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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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            string(152) "We spoke with scenic designer Arnel Sanciano to learn more about his approach to crafting the set of PHOTOGRAPH 51, opening at Court Theatre January 17."
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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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            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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          string(5644) "<p style="padding-left: 30px;"><i><img class="alignnone size-full wp-image-11399" src="https://www.courttheatre.org/wp-content/uploads/2018/10/kyle-ben.jpg" alt="" width="800" height="300" />We spoke with two of Manual Cinema’s Co-Artistic Directors, <a href="https://www.courttheatre.org/people/ben-kauffman/">Ben Kauffman</a> and <a href="https://www.courttheatre.org/people/kyle-vegter/">Kyle Vegter</a>, about the role of music in </i><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/frankenstein/">Frankenstein</a><i>. Both Kauffman and Vegter bring considerable experience in the worlds of composition and sound design to their work with Manual Cinema, helping to immerse audiences in their storytelling with live instrumentation. Read on to learn about their approach to creating the auditory world of</i><i> </i>Frankenstein<i>.</i></p>

<h5>Manual Cinema’s work is sometimes compared to silent film, a medium which heavily relied on music to complement the visuals on screen. How does music help tell the story of <i>Frankenstein</i>?</h5>
The music of <i>Frankenstein</i> supports the storytelling in a number of ways, but, maybe most importantly, the music supports the nesting-doll structure at the heart of our production (and Mary Shelley’s novel). Each story or storyteller the audience encounters during the show has its own sound universe and its own musical vocabulary. We hope this feels a little like different “narrative voices” that set apart the various stories being told. At the same time, all of the central themes and questions in the show echo and reverberate from one story to another, as if each is a dream of the others. Musically, we hope you can hear those echoes.
<h5>How do you approach composing original music for each Manual Cinema performance?</h5>
The approach is different for each project! For some productions, it’s “visuals first,” which means that the visual team creates storyboards and a rough video demo of the show, which we then score, as you would a film. Other projects are “music first,” where we write original music as the foundational element, and the visual team will create and stage the imagery in response. For <i>Frankenstein</i>, the novel and storyboards were the jumping-off point, so we had something text-based <i>and</i> visual to respond to. But some of the music was written without specific scenes in mind, more just channeling a feeling or a mood we wanted to explore.<span class="Apple-converted-space"> </span>
<h5>When do you begin incorporating music into the rehearsal process? How does the score evolve as the play continues to develop? <span class="Apple-converted-space"> </span></h5>
For a new show that we’re putting up, the music team and the visual team will typically rehearse separately for a number of weeks, followed by a few weeks of full-company rehearsal. The full-company rehearsals are when we begin stitching together the visual and sonic elements of the show, and, frankly, when we first see what the show actually is. So, those full-company rehearsals are a very clarifying process. During that time, we look at the pacing of music together with visuals; we may tweak when a piece of music begins or ends, and we may even throw out music that’s not working and write something new. For <i>Frankenstein</i> especially, we had this question of how the staging of the musicians might create another layer of drama and storytelling for the show, and that’s the type of question that gets answered in rehearsal.
<h5>When does the creative team look to music to solve parts of the storytelling puzzle?<span class="Apple-converted-space"> </span></h5>
I feel like in our work the visual storytelling and the music/sound design work hand-in-hand pretty much non-stop. One couldn’t really function to its fullest potential without the other. Music in particular often stands in for dialogue in our work, so we might write music that expresses a character’s point of view, or illuminates the nature of a relationship that’s playing out on screen. More broadly, music and sound design really clue you in to the pacing and density of the storytelling, so it can help the creative team make decisions akin to “editing” in film parlance.<span class="Apple-converted-space"> </span>
<h5>What sources of musical inspiration are you drawing from in <i>Frankenstein</i>?</h5>
We’re both musical omnivores and gather inspiration from a ton of different places. When we’re starting a piece we usually create a playlist of influences so that we can get on the same page before we start writing. Our <i>Frankenstein</i> playlist had some recent Jonny Greenwood film scores (<i>Phantom Thread, The Master</i>), Johan Johansson’s score for <i>Arrival</i>, yMusic’s new record they made with The Staves, John Adams’ <i>The Dharma at Big Sur</i>, Nico Muhly orchestral works, David Lang choral works, some Jenny Hval, Björk, Sufjan, Death Grips, and Flying Lotus. Harry Partch and his self-invented percussion instruments were a huge influence, especially on our use of glass instruments and the little robot arms. ■
<hr />

