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          string(6479) "<img class="alignnone wp-image-11900 size-full" src="https://www.courttheatre.org/wp-content/uploads/2019/01/reviewblog800x300.jpg" alt="" width="800" height="300" />

<span style="font-weight: 400;">Critics across Chicagoland highly recommend Anna Ziegler’s </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;">. Chris Jones of the </span><i><span style="font-weight: 400;">Chicago Tribune </span></i><span style="font-weight: 400;">awarded the production four stars and wrote that "there is no better 90 minutes in town." </span><span style="font-weight: 400;">Audiences and critics alike agree that Vanessa Stalling’s production is as powerful as it is empowering. See for yourself what the buzz is about —<a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/"> get tickets</a><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/"> to </a></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;">.</span>

<hr />

<span style="font-weight: 400;">“Stalling directs with the pacing of a murder mystery... fascinating. And never dull for a second. If you know a young girl or woman interested in science, there is no better 90 minutes in town. Actually, that’s true for anyone. For the role of Franklin has allowed the actress Chaon Cross to do the best work of her career. If this were a movie, there would be Oscar chatter.</span><span style="font-weight: 400;">"</span>

<a href="https://www.chicagotribune.com/entertainment/theater/reviews/ct-ent-photograph-51-review-0129-story.html"><span style="font-weight: 400;">—Chris Jones, </span><i><span style="font-weight: 400;">Chicago Tribune</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">★★★★ Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“A compelling portrait of scientists as well as of science itself...The combined forces of Arnel Sancianco’s set design, Keith Parham’s lighting design and Paul Deziel’s projections are both understated and...spectacular.”</span>

<a href="https://chicago.suntimes.com/entertainment/photograph-51-review-rosalind-franklin-court-theatre-anna-ziegler/"><span style="font-weight: 400;">—Catey Sullivan, </span><i><span style="font-weight: 400;">Chicago Sun-Times</span></i></a>

<hr />

<span style="font-weight: 400;">“Anna Ziegler's imaginative rendering of an often-overlooked piece of history...vindicates Franklin's role in this breakthrough discovery. In the hands of leading lady Chaon Cross, the result is a complex heroine with a brilliant mind, a rigorous work ethic, exceptional integrity, and a sensitive soul. ”</span>

<a href="https://www.broadwayworld.com/chicago/article/BWW-Review-PHOTOGRAPH-51-at-Court-Theatre-20190127"><span style="font-weight: 400;">—Emily McClanathan, </span><i><span style="font-weight: 400;">Broadway World Chicago</span></i></a>

<hr />

<span style="font-weight: 400;">“Chaon Cross delivers an exhilarating and flawless performance...<em>Photograph 51</em> is an empowering statement about equality, perseverance and truth. While “the world wins,” the moving and heartfelt performance of Chaon Cross reveals Franklin as a complex, compassionate, driven chemist with an extraordinary thirst for knowledge. Most importantly, as art and science intersect, Rosalind Franklin’s rightful place as a trailblazer is assured.</span><span style="font-weight: 400;">”</span>

<a href="https://www.conversationswithedtracy.com/picksinsix/2019/1/27/picksinsix-review-photograph-51-court-theatre"><span style="font-weight: 400;">—Ed Tracy, </span><i><span style="font-weight: 400;">PicksInSix</span></i></a>

<hr />

<span style="font-weight: 400;">“<em>Photograph 51</em>’s spectacular set that reminds of double helices, carbon molecule diagrams, a screen for projected computations, and a fast shot that might be electricity, atoms on the march or just the psychic charge of scientific discovery...The timing in this performance shows an expert touch by director Vanessa Stalling.</span><span style="font-weight: 400;">”</span>

<a href="https://www.picturethispost.com/court-theatre-presents-photograph-51-review-what-if/"><span style="font-weight: 400;">—Amy Munice, </span><i><span style="font-weight: 400;">Picture this Post</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“...a biting, emotionally vivid production at Court Theatre – a company whose connection to the University of Chicago (a renowned hotbed of scientific activity and Nobel laureates) only adds a frisson of interest to the story.”</span>

<a href="https://news.wttw.com/2019/01/28/photograph-51-exposes-pattern-delayed-recognition-rosalind-franklin"><span style="font-weight: 400;">—Hedy Weiss, WTTW’s </span><i><span style="font-weight: 400;">Chicago Tonight</span></i></a>

<hr />

<span style="font-weight: 400;">“<em>Photograph 51</em> emphasizes the tragedy of not only the stolen ideas from Franklin’s data but also her lack of recognition as an equal or even as a competent human by her colleagues. The Court’s production is a powerful story of the real woman behind one of the greatest accomplishments in biological history.</span><span style="font-weight: 400;">”</span>

<a href="https://www.chicagomaroon.com/article/2019/1/22/photograph-51-worth-thousand-words/"><span style="font-weight: 400;">—Alina Kim, </span><i><span style="font-weight: 400;">Chicago Maroon</span></i></a>

<hr />

<span style="font-weight: 400;">“Ziegler’s tight, impressive drama weaves emotion, tension and context into the events leading up to that world-changing discovery and Franklin’s role in it.”</span>

<a href="https://thirdcoastreview.com/2019/01/29/stages-review-photograph-51/?fbclid=IwAR12suF2o940p17j8Yt6JQEKDC1S3UPYuK3Z8QAO1QfCz0OSc5EuC_k2BCE"><span style="font-weight: 400;">—Lisa Trifone, </span><i><span style="font-weight: 400;">Third Coast Review</span></i></a>

<hr />
<p class="caption">Photo of Chaon Cross by Michael Brosilow.</p>"
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          string(3251) "<img class="alignnone size-full wp-image-11873" src="https://www.courttheatre.org/wp-content/uploads/2019/01/Weil-Kovener-800x300.jpg" alt="" width="800" height="400" />On a good day, the drive from Naperville to Court Theatre in Hyde Park takes an hour each way. But for several years, the Weils and Koveners have braved the traffic to see Court’s productions together.

Tom and Barbara Weil attended their first Court production, <i>Arms and the Man</i> in 1972, and have been devoted advocates ever since. For Tom and Barbara, “Court’s stage is a unique space where a variety of stimulating performances enhance our theatre experience.”

Gary and Sharon Kovener quickly became regular Court patrons after attending a Producers’ Circle event. Beyond the challenging, emotional work that is produced onstage, Gary and Sharon also appreciate Court’s engagement with the community, the University of Chicago, and the audience.<span class="Apple-converted-space">   </span>

As members of the <a href="https://www.courttheatre.org/support/producers-circle/">Producers’ Circle</a>, Court’s premier giving society, the Weils and Koveners are fans of the exclusive members-only events at Court. These events allow them to follow the development of each production from First Rehearsal through Opening Night: “First Rehearsals and the Producers’ Circle Events have given us an insight into more dimensions of theatre productions.”<span class="Apple-converted-space"> </span>

With so many years of Court Theatre to consider, the couples have many favorite moments and productions. Tom and Barbara particularly enjoyed <a href="https://www.courttheatre.org/season-tickets/2016-2017-season/man-in-the-ring/"><i>Man in the Ring</i></a> (2016) and <a href="https://www.courttheatre.org/season-tickets/2009-2010-season/year-magical-thinking/"><i>The Year of Magical Thinking </i></a>(2010). For Gary and Sharon, two behind-the-scenes moments that stand out are discovering the intricate set design in <a href="https://www.courttheatre.org/season-tickets/2016-2017-season/blues-alabama-sky/"><i>Blues for an Alabama Sky</i></a> (2017) and exploring the themes of justice and vengeance in <a href="https://www.courttheatre.org/season-tickets/2016-2017-season/electra/"><i>Electra</i></a> (2016).<span class="Apple-converted-space"> </span>

As fellow Court Producers’ Circle members and friends with a passion for theatre, the Weils’ and Koveners’ longstanding commitment to Court Theatre has grown. Even the commute doesn’t deter them: “Our Court adventure has provided a great opportunity to critique plays during our hour-long drive home!”<span class="Apple-converted-space"> </span>

Court is grateful to the Weils, Koveners, and all donors for supporting theatre on Chicago’s South Side. ■

<hr />

The Producers’ Circle is the premier giving society that provides you with exclusive access to the creative artists and inspiring scholars involved in Court productions. To learn more about the Producers’ Circle and become a member, contact Lauren Sheely, Development Assistant, at (773) 834-3563 or <a href="mailto:lsheely@uchicago.edu">via email</a>.
<p class="caption">Photo by Joe Mazza.</p>"
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          string(16039) "<img class="alignnone size-full wp-image-11865" src="https://www.courttheatre.org/wp-content/uploads/2019/01/doublehelixdoublestandardwide.jpg" alt="" width="800" height="300" />

<span style="font-weight: 400;">Anna Ziegler’s play </span><i><span style="font-weight: 400;">Photograph 51</span></i><span style="font-weight: 400;"> participates in a vital lineage of storytelling that revisits the people and events leading to the discovery of the DNA double helix.  Working at the University of Cambridge, James Watson and Francis Crick solved the riddle of DNA’s molecular structure in early 1953, ahead of Rosalind Franklin and Maurice Wilkins, who were themselves investigating the same problem from King’s College London.  The terrain of these tectonic events is not uncontested, and the play inhabits a freer, more uniquely theatrical space than that of definitive chronology. In the world of </span><i><span style="font-weight: 400;">Photograph 51</span></i><span style="font-weight: 400;">, the fragile seams between memory and history come unbound, and the historical record is allowed to live side by side with conjecture and points of contention.</span>

<span style="font-weight: 400;">The crucial contributions that Rosalind Franklin made to the double-helix discovery might well have been consigned to history’s dustbin altogether were it not for the outrageously misogynist portrayal of her in James Watson’s sudsy memoir </span><i><span style="font-weight: 400;">The Double Helix</span></i><span style="font-weight: 400;">, published in 1968.  Watson, a graduate of the University of Chicago, published his defamatory account of Franklin knowing full well that she had died of ovarian cancer 10 years earlier, and so could raise no objections to his convenient version of events.  Dubbing her “Rosy” throughout the book, Watson dipped his pen into an ample inkwell of sexism to compose such classic passages of chauvinist condescension as his grievance that Rosy “did not emphasize her feminine qualities. Though her features were strong, she was not unattractive and might have been quite stunning had she taken even a mild interest in clothes.  This she did not. There was never lipstick to contrast with her straight black hair… So it was quite easy to imagine her the product of an unsatisfied mother who unduly stressed the desirability of professional careers…”<sup>1</sup></span>

<span style="font-weight: 400;">When he wrote his tell-all, Watson was a professor of biochemistry at Harvard, but Harvard University Press refused publication of </span><i><span style="font-weight: 400;">The Double Helix</span></i><span style="font-weight: 400;"> owing to objections raised by key players portrayed in the book—namely, Crick and Wilkins, who denounced their former colleague’s manuscript as irredeemably self-glorifying and wildly fictionalized.  A commercial press advanced the book for publication, and it went on to become a bestseller.</span>

<span style="font-weight: 400;">When it was suggested to Rosalind’s mother that Watson’s sensationalizing account at least ensured that Rosalind would never be forgotten, her mother answered forlornly, “I would rather she were forgotten than remembered in this way.”<sup>2</sup></span>

<span style="font-weight: 400;">Reaction against Watson’s hit job blossomed into an impressively long arc of conversation around not only Franklin’s groundbreaking work but the treatment of women in the sciences more generally.  Anne Sayre, a personal friend of Rosalind, published a concise biography of Franklin in 1975 that reassessed the events chronicled in </span><i><span style="font-weight: 400;">The Double Helix</span></i><span style="font-weight: 400;"> from her friend’s point of view.  Francis Crick published a book in 1988 from his own perspective.  Journalist Brenda Maddox wrote a thoroughgoing, arguably more objective biography of Franklin in 2002.  Maurice Wilkins penned an autobiography in 2003. And in 2012 Rosalind’s younger sister by 9 years, Jenifer Glynn, published her own biography of her sister, who was by now much debated and discussed.</span>

<span style="font-weight: 400;">In the absence of a definitive narrative from Rosalind Franklin herself, we’re always, in the end, only seeing her through others’ eyes, catching glimpses between the latticework built by others’ interpretations.  The frustration we might feel in disentangling the “real” Rosalind from these clashing points of view is only fitting, since her own work with DNA so regularly hit up against the specter of unknowability. The experiments that Franklin oversaw sought to reveal the dimensions and shape of the DNA molecule using X-ray diffraction.  Franklin would mount a DNA sample in front of an X-ray tube, then subject the sample to a stream of X-rays for a very long exposure time, up to 100 hours. During that time, the X-rays would diffract off the molecule and leave traces on a photographic film placed behind the sample. Franklin would then study the traces left on the film in order to calculate backwards, and deduce what three-dimensional shape might have caused that particular pattern of traces.  With her diffraction photographs, Franklin was only ever seeing incomplete facets of the double helix, distortions and fragments from deflected illuminations. She sought to map out DNA then much the way we’re forced to seek out a sense of her now—through traces and fragments. In both pursuits, we’re straining to make out the contours of a portrait without ever quite getting at a conclusive answer.</span>

<span style="font-weight: 400;">It’s understandable that the stakeholders in the discovery of the double helix were invested in offering competing accounts.  No one wants to live in infamy. In his autobiography Maurice Wilkins confessed that he felt the need to tell his side of the story because “Rosalind’s male colleagues were to some extent demonised” in all the back-and-forth.  “The most prominent demon,” he lamented, “seemed to be me.”<sup>3</sup></span><span style="font-weight: 400;">  Such insistent attempts to correct the record are evoked in Ziegler’s play with the way the characters quibble over facts and story points.  They jockey for control of the narrative, in art as in life.</span>

