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<em><span style="font-weight: 400;">In September, Angel Ysaguirre joined Court as the new Executive Director. We caught up with Angel to ask him about his plans for Court, his love of the arts, and what he enjoys doing in his spare time. Read on to hear from Angel himself! </span></em>

<span style="font-weight: 400;"><strong>What drew you to Court Theatre?</strong> </span>

<span style="font-weight: 400;">First, the theatre’s long history of excellent productions. Added to that, it being part of the University of Chicago and its location on the South Side, which has a phenomenal history of such incredible creativity.</span>

<span style="font-weight: 400;"><strong>What are some other arts organizations in the city that you find exciting?</strong> </span>

<span style="font-weight: 400;">The Chicago Cultural Center, which always has such cutting edge art exhibitions by Chicago-based artists for free; Stony Island Arts Bank, which is a beautifully restored building and has incredible collections like the Frankie Knuckles record collection and the Johnson Publishing archives but also beautiful works of contemporary art; Eighth Blackbird, the new music ensemble that displays such fantastic skill and innovation; the Joffrey Ballet, whose productions keep getting more and more beautiful; the Poetry Foundation, which publishes the unparalleled </span><i><span style="font-weight: 400;">Poetry Magazine</span></i><span style="font-weight: 400;"> but who also presents an amazing array of poets in their building; finally, my old outfit, Illinois Humanities, because the breadth of Chicagoans who attend their programs is more diverse and authentic than anywhere else I’ve seen. </span>

<span style="font-weight: 400;"><strong>What role do you see Court playing on the South Side of Chicago? Do you have any plans to deepen the connection between Court and the community?</strong> </span>

Court is fortunate to exist on the South Side, an area that abounds with creativity – including not only some of the world’s most important writers, musicians, dancers, painters and sculptors, but also publishers, academics, community organizers, and public servants. Court is one of only two professional theatre companies on the South Side. As such, I believe that the theatre should significantly contribute to the vitality of the South Side. Court endeavors to become the theatre that is truly of and for the people of the South Side.

<strong>Describe your office set-up and style.</strong>

<span style="font-weight: 400;">I don’t have a desk, which I guess is surprising to folks. Instead, I have a sofa and a pair of chairs for meetings. Since we mostly work on laptops now and I spend most of my time in meetings or on campus or in the community, I don’t see the need for a desk. I also have a record player, which people also find surprising, but we spend a lot of evenings at the office and having good music after hours is key. I will say that the first record I brought to the office was a Chaka Kahn record, because Chaka is one of the most amazing treasures that the South Side has produced.</span>

<span style="font-weight: 400;"><strong>What’s your favorite way of spending a free evening?</strong> </span>

<span style="font-weight: 400;">If I could, I would spend most of my time reading and listening to music. Other than that, I like to cook, eat with friends, and catch a play or concert here or there. </span>"
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          string(3242) "<img class="size-full wp-image-9560 alignnone" src="https://www.courttheatre.org/wp-content/uploads/2017/12/steve-800x400.jpg" alt="" width="800" height="396" />
<blockquote>What is a legacy? It’s planting seeds in a garden you never get to see.” What does your garden look like, Dad? Your legacy is daunting. It is truly that of giants. I promise I will tell your story for the rest of my days. I promise to do my best to carry your legacy onward. To be a force. To love hard. To prioritize family and relationships over all. And to have so much fun living this life I am given.  <em>—Jessica Albert, Daughter, Stephen J. Albert</em></blockquote>
If you’ve ever been to a performance at Court (and even if this is your very first time in Court’s auditorium), you’ve experienced the legacy of Stephen J. Albert.

As Court’s Executive Director from 2010 until 2017, Steve presided over a robust period of growth, establishing the Center for Classic Theatre, strengthening Court’s ties to the community, and cultivating a much closer alliance with the University of Chicago. His influence and leadership ushered in new initiatives, world premiere productions, and increased programming to engage Court’s audiences and neighbors.

Beyond his remarkable influence as Executive Director, Steve was also a friend and a mentor. His phone calls and frequent check-ins “just because” were genuine, and beloved by many. He was known for conducting pop quizzes on music lyrics, and for competing with an absolutely merciless glee during each year’s annual March Madness college basketball bracket competition. Steve inspired trust and devotion from his friends and colleagues, and earned his reputation as an honest, fair, and caring friend and leader.

As Steve guided Court Theatre on a path to achieve its fullest potential, there were four areas he most passionately supported:
<ul>
 	<li><strong>Commissioning new work</strong> to present on Court’s stage;</li>
 	<li><strong>Supporting theatre diversity</strong>: onstage, in programming, behind-the-scenes, and among patrons;</li>
 	<li>Ensuring that youth have the opportunity to experience theatre, whether in the classroom or on Court’s stage, through <strong>Education Initiatives</strong>; and</li>
 	<li><strong>Career development</strong> by guiding the next generation of arts leaders.</li>
</ul>
<strong>Now you can honor Steve’s legacy of determination, compassion, humor, and an unending love of theatre by making a donation to the Stephen J. Albert Living Legacy at Court Theatre. </strong>

Your gift supports Steve’s four pillars of passion and enriches Court’s dedication to innovation, inquiry, intellectual engagement, and community service for this season and the seasons to come.

Steve, thank you for keeping us on track, loving us unconditionally, and being such a tremendous gift to so many. You are and will always be loved and missed.

Sincere thanks to the generous donors who have already given to the Stephen J. Albert Living Legacy. ■

<hr />

To make a gift to the Legacy, please contact Lauren Sheely, Development Assistant, at (773) 834-3563 or via <a href="mailto:lsheely@uchicago.edu">email</a>."
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          string(5644) "<p style="padding-left: 30px;"><i><img class="alignnone size-full wp-image-11399" src="https://www.courttheatre.org/wp-content/uploads/2018/10/kyle-ben.jpg" alt="" width="800" height="300" />We spoke with two of Manual Cinema’s Co-Artistic Directors, <a href="https://www.courttheatre.org/people/ben-kauffman/">Ben Kauffman</a> and <a href="https://www.courttheatre.org/people/kyle-vegter/">Kyle Vegter</a>, about the role of music in </i><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/frankenstein/">Frankenstein</a><i>. Both Kauffman and Vegter bring considerable experience in the worlds of composition and sound design to their work with Manual Cinema, helping to immerse audiences in their storytelling with live instrumentation. Read on to learn about their approach to creating the auditory world of</i><i> </i>Frankenstein<i>.</i></p>

<h5>Manual Cinema’s work is sometimes compared to silent film, a medium which heavily relied on music to complement the visuals on screen. How does music help tell the story of <i>Frankenstein</i>?</h5>
The music of <i>Frankenstein</i> supports the storytelling in a number of ways, but, maybe most importantly, the music supports the nesting-doll structure at the heart of our production (and Mary Shelley’s novel). Each story or storyteller the audience encounters during the show has its own sound universe and its own musical vocabulary. We hope this feels a little like different “narrative voices” that set apart the various stories being told. At the same time, all of the central themes and questions in the show echo and reverberate from one story to another, as if each is a dream of the others. Musically, we hope you can hear those echoes.
<h5>How do you approach composing original music for each Manual Cinema performance?</h5>
The approach is different for each project! For some productions, it’s “visuals first,” which means that the visual team creates storyboards and a rough video demo of the show, which we then score, as you would a film. Other projects are “music first,” where we write original music as the foundational element, and the visual team will create and stage the imagery in response. For <i>Frankenstein</i>, the novel and storyboards were the jumping-off point, so we had something text-based <i>and</i> visual to respond to. But some of the music was written without specific scenes in mind, more just channeling a feeling or a mood we wanted to explore.<span class="Apple-converted-space"> </span>
<h5>When do you begin incorporating music into the rehearsal process? How does the score evolve as the play continues to develop? <span class="Apple-converted-space"> </span></h5>
For a new show that we’re putting up, the music team and the visual team will typically rehearse separately for a number of weeks, followed by a few weeks of full-company rehearsal. The full-company rehearsals are when we begin stitching together the visual and sonic elements of the show, and, frankly, when we first see what the show actually is. So, those full-company rehearsals are a very clarifying process. During that time, we look at the pacing of music together with visuals; we may tweak when a piece of music begins or ends, and we may even throw out music that’s not working and write something new. For <i>Frankenstein</i> especially, we had this question of how the staging of the musicians might create another layer of drama and storytelling for the show, and that’s the type of question that gets answered in rehearsal.
<h5>When does the creative team look to music to solve parts of the storytelling puzzle?<span class="Apple-converted-space"> </span></h5>
I feel like in our work the visual storytelling and the music/sound design work hand-in-hand pretty much non-stop. One couldn’t really function to its fullest potential without the other. Music in particular often stands in for dialogue in our work, so we might write music that expresses a character’s point of view, or illuminates the nature of a relationship that’s playing out on screen. More broadly, music and sound design really clue you in to the pacing and density of the storytelling, so it can help the creative team make decisions akin to “editing” in film parlance.<span class="Apple-converted-space"> </span>
<h5>What sources of musical inspiration are you drawing from in <i>Frankenstein</i>?</h5>
We’re both musical omnivores and gather inspiration from a ton of different places. When we’re starting a piece we usually create a playlist of influences so that we can get on the same page before we start writing. Our <i>Frankenstein</i> playlist had some recent Jonny Greenwood film scores (<i>Phantom Thread, The Master</i>), Johan Johansson’s score for <i>Arrival</i>, yMusic’s new record they made with The Staves, John Adams’ <i>The Dharma at Big Sur</i>, Nico Muhly orchestral works, David Lang choral works, some Jenny Hval, Björk, Sufjan, Death Grips, and Flying Lotus. Harry Partch and his self-invented percussion instruments were a huge influence, especially on our use of glass instruments and the little robot arms. ■
<hr />

<a href="https://www.courttheatre.org/season-tickets/2018-2019-season/frankenstein/"><b><i>Frankenstein</i></b></a><b> is on stage November 1-December 2, 2018. </b>

<b>Want to be the first to see it? <a href="https://www.courttheatre.org/season-tickets/special-event/frankenstein-halloween-party/">Dare to join us on October 31</a>, where we’ll have a frightfully fun Halloween party followed by our final dress rehearsal. </b>"
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          string(7037) "<p style="padding-left: 30px;"><em><img class="alignnone size-full wp-image-11393" src="https://www.courttheatre.org/wp-content/uploads/2018/10/sarah-800x300.jpg" alt="" width="800" height="300" />To learn more about Manual Cinema’s unique approach to creating theatre, we interviewed Sarah Fornace, Co-Artistic Director of the performance collective and performer in </em><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/frankenstein/">Frankenstein</a><em>. She shares her thoughts on theatrical adaptation, the legacy of Mary Shelley’s work, and Manual Cinema’s “live cinema” aesthetic. </em></p>

<h5>Manual Cinema brings together a diverse variety of artists and disciplines. How did the company take shape and evolve?</h5>
Manual Cinema is a collaboration between sound designers and composers <a href="https://www.courttheatre.org/people/ben-kauffman/">Ben Kauffman</a> and <a href="https://www.courttheatre.org/people/kyle-vegter/">Kyle Vegter</a>, and visual theatre and puppetry artists <a href="https://www.courttheatre.org/people/julia-miller/">Julia Miller</a>, <a href="https://www.courttheatre.org/people/drew-dir/">Drew Dir</a>, and <a href="https://www.courttheatre.org/people/sarah-fornace/">Sarah Fornace</a>. We first came together to make a short show with only one projector called “The Ballad of Lula del Ray.”

