death of his father, who he discovers was part of the resistance of Africans against white colonial powers, and meets his two brothers again after years abroad. Tensions within the country escalate further during his visit and confront Tchembe with questions about his allegiance and loyalty to his country.</span>

<strong>3. Timelessness of Abstraction</strong>

<span style="font-weight: 400;">The setting is an unnamed African country; in one draft, the playwright notes it could be set anytime within the next decade or so, a testament to how contemporary the play remains. As niece of Leo Hansberry, a scholar of African history and politics, Hansberry was knowledgeable about the status of Africa during her career as a scholarly activist and author. Despite her knowledge, she chose to write about an unnamed African country. She demands an abstraction of the African people in her play. Productions try to interpret who and what every choice of the author means. The play’s themes can be applied and is relevant to many contemporary situations in other countries as well.</span>

<strong>4. Hansberry as a Revolutionary</strong>

<span style="font-weight: 400;">She was a member of labor-organizing groups, communist groups, and leftist groups. Her position was that black people needed to be seen and heard and given the opportunities that everyone else was given. She portrayed injustices and identity struggles in her work. </span><i><span style="font-weight: 400;">Les Blancs</span></i><span style="font-weight: 400;"> includes her view of the U.S. as an oppressive colonial power and a guiding force in the world that was changing.</span>

<strong>5. Candace</strong>

<span style="font-weight: 400;">Tchembe, in early drafts, was a woman named Candace, a character Hansberry wrote in as herself as someone who sees the city as her own. She is present in other characters as well, such as Eric, a mixed-race, queer, young revolutionary, though Tchembe holds her voice in entirety. His turn to revolution was a central question in her life, which included such concerns as she grew that revolved around whether she was a revolutionary and how she could hold onto that and how it changed with her experiences.</span>

<span style="font-weight: 400;">Want to learn more about Lorraine Hansberry’s incredible play, </span><i><span style="font-weight: 400;">Les Blancs</span></i><span style="font-weight: 400;">? Tune into our next Theatre &amp; Thought </span><a href="https://www.courttheatre.org/about/blog/theatre-thought-lorraine-hansberrys-les-blancs-racial-injustice/"><span style="font-weight: 400;">session</span></a><span style="font-weight: 400;">!</span>"
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          string(12061) "We are announcing <span style="font-weight: 400;">further revisions to our 2020/21 Season in response to the ongoing COVID-19 pandemic and continuing restrictions on public gatherings. The newly-revised season has Court postponing our production of August Wilson’s </span><i><span style="font-weight: 400;">Two Trains Running</span></i><span style="font-weight: 400;"> and pushing back dates of Owen McCafferty’s </span><b><i>Titanic (Scenes from the British Wreck Commissioner's Inquiry, 1912)</i></b><span style="font-weight: 400;"> and Shakespeare’s </span><b><i>Othello</i></b><span style="font-weight: 400;">. If public health conditions allow, Court will offer limited in-person viewership for </span><b><i>Titanic</i></b> <span style="font-weight: 400;">and </span><b><i>Othello</i></b><span style="font-weight: 400;">, with digital access provided for patrons who do not yet wish to attend in person. In addition, we're offering on-demand digital viewing of two productions from our archives: the musical <strong><em>Five Guys Named Moe</em></strong>, and our critically-acclaimed production </span><b><i>An Iliad</i></b><b>,</b><span style="font-weight: 400;"> by Lisa Peterson and Denis O’Hare. Court is also announcing the free Chicagoland premiere of </span><b><i>Theatre for One: Here We Are</i></b><span style="font-weight: 400;">, a series of digital microplays written, directed, and starring an array of BIPOC artists and designed to be experienced one-on-one.</span>
<blockquote><span style="font-weight: 400;">“While the coronavirus pandemic continues to pose unique challenges to live performance, Court Theatre remains steadfast in its goal to offer intellectually rigorous artistic experiences to our patrons,” says </span><b>Charles Newell</b><span style="font-weight: 400;">, Marilyn F. Vitale Artistic Director. “Our newly-revised season offers patrons several new ways to engage with theatrical narratives while we wait for the widespread rollout of a COVID-19 vaccine.”</span>

<span style="font-weight: 400;">“COVID-19 has necessitated tough programming decisions in the interest of keeping our patrons, artists, and staff safe,” says </span><b>Angel Ysaguirre</b><span style="font-weight: 400;">, Executive Director of Court Theatre. “I’m optimistic about the unparalleled access our digital and hybrid programs offer, as online programming continues to provide the opportunity to engage with our work regardless of a patron’s schedule or geographic location.”</span></blockquote>
<strong>The previously announced production of <i>Two Trains Running </i>has been postponed and will be produced in a future season.<i> </i></strong>
<h2><b>The Revised 2020/21 Court Theatre Season:</b></h2>
<b></b><b>From the Archives:
</b>

<strong><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/five-guys-named-moe-streaming/"><img class="alignnone size-full wp-image-15454" src="https://www.courttheatre.org/wp-content/uploads/2021/01/800x280-five-guys-streaming.jpg" alt="Five Guys Named Moe" width="800" height="301" /></a><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/five-guys-named-moe-streaming/">FIVE GUYS NAMED MOE</a>
</strong>A Musical By Clarke Peters, Featuring Louis Jordan's Greatest Hits
Originally Produced At Theatre Royal Stratford East
Directed By Ron Oj Parson, Music Director Abdul Hamid Royal
Associate Director Felicia P. Fields, Movement/musical Staging Christopher Carter
<strong>Available for digital viewing February 4 - 28, 2021</strong>

The <em>Sun-Times</em> called Court's production “pure, unadulterated theatrical fun" and we can all use little fun this winter. A lively musical tribute to the hit songs of saxophonist and songwriter Louis Jordan, <em>Five Guys Named Moe </em>introduces Nomax: a broke, newly single guy singing the blues late into the night. Suddenly, five unexpected friends—Big Moe, Four-Eyed Moe, Eat Moe, No Moe, and Little Moe—emerge from his radio to help ease his broken heart. Pioneering musician Louis Jordan’s new approach to jazz paved the way for rock and roll in the 1950s.

<a href="https://www.courttheatre.org/season-tickets/2020-2021-season/an-iliad-streaming/"><img class="alignnone size-full wp-image-15450" src="https://www.courttheatre.org/wp-content/uploads/2021/01/iliad-streaming-800x300-1.jpg" alt="An Iliad" width="800" height="295" /></a><b>
</b><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/an-iliad-streaming/"><b>AN ILIAD</b></a>, the site-specific production filmed at the Oriental Institute
by Lisa Peterson and Denis O’Hare, based on Homer’s <i>The Iliad</i>
translated by Robert Fagles, directed by Charles Newell
<strong>Available for digital viewing March 3 - March 31, 2021</strong>

<span style="font-weight: 400;">Remounted three times across Court’s history, </span><i><span style="font-weight: 400;">An Iliad</span></i><span style="font-weight: 400;"> continues to showcase the power of classic theatre to speak to our current moment. Interrogate how rage and division reverberate throughout civilization in this streaming release of our limited-engagement, site-specific production of </span><i><span style="font-weight: 400;">An Iliad </span></i><span style="font-weight: 400;">at the Oriental Institute. The production takes audiences on a journey through ancient societies and cultural artifacts in a thrillingly visceral performance. This professionally-captured, multi-camera stream of the play allows you to experience this one-of-a-kind production at home, which Rick and Brenda McCain of </span><i><span style="font-weight: 400;">Chicago Now</span></i><span style="font-weight: 400;"> hailed as “a superb collaboration of theater and history in a site-specific platform that is sure to bring chills to the historian that resides in all humanity.”</span>

<a href="https://www.courttheatre.org/season-tickets/2020-2021-season/theatre-for-one-here-we-are/"><img class="alignnone size-full wp-image-15451" src="https://www.courttheatre.org/wp-content/uploads/2021/01/t41-800x300-1.jpg" alt="Theatre for One" width="800" height="290" /></a><b><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/theatre-for-one-here-we-are/">THEATRE FOR ONE: HERE WE ARE</a>
</b><span style="font-weight: 400;">Creator and Artistic Director: Christine Jones
</span><span style="font-weight: 400;">Co-Artistic Director for Here We Are: Jenny Koons
</span><span style="font-weight: 400;">Platform Programing &amp; Design by Open Ended Group—Marc Downie and Paul Kaiser
</span><span style="font-weight: 400;">Produced by Octopus Theatricals—Mara Isaacs, Executive/Creative Producer
</span>February 18 - March 14, 2021
<b>
</b><i><span style="font-weight: 400;">Theatre For One: Here We Are</span></i><span style="font-weight: 400;"> is a live digital theatrical experience that brings together one actor and one audience member featuring eight new microplays that speak to these times we are in. A laugh shared with a stranger, a world created by imagination, a soul nourished through storytelling: these are things only theater can accomplish. Following its critically-acclaimed run in New York, Court Theatre brings these eight stories to life with Chicago actors to offer audiences a deeply personal theatrical experience. </span>

<a href="https://www.courttheatre.org/season-tickets/2020-2021-season/titanic/"><img class="alignnone size-full wp-image-15452" src="https://www.courttheatre.org/wp-content/uploads/2021/01/800x280-titanic.jpg" alt="Titanic" width="800" height="280" /></a><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/titanic/"><b>TITANIC (SCENES FROM THE BRITISH WRECK COMMISSIONER'S INQUIRY, 1912)</b></a><b>
</b>by Owen McCafferty<b>
</b>Directed by Vanessa Stalling
April 29 - May 30, 2021
<i><span style="font-weight: 400;">A digital version will be available to stream for patrons who do not yet wish to attend in person.</span></i>

<span style="font-weight: 400;">The sinking of the RMS </span><i><span style="font-weight: 400;">Titanic</span></i><span style="font-weight: 400;"> has long been studied for its historical significance and unmistakable hubris. A survivors’ story fraught with intrigue, Owen McCafferty’s </span><i><span style="font-weight: 400;">Titanic (Scenes from the British Wreck Commissioner’s Inquiry, 1912) </span></i><span style="font-weight: 400;">tells the story using verbatim testimonies from witnesses of the wreck. What emerges is a startling portrait of class, chaos, and moral ambiguity.  Vanessa Stalling (Jeff Award-winning director of </span><i><span style="font-weight: 400;">Photograph 51 </span></i><span style="font-weight: 400;">and </span><i><span style="font-weight: 400;">United Flight 232</span></i><span style="font-weight: 400;">) brings her singular artistry to McCafferty’s text. Leveraging audio technology, she and her team will create an expansive soundscape that allows the testimonies of each individual to resonate with audiences through a heightened, visceral experience that pushes the boundaries of design and theatrical performance.    </span>

<a href="https://www.courttheatre.org/season-tickets/2020-2021-season/othello/"><img class="alignnone size-full wp-image-15453" src="https://www.courttheatre.org/wp-content/uploads/2021/01/800x280-othello.jpg" alt="Othello" width="800" height="295" /></a><b><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/othello/">OTHELLO</a>
</b>by William Shakespeare
Adapted and Directed by Charles Newell
with Associate Director Gabrielle Randle-Bent
July 8 - August 8, 2021<b>
</b><i><span style="font-weight: 400;">A digital version will be available to stream for patrons who do not yet wish to attend in person.</span></i>

<span style="font-weight: 400;">Othello, the great Venetian general, unknowingly seals his fate when he fails to select his standard-bearer, Iago, for a military promotion. When his wife, Desdemona, is implicated in an affair, Othello is faced with a series of irreversible events that spell catastrophe for him and his country. Kelvin Roston, Jr. (</span><i><span style="font-weight: 400;">Oedipus Rex</span></i><span style="font-weight: 400;">,</span><i><span style="font-weight: 400;"> King Hedley II</span></i><span style="font-weight: 400;">) returns to Court to star in this intimate new take on Shakespeare’s complex tragedy about jealousy, ego, and betrayal. Marilyn F. Vitale Artistic Director Charles Newell and his team will rigorously interrogate how identity is constructed along personal, racial, and political lines.</span>

<b>Subscription and Ticket Information
</b><span style="font-weight: 400;">Court’s Box Office will email ticket holders and subscribers to discuss how these changes impact them. Individual event tickets will be on sale soon. To purchase a subscription or receive more information, call the Court Theatre Box Office at (773) 753-4472.</span>

<hr />

<i><span style="font-weight: 400;">Here We Are</span></i><span style="font-weight: 400;"> was commissioned by Arts Brookfield with additional support from Thomas M. Neff. The Chicago premiere is supported by the University of Chicago Women's Board, Allstate, and De and Paul Gray. </span>

<i><span style="font-weight: 400;">Titanic</span></i> <i><span style="font-weight: 400;">(Scenes from the British Wreck Commissioner's Inquiry, 1912) </span></i><span style="font-weight: 400;">is sponsored by Gustavo "Chip" Bamberger and Martha Van Haitsma. </span>

<i><span style="font-weight: 400;">Othello</span></i><span style="font-weight: 400;"> is sponsored by Michael Charles Litt.</span> <span style="font-weight: 400;">Programming is partially supported by a grant from the Illinois Arts Council Agency. Additional support is provided by Harper Court Arts Council, Paul M. Angell Family Foundation, Prince Charitable Trusts, and the Shubert Foundation.</span>"
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          string(45924) "<span style="font-weight: 400;">As 2020 wraps up, we’re using this time to reflect on the past 20 years of Court’s work. If you’re feeling nostalgic or want to see how Court has developed in the past years, peruse our 2000-2020 review below! It was difficult to narrow it down, but we made sure to highlight some of the most memorable productions from the last two decades!</span>
<h1><b><i>1999/00</i></b></h1>
<a href="https://www.courttheatre.org/season-tickets/1999-2000-season/desire-under-the-elms/"><strong><i>Desire Under the Elms </i></strong></a><span style="font-weight: 400;">by Eugene O’Neill</span>

<span style="font-weight: 400;">Co-produced with Philadelphia’s Freedom Theatre (one of the leading professional African-American theatres in the country) Desire Under the Elms was directed by Freedom’s Artistic Director, Walter Dallas, and moved to Philadelphia following its Chicago run. Mr. Dallas transported the action of the play from New England in 1850 to 1930’s Georgia for a Southern and multicultural exploration of O’Neill’s classic. </span><i><span style="font-weight: 400;">Variety </span></i><span style="font-weight: 400;">wrote of the revival: “This resonant idea is itself sufficient to make the production intriguing.”</span>
<h1><b><i>2000/01</i></b></h1>
[caption id="attachment_15394" align="alignnone" width="800"]<img class="wp-image-15394 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/invention-2.jpg" alt="" width="800" height="200" /> Photo of Paxton Whitehead by Michael Brosilow.[/caption]

<a href="https://www.courttheatre.org/season-tickets/2000-2001-season/the-invention-of-love/"><strong><i>The Invention of Love </i></strong></a><span style="font-weight: 400;">by Tom Stoppard</span>

<span style="font-weight: 400;">Staged from September to October, our production was directed by Charles Newell and starred actors such as Paxton Whitehead, Guy Adkins, Maury Cooper, and Lance Stuart Baker, among many talented others. The play follows A.E. Housman, an aged poet and classics scholar through his lifelong, though unrealized, love affair with a fellow Oxford student. Housman is best known for his poetry collection </span><i><span style="font-weight: 400;">A Shropshire Lad</span></i><span style="font-weight: 400;">. Court’s production was the Midwest premiere of Stoppard’s 1997 play. Revisit production photos </span><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/the-invention-of-love/gallery/photos/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">!</span>
<h1><b><i>2001/02</i></b></h1>
[caption id="attachment_15382" align="alignnone" width="800"]<img class="wp-image-15382 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/hamlet.jpg" alt="" width="800" height="200" /> Photo of Guy Adkins and John Reeger by Michael Brosilow.[/caption]

<b><i><a href="https://www.courttheatre.org/season-tickets/2001-2002-season/hamlet/">Hamlet</a> </i></b><span style="font-weight: 400;">by William Shakespeare</span>

<span style="font-weight: 400;">Featuring Guy Adkins as </span><i><span style="font-weight: 400;">Hamlet</span></i><span style="font-weight: 400;">, Marilyn F. Vitale Artistic Director Charles Newell’s visceral production of Shakespeare’s famous tragedy about the Prince of Denmark was heralded for its bold direction as a “performance that pulls you in and doesn’t let go” (</span><i><span style="font-weight: 400;">Newcity Stage</span></i><span style="font-weight: 400;">).</span> <span style="font-weight: 400;">Newell has made a reputation for his aggressive takes on Shakespearean works, and his production of </span><i><span style="font-weight: 400;">Hamlet</span></i><span style="font-weight: 400;"> perfectly illustrated why.</span>

<b>Also Noteworthy</b><b>: </b><a href="https://www.courttheatre.org/season-tickets/2001-2002-season/my-fair-lady/"><strong><em>My Fair Lady </em></strong></a><span style="font-weight: 400;">by Alan Jay Lerner and Frederick Loewe. </span>

<span style="font-weight: 400;">This intimate, stripped-down performance highlighted the classic Shavian text underpinning the buoyant musical and was praised for its leading performances, including work by Kate Fry and Kevin Gudahl. Explore photos of </span><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/hamlet/gallery/production-photos/"><i><span style="font-weight: 400;">Hamlet</span></i></a> <span style="font-weight: 400;">and </span><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/my-fair-lady/gallery/production-photos/"><i><span style="font-weight: 400;">My Fair Lady</span></i></a><span style="font-weight: 400;">.</span>
<h1><b><i>2002/03</i></b></h1>
[caption id="attachment_15377" align="alignnone" width="800"]<img class="wp-image-15377 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/dead.jpg" alt="" width="800" height="200" /> Photo of Deanna Dunagan and Sara Minton by Michael Brosilow.[/caption]

<a href="https://www.courttheatre.org/season-tickets/2002-2003-season/james-joycesthe-dead/"><strong><i>James Joyce’s “The Dead” </i></strong></a><span style="font-weight: 400;">by Richard Nelson and Shaun Davey</span>

<span style="font-weight: 400;">Staged from November to December, our production was directed by Charles Newell, alongside music director Jeff Lewis and actors like John Reeger, Hollis Resnik, and many talented others. In this lauded musical,a familiar song reignites memories of unfulfilled possibilities amongst a gathering of family and friends celebrating the turn of the 20th century. Our production was the Chicago premiere of this incredible musical, which we went on to revive again in the 2003/2004 season and in 2012. View photos from the memorable production </span><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/james-joycesthe-dead/gallery/production-photos/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">!</span>
<h1><b><i>2003/04</i></b></h1>
[caption id="attachment_15391" align="alignnone" width="800"]<img class="wp-image-15391 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/sound-voice.jpg" alt="" width="800" height="200" /> Photo of Janice Felty and Eugene Perry by Michael Brosilow.[/caption]

<a href="https://www.courttheatre.org/season-tickets/2003-2004-season/the-sound-of-a-voice/"><strong><i>The Sound of a Voice </i></strong></a><span style="font-weight: 400;">by Philip Glass and David Henry Hwang</span>

<span style="font-weight: 400;">Staged from September to November, our production was directed by Robert Woodruff, in association with American Repertory Theatre. </span><i><span style="font-weight: 400;">The Sound of a Voice</span></i><span style="font-weight: 400;"> is a musical theatre piece inspired by Japanese ghost stories and explores how intimacy is achieved between people who live in seclusion. Peruse production photos </span><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/the-sound-of-a-voice/gallery/production-photos/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">!</span>
<h1><b><i>2004/05</i></b></h1>
[caption id="attachment_15392" align="alignnone" width="800"]<img class="wp-image-15392 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/virginia-wolf.jpg" alt="" width="800" height="200" /> Photo of Barbara E. Robertson, Kevin Gudahl, Whitney Snead and Lance Stuart Baker by Michael Brosilow.[/caption]

<a href="https://www.courttheatre.org/season-tickets/2004-2005-season/whos-afraid-virginia-woolf/"><strong><i>Who’s Afraid of Virginia Woolf? </i></strong></a><span style="font-weight: 400;">by Edward Albee</span>

<span style="font-weight: 400;">Praised as a “ferocious triumph, shaped and galvanized by the meticulous and daring direction of Charles Newell,” Court Theatre’s production of Edward Albee’s funhouse masterpiece starred Barbara E. Robertson and Kevin Gudahl in an unforgettable take on this classic American drama. Combining banality with both the vulgar and the poetic, Newell’s production was a harrowing rollercoaster ride from start to finish. Check out photos of the production </span><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/whos-afraid-virginia-woolf/gallery/production-photos/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">.</span>
<h1><b><i>2005/06</i></b></h1>
[caption id="attachment_15378" align="alignnone" width="800"]<img class="wp-image-15378 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/fences.jpg" alt="" width="800" height="200" /> Photo of Jacqueline Williams, A.C. Smith, and John Steven Crowley by Michael Brosilow.[/caption]