<span style="font-weight: 400;">But then, jockeying for narrative control is a response that has come to be central to our collective mythologizing around DNA’s powers.  Exalted by Crick and Watson and so many others as “the secret of life,” DNA inspires fear and fascination because it dangles before us the disquieting prospect that we might not be as in control of our own destinies as we’d like to think we are.  In the face of DNA’s workings, which are nothing short of miraculous, we struggle to wrest back some possibility for self-determination from the terrifying sense that who we are may have already been predestined. This emerges as an important tension proposed by the play: the tension between our power to author our own outcomes and our powerlessness to undo a bad hand we’ve been dealt.  The constellation of experimenters peopling </span><i><span style="font-weight: 400;">Photograph 51</span></i><span style="font-weight: 400;"> yearn to write their own stories; but they must also confront moments when fighting the inevitable is no longer any use.</span>

<span style="font-weight: 400;">The architecture of fate implied by DNA may elicit our apprehension, but we are equally in thrall of what it implies about potential, about blueprints of possibilities that do or do not get fully realized.  This, too, we hear about in the play: missed opportunities and roads not taken, to include the roads we actively choose never to take.</span>

<span style="font-weight: 400;">The twists and turns of the double helix’s discovery are so densely laden with what-ifs and what-might-have-beens that one becomes positively heartsick to consider all the wasted possibilities.<sup>4</sup></span><span style="font-weight: 400;">  What if Rosalind and Maurice had just found a way to talk things through?  What if she had just had a colleague at King’s College who had encouraged her to realize her potential?  “She needed a collaborator,” said her former colleague Aaron Klug in an interview decades later, “and she didn’t have one.  Somebody to break the pattern of her thinking, to show her what was right in front of her, to push her up and over.”<sup>5</sup></span>

<span style="font-weight: 400;">The even larger what-if inherent in this line of questioning is, what if women were encouraged to excel in the sciences?  What if the thumb were taken off the scale? Why is it that, between 1901 and 1951, when Rosalind started her work on DNA, only 3 out of 169 Nobel Prize winners in the sciences were women?  Why is it that by 1951 women comprised not even 1% of the Fellows of the Royal Society, and that up until the end of the century women comprised not even 4% of their total membership? Sociologist Sandra Hanson sums the problem up succinctly with the title of her book </span><i><span style="font-weight: 400;">Lost Talent: Women in the Sciences</span></i><span style="font-weight: 400;">.  What if the talent were embraced and nourished, and not lost?</span>

<span style="font-weight: 400;">Lost in the deification of Watson and Crick are, all too predictably, contributions from women who facilitated their path to glory, and not only Rosalind Franklin.  Francis Crick’s wife Odile, herself an artist and fashion designer, drew the famous barbershop-pole diagram of the DNA molecule that appeared with the landmark essay by Watson and Crick in the April 25, 1953, issue of </span><i><span style="font-weight: 400;">Nature</span></i><span style="font-weight: 400;">, which announced their discovery of DNA’s configuration.  Odile’s drawing became one of the most reproduced images in 20</span><span style="font-weight: 400;">th</span><span style="font-weight: 400;">-century science.  Watson’s sister Betty did them the favor of typing up their scrawled manuscript, which made the publication of their breakthrough possible.  Such invisible work from women relegated to the wings of heroic science warrants corrective unearthing, and Rosalind Franklin has come to stirringly signify the erasure and thwarted potential of many more than just herself.</span>

<span style="font-weight: 400;">The Franklin family has at times been a bit stunned and mystified by all the unexpected attention.  Tracing the evolving versions of her older sister that she has watched play out in books and on television over the years, Jenifer Glynn writes that “Rosalind became a symbol, first of an argumentative swot, then of a downtrodden woman scientist, and finally of a triumphant heroine in a man’s world.  She was none of these things, and would have hated all of them.” Glynn goes on to assert that her sister was “simply a very good scientist.”<sup>6</sup></span>

<span style="font-weight: 400;">In her exacting standards and eye to detail, Rosalind Franklin was also, most certainly, an artist. Time and again, </span><i><span style="font-weight: 400;">Photograph 51</span></i><span style="font-weight: 400;"> links Franklin’s work as a scientist with the exquisite labor of artistic creation.  It’s an important linkage, given that Franklin is often faulted in science histories for lacking the creativity to intuit the double helix’s shape, despite having gathered so much critical evidence.  Insisting on the parallel between Franklin’s science and art, the play echoes an obituary tribute from pioneering physicist J. D. Bernal, with whom Franklin worked. Bernal wrote, “Her photographs are among the most beautiful X-ray photographs of any substance ever taken.  Their excellence was the fruit of extreme care in preparation and mounting of the specimens as well as in the taking of the photographs. She did nearly all this work with her own hands.”<sup>7</sup></span><span style="font-weight: 400;">  In the lab Franklin was indeed said to have hands that were “golden,”<sup>8</sup></span><span style="font-weight: 400;"> with the precision and steady confidence of a true sculptor.</span>

<span style="font-weight: 400;">At one point in Ziegler’s play, Rosalind is slyly compared to Hermione, the grossly wronged queen of Sicily, in a passing reference to Shakespeare’s </span><i><span style="font-weight: 400;">The Winter’s Tale</span></i><span style="font-weight: 400;">.  At the end of Shakespeare’s play, Hermione is presented as a statue.  Like the Hermione of Shakespeare, the Rosalind of Ziegler’s play is an unjustly treated heroine given to us in the form of an artistic creation.  But this Rosalind is herself an artist and author, too. Early on we hear her assert, “I don’t like others to analyze </span><i><span style="font-weight: 400;">my</span></i><span style="font-weight: 400;"> data, </span><i><span style="font-weight: 400;">my</span></i><span style="font-weight: 400;"> work.”<sup>9</sup></span><span style="font-weight: 400;">  Minus the mention of “data,” it’s a sentiment I’ve heard uttered by absolutely every playwright I’ve ever met.</span>

<span style="font-weight: 400;">“It’s a tricky thing about time, and memory,” Don Caspar says in the play, “whole worlds of things we wish had happened are as real in our heads as what actually did occur.”<sup>10</sup></span><span style="font-weight: 400;">  The same can be said of the imagined world on a stage.  It gently places what might have happened on equal footing with what actually did, making one as real as the other.  Out of the tangled knots of the double helix’s variant strands, Anna Ziegler grants us the space in </span><i><span style="font-weight: 400;">Photograph 51</span></i><span style="font-weight: 400;"> to dream of what might have been for Rosalind Franklin, while we also weigh what was.</span>

See <em><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/">Photograph 51</a> </em>on Court's stage—performances continue through February 17. <a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/"><strong>Get tickets →</strong></a>
<p class="caption"><em>Photo of Chaon Cross, Nicholas Harazin, Alex Goodrich, and Nathan Hosner from PHOTOGRAPH 51 by Michael Brosilow.</em></p>


<hr />
<p class="caption">1. James D. Watson, <i>The Double Helix: A Personal Account of the Discovery of the Structure of DNA</i> (New York: W.W. Norton, 1980) 14.
2. Brenda Maddox, <i>Rosalind Franklin: The Dark Lady of DNA</i> (New York: HarperCollins, 2002) 312.
3. <span style="font-weight: 400;"> Maurice Wilkins, </span><i><span style="font-weight: 400;">The Third Man of the Double Helix: The Autobiography of Maurice Wilkins</span></i><span style="font-weight: 400;"> (Oxford: Oxford UP, 2003) x.
</span>4. <span style="font-weight: 400;"> For many more what-ifs, see Jenifer Glynn, </span><i><span style="font-weight: 400;">My Sister Rosalind Franklin</span></i><span style="font-weight: 400;"> (Oxford: Oxford UP, 2012) 121, and Maddox 140.
</span>5. <span style="font-weight: 400;"> Horace Freeland Judson, </span><i><span style="font-weight: 400;">The Eighth Day of Creation: Makers of the Revolution in Biology</span></i><span style="font-weight: 400;"> (Plainview, NY: Cold Spring Harbor Laboratory Press, 1996) 148.
</span>6. Glynn 160.
7. <span style="font-weight: 400;"> J. D. Bernal, “Dr. Rosalind E. Franklin,” </span><i><span style="font-weight: 400;">Nature</span></i><span style="font-weight: 400;"> 182 (1958): 154.
</span>8.  <span style="font-weight: 400;">Maddox 143.
</span>9. Anna Ziegler, <i>Photograph 51</i> (New York: Dramatists Play Service, 2011) 13.
10. Ziegler 58.</p>"
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<em>We asked several female University of Chicago undergraduate science students to reflect on Rosalind Franklin and their own experiences in overcoming gender-related obstacles in their fields. Their answers illuminate the challenges women continue to face in STEM fields, and uncover the unconscious biases young women encounter growing up.</em>

<strong>Why do you think Rosalind Franklin’s story is especially resonant today?</strong>

“Today, we are far more aware of the bias against women in traditionally male fields, and Franklin’s story—that of an extraordinary scientist whose contributions to the structure of DNA were not recognized in the 1962 Nobel Prize awarded to her male colleges—is an archetypical reminder of the barriers we’ve overcome and the ones we still face today,” says Hannah Morin, AB’20, a chemistry and molecular engineering major.

Khloe Pastore, AB’21, studying biology, adds that “While there are a great deal more opportunities today for women in science, a large amount of sexism still exists that makes it seem as if men’s ideas are somehow more important and valid than women with the same basis of knowledge and experience.”

Elizabeth, another biology major, agrees that “Part of that process is not only giving women scientists today the recognition that they deserve, but also emphasizing the role that women had in past discoveries that were glossed over due to their gender. I think that can be really important in inspiring women to pursue science, because they can look up to all of the women who have made meaningful contributions before them.”

<strong>Do you identify with Franklin’s struggles? In what ways?</strong>

According to Khloe, “I have been refused an opportunity that a man with qualifications equal or lesser than my own was handed without a second thought.” Elizabeth also says that “there is still a cultural norm that men are good at math and science, while women are not. I definitely felt that growing up.”

Hannah has had a similar experience: “On a very basic level I assume Franklin found herself the only woman in a room too and had to constantly combat the idea that women are not good at math or are not technical. Back then, we didn’t have a word for impostor syndrome, but having to constantly combat the idea that the group, not a particular individual, is incompetent is exhausting.”

<strong>What does it mean to be a female scientist in 2018? Has that changed in your lifetime?  </strong>

Hannah tells the story of how, “A few years ago, Nobel Laurette Tim Hunt told a convention of female scientists he was in favor of same-sex labs, because when women are in the lab, ‘You fall in love with them, they fall in love with you and when you criticize them, they cry.’ In the same breath, he declared that he ‘didn’t want to stand in the way of women.’ These clashing ideals are representative of the female experience in science: the field knows we need to support women, but old habits die hard.”

To Khloe, “As a female scientist, you aren’t just representing yourself, you’re representing an entire group of women working in fields that even 50 years ago weren’t readily available to us.”

<strong>What can audiences learn from Franklin’s story? </strong>

“At 16, she decided she wanted to be a scientist. The year was 1937, and female scientists were almost unheard of. During the three years leading up to her PhD, she published an amazing five papers. Her work on plant viruses was pioneering and before her death she was already giving talks on the topic. Watson caricatured her as incompetent and ill-tempered; we must be careful not to caricature her as the woman passed over for the Nobel. She was much more than that,” argues Hannah.

Finally, Khloe adds, “An important takeaway from Franklin’s story is that while women in science have come a long way since the 1950s, there’s still a lot that needs to be done in order for women to be seen as equals to their male counterparts.”

