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          string(5466) "We know that our upcoming <a href="https://www.courttheatre.org/about/blog/the-2020-21-season-reimagined/">2020/21 Season</a> is different than past seasons, and want to make sure all of your questions and concerns are addressed. Check out the FAQ below or give our Box Office a call at (773) 753-4472 with any questions you might have and we'll be happy to get them answered. Our Box Office hours are Monday - Friday, 12pm - 5pm.

<b>How will my experience at Court Theatre change from previous seasons?</b>

<span style="font-weight: 400;">Court Theatre is remaining responsive to ongoing guidance surrounding how to keep patrons, artists, and staff members safe during the pandemic. To that end, it is highly likely that Box Office check-in, seating arrangements, and other aspects of your theatregoing experience will be different than you’re used to. We are hard at work crafting safe and appropriate guidelines for live performances and will communicate any changes to you well in advance of our programming resuming in 2021.</span>

<b>What happens if social distancing guidelines further limit attendance for live performances venues?</b>

<span style="font-weight: 400;">Although we remain optimistic about the future, in the event of city, state, or university ordinances preventing us from moving forward with programming as planned, we will reach out about any necessary changes in schedule or seating. <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/theatre-thought/">Theatre &amp; Thought</a>, <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/">Deep Dive</a>, </span><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/titanic/"><i><span style="font-weight: 400;">Titanic</span></i></a><span style="font-weight: 400;">, and </span><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/othello/"><i><span style="font-weight: 400;">Othello </span></i></a><span style="font-weight: 400;">are all confirmed for digital streaming and may be experienced from the comfort of your home.</span>

<b>What if I can’t attend on a specific date listed for Theatre &amp; Thought or Deep Dive: </b><b><i>Leopoldstadt</i></b><b>?</b>

<span style="font-weight: 400;">Digital access to recorded seminars and discussions will be available to all ticket holders for our <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/theatre-thought/">Theatre &amp; Thought</a> series and <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/">Deep Dive</a> events.</span>

<b>If I've renewed my subscription do I need to register separately for Theatre &amp; Thought or Deep Dive: <em>Leopoldstadt</em>? </b>

<span style="font-weight: 400;">If you renewed your 5-Play Subscription (or renewed a 4 or 3-Play Subscription and selected Theatre &amp; Thought and/or Deep Dive as part of your subscription), you are automatically registered for all events. You can expect further information via email with your access link and login information closer to the date of the event.</span>

<b>Will I have the same seats?</b>

<span style="font-weight: 400;">When we do resume live performances, we expect to be seating only 25% of our normal capacity. As such, your seating location may be affected by social distancing guidelines, although subscribers will be given priority for each in-person performance. We will endeavor to accommodate seating requests and locations whenever possible. </span>

<b>What if I don’t want to or am undecided about attending in person?</b>

<span style="font-weight: 400;">Four of our five events (<a href="https://www.courttheatre.org/season-tickets/2020-2021-season/theatre-thought/">Theatre &amp; Thought</a>, <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/">Deep Dive</a>, <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/titanic/"><i>Titanic</i></a>, and <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/othello/"><i>Othello </i></a></span><span style="font-weight: 400;">) are all confirmed for digital streaming and may be experienced from the comfort of your home. If you’re not sure about returning to attend live theatre in person but are still interested in renewing your subscription, we will happily hold your seats for future seasons as a subscriber at Court.</span>

<b>If I've purchased or renewed my subscription, will I receive a packet in the mail with tickets and other details?</b>

As our fall offerings are exclusively happening digitally, we will not be mailing subscriber packets this year. Tickets to seated performances of <em>Othello</em>, <em>Titanic</em>, and <em>Two Trains Running </em>will be mailed to you at a future date.

<b>Will you be streaming past productions online?</b>

Unfortunately, due to licensing agreements, we are unable to stream past Court productions at this time.

<b>Do I need any special software to access Court's digital content online?</b>

You don't need any special software to access Court's digital content — only an internet-enabled device with a web browser.

<hr />

<strong>Still have questions?</strong> Give our Box Office a call at (773) 753-4472 and we'll be happy to get them answered. Our Box Office hours are Monday - Friday, 12pm - 5pm."
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          string(10304) "<p class="" dir="ltr">We've reimagined our 2020/21 Season, breaking the mold of past seasons and providing unparalleled depth and access in the absence of being able to physically gather this Fall.</p>
<p class="" dir="ltr">From our <b class="">Theatre &amp; Thought </b>Series, which connects audiences to expert insights from University of Chicago faculty about classic texts, to our <b class="">Deep Dive </b>events exploring Tom Stoppard's newest play <i class="">Leopoldstadt</i>, and productions like <b class=""><i class="">Titanic (Scenes from the British Wreck Commissioner's Inquiry, 1912)</i></b>, <i class=""><strong>Othello</strong>,</i> and<b class=""> August Wilson's <i class="">Two Trains Running</i></b>, our updated season is thematically rich, intellectually rigorous, and deeply ambitious.</p>
<p class="" dir="ltr">You can learn more about each of these thrilling offerings below. We hope the stories and programs we’ve chosen to share will offer the spiritual sustenance so many of us are seeking in this unprecedented time.</p>
<p dir="ltr"><img class="alignnone size-full wp-image-14547" src="https://www.courttheatre.org/wp-content/uploads/2020/07/1000x400-d2-overview-2.jpg" alt="" width="800" height="320" />
<span style="font-weight: 400;">Court’s </span><b>Theatre &amp; Thought series</b><span style="font-weight: 400;"> connects audiences to expert insights from University of Chicago faculty about the historical context, thematic relevance, and artistic possibilities surrounding classic works. Each topic will feature a different play and include virtual meetings with scholars to discuss the ideas underpinning these classic texts. <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/theatre-thought/"><strong>Learn More</strong></a></span></p>
<p dir="ltr"><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/"><img class="alignnone size-full wp-image-14242" src="https://www.courttheatre.org/wp-content/uploads/2020/07/800X2502.jpg" alt="Stoppard's Leopoldsadt" width="1667" height="521" /></a><span style="font-weight: 400;">In our most ambitious addition to the Fall season, Court Theatre’s </span><b>Deep Dive: </b><b><i>Leopoldstadt</i></b><span style="font-weight: 400;"> provides an in-depth examination of Tom Stoppard’s epic drama, </span><i><span style="font-weight: 400;">Leopoldstadt</span></i><span style="font-weight: 400;">. Leopoldstadt is a place, a state of mind, and a return. Stoppard’s newest play is as groundbreaking and sprawling as anything he has written. <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/"><strong>Learn More</strong></a></span></p>
<p dir="ltr"><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/titanic/"><img class="alignnone size-full wp-image-14244" src="https://www.courttheatre.org/wp-content/uploads/2020/07/800X2504.jpg" alt="Titanic" width="1667" height="521" /></a><span style="font-weight: 400;">The sinking of the RMS </span><i><span style="font-weight: 400;">Titanic</span></i><span style="font-weight: 400;"> has long been studied for its historical significance and unmistakable hubris. A survivors’ story fraught with intrigue, Owen McCafferty’s </span><i><span style="font-weight: 400;">play </span></i><span style="font-weight: 400;">tells the story using verbatim testimonies from witnesses of the wreck. What emerges is a startling portrait of class, chaos, and moral ambiguity. <i>A digital version will be available to stream for patrons who do not yet wish to attend in person. </i><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/titanic/"><strong>Learn More</strong></a></span></p>
<p dir="ltr"><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/othello/"><img class="alignnone size-full wp-image-14243" src="https://www.courttheatre.org/wp-content/uploads/2020/07/800X2503.jpg" alt="Othello" width="1667" height="521" /></a><span style="font-weight: 400;">Othello, the great Venetian general, unknowingly seals his fate when he fails to select his standard-bearer, Iago, for a military promotion. When his wife, Desdemona, is implicated in an affair, Othello is faced with a series of irreversible events that spell catastrophe for him and his country. <i>A digital version will be available to stream for patrons who do not yet wish to attend in person. </i><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/othello/"><strong>Learn More</strong></a></span></p>
<p dir="ltr"><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/two-trains-running/"><img class="alignnone size-full wp-image-14245" src="https://www.courttheatre.org/wp-content/uploads/2020/07/800X2505.jpg" alt="Two Trains Running" width="1667" height="521" /></a><span style="font-weight: 400;">Amidst the Civil Rights Movement, Memphis Lee’s restaurant is slated for demolition. While Memphis fights to sell his diner for a fair price, the rest of the restaurant’s regulars search for work, love, and justice as their neighborhood continues to change in unpredictable ways. <i>This production will be available to attend in-person. </i><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/two-trains-running/"><strong>Learn More</strong></a></span></p>


<hr />

<b>Subscription and Ticket Information</b>

<span style="font-weight: 400;">Individual enrollment for the <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/theatre-thought/">Theatre &amp; Thought</a> series is $85 per course. Individual enrollment to <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/">Deep Dive: <em>Leopoldstadt</em></a></span><span style="font-weight: 400;"> is $250. Three, four and five-play subscriptions to Court’s 2020/21 season range from $96 to $300 and are on sale now. 5-Play subscribers will have access to all plays, content, and programs listed above as a part of their subscription package. </span>

<span style="font-weight: 400;">Court’s Box Office will be in touch with previously renewed subscribers to discuss how these changes impact their subscription series. 3 and 4-Play subscribers will have the opportunity to choose from the Theatre &amp; Thought series, Deep Dive: </span><i><span style="font-weight: 400;">Leopoldstadt</span></i><span style="font-weight: 400;">, or any of the three plays scheduled for 2021. Court’s Box Office will be in touch with previously renewed subscribers to discuss their options.</span>

<span style="font-weight: 400;">University of Chicago students will receive complimentary access and UChicago faculty and staff will receive a 25% discount to Court Theatre’s fall digital programming.</span>

<span style="font-weight: 400;">To purchase a subscription or receive more information, call the Court Theatre Box Office at <strong>(773) 753-4472</strong>, or <a href="https://www.courttheatre.org/season-tickets/subscriptions/"><strong>learn more here</strong></a></span><span style="font-weight: 400;">. Individual tickets for all Spring 2021 productions will be available in Fall 2020.</span>

[button link="/season-tickets/subscriptions/" text="Subscribe Now"]

<span style="font-weight: 400;">The previously announced live productions of </span><i><span style="font-weight: 400;">Violet, The Gospel at Colonus</span></i><span style="font-weight: 400;">, </span><i><span style="font-weight: 400;">Fen</span></i><span style="font-weight: 400;">, and </span><i><span style="font-weight: 400;">Antigone </span></i><span style="font-weight: 400;">have been postponed and will be produced in a future season.</span> <span style="font-weight: 400;">Current subscribers will be able to exchange their existing tickets to previously announced productions for any of the above offerings. Court Theatre’s Box Office will be in touch to discuss subscriber options via phone and email. </span>

<span style="font-weight: 400;">Court is still evaluating new performance dates for its site-specific production of </span><a href="https://www.courttheatre.org/season-tickets/2019-2020-season/an-iliad-at-oi/"><i><span style="font-weight: 400;">An Iliad</span></i></a><span style="font-weight: 400;">. Ticket holders will be contacted with further information when details have been solidified.</span>

<a href="https://grahamschool.uchicago.edu" target="_blank" rel="noopener noreferrer"><img class="size-full wp-image-14219 alignleft" src="https://www.courttheatre.org/wp-content/uploads/2020/07/graham-logo-75.jpg" alt="Graham School" width="75" height="75" /></a>Court’s remote, digital experiences are produced in partnership with the <strong><a href="https://grahamschool.uchicago.edu" target="_blank" rel="noopener noreferrer">University of Chicago Graham School’s</a> Arts@Graham series.</strong>

<hr />
<p class="caption"><span style="font-weight: 400;"><em>Titanic (Scenes from the British Wreck Commissioner's Inquiry, 1912)</em> is sponsored by Gustavo "Chip" Bamberger and Martha Van Haitsma. <em>Othello</em> is sponsored by Michael Charles Litt. August Wilson’s <em>Two Trains Running</em> is sponsored by Allstate and Neil Ross and Lynn Hauser. Ron OJ Parson’s Residency is made possible by the Joyce Foundation. Programming is partially supported by a grant from the Illinois Arts Council Agency. Additional support is provided by Harper Court Arts Council, Paul M. Angell Family Foundation, Prince Charitable Trusts, and the Shubert Foundation.
</span></p>
<p class="caption"><span style="font-weight: 400;">Court Theatre remains committed to following all government guidelines surrounding the COVID-19 pandemic in order to maintain the safety of our artists, staff, and patrons. To that end, dates and programming are subject to change based on rights acquisition, pandemic conditions, and other developments in order to remain responsive to evolving circumstances. As in-person gatherings are currently scheduled to resume in February of 2021, we will communicate information about enhanced cleaning and safety protocols to ensure everyone’s safety at Court Theatre.</span></p>"
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          ["post_content"]=>
          string(3611) "<blockquote><em>Somewhere, something incredible is waiting to be known.</em></blockquote>
<p style="text-align: right;"><em>-Blaise Pascal, 17th-century French mathematician,
physicist, inventor, writer, and philosopher</em></p>
[wpstream_player id="14205" ][/wpstream_player]

A ghost light is simply a lamp left burning on the stage after everyone has gone home at night. Practically, it lights the way for anyone crossing the stage in the dark, keeping them safe from trip hazards. Traditionally, the light is left burning to appease the ghosts of the theatre. While we have no evidence of Court Theatre being haunted, the spirits of more than 200 plays certainly linger in this space.