<a href="https://www.courttheatre.org/season-tickets/2005-2006-season/fences/"><strong><i>Fences </i></strong></a><span style="font-weight: 400;">by August Wilson</span>

<span style="font-weight: 400;">Staged from January to February, </span><i><span style="font-weight: 400;">Fences </span></i><span style="font-weight: 400;">was directed by Ron OJ Parson and starred A.C. Smith, Jacqueline Williams, and many other talented artists. The production kicked off Court’s endeavor to stage all plays in Wilson’s Century Cycle, and garnered a total of four Jeff Awards, including Best Production - Plaay. The modern classic follows Troy Maxson, a former star of the Negro Baseball Leagues and now am embittered garbage collector, who is coming to terms with his lost dreams and struggling to keep his family together. It explores the relationship between father and son as well, examining boundaries in personal relationships as well as the lived experience of going against larger obstacles put in place by a prejudiced society. Revisit photos from the moving production </span><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/fences/gallery/production-photos/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">.</span>

<b>Also Noteworthy</b><span style="font-weight: 400;">: </span><a href="https://www.courttheatre.org/season-tickets/2005-2006-season/man-la-mancha/"><strong><i>Man of La Mancha </i></strong></a><span style="font-weight: 400;">by Dale Wasserman, Mitch Leigh, and Jo Darion</span>

<span style="font-weight: 400;">Staged by Charles Newell, Court’s production of </span><i><span style="font-weight: 400;">Man of La Mancha</span></i><span style="font-weight: 400;"> was another favorite at the Jeff Awards, receiving six total awards, including Best Production - Musical. Featuring performances by Herbert Perry, Hollis Resnik, and Neil Friedman, among others, this musical take on Miguel de Cervantes’ </span><i><span style="font-weight: 400;">Don Quixote</span></i><span style="font-weight: 400;"> was praised “a powerful, audacious and heart-felt piece of work that rescues ‘La Mancha’ from eternal light-opera oblivion” by the </span><i><span style="font-weight: 400;">Chicago Tribune</span></i><span style="font-weight: 400;">. After an acclaimed run at Court Theatre, the production moved to the Long Wharf Theatre in Connecticut in February 2007. View photos from the production </span><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/man-la-mancha/gallery/production-photos/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">.</span>
<h1><b><i>2006/07</i></b></h1>
[caption id="attachment_15393" align="alignnone" width="800"]<img class="wp-image-15393 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/arcadia-2.jpg" alt="" width="800" height="200" /> Photo of Mary Beth Fisher and Keith Gallagher by Michael Brosilow.[/caption]

<a href="https://www.courttheatre.org/season-tickets/2006-2007-season/arcadia/"><strong><i>Arcadia </i></strong></a><span style="font-weight: 400;">by Tom Stoppard</span>

<span style="font-weight: 400;">Staged from May to June, our production was directed by Charles Newell such talents as Mary Beth Fisher, Gregory Anderson, Erik Hellman, Raymond Fox, and more. This play follows two sets of people, separated by nearly two centuries, who are in the same room of an English estate and are facing similar conundrums. Stoppard merges mathematics, literature, the chaos theory, human concerns, and humor in this masterpiece. View photos from the production </span><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/arcadia/gallery/production-photos"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">.</span>

<b>Also Noteworthy</b><span style="font-weight: 400;">: </span><a href="https://www.courttheatre.org/season-tickets/2006-2007-season/flyin-west/"><strong><i>Flyin’ West </i></strong></a><span style="font-weight: 400;">by Pearl Cleage</span>

<span style="font-weight: 400;">Resident Artist Ron OJ Parson’s production of Pearl Cleage’s </span><i><span style="font-weight: 400;">Flyin’ West</span></i><span style="font-weight: 400;"> shone a spotlight on the power of community and Black women. Set in 1898, the lives of a small group of African American women change as they leave the oppressive South for the West where they settle together in the all-black town of Nicodemus, Kansas. At its heart, the production explored the universal themes of determination, feminism, pride, and freedom. Relive the performance by viewing production photos </span><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/flyin-west/gallery/production-photos/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">.</span>
<h1><b><i>2007/08</i></b></h1>
[caption id="attachment_15379" align="alignnone" width="800"]<img class="wp-image-15379 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/first-breeze.jpg" alt="" width="800" height="200" /> Photo of the cast of THE FIRST BREEZE OF SUMMER by Michael Brosilow.[/caption]

<a href="https://www.courttheatre.org/season-tickets/2007-2008-season/first-breeze-summer/"><b><i>The First Breeze of Summer </i></b></a><span style="font-weight: 400;">by Leslie Lee</span>

<span style="font-weight: 400;">Despite being nominated for a Tony Award and an Obie Award, this rarely seen play featured an impressive cast of twelve actors and told an intergenerational story about an African-American family. Heralded for the chemistry of its cast, Resident Artist Ron OJ Parson’s production was noted by the </span><i><span style="font-weight: 400;">Chicago Tribune </span></i><span style="font-weight: 400;">for the way Parson was  energetically reviving a period drama that very few Chicagoans have seen before” and embracing “its florid, middle-brow, flashback-laced style, layering this unusual but provocative revival with lush music and filling the fake tree on Jack Magaw’s romantic setting with shimmers of sensual light.” View photos from the production </span><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/first-breeze-summer/gallery/production-photos/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">.</span>
<h1><b><i>2008/09</i></b></h1>
[caption id="attachment_15376" align="alignnone" width="800"]<img class="wp-image-15376 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/caroline.jpg" alt="" width="800" height="200" /> Photo of Byron Glenn Willis and E. Faye Butler by Michael Brosilow.[/caption]

<a href="https://www.courttheatre.org/season-tickets/2008-2009-season/caroline-or-change/"><strong><i>Caroline or, Change </i></strong></a><span style="font-weight: 400;">by Tony Kushner and Jeanine Tesori</span>

<span style="font-weight: 400;">Staged from September to October, this poignant musical was directed by Charles Newell, with music direction by Douglas Peck. It starred E. Faye Butler, Melanie Brazill, and Kate Fry, among numerous other artists in the talented cast. The lay takes place during the civil rights movement and after JFK’s death. It is a deeply personal story, following 8-year-old Noah and the spare change that symbolizes more than coins for Caroline, an African-American housekeeper working in a Louisiana laundry room in 1963. It blends blues, gospel, and traditional Jewish melodies in its score. Peruse </span><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/caroline-or-change/gallery/production-photos"><span style="font-weight: 400;">photos</span></a><span style="font-weight: 400;"> and </span><a href="https://www.courttheatre.org/season-tickets/2008-2009-season/caroline-or-change/"><span style="font-weight: 400;">videos</span></a><span style="font-weight: 400;"> from the captivating production!</span>

<span style="font-weight: 400;"><strong>Also Noteworthy</strong>:</span> <a href="https://www.courttheatre.org/season-tickets/2008-2009-season/the-piano-lesson/"><strong><i>The Piano Lesson </i></strong></a><span style="font-weight: 400;">by August Wilson</span>

<span style="font-weight: 400;">Staged from May to June, our production was directed by Ron OJ Parson and starred such talents as A.C. Smith, Tyla Abercrumbie, amongst many others. This 1987 play is the fourth play written for Wilson’s Century Cycle. Set in 1930s Pittsburgh, it features two siblings in a war of wills over what to do with an inherited piano. Their battle brings forth themes of connection to one’s ancestors, self-worth, and identity. Revisit </span><a href="https://www.courttheatre.org/season-tickets/2008-2009-season/the-piano-lesson/"><span style="font-weight: 400;">videos</span></a><span style="font-weight: 400;"> and </span><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/the-piano-lesson/gallery/production-images"><span style="font-weight: 400;">photos</span></a><span style="font-weight: 400;"> from this remarkable production! </span>
<h1><b><i>2009/10</i></b></h1>
[caption id="attachment_15384" align="alignnone" width="800"]<img class="wp-image-15384 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/ma-rainey.jpg" alt="" width="800" height="200" /> Photo of the cast of MA RAINEY'S BLACK BOTTOM by Michael Brosilow.[/caption]

<a href="https://www.courttheatre.org/season-tickets/2009-2010-season/ma-raineys-black-bottom/"><strong><i>Ma Rainey’s Black Bottom</i></strong></a><span style="font-weight: 400;"> by August Wilson</span>

<span style="font-weight: 400;">Staged from September to October, this production was directed by Ron OJ Parson and starred Greta Oglesby, Kelvin Roston, Jr., and James T. Alfred, among others. Set in the 1920s, it is the only play in the Cycle to be set in the South Side of Chicago instead of Pittsburgh. A recording session for blues legend Ma Rainey and her band becomes a battle of wills that explores themes of white oppression. View </span><a href="https://www.courttheatre.org/season-tickets/2009-2010-season/ma-raineys-black-bottom/"><span style="font-weight: 400;">videos</span></a><span style="font-weight: 400;"> and </span><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/ma-raineys-black-bottom/gallery/production-photos/"><span style="font-weight: 400;">photos</span></a><span style="font-weight: 400;"> from the stunning production!</span>

<span style="font-weight: 400;">Also Noteworthy:</span> <a href="https://www.courttheatre.org/season-tickets/2009-2010-season/year-magical-thinking/"><strong><i>The Year of Magical Thinking</i></strong></a><span style="font-weight: 400;"> by Joan Didion</span>

<span style="font-weight: 400;">Written by Joan Didion, starring Mary Beth Fisher, and directed by Charles Newell, this one-woman play adapted from Didion’s own memoir as a fiercely intelligent exploration of loss. As performed by Fisher, the play was, in the </span><i><span style="font-weight: 400;">Chicago Sun-Times</span></i><span style="font-weight: 400;">’ words, “nothing short of hypnotic.” View </span><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/year-magical-thinking/gallery/production-photos/"><span style="font-weight: 400;">production photos</span></a><span style="font-weight: 400;"> or a </span><a href="https://www.youtube.com/watch?v=Q9FUtvsbIko&amp;feature=emb_title"><span style="font-weight: 400;">video</span></a><span style="font-weight: 400;"> from the play.</span>
<h1><b><i>2010/11</i></b></h1>
[caption id="attachment_15388" align="alignnone" width="800"]<img class="wp-image-15388 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/porgy.jpg" alt="" width="800" height="200" /> Photo of the cast of PORGY &amp; BESS by Michael Brosilow.[/caption]

<a href="https://www.courttheatre.org/season-tickets/2010-2011-season/porgy-bess/"><strong><i>Porgy &amp; Bess </i></strong></a><span style="font-weight: 400;">by George Gershwin, Dubose and Dorothy Heyward, and Ira Gershwin</span>

<span style="font-weight: 400;">Staged from May to June, this production was directed by Charles Newell, with music direction by Doug Peck and artistic counseling from Ron OJ Parson. It starred talents like Todd M. Kryger, Alexis Rogers, James Earl Jones II, and Kelvin Roston, Jr., among others. This retelling of an often contested piece of music theater is a folk opera that depicts the lives of African Americans in South Carolina in the early part of the 20th century. Videos, photos, and more from this ground-breaking production can be found </span><a href="https://www.courttheatre.org/season-tickets/2010-2011-season/porgy-bess/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">!</span>

<span style="font-weight: 400;"><strong>Also Noteworthy</strong>:</span> <a href="https://www.courttheatre.org/season-tickets/2010-2011-season/home/"><strong><i>Home </i></strong></a><span style="font-weight: 400;">by Samm-Art Williams</span>

<span style="font-weight: 400;">Staged from November to December, this production was directed by Ron OJ Parson, starring Kamal Angelo Bolden, Ashley Honore, and Tracey Bonner. This play, originally produced by the Negro Ensemble Company in 1981, is an enduring story of hope and resiliency told against the backdrop of political and social upheavals of the 1960s and 70s. View production photos </span><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/home/gallery/production-photos"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;"> and videos </span><a href="https://www.courttheatre.org/season-tickets/2010-2011-season/home/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;"> to be once again immersed in the brilliant performances!</span>
<h1><b><i>2011/12</i></b></h1>
[caption id="attachment_15383" align="alignnone" width="800"]<img class="wp-image-15383 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/iliad.jpg" alt="" width="800" height="200" /> Photo of Timothy Edward Kane by Michael Brosilow.[/caption]

<a href="https://www.courttheatre.org/season-tickets/2011-2012-season/an-iliad/"><strong><i>An Iliad</i></strong></a><span style="font-weight: 400;"> by Denis O’Hare and Lisa Peterson</span>

<span style="font-weight: 400;">Staged from November to December, this production was directed by Charles Newell and starred Timothy Edward Kane in the role of the Poet. The play retells the story of Homer’s The Iliad through the perspective of the unnamed Poet and delivers a searing critique of war. It was our first revival of the play after its initial performance in 2011. The play would again be staged by Court, in partnership with the Oriental Institute, in 2020. See photos from the remarkable 2013 production </span><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/an-iliad-revival/gallery/production-photos/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">!</span>

<span style="font-weight: 400;"><strong>Also Noteworthy</strong>:</span> <a href="https://www.courttheatre.org/season-tickets/2011-2012-season/invisible-man/"><strong><i>Invisible Man</i></strong></a><span style="font-weight: 400;"> by Ralph Ellison, adapted to stage by Oren Jacoby</span>

<span style="font-weight: 400;">Staged from January to February, this world premiere of Jacoby’s adaptation of Ellison’s landmark novel was directed by Christopher McElroen. The play starred such talents as Teagle F. Bougere, Lance Stuart Baker, A.C. Smith, among many others. It marked the first Chicago appearance by award-winning NYC director McElroen. Revisit the incredible production by perusing production photos and videos </span><a href="https://www.courttheatre.org/season-tickets/2011-2012-season/invisible-man/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">!</span>
<h1><b><i>2012/13</i></b></h1>
[caption id="attachment_15389" align="alignnone" width="800"]<img class="wp-image-15389 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/proof.jpg" alt="" width="800" height="200" /> Photo of Chaon Cross and Erik Hellman by Michael Brosilow.[/caption]

<a href="https://www.courttheatre.org/season-tickets/2012-2013-season/proof/"><strong><i>Proof</i></strong></a><i> </i><span style="font-weight: 400;">by David Auburn</span>

<span style="font-weight: 400;">Featuring a powerhouse performance by Chaon Cross and direction by Charles Newell, Court’s production of David Auburn’s drama brought the Pulitzer Prize-winning play back to its Hyde Park roots. With actors like Kevin Gudahl, Erik Hellman, and Megan Kohl rounding out the cast, this play about a mathematician struggling with mental illness was praised as a “revelatory new take” on the play. View </span><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/proof/gallery/production-photos/"><span style="font-weight: 400;">production photos </span></a><span style="font-weight: 400;">and </span><a href="https://www.youtube.com/watch?v=Mw-KQKDKzo0&amp;feature=emb_title"><span style="font-weight: 400;">videos</span></a><span style="font-weight: 400;"> here.</span>

<span style="font-weight: 400;"><strong>Also Noteworthy</strong>:</span> <a href="https://www.courttheatre.org/season-tickets/2012-2013-season/jitney/"><strong><i>Jitney </i></strong></a><span style="font-weight: 400;">by August Wilson</span>

<span style="font-weight: 400;">Staged from September to October, this production was directed by Ron OJ Parson and starred Caren Blackmore, Kamal Angelo Bolden, Allen Gilmore, and many other talented artists. The play follows workers at an unlicensed jitney station in 1997 Pittsburgh. Explore videos and production photos of the memorable production </span><a href="https://www.courttheatre.org/season-tickets/2012-2013-season/jitney/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">!</span>
<h1><b><i>2013/14</i></b></h1>
[caption id="attachment_15385" align="alignnone" width="800"]<img class="wp-image-15385 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/mountaintop.jpg" alt="" width="800" height="200" /> Photo of David Alan Anderson and Lisa Beasley by Michael Brosilow.[/caption]

<a href="https://www.courttheatre.org/season-tickets/2013-2014-season/the-moutaintop/"><strong><i>The Moutaintop </i></strong></a><span style="font-weight: 400;">by Katori Hall</span>

<span style="font-weight: 400;">Resident Artist Ron OJ Parson’s production of Katori Hall’s play about Dr. Martin Luther King, Jr. was such a hit that it extended its initial run. Starring David Alan Anderson and Lisa Beasley, Parson got to the heart and humanity of Hall’s play, which </span><i><span style="font-weight: 400;">The Daily Telegraph</span></i><span style="font-weight: 400;"> called “a beautiful and startling piece.” With stunning performances and a touch of magic, this production is one that won’t soon be forgotten. Check out </span><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/the-moutaintop/gallery/production-photos/"><span style="font-weight: 400;">photos</span></a><span style="font-weight: 400;"> and </span><a href="https://www.youtube.com/watch?v=NXfwV_ljvD0&amp;feature=emb_title"><span style="font-weight: 400;">videos</span></a><span style="font-weight: 400;"> of the play here.</span>

<span style="font-weight: 400;"><strong>Also Noteworthy</strong>:</span> <a href="https://www.courttheatre.org/season-tickets/2013-2014-season/seven-guitars/"><strong><i>Seven Guitars </i></strong></a><span style="font-weight: 400;">by August Wilson</span>

<span style="font-weight: 400;">Staged from January to February, this production was directed by Ron OJ Parson and starred such talents as Allen Gilmore, Felicia P. Fields, and Kelvin Roston, Jr. , among others. This installment of the Century Cycle takes place in the backyard of a Pittsburgh tenement, where six characters mourn the missing seventh, Floyd “Schoolboy” Barton, who died just before reaching fame as a blues guitarist. View production photos </span><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/seven-guitars/gallery/production-photos/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;"> and videos </span><a href="https://www.courttheatre.org/season-tickets/2013-2014-season/seven-guitars/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">.</span>
<h1><b><i>2014/15</i></b></h1>
[caption id="attachment_15386" align="alignnone" width="800"]<img class="wp-image-15386 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/native-son.jpg" alt="" width="800" height="200" /> Photo of Tracey Bonner and Jerod Haynes by Michael Brosilow.[/caption]

<a href="https://www.courttheatre.org/season-tickets/2014-2015-season/native-son/"><strong><i>Native Son</i></strong></a><span style="font-weight: 400;"> by Richard Wright, adapted for the stage by Nambi E. Kelley</span>

<span style="font-weight: 400;">Staged from September to October, Kelley’s adaptation of Wright’s iconic novel was directed by Seret Scott and starred Jerod Haynes, Tracey Bonner, and Nora Fiffer, among many other talented artists. Court co-produced the world premiere of this stage adaptation with American Blues Theater. Videos, production photos, and more can be found </span><a href="https://www.courttheatre.org/season-tickets/2014-2015-season/native-son/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">! </span>

<span style="font-weight: 400;"><strong>Also Noteworthy</strong>:</span> <a href="https://www.courttheatre.org/season-tickets/2014-2015-season/the-good-book/"><strong><i>The Good Book</i></strong></a><span style="font-weight: 400;"> by Denis O’Hare and Lisa Peterson</span><span style="font-weight: 400;">
</span><span style="font-weight: 400;">Written by Denis O’Hare and Lisa Peterson (and directed by Lisa Peterson), the world premiere of </span><i><span style="font-weight: 400;">The Good Book</span></i><span style="font-weight: 400;"> is one of the most ambitious projects Court has ever commissioned. Exploring faith, divine inspiration, and the Bible, </span><i><span style="font-weight: 400;">The Good Book </span></i><span style="font-weight: 400;">traversed a diverse array of time periods and continents, spanning ancient Mesopotamia to medieval Ireland to suburban America. Beyond the premieres of these two commissions, the 2014/15 season will also be remembered for </span><i><span style="font-weight: 400;">Iphigenia in Aulis</span></i><span style="font-weight: 400;"> kicking off The Greek Cycle. View photos of </span><i><span style="font-weight: 400;">The Good Book </span></i><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/the-good-book/gallery/production-photos/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">.</span>
<h1><b><i>2015/16</i></b></h1>
[caption id="attachment_15381" align="alignnone" width="800"]<img class="wp-image-15381 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/gems.jpg" alt="" width="800" height="200" /> Photo of Jerod Haynes, Jacqueline Williams, Tyla Abercrumbie, and A.C. Smith by Michael Brosilow.[/caption]

<a href="https://www.courttheatre.org/season-tickets/2015-2016-season/gem-of-the-ocean/"><strong><i>Gem of the Ocean</i></strong></a><span style="font-weight: 400;"> by August Wilson</span>

<span style="font-weight: 400;">Staged from September to October, this production was directed by Ron OJ Parson and starred Jacqueline Williams, Jerod Haynes, A.C. Smith, and Alfred H. Wilson, among many others. This installment of the Century Cycle features Aunt Ester guiding a steelworker on a spiritual journey to the mythical City of Bones. Photos and video clips from the production can be found </span><a href="https://www.courttheatre.org/season-tickets/2015-2016-season/gem-of-the-ocean/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">.</span>