See these issues explored more in Anna Ziegler's play about Rosalind Franklin, <a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/"><em>Photograph 51</em></a>. <a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/"><strong>Learn more about the play →</strong></a>

<hr />

Girls in middle and high school are invited to share their interests in STEM fields by completing a brief survey. Responses will be showcased during <a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/"><em>Photograph 51</em></a> in a Court lobby display representing the future of women in STEM. <b>→ <a href="https://www.courttheatre.org/girls-in-stem/">Share with the STEM girls in your life!</a></b>"
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<i><span style="font-weight: 400;">We spoke with Resident Artist <a href="https://www.courttheatre.org/people/ron-oj-parson/">Ron OJ Parson</a> and Community Programs Manager Aaron Mays about their Spotlight Reading Series, a yearlong citywide reading series in which Court presents rarely produced classics by authors of color. Their answers demonstrate how enthusiastically the community has responded to this series and why venturing outside the mainstream canon matters. </span></i>

<span style="font-weight: 400;">According to Ron, one of the primary reasons for starting the Spotlight Reading Series was to introduce Court to surrounding communities. But the stripped-down nature of the series also meant that Ron and Aaron have the freedom to choose plays that have historically been overlooked or forgotten. Ron comments that “there’s a lot of plays that are old plays, that are classics, that are not looked upon or thought of as classics, because they’re not the typical classics. One of the things when I first got here that I suggested to Charlie was that we could reinvent what a classic was.” Aaron’s view is similar: “We all know about Arthur Miller, we know about Tennessee Williams, but oftentimes there are playwrights who are left out of the conversation.”</span>

<span style="font-weight: 400;">Aaron elaborates that the series is driven by the idea of widening the stage; it resists the idea that there is only room for a set group of works onstage. But lesser-produced plays can be trickier to find. Many are scripts that Ron produced when he was younger, or that come out of Court’s library of anthologies. They cover a variety of perspectives: “a lot of these plays came out of the black theatre movement of the late 60s and early 70s, but we also decided to include Native American plays, Latin plays, we’re looking at an Asian play, so we also want to reach out to that community as well since it is diverse over here,” says Ron. Aaron adds that the nature of the plays also makes a difference: “I think in the curation we try to find plays that have rich language. That could be anything: it could be more poetic, it could be more prose, but I think that’s part of the selection process, language that is rich and vivid and full of color.”</span>

<span style="font-weight: 400;">The results have been overwhelming and feedback enthusiastic. There is strong participation in audience talk backs, according to Aaron. “Even during the show you get some call and response, people are reacting and responding,” he notes. Another exciting aspect of the series is that it brings together a diverse variety of community members. Ron has observed that the series' plays “have mixed the communities. Black people come to the Latin plays, Latin people come to the black plays.” Aaron agrees, commenting that audience members range from high school kids to seniors across a spectrum of ethnicities and income levels. The readings also offer food that reflects the community or neighborhood, which functions as a gathering point for audience members to meet new people, connect with old friends, and be in fellowship with each other.</span>

<span style="font-weight: 400;">Ron hopes that the series can expand to include more community involvement, possibly even including seminars and discussions about the plays, or involving other theatres in producing some of the plays. A couple of future readings will be done at the new Green Line Performing Arts Center. Aaron is interested in offering a slot for new work that reimagines or adapts classic texts, a vision that Ron shares. </span>

<span style="font-weight: 400;">Because of the readings, many community members have discovered Court’s existence, but it’s important to recognize that the readings also serve a valuable function outside of Court’s mainstage productions. They give much-deserved attention to these important, under-produced works. “The adjective in front of the 'American stage' is American' and what that defines. If we only look at that as one thing, it is a disservice to the American stage,” reflects Aaron. "There are other stories that shape that." Thus, the Spotlight Reading Series “levels the playing field to say that those who shape it can make it as well.”</span>

Learn more about <a href="https://www.courttheatre.org/community-engagement/spotlight-reading-series/">Court's Spotlight Reading Series. →</a>
<p class="caption">Photo of the Spotlight Reading of <a href="https://www.courttheatre.org/season-tickets/spotlight-reading-series/spotlight-reading-dance-widows-row/"><em>The Dance on Widow's Row</em></a> by Samm-Art Williams (Jake Newell).</p>"
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          string(6240) "<img class="alignnone size-full wp-image-11676" src="https://www.courttheatre.org/wp-content/uploads/2018/11/scenic800x300.jpg" alt="" width="800" height="300" />
<em>In preparation for our upcoming production of </em><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/">Photograph 51</a><em>, we spoke with scenic designer Arnel Sancianco to learn more about his process, and how he went about designing a stunning set for Anna Ziegler's play about ambition, science, and Rosalind Franklin.</em>

<b>For <i>Photograph 51</i>, you began with research images, and then transitioned into sketches, a "white model," some color options, and a scale model. What is the purpose of each of these steps? Was this approach specific to <i>Photograph 51 </i>or just your general approach?</b>

Each one of these steps was a different way I was communicating with our director, Vanessa Stalling. As a designer, it’s hard using just words to describe what I’m envisioning in my head. I need to make sure Vanessa is seeing exactly what I’m seeing, without causing any further confusion. Vanessa originally sent me this image below and I used that as a jumping off point.

<img class="alignnone wp-image-11670 size-full" src="https://www.courttheatre.org/wp-content/uploads/2018/11/1-e1543357237644.jpg" alt="" width="640" height="426" />

We were both excited by the idea of the chorus of men observing Dr. Franklin like she was some sort of specimen. I believe it was our costume designer Meika who compared the feeling to that of a Panopticon, which brought me to the next image. We synthesized both of these images into the several versions of the set that followed. Each model experimented with how the show moves, and how certain scenes could take place.

<img class="alignnone size-full wp-image-11671" src="https://www.courttheatre.org/wp-content/uploads/2018/11/2.jpg" alt="" width="640" height="398" />

<b>How does your research and initial conceptual work aide your conversations with the director and other designers?</b>

The model, I think, is the most valuable tool set designers have in their arsenal. It’s a near accurate representation of what exists in my head in a tangible, three-dimensional form. The earliest model originally had two rows of windows. It was Keith Parham, the Lighting Designer, who pointed out that if we had one more layer of windows we could really get some mesmerizing depth in the design.

<b>How do you approach a play like <i>Photograph 51</i>? How much input do you receive from the director and other designers?</b>

This is my second Anna Ziegler play that I’ve designed and I really love the fluidity of her writing. Her scenes flow seamlessly into the next and it’s this pacing that builds a momentum that I don’t see in many other playwrights. Knowing this I made sure that my set didn’t get in the way of Ziegler’s writing. We don’t have time for major wall shifts or expensive transitions. Movements like that didn’t feel right with the way play ebbed and flowed. In terms of input from my team, you’ll note how collaborative we’ve been working just to create the physical space for the play. I may be responsible for the set, but we are all working to create a singular experience for the Court audiences. Before we were able to move forward with the final model, Kieth, Paul, Vanessa, and I all agreed that we needed to test out the layering of windows in full scale to see how they would interact with projections.

<img class="alignnone wp-image-11672 size-full" src="https://www.courttheatre.org/wp-content/uploads/2018/11/3-e1543357796516.jpg" alt="" width="640" height="480" />

<strong>What was one of your main goals with this set design?</strong>

Along with trying to handle projections and creating an all-encompassing space for the story to unfold, I really wanted to create a feeling of observation. There’s a unique feeling that any marginalized person feels when they’re put into a position of power. It’s this exposed feeling that someone is watching your every move, waiting for you to fail so you can be another example of your race or gender’s incompetence. That, I think, is what’s at the very core of <em>Photograph 51</em>. This feeling of pressure that got in the way of Dr. Franklin, and stopped her from seeing what was right in front of her.

<b>You mentioned on Instagram that your initial design proposal was over budget. In what ways did you scale it back, while still maintaining the features from your initial designs that you considered most integral?</b>

The original design was a full panoramic experience that spanned the entire width of the theatre. As we approached the bidding process, we were preparing to scale back, and we kept in our minds a set of "must haves” for the final design. The window idea was one of those "must haves," along with the upper-level bridge where our chorus of men could perch themselves. As stressful as the cutting process is, I thoroughly enjoy it at the end. It’s an exciting way to challenge your design’s values and point-of-view. Anything that doesn’t support the perspective of the play or the action of the story is deemed unnecessary, and I cut it without regret. The panoramic design was an awesome (and I mean to use this word in the biblical sense) take on this window idea, but the width didn’t really do much more. We discovered as we narrowed the design’s wings that the smaller space allowed for quicker transitions and created a more focused energy to the play. Fun fact: I was in Philadelphia, in rehearsal for another show, when we decided to focus the design down. I grabbed all the scrap board I could find in the prop shop and built a model in my hotel room to show Vanessa what the new design would look like.

<img class="alignnone size-full wp-image-11675" src="https://www.courttheatre.org/wp-content/uploads/2018/11/6-e1543357834139.jpg" alt="" width="640" height="397" />

<hr />

<em>Photograph 51</em> runs January 17 - February 17 <b>→ <a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/">Get Tickets</a>.</b>"
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          string(7387) "<img class="alignnone size-full wp-image-11645" src="https://www.courttheatre.org/wp-content/uploads/2018/11/frankenstein_banner.jpg" alt="" width="800" height="300" />

<span style="font-weight: 400;">Press throughout Chicago are praising Manual Cinema's </span><i><span style="font-weight: 400;">Frankenstein</span></i><span style="font-weight: 400;">, with many critics Highly Recommending the production</span><span style="font-weight: 400;">. Audiences and critics alike agree that Manual Cinema's work is innovative, ambitious, and dynamic. See what the minds behind "live cinema" have created from Mary Shelley's classic novel —<a href="https://www.courttheatre.org/season-tickets/2018-2019-season/frankenstein/"> get tickets</a> to </span><i><span style="font-weight: 400;">Frankenstein</span></i><span style="font-weight: 400;">.</span>

<hr />

<span style="font-weight: 400;">“You’ll likely be blown away by the singularity of the artistic technique. Aside from the ability to watch the movie while you watch the creation of the movie, you also get an original score, played live by an ensemble of four musicians. Manual Cinema does world-class work from its Chicago base; the word is only now getting out.</span><span style="font-weight: 400;">"</span>

<a href="https://www.chicagotribune.com/entertainment/theater/reviews/ct-ent-frankenstein-court-review-1112-story.html"><span style="font-weight: 400;">—Chris Jones, </span><i><span style="font-weight: 400;">Chicago Tribune</span></i></a>

<hr />

<span style="font-weight: 400;">“Another stage marvel from Manual Cinema...With a score that sonically stitches the story together, “Frankenstein” is an ingenious merger of live music and captivating visuals. No matter where you look, you'll find beauty and intrigue.”</span>

<a href="https://chicago.suntimes.com/entertainment/radio-golf-court-theatre-august-wilson-theater-chicago-things-to-do/"><span style="font-weight: 400;">—Catey Sullivan, </span><i><span style="font-weight: 400;">Chicago Sun-Times</span></i></a>

<hr />

<span style="font-weight: 400;">“Manual Cinema’s <em>Frankenstein</em> at Court Theatre is a complex visual treat...impressive in scope and execution, entertaining, and (especially if you’ve never seen Manual Cinema before) absolutely fascinating to watch. The opening night audience was entranced, and I have no doubt you will be as well.”</span>

<a href="http://chicagoonstage.com/manual-cinemas-frankenstein-at-court-theatre-is-a-complex-visual-treat/"><span style="font-weight: 400;">—Karen Topham, </span><i><span style="font-weight: 400;">Chicago On Stage</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">★★★★ Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“Astonishing, wildly imaginative...an elaborately layered and wholly hypnotic form of storytelling – at once handmade and high-tech, and mind-boggling in the complexity of the countless clockwork cues so essential to making it all spring to life in a seamless mix of live performance, silent film-style “intertitles,” many ingenious forms of puppetry, a haunting soundscape and more.”</span>

<a href="https://news.wttw.com/2018/11/12/nature-nurture-and-art-creation-manual-cinema-s-astonishing-frankenstein"><span style="font-weight: 400;">—Hedy Weiss, WTTW’s </span><i><span style="font-weight: 400;">Chicago Tonight</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“Mary Shelley’s <em>Frankenstein</em>, through the unbelievable sights and sounds created by the fertile imagination of Manual Cinema, is an absolutely glorious theatrical experience. The company injects so many new, added elements not typically found in a stage performance. They bring to Chicago theatergoers an electrifying performance they won’t soon forget.</span><span style="font-weight: 400;">”</span>

<a href="https://www.chicagotheatrereview.com/2018/11/a-breathtaking-multimedia-experience/"><span style="font-weight: 400;">—Colin Douglas, </span><i><span style="font-weight: 400;">Chicago Theatre Review</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“Manual Cinema’s <em>Frankenstein</em> is a purposefully-paced, finely-tuned masterpiece that evolves on many sensory levels commanding attention at every turn. With a gloriously expressive ensemble – delivering multiple characterizations, nonstop action, and whimsical imagery – words have been rendered virtually unnecessary.”</span>

<a href="http://www.aroundthetownchicago.com/theatre-reviews/frankenstein-reviewed-by-michael-horn/"><span style="font-weight: 400;">—Ed Tracy, </span><i><span style="font-weight: 400;">Picks in Six</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“A captivating monochromatic video mash-up, reminiscent of a nickelodeon feature, assembled and projected on stage before your eyes...This is a unique theatrical experience that should not be missed.</span><span style="font-weight: 400;">”</span>

<a href="http://chicagotheaterandarts.com/2018/11/12/frankenstein-viewed-through-manual-cinema-eyes/"><span style="font-weight: 400;">—Reno Lovison, </span><i><span style="font-weight: 400;">Chicago Theatre and Arts</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“Revealing what would be otherwise considered a “backstage” experience is what renders the final onstage experience so darn impressive. At certain points, while they emulate a turn-of-the-century silver screen aesthetic, the realization sets in that this ensemble has managed to create a black and white silent film edited LIVE better than some celluloid originals from that genre.</span><span style="font-weight: 400;">”</span>

<a href="http://perform.ink/review-frankenstein-at-court-theatre/"><span style="font-weight: 400;">—Tonika Todorova, </span><i><span style="font-weight: 400;">PerformInk</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">Highly Recommended</span></a><a href="http://perform.ink/review-frankenstein-at-court-theatre/"> - Critics Pick</a>

<hr />

<span style="font-weight: 400;">“This historic storytelling is cleverly brought together combining many different fragments with each piece detailing this gothic horror coming to life with live musicians performing on stage with live actors and shadow puppetry; which include over 500 puppets to create what looks like you're watching an animated film right before your eyes.</span><span style="font-weight: 400;">”</span>

<a href="http://www.chicagonow.com/lets-play/2018/11/frankenstein/"><span style="font-weight: 400;">—Rick and Brenda McCain, </span><i><span style="font-weight: 400;">Chicago Now Let's Play</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">Highly Recommended</span> - Critics Pick</a>

<p class="caption">Photo by Michael Brosilow.</p>"
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<span style="font-weight: 400;">Court Theatre is excited to announce that we were honored with three awards from Monday night’s 50th Annual Joseph Jefferson Awards. Two actors from productions during our 2017/18 Season were honored, with Court also receiving a special Jeff Award for our commitment to the Chicago theater community for over 50 years!</span>

<span style="font-weight: 400;">Jeff Awards Committee Chairman David Liesse presented the special award along with a brief history of Court Theatre--from our origins as an outdoor summer theatre, to Nicholas Rudall’s role in conceiving Court’s tradition of translating and adapting classic texts for contemporary audiences, to </span>Charles Newell’s transition into Artistic Director and the innovative work he has led since. Newell accepted the award on Court’s behalf. The Goodman Theatre, Drury Lane Productions, and The Second City were also recognized for over half a century of productions.