Welcome (back) to the Abelson Auditorium at Court Theatre. We invite you to join us in a favorite ritual—sitting alone in an empty, dark theatre, long after the audience and the artists have gone home. Absorb the quiet, absorb the energy of all the sounds and emotions that have moved through this space in the past 40 years. There is a tremendous hush of emotional memory contained in these walls.

Contemplate the beauty, and the loss, of our most recent production, <a href="https://www.courttheatre.org/season-tickets/2019-2020-season/the-lady-from-the-sea/">THE LADY FROM THE SEA</a>, which closed just hours before its first preview. When we returned to the theatre in mid June to turn on the cameras, the set was exactly where we had left it three months earlier. Props stacked on shelves backstage. A hat where it was placed on the sand. A circle of chairs where the acting company had gathered on our last day to make the hard decision to close the show. And of course, a ghostlight still shining in the darkness.

Temporarily shuttered by the global pandemic, American theatres hang in a liminal state, moving from what was to what will be next. We invite you to sit with us during this pause, this breath, and to contemplate all that has transpired between these walls and all our ambitions for what theatre can be in the future.

Sometimes this space will be quiet and dark, other times you may hear or see echoes of THE LADY FROM THE SEA, and maybe other glimpses of Court Theatre's past and possibly even our future. We invite you to return often and see how the physical space evolves.

Drop in for 30 seconds or for 30 minutes. Court Theatre will be here waiting for you. Until we can be together in the theatre again,
<div>
<div>
<div dir="ltr">
<div dir="ltr">
<div dir="ltr">
<div dir="ltr">
<div dir="ltr">
<div dir="ltr">
<div><a href="https://www.courttheatre.org/season-tickets/2019-2020-season/the-lady-from-the-sea/">THE LADY FROM THE SEA</a></div>
<div>Scenic Design by <a href="https://www.courttheatre.org/people/andrew-boyce/">Andrew Boyce</a></div>
<div>Costume Design by <a href="https://www.courttheatre.org/people/linda-roethke/">Linda Roethke</a></div>
<div>Lighting Design by <a href="https://www.courttheatre.org/people/paul-toben/">Paul Toben</a></div>
<div>Video Content by Erin Pleake</div>
<div>Sound Design by <a href="https://www.courttheatre.org/people/andre-pluess/">Andre Pluess</a></div>
<div></div>
<div>The production was directed by <a href="https://www.courttheatre.org/people/shana-cooper-2/">Shana Cooper</a> and choreographed by <a href="https://www.courttheatre.org/people/erika-chong-shuch/">Erika Chong Shuch</a>.</div>
<div>
<div></div>
</div>
<div>Built by the production team at Court Theatre.</div>
<div>Production photos by Michael Brosilow.</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>"
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            string(567) "Temporarily shuttered by the global pandemic, American theatres hang in a liminal state, moving from what was to what will be next. We invite you to sit with us during this pause, this breath, and to contemplate all that has transpired between these walls and all our ambitions for what theatre can be in the future. Join us in a favorite ritual: sitting alone in an empty, dark theatre, long after the audience and the artists have gone home. Absorb the quiet, absorb the energy of all the sounds and emotions that have moved through this space in the past 40 years."
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          string(19) "2020-06-10 13:47:35"
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          string(4978) "<p dir="ltr">Justice is hard-won. We are awed and inspired by those who are already making change happen every day in our communities and know that we at Court Theatre must do more to meaningfully contribute. Last week we made a statement of solidarity, and now we share our plan to contribute to the ongoing struggle. We share this publicly because we believe public discourse is generative—we have learned so much from the work of others—and public declarations can be held to account.</p>
<p dir="ltr">Court Theatre is located on Chicago’s South Side, we benefit greatly from the talents of Black artists and Black staff, many of whom are our neighbors and friends. Even as a self-proclaimed South Side institution we are first and foremost a part of the University of Chicago. Every aspect of our work must be informed by a veracious understanding of the circumstances that have shaped us and we must work to address the histories of violence that have shored up our positions of privilege and provide redress for real harm done to the communities we call neighbors and friends. We now see that Anti-racism work cannot be one piece of our work but must become the central value that governs it.  We recognize the need to accelerate this paradigm shift in Court Theatre’s culture and be a proactive part of a global dismantling of white supremacy. We believe that culture is comprised of power, values, meaning-making, historical context and place, attitudes and feelings, and behavior and norms.  We will address all of these things and this is our plan for doing so:</p>
<p dir="ltr"><strong>Power</strong>: We recognize the South Side community is an equal stakeholder in the theatre. Court must treat its members as such, ensuring that they inform the theatre’s work as much as any other group of stakeholders. We will work even harder to attract more Black South Side community leaders and organizers to our board who, in addition to UChicago administrators, have the most oversight of the theatre.</p>
<p dir="ltr"><strong>Values</strong>: We have a responsibility to our neighbors and our society to both redress past violence and to build spaces and tell stories that honor their humanity. We will engage our neighbors as the stakeholders that they are, making anti-racism work central to everything we do.</p>
<p dir="ltr"><strong>Meaning-making</strong>: Court Theatre will continue to facilitate spaces for Black artists and other Black stakeholders to grow, especially those who live on the South Side, in all aspects of our work.  We will strengthen the avenues for Black artists, and other artists of color, to shape the ways in which Chicagoans see our world.</p>
<p dir="ltr"><strong>Historical context/place</strong>:  We will more rigorously shape our notion of what a classic work of theatre is and be guided by that ongoing interrogation. We believe that plays are classics not only because they reveal our shared humanity, but because communities confer status on them by feeling their relevance. Our South Side partners and neighbors have to see relevance in a play for us to consider it a classic and, thus, produce it.</p>
<p dir="ltr"><strong>Attitudes and feelings</strong>: We will support and amplify the conversations that Black activists are shaping through our work on stage and in our programming. In the short term, we will build a new digital space to facilitate such conversations, through our website, blog, and social media channels.</p>
<p dir="ltr"><strong>Behavior and norms</strong>: We will interrogate our operations and processes to address a culture of oppression and violence against Black people, other people of color, and under-resourced communities. The entire Court Theatre staff will build its relationships with community members so that they can contribute meaningfully to this work.</p>
<p dir="ltr">We operate within the South Side of Chicago, one of the most culturally rich communities in the world, and yet one that suffers from serious disinvestment. We are grateful to be welcomed here and have an obligation to serve the South Side community as well as the Black community at large more powerfully. In order to do better, we will listen, listen, listen. And we will act.</p>

<table border="0" width="650" cellpadding="0">
<tbody>
<tr>
<td align="center" valign="center" width="50%">
<p style="text-align: left;"><img class="alignnone size-full wp-image-14088" src="https://www.courttheatre.org/wp-content/uploads/2020/05/charlie_sig-200-wide.jpg" alt="" width="200" height="57" /></p>
<p style="text-align: left;">Charles Newell
<em>Marilyn F. Vitale Artistic Director</em></p>
</td>
<td style="text-align: left;" align="center" valign="center" width="50%"><img class="alignnone size-full wp-image-14081" src="https://www.courttheatre.org/wp-content/uploads/2020/05/Angel-sig-120x82-1.jpg" alt="" width="120" height="82" />
Angel Ysaguirre
<em>Executive Director</em></td>
</tr>
</tbody>
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<strong>Registration for the current session is now closed. Thanks for your </strong><b>interest!</b>

<span style="font-weight: 400;">Court Theatre is pleased to announce round two of its </span><b>Virtual Monologue Fest</b><span style="font-weight: 400;">. In considering what we might be able to do as part of Chicago’s theatre community during this time, we turned to the things that Court Theatre does best: energizing classic texts, both new and old, to illuminate timeless stories and gathering our community in conversation around these works. Our hope is that this festival of voices can act as an opportunity for connection and engagement during this current moment of upheaval and isolation.</span>

<b>The Virtual Monologue Fest offers an opportunity for students interested in acting and writing to participate in small group workshops over the course of 2 weeks.</b>

<span style="font-weight: 400;">In these virtual meetings, the participants will be coached by professional artists towards one of two goals: writing a 1-minute original monologue, or developing a monologue for performance. The inspiration for these pieces of work will draw upon the themes of two recent Court productions: </span><a href="https://www.courttheatre.org/season-tickets/2019-2020-season/king-hedley-ii/"><i><span style="font-weight: 400;">King Hedley II </span></i></a><span style="font-weight: 400;">and </span><a href="https://www.courttheatre.org/season-tickets/2019-2020-season/oedipus-rex/"><i><span style="font-weight: 400;">Oedipus Rex</span></i></a><i><span style="font-weight: 400;">. </span></i><span style="font-weight: 400;">At the conclusion of the 2-week workshop period, participants will have the opportunity to share their work with their peers and community through previously recorded video presentations. </span>

<span style="font-weight: 400;">In these workshop groups, participants will not only be able to gain training and advice from professionals working in the field, but will also be able to engage in important dialogues about lived experiences with their mentors and other peers, offering encouragement and constructive feedback about their ideas while connecting in this virtual space together.</span>

<strong>As a participant in the Virtual Monologue Fest, you’ll: </strong>
<ul>
 	<li style="font-weight: 400;"><span style="font-weight: 400;">Be a part of a creative team,</span></li>
 	<li style="font-weight: 400;"><span style="font-weight: 400;">Have the opportunity to receive guidance and coaching from a professional artist,</span></li>
 	<li style="font-weight: 400;"><span style="font-weight: 400;">Receive individual attention on your writing and performing skills, and</span></li>
 	<li style="font-weight: 400;"><span style="font-weight: 400;">Learn skills and tools that can also be applied to making meaning in this moment  while broadening  performance and writing skills. </span></li>
</ul>
<span style="font-weight: 400;"><strong><b>Workshops will begin June 29, 2020. Registration will close June 22, 2020 at 5:00pm</b>.</strong> We hope to offer sessions to UChicago students, CPS students, and the broader Chicago youth community. We are excited to explore this new format for engaging with plays that remain timely and relevant, and are so central to Court’s mission of sharing vital stories with our community at a time when lifting our voice feels so essential.</span>
<h2>Frequently Asked Questions</h2>
<b>What is the time commitment for participation?</b>

<span style="font-weight: 400;">Workshops will begin </span><b>June 29, 2020.</b><span style="font-weight: 400;"> The workshop process will take place over a two week period. Participants will be expected to attend virtual meetings over Zoom. Scheduling of virtual meetings will be handled based on the availability of all members of each group. </span>