The idea behind Manual Cinema is that we use the language of cinema to tell theatrical stories onstage. We often make shows without words, and we use sweeping musical scores, immersive sound design, and handmade adaptations of film techniques to convey character and plot. When we first started out, we performed the puppetry behind the screen. However, we eventually figured out that an important part of the show is watching it get created, piece by piece.

At a Manual Cinema show, we want to juxtapose the cleanness of the film screen and filmic image with the humanity and mess and athleticism of a small group of performers creating each image in real time, by hand. In today’s world, we are all surrounded by screens large and small. We want to take the ubiquitous experience of watching a story onscreen and make it strange and human and wondrous.
<h5>Manual Cinema’s work is highly theatrical, and yet it’s very different than most plays you’ll see around Chicago. How would you describe this piece to someone who’s never experienced one of your shows before?</h5>
I would describe it as a piece of live cinema. There is a live band creating the soundtrack in real time onstage. Hundreds of sound cues create movie theatre-style, immersive sound design that envelopes the audience in the sonic world of the show. They will see puppeteers play dozens of characters and manipulate over 500 paper puppets to create what looks like a silent animated film in real time right in front of their eyes.
<h5>Shadow puppetry, live actors, live musicians—<em>Frankenstein</em> is definitely multidisciplinary in its storytelling. How would you encourage audiences to engage with these various elements?</h5>
It is important to us that the audience has agency in experiencing the show. The audience has the choice to just watch the large screen above like a movie. Or they can watch the four musicians as they move around the space playing a variety of instruments and found objects. Or they could watch the puppeteers manipulating the Creature puppet and the camera. Or they can look over and see the actors play Mary Shelley and Fanny Imlay in shadow and then quick change into Victor <em>Frankenstein</em> and the Creature in front of the camera. There is no wrong way to watch the show, and each person constructs their own unique experience by choosing what to watch at any moment. We want to make space for the audience to put together (dare we say “frankenstein?”) their own live cinematic experience during this show.
<h5>Manual Cinema is dramatizing more than just the Monster’s creation in your adaptation; you’re also staging parts of Mary Shelley’s life. What are you hoping to accomplish in juxtaposing these stories?</h5>
We were fascinated by the story of Mary Shelley, an extraordinary woman who invented a literary genre (science fiction!) in a time of huge societal change. But we became equally fascinated by the lesser known story of her half-sister Fanny Imlay, who was the other daughter of the famous radical author/philosopher Mary Wollstonecraft. Fanny stayed home taking care of William Godwin when Mary left home with Percy Shelley. Fanny eventually committed suicide and was buried in an anonymous grave when Mary was halfway through writing the novel. Our production explores abandonment and obsession and technical sweetness—the allure of creating the thing or solving the puzzle that can at times obscure the ethical issues and broader implications of one’s work. In Mary and Fanny’s stories, we see reflections of Victor and The Creature. The book is Mary’s “hideous progeny,” and she experiences great loss in its wake. We also explore the role that motherhood plays in the story. Wollstonecraft died due to complications with Mary’s childbirth. Mary herself lost two children while writing the novel. <em>Frankenstein</em> is a novel that is told in a series of frames. Mary and Fanny’s story is the outer frame of our show, but it also intersects and parallels <em>Frankenstein</em> as if the storylines are each the subconscious of each other.
<h5>2018 is the 200th anniversary of Shelley’s work. Why do you think this story still resonates with audiences today?</h5>
Mary Shelley wrote this novel at a time when the industrial revolution was changing society and advancements in biology and chemistry were reshaping the way that people thought about the world around them. We are also in a time of rapid technical advances and societal change. Mary Shelley raises the same questions that we need to ask today about who is creating our technologies and what effects that has on their creation. If much of our new technologies are being invented and programmed by a narrow slice of the population (specifically white men), what kinds of biases and stereotypes are embedded in the devices and algorithms that we perceive as “neutral?” Shelley’s novel also asks about our responsibility not only for but also to what we create. This applies to technical inventions, but also the relationships and families that we create. ■

<hr />

<a href="https://www.courttheatre.org/season-tickets/2018-2019-season/frankenstein/"><b><i>Frankenstein</i></b></a><b> is on stage November 1-December 2, 2018. </b>

<b>Want to be the first to see it? <a href="https://www.courttheatre.org/season-tickets/special-event/frankenstein-halloween-party/">Dare to join us on October 31</a>, where we’ll have a frightfully fun Halloween party followed by our final dress rehearsal. </b>
<p class="caption">Photo of Sarah Fornace by Joe Mazza.</p>"
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            string(333) "To learn more about Manual Cinema’s unique approach to creating theatre, we interviewed Sarah Fornace, Co-Artistic Director of the performance collective and performer in <em>Frankenstein</em>. She shares her thoughts on theatrical adaptation, the legacy of Mary Shelley’s work, and Manual Cinema’s “live cinema” aesthetic."
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          string(3850) "<img class="alignnone wp-image-11353 size-full" src="https://www.courttheatre.org/wp-content/uploads/2018/10/manualcinemaqanda.jpg" alt="Manual Cinema FRANKENSTEIN" width="800" height="318" />

<i><span style="font-weight: 400;">We spoke with Manual Cinema about their innovative, interdisciplinary creative process and how it adds new possibilities to a classic story. Read on to discover the experiments that led to the rising of Manual Cinema’s</span></i><span style="font-weight: 400;"> Frankenstein.</span>

<b>What creatively attracted you to </b><b><i>Frankenstein</i></b><b>?</b>

<span style="font-weight: 400;">We're always looking for stories that make good marriages with our medium of cinematic shadow puppetry. </span><i><span style="font-weight: 400;">Frankenstein</span></i><span style="font-weight: 400;"> was appealing to us because it's a story about the animation of lifeless matter, which is what we do as puppeteers. It's also a visual story, full of mythic structures and symbols, that can be communicated largely without dialogue. So even though we didn't know initially what our approach was going to be, there were all these really interesting affinities with our work that promised that adapting it to our medium was going to be really rewarding. </span>

<b>How did you decide that Court would be the right home for this piece?</b>

<span style="font-weight: 400;">Charlie Newell simply said to us that if we ever had a project that intersected with classic literature, we should bring it to him. When we brought him </span><i><span style="font-weight: 400;">Frankenstein </span></i><span style="font-weight: 400;">he was very enthusiastic, and pretty soon we began speaking about a commission and premiere. One of our Co-Artistic Directors, Drew, was working at Court as a dramaturg in the early years when Manual Cinema was just beginning, so Charlie knew our work from a very early stage.</span>

<b>What are the defining questions and relationships of your </b><b><i>Frankenstein</i></b><b>?</b>

<span style="font-weight: 400;">At its heart, I think our production of </span><i><span style="font-weight: 400;">Frankenstein </span></i><span style="font-weight: 400;">is about creation and abandonment. What does it mean to get so wrapped up in the act of creating something that you destroy yourself, your loved ones, and even the very thing you were trying to create? And then, the flip side of that -- what does it mean to be created and abandoned -- by a parent, by society at large -- and then react against that abandonment with violence? These twin stories are very clearly the stories of Victor and The Creature, but in our interpretation, it's also the relationship between Mary Shelley and her sister Fanny. To explore this relationship across the novel and Mary's biography, the roles of Victor and Mary are shared by one actor (Sarah Fornace), and the roles of The Creature and Fanny are shared by another (Julia VanArsdale Miller), and these two actresses end up telling most of the story. So even though there are a total of nine puppeteers and musicians on stage, the goal is for the production to feel like a two-hander, in which the audience watches the formation -- and then the tragic dissolution -- of a relationship between these two people.  </span>

<a href="https://www.courttheatre.org/season-tickets/2018-2019-season/frankenstein/"><b><i>Frankenstein</i></b></a><b> is on stage November 1-December 2, 2018. </b>

<b>Want to be the first to see it? <a href="https://www.courttheatre.org/season-tickets/special-event/frankenstein-halloween-party/">Dare to join us on October 31</a>, where we’ll have a frightfully fun Halloween party followed by our final dress rehearsal. </b>

<p class="caption">Photo of Sarah Fornace and Julia Miller by Joe Mazza.</p>"
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          string(4426) "<img class="alignnone wp-image-11285 size-full" src="https://www.courttheatre.org/wp-content/uploads/2018/09/sos_screening.jpg" alt="" width="800" height="251" />

<span style="font-weight: 400;">On Monday, September 24, 2018, Court Education Initiative (CEI) hosted a screening of </span><i><span style="font-weight: 400;">SOS: Save Our School</span></i><span style="font-weight: 400;">, a short film created by students at Harper High School as part of a Creative Schools Fund grant from Ingenuity, at the Logan Center for the Arts. Presented to a standing-room-only crowd filled with students, staff, family, and Court patrons, the screening served as the inaugural CEI Season Enrichment Event, designed to bridge the gap between education programming and the mainstage productions. </span>

<span style="font-weight: 400;">Shot in a documentary format spliced with a fictional storyline, </span><i><span style="font-weight: 400;">SOS: Save Our School</span></i><span style="font-weight: 400;"> explores the harsh reality of life for students who attend a school on the verge of getting closed by the city. Onscreen, students meet in groups to discuss their feelings and organize a protest to combat the potential shutdown. Offscreen, students channeled their artistic expression into art that raised awareness. Even student-written music and a student-choreographed dance made its way into the film. As a result, </span><i><span style="font-weight: 400;">SOS </span></i><span style="font-weight: 400;">was a powerful showcase of the innumerable ways students could express their feelings about their school and neighborhood.</span>

<img class="alignright wp-image-11282 size-medium" src="https://www.courttheatre.org/wp-content/uploads/2018/09/MG_6133-300x200.jpg" alt="" width="300" height="200" />

<span style="font-weight: 400;">Equally as powerful was a panel discussion which followed the screening. The panel featured moderator Quenna L. Barrett (Education Programs Manager, Arts + Public Life), Steven Hanks (Court Theatre Teaching Artist and </span><i><span style="font-weight: 400;">SOS</span></i><span style="font-weight: 400;"> Director of Cinematography/Editor), Terrence Thompson (Court Theatre Teaching Artist and </span><i><span style="font-weight: 400;">SOS </span></i><span style="font-weight: 400;">Writer), Kamyra Pittman (Harper Student and </span><i><span style="font-weight: 400;">SOS </span></i><span style="font-weight: 400;">Actor), Mr. Buino (Harper High School Drama Teacher), Ms. Brown (Local School Council President and Harper Parent), Ron OJ Parson (Resident Artist at Court and Director of </span><i><span style="font-weight: 400;">Radio Golf</span></i><span style="font-weight: 400;">), and James T. Alfred (</span><i><span style="font-weight: 400;">Radio Golf</span></i><span style="font-weight: 400;"> Actor). </span>

Each panelist responded to the reality of the film’s themes and the ways in which they connected to the film. Ms. Brown conveyed her shock at how many Harper staff and faculty were unaware of the potential shutdown, while student Kamyra Pittman discussed how her excitement about the project grew with each day they continued to work. Mr. Buino praised Court’s continued work with Harper High School and the role CEI has played in deepening his drama classroom.