<img class="alignnone size-full wp-image-11445" src="https://www.courttheatre.org/wp-content/uploads/2018/10/courthistory.jpg" alt="" width="800" height="300" />

<a href="https://www.courttheatre.org/people/kate-fry/"><span style="font-weight: 400;">Kate Fry</span></a><span style="font-weight: 400;"> won Solo Performance for her role as Emily Dickinson </span>in <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/the-belle-of-amherst/"><i>The Belle of Amherst</i></a>. She thanked Court, Emily Dickinson, and the “dreamy” Timothy Edward Kane.

<a href="https://www.courttheatre.org/people/4129/"><span style="font-weight: 400;">Lorenzo Rush Jr</span><span style="font-weight: 400;">.</span></a><span style="font-weight: 400;"> won Performer in a Revue for his role as </span>Big Moe in <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/five-guys-named-moe/"><i>Five Guys Named Moe</i></a>. He performed with fellow <i>Five Guys Named Moe </i>cast members <a href="https://www.courttheatre.org/people/james-earl-jones-ii/">James Earl Jones II</a>, <a href="https://www.courttheatre.org/people/eric-andrew-lewis/">Eric A. Lewis</a>, <a href="https://www.courttheatre.org/people/stephen-allen/">Stephen Allen</a>, and <a href="https://www.courttheatre.org/people/kelvin-roston-jr/">Kelvin Roston Jr.</a> to great applause earlier in the evening.

<img class="alignnone size-full wp-image-11444" src="https://www.courttheatre.org/wp-content/uploads/2018/10/jeffwinners.jpg" alt="" width="800" height="300" />
We’re also proud to share that the following artists who have spent time as a member of Court’s family won awards for their work across the city: <a href="https://www.courttheatre.org/people/andre-pluess/">Andre Pleuss</a>, <a href="https://www.courttheatre.org/people/nick-bowling/">Nick Bowling</a>, and <a href="https://www.courttheatre.org/people/todd-rosenthal/">Todd Rosenthal</a>.

<span style="font-weight: 400;">We are privileged to be part of the incredible theatre community in Chicago, and thank the audiences and artists in our incredible city for making this such a rewarding place to make theatre. See </span>all of the nominations and recipients <a href="https://www.jeffawards.org/equity-nominees">here</a>.

<span style="font-weight: 400;">Subscribe to the 2018/19 Season so you won’t miss a moment! Up next at Court: Manual Cinema's </span><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/frankenstein/?gclid=Cj0KCQjwsMDeBRDMARIsAKrOP7ElYwO4dQSlXKsf31rYh1B4vnvLcIUQqV2yxPYxR3wmYqG7VUv0aVcaAjjqEALw_wcB"><i><span style="font-weight: 400;">Frankenstein</span></i></a><span style="font-weight: 400;">. </span>"
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<em><span style="font-weight: 400;">In September, Angel Ysaguirre joined Court as the new Executive Director. We caught up with Angel to ask him about his plans for Court, his love of the arts, and what he enjoys doing in his spare time. Read on to hear from Angel himself! </span></em>

<span style="font-weight: 400;"><strong>What drew you to Court Theatre?</strong> </span>

<span style="font-weight: 400;">First, the theatre’s long history of excellent productions. Added to that, it being part of the University of Chicago and its location on the South Side, which has a phenomenal history of such incredible creativity.</span>

<span style="font-weight: 400;"><strong>What are some other arts organizations in the city that you find exciting?</strong> </span>

<span style="font-weight: 400;">The Chicago Cultural Center, which always has such cutting edge art exhibitions by Chicago-based artists for free; Stony Island Arts Bank, which is a beautifully restored building and has incredible collections like the Frankie Knuckles record collection and the Johnson Publishing archives but also beautiful works of contemporary art; Eighth Blackbird, the new music ensemble that displays such fantastic skill and innovation; the Joffrey Ballet, whose productions keep getting more and more beautiful; the Poetry Foundation, which publishes the unparalleled </span><i><span style="font-weight: 400;">Poetry Magazine</span></i><span style="font-weight: 400;"> but who also presents an amazing array of poets in their building; finally, my old outfit, Illinois Humanities, because the breadth of Chicagoans who attend their programs is more diverse and authentic than anywhere else I’ve seen. </span>

<span style="font-weight: 400;"><strong>What role do you see Court playing on the South Side of Chicago? Do you have any plans to deepen the connection between Court and the community?</strong> </span>

Court is fortunate to exist on the South Side, an area that abounds with creativity – including not only some of the world’s most important writers, musicians, dancers, painters and sculptors, but also publishers, academics, community organizers, and public servants. Court is one of only two professional theatre companies on the South Side. As such, I believe that the theatre should significantly contribute to the vitality of the South Side. Court endeavors to become the theatre that is truly of and for the people of the South Side.

<strong>Describe your office set-up and style.</strong>

<span style="font-weight: 400;">I don’t have a desk, which I guess is surprising to folks. Instead, I have a sofa and a pair of chairs for meetings. Since we mostly work on laptops now and I spend most of my time in meetings or on campus or in the community, I don’t see the need for a desk. I also have a record player, which people also find surprising, but we spend a lot of evenings at the office and having good music after hours is key. I will say that the first record I brought to the office was a Chaka Kahn record, because Chaka is one of the most amazing treasures that the South Side has produced.</span>

<span style="font-weight: 400;"><strong>What’s your favorite way of spending a free evening?</strong> </span>

<span style="font-weight: 400;">If I could, I would spend most of my time reading and listening to music. Other than that, I like to cook, eat with friends, and catch a play or concert here or there. </span>"
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<blockquote>What is a legacy? It’s planting seeds in a garden you never get to see.” What does your garden look like, Dad? Your legacy is daunting. It is truly that of giants. I promise I will tell your story for the rest of my days. I promise to do my best to carry your legacy onward. To be a force. To love hard. To prioritize family and relationships over all. And to have so much fun living this life I am given.  <em>—Jessica Albert, Daughter, Stephen J. Albert</em></blockquote>
If you’ve ever been to a performance at Court (and even if this is your very first time in Court’s auditorium), you’ve experienced the legacy of Stephen J. Albert.

As Court’s Executive Director from 2010 until 2017, Steve presided over a robust period of growth, establishing the Center for Classic Theatre, strengthening Court’s ties to the community, and cultivating a much closer alliance with the University of Chicago. His influence and leadership ushered in new initiatives, world premiere productions, and increased programming to engage Court’s audiences and neighbors.

Beyond his remarkable influence as Executive Director, Steve was also a friend and a mentor. His phone calls and frequent check-ins “just because” were genuine, and beloved by many. He was known for conducting pop quizzes on music lyrics, and for competing with an absolutely merciless glee during each year’s annual March Madness college basketball bracket competition. Steve inspired trust and devotion from his friends and colleagues, and earned his reputation as an honest, fair, and caring friend and leader.

As Steve guided Court Theatre on a path to achieve its fullest potential, there were four areas he most passionately supported:
<ul>
 	<li><strong>Commissioning new work</strong> to present on Court’s stage;</li>
 	<li><strong>Supporting theatre diversity</strong>: onstage, in programming, behind-the-scenes, and among patrons;</li>
 	<li>Ensuring that youth have the opportunity to experience theatre, whether in the classroom or on Court’s stage, through <strong>Education Initiatives</strong>; and</li>
 	<li><strong>Career development</strong> by guiding the next generation of arts leaders.</li>
</ul>
<strong>Now you can honor Steve’s legacy of determination, compassion, humor, and an unending love of theatre by making a donation to the Stephen J. Albert Living Legacy at Court Theatre. </strong>

Your gift supports Steve’s four pillars of passion and enriches Court’s dedication to innovation, inquiry, intellectual engagement, and community service for this season and the seasons to come.

Steve, thank you for keeping us on track, loving us unconditionally, and being such a tremendous gift to so many. You are and will always be loved and missed.

Sincere thanks to the generous donors who have already given to the Stephen J. Albert Living Legacy. ■

<hr />

To make a gift to the Legacy, please contact Lauren Sheely, Development Assistant, at (773) 834-3563 or via <a href="mailto:lsheely@uchicago.edu">email</a>."
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        string(6479) "<img class="alignnone wp-image-11900 size-full" src="https://www.courttheatre.org/wp-content/uploads/2019/01/reviewblog800x300.jpg" alt="" width="800" height="300" />

<span style="font-weight: 400;">Critics across Chicagoland highly recommend Anna Ziegler’s </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;">. Chris Jones of the </span><i><span style="font-weight: 400;">Chicago Tribune </span></i><span style="font-weight: 400;">awarded the production four stars and wrote that "there is no better 90 minutes in town." </span><span style="font-weight: 400;">Audiences and critics alike agree that Vanessa Stalling’s production is as powerful as it is empowering. See for yourself what the buzz is about —<a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/"> get tickets</a><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/"> to </a></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;">.</span>

<hr />

<span style="font-weight: 400;">“Stalling directs with the pacing of a murder mystery... fascinating. And never dull for a second. If you know a young girl or woman interested in science, there is no better 90 minutes in town. Actually, that’s true for anyone. For the role of Franklin has allowed the actress Chaon Cross to do the best work of her career. If this were a movie, there would be Oscar chatter.</span><span style="font-weight: 400;">"</span>

<a href="https://www.chicagotribune.com/entertainment/theater/reviews/ct-ent-photograph-51-review-0129-story.html"><span style="font-weight: 400;">—Chris Jones, </span><i><span style="font-weight: 400;">Chicago Tribune</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">★★★★ Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“A compelling portrait of scientists as well as of science itself...The combined forces of Arnel Sancianco’s set design, Keith Parham’s lighting design and Paul Deziel’s projections are both understated and...spectacular.”</span>

<a href="https://chicago.suntimes.com/entertainment/photograph-51-review-rosalind-franklin-court-theatre-anna-ziegler/"><span style="font-weight: 400;">—Catey Sullivan, </span><i><span style="font-weight: 400;">Chicago Sun-Times</span></i></a>

<hr />

<span style="font-weight: 400;">“Anna Ziegler's imaginative rendering of an often-overlooked piece of history...vindicates Franklin's role in this breakthrough discovery. In the hands of leading lady Chaon Cross, the result is a complex heroine with a brilliant mind, a rigorous work ethic, exceptional integrity, and a sensitive soul. ”</span>

<a href="https://www.broadwayworld.com/chicago/article/BWW-Review-PHOTOGRAPH-51-at-Court-Theatre-20190127"><span style="font-weight: 400;">—Emily McClanathan, </span><i><span style="font-weight: 400;">Broadway World Chicago</span></i></a>

<hr />

<span style="font-weight: 400;">“Chaon Cross delivers an exhilarating and flawless performance...<em>Photograph 51</em> is an empowering statement about equality, perseverance and truth. While “the world wins,” the moving and heartfelt performance of Chaon Cross reveals Franklin as a complex, compassionate, driven chemist with an extraordinary thirst for knowledge. Most importantly, as art and science intersect, Rosalind Franklin’s rightful place as a trailblazer is assured.</span><span style="font-weight: 400;">”</span>

<a href="https://www.conversationswithedtracy.com/picksinsix/2019/1/27/picksinsix-review-photograph-51-court-theatre"><span style="font-weight: 400;">—Ed Tracy, </span><i><span style="font-weight: 400;">PicksInSix</span></i></a>

<hr />

<span style="font-weight: 400;">“<em>Photograph 51</em>’s spectacular set that reminds of double helices, carbon molecule diagrams, a screen for projected computations, and a fast shot that might be electricity, atoms on the march or just the psychic charge of scientific discovery...The timing in this performance shows an expert touch by director Vanessa Stalling.</span><span style="font-weight: 400;">”</span>

<a href="https://www.picturethispost.com/court-theatre-presents-photograph-51-review-what-if/"><span style="font-weight: 400;">—Amy Munice, </span><i><span style="font-weight: 400;">Picture this Post</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“...a biting, emotionally vivid production at Court Theatre – a company whose connection to the University of Chicago (a renowned hotbed of scientific activity and Nobel laureates) only adds a frisson of interest to the story.”</span>

<a href="https://news.wttw.com/2019/01/28/photograph-51-exposes-pattern-delayed-recognition-rosalind-franklin"><span style="font-weight: 400;">—Hedy Weiss, WTTW’s </span><i><span style="font-weight: 400;">Chicago Tonight</span></i></a>

<hr />

<span style="font-weight: 400;">“<em>Photograph 51</em> emphasizes the tragedy of not only the stolen ideas from Franklin’s data but also her lack of recognition as an equal or even as a competent human by her colleagues. The Court’s production is a powerful story of the real woman behind one of the greatest accomplishments in biological history.</span><span style="font-weight: 400;">”</span>

<a href="https://www.chicagomaroon.com/article/2019/1/22/photograph-51-worth-thousand-words/"><span style="font-weight: 400;">—Alina Kim, </span><i><span style="font-weight: 400;">Chicago Maroon</span></i></a>

<hr />

<span style="font-weight: 400;">“Ziegler’s tight, impressive drama weaves emotion, tension and context into the events leading up to that world-changing discovery and Franklin’s role in it.”</span>

<a href="https://thirdcoastreview.com/2019/01/29/stages-review-photograph-51/?fbclid=IwAR12suF2o940p17j8Yt6JQEKDC1S3UPYuK3Z8QAO1QfCz0OSc5EuC_k2BCE"><span style="font-weight: 400;">—Lisa Trifone, </span><i><span style="font-weight: 400;">Third Coast Review</span></i></a>