<b>Do I have to present my work? </b>

<span style="font-weight: 400;">All participants will be asked to share their work within their group workshop to receive feedback. Students will have the option at the end of the program to record their work to be shared via Court’s social media channels to the broader community. If students do not want anyone outside their small group to see their work, they do not have to share more broadly. </span>

<b>What is the cost to participate?</b>

<span style="font-weight: 400;">The Virtual Monologue Fest is free! Court Theatre is offering this program at no cost to participants. </span>

<i><span style="font-weight: 400;">Court’s Virtual Monologue Fest is produced in conjunction with University of Chicago’s Office of Civic Engagement.</span></i>

<img class="alignnone wp-image-13999 size-medium" src="https://www.courttheatre.org/wp-content/uploads/2020/04/signature.horizontal.rgb_.maroon-300x40.jpg" alt="" width="300" height="40" />
<p style="font-weight: 400;"><em>Featured Sponsor Allstate Insurance Co.</em></p>
<img class="alignnone wp-image-13809 size-thumbnail" src="https://www.courttheatre.org/wp-content/uploads/2020/02/Allstate-Logo-Edited-for-Website-150x150.png" alt="" width="150" height="150" />
<p style="font-weight: 400;"><em>Ensemble Sponsors Lise and Ed Spacapan</em></p>"
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          string(1779) "<strong><img class="alignnone size-full wp-image-14120" src="https://www.courttheatre.org/wp-content/uploads/2020/06/Kamilah-800x300-1.jpg" alt="" width="800" height="300" />We are thrilled to announce visionary artist and administrator Kamilah Rashied is Court's new Director of Education.</strong> Rashied brings an impressive and extensive roster of experiences to the position, including work at such renowned Chicago arts and culture institutions as the Chicago Public Library, Chicago Parks District, Hyde Park Art Center, Illinois Humanities, Chicago Shakespeare Theater, and Victory Gardens Theater.

Kamilah’s expertise is second to none and will usher in a bold new vision for the way that Court Theatre connects with Chicago Public Schools students as well as the broader South Side community.

<strong>Kamilah Rashied </strong>is an arts administrator, producer, educator and artist that has worked from every angle of cultural production with 18 years of experience in new program development, arts education teaching and outreach, community based programming and civic minded audience engagement. Cultivating a broad range of programs for the public, ranging from youth initiatives to live events and talks, Rashied has contributed to the development of new and ongoing programs at many venerable arts and culture organizations in Chicago including: the Art Institute of Chicago, the School at the Art Institute, University of Illinois at Chicago, Chicago Park District, Chicago Public Library, Illinois Humanities, Arts Alliance Illinois, Rebuild Foundation, OTV (Open Television), Hyde Park Art Center, Young Chicago Authors, Victory Gardens Theater and Chicago Shakespeare Theater among others.
<p class="caption"><em>Photo by Zakkiyyah Najeebah.</em></p>"
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            string(307) "Rashied brings an impressive and extensive roster of experiences to the position, including work at such renowned Chicago arts and culture institutions as the Chicago Public Library, Chicago Parks District, Hyde Park Art Center, Illinois Humanities, Chicago Shakespeare Theater, and Victory Gardens Theater."
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          string(5475) "<span style="font-weight: 400;">We at Court Theatre stand in solidarity with the artists, community members, and our South Side neighbors engaged in the struggle for justice in Chicago and across the country. Black lives, Black stories, and Black voices are essential, because they are the lives, stories, and voices of our nation. As theatremakers, we also recognize our responsibility to amplify stories of oppression in moments of injustice. </span>
<table border="0" width="650" cellpadding="0">
<tbody>
<tr>
<td align="center" valign="center" width="50%">
<p style="text-align: left;"><img class="alignnone size-full wp-image-14088" src="https://www.courttheatre.org/wp-content/uploads/2020/05/charlie_sig-200-wide.jpg" alt="" width="200" height="57" /></p>
<p style="text-align: left;">Charles Newell
<em>Marilyn F. Vitale Artistic Director</em></p>
</td>
<td style="text-align: left;" align="center" valign="center" width="50%"><img class="alignnone size-full wp-image-14081" src="https://www.courttheatre.org/wp-content/uploads/2020/05/Angel-sig-120x82-1.jpg" alt="" width="120" height="82" />
Angel Ysaguirre
<em>Executive Director</em></td>
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University of Chicago Provost Ka Yee C. Lee shared a powerful message with the community. <a href="https://provost.uchicago.edu/announcements/our-community-and-events-minneapolis-and-chicago" target="_blank" rel="noopener noreferrer">View it here</a>.
<p style="font-weight: 400;">We encourage you to access the many valuable University of Chicago resources that may be helpful to you right now:</p>

<ul>
 	<li style="font-weight: 400;">The <strong><a href="https://pm1.uchicago.edu/PoliteMail/default.aspx?page=eEgs5FKrpEW2zoK0BY20qQ&amp;ref_id=B4CgAeTP4U6_qgzB2vuILw" data-saferedirecturl="https://www.google.com/url?q=https://pm1.uchicago.edu/PoliteMail/default.aspx?page%3DeEgs5FKrpEW2zoK0BY20qQ%26ref_id%3DB4CgAeTP4U6_qgzB2vuILw&amp;source=gmail&amp;ust=1590980171734000&amp;usg=AFQjCNEZnvH_MHg-p7dyAMh4vQQfnD1a4w">Center for Identity + Inclusion</a></strong> engages students and members of our University community from all backgrounds to ensure personal, academic, and professional growth, and success.</li>
 	<li style="font-weight: 400;">The <strong><a href="https://pm1.uchicago.edu/PoliteMail/default.aspx?page=kvLlcPnizEaqqAHj3aYfJg&amp;ref_id=B4CgAeTP4U6_qgzB2vuILw" data-saferedirecturl="https://www.google.com/url?q=https://pm1.uchicago.edu/PoliteMail/default.aspx?page%3DkvLlcPnizEaqqAHj3aYfJg%26ref_id%3DB4CgAeTP4U6_qgzB2vuILw&amp;source=gmail&amp;ust=1590980171735000&amp;usg=AFQjCNGwmqobeExbGT3s7_qQLQMOQLRQ_g">Center for the Study of Race, Politics, and Culture</a></strong> offers a wide array of programming, including a Zoom series focused on the racial disparities of COVID-19.</li>
 	<li style="font-weight: 400;">The <strong><a href="https://pm1.uchicago.edu/PoliteMail/default.aspx?page=4ox0FXerzUC6LVk2lzQMEA&amp;ref_id=B4CgAeTP4U6_qgzB2vuILw" data-saferedirecturl="https://www.google.com/url?q=https://pm1.uchicago.edu/PoliteMail/default.aspx?page%3D4ox0FXerzUC6LVk2lzQMEA%26ref_id%3DB4CgAeTP4U6_qgzB2vuILw&amp;source=gmail&amp;ust=1590980171735000&amp;usg=AFQjCNFB_5lcLpB_FtEflAWnnj9_iiTC9g">Pozen Center for Human Rights</a></strong> offers regular programming about global human rights.</li>
 	<li style="font-weight: 400;"><strong><a href="https://pm1.uchicago.edu/PoliteMail/default.aspx?page=705DEWPT_USfRSrcGoDPZA&amp;ref_id=B4CgAeTP4U6_qgzB2vuILw" data-saferedirecturl="https://www.google.com/url?q=https://pm1.uchicago.edu/PoliteMail/default.aspx?page%3D705DEWPT_USfRSrcGoDPZA%26ref_id%3DB4CgAeTP4U6_qgzB2vuILw&amp;source=gmail&amp;ust=1590980171735000&amp;usg=AFQjCNHtApgvDNYGoHIMyHvd6Q5QRvZFqQ">Spiritual Life</a></strong> serves as a destination for religious and spiritual needs.</li>
 	<li style="font-weight: 400;"><strong><a href="https://pm1.uchicago.edu/PoliteMail/default.aspx?page=wBNr6kpbHkewUt3yUp17nw&amp;ref_id=B4CgAeTP4U6_qgzB2vuILw" data-saferedirecturl="https://www.google.com/url?q=https://pm1.uchicago.edu/PoliteMail/default.aspx?page%3DwBNr6kpbHkewUt3yUp17nw%26ref_id%3DB4CgAeTP4U6_qgzB2vuILw&amp;source=gmail&amp;ust=1590980171735000&amp;usg=AFQjCNGeq-ojPkqDOcYjyf4jV7i-z6dVlw">UChicago Student Wellness</a></strong> offers counseling services and other support for students impacted by these and other events.</li>
 	<li style="font-weight: 400;">The <strong><a href="https://pm1.uchicago.edu/PoliteMail/default.aspx?page=q-YLcgSWokuYX1lcV24bPg&amp;ref_id=B4CgAeTP4U6_qgzB2vuILw" data-saferedirecturl="https://www.google.com/url?q=https://pm1.uchicago.edu/PoliteMail/default.aspx?page%3Dq-YLcgSWokuYX1lcV24bPg%26ref_id%3DB4CgAeTP4U6_qgzB2vuILw&amp;source=gmail&amp;ust=1590980171735000&amp;usg=AFQjCNHqJ72ocW32JymsbvWi2dgyO4wFSw">Urban Health Initiative</a></strong> runs inclusive community grants and organizes a variety of community programs and services.</li>
 	<li style="font-weight: 400;">The <strong><a href="https://pm1.uchicago.edu/PoliteMail/default.aspx?page=2RaJG2ZPLUW7aiyK5F6hkw&amp;ref_id=B4CgAeTP4U6_qgzB2vuILw" data-saferedirecturl="https://www.google.com/url?q=https://pm1.uchicago.edu/PoliteMail/default.aspx?page%3D2RaJG2ZPLUW7aiyK5F6hkw%26ref_id%3DB4CgAeTP4U6_qgzB2vuILw&amp;source=gmail&amp;ust=1590980171735000&amp;usg=AFQjCNFtqzurdDAlEDj0Zi-9iU47rX669A">Diversity &amp; Inclusion website</a></strong> features a listing of related events happening across campus.</li>
</ul>"
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          string(3867) "<img class="alignnone size-full wp-image-14041" src="https://www.courttheatre.org/wp-content/uploads/2020/04/fenheader.jpg" alt="" width="800" height="300" />

<span style="font-weight: 400;">Written in an episodic series of vignettes, <a href="https://www.courttheatre.org/people/caryl-churchill/">Caryl Churchill’</a>s 1983 play </span><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/fen/"><i><span style="font-weight: 400;">Fen </span></i></a><span style="font-weight: 400;">explores the social and economic constraints of individuals in a rural community in England. Although the majority of the work follows the tale of Val, a woman who grapples with the decision to leave her family, the other characters are given considerable stage time as well. The struggle of women to gain agency is explored in the situations of other characters, from defiant Nell to abused Becky to resigned Shirley. The play delves into the impossibility of escape as the individuals struggle to release themselves from their situation yet must continue to face its realities and the repercussions of their dissatisfaction.</span>

<span style="font-weight: 400;">As for the name of the play, “the Fens,” also known as the Fenland or the Fenlands, refers to the coastal plain in eastern England. “Fen” is a term for a marshland, a natural phenomenon that captures the interest of artists and environmentalists alike. Over the years, they have been the target for draining for an agricultural agenda but have recently been the subject of numerous conservation efforts as well. At the time Churchill wrote </span><i><span style="font-weight: 400;">Fen</span></i><span style="font-weight: 400;">, the intensive Fenland survey, which would later change into the Fenland Project, was initiated to learn more about the rapidly changing land and all the archaeological treasures it held. Churchill’s work examines the everyday life and social constraints of people, particularly women, in this geographic region.</span>

<span style="font-weight: 400;">Caryl Churchill is an English playwright known for her feminist works that often tackle themes like oppression and the abuse of power through a postmodern, experimental lens. Born in England, Churchill immigrated to Canada at ten years old, though she would return to England for and after receiving a university education. Her career started with creating plays that her fellow Oxford students performed. She then went on to write radio dramas and television plays, managing her new family life while never neglecting her own career. </span>