<span style="font-weight: 400;">Complete with a red carpet photoshoot and pizza, the screening was as much a celebration as it was a testament to the work of our education department and the creativity and passion of Chicago’s South Side youth.</span>

<a href="https://www.courttheatre.org/community-engagement/education-initiative/"><span style="font-weight: 400;">Learn more about Court’s Education Initiative</span></a><span style="font-weight: 400;"> and our work in Chicagoland high schools.</span>

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          string(10123) "<img class="alignnone size-full wp-image-11203" src="https://www.courttheatre.org/wp-content/uploads/2018/09/blog-reviews-banner-800x300.jpg" alt="" width="800" height="309" />

<span style="font-weight: 400;">Critics across Chicagoland highly recommend August Wilson’s </span><i><span style="font-weight: 400;">Radio Golf</span></i><span style="font-weight: 400;">, with the </span><i><span style="font-weight: 400;">Chicago Tribune </span></i><span style="font-weight: 400;">awarding the production four stars and boldly claiming that “</span><i><span style="font-weight: 400;">Radio Golf </span></i><span style="font-weight: 400;">was never considered August Wilson's best — then it came to Court Theatre.” Audiences and critics alike agree that Resident Artist Ron OJ Parson’s production is as excellent as it is prescient. See for yourself what the buzz is about;<a href="https://www.courttheatre.org/season-tickets/2018-2019-season/radio-golf/"> get tickets</a> to </span><i><span style="font-weight: 400;">Radio Golf</span></i><span style="font-weight: 400;">.</span>

<hr />

<span style="font-weight: 400;">“Parson, though, is the first I’ve seen to foreground the twinkling humor in </span><i><span style="font-weight: 400;">Radio Golf</span></i><span style="font-weight: 400;">, to let it breathe, to give it a beating heart, to embrace its life force. He’s a director who always insists on calamitously high stakes, which is true here although often overlooked with Wilson, but what will stick with you is just how relaxed you will feel watching the show, safe in the company of some masterful actors who understand that you have to live, you have to be believed, before you can teach."</span>

<a href="http://www.chicagotribune.com/entertainment/theater/reviews/ct-ent-radio-golf-court-review-0910-story.html"><span style="font-weight: 400;">—Chris Jones, </span><i><span style="font-weight: 400;">Chicago Tribune</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">★★★★ Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“...resonates with same anger, love and cynical humor that make his plays seem more like sacred texts than play scripts. Director Ron OJ Parson is an experienced interpreter of Wilson's chronicles of African-American life, and this production is yet another vibrant, rough-hewn gem.”</span>

<a href="https://chicago.suntimes.com/entertainment/radio-golf-court-theatre-august-wilson-theater-chicago-things-to-do/"><span style="font-weight: 400;">—Alex Huntsberger, </span><i><span style="font-weight: 400;">Chicago Sun-Times</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">★★★</span><span style="font-weight: 400;">½ Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“Court Theatre is presenting a brilliant (and, yes, masterful) interpretation of this play that is something that shouldn’t be missed...Parson has created a definitive production of this show, allowing it to take the place it deserves as the final piece of an ambitious accomplishment. Wilson would be proud.”</span>

<a href="http://chicagoonstage.com/radio-golf-receives-a-masterful-production-at-court-theatre/"><span style="font-weight: 400;">—Karen Topham, </span><i><span style="font-weight: 400;">Chicago On Stage</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">★★★★ Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“There is an urgency and relevance to </span><i><span style="font-weight: 400;">Radio Golf</span></i><span style="font-weight: 400;"> that Wilson’s other, more historical plays cannot quite match, and those qualities shine in a particularly brilliant fashion in Court Theatre’s new production of the play...marvelous and invigorating.”</span>

<a href="https://www.chicagotheatrereview.com/2018/09/courts-radio-golf-continues-theaters-excellent-track-record/"><span style="font-weight: 400;">—Peter Thomas Ricci, </span><i><span style="font-weight: 400;">Chicago Theatre Reviews</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“Allen Gillmore expertly heads up Court Theatre's five-person powerhouse ensemble...</span><i><span style="font-weight: 400;">Radio Golf</span></i><span style="font-weight: 400;"> feels like home to anyone who has had the pleasure of being intimately involved in the African-American experience, and welcomes the rest of America to peer through the window, feel the warmth and also perhaps catch a glimpse their own reflection.”</span>

<a href="https://www.chicagoreader.com/chicago/radio-golf-court-theatre-august-wilson-century-cycle/Content?oid=57828329"><span style="font-weight: 400;">—Sheri Flanders, </span><i><span style="font-weight: 400;">Chicago Reader</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“...revelatory, brilliantly acted...there are many priceless speeches to be heard here – written as only [Wilson] could write them, with the loopy, circuitous logic of a man who sees the power of common sense and life experience in contrast to ‘the law.’”</span>

<a href="https://chicagotonight.wttw.com/2018/09/10/radio-golf-revival-tunes-hidden-wealth-august-wilson-s-final-play"><span style="font-weight: 400;">—Hedy Weiss, WTTW’s </span><i><span style="font-weight: 400;">Chicago Tonight</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“Parson, who continuously shows us why he is one of Chicago's greatest asset to the theater world, masterfully brought </span><i><span style="font-weight: 400;">Radio Golf </span></i><span style="font-weight: 400;">together and provided the vigor and painful truths of deceit to the forefront in </span><i><span style="font-weight: 400;">Radio Golf</span></i><span style="font-weight: 400;">.”</span>

<a href="https://chicagodefender.com/2018/09/13/radio-golf-where-morals-and-values-collide-with-the-truth/"><span style="font-weight: 400;">—Rick and Brenda McCain, </span><i><span style="font-weight: 400;">The Chicago Defender Let’s Play</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“This sober and angry new production by master director Ron OJ Parson and a splendid cast shows me how wrong I've been...a revelation to those, like me, who thought they knew it.”</span><span style="font-weight: 400;">
</span> <a href="http://www.windycitymediagroup.com/lgbt/Radio-Golf-/64033.html"><span style="font-weight: 400;">—Jonathan Abarbanel, </span><i><span style="font-weight: 400;">Windy City Times</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“...a most gratifying experience. Parson’s ability to capitalize on how characters project emotions within a defined space always finds a magical sweet spot of confinement.Great writing time travels and breathes meaning into an entirely different dimension while gaining even greater relevancy to newcomers.”</span><span style="font-weight: 400;">
</span> <a href="http://perform.ink/review-radio-golf-at-court-theatre/"><span style="font-weight: 400;">—Naima Dawson, </span><i><span style="font-weight: 400;">PerformInk</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“There is an urgency and relevance to </span><i><span style="font-weight: 400;">Radio Golf</span></i><span style="font-weight: 400;"> that Wilson’s other, more historical plays cannot quite match, and those qualities shine in a particularly brilliant fashion in Court Theatre’s new production of the play...marvelous and invigorating.”</span>

<a href="https://www.chicagotheatrereview.com/2018/09/courts-radio-golf-continues-theaters-excellent-track-record/"><span style="font-weight: 400;">—Peter Thomas Ricci, </span><i><span style="font-weight: 400;">Chicago Theatre Reviews</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“Steeped with metaphors..</span><span style="font-weight: 400;">.the poetry of this script moves deep and deeper still. A classic for the ages.”</span>

<a href="https://www.picturethispost.com/court-theatre-presents-radio-golf-review/"><span style="font-weight: 400;">—Amy Munice, </span><i><span style="font-weight: 400;">Picture this Post</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“A timely and propulsive revival at Court Theatre... a powerful and engrossing dialectic that offers much food for thought and few answers. Parson’s interpretation creates a sense of community and warm comradery among the characters, which accentuates the fact that the real threat lies beyond the action onstage. Given the surging poetry of Wilson’s script, it seems that this is the production that Wilson was writing to receive.</span><span style="font-weight: 400;">”</span>

<a href="http://buzznews.net/theatre/theatre-reviews/item/4506-radio-golf-scores-a-hole-in-one-in-powerful-and-compassionate-production.html"><span style="font-weight: 400;">—Kerstin Broockmann, </span><i><span style="font-weight: 400;">Buzz Center Stage</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">Highly Recommended</span></a>

<hr />
<p class="caption">Photo of Allen Gilmore and James Vincent Meredith by Michael Brosilow.</p>"
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            string(322) "Critics across Chicagoland highly recommend August Wilson’s RADIO GOLF, with the Chicago Tribune awarding the production four stars and boldly claiming that “'RADIO GOLF was never considered August Wilson's best — then it came to Court Theatre.” See for yourself what the buzz is about; get tickets to Radio Golf."
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          string(7957) "<img class="alignnone wp-image-11120 size-full" src="https://www.courttheatre.org/wp-content/uploads/2018/08/jeffs-1819-800x300.jpg" alt="" width="800" height="300" />

<span style="font-weight: 400;">Court Theatre is excited to announce that we received 13 Jeff Awards nominations for our productions during the 2017/18 Season, with each production from the past year garnering at least one nomination! This achievement continues to reinforce the consistent quality of our artistic contributions to Chicago’s theatre scene.</span>

<span style="font-weight: 400;">Each year, the Joseph Jefferson Awards committee honors outstanding Chicago area theatres and artists. We look forward to celebrating with the rest of the nominees at the 50th annual Jeff Equity Awards on Monday, October 22.</span>
<h3>2018 Court Theatre Jeff Award Nominations</h3>
<b>Production <strong>—</strong> Play <strong>— </strong>Large:</b><span style="font-weight: 400;">
</span><span style="font-weight: 400;"><a href="https://www.courttheatre.org/season-tickets/2017-2018-season/guess-whos-coming-dinner/">Guess Who's Coming to Dinner</a> </span><span style="font-weight: 400;">
</span><span style="font-weight: 400;"><a href="https://www.courttheatre.org/season-tickets/2017-2018-season/all-my-sons/">All My Sons</a> </span>

<b>Production <strong>—</strong> Musical or Revue <strong>—</strong> Large:</b><span style="font-weight: 400;">
</span><span style="font-weight: 400;"><a href="https://www.courttheatre.org/season-tickets/2017-2018-season/five-guys-named-moe/">Five Guys Named Moe</a> </span><span style="font-weight: 400;">
</span><span style="font-weight: 400;">
</span><b>Ensemble <strong>— </strong>Musical or Revue:</b><span style="font-weight: 400;">
</span><span style="font-weight: 400;"><a href="https://www.courttheatre.org/season-tickets/2017-2018-season/five-guys-named-moe/">Five Guys Named Moe</a> </span><span style="font-weight: 400;">
</span><span style="font-weight: 400;">
</span><b>Director <strong>—</strong> Musical or Revue <strong>—</strong> Large:</b><span style="font-weight: 400;">
</span><span style="font-weight: 400;"><a href="https://www.courttheatre.org/people/ron-oj-parson/">Ron OJ Parson</a> - <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/five-guys-named-moe/">Five Guys Named Moe</a> </span><span style="font-weight: 400;">
</span><span style="font-weight: 400;">
</span><b>Performer in a Principal Role <strong>—</strong> Play:</b><b>
</b><span style="font-weight: 400;"><a href="https://www.courttheatre.org/people/john-judd/">John Judd</a> - <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/all-my-sons/">All My Sons</a> </span><span style="font-weight: 400;">
</span><span style="font-weight: 400;"><a href="https://www.courttheatre.org/people/4104/">Edward Gero</a> - <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/the-originalist/">The Originalist </a></span>