<a href="https://www.courttheatre.org/season-tickets/2018-2019-season/frankenstein/"><b><i>Frankenstein</i></b></a><b> is on stage November 1-December 2, 2018. </b>

<b>Want to be the first to see it? <a href="https://www.courttheatre.org/season-tickets/special-event/frankenstein-halloween-party/">Dare to join us on October 31</a>, where we’ll have a frightfully fun Halloween party followed by our final dress rehearsal. </b>"
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          string(7037) "<p style="padding-left: 30px;"><em><img class="alignnone size-full wp-image-11393" src="https://www.courttheatre.org/wp-content/uploads/2018/10/sarah-800x300.jpg" alt="" width="800" height="300" />To learn more about Manual Cinema’s unique approach to creating theatre, we interviewed Sarah Fornace, Co-Artistic Director of the performance collective and performer in </em><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/frankenstein/">Frankenstein</a><em>. She shares her thoughts on theatrical adaptation, the legacy of Mary Shelley’s work, and Manual Cinema’s “live cinema” aesthetic. </em></p>

<h5>Manual Cinema brings together a diverse variety of artists and disciplines. How did the company take shape and evolve?</h5>
Manual Cinema is a collaboration between sound designers and composers <a href="https://www.courttheatre.org/people/ben-kauffman/">Ben Kauffman</a> and <a href="https://www.courttheatre.org/people/kyle-vegter/">Kyle Vegter</a>, and visual theatre and puppetry artists <a href="https://www.courttheatre.org/people/julia-miller/">Julia Miller</a>, <a href="https://www.courttheatre.org/people/drew-dir/">Drew Dir</a>, and <a href="https://www.courttheatre.org/people/sarah-fornace/">Sarah Fornace</a>. We first came together to make a short show with only one projector called “The Ballad of Lula del Ray.”

The idea behind Manual Cinema is that we use the language of cinema to tell theatrical stories onstage. We often make shows without words, and we use sweeping musical scores, immersive sound design, and handmade adaptations of film techniques to convey character and plot. When we first started out, we performed the puppetry behind the screen. However, we eventually figured out that an important part of the show is watching it get created, piece by piece.