<span style="font-weight: 400;">Blending social critique with a surrealist approach is a distinct technique that forms the basis of Churchill’s approach to stage work. Her exploration of unfulfilled yet consuming desire, such as the desire to reap the benefits of two irreconcilable realities and the need for escape if not satisfied, is a pervasive theme in several of her works. Churchill constantly reimagines the potential breadth and depth of what a play can be and how it can communicate, responding to the social discourse by reexamining themes in a rich variety of unique ways. She is renowned for her experimentation with language, structure, and form. Churchill is elusive, having an indelible mark on younger generations of playwrights yet rarely appearing for interviews. At 82, she is considered to be one of the greatest living playwrights, respected for her notable risks and experimental novelty.</span>

<hr />

Caryl Churchill's <em><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/fen/">Fen</a> </em>is programmed as part of Court Theatre's <a href="https://www.courttheatre.org/season-tickets/">2020/21 Season</a>. <a href="https://www.courttheatre.org/season-tickets/"><strong>Learn more →</strong></a>"
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          string(4584) "<img class="alignnone size-full wp-image-14034" src="https://www.courttheatre.org/wp-content/uploads/2020/04/antigoneheader.jpg" alt="" width="800" height="300" />

<span style="font-weight: 400;">Considered to be Sophocles’ most political play in the Oedipus Trilogy, </span><a href="https://www.courttheatre.org/event/listing/antigone-30/"><i><span style="font-weight: 400;">Antigone </span></i></a><span style="font-weight: 400;">was actually written before the other plays, though it takes place last chronologically. First performed around 441 - 442 B.C.E., it still enraptures audiences today with its exploration of pertinent themes like free will and civil disobedience. </span>

<span style="font-weight: 400;">The play follows its titular character, the daughter of Oedipus, after the events of </span><a href="https://www.courttheatre.org/season-tickets/2019-2020-season/oedipus-rex/"><i><span style="font-weight: 400;">Oedipus Rex </span></i></a><span style="font-weight: 400;">and </span><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/the-gospel-at-colonus/"><i><span style="font-weight: 400;">Oedipus at Colonus</span></i></a><span style="font-weight: 400;">. Antigone finds herself engaged to her cousin Haemon, and her father’s former kingdom now ruled by her uncle Creon. Where Creon was ambiguous in </span><i><span style="font-weight: 400;">Oedipus</span></i><span style="font-weight: 400;">, the unexplored sides of his character are brought forth as his tyrannical ways have caused Thebes to once again fall ill. After Oedipus’ sons, Polynices and Eteocles, kill each other in battle, Creon dictates that Eteocles will be given a proper hero’s burial but Polynices will not receive similar treatment. He orders all of Thebes that no one is allowed to perform funeral rites for his nephew, a ruling that Antigone rebels against. She embarks on a quest not for the sake of rebelling, but to honor her beloved brother and stand for her rights rather than mindlessly acquiesce to Creon’s cruel tyranny. </span>

[caption id="attachment_14035" align="alignleft" width="211"]<img class="wp-image-14035 size-medium" src="https://www.courttheatre.org/wp-content/uploads/2020/04/844px-Masterpieces_of_Greek_Literature_-_Frontispiece-1-211x300.jpg" alt="" width="211" height="300" /> Statue of Sophocles.[/caption]

<span style="font-weight: 400;">Questions of leadership, free will, civil disobedience, and the cost of wisdom are all explored in this last installment of the trilogy, an addition that furthers Sophocles’ legacy as his plays handle themes that are still relevant today. Creon’s despotic rule is met by Antigone’s steadfast defiance and her refusal to submit ensures she is a character who endures throughout the ages. As is expected for a work by this Greek playwright, the play also contains a thoughtful rumination on the relationship between gods and humans without having any god directly interact with any mortal on stage. Divine law and judicial law clash as Antigone and Creon look to two different paths and must contend with the consequences of their decisions.</span>

<span style="font-weight: 400;">At the time this play was first performed, Sophocles was one of the state treasurers in Athens and by then had experience as a general. Such personal life experiences perhaps were factors in his exploration of public and private duty in </span><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/antigone/"><i><span style="font-weight: 400;">Antigone</span></i></a><span style="font-weight: 400;">. While the impact of personal occupation on his works is conjecture, the struggles in his plays remain relevant to audiences of various backgrounds as they grapple with questions of agency and free will when faced with the pressing influence of social institutions. As for the historical context, the play was written during a period that was bookended by turmoil, from wars to revolts. Some consider the character of Creon to be loosely modeled on Pericles, an Athenian statesman involved in the formation of the Athenian empire. Sophocles interprets and portrays the world around him through the dynamic lens of theatre.</span>

<hr />

<em><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/antigone/">Antigone</a> </em>is programmed as part of Court's <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/">2020/21 Season</a>. <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/"><strong>Learn more →</strong></a>"
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          string(3735) "[caption id="attachment_14028" align="alignnone" width="800"]<img class="size-full wp-image-14028" src="https://www.courttheatre.org/wp-content/uploads/2020/04/TwoTrainsBG.jpg" alt="" width="800" height="300" /> Civil Rights March on Washington, D.C. Martin Luther King, Jr. and Mathew Ahmann in a crowd.[/caption]

August Wilson’s <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/two-trains-running/"><em>Two Trains Running</em></a> is the seventh installment in his ten-part Century Cycle (also called the Pittsburgh Cycle). Set in the <a href="https://www.courttheatre.org/about/blog/pittsburghs-place-within-august-wilsons-world/">Hill District of Pittsburgh</a>, at the height of the civil rights movement, a group of weary individuals downtrodden by infuriating social situations face an era of intense change. The Hill District was once a bustling, prosperous community, but was hit hard by significant economic decline in the 1960s.

Within the play, seven characters engage in everyday dialogue about the political events of the time and recent events in the surrounding area, with particular attention given to the diner and the funeral parlor next door. Set in 1969, the play takes place during the rise of the Black Power Movement in the United States. Just a year before the play is set, Martin Luther King, Jr was assassinated and President Lyndon Johnson signed the second Civil Rights Act. Despite legal achievements, African Americans still did not experience the same rights or receive equal pay as whites. By thoughtfully examining the reactions of everyday citizens to the tumultuous changes of the time period, Wilson recontextualizes the history of the age on a more personal, nuanced level as he explores its effects on the often ignored individual.

[caption id="attachment_14026" align="alignleft" width="300"]<img class="wp-image-14026 size-medium" src="https://www.courttheatre.org/wp-content/uploads/2020/04/Lyndon_Johnson_signing_Civil_Rights_Act_July_2_1964-300x201.jpg" alt="" width="300" height="201" /> President Lyndon B. Johnson signing the second Civil Rights Act.[/caption]

With respect to the hopes of the only female character in the play, the Civil Rights struggle had additional battles as well when it came to securing rights for black women. In 1969, activist Ella Baker gave a speech at the Institute of the Black World in Atlanta, throughout which she argued women formed the backbone of the movement. She also decried the idea that women were only background fixtures whose only purpose was to support the ego of men. Black feminist groups rose more prominently in the 1970s.

Wilson was deeply invested in African American intellectual movements of the time, intrigued by the works of figures like Ralph Ellison and Langston Hughes. He was also interested in African American oral culture, an interest evident in his works. He was markedly influenced by occurrences in his personal life and the place he grew up.

Originally performed at Yale Repertory Theatre in 1990, <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/two-trains-running/"><em>Two Trains Running</em></a> premiered on Broadway in 1992, starring the likes of Laurence Fishburne, who won a Tony for his performance as Sterling, and Samuel L. Jackson. Wilson’s work was praised and won numerous awards, including the American Theatre Critics Award.

<hr />

<a href="https://www.courttheatre.org/season-tickets/2020-2021-season/two-trains-running/">August Wilson's <em>Two Trains Running</em></a> is programmed as part of Court Theatre's 2020/21 Season. <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/"><strong>Learn more →</strong></a>"
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        string(5466) "We know that our upcoming <a href="https://www.courttheatre.org/about/blog/the-2020-21-season-reimagined/">2020/21 Season</a> is different than past seasons, and want to make sure all of your questions and concerns are addressed. Check out the FAQ below or give our Box Office a call at (773) 753-4472 with any questions you might have and we'll be happy to get them answered. Our Box Office hours are Monday - Friday, 12pm - 5pm.

<b>How will my experience at Court Theatre change from previous seasons?</b>

<span style="font-weight: 400;">Court Theatre is remaining responsive to ongoing guidance surrounding how to keep patrons, artists, and staff members safe during the pandemic. To that end, it is highly likely that Box Office check-in, seating arrangements, and other aspects of your theatregoing experience will be different than you’re used to. We are hard at work crafting safe and appropriate guidelines for live performances and will communicate any changes to you well in advance of our programming resuming in 2021.</span>

<b>What happens if social distancing guidelines further limit attendance for live performances venues?</b>

<span style="font-weight: 400;">Although we remain optimistic about the future, in the event of city, state, or university ordinances preventing us from moving forward with programming as planned, we will reach out about any necessary changes in schedule or seating. <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/theatre-thought/">Theatre &amp; Thought</a>, <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/">Deep Dive</a>, </span><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/titanic/"><i><span style="font-weight: 400;">Titanic</span></i></a><span style="font-weight: 400;">, and </span><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/othello/"><i><span style="font-weight: 400;">Othello </span></i></a><span style="font-weight: 400;">are all confirmed for digital streaming and may be experienced from the comfort of your home.</span>

<b>What if I can’t attend on a specific date listed for Theatre &amp; Thought or Deep Dive: </b><b><i>Leopoldstadt</i></b><b>?</b>

<span style="font-weight: 400;">Digital access to recorded seminars and discussions will be available to all ticket holders for our <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/theatre-thought/">Theatre &amp; Thought</a> series and <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/">Deep Dive</a> events.</span>

<b>If I've renewed my subscription do I need to register separately for Theatre &amp; Thought or Deep Dive: <em>Leopoldstadt</em>? </b>

<span style="font-weight: 400;">If you renewed your 5-Play Subscription (or renewed a 4 or 3-Play Subscription and selected Theatre &amp; Thought and/or Deep Dive as part of your subscription), you are automatically registered for all events. You can expect further information via email with your access link and login information closer to the date of the event.</span>

<b>Will I have the same seats?</b>

<span style="font-weight: 400;">When we do resume live performances, we expect to be seating only 25% of our normal capacity. As such, your seating location may be affected by social distancing guidelines, although subscribers will be given priority for each in-person performance. We will endeavor to accommodate seating requests and locations whenever possible. </span>

<b>What if I don’t want to or am undecided about attending in person?</b>

<span style="font-weight: 400;">Four of our five events (<a href="https://www.courttheatre.org/season-tickets/2020-2021-season/theatre-thought/">Theatre &amp; Thought</a>, <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/">Deep Dive</a>, <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/titanic/"><i>Titanic</i></a>, and <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/othello/"><i>Othello </i></a></span><span style="font-weight: 400;">) are all confirmed for digital streaming and may be experienced from the comfort of your home. If you’re not sure about returning to attend live theatre in person but are still interested in renewing your subscription, we will happily hold your seats for future seasons as a subscriber at Court.</span>

<b>If I've purchased or renewed my subscription, will I receive a packet in the mail with tickets and other details?</b>

As our fall offerings are exclusively happening digitally, we will not be mailing subscriber packets this year. Tickets to seated performances of <em>Othello</em>, <em>Titanic</em>, and <em>Two Trains Running </em>will be mailed to you at a future date.

<b>Will you be streaming past productions online?</b>

Unfortunately, due to licensing agreements, we are unable to stream past Court productions at this time.

<b>Do I need any special software to access Court's digital content online?</b>

You don't need any special software to access Court's digital content — only an internet-enabled device with a web browser.