<span style="font-weight: 400;"><strong>Also Noteworthy</strong>:</span> <a href="https://www.courttheatre.org/season-tickets/2015-2016-season/satchmo-at-the-waldorf/"><strong><i>Satchmo at the Waldorf </i></strong></a><strong><i> </i></strong><span style="font-weight: 400;">by Terry Teachout </span><span style="font-weight: 400;">
</span><span style="font-weight: 400;">Court’s Midwest premiere production of Terry Teachout’s </span><i><span style="font-weight: 400;">Satchmo at the Waldorf</span></i><span style="font-weight: 400;"> starred Barry Shabaka Henley as Louis Armstrong, arguably the greatest trumpet player of all time. Fresh from its Off-Broadway premiere and in conjunction with the Louis Armstrong Festival which brought together performing arts, visual arts, music, and more to introduce the community to “Satchmo” and his legacy through a full artistic experience, </span><i><span style="font-weight: 400;">Satchmo</span></i><span style="font-weight: 400;"> will long be remembered for Barry Shabaka Henley’s virtuoso performance.</span>
<h1><b><i>2016/17</i></b></h1>
[caption id="attachment_15375" align="alignnone" width="800"]<img class="wp-image-15375 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/blues.jpg" alt="" width="800" height="200" /> Photo of Sean Parris, Celeste M. Cooper, James Vincent Meredith, and Toya Turner by Michael Brosilow.[/caption]

<a href="https://www.courttheatre.org/season-tickets/2016-2017-season/blues-alabama-sky/"><strong><i>Blues for an Alabama Sky </i></strong></a><span style="font-weight: 400;">by Pearl Cleage</span>

<span style="font-weight: 400;">Winning the Jeff Award for Best Play and Best Director, Resident Artist Ron OJ Parson’s critically-acclaimed production of </span><i><span style="font-weight: 400;">Blues for an Alabama Sky </span></i><span style="font-weight: 400;">was notable for being “filled with life, exuberance and plenty of laughs” (</span><i><span style="font-weight: 400;">Chicago Tribune</span></i><span style="font-weight: 400;">). Playwright Pearl Cleage’s striking story encounters very modern problems in a fantastically lively 1920s Harlem, with the play serving as the centerpiece for a Chicago celebration of the music, art, language, and impact of the Harlem Renaissance.</span>

<span style="font-weight: 400;"><strong>Also Noteworthy</strong>:</span> <a href="https://www.courttheatre.org/season-tickets/2016-2017-season/man-in-the-ring/"><strong><i>Man in the Ring </i></strong></a><span style="font-weight: 400;">by Michael Cristoffer</span>

<span style="font-weight: 400;">Staged from September to October, this production was directed by Charles Newell and starred such talents as Kamal Angelo Bolden, Allen Gilmore, Jacqueline Williams, and Melanie Brezill, among others. The play, based on the true story of world champion boxer Emile Griffith, explored Griffith’s life in the U.S. Virgin Islands and his infamous match with his archrival, Benny “Kid” Paret. Court’s production was the world premiere of the play. Cristoffer’s work went on to have a successful production in Boston as well. For videos, photos, and more on this exceptional production, visit </span><a href="https://www.courttheatre.org/season-tickets/2016-2017-season/man-in-the-ring/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">.</span>
<h1><b><i>2017/18</i></b></h1>
[caption id="attachment_15380" align="alignnone" width="800"]<img class="wp-image-15380 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/five-guys.jpg" alt="" width="800" height="200" /> Photo of Darrian Ford, Lorenzo Rush, Jr., James Earl Jones II, Kelvin Roston, Jr., and Eric A. Lewis by Michael Brosilow.[/caption]

<a href="https://www.courttheatre.org/season-tickets/2017-2018-season/five-guys-named-moe/"><strong><i>Five Guys Named Moe</i></strong></a><span style="font-weight: 400;"> by Clarke Peters, featuring Louis Jordan’s Hits</span>

<span style="font-weight: 400;">Directed by Resident Artist Ron OJ Parson with Associate Director Felicia P. Fields, </span><i><span style="font-weight: 400;">Five Guys Named Moe</span></i><span style="font-weight: 400;"> is a lively musical tribute to the hit songs of saxophonist and songwriter Louis Jordan. Praised for the warmth and exuberance of its all-star cast, this musical extended due to popular demand. Featuring the familiar faces of such Chicago actors as James Earl Jones II, Darrian Ford, Lorenzo Rush, Jr., Kelvin Roston, Jr., Eric A. Lewis, and Stephen Allen, just reading about the production again may get your toe tapping!</span>

<span style="font-weight: 400;"><strong>Also Noteworth</strong>y:</span> <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/all-my-sons/"><strong><i>All My Sons</i></strong></a><i> </i><span style="font-weight: 400;">by Arthur Miller</span>

<span style="font-weight: 400;">Charles Newell’s stark and blistering production of Arthur Miller’s American drama couldn’t be more different from </span><i><span style="font-weight: 400;">Five Guys Named Moe</span></i><span style="font-weight: 400;"> but is no-less memorable. Featuring powerful performances from John Judd, Kate Collins, and Timothy Edward Kane, among others, Newell’s production clearly demonstrated why </span><i><span style="font-weight: 400;">All My Sons</span></i><span style="font-weight: 400;">  established playwright Arthur Miller as an American theater icon, winning the 1947 Drama Critics’ Award for Best New Play. </span>
<h1><b><i>2018/19</i></b></h1>
[caption id="attachment_15390" align="alignnone" width="800"]<img class="wp-image-15390 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/radio-golf.jpg" alt="" width="800" height="200" /> Photo of Allen Gilmore and James Vincent Meredith by Michael Brosilow.[/caption]

<a href="https://www.courttheatre.org/season-tickets/2018-2019-season/radio-golf/"><i><span style="font-weight: 400;">Radio Golf</span></i></a><span style="font-weight: 400;"> by August Wilson, Manual Cinema’s </span><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/frankenstein/"><i><span style="font-weight: 400;">Frankenstein</span></i></a><span style="font-weight: 400;">, </span><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/"><i><span style="font-weight: 400;">Photograph 51</span></i></a><span style="font-weight: 400;"> by Anna Ziegler, </span><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/for-colored-girls/"><i><span style="font-weight: 400;">For Colored Girls Who Considered Suicide / When the Rainbow is Enuf</span></i></a><span style="font-weight: 400;"> by Ntozake Shange, and </span><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/adventures-augie-march/"><i><span style="font-weight: 400;">The Adventures of Augie March</span></i></a><span style="font-weight: 400;"> by David Auburn</span>

<span style="font-weight: 400;">After reading over our full season from 2018/19, we think you’ll agree that it’s an impossible task to choose just one or two productions to highlight from the year! Resident Artist Ron OJ Parson kicked us off with a prescient production of August Wilson’s </span><i><span style="font-weight: 400;">Radio Golf</span></i><span style="font-weight: 400;">, while Manual Cinema kept the momentum going with their world premiere production of </span><i><span style="font-weight: 400;">Frankenstein</span></i><span style="font-weight: 400;">, adapted from the novel by Mary Shelley. From there, 2019 began with Vanessa Stalling’s production of </span><i><span style="font-weight: 400;">Photograph 51</span></i><span style="font-weight: 400;">, a drama about the scientist Rosalind Franklin and her role in discovering DNA’S double helix structure. Seret Scott then staged a sold-out production of Ntozake Shange’s seminal work, </span><i><span style="font-weight: 400;">For Colored Girls Who Have Considered Suicide / When the Rainbow is Enuf</span></i><span style="font-weight: 400;">, adding an eighth woman to the ensemble played by Melody Angel who imbued the play with live music. Our 2018/19 season culminated in the world premiere of </span><i><span style="font-weight: 400;">The Adventures of Augie March</span></i><span style="font-weight: 400;">, adapted from the novel by Saul Bellow by Pulitzer Prize winner, David Auburn and directed by Charles Newell in a visually stunning, three-act production. As the </span><i><span style="font-weight: 400;">Chicago Tribune</span></i><span style="font-weight: 400;"> noted, 2018/19 was truly a “four-star season.” </span>
<h1><b>2019/20</b></h1>
[caption id="attachment_15387" align="alignnone" width="800"]<img class="wp-image-15387 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/Oedipus.jpg" alt="" width="800" height="200" /> The cast of OEDIPUS REX by Michael Brosilow.[/caption]

<span style="font-weight: 400;">Without the conclusion of our 2019/20 season, it doesn’t quite seem fair to pick one play above the rest. As such, we chose to highlight each of the three productions that were a part of our season, while honoring the artists involved with our canceled productions of Henrik Ibsen’s </span><a href="https://www.courttheatre.org/season-tickets/2019-2020-season/the-lady-from-the-sea/"><i><span style="font-weight: 400;">The Lady from the Sea</span></i></a><span style="font-weight: 400;"> and William Shakespeare’s </span><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/othello/"><i><span style="font-weight: 400;">Othello</span></i></a><span style="font-weight: 400;">.</span>

<a href="https://www.courttheatre.org/season-tickets/2019-2020-season/king-hedley-ii/"><i><span style="font-weight: 400;"><strong>King Hedley II</strong> </span></i></a><span style="font-weight: 400;">by August Wilson</span>

<span style="font-weight: 400;">Staged from September to October, the production was directed by Ron OJ Parson and starred Kelvin Roston, Jr., TayLar, Kierra Bunch, and A.C. Smith, amongst many other talented artists. It follows the story of King Hedley II, a man who tries to piece his life back together in 1980s Pittsburgh after seven years in prison. Videos, photos, and more from the searing production can be found </span><a href="https://www.courttheatre.org/season-tickets/2019-2020-season/king-hedley-ii/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">.</span>

<a href="https://www.courttheatre.org/season-tickets/2019-2020-season/oedipus-rex/"><strong><i>Oedipus Rex</i></strong></a><i> </i><span style="font-weight: 400;">by Sophocles, translated by Nicholas Rudall</span>

<span style="font-weight: 400;">Staged from November to December, the production was directed by Charles Newell and starred Kelvin Roston, Jr. as Oedipus, Kate Collins as Jocasta, and Timothy Edward Kane as Creon, among many talented artists in other roles. Videos, photos, and more from this immersive production can be found </span><a href="https://www.courttheatre.org/season-tickets/2019-2020-season/oedipus-rex/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">.</span>

<a href="https://www.courttheatre.org/season-tickets/2019-2020-season/the-mousetrap/"><i><span style="font-weight: 400;"><strong>The Mousetrap</strong> </span></i></a><span style="font-weight: 400;">by Agatha Christie</span>

<span style="font-weight: 400;">Staged from January to February, this production was directed by Sean Graney and starred Kate Fry, Alex Goodrich, Erik Hellman, and Allen Gilmore, among others. It was our last in-person production before the onset of lockdowns from the COVID-19 pandemic. Videos and photos from the exuberant staging can be found </span><a href="https://www.courttheatre.org/season-tickets/2019-2020-season/the-mousetrap/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">.</span>

<span style="font-weight: 400;">Despite this year’s challenges, Court has grown and adapted. We appreciate the support of our patrons, the University, and the surrounding Hyde Park community. We look forward to a new year of brilliant theatre in various forms, from virtual to in-person, and are thrilled by the opportunity to continue creating and sharing our art with you.</span>"
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            string(215) "As 2020 wraps up, we’re using this time to reflect on the past 20 years of Court’s work. If you’re feeling nostalgic or want to see how Court has developed in the past years, peruse our 2000-2020 review below!"
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          string(13492) "<img class="alignnone wp-image-15347 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/1000x4005lesblancs.jpg" alt="" width="2083" height="833" />

Widely considered to be Hansberry's last and perhaps most important work, <i>Les Blancs</i> explores issues of coloniality, Black nationalism, and imperialism in a fictional African country that stands in for Black freedom struggles across the diaspora. Tina Post, Assistant Professor in English at the University of Chicago, will explore the play’s portrayal of racial injustice and black resistance in conversation with Gabrielle Randle-Bent, a Hansberry director and was Court’s Inaugural Research Fellow.

[button link="https://tickets.courttheatre.org/online/default.asp?doWork::WScontent::loadArticle=Load&amp;BOparam::WScontent::loadArticle::article_id=B9D97510-1881-434E-9A82-AEDF2DDFB599" text="Register for the Seminar"]

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<img class="wp-image-15351 size-full alignright" src="https://www.courttheatre.org/wp-content/uploads/2020/12/lesblancs400x225.jpg" alt="" width="400" height="225" />
<h3>The World of <em>Les Blancs</em>: A Primer</h3>
<h4>January 13, 2021 | Featuring Tina Post and Gabrielle Randle-Bent</h4>
<span style="font-weight: 400;">Tina Post and Gabrielle Randle-Bent will provide an overview of Lorraine Hansberry’s body of work and </span><i><span style="font-weight: 400;">Les Blancs </span></i><span style="font-weight: 400;">specifically. In addition to providing an overview of the play, they will discuss </span><i><span style="font-weight: 400;">Les Blancs’s </span></i><span style="font-weight: 400;">portrayal of Africa, and the ways it reflects racial and political tensions in the United States.</span>

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<img class="wp-image-15352 size-full alignright" src="https://www.courttheatre.org/wp-content/uploads/2020/12/ChraracterStudyThumb.jpg" alt="" width="400" height="225" />
<h3>The Woman, A Character Study</h3>
<h4>January 20, 2021 | Featuring Tina Post and Gabrielle Randle-Bent</h4>
<i><span style="font-weight: 400;">Les Blancs</span></i><span style="font-weight: 400;"> has one Black female character. Remarkably, given the play’s authorship, this character does not speak, but rather appears throughout the play as an embodied presence. Tina Post and Gabrielle Randle</span><span style="font-weight: 400;">-Bent will discuss The Woman as a figure in the play and their respective interests her. The discussion illustrates black feminist approaches to theatrical movement and choreography.</span>

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<img class="wp-image-15353 size-full alignright" src="https://www.courttheatre.org/wp-content/uploads/2020/12/movement.jpg" alt="" width="400" height="225" />
<h3>The Woman, A Movement Study</h3>
<h4>January 27, 2021 | Tina Post, Gabrielle Randle-Bent</h4>
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<div class="p-rich_text_section">This session will contain a performance of an original piece of dance/movement that interprets the character of The Woman from <i data-stringify-type="italic">Les Blancs,</i> choreographed by Nicole Clarke-Springer and performed in two separate interpretations by Meisha Reid and Nicole Clarke-Springer. A discussion about the choreographic work with Tina Post and Gabrielle Randle-Bent will follow.</div>
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<div><strong>Artists Involved with Choreographic Piece:</strong>
Meisha Reid - Prologue / Woman 1</div>
<div>Nicole Clarke-Springer - Epilogue / Woman 2</div>
<div>John Chapman - Drums
Nadia Oussenko - Videographer</div>
<div></div>
<div><em>Special Thanks:</em></div>
<div>Deeply Rooted Dance Theater</div>
<div>Ballet Chicago</div>
<div>Azania Drum Core</div>
<div>Nkosi Ingram</div>
<div>Moyakhe Dubois</div>
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<img class="wp-image-15354 size-full alignright" src="https://www.courttheatre.org/wp-content/uploads/2020/12/gabbyrehearsal.jpg" alt="" width="400" height="225" />
<h3>Process</h3>
<h4>February 3, 2021 | Tina Post, Gabrielle Randle-Bent, and choreographer Nicole Clarke-Springer</h4>
A discussion of the process of creating and staging movement, including considerations raised by dramaturgy, choreography, and direction. Audience participants will be invited to ask questions of the creative team and experiment on their own.
<h2>About the Scholars and Artists</h2>
<div>

<b>Tina Post </b><span style="font-weight: 400;">is an Assistant Professor of English and Theater and Performance at the University of Chicago, where she is also affiliated with the Center for the Study of Race, Politics, and Culture. Her first book project, </span><i><span style="font-weight: 400;">Deadpan</span></i><span style="font-weight: 400;">, examines expressionlessness and affective withholding in Black cultural production. Her scholarly work has appeared in </span><i><span style="font-weight: 400;">Modern Drama</span></i><span style="font-weight: 400;">, </span><i><span style="font-weight: 400;">TDR: The Drama Review</span></i><span style="font-weight: 400;">, </span><i><span style="font-weight: 400;">International Review of African American Art</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">IRAAA</span></i><span style="font-weight: 400;">), and the edited collection </span><i><span style="font-weight: 400;">Race and Performance after Repetition</span></i><span style="font-weight: 400;"> (Duke University Press, 2020). Her creative work can be found in </span><a href="https://urldefense.com/v3/__http://ImaginedTheatres.com__;!!BpyFHLRN4TMTrA!vNPsDlP7tc_VkxOodfXXZovfP21bjXqGmA16K_R9JOY-0uLG67hYG4HFKHzN5O2lWEb4WRzG$"><i><span style="font-weight: 400;">ImaginedTheatres.com</span></i></a><span style="font-weight: 400;">, </span><i><span style="font-weight: 400;">Stone Canoe</span></i><span style="font-weight: 400;">, and </span><i><span style="font-weight: 400;">The Appendix</span></i><span style="font-weight: 400;">.</span>

</div>
<div>

<strong>Gabrielle Randle</strong> is a scholar, director, and dramaturg. She has a dual BA degree in drama and sociology from Stanford University and an MA degree in performance as public practice at The University of Texas at Austin. Her recent collaborations include co-directing <i>We are Proud to Present a Presentation…</i>, by Jackie Sibblies Drury, at Steppenwolf for Young Adults. She served as the dramaturg and AD for Court Theatre’s production of <i>Oedipus Rex </i>and dramaturg <i>For Colored Girls Who Have Considered Suicide / When the Rainbow is Enuf </i>directed by Seret Scott. In Chicago, she has dramaturged and directed for Sideshow Theatre, where she is also a company member, Victory Gardens, Chicago Dramatists, Northlight and the Wirtz Center for the Performing Arts. Gabrielle is an active member of the Black Theatre Association Focus Group for the Association for Theatre in Higher Education and has served two terms as its graduate representative. She was featured in <i>American Theatre Magazine</i>’s Role Call: People to Watch. She is a 5th year PhD candidate at Northwestern University. Her ongoing dissertation project is titled “On the Possibility of Blackness and the Inevitability of Revolution: How Black Feeling Changed the World.” In September 2020, she completed a fellowship year at the University of Chicago where she was the inaugural Court Theatre Research Fellow.

</div>
<strong>Nicole Clarke-Springer</strong> began formal training under the guidance of Claudette Soltis  (Ballet Russe de Monte Carlo and Joliet Ballet Society) and the Indianapolis Ballet Theatre under Dace Diodonis. She received her B.S. in arts administration-dance from Butler University in Indianapolis, where she was honored as Butler Ballet’s Outstanding Performer.  Shortly after graduating from Butler, Clarke-Springer found her dance home within the Deeply  Rooted Dance Theater family as an apprentice and later a company member. As a member of DRDT, she had the opportunity to perform with Roberta Flack in Kevin Iega Jeff’s <i>Flack</i>, as well as Jennifer Holiday in the world-renowned Penumbra Theatre’s <i>Black Nativity</i>. After leaving the company she taught as an adjunct professor in  Western Kentucky University’s Dance Department. While there, she was asked to join the Clifton Brown Dance Company, performing on its tour to Istanbul. Clarke-Springer returned to the Deeply family as Dance Education director and Artistic Team member in 2007.  She has presented her choreography in Durban, South Africa, and Sophia, Bulgaria. She teaches and choreographs throughout the country and has been on faculty as an adjunct professor at Chicago State University and Western Kentucky University and is currently on staff at Northwestern University. Crediting the Deeply Rooted mission, Clarke-Springer works to create an environment where artists participate in a process that is not only spiritually affirming but requires open and honest dialogue that leads to self-reflection, constructive feedback, and accountability to the work required. Nicole was appointed Artistic Director of Deeply Rooted Dance Theater in September 2019.