<b>Solo Performance:</b>

<span style="font-weight: 400;"><a href="https://www.courttheatre.org/people/kate-fry/">Kate Fry</a> (Emily Dickinson) - <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/the-belle-of-amherst/">The Belle of Amherst </a></span><span style="font-weight: 400;">
</span><span style="font-weight: 400;">
</span><b>Performer in a Supporting Role <strong>—</strong> Play:</b><span style="font-weight: 400;">
</span><span style="font-weight: 400;"><a href="https://www.courttheatre.org/people/sydney-charles/">Sydney Charles</a> - <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/guess-whos-coming-dinner/">Guess Who's Coming to Dinner</a> </span><span style="font-weight: 400;">
</span><span style="font-weight: 400;">
</span><b>Performer in a Revue:</b><span style="font-weight: 400;">
</span><span style="font-weight: 400;"><a href="https://www.courttheatre.org/people/4129/">Lorenzo Rush, Jr</a>. - <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/five-guys-named-moe/">Five Guys Named Moe</a> </span><span style="font-weight: 400;">
</span><span style="font-weight: 400;">
</span><b>Scenic Design <strong>—</strong> Large:</b><span style="font-weight: 400;">
</span><span style="font-weight: 400;"><a href="https://www.courttheatre.org/people/scott-davis/">Scott Davis</a> - <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/guess-whos-coming-dinner/">Guess Who's Coming to Dinner</a> </span>

<b>Music Direction:</b><span style="font-weight: 400;">
</span><span style="font-weight: 400;"><a href="https://www.courttheatre.org/people/abdul-hamid-royal/">Abdul Hamid Royal</a> -<a href="https://www.courttheatre.org/season-tickets/2017-2018-season/five-guys-named-moe/"> Five Guys Named Moe</a> </span><span style="font-weight: 400;">
</span><span style="font-weight: 400;">
</span><b>Artistic Specialization:</b><span style="font-weight: 400;">
</span><span style="font-weight: 400;">Movement/Musical Staging - Christopher Carter - <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/five-guys-named-moe/">Five Guys Named Moe</a> </span>

&nbsp;

<span style="font-weight: 400;">We’re also proud to share that the following artists who have spent time as a member of Court’s family were recognized for their work across the city: <a href="https://www.courttheatre.org/people/alison-siple/">Alison Siple</a>, <a href="https://www.courttheatre.org/people/andre-pluess/">Andre Pluess</a>, <a href="https://www.courttheatre.org/people/cheryl-lynn-bruce/">Cheryl Lynn Bruce</a>, <a href="https://www.courttheatre.org/people/courtney-oneill/">Courtney O'Neill</a>, <a href="https://www.courttheatre.org/people/doug-peck/">Doug Peck</a>, <a href="https://www.courttheatre.org/people/geno-walker/">Geno Walker</a>, <a href="https://www.courttheatre.org/people/alex-weisman/">Alex Weisman</a>, <a href="https://www.courttheatre.org/people/hollis-resnik/">Hollis Resnik</a>, <a href="https://www.courttheatre.org/people/larry-yando/">Larry Yando</a>, <a href="https://www.courttheatre.org/people/mara-blumenfeld/">Mara Blumenfeld</a>, <a href="https://www.courttheatre.org/people/nick-bowling/">Nick Bowling</a>, <a href="https://www.courttheatre.org/people/rob-lindley/">Rob Lindley</a>, <a href="https://www.courttheatre.org/people/sean-fortunato/">Sean Fortunato</a>, <a href="https://www.courttheatre.org/people/shanesia-davis/">Shanesia Davis</a>, <a href="https://www.courttheatre.org/people/todd-rosenthal/">Todd Rosenthal</a>, and <a href="https://www.courttheatre.org/people/vanessa-stalling/">Vanessa Stalling</a>, director of our upcoming production of </span><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/"><i><span style="font-weight: 400;">Photograph 51</span></i></a><span style="font-weight: 400;">.</span>

<span style="font-weight: 400;">We are privileged to be part of the incredible theatre community in Chicago, and thank the audiences and artists in the community for making this such a rewarding city to make theatre. See all of the nominations </span><a href="http://www.jeffawards.org/equity-nominees"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">.</span><span style="font-weight: 400;">
</span><span style="font-weight: 400;">
</span><span style="font-weight: 400;">Subscribe for the 2018/19 Season so you won’t miss a moment! Up next at Court: </span><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/radio-golf/"><i><span style="font-weight: 400;">Radio Golf</span></i></a><span style="font-weight: 400;">, August Wilson’s final play in the American Century Cycle.</span>"
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          string(6679) "<p style="padding-left: 30px;"><em><img class="alignnone size-full wp-image-11071" src="https://www.courttheatre.org/wp-content/uploads/2018/08/hill-district-800.jpg" alt="Hill District" width="800" height="251" />Underneath August Wilson’s rhythmic prose is the pulse of his hometown of Pittsburgh. This Rust Belt city serves as more than just the setting for his plays; it’s the source of his literary imagination.<span class="Apple-converted-space"> </span></em></p>
<p style="padding-left: 30px;"><em>“People think of the Hill District as a slum or a ghetto, but it wasn’t that way at all. In the three to four blocks around the Wilson home, it was a quiet, racially mixed, harmonious neighborhood where people looked out for one another. It was one that shaped August,” said Laurence Glasco, an associate professor of history at the University of Pittsburgh and co-author of </em>August Wilson: Pittsburgh Places in His Life and Plays<em>, which chronicles the history of Wilson’s Pittsburgh with a focus on the Hill District. </em></p>
<p style="padding-left: 30px;"><em>To learn more about Pittsburgh’s place in Wilson’s plays, we interviewed Laurence Glasco, Assistant Professor, Department of History, University of Pittsburgh. He shares his thoughts on the significance of real estate, memory, and class in the Hill District, the Pittsburgh neighborhood in which </em>Radio Golf<em> unfolds.</em></p>

<h4>I’ve read that you take your University of Pittsburgh students on a walking tour of the Hill District each semester where they view landmarks and talk to residents. Do you ever make any new discoveries on these tours?</h4>
The students certainly make new discoveries. I’ve been doing these tours for over ten years now, so I have my set path. But for the students, it’s a wonderful experience. Getting your feet on the pavement makes you identify with the place in a way that reading about it and driving through it doesn’t do. The students come away with a real feeling of the Hill. It’s almost mystical, if you will.<span class="Apple-converted-space"> </span>

A number of years ago, August’s sister, Freda, was still alive and we met her one time as she was working in her yard. She told us about the Wilson home where she was born and had grown up. For instance, her mother would set out a card table in the afternoon and neighbors would come over and play pinochle. One of the neighbors was Hedley, and another one was Louise, exactly as the characters in <i>Seven Guitars</i>.
<h4>The American Century Cycle, except for<i> Ma Rainey’s Black Bottom</i> which is set in Chicago, provides audiences with a man-on-the-street view of black life in Pittsburgh’s Hill District. How does Wilson incorporate this sense of place into <i>Radio Golf</i>?</h4>
There are a lot of references that August makes to people, places, and events. Of course, the big event was urban redevelopment and the threat that it posed to the Hill. The Bedford Hills Redevelopment Company, owned by Harmond Wilks, is located, as he says, at the corner of Centre and Herron Avenue. In fact, there was the major black banker and redeveloper of the Hill, Robert Lavelle, who had his business at the corner of Centre and Herron Avenue. It’s still there; his son is now running it. Certainly for someone from Pittsburgh, they would recognize it as a specific place.

The address 1839 Wylie—the home of Aunt Esther—doesn’t exist, but one can infer where it is. People would know it’s right in front of the former Ozanam Community Center; it’s an empty lot. But it’s right there at a place on Wylie, which was the main commercial corridor. The location evokes the past, the liveliness, the businesses, the jazz, and all these other things that went on which made the Hill such an exciting and vibrant neighborhood.
<h4>1839 Wylie Avenue is an ancestral landmark of sorts that reoccurs within the American Century Cycle. In <i>Radio Golf</i>, the character Harmond Wilks provides a majestic description of a Federalist brick house with beveled glass on every floor and a staircase of Brazilian wood with a hand-carved balustrade. As you mentioned, the location is real; however, there’s no house there. What do you think this fictitious home represents for residents who are facing the forces behind urban renewal?</h4>
It relates to something of value in these homes and places. They may not be as fine as 1839 Wylie, but they are places that have significance and are worth preserving. It’s a protest against urban renewal.<span class="Apple-converted-space"> </span>

In the 1950s, the Urban Redevelopment Authority (URA) characterized the whole area as a slum that needed to be torn down. However, recently reporters from the <i>Pittsburgh Post-Gazette</i> discovered in the basement of the URA boxes of records that the Authority used, along with photographs, where they classified the homes and described them. The URA’s own notes show that a number of these houses were certainly salvageable and could’ve been rehabilitated. It took the worst examples and used them to describe the whole neighborhood. Although most of the records were lost due to flooding, there were about 200 boxes that survived and paint a very different picture of the Hill. It has become a big scandal in Pittsburgh.