<hr />

<strong>Still have questions?</strong> Give our Box Office a call at (773) 753-4472 and we'll be happy to get them answered. Our Box Office hours are Monday - Friday, 12pm - 5pm."
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<b>How will my experience at Court Theatre change from previous seasons?</b>

<span style="font-weight: 400;">Court Theatre is remaining responsive to ongoing guidance surrounding how to keep patrons, artists, and staff members safe during the pandemic. To that end, it is highly likely that Box Office check-in, seating arrangements, and other aspects of your theatregoing experience will be different than you’re used to. We are hard at work crafting safe and appropriate guidelines for live performances and will communicate any changes to you well in advance of our programming resuming in 2021.</span>

<b>What happens if social distancing guidelines further limit attendance for live performances venues?</b>

<span style="font-weight: 400;">Although we remain optimistic about the future, in the event of city, state, or university ordinances preventing us from moving forward with programming as planned, we will reach out about any necessary changes in schedule or seating. <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/theatre-thought/">Theatre &amp; Thought</a>, <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/">Deep Dive</a>, </span><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/titanic/"><i><span style="font-weight: 400;">Titanic</span></i></a><span style="font-weight: 400;">, and </span><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/othello/"><i><span style="font-weight: 400;">Othello </span></i></a><span style="font-weight: 400;">are all confirmed for digital streaming and may be experienced from the comfort of your home.</span>

<b>What if I can’t attend on a specific date listed for Theatre &amp; Thought or Deep Dive: </b><b><i>Leopoldstadt</i></b><b>?</b>

<span style="font-weight: 400;">Digital access to recorded seminars and discussions will be available to all ticket holders for our <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/theatre-thought/">Theatre &amp; Thought</a> series and <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/">Deep Dive</a> events.</span>

<b>If I've renewed my subscription do I need to register separately for Theatre &amp; Thought or Deep Dive: <em>Leopoldstadt</em>? </b>

<span style="font-weight: 400;">If you renewed your 5-Play Subscription (or renewed a 4 or 3-Play Subscription and selected Theatre &amp; Thought and/or Deep Dive as part of your subscription), you are automatically registered for all events. You can expect further information via email with your access link and login information closer to the date of the event.</span>

<b>Will I have the same seats?</b>

<span style="font-weight: 400;">When we do resume live performances, we expect to be seating only 25% of our normal capacity. As such, your seating location may be affected by social distancing guidelines, although subscribers will be given priority for each in-person performance. We will endeavor to accommodate seating requests and locations whenever possible. </span>

<b>What if I don’t want to or am undecided about attending in person?</b>

<span style="font-weight: 400;">Four of our five events (<a href="https://www.courttheatre.org/season-tickets/2020-2021-season/theatre-thought/">Theatre &amp; Thought</a>, <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/">Deep Dive</a>, <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/titanic/"><i>Titanic</i></a>, and <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/othello/"><i>Othello </i></a></span><span style="font-weight: 400;">) are all confirmed for digital streaming and may be experienced from the comfort of your home. If you’re not sure about returning to attend live theatre in person but are still interested in renewing your subscription, we will happily hold your seats for future seasons as a subscriber at Court.</span>

<b>If I've purchased or renewed my subscription, will I receive a packet in the mail with tickets and other details?</b>

As our fall offerings are exclusively happening digitally, we will not be mailing subscriber packets this year. Tickets to seated performances of <em>Othello</em>, <em>Titanic</em>, and <em>Two Trains Running </em>will be mailed to you at a future date.

<b>Will you be streaming past productions online?</b>

Unfortunately, due to licensing agreements, we are unable to stream past Court productions at this time.

<b>Do I need any special software to access Court's digital content online?</b>

You don't need any special software to access Court's digital content — only an internet-enabled device with a web browser.

<hr />

<strong>Still have questions?</strong> Give our Box Office a call at (773) 753-4472 and we'll be happy to get them answered. Our Box Office hours are Monday - Friday, 12pm - 5pm."
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      string(10304) "<p class="" dir="ltr">We've reimagined our 2020/21 Season, breaking the mold of past seasons and providing unparalleled depth and access in the absence of being able to physically gather this Fall.</p>
<p class="" dir="ltr">From our <b class="">Theatre &amp; Thought </b>Series, which connects audiences to expert insights from University of Chicago faculty about classic texts, to our <b class="">Deep Dive </b>events exploring Tom Stoppard's newest play <i class="">Leopoldstadt</i>, and productions like <b class=""><i class="">Titanic (Scenes from the British Wreck Commissioner's Inquiry, 1912)</i></b>, <i class=""><strong>Othello</strong>,</i> and<b class=""> August Wilson's <i class="">Two Trains Running</i></b>, our updated season is thematically rich, intellectually rigorous, and deeply ambitious.</p>
<p class="" dir="ltr">You can learn more about each of these thrilling offerings below. We hope the stories and programs we’ve chosen to share will offer the spiritual sustenance so many of us are seeking in this unprecedented time.</p>
<p dir="ltr"><img class="alignnone size-full wp-image-14547" src="https://www.courttheatre.org/wp-content/uploads/2020/07/1000x400-d2-overview-2.jpg" alt="" width="800" height="320" />
<span style="font-weight: 400;">Court’s </span><b>Theatre &amp; Thought series</b><span style="font-weight: 400;"> connects audiences to expert insights from University of Chicago faculty about the historical context, thematic relevance, and artistic possibilities surrounding classic works. Each topic will feature a different play and include virtual meetings with scholars to discuss the ideas underpinning these classic texts. <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/theatre-thought/"><strong>Learn More</strong></a></span></p>
<p dir="ltr"><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/"><img class="alignnone size-full wp-image-14242" src="https://www.courttheatre.org/wp-content/uploads/2020/07/800X2502.jpg" alt="Stoppard's Leopoldsadt" width="1667" height="521" /></a><span style="font-weight: 400;">In our most ambitious addition to the Fall season, Court Theatre’s </span><b>Deep Dive: </b><b><i>Leopoldstadt</i></b><span style="font-weight: 400;"> provides an in-depth examination of Tom Stoppard’s epic drama, </span><i><span style="font-weight: 400;">Leopoldstadt</span></i><span style="font-weight: 400;">. Leopoldstadt is a place, a state of mind, and a return. Stoppard’s newest play is as groundbreaking and sprawling as anything he has written. <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/"><strong>Learn More</strong></a></span></p>
<p dir="ltr"><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/titanic/"><img class="alignnone size-full wp-image-14244" src="https://www.courttheatre.org/wp-content/uploads/2020/07/800X2504.jpg" alt="Titanic" width="1667" height="521" /></a><span style="font-weight: 400;">The sinking of the RMS </span><i><span style="font-weight: 400;">Titanic</span></i><span style="font-weight: 400;"> has long been studied for its historical significance and unmistakable hubris. A survivors’ story fraught with intrigue, Owen McCafferty’s </span><i><span style="font-weight: 400;">play </span></i><span style="font-weight: 400;">tells the story using verbatim testimonies from witnesses of the wreck. What emerges is a startling portrait of class, chaos, and moral ambiguity. <i>A digital version will be available to stream for patrons who do not yet wish to attend in person. </i><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/titanic/"><strong>Learn More</strong></a></span></p>
<p dir="ltr"><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/othello/"><img class="alignnone size-full wp-image-14243" src="https://www.courttheatre.org/wp-content/uploads/2020/07/800X2503.jpg" alt="Othello" width="1667" height="521" /></a><span style="font-weight: 400;">Othello, the great Venetian general, unknowingly seals his fate when he fails to select his standard-bearer, Iago, for a military promotion. When his wife, Desdemona, is implicated in an affair, Othello is faced with a series of irreversible events that spell catastrophe for him and his country. <i>A digital version will be available to stream for patrons who do not yet wish to attend in person. </i><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/othello/"><strong>Learn More</strong></a></span></p>
<p dir="ltr"><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/two-trains-running/"><img class="alignnone size-full wp-image-14245" src="https://www.courttheatre.org/wp-content/uploads/2020/07/800X2505.jpg" alt="Two Trains Running" width="1667" height="521" /></a><span style="font-weight: 400;">Amidst the Civil Rights Movement, Memphis Lee’s restaurant is slated for demolition. While Memphis fights to sell his diner for a fair price, the rest of the restaurant’s regulars search for work, love, and justice as their neighborhood continues to change in unpredictable ways. <i>This production will be available to attend in-person. </i><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/two-trains-running/"><strong>Learn More</strong></a></span></p>


<hr />

<b>Subscription and Ticket Information</b>

<span style="font-weight: 400;">Individual enrollment for the <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/theatre-thought/">Theatre &amp; Thought</a> series is $85 per course. Individual enrollment to <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/">Deep Dive: <em>Leopoldstadt</em></a></span><span style="font-weight: 400;"> is $250. Three, four and five-play subscriptions to Court’s 2020/21 season range from $96 to $300 and are on sale now. 5-Play subscribers will have access to all plays, content, and programs listed above as a part of their subscription package. </span>

<span style="font-weight: 400;">Court’s Box Office will be in touch with previously renewed subscribers to discuss how these changes impact their subscription series. 3 and 4-Play subscribers will have the opportunity to choose from the Theatre &amp; Thought series, Deep Dive: </span><i><span style="font-weight: 400;">Leopoldstadt</span></i><span style="font-weight: 400;">, or any of the three plays scheduled for 2021. Court’s Box Office will be in touch with previously renewed subscribers to discuss their options.</span>

<span style="font-weight: 400;">University of Chicago students will receive complimentary access and UChicago faculty and staff will receive a 25% discount to Court Theatre’s fall digital programming.</span>

<span style="font-weight: 400;">To purchase a subscription or receive more information, call the Court Theatre Box Office at <strong>(773) 753-4472</strong>, or <a href="https://www.courttheatre.org/season-tickets/subscriptions/"><strong>learn more here</strong></a></span><span style="font-weight: 400;">. Individual tickets for all Spring 2021 productions will be available in Fall 2020.</span>

[button link="/season-tickets/subscriptions/" text="Subscribe Now"]

<span style="font-weight: 400;">The previously announced live productions of </span><i><span style="font-weight: 400;">Violet, The Gospel at Colonus</span></i><span style="font-weight: 400;">, </span><i><span style="font-weight: 400;">Fen</span></i><span style="font-weight: 400;">, and </span><i><span style="font-weight: 400;">Antigone </span></i><span style="font-weight: 400;">have been postponed and will be produced in a future season.</span> <span style="font-weight: 400;">Current subscribers will be able to exchange their existing tickets to previously announced productions for any of the above offerings. Court Theatre’s Box Office will be in touch to discuss subscriber options via phone and email. </span>

<span style="font-weight: 400;">Court is still evaluating new performance dates for its site-specific production of </span><a href="https://www.courttheatre.org/season-tickets/2019-2020-season/an-iliad-at-oi/"><i><span style="font-weight: 400;">An Iliad</span></i></a><span style="font-weight: 400;">. Ticket holders will be contacted with further information when details have been solidified.</span>

<a href="https://grahamschool.uchicago.edu" target="_blank" rel="noopener noreferrer"><img class="size-full wp-image-14219 alignleft" src="https://www.courttheatre.org/wp-content/uploads/2020/07/graham-logo-75.jpg" alt="Graham School" width="75" height="75" /></a>Court’s remote, digital experiences are produced in partnership with the <strong><a href="https://grahamschool.uchicago.edu" target="_blank" rel="noopener noreferrer">University of Chicago Graham School’s</a> Arts@Graham series.</strong>