<span style="font-weight: 400;"><b>Lorraine Hansberry: </b>When </span><b>Lorraine Hansberry</b><span style="font-weight: 400;">’s (1930-1965) </span><i><span style="font-weight: 400;">A Raisin in the Sun</span></i><span style="font-weight: 400;"> appeared on Broadway in 1959, the artist became, at twenty-nine, the youngest American playwright, the fifth woman, and the only African American to date to win the New York Drama Critics Circle Award for Best Play of the Year. The play represented a landmark. In its authentic depiction of Black American life, and the vivid demonstration of so gifted a creator, cast, and director, it made it impossible for the American stage to ignore African American creativity and subject matter thereafter. In 1961, the film version won a special award at the Cannes Film Festival and was nominated for a Screen Writer’s Guild Award for Hansberry’s screenplay. </span>

<span style="font-weight: 400;">In 1965, Lorraine Hansberry died of cancer at age 34. As if prescient, in the six years she had between the triumph of her first play and her death, she was extraordinarily prolific. Her second play to be produced on Broadway, </span><i><span style="font-weight: 400;">The Sign in Sidney Brustein’s Window</span></i><span style="font-weight: 400;">, was in its early run, to mixed reviews, when Hansberry died; the curtain came down on that date. </span><i><span style="font-weight: 400;">To Be Young, Gifted, and Black</span></i><span style="font-weight: 400;">, an autobiographical portrait in her own words adapted by her former husband and literary executor Robert Nemiroff, was posthumously produced in 1969 and toured across the country. In 1970, </span><i><span style="font-weight: 400;">Les Blancs</span></i><span style="font-weight: 400;">, her play about the inevitability of struggle between colonizers and colonized in Africa, and the impending crisis that would surely grow out of it, ran on Broadway to critical acclaim.</span>

<span style="font-weight: 400;">During her career as a playwright, Hansberry wrote many articles and essays on literary criticism, racism, sexism, homophobia, world peace, and other social and political issues. At her death, she left behind file cabinets holding her public and private correspondence, speeches and journals, and various manuscripts in several genres: plays for stage and screen, essays, poetry, and an almost complete novel. </span>

<hr />

<span style="font-weight: 400;">Court’s <b>Theatre &amp; Thought series</b> connects audiences to expert insights from University of Chicago faculty about the historical context, thematic relevance, and artistic possibilities surrounding classic works. Each Theatre &amp; Thought topic will feature a different play and include virtual meetings with University scholars to discuss the ideas underpinning these classic texts.  </span>

<a href="https://grahamschool.uchicago.edu" target="_blank" rel="noopener noreferrer"><img class="size-full wp-image-14219 alignleft" src="https://www.courttheatre.org/wp-content/uploads/2020/07/graham-logo-75.jpg" alt="Graham School" width="75" height="75" /></a><span style="font-weight: 400;">Court’s remote, digital experiences are produced in partnership with the <strong><a href="https://grahamschool.uchicago.edu" target="_blank" rel="noopener noreferrer">University of Chicago Graham School's</a> Arts@Graham series.</strong></span>

&nbsp;
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<p class="font_9"><em>Photo of Deeply Rooted Dance Theater dancers by Michelle Reid.</em>
<em>Photo of Gabrielle Randle-Bent in rehearsal for OEDIPUS REX by Joe Mazza.</em></p>

</div>
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          string(519) "<span style="font-weight: 400;">In addition to engaging in creative exchange, and drawing on imagery from Henrik Ibsen’s </span><i><span style="font-weight: 400;">The Lady From the Sea</span></i><span style="font-weight: 400;">, we asked each artist to produce a 30-second video portrait of their elder </span><i><span style="font-weight: 400;">as a lighthouse. </span></i>

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          string(7231) "<span style="font-weight: 400;">On November 30, dramaturg and UChicago lecturer Derek Matson and Dr. Siân Adiseshiah talked about dramaturgy and where to begin with Caryl Churchill’s incredible 1983 play, <em>Fen</em>. Here are 11 takeaways from their discussion.</span>

<strong>1. Dramaturg’s role</strong>

<span style="font-weight: 400;">A lot of research and reading about the historical moment play is set in and was forged in.  Close, attentive reading so you know it inside out. Offer collaborators a broader perspective with regard to context, specifically information that can be used in the theatre context so that the actors can imagine and put themselves in the play world more fully. Contemporary yet long-lasting.</span>

<strong>2. Churchill’s Socialism: Political Resistance in the Plays of Caryl Churchill</strong>

<span style="font-weight: 400;">Written by Dr. Siân Adiseshiah, the book was one of dramaturg’s Derek Matson sources when researching </span><i><span style="font-weight: 400;">Fen</span></i><span style="font-weight: 400;">. Dr. Adiseshiah talks of Churchill’s innovative playwriting and political points of identity. Both Matson and Adiseshiah point out how Churchill’s play are both of and specific to the moment in which she created them but also resonate beyond that moment into the new contemporary even as her plays age.</span>

<strong>3. Churchill’s innovation</strong>

<span style="font-weight: 400;">One playwriting technique that is often credited to Churchill is the slash. She marks overlapping dialogue in her plays using a slash mark to indicate to the next actor when to start talking over the other person, who also continues talking. This technique to signal overlapping dialogue has been adopted by playwrights everywhere and is now in common usage. </span>

<strong>4. Male idea of working-class politics</strong>

<span style="font-weight: 400;">As Dr. Adiseshiah says, Churchill is not interested in ideas of working-class politics from such a perspective. Churchill is not interested in middle-class driven feminism limited to the legal sphere or workplace competition. </span>

<strong>5. Rethinking the assumed standard</strong>

<span style="font-weight: 400;">In </span><i><span style="font-weight: 400;">Fen</span></i><span style="font-weight: 400;">, Nell is a  40-year-old class fighter of an independent nature. Churchill encourages audiences to rethink standard ways of thinking about class and gender. She draws from psychoanalysis, affect theory, radical feminism, second-wave feminism, and Marxism. She draws from a variety of ways of living in the world to represent deeply-lived experiences.</span>

<strong>6. A playwright’s playwright</strong>

<span style="font-weight: 400;">This term is often applied to Churchill due to her deeply human stories and her legendary status as one of the greatest living playwrights today. She successfully eschews conventional social realism. </span>

<strong>7. Techniques</strong>

<span style="font-weight: 400;">Churchill’s techniques challenge conventional realistic narratives. Some techniques include short episodic vignettes that make up a montage that forms a linear developmental arc; songs that interrupt the narrative and sit adjacent to the action as a disruption rather than seamlessly part of the play; and overall encouragement of critical spectatorship. In </span><i><span style="font-weight: 400;">Fen</span></i><span style="font-weight: 400;">, we get attention to social relations within communities rather than prioritizing the interiority of character. The theatrical approach that lends itself to this is cross-casting, as multiple actors play the same character disrupts the strict audience identification of which 1 actor is connected with which character. Churchill also employs comedy. </span><i><span style="font-weight: 400;">Fen </span></i><span style="font-weight: 400;">is perhaps one of her least comedic plays, but there is a sensitive use of language that combines with rhyme to produce a surrealist comedy. In many of her plays, there is a sense of metatheatrical awareness. A lot of these techniques are related to Bertolt Brecht’s.</span>

<strong>8. Disruptive narrative to awaken audiences</strong>

<span style="font-weight: 400;">Churchill tries to get audiences to rethink familiar narratives. Many of her plays try to defamiliarize assumptions and common narratives. Near the end of <em>Fen</em>, the disintegration of the epistemology of the play suggests a refusal to be disciplined on behalf of the characters. There is also an enactment of the gap between what is and what could be of a better world. </span>

<strong>9. Corporatization of farms and the union situation</strong>

<span style="font-weight: 400;">As demonstrated in an early scene of the play, a farm is sold by a farmer to a corporation, which mirrors the reality of when <em>Fen</em> was written but also a phenomenon that persists today. Large companies buy the farms, turning them from personal ventures to corporate megaliths of production. As for unions, there’s mention of the Transport and General Workers’ Union in the play, which is now UNITE today. Unions often represented farm laborers in legal cases. When Frank is pretending to have a conversation with his boss, the boss makes threats about evicting him. This reflects how trapped workers are and how difficult resistance is.</span>

<strong>10. Rejection of capitalism</strong>

<span style="font-weight: 400;">The desire for a systemic break from capitalism comes through class-conscious fighter Nell. There is a deep desire amongst the women in Churchill’s play, particularly Nell and Val, for a radically different way of being in the world. There is a clear sense in the play that human life and communities are blunted by capitalism. </span>

<strong>11.<i> Fen </i>in 2020</strong>

<span style="font-weight: 400;">Many of the issues explored in the play are still relevant today. Agricultural workers are still underpaid, largely unionized, long hours, and hard labor. Questions around lack of stability and around health and safety all persist. There is a deep yearning for something different from the here and now of the play. That feeling speaks to the contemporary moment as there has been little change to the exploitative structures of Western capitalism. This issue of the precarity of work and lack of access exist in the contemporary beyond Churchill’s plays. The importance of meaning collaboration and collective action but the difficulty in achieving that is presented in </span><i><span style="font-weight: 400;">Fen </span></i><span style="font-weight: 400;">and continues to be relevant today. This question of how to make a long-lasting difference is in </span><i><span style="font-weight: 400;">Fen </span></i><span style="font-weight: 400;">and speaks to any contemporary moment.</span>

&nbsp;

<span style="font-weight: 400;">Want to delve deeper into Caryl Churchill’s play? Tune into our next <a href="https://www.courttheatre.org/about/blog/theatre-thought-caryl-churchills-fen-the-dramaturgical-process/">sessions</a>!</span>"
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            string(89) "A quick recap of the first session of our Theatre & Thought series on FEN and dramaturgy."
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          string(3192) "<img class="alignnone size-full wp-image-15165" src="https://www.courttheatre.org/wp-content/uploads/2020/11/ae-image1000x400-1.jpg" alt="" width="1000" height="400" />
<span style="font-weight: 400;">Court’s recent collaboration with For You and the University of Chicago Experimental Performance Initiative on <a href="https://www.courttheatre.org/artists-elders-digital-gallery/">Artists &amp; Elders: A Bridge, A Gift</a> initiative connected ten artists with ten elders in Chicago. To break up the monotony and loneliness of isolation, these two communities met in virtual space to share a gift. This gift includes bonding over a creative activity, so the artist or elder often creates a physical item and promises to send it to the other or offers to perform for their partner via Zoom. </span>

<span style="font-weight: 400;"><img class=" wp-image-15174 alignright" src="https://www.courttheatre.org/wp-content/uploads/2020/11/emilyshaila-e1606237104826.jpg" alt="" width="521" height="293" />The interactions demonstrate the fulfilling outlet that creativity provides in distressing times and the power of the theatre to connect people across generations and locations. Pairing out-of-work artists with elders in quarantine provided a glimpse into how interpersonal and community connections can still be nourished even when necessary isolation challenges traditional methods of such connection. This heartwarming endeavor reflected the power of artistic exchange in practice and provoked new questions into how we can re-approach building meaningful connections with the surrounding communities during such difficult times. </span>

<span style="font-weight: 400;">As many speakers will surely testify in our upcoming December 10 virtual conversation about the initiative, this creative community outreach effort was fulfilling for all involved, providing well-needed creative sustenance and social interaction while facing the uncertainties of a pandemic. The virtual event during which participants will reflect on the program will be free to all. <a href="https://www.courttheatre.org/artists-elders-digital-gallery/"><strong>Click here to register for the event. </strong></a></span>

<span style="font-weight: 400;"><img class="wp-image-15267 alignleft" src="https://www.courttheatre.org/wp-content/uploads/2020/12/marksarah.jpeg" alt="" width="422" height="237" />Viewers interested in seeing the different elements of Artists &amp; Elders: A Bridge, A Gift can also witness heartwarming encounters between the artists and elders that culminate in one final creative product in our <a href="https://www.courttheatre.org/artists-elders-digital-gallery/">digital gallery</a>. Audiences can find a brief video clip documenting one snippet of the participants’ Zoom conversation, then a showcase of the process behind creating the gift, and finally the full display of the final gift and its virtual delivery. As you will see in their conversations and in the final gifts given, participants’ stories and voices meet in one memorable moment of creative exchange that is a testament to the power of creativity in connecting people no matter where they are. </span>"
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            string(58) "By Carissa Villagomez, Marketing and Communications Intern"
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          string(2555) "<img class="alignnone size-full wp-image-15109" src="https://www.courttheatre.org/wp-content/uploads/2020/11/Fen_800x300.jpg" alt="" width="800" height="300" />
<span style="font-weight: 400;">During our </span><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/"><i><span style="font-weight: 400;">Deep Dive</span></i></a><span style="font-weight: 400;"> and </span><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/theatre-thought/"><i><span style="font-weight: 400;">Theatre &amp; Thought</span></i></a><span style="font-weight: 400;"> series, audiences got a glimpse into the dramaturgical process. With each production, the material was examined from multiple perspectives, from the authority of lived experiences to scholarly history to analytical critique.</span>

<span style="font-weight: 400;">These series allowed audiences to participate in creative journeys fueled by dramaturgical practices that are usually behind-the-scenes efforts done well before viewers ever consume the staged production. The opportunity to delve into the impressive world of dramaturgy provides new nuance in understanding and appreciating all the work that goes into theatrical processes. </span>

<span style="font-weight: 400;">Before each reading of the plays, audiences witnessed a truncated dramaturgical process. Viewing the background lectures provided by different figures every week, they were presented with the types of information that dramaturgs often come across and hand over to the director. Yet, only snippets of this journey were seen. Had each been a full production, the dramaturgical process would be even more in-depth.</span>

<span style="font-weight: 400;">The dramaturg is vital to all the works a theatre produces. From the realism of design to the choices of the director, the dramaturg is present and equipped with the knowledge and research skills necessary to make sure each production comes to life. Court is grateful for all the hard work our dramaturgs do to bring creative visions to the stage, and for how our unique connection to the University of Chicago often leads to an even greater depth of scholarship surrounding the plays wee produce.</span>

Interested in delving deeper into the dramaturgical process? Tune into our next Theatre &amp; Thought production, <a href="https://www.courttheatre.org/about/blog/theatre-thought-caryl-churchills-fen-the-dramaturgical-process/"><em>Caryl Churchill's FEN + The Dramaturgical Process</em></a>!"
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          string(3205) "<a href="https://www.melissaduprey.com/"><b>Melissa DuPrey</b></a><span style="font-weight: 400;"> is a multidisciplinary artist with roots from Humboldt Park, Chicago. She is also a nationally recognized stand-up comic and critically-acclaimed solo artist with 4 full-length solo shows and 1 full-length play. DuPrey is also a community organizer and spiritualist who also launched The Good Grief Project- an extension of the social justice component from her play GOOD GRIEF where communities of color are connected to local, accessible and multidisciplinary mental and spiritual wellness practitioners of color. She is a featured actor in the Emmy-nominated web-series </span><i><span style="font-weight: 400;">Brown Girls </span></i><span style="font-weight: 400;">and has many regional and non regional theater and film credits. TV credits include a recurring appearance on “Empire” (FOX), “The Resident” (FOX), “Chicago PD” (NBC), and “The Chi” (Showtime). As a musician and active member of her community, she is dedicated to the preservation of Puerto Rican culture by way of the folkloric music, Bomba y Plena, with Africaribe and Las BomPleneras. She is currently an Ensemble Member at UrbanTheater Company and Artistic Associate at Sideshow Theater.</span>

<b>Gina Freed</b><span style="font-weight: 400;">, born on January 22nd, 1944 and </span><b>Karl Freed</b><span style="font-weight: 400;">, born on September 24th, 1942 met at a mixer at Columbia University in 1960, both as teenagers. Gina has worked as a geriactric nurse for the Visiting Nurses association since 1964. Karl studied chemical engineering and became an accomplished theorist specializing in polymers. During Karl’s NATO fellowship in Manchester, England, Gina and Karl welcomed the first of two daughters, Nicole. A few years later, their second daughter, Michele, completed their family. Karl continued to mentor over 50 PhD students through the Math and Science program at the University of Chicago as a holistic and nurturing professor. Karl has had over 500 articles and books published in the field of chemical engineering. Gina carried a patient load of 40 until her retirement in 2016. Currently, Gina and Karl Freed both reside in Hyde Park as Karl battles Parkinson’s disease with Gina as his full-time caretaker. They have been happily married for over 50 years, and say the key to a successful marriage is respect for one another and support of their individual goals and dreams.</span>

<h2>Gift</h2>

<iframe src="https://player.vimeo.com/video/486245931" width="640" height="360" frameborder="0" allow="autoplay; fullscreen" allowfullscreen></iframe>

<h2>Process</h2>

<iframe src="https://player.vimeo.com/video/486248636" width="640" height="360" frameborder="0" allow="autoplay; fullscreen" allowfullscreen></iframe>


<h2>Exchange</h2>

<iframe src="https://player.vimeo.com/video/486245872" width="640" height="480" frameborder="0" allow="autoplay; fullscreen" allowfullscreen></iframe>


<h2>Connection</h2>
<iframe src="https://player.vimeo.com/video/486245614" width="640" height="480" frameborder="0" allow="autoplay; fullscreen" allowfullscreen></iframe>
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        string(3006) "<span style="font-weight: 400;">On January 20, Professor Tina Post and dramaturg Gabrielle Randle-Bent discussed the play’s one Black female character, the Woman, the significance of her presence, and how her character has been approached through a lens of movement and choreography. Here are 6 takeaways from their conversation.</span>

<strong>1. Dialogue</strong>

<span style="font-weight: 400;">She is a non-speaking character but is present for important moments and has a controlling stake in propelling the play forward. </span>

<strong>2. Script</strong>

<span style="font-weight: 400;">She is scripted to appear in the Prologue, Epilogue, and near the end of Act 1 to perform scripted action. However, dramaturgs have the liberty of placing her elsewhere as well as a silent presence overlooking everything. She can appear both in flesh and a spirit haunting the action.</span>

<strong>3. Hyena</strong>

<span style="font-weight: 400;">The hyena is a motif in every iteration of the Woman’s scripted appearance. When she appears, so does a hyena, calling back to the story of Modingo and why the hyenas have bitter laughter as told in the play.</span>

<strong>4. Projection</strong>

<span style="font-weight: 400;">Her corporeal presence is not clear. She can be interpreted as a projection of Tchembe’s mind, but even if staged as a haunting presence, she still retains her power and is perhaps even more powerful. She has symbolic power, but the nature of that power remains to be interpreted. She is an ancestral force and spirit, but there’s also a sense of futurity to her demands. </span>

<strong>5. Who is the Woman?</strong>

<span style="font-weight: 400;">Is she Tchembe’s mother, a future mixed-race daughter of Tchembe? There is no scripted sense of her embodiment other than she appears. Is she tangible rather than an all-seeing projection, an idea, and a person? She is as much an ancestral potentiality as a future one, someone who has already been or yet to be or both at once. There is no singularity, for where there is one, there is many. Her presence as a haunting emulates the haunting of the author with this text as we don’t know the extent of who wrote what and in what way, Lorraine Hansberry or Robert Nemiroff. </span>

<strong>6. Claims and Visuality</strong>

<span style="font-weight: 400;">The Woman makes a claim on Tchembe even after his time away in Europe and he responds. </span><span style="font-weight: 400;">Her embodiment perhaps suggests there is space for her to be however she wants to be on her own terms. </span>

<span style="font-weight: 400;">Interested in learning more about the Woman and viewing an original interpretative dance piece representing her character? Tune into our next </span><a href="https://www.courttheatre.org/about/blog/theatre-thought-lorraine-hansberrys-les-blancs-racial-injustice/"><span style="font-weight: 400;">session</span></a><span style="font-weight: 400;">!</span>"
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      string(3006) "<span style="font-weight: 400;">On January 20, Professor Tina Post and dramaturg Gabrielle Randle-Bent discussed the play’s one Black female character, the Woman, the significance of her presence, and how her character has been approached through a lens of movement and choreography. Here are 6 takeaways from their conversation.</span>

<strong>1. Dialogue</strong>

<span style="font-weight: 400;">She is a non-speaking character but is present for important moments and has a controlling stake in propelling the play forward. </span>

<strong>2. Script</strong>

<span style="font-weight: 400;">She is scripted to appear in the Prologue, Epilogue, and near the end of Act 1 to perform scripted action. However, dramaturgs have the liberty of placing her elsewhere as well as a silent presence overlooking everything. She can appear both in flesh and a spirit haunting the action.</span>

<strong>3. Hyena</strong>

<span style="font-weight: 400;">The hyena is a motif in every iteration of the Woman’s scripted appearance. When she appears, so does a hyena, calling back to the story of Modingo and why the hyenas have bitter laughter as told in the play.</span>

<strong>4. Projection</strong>

<span style="font-weight: 400;">Her corporeal presence is not clear. She can be interpreted as a projection of Tchembe’s mind, but even if staged as a haunting presence, she still retains her power and is perhaps even more powerful. She has symbolic power, but the nature of that power remains to be interpreted. She is an ancestral force and spirit, but there’s also a sense of futurity to her demands. </span>

<strong>5. Who is the Woman?</strong>

<span style="font-weight: 400;">Is she Tchembe’s mother, a future mixed-race daughter of Tchembe? There is no scripted sense of her embodiment other than she appears. Is she tangible rather than an all-seeing projection, an idea, and a person? She is as much an ancestral potentiality as a future one, someone who has already been or yet to be or both at once. There is no singularity, for where there is one, there is many. Her presence as a haunting emulates the haunting of the author with this text as we don’t know the extent of who wrote what and in what way, Lorraine Hansberry or Robert Nemiroff. </span>