I think it confirms what August was saying in <i>Radio Golf</i>—that these homes were not just derelict properties that were beyond saving. August didn’t know about these records, of course, but I think it fits and he was on to something very important.
<h4>The Hill District has undergone immense change. Part of it was demolished for the Mellon Arena. Other sections never fully recovered after the riots spurred by Dr. King’s assassination in 1968. What remains of this collection of neighborhoods? And what preservation efforts are happening to save what was once called Pittsburgh’s Harlem?<span class="Apple-converted-space"> </span></h4>
Sadly, very little remains. In other black neighborhoods, like on the north side in Manchester, they have done a first-rate job of preserving their homes and rehabilitating them. It mainly has to do with leadership. The Hill, for whatever reason, never had that kind of leadership. It’s a spotty survival now. The Wilson home, fortunately, is being preserved. There’s a big effort to rehabilitate it, and in a year or so, it will be open to the public. ■

<hr />

<em><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/radio-golf/"><strong>Radio Golf</strong></a> </em><strong>is on stage August 30-September 30, 2018.</strong>"
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            string(328) "To learn more about Pittsburgh’s place in Wilson’s plays, we interviewed Laurence Glasco, Assistant Professor, Department of History, University of Pittsburgh. He shares his thoughts on the significance of real estate, memory, and class in the Hill District, the Pittsburgh neighborhood in which <em>Radio Golf</em> unfolds."
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          string(6080) "<p style="padding-left: 30px;"><em><img class="alignnone size-full wp-image-11066" src="https://www.courttheatre.org/wp-content/uploads/2018/08/Ron-August-Wilson.jpg" alt="August Wilson with Ron OJ Parson" width="800" height="300" />Production Dramaturg Martine Kei Green-Rogers sat down with Director Ron OJ Parson to discuss his long history with August Wilson’s work and why he keeps coming back to it.<span class="Apple-converted-space"> </span></em></p>

<h4>As a dramaturg, I am always interested in the question “Why this play? Why this play now?” Why did you want to direct <i>Radio Golf?</i><span class="Apple-converted-space"> </span></h4>
Because it is August Wilson. I <i>always</i> want to direct August Wilson—particularly the later ones, the ones that I have not done as much. This production of <i>Radio Golf</i> is my 25th production of Wilson’s work. I am proud of that. I learn something new every time I direct his plays. At Court, my home theatre, we did a reading of <i>Radio Golf </i>during an August Wilson reading series sponsored by Goodman Theatre. I was reintroduced to the play, and I was once again moved by these characters and the rhythm of the language—it made me want to go on that journey once again.
<h4>How do you feel the play is relevant to audiences now?<span class="Apple-converted-space"> </span></h4>
All plays about the black experience are relevant today because we continue to battle forces that are against us. Plus, anytime you can introduce a younger generation to Wilson’s work, it’s important and relevant. Wilson is one of the most profound and prolific black writers in history. Considering the crazy politics of today, a play like <i>Radio Golf, </i>which is about the political scene, is particularly relevant. These characters feel (to the audience) like real people going through things that could be happening in today’s world.
<h4>One of the things that is interesting about <i>Radio Golf</i> is the conversation around the pros and cons of gentrification. And more specifically, 1990s gentrification. Do you have any thoughts about gentrification in Chicago now, in 2018? Does it seem the same (or different) than the way it is discussed in the play?</h4>
Wilson touches on gentrification in a lot of his plays. And, yes, it certainly relates to Chicago or any larger city. Neighborhoods are definitely being gentrified. Property is being taken and redistributed all over Chicago—South, North, and West. In my hometown of Buffalo, New York, it is happening again, too. In this political climate, I don’t want to harp on this, but there is a new <i>aggressiveness</i> to take back the country, and gentrification is a part of that—part of “Make American Great Again.” For me, it is a situation where, when you think about the play in these terms, it is hard <i>not</i> to see how this play <i>is</i><i>n</i><i>’</i><i>t</i> relevant. Wilson’s characters and the subjects they bring up always make it worthwhile to explore. It is something people need to hear and see.
<h4>Since we are conducting this interview a few weeks before the first rehearsal, what excites you about the upcoming rehearsal process?</h4>
This group of artists is new to me except for a few people. Working with new actors on the same text is always fun and unique. I learn new things about the text when new actors and designers come together to help me tell the story. I have a few actors in this cast who have not done Wilson before. It is thrilling for me to watch their excitement to perform Wilson for the first time.<span class="Apple-converted-space"> </span>
<h4>Are there any challenges specific to this particular Wilson piece?</h4>
There are always challenges when you approach a gifted playwright, like getting actors that are new to Wilson to find the rhythm of his language. Even the ones that are not new to Wilson need direction in order to get it just right. It is a new set and sound design—those come with challenges. Even when you direct multiple productions of the same play, no production is exactly the same as the previous one. The rhythms might be the same, the energy and music of the piece may be similar, yet there are artistic differences that make creating multiple productions worthwhile. The next one is usually richer and deeper.<span class="Apple-converted-space"> </span>
<h4>What is your favorite moment in the play?<span class="Apple-converted-space"> </span></h4>
Harmond’s monologue—when he talks about Oprah Winfrey. It is the one that begins with “No. Common sense says that ain’t right. We see it different. No matter what you always on the edge. If you go to the center you look up and find everything done shifted and the center is now the edge. The rules change every day.” This monologue makes me think about all of the things white people expect out of black people. Also, I love some of the things Old Joe says. His comments about his history and his ancestors make me think of the connections we have, or should have, to our own ancestors. This is an ongoing theme in Wilson’s plays, particularly this one. Harmond goes through a big transformation in the play as he realizes his spiritual connection to his ancestors. I wonder how much of that we believe in these days.<span class="Apple-converted-space"> </span>
<h4>Any other fun tidbits you want to share with our audience?</h4>
It is always an honor and a pleasure to work on August Wilson at Court Theatre. We do something special in this theatre because of the intimacy of the space. People know when they come to see it at Court, even if they have seen the same play somewhere else, it will be different here. It is always thrilling to bring Wilson’s words to life in our theatre. ■

<hr />

<em><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/radio-golf/"><strong>Radio Golf</strong></a> </em><strong>is on stage August 30-September 30, 2018.</strong>
<p class="caption">Photo of August Wilson with Ron OJ Parson by Ray Baker.</p>"
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<em><span style="font-weight: 400;">In September, Angel Ysaguirre joined Court as the new Executive Director. We caught up with Angel to ask him about his plans for Court, his love of the arts, and what he enjoys doing in his spare time. Read on to hear from Angel himself! </span></em>

<span style="font-weight: 400;"><strong>What drew you to Court Theatre?</strong> </span>

<span style="font-weight: 400;">First, the theatre’s long history of excellent productions. Added to that, it being part of the University of Chicago and its location on the South Side, which has a phenomenal history of such incredible creativity.</span>

<span style="font-weight: 400;"><strong>What are some other arts organizations in the city that you find exciting?</strong> </span>

<span style="font-weight: 400;">The Chicago Cultural Center, which always has such cutting edge art exhibitions by Chicago-based artists for free; Stony Island Arts Bank, which is a beautifully restored building and has incredible collections like the Frankie Knuckles record collection and the Johnson Publishing archives but also beautiful works of contemporary art; Eighth Blackbird, the new music ensemble that displays such fantastic skill and innovation; the Joffrey Ballet, whose productions keep getting more and more beautiful; the Poetry Foundation, which publishes the unparalleled </span><i><span style="font-weight: 400;">Poetry Magazine</span></i><span style="font-weight: 400;"> but who also presents an amazing array of poets in their building; finally, my old outfit, Illinois Humanities, because the breadth of Chicagoans who attend their programs is more diverse and authentic than anywhere else I’ve seen. </span>

<span style="font-weight: 400;"><strong>What role do you see Court playing on the South Side of Chicago? Do you have any plans to deepen the connection between Court and the community?</strong> </span>

Court is fortunate to exist on the South Side, an area that abounds with creativity – including not only some of the world’s most important writers, musicians, dancers, painters and sculptors, but also publishers, academics, community organizers, and public servants. Court is one of only two professional theatre companies on the South Side. As such, I believe that the theatre should significantly contribute to the vitality of the South Side. Court endeavors to become the theatre that is truly of and for the people of the South Side.

<strong>Describe your office set-up and style.</strong>

<span style="font-weight: 400;">I don’t have a desk, which I guess is surprising to folks. Instead, I have a sofa and a pair of chairs for meetings. Since we mostly work on laptops now and I spend most of my time in meetings or on campus or in the community, I don’t see the need for a desk. I also have a record player, which people also find surprising, but we spend a lot of evenings at the office and having good music after hours is key. I will say that the first record I brought to the office was a Chaka Kahn record, because Chaka is one of the most amazing treasures that the South Side has produced.</span>

<span style="font-weight: 400;"><strong>What’s your favorite way of spending a free evening?</strong> </span>

<span style="font-weight: 400;">If I could, I would spend most of my time reading and listening to music. Other than that, I like to cook, eat with friends, and catch a play or concert here or there. </span>"
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<em><span style="font-weight: 400;">In September, Angel Ysaguirre joined Court as the new Executive Director. We caught up with Angel to ask him about his plans for Court, his love of the arts, and what he enjoys doing in his spare time. Read on to hear from Angel himself! </span></em>

<span style="font-weight: 400;"><strong>What drew you to Court Theatre?</strong> </span>

<span style="font-weight: 400;">First, the theatre’s long history of excellent productions. Added to that, it being part of the University of Chicago and its location on the South Side, which has a phenomenal history of such incredible creativity.</span>

<span style="font-weight: 400;"><strong>What are some other arts organizations in the city that you find exciting?</strong> </span>

<span style="font-weight: 400;">The Chicago Cultural Center, which always has such cutting edge art exhibitions by Chicago-based artists for free; Stony Island Arts Bank, which is a beautifully restored building and has incredible collections like the Frankie Knuckles record collection and the Johnson Publishing archives but also beautiful works of contemporary art; Eighth Blackbird, the new music ensemble that displays such fantastic skill and innovation; the Joffrey Ballet, whose productions keep getting more and more beautiful; the Poetry Foundation, which publishes the unparalleled </span><i><span style="font-weight: 400;">Poetry Magazine</span></i><span style="font-weight: 400;"> but who also presents an amazing array of poets in their building; finally, my old outfit, Illinois Humanities, because the breadth of Chicagoans who attend their programs is more diverse and authentic than anywhere else I’ve seen. </span>

<span style="font-weight: 400;"><strong>What role do you see Court playing on the South Side of Chicago? Do you have any plans to deepen the connection between Court and the community?</strong> </span>

Court is fortunate to exist on the South Side, an area that abounds with creativity – including not only some of the world’s most important writers, musicians, dancers, painters and sculptors, but also publishers, academics, community organizers, and public servants. Court is one of only two professional theatre companies on the South Side. As such, I believe that the theatre should significantly contribute to the vitality of the South Side. Court endeavors to become the theatre that is truly of and for the people of the South Side.

<strong>Describe your office set-up and style.</strong>

<span style="font-weight: 400;">I don’t have a desk, which I guess is surprising to folks. Instead, I have a sofa and a pair of chairs for meetings. Since we mostly work on laptops now and I spend most of my time in meetings or on campus or in the community, I don’t see the need for a desk. I also have a record player, which people also find surprising, but we spend a lot of evenings at the office and having good music after hours is key. I will say that the first record I brought to the office was a Chaka Kahn record, because Chaka is one of the most amazing treasures that the South Side has produced.</span>

<span style="font-weight: 400;"><strong>What’s your favorite way of spending a free evening?</strong> </span>

<span style="font-weight: 400;">If I could, I would spend most of my time reading and listening to music. Other than that, I like to cook, eat with friends, and catch a play or concert here or there. </span>"
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        string(433) "As Court’s Executive Director from 2010 until 2017, Stephen J. Albert presided over a robust period of growth, establishing the Center for Classic Theatre, strengthening Court’s ties to the community, and cultivating a much closer alliance with the University of Chicago. His influence and leadership ushered in new initiatives, world premiere productions, and increased programming to engage Court’s audiences and neighbors. "
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      string(3242) "<img class="size-full wp-image-9560 alignnone" src="https://www.courttheatre.org/wp-content/uploads/2017/12/steve-800x400.jpg" alt="" width="800" height="396" />
<blockquote>What is a legacy? It’s planting seeds in a garden you never get to see.” What does your garden look like, Dad? Your legacy is daunting. It is truly that of giants. I promise I will tell your story for the rest of my days. I promise to do my best to carry your legacy onward. To be a force. To love hard. To prioritize family and relationships over all. And to have so much fun living this life I am given.  <em>—Jessica Albert, Daughter, Stephen J. Albert</em></blockquote>
If you’ve ever been to a performance at Court (and even if this is your very first time in Court’s auditorium), you’ve experienced the legacy of Stephen J. Albert.