<hr />
<p class="caption"><span style="font-weight: 400;"><em>Titanic (Scenes from the British Wreck Commissioner's Inquiry, 1912)</em> is sponsored by Gustavo "Chip" Bamberger and Martha Van Haitsma. <em>Othello</em> is sponsored by Michael Charles Litt. August Wilson’s <em>Two Trains Running</em> is sponsored by Allstate and Neil Ross and Lynn Hauser. Ron OJ Parson’s Residency is made possible by the Joyce Foundation. Programming is partially supported by a grant from the Illinois Arts Council Agency. Additional support is provided by Harper Court Arts Council, Paul M. Angell Family Foundation, Prince Charitable Trusts, and the Shubert Foundation.
</span></p>
<p class="caption"><span style="font-weight: 400;">Court Theatre remains committed to following all government guidelines surrounding the COVID-19 pandemic in order to maintain the safety of our artists, staff, and patrons. To that end, dates and programming are subject to change based on rights acquisition, pandemic conditions, and other developments in order to remain responsive to evolving circumstances. As in-person gatherings are currently scheduled to resume in February of 2021, we will communicate information about enhanced cleaning and safety protocols to ensure everyone’s safety at Court Theatre.</span></p>"
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      string(478) "From our Theatre & Thought Series, which connects audiences to expert insights from University of Chicago faculty about classic texts, to our Deep Dive events exploring Tom Stoppard's newest play <i>Leopoldstadt</i>, and productions like <i>Titanic (Scenes from the British Wreck Commissioner's Inquiry, 1912)</i>, <i>Othello</i>, and August Wilson's <i>Two Trains Running</i>, our updated season is thematically rich, intellectually rigorous, and formally ambitious."
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        string(567) "Temporarily shuttered by the global pandemic, American theatres hang in a liminal state, moving from what was to what will be next. We invite you to sit with us during this pause, this breath, and to contemplate all that has transpired between these walls and all our ambitions for what theatre can be in the future. Join us in a favorite ritual: sitting alone in an empty, dark theatre, long after the audience and the artists have gone home. Absorb the quiet, absorb the energy of all the sounds and emotions that have moved through this space in the past 40 years."
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      string(3611) "<blockquote><em>Somewhere, something incredible is waiting to be known.</em></blockquote>
<p style="text-align: right;"><em>-Blaise Pascal, 17th-century French mathematician,
physicist, inventor, writer, and philosopher</em></p>
[wpstream_player id="14205" ][/wpstream_player]

A ghost light is simply a lamp left burning on the stage after everyone has gone home at night. Practically, it lights the way for anyone crossing the stage in the dark, keeping them safe from trip hazards. Traditionally, the light is left burning to appease the ghosts of the theatre. While we have no evidence of Court Theatre being haunted, the spirits of more than 200 plays certainly linger in this space.

Welcome (back) to the Abelson Auditorium at Court Theatre. We invite you to join us in a favorite ritual—sitting alone in an empty, dark theatre, long after the audience and the artists have gone home. Absorb the quiet, absorb the energy of all the sounds and emotions that have moved through this space in the past 40 years. There is a tremendous hush of emotional memory contained in these walls.

Contemplate the beauty, and the loss, of our most recent production, <a href="https://www.courttheatre.org/season-tickets/2019-2020-season/the-lady-from-the-sea/">THE LADY FROM THE SEA</a>, which closed just hours before its first preview. When we returned to the theatre in mid June to turn on the cameras, the set was exactly where we had left it three months earlier. Props stacked on shelves backstage. A hat where it was placed on the sand. A circle of chairs where the acting company had gathered on our last day to make the hard decision to close the show. And of course, a ghostlight still shining in the darkness.

Temporarily shuttered by the global pandemic, American theatres hang in a liminal state, moving from what was to what will be next. We invite you to sit with us during this pause, this breath, and to contemplate all that has transpired between these walls and all our ambitions for what theatre can be in the future.

Sometimes this space will be quiet and dark, other times you may hear or see echoes of THE LADY FROM THE SEA, and maybe other glimpses of Court Theatre's past and possibly even our future. We invite you to return often and see how the physical space evolves.

Drop in for 30 seconds or for 30 minutes. Court Theatre will be here waiting for you. Until we can be together in the theatre again,
<div>
<div>
<div dir="ltr">
<div dir="ltr">
<div dir="ltr">
<div dir="ltr">
<div dir="ltr">
<div dir="ltr">
<div><a href="https://www.courttheatre.org/season-tickets/2019-2020-season/the-lady-from-the-sea/">THE LADY FROM THE SEA</a></div>
<div>Scenic Design by <a href="https://www.courttheatre.org/people/andrew-boyce/">Andrew Boyce</a></div>
<div>Costume Design by <a href="https://www.courttheatre.org/people/linda-roethke/">Linda Roethke</a></div>
<div>Lighting Design by <a href="https://www.courttheatre.org/people/paul-toben/">Paul Toben</a></div>
<div>Video Content by Erin Pleake</div>
<div>Sound Design by <a href="https://www.courttheatre.org/people/andre-pluess/">Andre Pluess</a></div>
<div></div>
<div>The production was directed by <a href="https://www.courttheatre.org/people/shana-cooper-2/">Shana Cooper</a> and choreographed by <a href="https://www.courttheatre.org/people/erika-chong-shuch/">Erika Chong Shuch</a>.</div>
<div>
<div></div>
</div>
<div>Built by the production team at Court Theatre.</div>
<div>Production photos by Michael Brosilow.</div>
</div>
</div>
</div>
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        string(286) "Last week we made a statement of solidarity, and now we share our plans to contribute to the ongoing struggle. We share them publicly because we believe public discourse is generative—we have learned so much from the work of others—and public declarations can be held to account.   "
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      string(4978) "<p dir="ltr">Justice is hard-won. We are awed and inspired by those who are already making change happen every day in our communities and know that we at Court Theatre must do more to meaningfully contribute. Last week we made a statement of solidarity, and now we share our plan to contribute to the ongoing struggle. We share this publicly because we believe public discourse is generative—we have learned so much from the work of others—and public declarations can be held to account.</p>
<p dir="ltr">Court Theatre is located on Chicago’s South Side, we benefit greatly from the talents of Black artists and Black staff, many of whom are our neighbors and friends. Even as a self-proclaimed South Side institution we are first and foremost a part of the University of Chicago. Every aspect of our work must be informed by a veracious understanding of the circumstances that have shaped us and we must work to address the histories of violence that have shored up our positions of privilege and provide redress for real harm done to the communities we call neighbors and friends. We now see that Anti-racism work cannot be one piece of our work but must become the central value that governs it.  We recognize the need to accelerate this paradigm shift in Court Theatre’s culture and be a proactive part of a global dismantling of white supremacy. We believe that culture is comprised of power, values, meaning-making, historical context and place, attitudes and feelings, and behavior and norms.  We will address all of these things and this is our plan for doing so:</p>
<p dir="ltr"><strong>Power</strong>: We recognize the South Side community is an equal stakeholder in the theatre. Court must treat its members as such, ensuring that they inform the theatre’s work as much as any other group of stakeholders. We will work even harder to attract more Black South Side community leaders and organizers to our board who, in addition to UChicago administrators, have the most oversight of the theatre.</p>
<p dir="ltr"><strong>Values</strong>: We have a responsibility to our neighbors and our society to both redress past violence and to build spaces and tell stories that honor their humanity. We will engage our neighbors as the stakeholders that they are, making anti-racism work central to everything we do.</p>
<p dir="ltr"><strong>Meaning-making</strong>: Court Theatre will continue to facilitate spaces for Black artists and other Black stakeholders to grow, especially those who live on the South Side, in all aspects of our work.  We will strengthen the avenues for Black artists, and other artists of color, to shape the ways in which Chicagoans see our world.</p>
<p dir="ltr"><strong>Historical context/place</strong>:  We will more rigorously shape our notion of what a classic work of theatre is and be guided by that ongoing interrogation. We believe that plays are classics not only because they reveal our shared humanity, but because communities confer status on them by feeling their relevance. Our South Side partners and neighbors have to see relevance in a play for us to consider it a classic and, thus, produce it.</p>
<p dir="ltr"><strong>Attitudes and feelings</strong>: We will support and amplify the conversations that Black activists are shaping through our work on stage and in our programming. In the short term, we will build a new digital space to facilitate such conversations, through our website, blog, and social media channels.</p>
<p dir="ltr"><strong>Behavior and norms</strong>: We will interrogate our operations and processes to address a culture of oppression and violence against Black people, other people of color, and under-resourced communities. The entire Court Theatre staff will build its relationships with community members so that they can contribute meaningfully to this work.</p>
<p dir="ltr">We operate within the South Side of Chicago, one of the most culturally rich communities in the world, and yet one that suffers from serious disinvestment. We are grateful to be welcomed here and have an obligation to serve the South Side community as well as the Black community at large more powerfully. In order to do better, we will listen, listen, listen. And we will act.</p>

<table border="0" width="650" cellpadding="0">
<tbody>
<tr>
<td align="center" valign="center" width="50%">
<p style="text-align: left;"><img class="alignnone size-full wp-image-14088" src="https://www.courttheatre.org/wp-content/uploads/2020/05/charlie_sig-200-wide.jpg" alt="" width="200" height="57" /></p>
<p style="text-align: left;">Charles Newell
<em>Marilyn F. Vitale Artistic Director</em></p>
</td>
<td style="text-align: left;" align="center" valign="center" width="50%"><img class="alignnone size-full wp-image-14081" src="https://www.courttheatre.org/wp-content/uploads/2020/05/Angel-sig-120x82-1.jpg" alt="" width="120" height="82" />
Angel Ysaguirre
<em>Executive Director</em></td>
</tr>
</tbody>
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<strong>Registration for the current session is now closed. Thanks for your </strong><b>interest!</b>

<span style="font-weight: 400;">Court Theatre is pleased to announce round two of its </span><b>Virtual Monologue Fest</b><span style="font-weight: 400;">. In considering what we might be able to do as part of Chicago’s theatre community during this time, we turned to the things that Court Theatre does best: energizing classic texts, both new and old, to illuminate timeless stories and gathering our community in conversation around these works. Our hope is that this festival of voices can act as an opportunity for connection and engagement during this current moment of upheaval and isolation.</span>

<b>The Virtual Monologue Fest offers an opportunity for students interested in acting and writing to participate in small group workshops over the course of 2 weeks.</b>

<span style="font-weight: 400;">In these virtual meetings, the participants will be coached by professional artists towards one of two goals: writing a 1-minute original monologue, or developing a monologue for performance. The inspiration for these pieces of work will draw upon the themes of two recent Court productions: </span><a href="https://www.courttheatre.org/season-tickets/2019-2020-season/king-hedley-ii/"><i><span style="font-weight: 400;">King Hedley II </span></i></a><span style="font-weight: 400;">and </span><a href="https://www.courttheatre.org/season-tickets/2019-2020-season/oedipus-rex/"><i><span style="font-weight: 400;">Oedipus Rex</span></i></a><i><span style="font-weight: 400;">. </span></i><span style="font-weight: 400;">At the conclusion of the 2-week workshop period, participants will have the opportunity to share their work with their peers and community through previously recorded video presentations. </span>

<span style="font-weight: 400;">In these workshop groups, participants will not only be able to gain training and advice from professionals working in the field, but will also be able to engage in important dialogues about lived experiences with their mentors and other peers, offering encouragement and constructive feedback about their ideas while connecting in this virtual space together.</span>

<strong>As a participant in the Virtual Monologue Fest, you’ll: </strong>
<ul>
 	<li style="font-weight: 400;"><span style="font-weight: 400;">Be a part of a creative team,</span></li>
 	<li style="font-weight: 400;"><span style="font-weight: 400;">Have the opportunity to receive guidance and coaching from a professional artist,</span></li>
 	<li style="font-weight: 400;"><span style="font-weight: 400;">Receive individual attention on your writing and performing skills, and</span></li>
 	<li style="font-weight: 400;"><span style="font-weight: 400;">Learn skills and tools that can also be applied to making meaning in this moment  while broadening  performance and writing skills. </span></li>
</ul>
<span style="font-weight: 400;"><strong><b>Workshops will begin June 29, 2020. Registration will close June 22, 2020 at 5:00pm</b>.</strong> We hope to offer sessions to UChicago students, CPS students, and the broader Chicago youth community. We are excited to explore this new format for engaging with plays that remain timely and relevant, and are so central to Court’s mission of sharing vital stories with our community at a time when lifting our voice feels so essential.</span>
<h2>Frequently Asked Questions</h2>
<b>What is the time commitment for participation?</b>