At a Manual Cinema show, we want to juxtapose the cleanness of the film screen and filmic image with the humanity and mess and athleticism of a small group of performers creating each image in real time, by hand. In today’s world, we are all surrounded by screens large and small. We want to take the ubiquitous experience of watching a story onscreen and make it strange and human and wondrous.
<h5>Manual Cinema’s work is highly theatrical, and yet it’s very different than most plays you’ll see around Chicago. How would you describe this piece to someone who’s never experienced one of your shows before?</h5>
I would describe it as a piece of live cinema. There is a live band creating the soundtrack in real time onstage. Hundreds of sound cues create movie theatre-style, immersive sound design that envelopes the audience in the sonic world of the show. They will see puppeteers play dozens of characters and manipulate over 500 paper puppets to create what looks like a silent animated film in real time right in front of their eyes.
<h5>Shadow puppetry, live actors, live musicians—<em>Frankenstein</em> is definitely multidisciplinary in its storytelling. How would you encourage audiences to engage with these various elements?</h5>
It is important to us that the audience has agency in experiencing the show. The audience has the choice to just watch the large screen above like a movie. Or they can watch the four musicians as they move around the space playing a variety of instruments and found objects. Or they could watch the puppeteers manipulating the Creature puppet and the camera. Or they can look over and see the actors play Mary Shelley and Fanny Imlay in shadow and then quick change into Victor <em>Frankenstein</em> and the Creature in front of the camera. There is no wrong way to watch the show, and each person constructs their own unique experience by choosing what to watch at any moment. We want to make space for the audience to put together (dare we say “frankenstein?”) their own live cinematic experience during this show.
<h5>Manual Cinema is dramatizing more than just the Monster’s creation in your adaptation; you’re also staging parts of Mary Shelley’s life. What are you hoping to accomplish in juxtaposing these stories?</h5>
We were fascinated by the story of Mary Shelley, an extraordinary woman who invented a literary genre (science fiction!) in a time of huge societal change. But we became equally fascinated by the lesser known story of her half-sister Fanny Imlay, who was the other daughter of the famous radical author/philosopher Mary Wollstonecraft. Fanny stayed home taking care of William Godwin when Mary left home with Percy Shelley. Fanny eventually committed suicide and was buried in an anonymous grave when Mary was halfway through writing the novel. Our production explores abandonment and obsession and technical sweetness—the allure of creating the thing or solving the puzzle that can at times obscure the ethical issues and broader implications of one’s work. In Mary and Fanny’s stories, we see reflections of Victor and The Creature. The book is Mary’s “hideous progeny,” and she experiences great loss in its wake. We also explore the role that motherhood plays in the story. Wollstonecraft died due to complications with Mary’s childbirth. Mary herself lost two children while writing the novel. <em>Frankenstein</em> is a novel that is told in a series of frames. Mary and Fanny’s story is the outer frame of our show, but it also intersects and parallels <em>Frankenstein</em> as if the storylines are each the subconscious of each other.
<h5>2018 is the 200th anniversary of Shelley’s work. Why do you think this story still resonates with audiences today?</h5>
Mary Shelley wrote this novel at a time when the industrial revolution was changing society and advancements in biology and chemistry were reshaping the way that people thought about the world around them. We are also in a time of rapid technical advances and societal change. Mary Shelley raises the same questions that we need to ask today about who is creating our technologies and what effects that has on their creation. If much of our new technologies are being invented and programmed by a narrow slice of the population (specifically white men), what kinds of biases and stereotypes are embedded in the devices and algorithms that we perceive as “neutral?” Shelley’s novel also asks about our responsibility not only for but also to what we create. This applies to technical inventions, but also the relationships and families that we create. ■

<hr />

<a href="https://www.courttheatre.org/season-tickets/2018-2019-season/frankenstein/"><b><i>Frankenstein</i></b></a><b> is on stage November 1-December 2, 2018. </b>

<b>Want to be the first to see it? <a href="https://www.courttheatre.org/season-tickets/special-event/frankenstein-halloween-party/">Dare to join us on October 31</a>, where we’ll have a frightfully fun Halloween party followed by our final dress rehearsal. </b>
<p class="caption">Photo of Sarah Fornace by Joe Mazza.</p>"
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          string(3850) "<img class="alignnone wp-image-11353 size-full" src="https://www.courttheatre.org/wp-content/uploads/2018/10/manualcinemaqanda.jpg" alt="Manual Cinema FRANKENSTEIN" width="800" height="318" />

<i><span style="font-weight: 400;">We spoke with Manual Cinema about their innovative, interdisciplinary creative process and how it adds new possibilities to a classic story. Read on to discover the experiments that led to the rising of Manual Cinema’s</span></i><span style="font-weight: 400;"> Frankenstein.</span>

<b>What creatively attracted you to </b><b><i>Frankenstein</i></b><b>?</b>

<span style="font-weight: 400;">We're always looking for stories that make good marriages with our medium of cinematic shadow puppetry. </span><i><span style="font-weight: 400;">Frankenstein</span></i><span style="font-weight: 400;"> was appealing to us because it's a story about the animation of lifeless matter, which is what we do as puppeteers. It's also a visual story, full of mythic structures and symbols, that can be communicated largely without dialogue. So even though we didn't know initially what our approach was going to be, there were all these really interesting affinities with our work that promised that adapting it to our medium was going to be really rewarding. </span>