As Court’s Executive Director from 2010 until 2017, Steve presided over a robust period of growth, establishing the Center for Classic Theatre, strengthening Court’s ties to the community, and cultivating a much closer alliance with the University of Chicago. His influence and leadership ushered in new initiatives, world premiere productions, and increased programming to engage Court’s audiences and neighbors.

Beyond his remarkable influence as Executive Director, Steve was also a friend and a mentor. His phone calls and frequent check-ins “just because” were genuine, and beloved by many. He was known for conducting pop quizzes on music lyrics, and for competing with an absolutely merciless glee during each year’s annual March Madness college basketball bracket competition. Steve inspired trust and devotion from his friends and colleagues, and earned his reputation as an honest, fair, and caring friend and leader.

As Steve guided Court Theatre on a path to achieve its fullest potential, there were four areas he most passionately supported:
<ul>
 	<li><strong>Commissioning new work</strong> to present on Court’s stage;</li>
 	<li><strong>Supporting theatre diversity</strong>: onstage, in programming, behind-the-scenes, and among patrons;</li>
 	<li>Ensuring that youth have the opportunity to experience theatre, whether in the classroom or on Court’s stage, through <strong>Education Initiatives</strong>; and</li>
 	<li><strong>Career development</strong> by guiding the next generation of arts leaders.</li>
</ul>
<strong>Now you can honor Steve’s legacy of determination, compassion, humor, and an unending love of theatre by making a donation to the Stephen J. Albert Living Legacy at Court Theatre. </strong>

Your gift supports Steve’s four pillars of passion and enriches Court’s dedication to innovation, inquiry, intellectual engagement, and community service for this season and the seasons to come.

Steve, thank you for keeping us on track, loving us unconditionally, and being such a tremendous gift to so many. You are and will always be loved and missed.

Sincere thanks to the generous donors who have already given to the Stephen J. Albert Living Legacy. ■

<hr />

To make a gift to the Legacy, please contact Lauren Sheely, Development Assistant, at (773) 834-3563 or via <a href="mailto:lsheely@uchicago.edu">email</a>."
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        string(440) "We spoke with two of Manual Cinema’s Co-Artistic Directors, Ben Kauffman and Kyle Vegter, about the role of music in Frankenstein. Both Kauffman and Vegter bring considerable experience in the worlds of composition and sound design to their work with Manual Cinema, helping to immerse audiences in their storytelling with live instrumentation. Read on to learn about their approach to creating the auditory world of <em>Frankenstein</em>."
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      string(5644) "<p style="padding-left: 30px;"><i><img class="alignnone size-full wp-image-11399" src="https://www.courttheatre.org/wp-content/uploads/2018/10/kyle-ben.jpg" alt="" width="800" height="300" />We spoke with two of Manual Cinema’s Co-Artistic Directors, <a href="https://www.courttheatre.org/people/ben-kauffman/">Ben Kauffman</a> and <a href="https://www.courttheatre.org/people/kyle-vegter/">Kyle Vegter</a>, about the role of music in </i><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/frankenstein/">Frankenstein</a><i>. Both Kauffman and Vegter bring considerable experience in the worlds of composition and sound design to their work with Manual Cinema, helping to immerse audiences in their storytelling with live instrumentation. Read on to learn about their approach to creating the auditory world of</i><i> </i>Frankenstein<i>.</i></p>

<h5>Manual Cinema’s work is sometimes compared to silent film, a medium which heavily relied on music to complement the visuals on screen. How does music help tell the story of <i>Frankenstein</i>?</h5>
The music of <i>Frankenstein</i> supports the storytelling in a number of ways, but, maybe most importantly, the music supports the nesting-doll structure at the heart of our production (and Mary Shelley’s novel). Each story or storyteller the audience encounters during the show has its own sound universe and its own musical vocabulary. We hope this feels a little like different “narrative voices” that set apart the various stories being told. At the same time, all of the central themes and questions in the show echo and reverberate from one story to another, as if each is a dream of the others. Musically, we hope you can hear those echoes.
<h5>How do you approach composing original music for each Manual Cinema performance?</h5>
The approach is different for each project! For some productions, it’s “visuals first,” which means that the visual team creates storyboards and a rough video demo of the show, which we then score, as you would a film. Other projects are “music first,” where we write original music as the foundational element, and the visual team will create and stage the imagery in response. For <i>Frankenstein</i>, the novel and storyboards were the jumping-off point, so we had something text-based <i>and</i> visual to respond to. But some of the music was written without specific scenes in mind, more just channeling a feeling or a mood we wanted to explore.<span class="Apple-converted-space"> </span>
<h5>When do you begin incorporating music into the rehearsal process? How does the score evolve as the play continues to develop? <span class="Apple-converted-space"> </span></h5>
For a new show that we’re putting up, the music team and the visual team will typically rehearse separately for a number of weeks, followed by a few weeks of full-company rehearsal. The full-company rehearsals are when we begin stitching together the visual and sonic elements of the show, and, frankly, when we first see what the show actually is. So, those full-company rehearsals are a very clarifying process. During that time, we look at the pacing of music together with visuals; we may tweak when a piece of music begins or ends, and we may even throw out music that’s not working and write something new. For <i>Frankenstein</i> especially, we had this question of how the staging of the musicians might create another layer of drama and storytelling for the show, and that’s the type of question that gets answered in rehearsal.
<h5>When does the creative team look to music to solve parts of the storytelling puzzle?<span class="Apple-converted-space"> </span></h5>
I feel like in our work the visual storytelling and the music/sound design work hand-in-hand pretty much non-stop. One couldn’t really function to its fullest potential without the other. Music in particular often stands in for dialogue in our work, so we might write music that expresses a character’s point of view, or illuminates the nature of a relationship that’s playing out on screen. More broadly, music and sound design really clue you in to the pacing and density of the storytelling, so it can help the creative team make decisions akin to “editing” in film parlance.<span class="Apple-converted-space"> </span>
<h5>What sources of musical inspiration are you drawing from in <i>Frankenstein</i>?</h5>
We’re both musical omnivores and gather inspiration from a ton of different places. When we’re starting a piece we usually create a playlist of influences so that we can get on the same page before we start writing. Our <i>Frankenstein</i> playlist had some recent Jonny Greenwood film scores (<i>Phantom Thread, The Master</i>), Johan Johansson’s score for <i>Arrival</i>, yMusic’s new record they made with The Staves, John Adams’ <i>The Dharma at Big Sur</i>, Nico Muhly orchestral works, David Lang choral works, some Jenny Hval, Björk, Sufjan, Death Grips, and Flying Lotus. Harry Partch and his self-invented percussion instruments were a huge influence, especially on our use of glass instruments and the little robot arms. ■
<hr />

<a href="https://www.courttheatre.org/season-tickets/2018-2019-season/frankenstein/"><b><i>Frankenstein</i></b></a><b> is on stage November 1-December 2, 2018. </b>

<b>Want to be the first to see it? <a href="https://www.courttheatre.org/season-tickets/special-event/frankenstein-halloween-party/">Dare to join us on October 31</a>, where we’ll have a frightfully fun Halloween party followed by our final dress rehearsal. </b>"
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        string(333) "To learn more about Manual Cinema’s unique approach to creating theatre, we interviewed Sarah Fornace, Co-Artistic Director of the performance collective and performer in <em>Frankenstein</em>. She shares her thoughts on theatrical adaptation, the legacy of Mary Shelley’s work, and Manual Cinema’s “live cinema” aesthetic."
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      string(7037) "<p style="padding-left: 30px;"><em><img class="alignnone size-full wp-image-11393" src="https://www.courttheatre.org/wp-content/uploads/2018/10/sarah-800x300.jpg" alt="" width="800" height="300" />To learn more about Manual Cinema’s unique approach to creating theatre, we interviewed Sarah Fornace, Co-Artistic Director of the performance collective and performer in </em><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/frankenstein/">Frankenstein</a><em>. She shares her thoughts on theatrical adaptation, the legacy of Mary Shelley’s work, and Manual Cinema’s “live cinema” aesthetic. </em></p>

<h5>Manual Cinema brings together a diverse variety of artists and disciplines. How did the company take shape and evolve?</h5>
Manual Cinema is a collaboration between sound designers and composers <a href="https://www.courttheatre.org/people/ben-kauffman/">Ben Kauffman</a> and <a href="https://www.courttheatre.org/people/kyle-vegter/">Kyle Vegter</a>, and visual theatre and puppetry artists <a href="https://www.courttheatre.org/people/julia-miller/">Julia Miller</a>, <a href="https://www.courttheatre.org/people/drew-dir/">Drew Dir</a>, and <a href="https://www.courttheatre.org/people/sarah-fornace/">Sarah Fornace</a>. We first came together to make a short show with only one projector called “The Ballad of Lula del Ray.”

The idea behind Manual Cinema is that we use the language of cinema to tell theatrical stories onstage. We often make shows without words, and we use sweeping musical scores, immersive sound design, and handmade adaptations of film techniques to convey character and plot. When we first started out, we performed the puppetry behind the screen. However, we eventually figured out that an important part of the show is watching it get created, piece by piece.

At a Manual Cinema show, we want to juxtapose the cleanness of the film screen and filmic image with the humanity and mess and athleticism of a small group of performers creating each image in real time, by hand. In today’s world, we are all surrounded by screens large and small. We want to take the ubiquitous experience of watching a story onscreen and make it strange and human and wondrous.
<h5>Manual Cinema’s work is highly theatrical, and yet it’s very different than most plays you’ll see around Chicago. How would you describe this piece to someone who’s never experienced one of your shows before?</h5>
I would describe it as a piece of live cinema. There is a live band creating the soundtrack in real time onstage. Hundreds of sound cues create movie theatre-style, immersive sound design that envelopes the audience in the sonic world of the show. They will see puppeteers play dozens of characters and manipulate over 500 paper puppets to create what looks like a silent animated film in real time right in front of their eyes.
<h5>Shadow puppetry, live actors, live musicians—<em>Frankenstein</em> is definitely multidisciplinary in its storytelling. How would you encourage audiences to engage with these various elements?</h5>
It is important to us that the audience has agency in experiencing the show. The audience has the choice to just watch the large screen above like a movie. Or they can watch the four musicians as they move around the space playing a variety of instruments and found objects. Or they could watch the puppeteers manipulating the Creature puppet and the camera. Or they can look over and see the actors play Mary Shelley and Fanny Imlay in shadow and then quick change into Victor <em>Frankenstein</em> and the Creature in front of the camera. There is no wrong way to watch the show, and each person constructs their own unique experience by choosing what to watch at any moment. We want to make space for the audience to put together (dare we say “frankenstein?”) their own live cinematic experience during this show.
<h5>Manual Cinema is dramatizing more than just the Monster’s creation in your adaptation; you’re also staging parts of Mary Shelley’s life. What are you hoping to accomplish in juxtaposing these stories?</h5>
We were fascinated by the story of Mary Shelley, an extraordinary woman who invented a literary genre (science fiction!) in a time of huge societal change. But we became equally fascinated by the lesser known story of her half-sister Fanny Imlay, who was the other daughter of the famous radical author/philosopher Mary Wollstonecraft. Fanny stayed home taking care of William Godwin when Mary left home with Percy Shelley. Fanny eventually committed suicide and was buried in an anonymous grave when Mary was halfway through writing the novel. Our production explores abandonment and obsession and technical sweetness—the allure of creating the thing or solving the puzzle that can at times obscure the ethical issues and broader implications of one’s work. In Mary and Fanny’s stories, we see reflections of Victor and The Creature. The book is Mary’s “hideous progeny,” and she experiences great loss in its wake. We also explore the role that motherhood plays in the story. Wollstonecraft died due to complications with Mary’s childbirth. Mary herself lost two children while writing the novel. <em>Frankenstein</em> is a novel that is told in a series of frames. Mary and Fanny’s story is the outer frame of our show, but it also intersects and parallels <em>Frankenstein</em> as if the storylines are each the subconscious of each other.
<h5>2018 is the 200th anniversary of Shelley’s work. Why do you think this story still resonates with audiences today?</h5>
Mary Shelley wrote this novel at a time when the industrial revolution was changing society and advancements in biology and chemistry were reshaping the way that people thought about the world around them. We are also in a time of rapid technical advances and societal change. Mary Shelley raises the same questions that we need to ask today about who is creating our technologies and what effects that has on their creation. If much of our new technologies are being invented and programmed by a narrow slice of the population (specifically white men), what kinds of biases and stereotypes are embedded in the devices and algorithms that we perceive as “neutral?” Shelley’s novel also asks about our responsibility not only for but also to what we create. This applies to technical inventions, but also the relationships and families that we create. ■