<hr />
<p class="caption">Photo of Chaon Cross by Michael Brosilow.</p>"
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      string(6479) "<img class="alignnone wp-image-11900 size-full" src="https://www.courttheatre.org/wp-content/uploads/2019/01/reviewblog800x300.jpg" alt="" width="800" height="300" />

<span style="font-weight: 400;">Critics across Chicagoland highly recommend Anna Ziegler’s </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;">. Chris Jones of the </span><i><span style="font-weight: 400;">Chicago Tribune </span></i><span style="font-weight: 400;">awarded the production four stars and wrote that "there is no better 90 minutes in town." </span><span style="font-weight: 400;">Audiences and critics alike agree that Vanessa Stalling’s production is as powerful as it is empowering. See for yourself what the buzz is about —<a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/"> get tickets</a><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/"> to </a></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;">.</span>

<hr />

<span style="font-weight: 400;">“Stalling directs with the pacing of a murder mystery... fascinating. And never dull for a second. If you know a young girl or woman interested in science, there is no better 90 minutes in town. Actually, that’s true for anyone. For the role of Franklin has allowed the actress Chaon Cross to do the best work of her career. If this were a movie, there would be Oscar chatter.</span><span style="font-weight: 400;">"</span>

<a href="https://www.chicagotribune.com/entertainment/theater/reviews/ct-ent-photograph-51-review-0129-story.html"><span style="font-weight: 400;">—Chris Jones, </span><i><span style="font-weight: 400;">Chicago Tribune</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">★★★★ Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“A compelling portrait of scientists as well as of science itself...The combined forces of Arnel Sancianco’s set design, Keith Parham’s lighting design and Paul Deziel’s projections are both understated and...spectacular.”</span>

<a href="https://chicago.suntimes.com/entertainment/photograph-51-review-rosalind-franklin-court-theatre-anna-ziegler/"><span style="font-weight: 400;">—Catey Sullivan, </span><i><span style="font-weight: 400;">Chicago Sun-Times</span></i></a>

<hr />

<span style="font-weight: 400;">“Anna Ziegler's imaginative rendering of an often-overlooked piece of history...vindicates Franklin's role in this breakthrough discovery. In the hands of leading lady Chaon Cross, the result is a complex heroine with a brilliant mind, a rigorous work ethic, exceptional integrity, and a sensitive soul. ”</span>

<a href="https://www.broadwayworld.com/chicago/article/BWW-Review-PHOTOGRAPH-51-at-Court-Theatre-20190127"><span style="font-weight: 400;">—Emily McClanathan, </span><i><span style="font-weight: 400;">Broadway World Chicago</span></i></a>

<hr />

<span style="font-weight: 400;">“Chaon Cross delivers an exhilarating and flawless performance...<em>Photograph 51</em> is an empowering statement about equality, perseverance and truth. While “the world wins,” the moving and heartfelt performance of Chaon Cross reveals Franklin as a complex, compassionate, driven chemist with an extraordinary thirst for knowledge. Most importantly, as art and science intersect, Rosalind Franklin’s rightful place as a trailblazer is assured.</span><span style="font-weight: 400;">”</span>

<a href="https://www.conversationswithedtracy.com/picksinsix/2019/1/27/picksinsix-review-photograph-51-court-theatre"><span style="font-weight: 400;">—Ed Tracy, </span><i><span style="font-weight: 400;">PicksInSix</span></i></a>

<hr />

<span style="font-weight: 400;">“<em>Photograph 51</em>’s spectacular set that reminds of double helices, carbon molecule diagrams, a screen for projected computations, and a fast shot that might be electricity, atoms on the march or just the psychic charge of scientific discovery...The timing in this performance shows an expert touch by director Vanessa Stalling.</span><span style="font-weight: 400;">”</span>

<a href="https://www.picturethispost.com/court-theatre-presents-photograph-51-review-what-if/"><span style="font-weight: 400;">—Amy Munice, </span><i><span style="font-weight: 400;">Picture this Post</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“...a biting, emotionally vivid production at Court Theatre – a company whose connection to the University of Chicago (a renowned hotbed of scientific activity and Nobel laureates) only adds a frisson of interest to the story.”</span>

<a href="https://news.wttw.com/2019/01/28/photograph-51-exposes-pattern-delayed-recognition-rosalind-franklin"><span style="font-weight: 400;">—Hedy Weiss, WTTW’s </span><i><span style="font-weight: 400;">Chicago Tonight</span></i></a>

<hr />

<span style="font-weight: 400;">“<em>Photograph 51</em> emphasizes the tragedy of not only the stolen ideas from Franklin’s data but also her lack of recognition as an equal or even as a competent human by her colleagues. The Court’s production is a powerful story of the real woman behind one of the greatest accomplishments in biological history.</span><span style="font-weight: 400;">”</span>

<a href="https://www.chicagomaroon.com/article/2019/1/22/photograph-51-worth-thousand-words/"><span style="font-weight: 400;">—Alina Kim, </span><i><span style="font-weight: 400;">Chicago Maroon</span></i></a>

<hr />

<span style="font-weight: 400;">“Ziegler’s tight, impressive drama weaves emotion, tension and context into the events leading up to that world-changing discovery and Franklin’s role in it.”</span>

<a href="https://thirdcoastreview.com/2019/01/29/stages-review-photograph-51/?fbclid=IwAR12suF2o940p17j8Yt6JQEKDC1S3UPYuK3Z8QAO1QfCz0OSc5EuC_k2BCE"><span style="font-weight: 400;">—Lisa Trifone, </span><i><span style="font-weight: 400;">Third Coast Review</span></i></a>

<hr />
<p class="caption">Photo of Chaon Cross by Michael Brosilow.</p>"
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      string(3251) "<img class="alignnone size-full wp-image-11873" src="https://www.courttheatre.org/wp-content/uploads/2019/01/Weil-Kovener-800x300.jpg" alt="" width="800" height="400" />On a good day, the drive from Naperville to Court Theatre in Hyde Park takes an hour each way. But for several years, the Weils and Koveners have braved the traffic to see Court’s productions together.

Tom and Barbara Weil attended their first Court production, <i>Arms and the Man</i> in 1972, and have been devoted advocates ever since. For Tom and Barbara, “Court’s stage is a unique space where a variety of stimulating performances enhance our theatre experience.”

Gary and Sharon Kovener quickly became regular Court patrons after attending a Producers’ Circle event. Beyond the challenging, emotional work that is produced onstage, Gary and Sharon also appreciate Court’s engagement with the community, the University of Chicago, and the audience.<span class="Apple-converted-space">   </span>

As members of the <a href="https://www.courttheatre.org/support/producers-circle/">Producers’ Circle</a>, Court’s premier giving society, the Weils and Koveners are fans of the exclusive members-only events at Court. These events allow them to follow the development of each production from First Rehearsal through Opening Night: “First Rehearsals and the Producers’ Circle Events have given us an insight into more dimensions of theatre productions.”<span class="Apple-converted-space"> </span>

With so many years of Court Theatre to consider, the couples have many favorite moments and productions. Tom and Barbara particularly enjoyed <a href="https://www.courttheatre.org/season-tickets/2016-2017-season/man-in-the-ring/"><i>Man in the Ring</i></a> (2016) and <a href="https://www.courttheatre.org/season-tickets/2009-2010-season/year-magical-thinking/"><i>The Year of Magical Thinking </i></a>(2010). For Gary and Sharon, two behind-the-scenes moments that stand out are discovering the intricate set design in <a href="https://www.courttheatre.org/season-tickets/2016-2017-season/blues-alabama-sky/"><i>Blues for an Alabama Sky</i></a> (2017) and exploring the themes of justice and vengeance in <a href="https://www.courttheatre.org/season-tickets/2016-2017-season/electra/"><i>Electra</i></a> (2016).<span class="Apple-converted-space"> </span>

As fellow Court Producers’ Circle members and friends with a passion for theatre, the Weils’ and Koveners’ longstanding commitment to Court Theatre has grown. Even the commute doesn’t deter them: “Our Court adventure has provided a great opportunity to critique plays during our hour-long drive home!”<span class="Apple-converted-space"> </span>

Court is grateful to the Weils, Koveners, and all donors for supporting theatre on Chicago’s South Side. ■

<hr />

The Producers’ Circle is the premier giving society that provides you with exclusive access to the creative artists and inspiring scholars involved in Court productions. To learn more about the Producers’ Circle and become a member, contact Lauren Sheely, Development Assistant, at (773) 834-3563 or <a href="mailto:lsheely@uchicago.edu">via email</a>.
<p class="caption">Photo by Joe Mazza.</p>"
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      string(16039) "<img class="alignnone size-full wp-image-11865" src="https://www.courttheatre.org/wp-content/uploads/2019/01/doublehelixdoublestandardwide.jpg" alt="" width="800" height="300" />

<span style="font-weight: 400;">Anna Ziegler’s play </span><i><span style="font-weight: 400;">Photograph 51</span></i><span style="font-weight: 400;"> participates in a vital lineage of storytelling that revisits the people and events leading to the discovery of the DNA double helix.  Working at the University of Cambridge, James Watson and Francis Crick solved the riddle of DNA’s molecular structure in early 1953, ahead of Rosalind Franklin and Maurice Wilkins, who were themselves investigating the same problem from King’s College London.  The terrain of these tectonic events is not uncontested, and the play inhabits a freer, more uniquely theatrical space than that of definitive chronology. In the world of </span><i><span style="font-weight: 400;">Photograph 51</span></i><span style="font-weight: 400;">, the fragile seams between memory and history come unbound, and the historical record is allowed to live side by side with conjecture and points of contention.</span>

<span style="font-weight: 400;">The crucial contributions that Rosalind Franklin made to the double-helix discovery might well have been consigned to history’s dustbin altogether were it not for the outrageously misogynist portrayal of her in James Watson’s sudsy memoir </span><i><span style="font-weight: 400;">The Double Helix</span></i><span style="font-weight: 400;">, published in 1968.  Watson, a graduate of the University of Chicago, published his defamatory account of Franklin knowing full well that she had died of ovarian cancer 10 years earlier, and so could raise no objections to his convenient version of events.  Dubbing her “Rosy” throughout the book, Watson dipped his pen into an ample inkwell of sexism to compose such classic passages of chauvinist condescension as his grievance that Rosy “did not emphasize her feminine qualities. Though her features were strong, she was not unattractive and might have been quite stunning had she taken even a mild interest in clothes.  This she did not. There was never lipstick to contrast with her straight black hair… So it was quite easy to imagine her the product of an unsatisfied mother who unduly stressed the desirability of professional careers…”<sup>1</sup></span>

<span style="font-weight: 400;">When he wrote his tell-all, Watson was a professor of biochemistry at Harvard, but Harvard University Press refused publication of </span><i><span style="font-weight: 400;">The Double Helix</span></i><span style="font-weight: 400;"> owing to objections raised by key players portrayed in the book—namely, Crick and Wilkins, who denounced their former colleague’s manuscript as irredeemably self-glorifying and wildly fictionalized.  A commercial press advanced the book for publication, and it went on to become a bestseller.</span>

<span style="font-weight: 400;">When it was suggested to Rosalind’s mother that Watson’s sensationalizing account at least ensured that Rosalind would never be forgotten, her mother answered forlornly, “I would rather she were forgotten than remembered in this way.”<sup>2</sup></span>

<span style="font-weight: 400;">Reaction against Watson’s hit job blossomed into an impressively long arc of conversation around not only Franklin’s groundbreaking work but the treatment of women in the sciences more generally.  Anne Sayre, a personal friend of Rosalind, published a concise biography of Franklin in 1975 that reassessed the events chronicled in </span><i><span style="font-weight: 400;">The Double Helix</span></i><span style="font-weight: 400;"> from her friend’s point of view.  Francis Crick published a book in 1988 from his own perspective.  Journalist Brenda Maddox wrote a thoroughgoing, arguably more objective biography of Franklin in 2002.  Maurice Wilkins penned an autobiography in 2003. And in 2012 Rosalind’s younger sister by 9 years, Jenifer Glynn, published her own biography of her sister, who was by now much debated and discussed.</span>

<span style="font-weight: 400;">In the absence of a definitive narrative from Rosalind Franklin herself, we’re always, in the end, only seeing her through others’ eyes, catching glimpses between the latticework built by others’ interpretations.  The frustration we might feel in disentangling the “real” Rosalind from these clashing points of view is only fitting, since her own work with DNA so regularly hit up against the specter of unknowability. The experiments that Franklin oversaw sought to reveal the dimensions and shape of the DNA molecule using X-ray diffraction.  Franklin would mount a DNA sample in front of an X-ray tube, then subject the sample to a stream of X-rays for a very long exposure time, up to 100 hours. During that time, the X-rays would diffract off the molecule and leave traces on a photographic film placed behind the sample. Franklin would then study the traces left on the film in order to calculate backwards, and deduce what three-dimensional shape might have caused that particular pattern of traces.  With her diffraction photographs, Franklin was only ever seeing incomplete facets of the double helix, distortions and fragments from deflected illuminations. She sought to map out DNA then much the way we’re forced to seek out a sense of her now—through traces and fragments. In both pursuits, we’re straining to make out the contours of a portrait without ever quite getting at a conclusive answer.</span>