<strong>6. Claims and Visuality</strong>

<span style="font-weight: 400;">The Woman makes a claim on Tchembe even after his time away in Europe and he responds. </span><span style="font-weight: 400;">Her embodiment perhaps suggests there is space for her to be however she wants to be on her own terms. </span>

<span style="font-weight: 400;">Interested in learning more about the Woman and viewing an original interpretative dance piece representing her character? Tune into our next </span><a href="https://www.courttheatre.org/about/blog/theatre-thought-lorraine-hansberrys-les-blancs-racial-injustice/"><span style="font-weight: 400;">session</span></a><span style="font-weight: 400;">!</span>"
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      string(3843) "<span style="font-weight: 400;">On January 13, UChicago Assistant Professor Tina Post and dramaturg Gabrielle Randle-Bent provided an overview of Lorraine Hansberry and her work</span><span style="font-weight: 400;">. Here are 5 key takeaways from their discussion.</span>

<strong>1. Hansberry’s Death</strong>

<i><span style="font-weight: 400;">Les Blancs</span></i><span style="font-weight: 400;"> was her magnum opus. She had been working on it for about four or five years before she died; it was left unfinished when she suddenly died from pancreatic cancer. Her former husband, dramaturg Robert Nemiroff, finished the play for her. Nemiroff also worked with producer Andrew Cohen and Ozzy Davis to finish it.</span>

<strong>2. Summary</strong>

<span style="font-weight: 400;">The play is set mainly at the mission, a hospital compound founded by Reverend Neilson forty years before. At the beginning of the play, reporter Charlie Morris arrives to do a report on the mission. There, he meets Marta (a white doctor), Willie DeKoven (another white doctor; disillusioned idealist), and Madame Neilson. Tchembe returns home after the death of his father, who he discovers was part of the resistance of Africans against white colonial powers, and meets his two brothers again after years abroad. Tensions within the country escalate further during his visit and confront Tchembe with questions about his allegiance and loyalty to his country.</span>

<strong>3. Timelessness of Abstraction</strong>

<span style="font-weight: 400;">The setting is an unnamed African country; in one draft, the playwright notes it could be set anytime within the next decade or so, a testament to how contemporary the play remains. As niece of Leo Hansberry, a scholar of African history and politics, Hansberry was knowledgeable about the status of Africa during her career as a scholarly activist and author. Despite her knowledge, she chose to write about an unnamed African country. She demands an abstraction of the African people in her play. Productions try to interpret who and what every choice of the author means. The play’s themes can be applied and is relevant to many contemporary situations in other countries as well.</span>

<strong>4. Hansberry as a Revolutionary</strong>

<span style="font-weight: 400;">She was a member of labor-organizing groups, communist groups, and leftist groups. Her position was that black people needed to be seen and heard and given the opportunities that everyone else was given. She portrayed injustices and identity struggles in her work. </span><i><span style="font-weight: 400;">Les Blancs</span></i><span style="font-weight: 400;"> includes her view of the U.S. as an oppressive colonial power and a guiding force in the world that was changing.</span>

<strong>5. Candace</strong>

<span style="font-weight: 400;">Tchembe, in early drafts, was a woman named Candace, a character Hansberry wrote in as herself as someone who sees the city as her own. She is present in other characters as well, such as Eric, a mixed-race, queer, young revolutionary, though Tchembe holds her voice in entirety. His turn to revolution was a central question in her life, which included such concerns as she grew that revolved around whether she was a revolutionary and how she could hold onto that and how it changed with her experiences.</span>

<span style="font-weight: 400;">Want to learn more about Lorraine Hansberry’s incredible play, </span><i><span style="font-weight: 400;">Les Blancs</span></i><span style="font-weight: 400;">? Tune into our next Theatre &amp; Thought </span><a href="https://www.courttheatre.org/about/blog/theatre-thought-lorraine-hansberrys-les-blancs-racial-injustice/"><span style="font-weight: 400;">session</span></a><span style="font-weight: 400;">!</span>"
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      string(12061) "We are announcing <span style="font-weight: 400;">further revisions to our 2020/21 Season in response to the ongoing COVID-19 pandemic and continuing restrictions on public gatherings. The newly-revised season has Court postponing our production of August Wilson’s </span><i><span style="font-weight: 400;">Two Trains Running</span></i><span style="font-weight: 400;"> and pushing back dates of Owen McCafferty’s </span><b><i>Titanic (Scenes from the British Wreck Commissioner's Inquiry, 1912)</i></b><span style="font-weight: 400;"> and Shakespeare’s </span><b><i>Othello</i></b><span style="font-weight: 400;">. If public health conditions allow, Court will offer limited in-person viewership for </span><b><i>Titanic</i></b> <span style="font-weight: 400;">and </span><b><i>Othello</i></b><span style="font-weight: 400;">, with digital access provided for patrons who do not yet wish to attend in person. In addition, we're offering on-demand digital viewing of two productions from our archives: the musical <strong><em>Five Guys Named Moe</em></strong>, and our critically-acclaimed production </span><b><i>An Iliad</i></b><b>,</b><span style="font-weight: 400;"> by Lisa Peterson and Denis O’Hare. Court is also announcing the free Chicagoland premiere of </span><b><i>Theatre for One: Here We Are</i></b><span style="font-weight: 400;">, a series of digital microplays written, directed, and starring an array of BIPOC artists and designed to be experienced one-on-one.</span>
<blockquote><span style="font-weight: 400;">“While the coronavirus pandemic continues to pose unique challenges to live performance, Court Theatre remains steadfast in its goal to offer intellectually rigorous artistic experiences to our patrons,” says </span><b>Charles Newell</b><span style="font-weight: 400;">, Marilyn F. Vitale Artistic Director. “Our newly-revised season offers patrons several new ways to engage with theatrical narratives while we wait for the widespread rollout of a COVID-19 vaccine.”</span>

<span style="font-weight: 400;">“COVID-19 has necessitated tough programming decisions in the interest of keeping our patrons, artists, and staff safe,” says </span><b>Angel Ysaguirre</b><span style="font-weight: 400;">, Executive Director of Court Theatre. “I’m optimistic about the unparalleled access our digital and hybrid programs offer, as online programming continues to provide the opportunity to engage with our work regardless of a patron’s schedule or geographic location.”</span></blockquote>
<strong>The previously announced production of <i>Two Trains Running </i>has been postponed and will be produced in a future season.<i> </i></strong>
<h2><b>The Revised 2020/21 Court Theatre Season:</b></h2>
<b></b><b>From the Archives:
</b>

<strong><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/five-guys-named-moe-streaming/"><img class="alignnone size-full wp-image-15454" src="https://www.courttheatre.org/wp-content/uploads/2021/01/800x280-five-guys-streaming.jpg" alt="Five Guys Named Moe" width="800" height="301" /></a><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/five-guys-named-moe-streaming/">FIVE GUYS NAMED MOE</a>
</strong>A Musical By Clarke Peters, Featuring Louis Jordan's Greatest Hits
Originally Produced At Theatre Royal Stratford East
Directed By Ron Oj Parson, Music Director Abdul Hamid Royal
Associate Director Felicia P. Fields, Movement/musical Staging Christopher Carter
<strong>Available for digital viewing February 4 - 28, 2021</strong>

The <em>Sun-Times</em> called Court's production “pure, unadulterated theatrical fun" and we can all use little fun this winter. A lively musical tribute to the hit songs of saxophonist and songwriter Louis Jordan, <em>Five Guys Named Moe </em>introduces Nomax: a broke, newly single guy singing the blues late into the night. Suddenly, five unexpected friends—Big Moe, Four-Eyed Moe, Eat Moe, No Moe, and Little Moe—emerge from his radio to help ease his broken heart. Pioneering musician Louis Jordan’s new approach to jazz paved the way for rock and roll in the 1950s.

<a href="https://www.courttheatre.org/season-tickets/2020-2021-season/an-iliad-streaming/"><img class="alignnone size-full wp-image-15450" src="https://www.courttheatre.org/wp-content/uploads/2021/01/iliad-streaming-800x300-1.jpg" alt="An Iliad" width="800" height="295" /></a><b>
</b><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/an-iliad-streaming/"><b>AN ILIAD</b></a>, the site-specific production filmed at the Oriental Institute
by Lisa Peterson and Denis O’Hare, based on Homer’s <i>The Iliad</i>
translated by Robert Fagles, directed by Charles Newell
<strong>Available for digital viewing March 3 - March 31, 2021</strong>

<span style="font-weight: 400;">Remounted three times across Court’s history, </span><i><span style="font-weight: 400;">An Iliad</span></i><span style="font-weight: 400;"> continues to showcase the power of classic theatre to speak to our current moment. Interrogate how rage and division reverberate throughout civilization in this streaming release of our limited-engagement, site-specific production of </span><i><span style="font-weight: 400;">An Iliad </span></i><span style="font-weight: 400;">at the Oriental Institute. The production takes audiences on a journey through ancient societies and cultural artifacts in a thrillingly visceral performance. This professionally-captured, multi-camera stream of the play allows you to experience this one-of-a-kind production at home, which Rick and Brenda McCain of </span><i><span style="font-weight: 400;">Chicago Now</span></i><span style="font-weight: 400;"> hailed as “a superb collaboration of theater and history in a site-specific platform that is sure to bring chills to the historian that resides in all humanity.”</span>

<a href="https://www.courttheatre.org/season-tickets/2020-2021-season/theatre-for-one-here-we-are/"><img class="alignnone size-full wp-image-15451" src="https://www.courttheatre.org/wp-content/uploads/2021/01/t41-800x300-1.jpg" alt="Theatre for One" width="800" height="290" /></a><b><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/theatre-for-one-here-we-are/">THEATRE FOR ONE: HERE WE ARE</a>
</b><span style="font-weight: 400;">Creator and Artistic Director: Christine Jones
</span><span style="font-weight: 400;">Co-Artistic Director for Here We Are: Jenny Koons
</span><span style="font-weight: 400;">Platform Programing &amp; Design by Open Ended Group—Marc Downie and Paul Kaiser
</span><span style="font-weight: 400;">Produced by Octopus Theatricals—Mara Isaacs, Executive/Creative Producer
</span>February 18 - March 14, 2021
<b>
</b><i><span style="font-weight: 400;">Theatre For One: Here We Are</span></i><span style="font-weight: 400;"> is a live digital theatrical experience that brings together one actor and one audience member featuring eight new microplays that speak to these times we are in. A laugh shared with a stranger, a world created by imagination, a soul nourished through storytelling: these are things only theater can accomplish. Following its critically-acclaimed run in New York, Court Theatre brings these eight stories to life with Chicago actors to offer audiences a deeply personal theatrical experience. </span>

<a href="https://www.courttheatre.org/season-tickets/2020-2021-season/titanic/"><img class="alignnone size-full wp-image-15452" src="https://www.courttheatre.org/wp-content/uploads/2021/01/800x280-titanic.jpg" alt="Titanic" width="800" height="280" /></a><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/titanic/"><b>TITANIC (SCENES FROM THE BRITISH WRECK COMMISSIONER'S INQUIRY, 1912)</b></a><b>
</b>by Owen McCafferty<b>
</b>Directed by Vanessa Stalling
April 29 - May 30, 2021
<i><span style="font-weight: 400;">A digital version will be available to stream for patrons who do not yet wish to attend in person.</span></i>

<span style="font-weight: 400;">The sinking of the RMS </span><i><span style="font-weight: 400;">Titanic</span></i><span style="font-weight: 400;"> has long been studied for its historical significance and unmistakable hubris. A survivors’ story fraught with intrigue, Owen McCafferty’s </span><i><span style="font-weight: 400;">Titanic (Scenes from the British Wreck Commissioner’s Inquiry, 1912) </span></i><span style="font-weight: 400;">tells the story using verbatim testimonies from witnesses of the wreck. What emerges is a startling portrait of class, chaos, and moral ambiguity.  Vanessa Stalling (Jeff Award-winning director of </span><i><span style="font-weight: 400;">Photograph 51 </span></i><span style="font-weight: 400;">and </span><i><span style="font-weight: 400;">United Flight 232</span></i><span style="font-weight: 400;">) brings her singular artistry to McCafferty’s text. Leveraging audio technology, she and her team will create an expansive soundscape that allows the testimonies of each individual to resonate with audiences through a heightened, visceral experience that pushes the boundaries of design and theatrical performance.    </span>

<a href="https://www.courttheatre.org/season-tickets/2020-2021-season/othello/"><img class="alignnone size-full wp-image-15453" src="https://www.courttheatre.org/wp-content/uploads/2021/01/800x280-othello.jpg" alt="Othello" width="800" height="295" /></a><b><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/othello/">OTHELLO</a>
</b>by William Shakespeare
Adapted and Directed by Charles Newell
with Associate Director Gabrielle Randle-Bent
July 8 - August 8, 2021<b>
</b><i><span style="font-weight: 400;">A digital version will be available to stream for patrons who do not yet wish to attend in person.</span></i>

<span style="font-weight: 400;">Othello, the great Venetian general, unknowingly seals his fate when he fails to select his standard-bearer, Iago, for a military promotion. When his wife, Desdemona, is implicated in an affair, Othello is faced with a series of irreversible events that spell catastrophe for him and his country. Kelvin Roston, Jr. (</span><i><span style="font-weight: 400;">Oedipus Rex</span></i><span style="font-weight: 400;">,</span><i><span style="font-weight: 400;"> King Hedley II</span></i><span style="font-weight: 400;">) returns to Court to star in this intimate new take on Shakespeare’s complex tragedy about jealousy, ego, and betrayal. Marilyn F. Vitale Artistic Director Charles Newell and his team will rigorously interrogate how identity is constructed along personal, racial, and political lines.</span>

<b>Subscription and Ticket Information
</b><span style="font-weight: 400;">Court’s Box Office will email ticket holders and subscribers to discuss how these changes impact them. Individual event tickets will be on sale soon. To purchase a subscription or receive more information, call the Court Theatre Box Office at (773) 753-4472.</span>

<hr />

<i><span style="font-weight: 400;">Here We Are</span></i><span style="font-weight: 400;"> was commissioned by Arts Brookfield with additional support from Thomas M. Neff. The Chicago premiere is supported by the University of Chicago Women's Board, Allstate, and De and Paul Gray. </span>

<i><span style="font-weight: 400;">Titanic</span></i> <i><span style="font-weight: 400;">(Scenes from the British Wreck Commissioner's Inquiry, 1912) </span></i><span style="font-weight: 400;">is sponsored by Gustavo "Chip" Bamberger and Martha Van Haitsma. </span>

<i><span style="font-weight: 400;">Othello</span></i><span style="font-weight: 400;"> is sponsored by Michael Charles Litt.</span> <span style="font-weight: 400;">Programming is partially supported by a grant from the Illinois Arts Council Agency. Additional support is provided by Harper Court Arts Council, Paul M. Angell Family Foundation, Prince Charitable Trusts, and the Shubert Foundation.</span>"
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      string(45924) "<span style="font-weight: 400;">As 2020 wraps up, we’re using this time to reflect on the past 20 years of Court’s work. If you’re feeling nostalgic or want to see how Court has developed in the past years, peruse our 2000-2020 review below! It was difficult to narrow it down, but we made sure to highlight some of the most memorable productions from the last two decades!</span>
<h1><b><i>1999/00</i></b></h1>
<a href="https://www.courttheatre.org/season-tickets/1999-2000-season/desire-under-the-elms/"><strong><i>Desire Under the Elms </i></strong></a><span style="font-weight: 400;">by Eugene O’Neill</span>

<span style="font-weight: 400;">Co-produced with Philadelphia’s Freedom Theatre (one of the leading professional African-American theatres in the country) Desire Under the Elms was directed by Freedom’s Artistic Director, Walter Dallas, and moved to Philadelphia following its Chicago run. Mr. Dallas transported the action of the play from New England in 1850 to 1930’s Georgia for a Southern and multicultural exploration of O’Neill’s classic. </span><i><span style="font-weight: 400;">Variety </span></i><span style="font-weight: 400;">wrote of the revival: “This resonant idea is itself sufficient to make the production intriguing.”</span>
<h1><b><i>2000/01</i></b></h1>
[caption id="attachment_15394" align="alignnone" width="800"]<img class="wp-image-15394 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/invention-2.jpg" alt="" width="800" height="200" /> Photo of Paxton Whitehead by Michael Brosilow.[/caption]

<a href="https://www.courttheatre.org/season-tickets/2000-2001-season/the-invention-of-love/"><strong><i>The Invention of Love </i></strong></a><span style="font-weight: 400;">by Tom Stoppard</span>

<span style="font-weight: 400;">Staged from September to October, our production was directed by Charles Newell and starred actors such as Paxton Whitehead, Guy Adkins, Maury Cooper, and Lance Stuart Baker, among many talented others. The play follows A.E. Housman, an aged poet and classics scholar through his lifelong, though unrealized, love affair with a fellow Oxford student. Housman is best known for his poetry collection </span><i><span style="font-weight: 400;">A Shropshire Lad</span></i><span style="font-weight: 400;">. Court’s production was the Midwest premiere of Stoppard’s 1997 play. Revisit production photos </span><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/the-invention-of-love/gallery/photos/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">!</span>
<h1><b><i>2001/02</i></b></h1>
[caption id="attachment_15382" align="alignnone" width="800"]<img class="wp-image-15382 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/hamlet.jpg" alt="" width="800" height="200" /> Photo of Guy Adkins and John Reeger by Michael Brosilow.[/caption]

<b><i><a href="https://www.courttheatre.org/season-tickets/2001-2002-season/hamlet/">Hamlet</a> </i></b><span style="font-weight: 400;">by William Shakespeare</span>

<span style="font-weight: 400;">Featuring Guy Adkins as </span><i><span style="font-weight: 400;">Hamlet</span></i><span style="font-weight: 400;">, Marilyn F. Vitale Artistic Director Charles Newell’s visceral production of Shakespeare’s famous tragedy about the Prince of Denmark was heralded for its bold direction as a “performance that pulls you in and doesn’t let go” (</span><i><span style="font-weight: 400;">Newcity Stage</span></i><span style="font-weight: 400;">).</span> <span style="font-weight: 400;">Newell has made a reputation for his aggressive takes on Shakespearean works, and his production of </span><i><span style="font-weight: 400;">Hamlet</span></i><span style="font-weight: 400;"> perfectly illustrated why.</span>

<b>Also Noteworthy</b><b>: </b><a href="https://www.courttheatre.org/season-tickets/2001-2002-season/my-fair-lady/"><strong><em>My Fair Lady </em></strong></a><span style="font-weight: 400;">by Alan Jay Lerner and Frederick Loewe. </span>

<span style="font-weight: 400;">This intimate, stripped-down performance highlighted the classic Shavian text underpinning the buoyant musical and was praised for its leading performances, including work by Kate Fry and Kevin Gudahl. Explore photos of </span><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/hamlet/gallery/production-photos/"><i><span style="font-weight: 400;">Hamlet</span></i></a> <span style="font-weight: 400;">and </span><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/my-fair-lady/gallery/production-photos/"><i><span style="font-weight: 400;">My Fair Lady</span></i></a><span style="font-weight: 400;">.</span>
<h1><b><i>2002/03</i></b></h1>
[caption id="attachment_15377" align="alignnone" width="800"]<img class="wp-image-15377 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/dead.jpg" alt="" width="800" height="200" /> Photo of Deanna Dunagan and Sara Minton by Michael Brosilow.[/caption]

<a href="https://www.courttheatre.org/season-tickets/2002-2003-season/james-joycesthe-dead/"><strong><i>James Joyce’s “The Dead” </i></strong></a><span style="font-weight: 400;">by Richard Nelson and Shaun Davey</span>

<span style="font-weight: 400;">Staged from November to December, our production was directed by Charles Newell, alongside music director Jeff Lewis and actors like John Reeger, Hollis Resnik, and many talented others. In this lauded musical,a familiar song reignites memories of unfulfilled possibilities amongst a gathering of family and friends celebrating the turn of the 20th century. Our production was the Chicago premiere of this incredible musical, which we went on to revive again in the 2003/2004 season and in 2012. View photos from the memorable production </span><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/james-joycesthe-dead/gallery/production-photos/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">!</span>
<h1><b><i>2003/04</i></b></h1>
[caption id="attachment_15391" align="alignnone" width="800"]<img class="wp-image-15391 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/sound-voice.jpg" alt="" width="800" height="200" /> Photo of Janice Felty and Eugene Perry by Michael Brosilow.[/caption]

<a href="https://www.courttheatre.org/season-tickets/2003-2004-season/the-sound-of-a-voice/"><strong><i>The Sound of a Voice </i></strong></a><span style="font-weight: 400;">by Philip Glass and David Henry Hwang</span>