<b>How did you decide that Court would be the right home for this piece?</b>

<span style="font-weight: 400;">Charlie Newell simply said to us that if we ever had a project that intersected with classic literature, we should bring it to him. When we brought him </span><i><span style="font-weight: 400;">Frankenstein </span></i><span style="font-weight: 400;">he was very enthusiastic, and pretty soon we began speaking about a commission and premiere. One of our Co-Artistic Directors, Drew, was working at Court as a dramaturg in the early years when Manual Cinema was just beginning, so Charlie knew our work from a very early stage.</span>

<b>What are the defining questions and relationships of your </b><b><i>Frankenstein</i></b><b>?</b>

<span style="font-weight: 400;">At its heart, I think our production of </span><i><span style="font-weight: 400;">Frankenstein </span></i><span style="font-weight: 400;">is about creation and abandonment. What does it mean to get so wrapped up in the act of creating something that you destroy yourself, your loved ones, and even the very thing you were trying to create? And then, the flip side of that -- what does it mean to be created and abandoned -- by a parent, by society at large -- and then react against that abandonment with violence? These twin stories are very clearly the stories of Victor and The Creature, but in our interpretation, it's also the relationship between Mary Shelley and her sister Fanny. To explore this relationship across the novel and Mary's biography, the roles of Victor and Mary are shared by one actor (Sarah Fornace), and the roles of The Creature and Fanny are shared by another (Julia VanArsdale Miller), and these two actresses end up telling most of the story. So even though there are a total of nine puppeteers and musicians on stage, the goal is for the production to feel like a two-hander, in which the audience watches the formation -- and then the tragic dissolution -- of a relationship between these two people.  </span>

<a href="https://www.courttheatre.org/season-tickets/2018-2019-season/frankenstein/"><b><i>Frankenstein</i></b></a><b> is on stage November 1-December 2, 2018. </b>

<b>Want to be the first to see it? <a href="https://www.courttheatre.org/season-tickets/special-event/frankenstein-halloween-party/">Dare to join us on October 31</a>, where we’ll have a frightfully fun Halloween party followed by our final dress rehearsal. </b>

<p class="caption">Photo of Sarah Fornace and Julia Miller by Joe Mazza.</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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<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.”

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<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.”

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<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(3933) "<img class="alignnone wp-image-11436 size-full" src="https://www.courttheatre.org/wp-content/uploads/2018/10/courtjeffs2018.jpg" alt="" width="800" height="300" />
<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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        string(433) "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. "
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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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        string(440) "We spoke with two of Manual Cinema’s Co-Artistic Directors, Ben Kauffman and Kyle Vegter, about the role of music in Frankenstein. Both Kauffman and Vegter bring considerable experience in the worlds of composition and sound design to their work with Manual Cinema, helping to immerse audiences in their storytelling with live instrumentation. Read on to learn about their approach to creating the auditory world of <em>Frankenstein</em>."
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      string(5644) "<p style="padding-left: 30px;"><i><img class="alignnone size-full wp-image-11399" src="https://www.courttheatre.org/wp-content/uploads/2018/10/kyle-ben.jpg" alt="" width="800" height="300" />We spoke with two of Manual Cinema’s Co-Artistic Directors, <a href="https://www.courttheatre.org/people/ben-kauffman/">Ben Kauffman</a> and <a href="https://www.courttheatre.org/people/kyle-vegter/">Kyle Vegter</a>, about the role of music in </i><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/frankenstein/">Frankenstein</a><i>. Both Kauffman and Vegter bring considerable experience in the worlds of composition and sound design to their work with Manual Cinema, helping to immerse audiences in their storytelling with live instrumentation. Read on to learn about their approach to creating the auditory world of</i><i> </i>Frankenstein<i>.</i></p>