<hr />

<a href="https://www.courttheatre.org/season-tickets/2018-2019-season/frankenstein/"><b><i>Frankenstein</i></b></a><b> is on stage November 1-December 2, 2018. </b>

<b>Want to be the first to see it? <a href="https://www.courttheatre.org/season-tickets/special-event/frankenstein-halloween-party/">Dare to join us on October 31</a>, where we’ll have a frightfully fun Halloween party followed by our final dress rehearsal. </b>
<p class="caption">Photo of Sarah Fornace by Joe Mazza.</p>"
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      string(3850) "<img class="alignnone wp-image-11353 size-full" src="https://www.courttheatre.org/wp-content/uploads/2018/10/manualcinemaqanda.jpg" alt="Manual Cinema FRANKENSTEIN" width="800" height="318" />

<i><span style="font-weight: 400;">We spoke with Manual Cinema about their innovative, interdisciplinary creative process and how it adds new possibilities to a classic story. Read on to discover the experiments that led to the rising of Manual Cinema’s</span></i><span style="font-weight: 400;"> Frankenstein.</span>

<b>What creatively attracted you to </b><b><i>Frankenstein</i></b><b>?</b>

<span style="font-weight: 400;">We're always looking for stories that make good marriages with our medium of cinematic shadow puppetry. </span><i><span style="font-weight: 400;">Frankenstein</span></i><span style="font-weight: 400;"> was appealing to us because it's a story about the animation of lifeless matter, which is what we do as puppeteers. It's also a visual story, full of mythic structures and symbols, that can be communicated largely without dialogue. So even though we didn't know initially what our approach was going to be, there were all these really interesting affinities with our work that promised that adapting it to our medium was going to be really rewarding. </span>

<b>How did you decide that Court would be the right home for this piece?</b>

<span style="font-weight: 400;">Charlie Newell simply said to us that if we ever had a project that intersected with classic literature, we should bring it to him. When we brought him </span><i><span style="font-weight: 400;">Frankenstein </span></i><span style="font-weight: 400;">he was very enthusiastic, and pretty soon we began speaking about a commission and premiere. One of our Co-Artistic Directors, Drew, was working at Court as a dramaturg in the early years when Manual Cinema was just beginning, so Charlie knew our work from a very early stage.</span>

<b>What are the defining questions and relationships of your </b><b><i>Frankenstein</i></b><b>?</b>

<span style="font-weight: 400;">At its heart, I think our production of </span><i><span style="font-weight: 400;">Frankenstein </span></i><span style="font-weight: 400;">is about creation and abandonment. What does it mean to get so wrapped up in the act of creating something that you destroy yourself, your loved ones, and even the very thing you were trying to create? And then, the flip side of that -- what does it mean to be created and abandoned -- by a parent, by society at large -- and then react against that abandonment with violence? These twin stories are very clearly the stories of Victor and The Creature, but in our interpretation, it's also the relationship between Mary Shelley and her sister Fanny. To explore this relationship across the novel and Mary's biography, the roles of Victor and Mary are shared by one actor (Sarah Fornace), and the roles of The Creature and Fanny are shared by another (Julia VanArsdale Miller), and these two actresses end up telling most of the story. So even though there are a total of nine puppeteers and musicians on stage, the goal is for the production to feel like a two-hander, in which the audience watches the formation -- and then the tragic dissolution -- of a relationship between these two people.  </span>

<a href="https://www.courttheatre.org/season-tickets/2018-2019-season/frankenstein/"><b><i>Frankenstein</i></b></a><b> is on stage November 1-December 2, 2018. </b>

<b>Want to be the first to see it? <a href="https://www.courttheatre.org/season-tickets/special-event/frankenstein-halloween-party/">Dare to join us on October 31</a>, where we’ll have a frightfully fun Halloween party followed by our final dress rehearsal. </b>

<p class="caption">Photo of Sarah Fornace and Julia Miller by Joe Mazza.</p>"
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      string(4426) "<img class="alignnone wp-image-11285 size-full" src="https://www.courttheatre.org/wp-content/uploads/2018/09/sos_screening.jpg" alt="" width="800" height="251" />

<span style="font-weight: 400;">On Monday, September 24, 2018, Court Education Initiative (CEI) hosted a screening of </span><i><span style="font-weight: 400;">SOS: Save Our School</span></i><span style="font-weight: 400;">, a short film created by students at Harper High School as part of a Creative Schools Fund grant from Ingenuity, at the Logan Center for the Arts. Presented to a standing-room-only crowd filled with students, staff, family, and Court patrons, the screening served as the inaugural CEI Season Enrichment Event, designed to bridge the gap between education programming and the mainstage productions. </span>

<span style="font-weight: 400;">Shot in a documentary format spliced with a fictional storyline, </span><i><span style="font-weight: 400;">SOS: Save Our School</span></i><span style="font-weight: 400;"> explores the harsh reality of life for students who attend a school on the verge of getting closed by the city. Onscreen, students meet in groups to discuss their feelings and organize a protest to combat the potential shutdown. Offscreen, students channeled their artistic expression into art that raised awareness. Even student-written music and a student-choreographed dance made its way into the film. As a result, </span><i><span style="font-weight: 400;">SOS </span></i><span style="font-weight: 400;">was a powerful showcase of the innumerable ways students could express their feelings about their school and neighborhood.</span>

<img class="alignright wp-image-11282 size-medium" src="https://www.courttheatre.org/wp-content/uploads/2018/09/MG_6133-300x200.jpg" alt="" width="300" height="200" />

<span style="font-weight: 400;">Equally as powerful was a panel discussion which followed the screening. The panel featured moderator Quenna L. Barrett (Education Programs Manager, Arts + Public Life), Steven Hanks (Court Theatre Teaching Artist and </span><i><span style="font-weight: 400;">SOS</span></i><span style="font-weight: 400;"> Director of Cinematography/Editor), Terrence Thompson (Court Theatre Teaching Artist and </span><i><span style="font-weight: 400;">SOS </span></i><span style="font-weight: 400;">Writer), Kamyra Pittman (Harper Student and </span><i><span style="font-weight: 400;">SOS </span></i><span style="font-weight: 400;">Actor), Mr. Buino (Harper High School Drama Teacher), Ms. Brown (Local School Council President and Harper Parent), Ron OJ Parson (Resident Artist at Court and Director of </span><i><span style="font-weight: 400;">Radio Golf</span></i><span style="font-weight: 400;">), and James T. Alfred (</span><i><span style="font-weight: 400;">Radio Golf</span></i><span style="font-weight: 400;"> Actor). </span>

Each panelist responded to the reality of the film’s themes and the ways in which they connected to the film. Ms. Brown conveyed her shock at how many Harper staff and faculty were unaware of the potential shutdown, while student Kamyra Pittman discussed how her excitement about the project grew with each day they continued to work. Mr. Buino praised Court’s continued work with Harper High School and the role CEI has played in deepening his drama classroom.

<span style="font-weight: 400;">Complete with a red carpet photoshoot and pizza, the screening was as much a celebration as it was a testament to the work of our education department and the creativity and passion of Chicago’s South Side youth.</span>

<a href="https://www.courttheatre.org/community-engagement/education-initiative/"><span style="font-weight: 400;">Learn more about Court’s Education Initiative</span></a><span style="font-weight: 400;"> and our work in Chicagoland high schools.</span>

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<span style="font-weight: 400;">Critics across Chicagoland highly recommend August Wilson’s </span><i><span style="font-weight: 400;">Radio Golf</span></i><span style="font-weight: 400;">, with the </span><i><span style="font-weight: 400;">Chicago Tribune </span></i><span style="font-weight: 400;">awarding the production four stars and boldly claiming that “</span><i><span style="font-weight: 400;">Radio Golf </span></i><span style="font-weight: 400;">was never considered August Wilson's best — then it came to Court Theatre.” Audiences and critics alike agree that Resident Artist Ron OJ Parson’s production is as excellent as it is prescient. See for yourself what the buzz is about;<a href="https://www.courttheatre.org/season-tickets/2018-2019-season/radio-golf/"> get tickets</a> to </span><i><span style="font-weight: 400;">Radio Golf</span></i><span style="font-weight: 400;">.</span>

<hr />

<span style="font-weight: 400;">“Parson, though, is the first I’ve seen to foreground the twinkling humor in </span><i><span style="font-weight: 400;">Radio Golf</span></i><span style="font-weight: 400;">, to let it breathe, to give it a beating heart, to embrace its life force. He’s a director who always insists on calamitously high stakes, which is true here although often overlooked with Wilson, but what will stick with you is just how relaxed you will feel watching the show, safe in the company of some masterful actors who understand that you have to live, you have to be believed, before you can teach."</span>

<a href="http://www.chicagotribune.com/entertainment/theater/reviews/ct-ent-radio-golf-court-review-0910-story.html"><span style="font-weight: 400;">—Chris Jones, </span><i><span style="font-weight: 400;">Chicago Tribune</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">★★★★ Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“...resonates with same anger, love and cynical humor that make his plays seem more like sacred texts than play scripts. Director Ron OJ Parson is an experienced interpreter of Wilson's chronicles of African-American life, and this production is yet another vibrant, rough-hewn gem.”</span>

<a href="https://chicago.suntimes.com/entertainment/radio-golf-court-theatre-august-wilson-theater-chicago-things-to-do/"><span style="font-weight: 400;">—Alex Huntsberger, </span><i><span style="font-weight: 400;">Chicago Sun-Times</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">★★★</span><span style="font-weight: 400;">½ Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“Court Theatre is presenting a brilliant (and, yes, masterful) interpretation of this play that is something that shouldn’t be missed...Parson has created a definitive production of this show, allowing it to take the place it deserves as the final piece of an ambitious accomplishment. Wilson would be proud.”</span>