<span style="font-weight: 400;">It’s understandable that the stakeholders in the discovery of the double helix were invested in offering competing accounts.  No one wants to live in infamy. In his autobiography Maurice Wilkins confessed that he felt the need to tell his side of the story because “Rosalind’s male colleagues were to some extent demonised” in all the back-and-forth.  “The most prominent demon,” he lamented, “seemed to be me.”<sup>3</sup></span><span style="font-weight: 400;">  Such insistent attempts to correct the record are evoked in Ziegler’s play with the way the characters quibble over facts and story points.  They jockey for control of the narrative, in art as in life.</span>

<span style="font-weight: 400;">But then, jockeying for narrative control is a response that has come to be central to our collective mythologizing around DNA’s powers.  Exalted by Crick and Watson and so many others as “the secret of life,” DNA inspires fear and fascination because it dangles before us the disquieting prospect that we might not be as in control of our own destinies as we’d like to think we are.  In the face of DNA’s workings, which are nothing short of miraculous, we struggle to wrest back some possibility for self-determination from the terrifying sense that who we are may have already been predestined. This emerges as an important tension proposed by the play: the tension between our power to author our own outcomes and our powerlessness to undo a bad hand we’ve been dealt.  The constellation of experimenters peopling </span><i><span style="font-weight: 400;">Photograph 51</span></i><span style="font-weight: 400;"> yearn to write their own stories; but they must also confront moments when fighting the inevitable is no longer any use.</span>

<span style="font-weight: 400;">The architecture of fate implied by DNA may elicit our apprehension, but we are equally in thrall of what it implies about potential, about blueprints of possibilities that do or do not get fully realized.  This, too, we hear about in the play: missed opportunities and roads not taken, to include the roads we actively choose never to take.</span>

<span style="font-weight: 400;">The twists and turns of the double helix’s discovery are so densely laden with what-ifs and what-might-have-beens that one becomes positively heartsick to consider all the wasted possibilities.<sup>4</sup></span><span style="font-weight: 400;">  What if Rosalind and Maurice had just found a way to talk things through?  What if she had just had a colleague at King’s College who had encouraged her to realize her potential?  “She needed a collaborator,” said her former colleague Aaron Klug in an interview decades later, “and she didn’t have one.  Somebody to break the pattern of her thinking, to show her what was right in front of her, to push her up and over.”<sup>5</sup></span>

<span style="font-weight: 400;">The even larger what-if inherent in this line of questioning is, what if women were encouraged to excel in the sciences?  What if the thumb were taken off the scale? Why is it that, between 1901 and 1951, when Rosalind started her work on DNA, only 3 out of 169 Nobel Prize winners in the sciences were women?  Why is it that by 1951 women comprised not even 1% of the Fellows of the Royal Society, and that up until the end of the century women comprised not even 4% of their total membership? Sociologist Sandra Hanson sums the problem up succinctly with the title of her book </span><i><span style="font-weight: 400;">Lost Talent: Women in the Sciences</span></i><span style="font-weight: 400;">.  What if the talent were embraced and nourished, and not lost?</span>

<span style="font-weight: 400;">Lost in the deification of Watson and Crick are, all too predictably, contributions from women who facilitated their path to glory, and not only Rosalind Franklin.  Francis Crick’s wife Odile, herself an artist and fashion designer, drew the famous barbershop-pole diagram of the DNA molecule that appeared with the landmark essay by Watson and Crick in the April 25, 1953, issue of </span><i><span style="font-weight: 400;">Nature</span></i><span style="font-weight: 400;">, which announced their discovery of DNA’s configuration.  Odile’s drawing became one of the most reproduced images in 20</span><span style="font-weight: 400;">th</span><span style="font-weight: 400;">-century science.  Watson’s sister Betty did them the favor of typing up their scrawled manuscript, which made the publication of their breakthrough possible.  Such invisible work from women relegated to the wings of heroic science warrants corrective unearthing, and Rosalind Franklin has come to stirringly signify the erasure and thwarted potential of many more than just herself.</span>

<span style="font-weight: 400;">The Franklin family has at times been a bit stunned and mystified by all the unexpected attention.  Tracing the evolving versions of her older sister that she has watched play out in books and on television over the years, Jenifer Glynn writes that “Rosalind became a symbol, first of an argumentative swot, then of a downtrodden woman scientist, and finally of a triumphant heroine in a man’s world.  She was none of these things, and would have hated all of them.” Glynn goes on to assert that her sister was “simply a very good scientist.”<sup>6</sup></span>

<span style="font-weight: 400;">In her exacting standards and eye to detail, Rosalind Franklin was also, most certainly, an artist. Time and again, </span><i><span style="font-weight: 400;">Photograph 51</span></i><span style="font-weight: 400;"> links Franklin’s work as a scientist with the exquisite labor of artistic creation.  It’s an important linkage, given that Franklin is often faulted in science histories for lacking the creativity to intuit the double helix’s shape, despite having gathered so much critical evidence.  Insisting on the parallel between Franklin’s science and art, the play echoes an obituary tribute from pioneering physicist J. D. Bernal, with whom Franklin worked. Bernal wrote, “Her photographs are among the most beautiful X-ray photographs of any substance ever taken.  Their excellence was the fruit of extreme care in preparation and mounting of the specimens as well as in the taking of the photographs. She did nearly all this work with her own hands.”<sup>7</sup></span><span style="font-weight: 400;">  In the lab Franklin was indeed said to have hands that were “golden,”<sup>8</sup></span><span style="font-weight: 400;"> with the precision and steady confidence of a true sculptor.</span>

<span style="font-weight: 400;">At one point in Ziegler’s play, Rosalind is slyly compared to Hermione, the grossly wronged queen of Sicily, in a passing reference to Shakespeare’s </span><i><span style="font-weight: 400;">The Winter’s Tale</span></i><span style="font-weight: 400;">.  At the end of Shakespeare’s play, Hermione is presented as a statue.  Like the Hermione of Shakespeare, the Rosalind of Ziegler’s play is an unjustly treated heroine given to us in the form of an artistic creation.  But this Rosalind is herself an artist and author, too. Early on we hear her assert, “I don’t like others to analyze </span><i><span style="font-weight: 400;">my</span></i><span style="font-weight: 400;"> data, </span><i><span style="font-weight: 400;">my</span></i><span style="font-weight: 400;"> work.”<sup>9</sup></span><span style="font-weight: 400;">  Minus the mention of “data,” it’s a sentiment I’ve heard uttered by absolutely every playwright I’ve ever met.</span>

<span style="font-weight: 400;">“It’s a tricky thing about time, and memory,” Don Caspar says in the play, “whole worlds of things we wish had happened are as real in our heads as what actually did occur.”<sup>10</sup></span><span style="font-weight: 400;">  The same can be said of the imagined world on a stage.  It gently places what might have happened on equal footing with what actually did, making one as real as the other.  Out of the tangled knots of the double helix’s variant strands, Anna Ziegler grants us the space in </span><i><span style="font-weight: 400;">Photograph 51</span></i><span style="font-weight: 400;"> to dream of what might have been for Rosalind Franklin, while we also weigh what was.</span>

See <em><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/">Photograph 51</a> </em>on Court's stage—performances continue through February 17. <a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/"><strong>Get tickets →</strong></a>
<p class="caption"><em>Photo of Chaon Cross, Nicholas Harazin, Alex Goodrich, and Nathan Hosner from PHOTOGRAPH 51 by Michael Brosilow.</em></p>


<hr />
<p class="caption">1. James D. Watson, <i>The Double Helix: A Personal Account of the Discovery of the Structure of DNA</i> (New York: W.W. Norton, 1980) 14.
2. Brenda Maddox, <i>Rosalind Franklin: The Dark Lady of DNA</i> (New York: HarperCollins, 2002) 312.
3. <span style="font-weight: 400;"> Maurice Wilkins, </span><i><span style="font-weight: 400;">The Third Man of the Double Helix: The Autobiography of Maurice Wilkins</span></i><span style="font-weight: 400;"> (Oxford: Oxford UP, 2003) x.
</span>4. <span style="font-weight: 400;"> For many more what-ifs, see Jenifer Glynn, </span><i><span style="font-weight: 400;">My Sister Rosalind Franklin</span></i><span style="font-weight: 400;"> (Oxford: Oxford UP, 2012) 121, and Maddox 140.
</span>5. <span style="font-weight: 400;"> Horace Freeland Judson, </span><i><span style="font-weight: 400;">The Eighth Day of Creation: Makers of the Revolution in Biology</span></i><span style="font-weight: 400;"> (Plainview, NY: Cold Spring Harbor Laboratory Press, 1996) 148.
</span>6. Glynn 160.
7. <span style="font-weight: 400;"> J. D. Bernal, “Dr. Rosalind E. Franklin,” </span><i><span style="font-weight: 400;">Nature</span></i><span style="font-weight: 400;"> 182 (1958): 154.
</span>8.  <span style="font-weight: 400;">Maddox 143.
</span>9. Anna Ziegler, <i>Photograph 51</i> (New York: Dramatists Play Service, 2011) 13.
10. Ziegler 58.</p>"
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<em>We asked several female University of Chicago undergraduate science students to reflect on Rosalind Franklin and their own experiences in overcoming gender-related obstacles in their fields. Their answers illuminate the challenges women continue to face in STEM fields, and uncover the unconscious biases young women encounter growing up.</em>

<strong>Why do you think Rosalind Franklin’s story is especially resonant today?</strong>

“Today, we are far more aware of the bias against women in traditionally male fields, and Franklin’s story—that of an extraordinary scientist whose contributions to the structure of DNA were not recognized in the 1962 Nobel Prize awarded to her male colleges—is an archetypical reminder of the barriers we’ve overcome and the ones we still face today,” says Hannah Morin, AB’20, a chemistry and molecular engineering major.

Khloe Pastore, AB’21, studying biology, adds that “While there are a great deal more opportunities today for women in science, a large amount of sexism still exists that makes it seem as if men’s ideas are somehow more important and valid than women with the same basis of knowledge and experience.”

Elizabeth, another biology major, agrees that “Part of that process is not only giving women scientists today the recognition that they deserve, but also emphasizing the role that women had in past discoveries that were glossed over due to their gender. I think that can be really important in inspiring women to pursue science, because they can look up to all of the women who have made meaningful contributions before them.”

<strong>Do you identify with Franklin’s struggles? In what ways?</strong>

According to Khloe, “I have been refused an opportunity that a man with qualifications equal or lesser than my own was handed without a second thought.” Elizabeth also says that “there is still a cultural norm that men are good at math and science, while women are not. I definitely felt that growing up.”

Hannah has had a similar experience: “On a very basic level I assume Franklin found herself the only woman in a room too and had to constantly combat the idea that women are not good at math or are not technical. Back then, we didn’t have a word for impostor syndrome, but having to constantly combat the idea that the group, not a particular individual, is incompetent is exhausting.”

<strong>What does it mean to be a female scientist in 2018? Has that changed in your lifetime?  </strong>

Hannah tells the story of how, “A few years ago, Nobel Laurette Tim Hunt told a convention of female scientists he was in favor of same-sex labs, because when women are in the lab, ‘You fall in love with them, they fall in love with you and when you criticize them, they cry.’ In the same breath, he declared that he ‘didn’t want to stand in the way of women.’ These clashing ideals are representative of the female experience in science: the field knows we need to support women, but old habits die hard.”

To Khloe, “As a female scientist, you aren’t just representing yourself, you’re representing an entire group of women working in fields that even 50 years ago weren’t readily available to us.”

<strong>What can audiences learn from Franklin’s story? </strong>

“At 16, she decided she wanted to be a scientist. The year was 1937, and female scientists were almost unheard of. During the three years leading up to her PhD, she published an amazing five papers. Her work on plant viruses was pioneering and before her death she was already giving talks on the topic. Watson caricatured her as incompetent and ill-tempered; we must be careful not to caricature her as the woman passed over for the Nobel. She was much more than that,” argues Hannah.

Finally, Khloe adds, “An important takeaway from Franklin’s story is that while women in science have come a long way since the 1950s, there’s still a lot that needs to be done in order for women to be seen as equals to their male counterparts.”