<h5>Manual Cinema’s work is sometimes compared to silent film, a medium which heavily relied on music to complement the visuals on screen. How does music help tell the story of <i>Frankenstein</i>?</h5>
The music of <i>Frankenstein</i> supports the storytelling in a number of ways, but, maybe most importantly, the music supports the nesting-doll structure at the heart of our production (and Mary Shelley’s novel). Each story or storyteller the audience encounters during the show has its own sound universe and its own musical vocabulary. We hope this feels a little like different “narrative voices” that set apart the various stories being told. At the same time, all of the central themes and questions in the show echo and reverberate from one story to another, as if each is a dream of the others. Musically, we hope you can hear those echoes.
<h5>How do you approach composing original music for each Manual Cinema performance?</h5>
The approach is different for each project! For some productions, it’s “visuals first,” which means that the visual team creates storyboards and a rough video demo of the show, which we then score, as you would a film. Other projects are “music first,” where we write original music as the foundational element, and the visual team will create and stage the imagery in response. For <i>Frankenstein</i>, the novel and storyboards were the jumping-off point, so we had something text-based <i>and</i> visual to respond to. But some of the music was written without specific scenes in mind, more just channeling a feeling or a mood we wanted to explore.<span class="Apple-converted-space"> </span>
<h5>When do you begin incorporating music into the rehearsal process? How does the score evolve as the play continues to develop? <span class="Apple-converted-space"> </span></h5>
For a new show that we’re putting up, the music team and the visual team will typically rehearse separately for a number of weeks, followed by a few weeks of full-company rehearsal. The full-company rehearsals are when we begin stitching together the visual and sonic elements of the show, and, frankly, when we first see what the show actually is. So, those full-company rehearsals are a very clarifying process. During that time, we look at the pacing of music together with visuals; we may tweak when a piece of music begins or ends, and we may even throw out music that’s not working and write something new. For <i>Frankenstein</i> especially, we had this question of how the staging of the musicians might create another layer of drama and storytelling for the show, and that’s the type of question that gets answered in rehearsal.
<h5>When does the creative team look to music to solve parts of the storytelling puzzle?<span class="Apple-converted-space"> </span></h5>
I feel like in our work the visual storytelling and the music/sound design work hand-in-hand pretty much non-stop. One couldn’t really function to its fullest potential without the other. Music in particular often stands in for dialogue in our work, so we might write music that expresses a character’s point of view, or illuminates the nature of a relationship that’s playing out on screen. More broadly, music and sound design really clue you in to the pacing and density of the storytelling, so it can help the creative team make decisions akin to “editing” in film parlance.<span class="Apple-converted-space"> </span>
<h5>What sources of musical inspiration are you drawing from in <i>Frankenstein</i>?</h5>
We’re both musical omnivores and gather inspiration from a ton of different places. When we’re starting a piece we usually create a playlist of influences so that we can get on the same page before we start writing. Our <i>Frankenstein</i> playlist had some recent Jonny Greenwood film scores (<i>Phantom Thread, The Master</i>), Johan Johansson’s score for <i>Arrival</i>, yMusic’s new record they made with The Staves, John Adams’ <i>The Dharma at Big Sur</i>, Nico Muhly orchestral works, David Lang choral works, some Jenny Hval, Björk, Sufjan, Death Grips, and Flying Lotus. Harry Partch and his self-invented percussion instruments were a huge influence, especially on our use of glass instruments and the little robot arms. ■
<hr />

<a href="https://www.courttheatre.org/season-tickets/2018-2019-season/frankenstein/"><b><i>Frankenstein</i></b></a><b> is on stage November 1-December 2, 2018. </b>