<span style="font-weight: 400;">Staged from September to November, our production was directed by Robert Woodruff, in association with American Repertory Theatre. </span><i><span style="font-weight: 400;">The Sound of a Voice</span></i><span style="font-weight: 400;"> is a musical theatre piece inspired by Japanese ghost stories and explores how intimacy is achieved between people who live in seclusion. Peruse production photos </span><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/the-sound-of-a-voice/gallery/production-photos/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">!</span>
<h1><b><i>2004/05</i></b></h1>
[caption id="attachment_15392" align="alignnone" width="800"]<img class="wp-image-15392 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/virginia-wolf.jpg" alt="" width="800" height="200" /> Photo of Barbara E. Robertson, Kevin Gudahl, Whitney Snead and Lance Stuart Baker by Michael Brosilow.[/caption]

<a href="https://www.courttheatre.org/season-tickets/2004-2005-season/whos-afraid-virginia-woolf/"><strong><i>Who’s Afraid of Virginia Woolf? </i></strong></a><span style="font-weight: 400;">by Edward Albee</span>

<span style="font-weight: 400;">Praised as a “ferocious triumph, shaped and galvanized by the meticulous and daring direction of Charles Newell,” Court Theatre’s production of Edward Albee’s funhouse masterpiece starred Barbara E. Robertson and Kevin Gudahl in an unforgettable take on this classic American drama. Combining banality with both the vulgar and the poetic, Newell’s production was a harrowing rollercoaster ride from start to finish. Check out photos of the production </span><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/whos-afraid-virginia-woolf/gallery/production-photos/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">.</span>
<h1><b><i>2005/06</i></b></h1>
[caption id="attachment_15378" align="alignnone" width="800"]<img class="wp-image-15378 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/fences.jpg" alt="" width="800" height="200" /> Photo of Jacqueline Williams, A.C. Smith, and John Steven Crowley by Michael Brosilow.[/caption]

<a href="https://www.courttheatre.org/season-tickets/2005-2006-season/fences/"><strong><i>Fences </i></strong></a><span style="font-weight: 400;">by August Wilson</span>

<span style="font-weight: 400;">Staged from January to February, </span><i><span style="font-weight: 400;">Fences </span></i><span style="font-weight: 400;">was directed by Ron OJ Parson and starred A.C. Smith, Jacqueline Williams, and many other talented artists. The production kicked off Court’s endeavor to stage all plays in Wilson’s Century Cycle, and garnered a total of four Jeff Awards, including Best Production - Plaay. The modern classic follows Troy Maxson, a former star of the Negro Baseball Leagues and now am embittered garbage collector, who is coming to terms with his lost dreams and struggling to keep his family together. It explores the relationship between father and son as well, examining boundaries in personal relationships as well as the lived experience of going against larger obstacles put in place by a prejudiced society. Revisit photos from the moving production </span><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/fences/gallery/production-photos/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">.</span>

<b>Also Noteworthy</b><span style="font-weight: 400;">: </span><a href="https://www.courttheatre.org/season-tickets/2005-2006-season/man-la-mancha/"><strong><i>Man of La Mancha </i></strong></a><span style="font-weight: 400;">by Dale Wasserman, Mitch Leigh, and Jo Darion</span>

<span style="font-weight: 400;">Staged by Charles Newell, Court’s production of </span><i><span style="font-weight: 400;">Man of La Mancha</span></i><span style="font-weight: 400;"> was another favorite at the Jeff Awards, receiving six total awards, including Best Production - Musical. Featuring performances by Herbert Perry, Hollis Resnik, and Neil Friedman, among others, this musical take on Miguel de Cervantes’ </span><i><span style="font-weight: 400;">Don Quixote</span></i><span style="font-weight: 400;"> was praised “a powerful, audacious and heart-felt piece of work that rescues ‘La Mancha’ from eternal light-opera oblivion” by the </span><i><span style="font-weight: 400;">Chicago Tribune</span></i><span style="font-weight: 400;">. After an acclaimed run at Court Theatre, the production moved to the Long Wharf Theatre in Connecticut in February 2007. View photos from the production </span><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/man-la-mancha/gallery/production-photos/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">.</span>
<h1><b><i>2006/07</i></b></h1>
[caption id="attachment_15393" align="alignnone" width="800"]<img class="wp-image-15393 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/arcadia-2.jpg" alt="" width="800" height="200" /> Photo of Mary Beth Fisher and Keith Gallagher by Michael Brosilow.[/caption]

<a href="https://www.courttheatre.org/season-tickets/2006-2007-season/arcadia/"><strong><i>Arcadia </i></strong></a><span style="font-weight: 400;">by Tom Stoppard</span>

<span style="font-weight: 400;">Staged from May to June, our production was directed by Charles Newell such talents as Mary Beth Fisher, Gregory Anderson, Erik Hellman, Raymond Fox, and more. This play follows two sets of people, separated by nearly two centuries, who are in the same room of an English estate and are facing similar conundrums. Stoppard merges mathematics, literature, the chaos theory, human concerns, and humor in this masterpiece. View photos from the production </span><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/arcadia/gallery/production-photos"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">.</span>

<b>Also Noteworthy</b><span style="font-weight: 400;">: </span><a href="https://www.courttheatre.org/season-tickets/2006-2007-season/flyin-west/"><strong><i>Flyin’ West </i></strong></a><span style="font-weight: 400;">by Pearl Cleage</span>

<span style="font-weight: 400;">Resident Artist Ron OJ Parson’s production of Pearl Cleage’s </span><i><span style="font-weight: 400;">Flyin’ West</span></i><span style="font-weight: 400;"> shone a spotlight on the power of community and Black women. Set in 1898, the lives of a small group of African American women change as they leave the oppressive South for the West where they settle together in the all-black town of Nicodemus, Kansas. At its heart, the production explored the universal themes of determination, feminism, pride, and freedom. Relive the performance by viewing production photos </span><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/flyin-west/gallery/production-photos/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">.</span>
<h1><b><i>2007/08</i></b></h1>
[caption id="attachment_15379" align="alignnone" width="800"]<img class="wp-image-15379 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/first-breeze.jpg" alt="" width="800" height="200" /> Photo of the cast of THE FIRST BREEZE OF SUMMER by Michael Brosilow.[/caption]

<a href="https://www.courttheatre.org/season-tickets/2007-2008-season/first-breeze-summer/"><b><i>The First Breeze of Summer </i></b></a><span style="font-weight: 400;">by Leslie Lee</span>

<span style="font-weight: 400;">Despite being nominated for a Tony Award and an Obie Award, this rarely seen play featured an impressive cast of twelve actors and told an intergenerational story about an African-American family. Heralded for the chemistry of its cast, Resident Artist Ron OJ Parson’s production was noted by the </span><i><span style="font-weight: 400;">Chicago Tribune </span></i><span style="font-weight: 400;">for the way Parson was  energetically reviving a period drama that very few Chicagoans have seen before” and embracing “its florid, middle-brow, flashback-laced style, layering this unusual but provocative revival with lush music and filling the fake tree on Jack Magaw’s romantic setting with shimmers of sensual light.” View photos from the production </span><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/first-breeze-summer/gallery/production-photos/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">.</span>
<h1><b><i>2008/09</i></b></h1>
[caption id="attachment_15376" align="alignnone" width="800"]<img class="wp-image-15376 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/caroline.jpg" alt="" width="800" height="200" /> Photo of Byron Glenn Willis and E. Faye Butler by Michael Brosilow.[/caption]

<a href="https://www.courttheatre.org/season-tickets/2008-2009-season/caroline-or-change/"><strong><i>Caroline or, Change </i></strong></a><span style="font-weight: 400;">by Tony Kushner and Jeanine Tesori</span>

<span style="font-weight: 400;">Staged from September to October, this poignant musical was directed by Charles Newell, with music direction by Douglas Peck. It starred E. Faye Butler, Melanie Brazill, and Kate Fry, among numerous other artists in the talented cast. The lay takes place during the civil rights movement and after JFK’s death. It is a deeply personal story, following 8-year-old Noah and the spare change that symbolizes more than coins for Caroline, an African-American housekeeper working in a Louisiana laundry room in 1963. It blends blues, gospel, and traditional Jewish melodies in its score. Peruse </span><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/caroline-or-change/gallery/production-photos"><span style="font-weight: 400;">photos</span></a><span style="font-weight: 400;"> and </span><a href="https://www.courttheatre.org/season-tickets/2008-2009-season/caroline-or-change/"><span style="font-weight: 400;">videos</span></a><span style="font-weight: 400;"> from the captivating production!</span>

<span style="font-weight: 400;"><strong>Also Noteworthy</strong>:</span> <a href="https://www.courttheatre.org/season-tickets/2008-2009-season/the-piano-lesson/"><strong><i>The Piano Lesson </i></strong></a><span style="font-weight: 400;">by August Wilson</span>

<span style="font-weight: 400;">Staged from May to June, our production was directed by Ron OJ Parson and starred such talents as A.C. Smith, Tyla Abercrumbie, amongst many others. This 1987 play is the fourth play written for Wilson’s Century Cycle. Set in 1930s Pittsburgh, it features two siblings in a war of wills over what to do with an inherited piano. Their battle brings forth themes of connection to one’s ancestors, self-worth, and identity. Revisit </span><a href="https://www.courttheatre.org/season-tickets/2008-2009-season/the-piano-lesson/"><span style="font-weight: 400;">videos</span></a><span style="font-weight: 400;"> and </span><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/the-piano-lesson/gallery/production-images"><span style="font-weight: 400;">photos</span></a><span style="font-weight: 400;"> from this remarkable production! </span>
<h1><b><i>2009/10</i></b></h1>
[caption id="attachment_15384" align="alignnone" width="800"]<img class="wp-image-15384 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/ma-rainey.jpg" alt="" width="800" height="200" /> Photo of the cast of MA RAINEY'S BLACK BOTTOM by Michael Brosilow.[/caption]

<a href="https://www.courttheatre.org/season-tickets/2009-2010-season/ma-raineys-black-bottom/"><strong><i>Ma Rainey’s Black Bottom</i></strong></a><span style="font-weight: 400;"> by August Wilson</span>

<span style="font-weight: 400;">Staged from September to October, this production was directed by Ron OJ Parson and starred Greta Oglesby, Kelvin Roston, Jr., and James T. Alfred, among others. Set in the 1920s, it is the only play in the Cycle to be set in the South Side of Chicago instead of Pittsburgh. A recording session for blues legend Ma Rainey and her band becomes a battle of wills that explores themes of white oppression. View </span><a href="https://www.courttheatre.org/season-tickets/2009-2010-season/ma-raineys-black-bottom/"><span style="font-weight: 400;">videos</span></a><span style="font-weight: 400;"> and </span><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/ma-raineys-black-bottom/gallery/production-photos/"><span style="font-weight: 400;">photos</span></a><span style="font-weight: 400;"> from the stunning production!</span>

<span style="font-weight: 400;">Also Noteworthy:</span> <a href="https://www.courttheatre.org/season-tickets/2009-2010-season/year-magical-thinking/"><strong><i>The Year of Magical Thinking</i></strong></a><span style="font-weight: 400;"> by Joan Didion</span>

<span style="font-weight: 400;">Written by Joan Didion, starring Mary Beth Fisher, and directed by Charles Newell, this one-woman play adapted from Didion’s own memoir as a fiercely intelligent exploration of loss. As performed by Fisher, the play was, in the </span><i><span style="font-weight: 400;">Chicago Sun-Times</span></i><span style="font-weight: 400;">’ words, “nothing short of hypnotic.” View </span><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/year-magical-thinking/gallery/production-photos/"><span style="font-weight: 400;">production photos</span></a><span style="font-weight: 400;"> or a </span><a href="https://www.youtube.com/watch?v=Q9FUtvsbIko&amp;feature=emb_title"><span style="font-weight: 400;">video</span></a><span style="font-weight: 400;"> from the play.</span>
<h1><b><i>2010/11</i></b></h1>
[caption id="attachment_15388" align="alignnone" width="800"]<img class="wp-image-15388 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/porgy.jpg" alt="" width="800" height="200" /> Photo of the cast of PORGY &amp; BESS by Michael Brosilow.[/caption]

<a href="https://www.courttheatre.org/season-tickets/2010-2011-season/porgy-bess/"><strong><i>Porgy &amp; Bess </i></strong></a><span style="font-weight: 400;">by George Gershwin, Dubose and Dorothy Heyward, and Ira Gershwin</span>

<span style="font-weight: 400;">Staged from May to June, this production was directed by Charles Newell, with music direction by Doug Peck and artistic counseling from Ron OJ Parson. It starred talents like Todd M. Kryger, Alexis Rogers, James Earl Jones II, and Kelvin Roston, Jr., among others. This retelling of an often contested piece of music theater is a folk opera that depicts the lives of African Americans in South Carolina in the early part of the 20th century. Videos, photos, and more from this ground-breaking production can be found </span><a href="https://www.courttheatre.org/season-tickets/2010-2011-season/porgy-bess/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">!</span>

<span style="font-weight: 400;"><strong>Also Noteworthy</strong>:</span> <a href="https://www.courttheatre.org/season-tickets/2010-2011-season/home/"><strong><i>Home </i></strong></a><span style="font-weight: 400;">by Samm-Art Williams</span>

<span style="font-weight: 400;">Staged from November to December, this production was directed by Ron OJ Parson, starring Kamal Angelo Bolden, Ashley Honore, and Tracey Bonner. This play, originally produced by the Negro Ensemble Company in 1981, is an enduring story of hope and resiliency told against the backdrop of political and social upheavals of the 1960s and 70s. View production photos </span><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/home/gallery/production-photos"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;"> and videos </span><a href="https://www.courttheatre.org/season-tickets/2010-2011-season/home/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;"> to be once again immersed in the brilliant performances!</span>
<h1><b><i>2011/12</i></b></h1>
[caption id="attachment_15383" align="alignnone" width="800"]<img class="wp-image-15383 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/iliad.jpg" alt="" width="800" height="200" /> Photo of Timothy Edward Kane by Michael Brosilow.[/caption]

<a href="https://www.courttheatre.org/season-tickets/2011-2012-season/an-iliad/"><strong><i>An Iliad</i></strong></a><span style="font-weight: 400;"> by Denis O’Hare and Lisa Peterson</span>

<span style="font-weight: 400;">Staged from November to December, this production was directed by Charles Newell and starred Timothy Edward Kane in the role of the Poet. The play retells the story of Homer’s The Iliad through the perspective of the unnamed Poet and delivers a searing critique of war. It was our first revival of the play after its initial performance in 2011. The play would again be staged by Court, in partnership with the Oriental Institute, in 2020. See photos from the remarkable 2013 production </span><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/an-iliad-revival/gallery/production-photos/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">!</span>

<span style="font-weight: 400;"><strong>Also Noteworthy</strong>:</span> <a href="https://www.courttheatre.org/season-tickets/2011-2012-season/invisible-man/"><strong><i>Invisible Man</i></strong></a><span style="font-weight: 400;"> by Ralph Ellison, adapted to stage by Oren Jacoby</span>

<span style="font-weight: 400;">Staged from January to February, this world premiere of Jacoby’s adaptation of Ellison’s landmark novel was directed by Christopher McElroen. The play starred such talents as Teagle F. Bougere, Lance Stuart Baker, A.C. Smith, among many others. It marked the first Chicago appearance by award-winning NYC director McElroen. Revisit the incredible production by perusing production photos and videos </span><a href="https://www.courttheatre.org/season-tickets/2011-2012-season/invisible-man/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">!</span>
<h1><b><i>2012/13</i></b></h1>
[caption id="attachment_15389" align="alignnone" width="800"]<img class="wp-image-15389 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/proof.jpg" alt="" width="800" height="200" /> Photo of Chaon Cross and Erik Hellman by Michael Brosilow.[/caption]

<a href="https://www.courttheatre.org/season-tickets/2012-2013-season/proof/"><strong><i>Proof</i></strong></a><i> </i><span style="font-weight: 400;">by David Auburn</span>

<span style="font-weight: 400;">Featuring a powerhouse performance by Chaon Cross and direction by Charles Newell, Court’s production of David Auburn’s drama brought the Pulitzer Prize-winning play back to its Hyde Park roots. With actors like Kevin Gudahl, Erik Hellman, and Megan Kohl rounding out the cast, this play about a mathematician struggling with mental illness was praised as a “revelatory new take” on the play. View </span><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/proof/gallery/production-photos/"><span style="font-weight: 400;">production photos </span></a><span style="font-weight: 400;">and </span><a href="https://www.youtube.com/watch?v=Mw-KQKDKzo0&amp;feature=emb_title"><span style="font-weight: 400;">videos</span></a><span style="font-weight: 400;"> here.</span>

<span style="font-weight: 400;"><strong>Also Noteworthy</strong>:</span> <a href="https://www.courttheatre.org/season-tickets/2012-2013-season/jitney/"><strong><i>Jitney </i></strong></a><span style="font-weight: 400;">by August Wilson</span>

<span style="font-weight: 400;">Staged from September to October, this production was directed by Ron OJ Parson and starred Caren Blackmore, Kamal Angelo Bolden, Allen Gilmore, and many other talented artists. The play follows workers at an unlicensed jitney station in 1997 Pittsburgh. Explore videos and production photos of the memorable production </span><a href="https://www.courttheatre.org/season-tickets/2012-2013-season/jitney/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">!</span>
<h1><b><i>2013/14</i></b></h1>
[caption id="attachment_15385" align="alignnone" width="800"]<img class="wp-image-15385 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/mountaintop.jpg" alt="" width="800" height="200" /> Photo of David Alan Anderson and Lisa Beasley by Michael Brosilow.[/caption]

<a href="https://www.courttheatre.org/season-tickets/2013-2014-season/the-moutaintop/"><strong><i>The Moutaintop </i></strong></a><span style="font-weight: 400;">by Katori Hall</span>

<span style="font-weight: 400;">Resident Artist Ron OJ Parson’s production of Katori Hall’s play about Dr. Martin Luther King, Jr. was such a hit that it extended its initial run. Starring David Alan Anderson and Lisa Beasley, Parson got to the heart and humanity of Hall’s play, which </span><i><span style="font-weight: 400;">The Daily Telegraph</span></i><span style="font-weight: 400;"> called “a beautiful and startling piece.” With stunning performances and a touch of magic, this production is one that won’t soon be forgotten. Check out </span><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/the-moutaintop/gallery/production-photos/"><span style="font-weight: 400;">photos</span></a><span style="font-weight: 400;"> and </span><a href="https://www.youtube.com/watch?v=NXfwV_ljvD0&amp;feature=emb_title"><span style="font-weight: 400;">videos</span></a><span style="font-weight: 400;"> of the play here.</span>

<span style="font-weight: 400;"><strong>Also Noteworthy</strong>:</span> <a href="https://www.courttheatre.org/season-tickets/2013-2014-season/seven-guitars/"><strong><i>Seven Guitars </i></strong></a><span style="font-weight: 400;">by August Wilson</span>

<span style="font-weight: 400;">Staged from January to February, this production was directed by Ron OJ Parson and starred such talents as Allen Gilmore, Felicia P. Fields, and Kelvin Roston, Jr. , among others. This installment of the Century Cycle takes place in the backyard of a Pittsburgh tenement, where six characters mourn the missing seventh, Floyd “Schoolboy” Barton, who died just before reaching fame as a blues guitarist. View production photos </span><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/seven-guitars/gallery/production-photos/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;"> and videos </span><a href="https://www.courttheatre.org/season-tickets/2013-2014-season/seven-guitars/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">.</span>
<h1><b><i>2014/15</i></b></h1>
[caption id="attachment_15386" align="alignnone" width="800"]<img class="wp-image-15386 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/native-son.jpg" alt="" width="800" height="200" /> Photo of Tracey Bonner and Jerod Haynes by Michael Brosilow.[/caption]

<a href="https://www.courttheatre.org/season-tickets/2014-2015-season/native-son/"><strong><i>Native Son</i></strong></a><span style="font-weight: 400;"> by Richard Wright, adapted for the stage by Nambi E. Kelley</span>

<span style="font-weight: 400;">Staged from September to October, Kelley’s adaptation of Wright’s iconic novel was directed by Seret Scott and starred Jerod Haynes, Tracey Bonner, and Nora Fiffer, among many other talented artists. Court co-produced the world premiere of this stage adaptation with American Blues Theater. Videos, production photos, and more can be found </span><a href="https://www.courttheatre.org/season-tickets/2014-2015-season/native-son/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">! </span>