See these issues explored more in Anna Ziegler's play about Rosalind Franklin, <a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/"><em>Photograph 51</em></a>. <a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/"><strong>Learn more about the play →</strong></a>

<hr />

Girls in middle and high school are invited to share their interests in STEM fields by completing a brief survey. Responses will be showcased during <a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/"><em>Photograph 51</em></a> in a Court lobby display representing the future of women in STEM. <b>→ <a href="https://www.courttheatre.org/girls-in-stem/">Share with the STEM girls in your life!</a></b>"
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<i><span style="font-weight: 400;">We spoke with Resident Artist <a href="https://www.courttheatre.org/people/ron-oj-parson/">Ron OJ Parson</a> and Community Programs Manager Aaron Mays about their Spotlight Reading Series, a yearlong citywide reading series in which Court presents rarely produced classics by authors of color. Their answers demonstrate how enthusiastically the community has responded to this series and why venturing outside the mainstream canon matters. </span></i>

<span style="font-weight: 400;">According to Ron, one of the primary reasons for starting the Spotlight Reading Series was to introduce Court to surrounding communities. But the stripped-down nature of the series also meant that Ron and Aaron have the freedom to choose plays that have historically been overlooked or forgotten. Ron comments that “there’s a lot of plays that are old plays, that are classics, that are not looked upon or thought of as classics, because they’re not the typical classics. One of the things when I first got here that I suggested to Charlie was that we could reinvent what a classic was.” Aaron’s view is similar: “We all know about Arthur Miller, we know about Tennessee Williams, but oftentimes there are playwrights who are left out of the conversation.”</span>

<span style="font-weight: 400;">Aaron elaborates that the series is driven by the idea of widening the stage; it resists the idea that there is only room for a set group of works onstage. But lesser-produced plays can be trickier to find. Many are scripts that Ron produced when he was younger, or that come out of Court’s library of anthologies. They cover a variety of perspectives: “a lot of these plays came out of the black theatre movement of the late 60s and early 70s, but we also decided to include Native American plays, Latin plays, we’re looking at an Asian play, so we also want to reach out to that community as well since it is diverse over here,” says Ron. Aaron adds that the nature of the plays also makes a difference: “I think in the curation we try to find plays that have rich language. That could be anything: it could be more poetic, it could be more prose, but I think that’s part of the selection process, language that is rich and vivid and full of color.”</span>

<span style="font-weight: 400;">The results have been overwhelming and feedback enthusiastic. There is strong participation in audience talk backs, according to Aaron. “Even during the show you get some call and response, people are reacting and responding,” he notes. Another exciting aspect of the series is that it brings together a diverse variety of community members. Ron has observed that the series' plays “have mixed the communities. Black people come to the Latin plays, Latin people come to the black plays.” Aaron agrees, commenting that audience members range from high school kids to seniors across a spectrum of ethnicities and income levels. The readings also offer food that reflects the community or neighborhood, which functions as a gathering point for audience members to meet new people, connect with old friends, and be in fellowship with each other.</span>

<span style="font-weight: 400;">Ron hopes that the series can expand to include more community involvement, possibly even including seminars and discussions about the plays, or involving other theatres in producing some of the plays. A couple of future readings will be done at the new Green Line Performing Arts Center. Aaron is interested in offering a slot for new work that reimagines or adapts classic texts, a vision that Ron shares. </span>

<span style="font-weight: 400;">Because of the readings, many community members have discovered Court’s existence, but it’s important to recognize that the readings also serve a valuable function outside of Court’s mainstage productions. They give much-deserved attention to these important, under-produced works. “The adjective in front of the 'American stage' is American' and what that defines. If we only look at that as one thing, it is a disservice to the American stage,” reflects Aaron. "There are other stories that shape that." Thus, the Spotlight Reading Series “levels the playing field to say that those who shape it can make it as well.”</span>

Learn more about <a href="https://www.courttheatre.org/community-engagement/spotlight-reading-series/">Court's Spotlight Reading Series. →</a>
<p class="caption">Photo of the Spotlight Reading of <a href="https://www.courttheatre.org/season-tickets/spotlight-reading-series/spotlight-reading-dance-widows-row/"><em>The Dance on Widow's Row</em></a> by Samm-Art Williams (Jake Newell).</p>"
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<em>In preparation for our upcoming production of </em><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/">Photograph 51</a><em>, we spoke with scenic designer Arnel Sancianco to learn more about his process, and how he went about designing a stunning set for Anna Ziegler's play about ambition, science, and Rosalind Franklin.</em>

<b>For <i>Photograph 51</i>, you began with research images, and then transitioned into sketches, a "white model," some color options, and a scale model. What is the purpose of each of these steps? Was this approach specific to <i>Photograph 51 </i>or just your general approach?</b>

Each one of these steps was a different way I was communicating with our director, Vanessa Stalling. As a designer, it’s hard using just words to describe what I’m envisioning in my head. I need to make sure Vanessa is seeing exactly what I’m seeing, without causing any further confusion. Vanessa originally sent me this image below and I used that as a jumping off point.

<img class="alignnone wp-image-11670 size-full" src="https://www.courttheatre.org/wp-content/uploads/2018/11/1-e1543357237644.jpg" alt="" width="640" height="426" />

We were both excited by the idea of the chorus of men observing Dr. Franklin like she was some sort of specimen. I believe it was our costume designer Meika who compared the feeling to that of a Panopticon, which brought me to the next image. We synthesized both of these images into the several versions of the set that followed. Each model experimented with how the show moves, and how certain scenes could take place.

<img class="alignnone size-full wp-image-11671" src="https://www.courttheatre.org/wp-content/uploads/2018/11/2.jpg" alt="" width="640" height="398" />

<b>How does your research and initial conceptual work aide your conversations with the director and other designers?</b>

The model, I think, is the most valuable tool set designers have in their arsenal. It’s a near accurate representation of what exists in my head in a tangible, three-dimensional form. The earliest model originally had two rows of windows. It was Keith Parham, the Lighting Designer, who pointed out that if we had one more layer of windows we could really get some mesmerizing depth in the design.

<b>How do you approach a play like <i>Photograph 51</i>? How much input do you receive from the director and other designers?</b>

This is my second Anna Ziegler play that I’ve designed and I really love the fluidity of her writing. Her scenes flow seamlessly into the next and it’s this pacing that builds a momentum that I don’t see in many other playwrights. Knowing this I made sure that my set didn’t get in the way of Ziegler’s writing. We don’t have time for major wall shifts or expensive transitions. Movements like that didn’t feel right with the way play ebbed and flowed. In terms of input from my team, you’ll note how collaborative we’ve been working just to create the physical space for the play. I may be responsible for the set, but we are all working to create a singular experience for the Court audiences. Before we were able to move forward with the final model, Kieth, Paul, Vanessa, and I all agreed that we needed to test out the layering of windows in full scale to see how they would interact with projections.

<img class="alignnone wp-image-11672 size-full" src="https://www.courttheatre.org/wp-content/uploads/2018/11/3-e1543357796516.jpg" alt="" width="640" height="480" />

<strong>What was one of your main goals with this set design?</strong>

Along with trying to handle projections and creating an all-encompassing space for the story to unfold, I really wanted to create a feeling of observation. There’s a unique feeling that any marginalized person feels when they’re put into a position of power. It’s this exposed feeling that someone is watching your every move, waiting for you to fail so you can be another example of your race or gender’s incompetence. That, I think, is what’s at the very core of <em>Photograph 51</em>. This feeling of pressure that got in the way of Dr. Franklin, and stopped her from seeing what was right in front of her.

<b>You mentioned on Instagram that your initial design proposal was over budget. In what ways did you scale it back, while still maintaining the features from your initial designs that you considered most integral?</b>

The original design was a full panoramic experience that spanned the entire width of the theatre. As we approached the bidding process, we were preparing to scale back, and we kept in our minds a set of "must haves” for the final design. The window idea was one of those "must haves," along with the upper-level bridge where our chorus of men could perch themselves. As stressful as the cutting process is, I thoroughly enjoy it at the end. It’s an exciting way to challenge your design’s values and point-of-view. Anything that doesn’t support the perspective of the play or the action of the story is deemed unnecessary, and I cut it without regret. The panoramic design was an awesome (and I mean to use this word in the biblical sense) take on this window idea, but the width didn’t really do much more. We discovered as we narrowed the design’s wings that the smaller space allowed for quicker transitions and created a more focused energy to the play. Fun fact: I was in Philadelphia, in rehearsal for another show, when we decided to focus the design down. I grabbed all the scrap board I could find in the prop shop and built a model in my hotel room to show Vanessa what the new design would look like.

<img class="alignnone size-full wp-image-11675" src="https://www.courttheatre.org/wp-content/uploads/2018/11/6-e1543357834139.jpg" alt="" width="640" height="397" />

<hr />

<em>Photograph 51</em> runs January 17 - February 17 <b>→ <a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/">Get Tickets</a>.</b>"
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<span style="font-weight: 400;">Press throughout Chicago are praising Manual Cinema's </span><i><span style="font-weight: 400;">Frankenstein</span></i><span style="font-weight: 400;">, with many critics Highly Recommending the production</span><span style="font-weight: 400;">. Audiences and critics alike agree that Manual Cinema's work is innovative, ambitious, and dynamic. See what the minds behind "live cinema" have created from Mary Shelley's classic novel —<a href="https://www.courttheatre.org/season-tickets/2018-2019-season/frankenstein/"> get tickets</a> to </span><i><span style="font-weight: 400;">Frankenstein</span></i><span style="font-weight: 400;">.</span>

<hr />

<span style="font-weight: 400;">“You’ll likely be blown away by the singularity of the artistic technique. Aside from the ability to watch the movie while you watch the creation of the movie, you also get an original score, played live by an ensemble of four musicians. Manual Cinema does world-class work from its Chicago base; the word is only now getting out.</span><span style="font-weight: 400;">"</span>

<a href="https://www.chicagotribune.com/entertainment/theater/reviews/ct-ent-frankenstein-court-review-1112-story.html"><span style="font-weight: 400;">—Chris Jones, </span><i><span style="font-weight: 400;">Chicago Tribune</span></i></a>

<hr />

<span style="font-weight: 400;">“Another stage marvel from Manual Cinema...With a score that sonically stitches the story together, “Frankenstein” is an ingenious merger of live music and captivating visuals. No matter where you look, you'll find beauty and intrigue.”</span>

<a href="https://chicago.suntimes.com/entertainment/radio-golf-court-theatre-august-wilson-theater-chicago-things-to-do/"><span style="font-weight: 400;">—Catey Sullivan, </span><i><span style="font-weight: 400;">Chicago Sun-Times</span></i></a>

<hr />

<span style="font-weight: 400;">“Manual Cinema’s <em>Frankenstein</em> at Court Theatre is a complex visual treat...impressive in scope and execution, entertaining, and (especially if you’ve never seen Manual Cinema before) absolutely fascinating to watch. The opening night audience was entranced, and I have no doubt you will be as well.”</span>

<a href="http://chicagoonstage.com/manual-cinemas-frankenstein-at-court-theatre-is-a-complex-visual-treat/"><span style="font-weight: 400;">—Karen Topham, </span><i><span style="font-weight: 400;">Chicago On Stage</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">★★★★ Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“Astonishing, wildly imaginative...an elaborately layered and wholly hypnotic form of storytelling – at once handmade and high-tech, and mind-boggling in the complexity of the countless clockwork cues so essential to making it all spring to life in a seamless mix of live performance, silent film-style “intertitles,” many ingenious forms of puppetry, a haunting soundscape and more.”</span>

<a href="https://news.wttw.com/2018/11/12/nature-nurture-and-art-creation-manual-cinema-s-astonishing-frankenstein"><span style="font-weight: 400;">—Hedy Weiss, WTTW’s </span><i><span style="font-weight: 400;">Chicago Tonight</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“Mary Shelley’s <em>Frankenstein</em>, through the unbelievable sights and sounds created by the fertile imagination of Manual Cinema, is an absolutely glorious theatrical experience. The company injects so many new, added elements not typically found in a stage performance. They bring to Chicago theatergoers an electrifying performance they won’t soon forget.</span><span style="font-weight: 400;">”</span>

<a href="https://www.chicagotheatrereview.com/2018/11/a-breathtaking-multimedia-experience/"><span style="font-weight: 400;">—Colin Douglas, </span><i><span style="font-weight: 400;">Chicago Theatre Review</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“Manual Cinema’s <em>Frankenstein</em> is a purposefully-paced, finely-tuned masterpiece that evolves on many sensory levels commanding attention at every turn. With a gloriously expressive ensemble – delivering multiple characterizations, nonstop action, and whimsical imagery – words have been rendered virtually unnecessary.”</span>

<a href="http://www.aroundthetownchicago.com/theatre-reviews/frankenstein-reviewed-by-michael-horn/"><span style="font-weight: 400;">—Ed Tracy, </span><i><span style="font-weight: 400;">Picks in Six</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“A captivating monochromatic video mash-up, reminiscent of a nickelodeon feature, assembled and projected on stage before your eyes...This is a unique theatrical experience that should not be missed.</span><span style="font-weight: 400;">”</span>

<a href="http://chicagotheaterandarts.com/2018/11/12/frankenstein-viewed-through-manual-cinema-eyes/"><span style="font-weight: 400;">—Reno Lovison, </span><i><span style="font-weight: 400;">Chicago Theatre and Arts</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“Revealing what would be otherwise considered a “backstage” experience is what renders the final onstage experience so darn impressive. At certain points, while they emulate a turn-of-the-century silver screen aesthetic, the realization sets in that this ensemble has managed to create a black and white silent film edited LIVE better than some celluloid originals from that genre.</span><span style="font-weight: 400;">”</span>

<a href="http://perform.ink/review-frankenstein-at-court-theatre/"><span style="font-weight: 400;">—Tonika Todorova, </span><i><span style="font-weight: 400;">PerformInk</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">Highly Recommended</span></a><a href="http://perform.ink/review-frankenstein-at-court-theatre/"> - Critics Pick</a>

<hr />

<span style="font-weight: 400;">“This historic storytelling is cleverly brought together combining many different fragments with each piece detailing this gothic horror coming to life with live musicians performing on stage with live actors and shadow puppetry; which include over 500 puppets to create what looks like you're watching an animated film right before your eyes.</span><span style="font-weight: 400;">”</span>

<a href="http://www.chicagonow.com/lets-play/2018/11/frankenstein/"><span style="font-weight: 400;">—Rick and Brenda McCain, </span><i><span style="font-weight: 400;">Chicago Now Let's Play</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">Highly Recommended</span> - Critics Pick</a>

<p class="caption">Photo by Michael Brosilow.</p>"
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        string(320) "Court Theatre is excited to announce that we were honored with three awards from Monday night’s 50th Annual Joseph Jefferson Awards. Two actors from productions during our 2017/18 Season were honored, with Court also receiving a special Jeff Award for our commitment to the Chicago theater community for over 50 years!"
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<span style="font-weight: 400;">Court Theatre is excited to announce that we were honored with three awards from Monday night’s 50th Annual Joseph Jefferson Awards. Two actors from productions during our 2017/18 Season were honored, with Court also receiving a special Jeff Award for our commitment to the Chicago theater community for over 50 years!</span>

<span style="font-weight: 400;">Jeff Awards Committee Chairman David Liesse presented the special award along with a brief history of Court Theatre--from our origins as an outdoor summer theatre, to Nicholas Rudall’s role in conceiving Court’s tradition of translating and adapting classic texts for contemporary audiences, to </span>Charles Newell’s transition into Artistic Director and the innovative work he has led since. Newell accepted the award on Court’s behalf. The Goodman Theatre, Drury Lane Productions, and The Second City were also recognized for over half a century of productions.