<b>Want to be the first to see it? <a href="https://www.courttheatre.org/season-tickets/special-event/frankenstein-halloween-party/">Dare to join us on October 31</a>, where we’ll have a frightfully fun Halloween party followed by our final dress rehearsal. </b>"
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      string(440) "We spoke with two of Manual Cinema’s Co-Artistic Directors, Ben Kauffman and Kyle Vegter, about the role of music in Frankenstein. Both Kauffman and Vegter bring considerable experience in the worlds of composition and sound design to their work with Manual Cinema, helping to immerse audiences in their storytelling with live instrumentation. Read on to learn about their approach to creating the auditory world of <em>Frankenstein</em>."
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        string(333) "To learn more about Manual Cinema’s unique approach to creating theatre, we interviewed Sarah Fornace, Co-Artistic Director of the performance collective and performer in <em>Frankenstein</em>. She shares her thoughts on theatrical adaptation, the legacy of Mary Shelley’s work, and Manual Cinema’s “live cinema” aesthetic."
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      string(7037) "<p style="padding-left: 30px;"><em><img class="alignnone size-full wp-image-11393" src="https://www.courttheatre.org/wp-content/uploads/2018/10/sarah-800x300.jpg" alt="" width="800" height="300" />To learn more about Manual Cinema’s unique approach to creating theatre, we interviewed Sarah Fornace, Co-Artistic Director of the performance collective and performer in </em><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/frankenstein/">Frankenstein</a><em>. She shares her thoughts on theatrical adaptation, the legacy of Mary Shelley’s work, and Manual Cinema’s “live cinema” aesthetic. </em></p>

<h5>Manual Cinema brings together a diverse variety of artists and disciplines. How did the company take shape and evolve?</h5>
Manual Cinema is a collaboration between sound designers and composers <a href="https://www.courttheatre.org/people/ben-kauffman/">Ben Kauffman</a> and <a href="https://www.courttheatre.org/people/kyle-vegter/">Kyle Vegter</a>, and visual theatre and puppetry artists <a href="https://www.courttheatre.org/people/julia-miller/">Julia Miller</a>, <a href="https://www.courttheatre.org/people/drew-dir/">Drew Dir</a>, and <a href="https://www.courttheatre.org/people/sarah-fornace/">Sarah Fornace</a>. We first came together to make a short show with only one projector called “The Ballad of Lula del Ray.”

The idea behind Manual Cinema is that we use the language of cinema to tell theatrical stories onstage. We often make shows without words, and we use sweeping musical scores, immersive sound design, and handmade adaptations of film techniques to convey character and plot. When we first started out, we performed the puppetry behind the screen. However, we eventually figured out that an important part of the show is watching it get created, piece by piece.