<span style="font-weight: 400;">Workshops will begin </span><b>June 29, 2020.</b><span style="font-weight: 400;"> The workshop process will take place over a two week period. Participants will be expected to attend virtual meetings over Zoom. Scheduling of virtual meetings will be handled based on the availability of all members of each group. </span>

<b>Do I have to present my work? </b>

<span style="font-weight: 400;">All participants will be asked to share their work within their group workshop to receive feedback. Students will have the option at the end of the program to record their work to be shared via Court’s social media channels to the broader community. If students do not want anyone outside their small group to see their work, they do not have to share more broadly. </span>

<b>What is the cost to participate?</b>

<span style="font-weight: 400;">The Virtual Monologue Fest is free! Court Theatre is offering this program at no cost to participants. </span>

<i><span style="font-weight: 400;">Court’s Virtual Monologue Fest is produced in conjunction with University of Chicago’s Office of Civic Engagement.</span></i>

<img class="alignnone wp-image-13999 size-medium" src="https://www.courttheatre.org/wp-content/uploads/2020/04/signature.horizontal.rgb_.maroon-300x40.jpg" alt="" width="300" height="40" />
<p style="font-weight: 400;"><em>Featured Sponsor Allstate Insurance Co.</em></p>
<img class="alignnone wp-image-13809 size-thumbnail" src="https://www.courttheatre.org/wp-content/uploads/2020/02/Allstate-Logo-Edited-for-Website-150x150.png" alt="" width="150" height="150" />
<p style="font-weight: 400;"><em>Ensemble Sponsors Lise and Ed Spacapan</em></p>"
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      string(1779) "<strong><img class="alignnone size-full wp-image-14120" src="https://www.courttheatre.org/wp-content/uploads/2020/06/Kamilah-800x300-1.jpg" alt="" width="800" height="300" />We are thrilled to announce visionary artist and administrator Kamilah Rashied is Court's new Director of Education.</strong> Rashied brings an impressive and extensive roster of experiences to the position, including work at such renowned Chicago arts and culture institutions as the Chicago Public Library, Chicago Parks District, Hyde Park Art Center, Illinois Humanities, Chicago Shakespeare Theater, and Victory Gardens Theater.

Kamilah’s expertise is second to none and will usher in a bold new vision for the way that Court Theatre connects with Chicago Public Schools students as well as the broader South Side community.

<strong>Kamilah Rashied </strong>is an arts administrator, producer, educator and artist that has worked from every angle of cultural production with 18 years of experience in new program development, arts education teaching and outreach, community based programming and civic minded audience engagement. Cultivating a broad range of programs for the public, ranging from youth initiatives to live events and talks, Rashied has contributed to the development of new and ongoing programs at many venerable arts and culture organizations in Chicago including: the Art Institute of Chicago, the School at the Art Institute, University of Illinois at Chicago, Chicago Park District, Chicago Public Library, Illinois Humanities, Arts Alliance Illinois, Rebuild Foundation, OTV (Open Television), Hyde Park Art Center, Young Chicago Authors, Victory Gardens Theater and Chicago Shakespeare Theater among others.
<p class="caption"><em>Photo by Zakkiyyah Najeebah.</em></p>"
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      string(5475) "<span style="font-weight: 400;">We at Court Theatre stand in solidarity with the artists, community members, and our South Side neighbors engaged in the struggle for justice in Chicago and across the country. Black lives, Black stories, and Black voices are essential, because they are the lives, stories, and voices of our nation. As theatremakers, we also recognize our responsibility to amplify stories of oppression in moments of injustice. </span>
<table border="0" width="650" cellpadding="0">
<tbody>
<tr>
<td align="center" valign="center" width="50%">
<p style="text-align: left;"><img class="alignnone size-full wp-image-14088" src="https://www.courttheatre.org/wp-content/uploads/2020/05/charlie_sig-200-wide.jpg" alt="" width="200" height="57" /></p>
<p style="text-align: left;">Charles Newell
<em>Marilyn F. Vitale Artistic Director</em></p>
</td>
<td style="text-align: left;" align="center" valign="center" width="50%"><img class="alignnone size-full wp-image-14081" src="https://www.courttheatre.org/wp-content/uploads/2020/05/Angel-sig-120x82-1.jpg" alt="" width="120" height="82" />
Angel Ysaguirre
<em>Executive Director</em></td>
</tr>
</tbody>
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University of Chicago Provost Ka Yee C. Lee shared a powerful message with the community. <a href="https://provost.uchicago.edu/announcements/our-community-and-events-minneapolis-and-chicago" target="_blank" rel="noopener noreferrer">View it here</a>.
<p style="font-weight: 400;">We encourage you to access the many valuable University of Chicago resources that may be helpful to you right now:</p>

<ul>
 	<li style="font-weight: 400;">The <strong><a href="https://pm1.uchicago.edu/PoliteMail/default.aspx?page=eEgs5FKrpEW2zoK0BY20qQ&amp;ref_id=B4CgAeTP4U6_qgzB2vuILw" data-saferedirecturl="https://www.google.com/url?q=https://pm1.uchicago.edu/PoliteMail/default.aspx?page%3DeEgs5FKrpEW2zoK0BY20qQ%26ref_id%3DB4CgAeTP4U6_qgzB2vuILw&amp;source=gmail&amp;ust=1590980171734000&amp;usg=AFQjCNEZnvH_MHg-p7dyAMh4vQQfnD1a4w">Center for Identity + Inclusion</a></strong> engages students and members of our University community from all backgrounds to ensure personal, academic, and professional growth, and success.</li>
 	<li style="font-weight: 400;">The <strong><a href="https://pm1.uchicago.edu/PoliteMail/default.aspx?page=kvLlcPnizEaqqAHj3aYfJg&amp;ref_id=B4CgAeTP4U6_qgzB2vuILw" data-saferedirecturl="https://www.google.com/url?q=https://pm1.uchicago.edu/PoliteMail/default.aspx?page%3DkvLlcPnizEaqqAHj3aYfJg%26ref_id%3DB4CgAeTP4U6_qgzB2vuILw&amp;source=gmail&amp;ust=1590980171735000&amp;usg=AFQjCNGwmqobeExbGT3s7_qQLQMOQLRQ_g">Center for the Study of Race, Politics, and Culture</a></strong> offers a wide array of programming, including a Zoom series focused on the racial disparities of COVID-19.</li>
 	<li style="font-weight: 400;">The <strong><a href="https://pm1.uchicago.edu/PoliteMail/default.aspx?page=4ox0FXerzUC6LVk2lzQMEA&amp;ref_id=B4CgAeTP4U6_qgzB2vuILw" data-saferedirecturl="https://www.google.com/url?q=https://pm1.uchicago.edu/PoliteMail/default.aspx?page%3D4ox0FXerzUC6LVk2lzQMEA%26ref_id%3DB4CgAeTP4U6_qgzB2vuILw&amp;source=gmail&amp;ust=1590980171735000&amp;usg=AFQjCNFB_5lcLpB_FtEflAWnnj9_iiTC9g">Pozen Center for Human Rights</a></strong> offers regular programming about global human rights.</li>
 	<li style="font-weight: 400;"><strong><a href="https://pm1.uchicago.edu/PoliteMail/default.aspx?page=705DEWPT_USfRSrcGoDPZA&amp;ref_id=B4CgAeTP4U6_qgzB2vuILw" data-saferedirecturl="https://www.google.com/url?q=https://pm1.uchicago.edu/PoliteMail/default.aspx?page%3D705DEWPT_USfRSrcGoDPZA%26ref_id%3DB4CgAeTP4U6_qgzB2vuILw&amp;source=gmail&amp;ust=1590980171735000&amp;usg=AFQjCNHtApgvDNYGoHIMyHvd6Q5QRvZFqQ">Spiritual Life</a></strong> serves as a destination for religious and spiritual needs.</li>
 	<li style="font-weight: 400;"><strong><a href="https://pm1.uchicago.edu/PoliteMail/default.aspx?page=wBNr6kpbHkewUt3yUp17nw&amp;ref_id=B4CgAeTP4U6_qgzB2vuILw" data-saferedirecturl="https://www.google.com/url?q=https://pm1.uchicago.edu/PoliteMail/default.aspx?page%3DwBNr6kpbHkewUt3yUp17nw%26ref_id%3DB4CgAeTP4U6_qgzB2vuILw&amp;source=gmail&amp;ust=1590980171735000&amp;usg=AFQjCNGeq-ojPkqDOcYjyf4jV7i-z6dVlw">UChicago Student Wellness</a></strong> offers counseling services and other support for students impacted by these and other events.</li>
 	<li style="font-weight: 400;">The <strong><a href="https://pm1.uchicago.edu/PoliteMail/default.aspx?page=q-YLcgSWokuYX1lcV24bPg&amp;ref_id=B4CgAeTP4U6_qgzB2vuILw" data-saferedirecturl="https://www.google.com/url?q=https://pm1.uchicago.edu/PoliteMail/default.aspx?page%3Dq-YLcgSWokuYX1lcV24bPg%26ref_id%3DB4CgAeTP4U6_qgzB2vuILw&amp;source=gmail&amp;ust=1590980171735000&amp;usg=AFQjCNHqJ72ocW32JymsbvWi2dgyO4wFSw">Urban Health Initiative</a></strong> runs inclusive community grants and organizes a variety of community programs and services.</li>
 	<li style="font-weight: 400;">The <strong><a href="https://pm1.uchicago.edu/PoliteMail/default.aspx?page=2RaJG2ZPLUW7aiyK5F6hkw&amp;ref_id=B4CgAeTP4U6_qgzB2vuILw" data-saferedirecturl="https://www.google.com/url?q=https://pm1.uchicago.edu/PoliteMail/default.aspx?page%3D2RaJG2ZPLUW7aiyK5F6hkw%26ref_id%3DB4CgAeTP4U6_qgzB2vuILw&amp;source=gmail&amp;ust=1590980171735000&amp;usg=AFQjCNFtqzurdDAlEDj0Zi-9iU47rX669A">Diversity &amp; Inclusion website</a></strong> features a listing of related events happening across campus.</li>
</ul>"
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<span style="font-weight: 400;">Written in an episodic series of vignettes, <a href="https://www.courttheatre.org/people/caryl-churchill/">Caryl Churchill’</a>s 1983 play </span><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/fen/"><i><span style="font-weight: 400;">Fen </span></i></a><span style="font-weight: 400;">explores the social and economic constraints of individuals in a rural community in England. Although the majority of the work follows the tale of Val, a woman who grapples with the decision to leave her family, the other characters are given considerable stage time as well. The struggle of women to gain agency is explored in the situations of other characters, from defiant Nell to abused Becky to resigned Shirley. The play delves into the impossibility of escape as the individuals struggle to release themselves from their situation yet must continue to face its realities and the repercussions of their dissatisfaction.</span>

<span style="font-weight: 400;">As for the name of the play, “the Fens,” also known as the Fenland or the Fenlands, refers to the coastal plain in eastern England. “Fen” is a term for a marshland, a natural phenomenon that captures the interest of artists and environmentalists alike. Over the years, they have been the target for draining for an agricultural agenda but have recently been the subject of numerous conservation efforts as well. At the time Churchill wrote </span><i><span style="font-weight: 400;">Fen</span></i><span style="font-weight: 400;">, the intensive Fenland survey, which would later change into the Fenland Project, was initiated to learn more about the rapidly changing land and all the archaeological treasures it held. Churchill’s work examines the everyday life and social constraints of people, particularly women, in this geographic region.</span>

<span style="font-weight: 400;">Caryl Churchill is an English playwright known for her feminist works that often tackle themes like oppression and the abuse of power through a postmodern, experimental lens. Born in England, Churchill immigrated to Canada at ten years old, though she would return to England for and after receiving a university education. Her career started with creating plays that her fellow Oxford students performed. She then went on to write radio dramas and television plays, managing her new family life while never neglecting her own career. </span>