<img class="alignnone size-full wp-image-11445" src="https://www.courttheatre.org/wp-content/uploads/2018/10/courthistory.jpg" alt="" width="800" height="300" />

<a href="https://www.courttheatre.org/people/kate-fry/"><span style="font-weight: 400;">Kate Fry</span></a><span style="font-weight: 400;"> won Solo Performance for her role as Emily Dickinson </span>in <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/the-belle-of-amherst/"><i>The Belle of Amherst</i></a>. She thanked Court, Emily Dickinson, and the “dreamy” Timothy Edward Kane.

<a href="https://www.courttheatre.org/people/4129/"><span style="font-weight: 400;">Lorenzo Rush Jr</span><span style="font-weight: 400;">.</span></a><span style="font-weight: 400;"> won Performer in a Revue for his role as </span>Big Moe in <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/five-guys-named-moe/"><i>Five Guys Named Moe</i></a>. He performed with fellow <i>Five Guys Named Moe </i>cast members <a href="https://www.courttheatre.org/people/james-earl-jones-ii/">James Earl Jones II</a>, <a href="https://www.courttheatre.org/people/eric-andrew-lewis/">Eric A. Lewis</a>, <a href="https://www.courttheatre.org/people/stephen-allen/">Stephen Allen</a>, and <a href="https://www.courttheatre.org/people/kelvin-roston-jr/">Kelvin Roston Jr.</a> to great applause earlier in the evening.

<img class="alignnone size-full wp-image-11444" src="https://www.courttheatre.org/wp-content/uploads/2018/10/jeffwinners.jpg" alt="" width="800" height="300" />
We’re also proud to share that the following artists who have spent time as a member of Court’s family won awards for their work across the city: <a href="https://www.courttheatre.org/people/andre-pluess/">Andre Pleuss</a>, <a href="https://www.courttheatre.org/people/nick-bowling/">Nick Bowling</a>, and <a href="https://www.courttheatre.org/people/todd-rosenthal/">Todd Rosenthal</a>.

<span style="font-weight: 400;">We are privileged to be part of the incredible theatre community in Chicago, and thank the audiences and artists in our incredible city for making this such a rewarding place to make theatre. See </span>all of the nominations and recipients <a href="https://www.jeffawards.org/equity-nominees">here</a>.

<span style="font-weight: 400;">Subscribe to the 2018/19 Season so you won’t miss a moment! Up next at Court: Manual Cinema's </span><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/frankenstein/?gclid=Cj0KCQjwsMDeBRDMARIsAKrOP7ElYwO4dQSlXKsf31rYh1B4vnvLcIUQqV2yxPYxR3wmYqG7VUv0aVcaAjjqEALw_wcB"><i><span style="font-weight: 400;">Frankenstein</span></i></a><span style="font-weight: 400;">. </span>"
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      string(320) "Court Theatre is excited to announce that we were honored with three awards from Monday night’s 50th Annual Joseph Jefferson Awards. Two actors from productions during our 2017/18 Season were honored, with Court also receiving a special Jeff Award for our commitment to the Chicago theater community for over 50 years!"
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<em><span style="font-weight: 400;">In September, Angel Ysaguirre joined Court as the new Executive Director. We caught up with Angel to ask him about his plans for Court, his love of the arts, and what he enjoys doing in his spare time. Read on to hear from Angel himself! </span></em>

<span style="font-weight: 400;"><strong>What drew you to Court Theatre?</strong> </span>

<span style="font-weight: 400;">First, the theatre’s long history of excellent productions. Added to that, it being part of the University of Chicago and its location on the South Side, which has a phenomenal history of such incredible creativity.</span>

<span style="font-weight: 400;"><strong>What are some other arts organizations in the city that you find exciting?</strong> </span>

<span style="font-weight: 400;">The Chicago Cultural Center, which always has such cutting edge art exhibitions by Chicago-based artists for free; Stony Island Arts Bank, which is a beautifully restored building and has incredible collections like the Frankie Knuckles record collection and the Johnson Publishing archives but also beautiful works of contemporary art; Eighth Blackbird, the new music ensemble that displays such fantastic skill and innovation; the Joffrey Ballet, whose productions keep getting more and more beautiful; the Poetry Foundation, which publishes the unparalleled </span><i><span style="font-weight: 400;">Poetry Magazine</span></i><span style="font-weight: 400;"> but who also presents an amazing array of poets in their building; finally, my old outfit, Illinois Humanities, because the breadth of Chicagoans who attend their programs is more diverse and authentic than anywhere else I’ve seen. </span>

<span style="font-weight: 400;"><strong>What role do you see Court playing on the South Side of Chicago? Do you have any plans to deepen the connection between Court and the community?</strong> </span>

Court is fortunate to exist on the South Side, an area that abounds with creativity – including not only some of the world’s most important writers, musicians, dancers, painters and sculptors, but also publishers, academics, community organizers, and public servants. Court is one of only two professional theatre companies on the South Side. As such, I believe that the theatre should significantly contribute to the vitality of the South Side. Court endeavors to become the theatre that is truly of and for the people of the South Side.

<strong>Describe your office set-up and style.</strong>

<span style="font-weight: 400;">I don’t have a desk, which I guess is surprising to folks. Instead, I have a sofa and a pair of chairs for meetings. Since we mostly work on laptops now and I spend most of my time in meetings or on campus or in the community, I don’t see the need for a desk. I also have a record player, which people also find surprising, but we spend a lot of evenings at the office and having good music after hours is key. I will say that the first record I brought to the office was a Chaka Kahn record, because Chaka is one of the most amazing treasures that the South Side has produced.</span>

<span style="font-weight: 400;"><strong>What’s your favorite way of spending a free evening?</strong> </span>

<span style="font-weight: 400;">If I could, I would spend most of my time reading and listening to music. Other than that, I like to cook, eat with friends, and catch a play or concert here or there. </span>"
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      string(3242) "<img class="size-full wp-image-9560 alignnone" src="https://www.courttheatre.org/wp-content/uploads/2017/12/steve-800x400.jpg" alt="" width="800" height="396" />
<blockquote>What is a legacy? It’s planting seeds in a garden you never get to see.” What does your garden look like, Dad? Your legacy is daunting. It is truly that of giants. I promise I will tell your story for the rest of my days. I promise to do my best to carry your legacy onward. To be a force. To love hard. To prioritize family and relationships over all. And to have so much fun living this life I am given.  <em>—Jessica Albert, Daughter, Stephen J. Albert</em></blockquote>
If you’ve ever been to a performance at Court (and even if this is your very first time in Court’s auditorium), you’ve experienced the legacy of Stephen J. Albert.

As Court’s Executive Director from 2010 until 2017, Steve presided over a robust period of growth, establishing the Center for Classic Theatre, strengthening Court’s ties to the community, and cultivating a much closer alliance with the University of Chicago. His influence and leadership ushered in new initiatives, world premiere productions, and increased programming to engage Court’s audiences and neighbors.

Beyond his remarkable influence as Executive Director, Steve was also a friend and a mentor. His phone calls and frequent check-ins “just because” were genuine, and beloved by many. He was known for conducting pop quizzes on music lyrics, and for competing with an absolutely merciless glee during each year’s annual March Madness college basketball bracket competition. Steve inspired trust and devotion from his friends and colleagues, and earned his reputation as an honest, fair, and caring friend and leader.

As Steve guided Court Theatre on a path to achieve its fullest potential, there were four areas he most passionately supported:
<ul>
 	<li><strong>Commissioning new work</strong> to present on Court’s stage;</li>
 	<li><strong>Supporting theatre diversity</strong>: onstage, in programming, behind-the-scenes, and among patrons;</li>
 	<li>Ensuring that youth have the opportunity to experience theatre, whether in the classroom or on Court’s stage, through <strong>Education Initiatives</strong>; and</li>
 	<li><strong>Career development</strong> by guiding the next generation of arts leaders.</li>
</ul>
<strong>Now you can honor Steve’s legacy of determination, compassion, humor, and an unending love of theatre by making a donation to the Stephen J. Albert Living Legacy at Court Theatre. </strong>

Your gift supports Steve’s four pillars of passion and enriches Court’s dedication to innovation, inquiry, intellectual engagement, and community service for this season and the seasons to come.

Steve, thank you for keeping us on track, loving us unconditionally, and being such a tremendous gift to so many. You are and will always be loved and missed.

Sincere thanks to the generous donors who have already given to the Stephen J. Albert Living Legacy. ■

<hr />

To make a gift to the Legacy, please contact Lauren Sheely, Development Assistant, at (773) 834-3563 or via <a href="mailto:lsheely@uchicago.edu">email</a>."
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  <h1>Blog</h1>
  
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/its-not-hypothetical-photograph-51-is-a-hit/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2019/01/reviewblog200x200.jpg" alt="" /></a>
      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/its-not-hypothetical-photograph-51-is-a-hit/">It&#8217;s not hypothetical — PHOTOGRAPH 51 is a hit!</a></h3>
        <p>Critics are praising the cast and production team responsible for PHOTOGRAPH 51. See why Rosalind Franklin's story is resonating with the press.</p>
      </div>
    </article>
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/weil-kovener/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2019/01/Weil-Kovener-200sq.jpg" alt="" /></a>
      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/weil-kovener/">Donors Make a Difference: Tom &#038; Barbara Weil and Gary &#038; Sharon Kovener</a></h3>
        <p>As members of the Producers’ Circle, Court’s premier giving society, the Weils and Koveners enjoy exclusive members-only events at Court Theatre. </p>
      </div>
    </article>
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/double-helix-double-standard/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2019/01/doublehelixdoublestandardthumb.jpg" alt="" /></a>
      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/double-helix-double-standard/">Double Helix, Double Standard</a></h3>
        <p>PHOTOGRAPH 51 production dramaturg Derek Matson chronicles the double standards Rosalind Franklin faced in her work and the history of her story.</p>
      </div>
    </article>
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/engendered-bias-female-undergrads-share-stem-experiences/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2019/01/stemblog200x200.jpg" alt="" /></a>
      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/engendered-bias-female-undergrads-share-stem-experiences/">Engendered Bias: Female Undergrads Share STEM Experiences</a></h3>
        <p>We asked several female UChicago undergrads in STEM to reflect on Rosalind Franklin’s and their own experiences in overcoming gender-related obstacles in their fields.</p>
      </div>
    </article>
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/spotlight-reading-series-redefining-american-stage/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/12/spotlightreadingseriesblogthumb.jpg" alt="" /></a>
      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/spotlight-reading-series-redefining-american-stage/">Court&#8217;s Spotlight Reading Series is Redefining the American Stage</a></h3>
        <p>We spoke with the curators of the Spotlight Reading Series to learn how the community has responded to this series and why venturing outside the mainstream canon matters.</p>
      </div>
    </article>
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/photograph-51-scenic-design-arnel-sanciano/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/11/scenic200x200.jpg" alt="" /></a>
      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/photograph-51-scenic-design-arnel-sanciano/">Behind the Design: The Set of PHOTOGRAPH 51</a></h3>
        <p>We spoke with scenic designer Arnel Sancianco to learn more about his approach to crafting the set of PHOTOGRAPH 51.</p>
      </div>
    </article>
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/manual-cinemas-frankenstein-captures-lightning-in-a-bottle/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/11/frankenstein_thumb.jpg" alt="" /></a>
      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/manual-cinemas-frankenstein-captures-lightning-in-a-bottle/">Manual Cinema&#8217;s FRANKENSTEIN captures lightning in a bottle</a></h3>
        <p>Press throughout Chicago are praising Manual Cinema's Frankenstein, with many critics Highly Recommending the production. See why they think you shouldn't miss this show.</p>
      </div>
    </article>
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/court-theatre-honored-with-three-jeff-awards-at-50th-ceremony/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/10/jeffthumbnail.jpg" alt="" /></a>
      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/court-theatre-honored-with-three-jeff-awards-at-50th-ceremony/">Court Theatre Honored With Three Jeff Awards at 50th Ceremony</a></h3>
        <p>Court Theatre is excited to announce that we were honored with three awards from Monday night’s 50th Annual Joseph Jefferson Awards. Two actors from productions during our 2017/18 Season were honored, with Court also receiving a special Jeff Award for our commitment to the Chicago theater community for over 50 years!</p>
      </div>
    </article>
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/meet-angel-ysaguirre/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/10/BlogThumbAngel.jpg" alt="" /></a>
      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/meet-angel-ysaguirre/">Meet Angel Ysaguirre</a></h3>
        <p>In September, Angel Ysaguirre joined Court as the new Executive Director. We caught up with Angel to ask him about his plans for Court, his love of the arts, and what he enjoys doing in his spare time.</p>
      </div>
    </article>
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/stephen-j-albert-living-legacy/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/01/steve-200x200.jpg" alt="" /></a>
      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/stephen-j-albert-living-legacy/">Stephen J. Albert Living Legacy</a></h3>
        <p>As Court’s Executive Director from 2010 until 2017, Stephen J. Albert presided over a robust period of growth, establishing the Center for Classic Theatre, strengthening Court’s ties to the community, and cultivating a much closer alliance with the University of Chicago. His influence and leadership ushered in new initiatives, world premiere productions, and increased programming to engage Court’s audiences and neighbors. </p>
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