At a Manual Cinema show, we want to juxtapose the cleanness of the film screen and filmic image with the humanity and mess and athleticism of a small group of performers creating each image in real time, by hand. In today’s world, we are all surrounded by screens large and small. We want to take the ubiquitous experience of watching a story onscreen and make it strange and human and wondrous.
<h5>Manual Cinema’s work is highly theatrical, and yet it’s very different than most plays you’ll see around Chicago. How would you describe this piece to someone who’s never experienced one of your shows before?</h5>
I would describe it as a piece of live cinema. There is a live band creating the soundtrack in real time onstage. Hundreds of sound cues create movie theatre-style, immersive sound design that envelopes the audience in the sonic world of the show. They will see puppeteers play dozens of characters and manipulate over 500 paper puppets to create what looks like a silent animated film in real time right in front of their eyes.
<h5>Shadow puppetry, live actors, live musicians—<em>Frankenstein</em> is definitely multidisciplinary in its storytelling. How would you encourage audiences to engage with these various elements?</h5>
It is important to us that the audience has agency in experiencing the show. The audience has the choice to just watch the large screen above like a movie. Or they can watch the four musicians as they move around the space playing a variety of instruments and found objects. Or they could watch the puppeteers manipulating the Creature puppet and the camera. Or they can look over and see the actors play Mary Shelley and Fanny Imlay in shadow and then quick change into Victor <em>Frankenstein</em> and the Creature in front of the camera. There is no wrong way to watch the show, and each person constructs their own unique experience by choosing what to watch at any moment. We want to make space for the audience to put together (dare we say “frankenstein?”) their own live cinematic experience during this show.
<h5>Manual Cinema is dramatizing more than just the Monster’s creation in your adaptation; you’re also staging parts of Mary Shelley’s life. What are you hoping to accomplish in juxtaposing these stories?</h5>
We were fascinated by the story of Mary Shelley, an extraordinary woman who invented a literary genre (science fiction!) in a time of huge societal change. But we became equally fascinated by the lesser known story of her half-sister Fanny Imlay, who was the other daughter of the famous radical author/philosopher Mary Wollstonecraft. Fanny stayed home taking care of William Godwin when Mary left home with Percy Shelley. Fanny eventually committed suicide and was buried in an anonymous grave when Mary was halfway through writing the novel. Our production explores abandonment and obsession and technical sweetness—the allure of creating the thing or solving the puzzle that can at times obscure the ethical issues and broader implications of one’s work. In Mary and Fanny’s stories, we see reflections of Victor and The Creature. The book is Mary’s “hideous progeny,” and she experiences great loss in its wake. We also explore the role that motherhood plays in the story. Wollstonecraft died due to complications with Mary’s childbirth. Mary herself lost two children while writing the novel. <em>Frankenstein</em> is a novel that is told in a series of frames. Mary and Fanny’s story is the outer frame of our show, but it also intersects and parallels <em>Frankenstein</em> as if the storylines are each the subconscious of each other.
<h5>2018 is the 200th anniversary of Shelley’s work. Why do you think this story still resonates with audiences today?</h5>
Mary Shelley wrote this novel at a time when the industrial revolution was changing society and advancements in biology and chemistry were reshaping the way that people thought about the world around them. We are also in a time of rapid technical advances and societal change. Mary Shelley raises the same questions that we need to ask today about who is creating our technologies and what effects that has on their creation. If much of our new technologies are being invented and programmed by a narrow slice of the population (specifically white men), what kinds of biases and stereotypes are embedded in the devices and algorithms that we perceive as “neutral?” Shelley’s novel also asks about our responsibility not only for but also to what we create. This applies to technical inventions, but also the relationships and families that we create. ■

<hr />

<a href="https://www.courttheatre.org/season-tickets/2018-2019-season/frankenstein/"><b><i>Frankenstein</i></b></a><b> is on stage November 1-December 2, 2018. </b>

<b>Want to be the first to see it? <a href="https://www.courttheatre.org/season-tickets/special-event/frankenstein-halloween-party/">Dare to join us on October 31</a>, where we’ll have a frightfully fun Halloween party followed by our final dress rehearsal. </b>
<p class="caption">Photo of Sarah Fornace by Joe Mazza.</p>"
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      string(3850) "<img class="alignnone wp-image-11353 size-full" src="https://www.courttheatre.org/wp-content/uploads/2018/10/manualcinemaqanda.jpg" alt="Manual Cinema FRANKENSTEIN" width="800" height="318" />

<i><span style="font-weight: 400;">We spoke with Manual Cinema about their innovative, interdisciplinary creative process and how it adds new possibilities to a classic story. Read on to discover the experiments that led to the rising of Manual Cinema’s</span></i><span style="font-weight: 400;"> Frankenstein.</span>

<b>What creatively attracted you to </b><b><i>Frankenstein</i></b><b>?</b>

<span style="font-weight: 400;">We're always looking for stories that make good marriages with our medium of cinematic shadow puppetry. </span><i><span style="font-weight: 400;">Frankenstein</span></i><span style="font-weight: 400;"> was appealing to us because it's a story about the animation of lifeless matter, which is what we do as puppeteers. It's also a visual story, full of mythic structures and symbols, that can be communicated largely without dialogue. So even though we didn't know initially what our approach was going to be, there were all these really interesting affinities with our work that promised that adapting it to our medium was going to be really rewarding. </span>