<span style="font-weight: 400;"><strong>Also Noteworthy</strong>:</span> <a href="https://www.courttheatre.org/season-tickets/2014-2015-season/the-good-book/"><strong><i>The Good Book</i></strong></a><span style="font-weight: 400;"> by Denis O’Hare and Lisa Peterson</span><span style="font-weight: 400;">
</span><span style="font-weight: 400;">Written by Denis O’Hare and Lisa Peterson (and directed by Lisa Peterson), the world premiere of </span><i><span style="font-weight: 400;">The Good Book</span></i><span style="font-weight: 400;"> is one of the most ambitious projects Court has ever commissioned. Exploring faith, divine inspiration, and the Bible, </span><i><span style="font-weight: 400;">The Good Book </span></i><span style="font-weight: 400;">traversed a diverse array of time periods and continents, spanning ancient Mesopotamia to medieval Ireland to suburban America. Beyond the premieres of these two commissions, the 2014/15 season will also be remembered for </span><i><span style="font-weight: 400;">Iphigenia in Aulis</span></i><span style="font-weight: 400;"> kicking off The Greek Cycle. View photos of </span><i><span style="font-weight: 400;">The Good Book </span></i><a href="https://www.courttheatre.org/season-tickets/1995-1996-season/the-good-book/gallery/production-photos/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">.</span>
<h1><b><i>2015/16</i></b></h1>
[caption id="attachment_15381" align="alignnone" width="800"]<img class="wp-image-15381 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/gems.jpg" alt="" width="800" height="200" /> Photo of Jerod Haynes, Jacqueline Williams, Tyla Abercrumbie, and A.C. Smith by Michael Brosilow.[/caption]

<a href="https://www.courttheatre.org/season-tickets/2015-2016-season/gem-of-the-ocean/"><strong><i>Gem of the Ocean</i></strong></a><span style="font-weight: 400;"> by August Wilson</span>

<span style="font-weight: 400;">Staged from September to October, this production was directed by Ron OJ Parson and starred Jacqueline Williams, Jerod Haynes, A.C. Smith, and Alfred H. Wilson, among many others. This installment of the Century Cycle features Aunt Ester guiding a steelworker on a spiritual journey to the mythical City of Bones. Photos and video clips from the production can be found </span><a href="https://www.courttheatre.org/season-tickets/2015-2016-season/gem-of-the-ocean/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">.</span>

<span style="font-weight: 400;"><strong>Also Noteworthy</strong>:</span> <a href="https://www.courttheatre.org/season-tickets/2015-2016-season/satchmo-at-the-waldorf/"><strong><i>Satchmo at the Waldorf </i></strong></a><strong><i> </i></strong><span style="font-weight: 400;">by Terry Teachout </span><span style="font-weight: 400;">
</span><span style="font-weight: 400;">Court’s Midwest premiere production of Terry Teachout’s </span><i><span style="font-weight: 400;">Satchmo at the Waldorf</span></i><span style="font-weight: 400;"> starred Barry Shabaka Henley as Louis Armstrong, arguably the greatest trumpet player of all time. Fresh from its Off-Broadway premiere and in conjunction with the Louis Armstrong Festival which brought together performing arts, visual arts, music, and more to introduce the community to “Satchmo” and his legacy through a full artistic experience, </span><i><span style="font-weight: 400;">Satchmo</span></i><span style="font-weight: 400;"> will long be remembered for Barry Shabaka Henley’s virtuoso performance.</span>
<h1><b><i>2016/17</i></b></h1>
[caption id="attachment_15375" align="alignnone" width="800"]<img class="wp-image-15375 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/blues.jpg" alt="" width="800" height="200" /> Photo of Sean Parris, Celeste M. Cooper, James Vincent Meredith, and Toya Turner by Michael Brosilow.[/caption]

<a href="https://www.courttheatre.org/season-tickets/2016-2017-season/blues-alabama-sky/"><strong><i>Blues for an Alabama Sky </i></strong></a><span style="font-weight: 400;">by Pearl Cleage</span>

<span style="font-weight: 400;">Winning the Jeff Award for Best Play and Best Director, Resident Artist Ron OJ Parson’s critically-acclaimed production of </span><i><span style="font-weight: 400;">Blues for an Alabama Sky </span></i><span style="font-weight: 400;">was notable for being “filled with life, exuberance and plenty of laughs” (</span><i><span style="font-weight: 400;">Chicago Tribune</span></i><span style="font-weight: 400;">). Playwright Pearl Cleage’s striking story encounters very modern problems in a fantastically lively 1920s Harlem, with the play serving as the centerpiece for a Chicago celebration of the music, art, language, and impact of the Harlem Renaissance.</span>

<span style="font-weight: 400;"><strong>Also Noteworthy</strong>:</span> <a href="https://www.courttheatre.org/season-tickets/2016-2017-season/man-in-the-ring/"><strong><i>Man in the Ring </i></strong></a><span style="font-weight: 400;">by Michael Cristoffer</span>

<span style="font-weight: 400;">Staged from September to October, this production was directed by Charles Newell and starred such talents as Kamal Angelo Bolden, Allen Gilmore, Jacqueline Williams, and Melanie Brezill, among others. The play, based on the true story of world champion boxer Emile Griffith, explored Griffith’s life in the U.S. Virgin Islands and his infamous match with his archrival, Benny “Kid” Paret. Court’s production was the world premiere of the play. Cristoffer’s work went on to have a successful production in Boston as well. For videos, photos, and more on this exceptional production, visit </span><a href="https://www.courttheatre.org/season-tickets/2016-2017-season/man-in-the-ring/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">.</span>
<h1><b><i>2017/18</i></b></h1>
[caption id="attachment_15380" align="alignnone" width="800"]<img class="wp-image-15380 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/five-guys.jpg" alt="" width="800" height="200" /> Photo of Darrian Ford, Lorenzo Rush, Jr., James Earl Jones II, Kelvin Roston, Jr., and Eric A. Lewis by Michael Brosilow.[/caption]

<a href="https://www.courttheatre.org/season-tickets/2017-2018-season/five-guys-named-moe/"><strong><i>Five Guys Named Moe</i></strong></a><span style="font-weight: 400;"> by Clarke Peters, featuring Louis Jordan’s Hits</span>

<span style="font-weight: 400;">Directed by Resident Artist Ron OJ Parson with Associate Director Felicia P. Fields, </span><i><span style="font-weight: 400;">Five Guys Named Moe</span></i><span style="font-weight: 400;"> is a lively musical tribute to the hit songs of saxophonist and songwriter Louis Jordan. Praised for the warmth and exuberance of its all-star cast, this musical extended due to popular demand. Featuring the familiar faces of such Chicago actors as James Earl Jones II, Darrian Ford, Lorenzo Rush, Jr., Kelvin Roston, Jr., Eric A. Lewis, and Stephen Allen, just reading about the production again may get your toe tapping!</span>

<span style="font-weight: 400;"><strong>Also Noteworth</strong>y:</span> <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/all-my-sons/"><strong><i>All My Sons</i></strong></a><i> </i><span style="font-weight: 400;">by Arthur Miller</span>

<span style="font-weight: 400;">Charles Newell’s stark and blistering production of Arthur Miller’s American drama couldn’t be more different from </span><i><span style="font-weight: 400;">Five Guys Named Moe</span></i><span style="font-weight: 400;"> but is no-less memorable. Featuring powerful performances from John Judd, Kate Collins, and Timothy Edward Kane, among others, Newell’s production clearly demonstrated why </span><i><span style="font-weight: 400;">All My Sons</span></i><span style="font-weight: 400;">  established playwright Arthur Miller as an American theater icon, winning the 1947 Drama Critics’ Award for Best New Play. </span>
<h1><b><i>2018/19</i></b></h1>
[caption id="attachment_15390" align="alignnone" width="800"]<img class="wp-image-15390 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/radio-golf.jpg" alt="" width="800" height="200" /> Photo of Allen Gilmore and James Vincent Meredith by Michael Brosilow.[/caption]

<a href="https://www.courttheatre.org/season-tickets/2018-2019-season/radio-golf/"><i><span style="font-weight: 400;">Radio Golf</span></i></a><span style="font-weight: 400;"> by August Wilson, Manual Cinema’s </span><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/frankenstein/"><i><span style="font-weight: 400;">Frankenstein</span></i></a><span style="font-weight: 400;">, </span><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/"><i><span style="font-weight: 400;">Photograph 51</span></i></a><span style="font-weight: 400;"> by Anna Ziegler, </span><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/for-colored-girls/"><i><span style="font-weight: 400;">For Colored Girls Who Considered Suicide / When the Rainbow is Enuf</span></i></a><span style="font-weight: 400;"> by Ntozake Shange, and </span><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/adventures-augie-march/"><i><span style="font-weight: 400;">The Adventures of Augie March</span></i></a><span style="font-weight: 400;"> by David Auburn</span>

<span style="font-weight: 400;">After reading over our full season from 2018/19, we think you’ll agree that it’s an impossible task to choose just one or two productions to highlight from the year! Resident Artist Ron OJ Parson kicked us off with a prescient production of August Wilson’s </span><i><span style="font-weight: 400;">Radio Golf</span></i><span style="font-weight: 400;">, while Manual Cinema kept the momentum going with their world premiere production of </span><i><span style="font-weight: 400;">Frankenstein</span></i><span style="font-weight: 400;">, adapted from the novel by Mary Shelley. From there, 2019 began with Vanessa Stalling’s production of </span><i><span style="font-weight: 400;">Photograph 51</span></i><span style="font-weight: 400;">, a drama about the scientist Rosalind Franklin and her role in discovering DNA’S double helix structure. Seret Scott then staged a sold-out production of Ntozake Shange’s seminal work, </span><i><span style="font-weight: 400;">For Colored Girls Who Have Considered Suicide / When the Rainbow is Enuf</span></i><span style="font-weight: 400;">, adding an eighth woman to the ensemble played by Melody Angel who imbued the play with live music. Our 2018/19 season culminated in the world premiere of </span><i><span style="font-weight: 400;">The Adventures of Augie March</span></i><span style="font-weight: 400;">, adapted from the novel by Saul Bellow by Pulitzer Prize winner, David Auburn and directed by Charles Newell in a visually stunning, three-act production. As the </span><i><span style="font-weight: 400;">Chicago Tribune</span></i><span style="font-weight: 400;"> noted, 2018/19 was truly a “four-star season.” </span>
<h1><b>2019/20</b></h1>
[caption id="attachment_15387" align="alignnone" width="800"]<img class="wp-image-15387 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/Oedipus.jpg" alt="" width="800" height="200" /> The cast of OEDIPUS REX by Michael Brosilow.[/caption]

<span style="font-weight: 400;">Without the conclusion of our 2019/20 season, it doesn’t quite seem fair to pick one play above the rest. As such, we chose to highlight each of the three productions that were a part of our season, while honoring the artists involved with our canceled productions of Henrik Ibsen’s </span><a href="https://www.courttheatre.org/season-tickets/2019-2020-season/the-lady-from-the-sea/"><i><span style="font-weight: 400;">The Lady from the Sea</span></i></a><span style="font-weight: 400;"> and William Shakespeare’s </span><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/othello/"><i><span style="font-weight: 400;">Othello</span></i></a><span style="font-weight: 400;">.</span>

<a href="https://www.courttheatre.org/season-tickets/2019-2020-season/king-hedley-ii/"><i><span style="font-weight: 400;"><strong>King Hedley II</strong> </span></i></a><span style="font-weight: 400;">by August Wilson</span>

<span style="font-weight: 400;">Staged from September to October, the production was directed by Ron OJ Parson and starred Kelvin Roston, Jr., TayLar, Kierra Bunch, and A.C. Smith, amongst many other talented artists. It follows the story of King Hedley II, a man who tries to piece his life back together in 1980s Pittsburgh after seven years in prison. Videos, photos, and more from the searing production can be found </span><a href="https://www.courttheatre.org/season-tickets/2019-2020-season/king-hedley-ii/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">.</span>

<a href="https://www.courttheatre.org/season-tickets/2019-2020-season/oedipus-rex/"><strong><i>Oedipus Rex</i></strong></a><i> </i><span style="font-weight: 400;">by Sophocles, translated by Nicholas Rudall</span>

<span style="font-weight: 400;">Staged from November to December, the production was directed by Charles Newell and starred Kelvin Roston, Jr. as Oedipus, Kate Collins as Jocasta, and Timothy Edward Kane as Creon, among many talented artists in other roles. Videos, photos, and more from this immersive production can be found </span><a href="https://www.courttheatre.org/season-tickets/2019-2020-season/oedipus-rex/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">.</span>

<a href="https://www.courttheatre.org/season-tickets/2019-2020-season/the-mousetrap/"><i><span style="font-weight: 400;"><strong>The Mousetrap</strong> </span></i></a><span style="font-weight: 400;">by Agatha Christie</span>

<span style="font-weight: 400;">Staged from January to February, this production was directed by Sean Graney and starred Kate Fry, Alex Goodrich, Erik Hellman, and Allen Gilmore, among others. It was our last in-person production before the onset of lockdowns from the COVID-19 pandemic. Videos and photos from the exuberant staging can be found </span><a href="https://www.courttheatre.org/season-tickets/2019-2020-season/the-mousetrap/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">.</span>

<span style="font-weight: 400;">Despite this year’s challenges, Court has grown and adapted. We appreciate the support of our patrons, the University, and the surrounding Hyde Park community. We look forward to a new year of brilliant theatre in various forms, from virtual to in-person, and are thrilled by the opportunity to continue creating and sharing our art with you.</span>"
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      string(13492) "<img class="alignnone wp-image-15347 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/12/1000x4005lesblancs.jpg" alt="" width="2083" height="833" />

Widely considered to be Hansberry's last and perhaps most important work, <i>Les Blancs</i> explores issues of coloniality, Black nationalism, and imperialism in a fictional African country that stands in for Black freedom struggles across the diaspora. Tina Post, Assistant Professor in English at the University of Chicago, will explore the play’s portrayal of racial injustice and black resistance in conversation with Gabrielle Randle-Bent, a Hansberry director and was Court’s Inaugural Research Fellow.

[button link="https://tickets.courttheatre.org/online/default.asp?doWork::WScontent::loadArticle=Load&amp;BOparam::WScontent::loadArticle::article_id=B9D97510-1881-434E-9A82-AEDF2DDFB599" text="Register for the Seminar"]

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<img class="wp-image-15351 size-full alignright" src="https://www.courttheatre.org/wp-content/uploads/2020/12/lesblancs400x225.jpg" alt="" width="400" height="225" />
<h3>The World of <em>Les Blancs</em>: A Primer</h3>
<h4>January 13, 2021 | Featuring Tina Post and Gabrielle Randle-Bent</h4>
<span style="font-weight: 400;">Tina Post and Gabrielle Randle-Bent will provide an overview of Lorraine Hansberry’s body of work and </span><i><span style="font-weight: 400;">Les Blancs </span></i><span style="font-weight: 400;">specifically. In addition to providing an overview of the play, they will discuss </span><i><span style="font-weight: 400;">Les Blancs’s </span></i><span style="font-weight: 400;">portrayal of Africa, and the ways it reflects racial and political tensions in the United States.</span>

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<img class="wp-image-15352 size-full alignright" src="https://www.courttheatre.org/wp-content/uploads/2020/12/ChraracterStudyThumb.jpg" alt="" width="400" height="225" />
<h3>The Woman, A Character Study</h3>
<h4>January 20, 2021 | Featuring Tina Post and Gabrielle Randle-Bent</h4>
<i><span style="font-weight: 400;">Les Blancs</span></i><span style="font-weight: 400;"> has one Black female character. Remarkably, given the play’s authorship, this character does not speak, but rather appears throughout the play as an embodied presence. Tina Post and Gabrielle Randle</span><span style="font-weight: 400;">-Bent will discuss The Woman as a figure in the play and their respective interests her. The discussion illustrates black feminist approaches to theatrical movement and choreography.</span>

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<img class="wp-image-15353 size-full alignright" src="https://www.courttheatre.org/wp-content/uploads/2020/12/movement.jpg" alt="" width="400" height="225" />
<h3>The Woman, A Movement Study</h3>
<h4>January 27, 2021 | Tina Post, Gabrielle Randle-Bent</h4>
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<div class="p-rich_text_section">This session will contain a performance of an original piece of dance/movement that interprets the character of The Woman from <i data-stringify-type="italic">Les Blancs,</i> choreographed by Nicole Clarke-Springer and performed in two separate interpretations by Meisha Reid and Nicole Clarke-Springer. A discussion about the choreographic work with Tina Post and Gabrielle Randle-Bent will follow.</div>
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<div><strong>Artists Involved with Choreographic Piece:</strong>
Meisha Reid - Prologue / Woman 1</div>
<div>Nicole Clarke-Springer - Epilogue / Woman 2</div>
<div>John Chapman - Drums
Nadia Oussenko - Videographer</div>
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<div><em>Special Thanks:</em></div>
<div>Deeply Rooted Dance Theater</div>
<div>Ballet Chicago</div>
<div>Azania Drum Core</div>
<div>Nkosi Ingram</div>
<div>Moyakhe Dubois</div>
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<img class="wp-image-15354 size-full alignright" src="https://www.courttheatre.org/wp-content/uploads/2020/12/gabbyrehearsal.jpg" alt="" width="400" height="225" />
<h3>Process</h3>
<h4>February 3, 2021 | Tina Post, Gabrielle Randle-Bent, and choreographer Nicole Clarke-Springer</h4>
A discussion of the process of creating and staging movement, including considerations raised by dramaturgy, choreography, and direction. Audience participants will be invited to ask questions of the creative team and experiment on their own.
<h2>About the Scholars and Artists</h2>
<div>

<b>Tina Post </b><span style="font-weight: 400;">is an Assistant Professor of English and Theater and Performance at the University of Chicago, where she is also affiliated with the Center for the Study of Race, Politics, and Culture. Her first book project, </span><i><span style="font-weight: 400;">Deadpan</span></i><span style="font-weight: 400;">, examines expressionlessness and affective withholding in Black cultural production. Her scholarly work has appeared in </span><i><span style="font-weight: 400;">Modern Drama</span></i><span style="font-weight: 400;">, </span><i><span style="font-weight: 400;">TDR: The Drama Review</span></i><span style="font-weight: 400;">, </span><i><span style="font-weight: 400;">International Review of African American Art</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">IRAAA</span></i><span style="font-weight: 400;">), and the edited collection </span><i><span style="font-weight: 400;">Race and Performance after Repetition</span></i><span style="font-weight: 400;"> (Duke University Press, 2020). Her creative work can be found in </span><a href="https://urldefense.com/v3/__http://ImaginedTheatres.com__;!!BpyFHLRN4TMTrA!vNPsDlP7tc_VkxOodfXXZovfP21bjXqGmA16K_R9JOY-0uLG67hYG4HFKHzN5O2lWEb4WRzG$"><i><span style="font-weight: 400;">ImaginedTheatres.com</span></i></a><span style="font-weight: 400;">, </span><i><span style="font-weight: 400;">Stone Canoe</span></i><span style="font-weight: 400;">, and </span><i><span style="font-weight: 400;">The Appendix</span></i><span style="font-weight: 400;">.</span>

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<div>

<strong>Gabrielle Randle</strong> is a scholar, director, and dramaturg. She has a dual BA degree in drama and sociology from Stanford University and an MA degree in performance as public practice at The University of Texas at Austin. Her recent collaborations include co-directing <i>We are Proud to Present a Presentation…</i>, by Jackie Sibblies Drury, at Steppenwolf for Young Adults. She served as the dramaturg and AD for Court Theatre’s production of <i>Oedipus Rex </i>and dramaturg <i>For Colored Girls Who Have Considered Suicide / When the Rainbow is Enuf </i>directed by Seret Scott. In Chicago, she has dramaturged and directed for Sideshow Theatre, where she is also a company member, Victory Gardens, Chicago Dramatists, Northlight and the Wirtz Center for the Performing Arts. Gabrielle is an active member of the Black Theatre Association Focus Group for the Association for Theatre in Higher Education and has served two terms as its graduate representative. She was featured in <i>American Theatre Magazine</i>’s Role Call: People to Watch. She is a 5th year PhD candidate at Northwestern University. Her ongoing dissertation project is titled “On the Possibility of Blackness and the Inevitability of Revolution: How Black Feeling Changed the World.” In September 2020, she completed a fellowship year at the University of Chicago where she was the inaugural Court Theatre Research Fellow.

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<strong>Nicole Clarke-Springer</strong> began formal training under the guidance of Claudette Soltis  (Ballet Russe de Monte Carlo and Joliet Ballet Society) and the Indianapolis Ballet Theatre under Dace Diodonis. She received her B.S. in arts administration-dance from Butler University in Indianapolis, where she was honored as Butler Ballet’s Outstanding Performer.  Shortly after graduating from Butler, Clarke-Springer found her dance home within the Deeply  Rooted Dance Theater family as an apprentice and later a company member. As a member of DRDT, she had the opportunity to perform with Roberta Flack in Kevin Iega Jeff’s <i>Flack</i>, as well as Jennifer Holiday in the world-renowned Penumbra Theatre’s <i>Black Nativity</i>. After leaving the company she taught as an adjunct professor in  Western Kentucky University’s Dance Department. While there, she was asked to join the Clifton Brown Dance Company, performing on its tour to Istanbul. Clarke-Springer returned to the Deeply family as Dance Education director and Artistic Team member in 2007.  She has presented her choreography in Durban, South Africa, and Sophia, Bulgaria. She teaches and choreographs throughout the country and has been on faculty as an adjunct professor at Chicago State University and Western Kentucky University and is currently on staff at Northwestern University. Crediting the Deeply Rooted mission, Clarke-Springer works to create an environment where artists participate in a process that is not only spiritually affirming but requires open and honest dialogue that leads to self-reflection, constructive feedback, and accountability to the work required. Nicole was appointed Artistic Director of Deeply Rooted Dance Theater in September 2019.