<span style="font-weight: 400;">Blending social critique with a surrealist approach is a distinct technique that forms the basis of Churchill’s approach to stage work. Her exploration of unfulfilled yet consuming desire, such as the desire to reap the benefits of two irreconcilable realities and the need for escape if not satisfied, is a pervasive theme in several of her works. Churchill constantly reimagines the potential breadth and depth of what a play can be and how it can communicate, responding to the social discourse by reexamining themes in a rich variety of unique ways. She is renowned for her experimentation with language, structure, and form. Churchill is elusive, having an indelible mark on younger generations of playwrights yet rarely appearing for interviews. At 82, she is considered to be one of the greatest living playwrights, respected for her notable risks and experimental novelty.</span>

<hr />

Caryl Churchill's <em><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/fen/">Fen</a> </em>is programmed as part of Court Theatre's <a href="https://www.courttheatre.org/season-tickets/">2020/21 Season</a>. <a href="https://www.courttheatre.org/season-tickets/"><strong>Learn more →</strong></a>"
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      string(4584) "<img class="alignnone size-full wp-image-14034" src="https://www.courttheatre.org/wp-content/uploads/2020/04/antigoneheader.jpg" alt="" width="800" height="300" />

<span style="font-weight: 400;">Considered to be Sophocles’ most political play in the Oedipus Trilogy, </span><a href="https://www.courttheatre.org/event/listing/antigone-30/"><i><span style="font-weight: 400;">Antigone </span></i></a><span style="font-weight: 400;">was actually written before the other plays, though it takes place last chronologically. First performed around 441 - 442 B.C.E., it still enraptures audiences today with its exploration of pertinent themes like free will and civil disobedience. </span>

<span style="font-weight: 400;">The play follows its titular character, the daughter of Oedipus, after the events of </span><a href="https://www.courttheatre.org/season-tickets/2019-2020-season/oedipus-rex/"><i><span style="font-weight: 400;">Oedipus Rex </span></i></a><span style="font-weight: 400;">and </span><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/the-gospel-at-colonus/"><i><span style="font-weight: 400;">Oedipus at Colonus</span></i></a><span style="font-weight: 400;">. Antigone finds herself engaged to her cousin Haemon, and her father’s former kingdom now ruled by her uncle Creon. Where Creon was ambiguous in </span><i><span style="font-weight: 400;">Oedipus</span></i><span style="font-weight: 400;">, the unexplored sides of his character are brought forth as his tyrannical ways have caused Thebes to once again fall ill. After Oedipus’ sons, Polynices and Eteocles, kill each other in battle, Creon dictates that Eteocles will be given a proper hero’s burial but Polynices will not receive similar treatment. He orders all of Thebes that no one is allowed to perform funeral rites for his nephew, a ruling that Antigone rebels against. She embarks on a quest not for the sake of rebelling, but to honor her beloved brother and stand for her rights rather than mindlessly acquiesce to Creon’s cruel tyranny. </span>

[caption id="attachment_14035" align="alignleft" width="211"]<img class="wp-image-14035 size-medium" src="https://www.courttheatre.org/wp-content/uploads/2020/04/844px-Masterpieces_of_Greek_Literature_-_Frontispiece-1-211x300.jpg" alt="" width="211" height="300" /> Statue of Sophocles.[/caption]

<span style="font-weight: 400;">Questions of leadership, free will, civil disobedience, and the cost of wisdom are all explored in this last installment of the trilogy, an addition that furthers Sophocles’ legacy as his plays handle themes that are still relevant today. Creon’s despotic rule is met by Antigone’s steadfast defiance and her refusal to submit ensures she is a character who endures throughout the ages. As is expected for a work by this Greek playwright, the play also contains a thoughtful rumination on the relationship between gods and humans without having any god directly interact with any mortal on stage. Divine law and judicial law clash as Antigone and Creon look to two different paths and must contend with the consequences of their decisions.</span>

<span style="font-weight: 400;">At the time this play was first performed, Sophocles was one of the state treasurers in Athens and by then had experience as a general. Such personal life experiences perhaps were factors in his exploration of public and private duty in </span><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/antigone/"><i><span style="font-weight: 400;">Antigone</span></i></a><span style="font-weight: 400;">. While the impact of personal occupation on his works is conjecture, the struggles in his plays remain relevant to audiences of various backgrounds as they grapple with questions of agency and free will when faced with the pressing influence of social institutions. As for the historical context, the play was written during a period that was bookended by turmoil, from wars to revolts. Some consider the character of Creon to be loosely modeled on Pericles, an Athenian statesman involved in the formation of the Athenian empire. Sophocles interprets and portrays the world around him through the dynamic lens of theatre.</span>

<hr />

<em><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/antigone/">Antigone</a> </em>is programmed as part of Court's <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/">2020/21 Season</a>. <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/"><strong>Learn more →</strong></a>"
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      string(3735) "[caption id="attachment_14028" align="alignnone" width="800"]<img class="size-full wp-image-14028" src="https://www.courttheatre.org/wp-content/uploads/2020/04/TwoTrainsBG.jpg" alt="" width="800" height="300" /> Civil Rights March on Washington, D.C. Martin Luther King, Jr. and Mathew Ahmann in a crowd.[/caption]

August Wilson’s <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/two-trains-running/"><em>Two Trains Running</em></a> is the seventh installment in his ten-part Century Cycle (also called the Pittsburgh Cycle). Set in the <a href="https://www.courttheatre.org/about/blog/pittsburghs-place-within-august-wilsons-world/">Hill District of Pittsburgh</a>, at the height of the civil rights movement, a group of weary individuals downtrodden by infuriating social situations face an era of intense change. The Hill District was once a bustling, prosperous community, but was hit hard by significant economic decline in the 1960s.

Within the play, seven characters engage in everyday dialogue about the political events of the time and recent events in the surrounding area, with particular attention given to the diner and the funeral parlor next door. Set in 1969, the play takes place during the rise of the Black Power Movement in the United States. Just a year before the play is set, Martin Luther King, Jr was assassinated and President Lyndon Johnson signed the second Civil Rights Act. Despite legal achievements, African Americans still did not experience the same rights or receive equal pay as whites. By thoughtfully examining the reactions of everyday citizens to the tumultuous changes of the time period, Wilson recontextualizes the history of the age on a more personal, nuanced level as he explores its effects on the often ignored individual.

[caption id="attachment_14026" align="alignleft" width="300"]<img class="wp-image-14026 size-medium" src="https://www.courttheatre.org/wp-content/uploads/2020/04/Lyndon_Johnson_signing_Civil_Rights_Act_July_2_1964-300x201.jpg" alt="" width="300" height="201" /> President Lyndon B. Johnson signing the second Civil Rights Act.[/caption]

With respect to the hopes of the only female character in the play, the Civil Rights struggle had additional battles as well when it came to securing rights for black women. In 1969, activist Ella Baker gave a speech at the Institute of the Black World in Atlanta, throughout which she argued women formed the backbone of the movement. She also decried the idea that women were only background fixtures whose only purpose was to support the ego of men. Black feminist groups rose more prominently in the 1970s.

Wilson was deeply invested in African American intellectual movements of the time, intrigued by the works of figures like Ralph Ellison and Langston Hughes. He was also interested in African American oral culture, an interest evident in his works. He was markedly influenced by occurrences in his personal life and the place he grew up.

Originally performed at Yale Repertory Theatre in 1990, <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/two-trains-running/"><em>Two Trains Running</em></a> premiered on Broadway in 1992, starring the likes of Laurence Fishburne, who won a Tony for his performance as Sterling, and Samuel L. Jackson. Wilson’s work was praised and won numerous awards, including the American Theatre Critics Award.

<hr />

<a href="https://www.courttheatre.org/season-tickets/2020-2021-season/two-trains-running/">August Wilson's <em>Two Trains Running</em></a> is programmed as part of Court Theatre's 2020/21 Season. <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/"><strong>Learn more →</strong></a>"
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      <a href="https://www.courttheatre.org/about/blog/digital-programming-faq/"><img class="blog-teaser__img" src="" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/digital-programming-faq/">2020/21 Season Programming FAQ</a></h3>
        <p>Check out these frequently asked questions about our virtual offerings as part of our re-imagined 2020/21 Season.</p>
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      <a href="https://www.courttheatre.org/about/blog/the-2020-21-season-reimagined/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2020/07/2021-reimagined-200sq.jpg" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/the-2020-21-season-reimagined/">The 2020/21 Season Reimagined</a></h3>
        <p>From our Theatre & Thought Series, which connects audiences to expert insights from University of Chicago faculty about classic texts, to our Deep Dive events exploring Tom Stoppard's newest play <i>Leopoldstadt</i>, and productions like <i>Titanic (Scenes from the British Wreck Commissioner's Inquiry, 1912)</i>, <i>Othello</i>, and August Wilson's <i>Two Trains Running</i>, our updated season is thematically rich, intellectually rigorous, and formally ambitious.</p>
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      <a href="https://www.courttheatre.org/about/blog/the-liminal-space/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2020/06/liminal-200x200-1.jpg" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/the-liminal-space/">The Liminal Space</a></h3>
        <p>Temporarily shuttered by the global pandemic, American theatres hang in a liminal state, moving from what was to what will be next. We invite you to sit with us during this pause, this breath, and to contemplate all that has transpired between these walls and all our ambitions for what theatre can be in the future. Join us in a favorite ritual: sitting alone in an empty, dark theatre, long after the audience and the artists have gone home. Absorb the quiet, absorb the energy of all the sounds and emotions that have moved through this space in the past 40 years.</p>
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      <a href="https://www.courttheatre.org/about/blog/the-work-ahead-of-us/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2020/06/work-200sq.jpg" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/the-work-ahead-of-us/">The Work Ahead of Us</a></h3>
        <p>Last week we made a statement of solidarity, and now we share our plans to contribute to the ongoing struggle. We share them publicly because we believe public discourse is generative—we have learned so much from the work of others—and public declarations can be held to account.   </p>
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      <a href="https://www.courttheatre.org/about/blog/virtual-monologue-fest/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2020/04/title-only-200x200-2.jpg" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/virtual-monologue-fest/">Virtual Monologue Fest</a></h3>
        <p>Learn more about Court's Virtual Monologue Fest in conjunction with the University of Chicago's Office of Civic Engagement.</p>
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      <a href="https://www.courttheatre.org/about/blog/visionary-artist-and-administrator-kamilah-rashied-joins-court-staff/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2020/06/kamilah-rashied-200sq.jpg" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/visionary-artist-and-administrator-kamilah-rashied-joins-court-staff/">Visionary Artist and Administrator Kamilah Rashied Joins Court Staff</a></h3>
        <p>Rashied brings an impressive and extensive roster of experiences to the position, including work at such renowned Chicago arts and culture institutions as the Chicago Public Library, Chicago Parks District, Hyde Park Art Center, Illinois Humanities, Chicago Shakespeare Theater, and Victory Gardens Theater.</p>
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      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/in-solidarity/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2020/05/in-solidarity-200x200-1.jpg" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/in-solidarity/">In Solidarity</a></h3>
        <p>We at Court Theatre stand in solidarity with the artists, community members, and our South Side neighbors fighting for justice in Chicago and across the country.</p>
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      <a href="https://www.courttheatre.org/about/blog/historical-background-on-caryl-churchills-fen/"><img class="blog-teaser__img" src="" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/historical-background-on-caryl-churchills-fen/">Historical Background on Caryl Churchill&#8217;s FEN</a></h3>
        <p>Learn more about Caryl Churchill's work as a playwright and the historical context informing FEN.</p>
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      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/historical-background-on-sophocles-antigone/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2020/04/antigonethumb.jpg" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/historical-background-on-sophocles-antigone/">Historical Background on Sophocles&#8217; ANTIGONE</a></h3>
        <p>Learn more about the historical context informing one of Sophocles' most famous tragedies.</p>
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      <a href="https://www.courttheatre.org/about/blog/historical-background-on-august-wilsons-two-trains-running/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2020/04/TwoTrainsContext_Thumb.jpg" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/historical-background-on-august-wilsons-two-trains-running/">Historical Background on August Wilson&#8217;s TWO TRAINS RUNNING</a></h3>
        <p>Learn more about the historical context informing August Wilson's seventh play in the Century Cycle.</p>
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