<b>How did you decide that Court would be the right home for this piece?</b>

<span style="font-weight: 400;">Charlie Newell simply said to us that if we ever had a project that intersected with classic literature, we should bring it to him. When we brought him </span><i><span style="font-weight: 400;">Frankenstein </span></i><span style="font-weight: 400;">he was very enthusiastic, and pretty soon we began speaking about a commission and premiere. One of our Co-Artistic Directors, Drew, was working at Court as a dramaturg in the early years when Manual Cinema was just beginning, so Charlie knew our work from a very early stage.</span>

<b>What are the defining questions and relationships of your </b><b><i>Frankenstein</i></b><b>?</b>

<span style="font-weight: 400;">At its heart, I think our production of </span><i><span style="font-weight: 400;">Frankenstein </span></i><span style="font-weight: 400;">is about creation and abandonment. What does it mean to get so wrapped up in the act of creating something that you destroy yourself, your loved ones, and even the very thing you were trying to create? And then, the flip side of that -- what does it mean to be created and abandoned -- by a parent, by society at large -- and then react against that abandonment with violence? These twin stories are very clearly the stories of Victor and The Creature, but in our interpretation, it's also the relationship between Mary Shelley and her sister Fanny. To explore this relationship across the novel and Mary's biography, the roles of Victor and Mary are shared by one actor (Sarah Fornace), and the roles of The Creature and Fanny are shared by another (Julia VanArsdale Miller), and these two actresses end up telling most of the story. So even though there are a total of nine puppeteers and musicians on stage, the goal is for the production to feel like a two-hander, in which the audience watches the formation -- and then the tragic dissolution -- of a relationship between these two people.  </span>

<a href="https://www.courttheatre.org/season-tickets/2018-2019-season/frankenstein/"><b><i>Frankenstein</i></b></a><b> is on stage November 1-December 2, 2018. </b>

<b>Want to be the first to see it? <a href="https://www.courttheatre.org/season-tickets/special-event/frankenstein-halloween-party/">Dare to join us on October 31</a>, where we’ll have a frightfully fun Halloween party followed by our final dress rehearsal. </b>

<p class="caption">Photo of Sarah Fornace and Julia Miller by Joe Mazza.</p>"
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  <h1>Blog</h1>
  
      <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>
      </div>
    </article>
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/the-music-of-frankenstein/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/10/manual-cinema-group.jpg" alt="" /></a>
      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/the-music-of-frankenstein/">The Music of Frankenstein</a></h3>
        <p>We spoke with two of Manual Cinema’s Co-Artistic Directors, Ben Kauffman and Kyle Vegter, about the role of music in Frankenstein. Both Kauffman and Vegter bring considerable experience in the worlds of composition and sound design to their work with Manual Cinema, helping to immerse audiences in their storytelling with live instrumentation. Read on to learn about their approach to creating the auditory world of <em>Frankenstein</em>.</p>
      </div>
    </article>
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/live-cinema/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/10/sarah-200x200.jpg" alt="" /></a>
      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/live-cinema/">Live Cinema</a></h3>
        <p>To learn more about Manual Cinema’s unique approach to creating theatre, we interviewed Sarah Fornace, Co-Artistic Director of the performance collective and performer in <em>Frankenstein</em>. She shares her thoughts on theatrical adaptation, the legacy of Mary Shelley’s work, and Manual Cinema’s “live cinema” aesthetic.</p>
      </div>
    </article>
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/qa-manual-cinema/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/10/qandafeatured.jpg" alt="" /></a>
      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/qa-manual-cinema/">Q&#038;A: MANUAL CINEMA</a></h3>
        <p>We spoke with Manual Cinema about their innovative, interdisciplinary creative process and how it adds new possibilities to a classic story. </p>
      </div>
    </article>
  
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