<span style="font-weight: 400;"><b>Lorraine Hansberry: </b>When </span><b>Lorraine Hansberry</b><span style="font-weight: 400;">’s (1930-1965) </span><i><span style="font-weight: 400;">A Raisin in the Sun</span></i><span style="font-weight: 400;"> appeared on Broadway in 1959, the artist became, at twenty-nine, the youngest American playwright, the fifth woman, and the only African American to date to win the New York Drama Critics Circle Award for Best Play of the Year. The play represented a landmark. In its authentic depiction of Black American life, and the vivid demonstration of so gifted a creator, cast, and director, it made it impossible for the American stage to ignore African American creativity and subject matter thereafter. In 1961, the film version won a special award at the Cannes Film Festival and was nominated for a Screen Writer’s Guild Award for Hansberry’s screenplay. </span>

<span style="font-weight: 400;">In 1965, Lorraine Hansberry died of cancer at age 34. As if prescient, in the six years she had between the triumph of her first play and her death, she was extraordinarily prolific. Her second play to be produced on Broadway, </span><i><span style="font-weight: 400;">The Sign in Sidney Brustein’s Window</span></i><span style="font-weight: 400;">, was in its early run, to mixed reviews, when Hansberry died; the curtain came down on that date. </span><i><span style="font-weight: 400;">To Be Young, Gifted, and Black</span></i><span style="font-weight: 400;">, an autobiographical portrait in her own words adapted by her former husband and literary executor Robert Nemiroff, was posthumously produced in 1969 and toured across the country. In 1970, </span><i><span style="font-weight: 400;">Les Blancs</span></i><span style="font-weight: 400;">, her play about the inevitability of struggle between colonizers and colonized in Africa, and the impending crisis that would surely grow out of it, ran on Broadway to critical acclaim.</span>

<span style="font-weight: 400;">During her career as a playwright, Hansberry wrote many articles and essays on literary criticism, racism, sexism, homophobia, world peace, and other social and political issues. At her death, she left behind file cabinets holding her public and private correspondence, speeches and journals, and various manuscripts in several genres: plays for stage and screen, essays, poetry, and an almost complete novel. </span>

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<span style="font-weight: 400;">Court’s <b>Theatre &amp; Thought series</b> connects audiences to expert insights from University of Chicago faculty about the historical context, thematic relevance, and artistic possibilities surrounding classic works. Each Theatre &amp; Thought topic will feature a different play and include virtual meetings with University scholars to discuss the ideas underpinning these classic texts.  </span>

<a href="https://grahamschool.uchicago.edu" target="_blank" rel="noopener noreferrer"><img class="size-full wp-image-14219 alignleft" src="https://www.courttheatre.org/wp-content/uploads/2020/07/graham-logo-75.jpg" alt="Graham School" width="75" height="75" /></a><span style="font-weight: 400;">Court’s remote, digital experiences are produced in partnership with the <strong><a href="https://grahamschool.uchicago.edu" target="_blank" rel="noopener noreferrer">University of Chicago Graham School's</a> Arts@Graham series.</strong></span>

&nbsp;
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<p class="font_9"><em>Photo of Deeply Rooted Dance Theater dancers by Michelle Reid.</em>
<em>Photo of Gabrielle Randle-Bent in rehearsal for OEDIPUS REX by Joe Mazza.</em></p>

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      string(7231) "<span style="font-weight: 400;">On November 30, dramaturg and UChicago lecturer Derek Matson and Dr. Siân Adiseshiah talked about dramaturgy and where to begin with Caryl Churchill’s incredible 1983 play, <em>Fen</em>. Here are 11 takeaways from their discussion.</span>

<strong>1. Dramaturg’s role</strong>

<span style="font-weight: 400;">A lot of research and reading about the historical moment play is set in and was forged in.  Close, attentive reading so you know it inside out. Offer collaborators a broader perspective with regard to context, specifically information that can be used in the theatre context so that the actors can imagine and put themselves in the play world more fully. Contemporary yet long-lasting.</span>

<strong>2. Churchill’s Socialism: Political Resistance in the Plays of Caryl Churchill</strong>

<span style="font-weight: 400;">Written by Dr. Siân Adiseshiah, the book was one of dramaturg’s Derek Matson sources when researching </span><i><span style="font-weight: 400;">Fen</span></i><span style="font-weight: 400;">. Dr. Adiseshiah talks of Churchill’s innovative playwriting and political points of identity. Both Matson and Adiseshiah point out how Churchill’s play are both of and specific to the moment in which she created them but also resonate beyond that moment into the new contemporary even as her plays age.</span>

<strong>3. Churchill’s innovation</strong>

<span style="font-weight: 400;">One playwriting technique that is often credited to Churchill is the slash. She marks overlapping dialogue in her plays using a slash mark to indicate to the next actor when to start talking over the other person, who also continues talking. This technique to signal overlapping dialogue has been adopted by playwrights everywhere and is now in common usage. </span>

<strong>4. Male idea of working-class politics</strong>

<span style="font-weight: 400;">As Dr. Adiseshiah says, Churchill is not interested in ideas of working-class politics from such a perspective. Churchill is not interested in middle-class driven feminism limited to the legal sphere or workplace competition. </span>

<strong>5. Rethinking the assumed standard</strong>

<span style="font-weight: 400;">In </span><i><span style="font-weight: 400;">Fen</span></i><span style="font-weight: 400;">, Nell is a  40-year-old class fighter of an independent nature. Churchill encourages audiences to rethink standard ways of thinking about class and gender. She draws from psychoanalysis, affect theory, radical feminism, second-wave feminism, and Marxism. She draws from a variety of ways of living in the world to represent deeply-lived experiences.</span>

<strong>6. A playwright’s playwright</strong>

<span style="font-weight: 400;">This term is often applied to Churchill due to her deeply human stories and her legendary status as one of the greatest living playwrights today. She successfully eschews conventional social realism. </span>

<strong>7. Techniques</strong>

<span style="font-weight: 400;">Churchill’s techniques challenge conventional realistic narratives. Some techniques include short episodic vignettes that make up a montage that forms a linear developmental arc; songs that interrupt the narrative and sit adjacent to the action as a disruption rather than seamlessly part of the play; and overall encouragement of critical spectatorship. In </span><i><span style="font-weight: 400;">Fen</span></i><span style="font-weight: 400;">, we get attention to social relations within communities rather than prioritizing the interiority of character. The theatrical approach that lends itself to this is cross-casting, as multiple actors play the same character disrupts the strict audience identification of which 1 actor is connected with which character. Churchill also employs comedy. </span><i><span style="font-weight: 400;">Fen </span></i><span style="font-weight: 400;">is perhaps one of her least comedic plays, but there is a sensitive use of language that combines with rhyme to produce a surrealist comedy. In many of her plays, there is a sense of metatheatrical awareness. A lot of these techniques are related to Bertolt Brecht’s.</span>

<strong>8. Disruptive narrative to awaken audiences</strong>

<span style="font-weight: 400;">Churchill tries to get audiences to rethink familiar narratives. Many of her plays try to defamiliarize assumptions and common narratives. Near the end of <em>Fen</em>, the disintegration of the epistemology of the play suggests a refusal to be disciplined on behalf of the characters. There is also an enactment of the gap between what is and what could be of a better world. </span>

<strong>9. Corporatization of farms and the union situation</strong>

<span style="font-weight: 400;">As demonstrated in an early scene of the play, a farm is sold by a farmer to a corporation, which mirrors the reality of when <em>Fen</em> was written but also a phenomenon that persists today. Large companies buy the farms, turning them from personal ventures to corporate megaliths of production. As for unions, there’s mention of the Transport and General Workers’ Union in the play, which is now UNITE today. Unions often represented farm laborers in legal cases. When Frank is pretending to have a conversation with his boss, the boss makes threats about evicting him. This reflects how trapped workers are and how difficult resistance is.</span>

<strong>10. Rejection of capitalism</strong>

<span style="font-weight: 400;">The desire for a systemic break from capitalism comes through class-conscious fighter Nell. There is a deep desire amongst the women in Churchill’s play, particularly Nell and Val, for a radically different way of being in the world. There is a clear sense in the play that human life and communities are blunted by capitalism. </span>

<strong>11.<i> Fen </i>in 2020</strong>

<span style="font-weight: 400;">Many of the issues explored in the play are still relevant today. Agricultural workers are still underpaid, largely unionized, long hours, and hard labor. Questions around lack of stability and around health and safety all persist. There is a deep yearning for something different from the here and now of the play. That feeling speaks to the contemporary moment as there has been little change to the exploitative structures of Western capitalism. This issue of the precarity of work and lack of access exist in the contemporary beyond Churchill’s plays. The importance of meaning collaboration and collective action but the difficulty in achieving that is presented in </span><i><span style="font-weight: 400;">Fen </span></i><span style="font-weight: 400;">and continues to be relevant today. This question of how to make a long-lasting difference is in </span><i><span style="font-weight: 400;">Fen </span></i><span style="font-weight: 400;">and speaks to any contemporary moment.</span>

&nbsp;

<span style="font-weight: 400;">Want to delve deeper into Caryl Churchill’s play? Tune into our next <a href="https://www.courttheatre.org/about/blog/theatre-thought-caryl-churchills-fen-the-dramaturgical-process/">sessions</a>!</span>"
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      string(3192) "<img class="alignnone size-full wp-image-15165" src="https://www.courttheatre.org/wp-content/uploads/2020/11/ae-image1000x400-1.jpg" alt="" width="1000" height="400" />
<span style="font-weight: 400;">Court’s recent collaboration with For You and the University of Chicago Experimental Performance Initiative on <a href="https://www.courttheatre.org/artists-elders-digital-gallery/">Artists &amp; Elders: A Bridge, A Gift</a> initiative connected ten artists with ten elders in Chicago. To break up the monotony and loneliness of isolation, these two communities met in virtual space to share a gift. This gift includes bonding over a creative activity, so the artist or elder often creates a physical item and promises to send it to the other or offers to perform for their partner via Zoom. </span>

<span style="font-weight: 400;"><img class=" wp-image-15174 alignright" src="https://www.courttheatre.org/wp-content/uploads/2020/11/emilyshaila-e1606237104826.jpg" alt="" width="521" height="293" />The interactions demonstrate the fulfilling outlet that creativity provides in distressing times and the power of the theatre to connect people across generations and locations. Pairing out-of-work artists with elders in quarantine provided a glimpse into how interpersonal and community connections can still be nourished even when necessary isolation challenges traditional methods of such connection. This heartwarming endeavor reflected the power of artistic exchange in practice and provoked new questions into how we can re-approach building meaningful connections with the surrounding communities during such difficult times. </span>

<span style="font-weight: 400;">As many speakers will surely testify in our upcoming December 10 virtual conversation about the initiative, this creative community outreach effort was fulfilling for all involved, providing well-needed creative sustenance and social interaction while facing the uncertainties of a pandemic. The virtual event during which participants will reflect on the program will be free to all. <a href="https://www.courttheatre.org/artists-elders-digital-gallery/"><strong>Click here to register for the event. </strong></a></span>

<span style="font-weight: 400;"><img class="wp-image-15267 alignleft" src="https://www.courttheatre.org/wp-content/uploads/2020/12/marksarah.jpeg" alt="" width="422" height="237" />Viewers interested in seeing the different elements of Artists &amp; Elders: A Bridge, A Gift can also witness heartwarming encounters between the artists and elders that culminate in one final creative product in our <a href="https://www.courttheatre.org/artists-elders-digital-gallery/">digital gallery</a>. Audiences can find a brief video clip documenting one snippet of the participants’ Zoom conversation, then a showcase of the process behind creating the gift, and finally the full display of the final gift and its virtual delivery. As you will see in their conversations and in the final gifts given, participants’ stories and voices meet in one memorable moment of creative exchange that is a testament to the power of creativity in connecting people no matter where they are. </span>"
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      string(2555) "<img class="alignnone size-full wp-image-15109" src="https://www.courttheatre.org/wp-content/uploads/2020/11/Fen_800x300.jpg" alt="" width="800" height="300" />
<span style="font-weight: 400;">During our </span><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/"><i><span style="font-weight: 400;">Deep Dive</span></i></a><span style="font-weight: 400;"> and </span><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/theatre-thought/"><i><span style="font-weight: 400;">Theatre &amp; Thought</span></i></a><span style="font-weight: 400;"> series, audiences got a glimpse into the dramaturgical process. With each production, the material was examined from multiple perspectives, from the authority of lived experiences to scholarly history to analytical critique.</span>

<span style="font-weight: 400;">These series allowed audiences to participate in creative journeys fueled by dramaturgical practices that are usually behind-the-scenes efforts done well before viewers ever consume the staged production. The opportunity to delve into the impressive world of dramaturgy provides new nuance in understanding and appreciating all the work that goes into theatrical processes. </span>

<span style="font-weight: 400;">Before each reading of the plays, audiences witnessed a truncated dramaturgical process. Viewing the background lectures provided by different figures every week, they were presented with the types of information that dramaturgs often come across and hand over to the director. Yet, only snippets of this journey were seen. Had each been a full production, the dramaturgical process would be even more in-depth.</span>

<span style="font-weight: 400;">The dramaturg is vital to all the works a theatre produces. From the realism of design to the choices of the director, the dramaturg is present and equipped with the knowledge and research skills necessary to make sure each production comes to life. Court is grateful for all the hard work our dramaturgs do to bring creative visions to the stage, and for how our unique connection to the University of Chicago often leads to an even greater depth of scholarship surrounding the plays wee produce.</span>

Interested in delving deeper into the dramaturgical process? Tune into our next Theatre &amp; Thought production, <a href="https://www.courttheatre.org/about/blog/theatre-thought-caryl-churchills-fen-the-dramaturgical-process/"><em>Caryl Churchill's FEN + The Dramaturgical Process</em></a>!"
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      string(3205) "<a href="https://www.melissaduprey.com/"><b>Melissa DuPrey</b></a><span style="font-weight: 400;"> is a multidisciplinary artist with roots from Humboldt Park, Chicago. She is also a nationally recognized stand-up comic and critically-acclaimed solo artist with 4 full-length solo shows and 1 full-length play. DuPrey is also a community organizer and spiritualist who also launched The Good Grief Project- an extension of the social justice component from her play GOOD GRIEF where communities of color are connected to local, accessible and multidisciplinary mental and spiritual wellness practitioners of color. She is a featured actor in the Emmy-nominated web-series </span><i><span style="font-weight: 400;">Brown Girls </span></i><span style="font-weight: 400;">and has many regional and non regional theater and film credits. TV credits include a recurring appearance on “Empire” (FOX), “The Resident” (FOX), “Chicago PD” (NBC), and “The Chi” (Showtime). As a musician and active member of her community, she is dedicated to the preservation of Puerto Rican culture by way of the folkloric music, Bomba y Plena, with Africaribe and Las BomPleneras. She is currently an Ensemble Member at UrbanTheater Company and Artistic Associate at Sideshow Theater.</span>

<b>Gina Freed</b><span style="font-weight: 400;">, born on January 22nd, 1944 and </span><b>Karl Freed</b><span style="font-weight: 400;">, born on September 24th, 1942 met at a mixer at Columbia University in 1960, both as teenagers. Gina has worked as a geriactric nurse for the Visiting Nurses association since 1964. Karl studied chemical engineering and became an accomplished theorist specializing in polymers. During Karl’s NATO fellowship in Manchester, England, Gina and Karl welcomed the first of two daughters, Nicole. A few years later, their second daughter, Michele, completed their family. Karl continued to mentor over 50 PhD students through the Math and Science program at the University of Chicago as a holistic and nurturing professor. Karl has had over 500 articles and books published in the field of chemical engineering. Gina carried a patient load of 40 until her retirement in 2016. Currently, Gina and Karl Freed both reside in Hyde Park as Karl battles Parkinson’s disease with Gina as his full-time caretaker. They have been happily married for over 50 years, and say the key to a successful marriage is respect for one another and support of their individual goals and dreams.</span>

<h2>Gift</h2>

<iframe src="https://player.vimeo.com/video/486245931" width="640" height="360" frameborder="0" allow="autoplay; fullscreen" allowfullscreen></iframe>

<h2>Process</h2>

<iframe src="https://player.vimeo.com/video/486248636" width="640" height="360" frameborder="0" allow="autoplay; fullscreen" allowfullscreen></iframe>


<h2>Exchange</h2>

<iframe src="https://player.vimeo.com/video/486245872" width="640" height="480" frameborder="0" allow="autoplay; fullscreen" allowfullscreen></iframe>


<h2>Connection</h2>
<iframe src="https://player.vimeo.com/video/486245614" width="640" height="480" frameborder="0" allow="autoplay; fullscreen" allowfullscreen></iframe>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/6-key-takeaways-from-session-2-of-les-blancs-racial-injustice/">6 Key Takeaways from Session 2 of LES BLANCS + Racial Injustice</a></h3>
        <p>A quick recap of the last session of our Theatre & Thought series.</p>
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      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/5-key-takeaways-from-session-1-of-les-blancs-racial-injustice/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2020/12/lesblancs_sq.jpg" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/5-key-takeaways-from-session-1-of-les-blancs-racial-injustice/">5 Key Takeaways from Session 1 of LES BLANCS + Racial Injustice</a></h3>
        <p>A quick recap of our Theatre & Thought series.</p>
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      <a href="https://www.courttheatre.org/about/blog/revised-events-for-winter-spring-2021/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2021/01/megaphone-1468168_640.png" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/revised-events-for-winter-spring-2021/">Revised Events for Winter/Spring 2021</a></h3>
        <p>Announcing further revisions to the 2020/21 Season in response to the ongoing COVID-19 pandemic and continuing restrictions on public gatherings.</p>
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      <a href="https://www.courttheatre.org/about/blog/20-20-vision-looking-back-at-20-years-of-classic-theatre/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2019/03/fcg-200x200.jpg" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/20-20-vision-looking-back-at-20-years-of-classic-theatre/">20/20 Vision: Looking Back at 20 Years of Classic Theatre</a></h3>
        <p>As 2020 wraps up, we’re using this time to reflect on the past 20 years of Court’s work. If you’re feeling nostalgic or want to see how Court has developed in the past years, peruse our 2000-2020 review below!</p>
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      <a href="https://www.courttheatre.org/about/blog/theatre-thought-lorraine-hansberrys-les-blancs-racial-injustice/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2020/12/lesblancs_sq.jpg" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/theatre-thought-lorraine-hansberrys-les-blancs-racial-injustice/">Theatre &#038; Thought: Lorraine Hansberry&#8217;s LES BLANCS + Racial Injustice</a></h3>
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      <a href="https://www.courttheatre.org/about/blog/artists-elders-as-a-lighthouse/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2020/12/AsALighthouseThumbnail_200.jpg" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/artists-elders-as-a-lighthouse/">Artists &#038; Elders: As A Lighthouse</a></h3>
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      <a href="https://www.courttheatre.org/about/blog/11-takeaways-from-session-1-of-fen-the-dramaturgical-process/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2020/12/fen_200sq.jpg" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/11-takeaways-from-session-1-of-fen-the-dramaturgical-process/">11 Takeaways from Session 1 of FEN + The Dramaturgical Process</a></h3>
        <p>A quick recap of the first session of our Theatre & Thought series on FEN and dramaturgy.</p>
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    </article>
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/creativity-through-connection/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2020/12/200-brown-wolf.jpg" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/creativity-through-connection/">Creativity through Connection</a></h3>
        <p>Discover how Court's collaboration with For You and the University of Chicago's Experimental Performance Initiative sparked creativity and connection among artists and elders.</p>
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      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/dramaturgy-at-court/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2020/11/fen_400x225.jpg" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/dramaturgy-at-court/">Dramaturgy at Court</a></h3>
        <p>Learn more about how dramaturgy plays a specific role in productions at Court.</p>
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      <a href="https://www.courttheatre.org/about/blog/artists-elders-melissa-duprey-gina-karl-freed/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2020/12/melissaduprey_200.jpg" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/artists-elders-melissa-duprey-gina-karl-freed/">Artists &#038; Elders: Melissa DuPrey, Gina &#038; Karl Freed</a></h3>
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