<a href="http://chicagoonstage.com/radio-golf-receives-a-masterful-production-at-court-theatre/"><span style="font-weight: 400;">—Karen Topham, </span><i><span style="font-weight: 400;">Chicago On Stage</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">★★★★ Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“There is an urgency and relevance to </span><i><span style="font-weight: 400;">Radio Golf</span></i><span style="font-weight: 400;"> that Wilson’s other, more historical plays cannot quite match, and those qualities shine in a particularly brilliant fashion in Court Theatre’s new production of the play...marvelous and invigorating.”</span>

<a href="https://www.chicagotheatrereview.com/2018/09/courts-radio-golf-continues-theaters-excellent-track-record/"><span style="font-weight: 400;">—Peter Thomas Ricci, </span><i><span style="font-weight: 400;">Chicago Theatre Reviews</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“Allen Gillmore expertly heads up Court Theatre's five-person powerhouse ensemble...</span><i><span style="font-weight: 400;">Radio Golf</span></i><span style="font-weight: 400;"> feels like home to anyone who has had the pleasure of being intimately involved in the African-American experience, and welcomes the rest of America to peer through the window, feel the warmth and also perhaps catch a glimpse their own reflection.”</span>

<a href="https://www.chicagoreader.com/chicago/radio-golf-court-theatre-august-wilson-century-cycle/Content?oid=57828329"><span style="font-weight: 400;">—Sheri Flanders, </span><i><span style="font-weight: 400;">Chicago Reader</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“...revelatory, brilliantly acted...there are many priceless speeches to be heard here – written as only [Wilson] could write them, with the loopy, circuitous logic of a man who sees the power of common sense and life experience in contrast to ‘the law.’”</span>

<a href="https://chicagotonight.wttw.com/2018/09/10/radio-golf-revival-tunes-hidden-wealth-august-wilson-s-final-play"><span style="font-weight: 400;">—Hedy Weiss, WTTW’s </span><i><span style="font-weight: 400;">Chicago Tonight</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“Parson, who continuously shows us why he is one of Chicago's greatest asset to the theater world, masterfully brought </span><i><span style="font-weight: 400;">Radio Golf </span></i><span style="font-weight: 400;">together and provided the vigor and painful truths of deceit to the forefront in </span><i><span style="font-weight: 400;">Radio Golf</span></i><span style="font-weight: 400;">.”</span>

<a href="https://chicagodefender.com/2018/09/13/radio-golf-where-morals-and-values-collide-with-the-truth/"><span style="font-weight: 400;">—Rick and Brenda McCain, </span><i><span style="font-weight: 400;">The Chicago Defender Let’s Play</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“This sober and angry new production by master director Ron OJ Parson and a splendid cast shows me how wrong I've been...a revelation to those, like me, who thought they knew it.”</span><span style="font-weight: 400;">
</span> <a href="http://www.windycitymediagroup.com/lgbt/Radio-Golf-/64033.html"><span style="font-weight: 400;">—Jonathan Abarbanel, </span><i><span style="font-weight: 400;">Windy City Times</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“...a most gratifying experience. Parson’s ability to capitalize on how characters project emotions within a defined space always finds a magical sweet spot of confinement.Great writing time travels and breathes meaning into an entirely different dimension while gaining even greater relevancy to newcomers.”</span><span style="font-weight: 400;">
</span> <a href="http://perform.ink/review-radio-golf-at-court-theatre/"><span style="font-weight: 400;">—Naima Dawson, </span><i><span style="font-weight: 400;">PerformInk</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“There is an urgency and relevance to </span><i><span style="font-weight: 400;">Radio Golf</span></i><span style="font-weight: 400;"> that Wilson’s other, more historical plays cannot quite match, and those qualities shine in a particularly brilliant fashion in Court Theatre’s new production of the play...marvelous and invigorating.”</span>

<a href="https://www.chicagotheatrereview.com/2018/09/courts-radio-golf-continues-theaters-excellent-track-record/"><span style="font-weight: 400;">—Peter Thomas Ricci, </span><i><span style="font-weight: 400;">Chicago Theatre Reviews</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“Steeped with metaphors..</span><span style="font-weight: 400;">.the poetry of this script moves deep and deeper still. A classic for the ages.”</span>

<a href="https://www.picturethispost.com/court-theatre-presents-radio-golf-review/"><span style="font-weight: 400;">—Amy Munice, </span><i><span style="font-weight: 400;">Picture this Post</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“A timely and propulsive revival at Court Theatre... a powerful and engrossing dialectic that offers much food for thought and few answers. Parson’s interpretation creates a sense of community and warm comradery among the characters, which accentuates the fact that the real threat lies beyond the action onstage. Given the surging poetry of Wilson’s script, it seems that this is the production that Wilson was writing to receive.</span><span style="font-weight: 400;">”</span>

<a href="http://buzznews.net/theatre/theatre-reviews/item/4506-radio-golf-scores-a-hole-in-one-in-powerful-and-compassionate-production.html"><span style="font-weight: 400;">—Kerstin Broockmann, </span><i><span style="font-weight: 400;">Buzz Center Stage</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">Highly Recommended</span></a>

<hr />
<p class="caption">Photo of Allen Gilmore and James Vincent Meredith by Michael Brosilow.</p>"
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      string(322) "Critics across Chicagoland highly recommend August Wilson’s RADIO GOLF, with the Chicago Tribune awarding the production four stars and boldly claiming that “'RADIO GOLF was never considered August Wilson's best — then it came to Court Theatre.” See for yourself what the buzz is about; get tickets to Radio Golf."
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      string(7957) "<img class="alignnone wp-image-11120 size-full" src="https://www.courttheatre.org/wp-content/uploads/2018/08/jeffs-1819-800x300.jpg" alt="" width="800" height="300" />

<span style="font-weight: 400;">Court Theatre is excited to announce that we received 13 Jeff Awards nominations for our productions during the 2017/18 Season, with each production from the past year garnering at least one nomination! This achievement continues to reinforce the consistent quality of our artistic contributions to Chicago’s theatre scene.</span>

<span style="font-weight: 400;">Each year, the Joseph Jefferson Awards committee honors outstanding Chicago area theatres and artists. We look forward to celebrating with the rest of the nominees at the 50th annual Jeff Equity Awards on Monday, October 22.</span>
<h3>2018 Court Theatre Jeff Award Nominations</h3>
<b>Production <strong>—</strong> Play <strong>— </strong>Large:</b><span style="font-weight: 400;">
</span><span style="font-weight: 400;"><a href="https://www.courttheatre.org/season-tickets/2017-2018-season/guess-whos-coming-dinner/">Guess Who's Coming to Dinner</a> </span><span style="font-weight: 400;">
</span><span style="font-weight: 400;"><a href="https://www.courttheatre.org/season-tickets/2017-2018-season/all-my-sons/">All My Sons</a> </span>

<b>Production <strong>—</strong> Musical or Revue <strong>—</strong> Large:</b><span style="font-weight: 400;">
</span><span style="font-weight: 400;"><a href="https://www.courttheatre.org/season-tickets/2017-2018-season/five-guys-named-moe/">Five Guys Named Moe</a> </span><span style="font-weight: 400;">
</span><span style="font-weight: 400;">
</span><b>Ensemble <strong>— </strong>Musical or Revue:</b><span style="font-weight: 400;">
</span><span style="font-weight: 400;"><a href="https://www.courttheatre.org/season-tickets/2017-2018-season/five-guys-named-moe/">Five Guys Named Moe</a> </span><span style="font-weight: 400;">
</span><span style="font-weight: 400;">
</span><b>Director <strong>—</strong> Musical or Revue <strong>—</strong> Large:</b><span style="font-weight: 400;">
</span><span style="font-weight: 400;"><a href="https://www.courttheatre.org/people/ron-oj-parson/">Ron OJ Parson</a> - <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/five-guys-named-moe/">Five Guys Named Moe</a> </span><span style="font-weight: 400;">
</span><span style="font-weight: 400;">
</span><b>Performer in a Principal Role <strong>—</strong> Play:</b><b>
</b><span style="font-weight: 400;"><a href="https://www.courttheatre.org/people/john-judd/">John Judd</a> - <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/all-my-sons/">All My Sons</a> </span><span style="font-weight: 400;">
</span><span style="font-weight: 400;"><a href="https://www.courttheatre.org/people/4104/">Edward Gero</a> - <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/the-originalist/">The Originalist </a></span>

<b>Solo Performance:</b>

<span style="font-weight: 400;"><a href="https://www.courttheatre.org/people/kate-fry/">Kate Fry</a> (Emily Dickinson) - <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/the-belle-of-amherst/">The Belle of Amherst </a></span><span style="font-weight: 400;">
</span><span style="font-weight: 400;">
</span><b>Performer in a Supporting Role <strong>—</strong> Play:</b><span style="font-weight: 400;">
</span><span style="font-weight: 400;"><a href="https://www.courttheatre.org/people/sydney-charles/">Sydney Charles</a> - <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/guess-whos-coming-dinner/">Guess Who's Coming to Dinner</a> </span><span style="font-weight: 400;">
</span><span style="font-weight: 400;">
</span><b>Performer in a Revue:</b><span style="font-weight: 400;">
</span><span style="font-weight: 400;"><a href="https://www.courttheatre.org/people/4129/">Lorenzo Rush, Jr</a>. - <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/five-guys-named-moe/">Five Guys Named Moe</a> </span><span style="font-weight: 400;">
</span><span style="font-weight: 400;">
</span><b>Scenic Design <strong>—</strong> Large:</b><span style="font-weight: 400;">
</span><span style="font-weight: 400;"><a href="https://www.courttheatre.org/people/scott-davis/">Scott Davis</a> - <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/guess-whos-coming-dinner/">Guess Who's Coming to Dinner</a> </span>

<b>Music Direction:</b><span style="font-weight: 400;">
</span><span style="font-weight: 400;"><a href="https://www.courttheatre.org/people/abdul-hamid-royal/">Abdul Hamid Royal</a> -<a href="https://www.courttheatre.org/season-tickets/2017-2018-season/five-guys-named-moe/"> Five Guys Named Moe</a> </span><span style="font-weight: 400;">
</span><span style="font-weight: 400;">
</span><b>Artistic Specialization:</b><span style="font-weight: 400;">
</span><span style="font-weight: 400;">Movement/Musical Staging - Christopher Carter - <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/five-guys-named-moe/">Five Guys Named Moe</a> </span>

&nbsp;

<span style="font-weight: 400;">We’re also proud to share that the following artists who have spent time as a member of Court’s family were recognized for their work across the city: <a href="https://www.courttheatre.org/people/alison-siple/">Alison Siple</a>, <a href="https://www.courttheatre.org/people/andre-pluess/">Andre Pluess</a>, <a href="https://www.courttheatre.org/people/cheryl-lynn-bruce/">Cheryl Lynn Bruce</a>, <a href="https://www.courttheatre.org/people/courtney-oneill/">Courtney O'Neill</a>, <a href="https://www.courttheatre.org/people/doug-peck/">Doug Peck</a>, <a href="https://www.courttheatre.org/people/geno-walker/">Geno Walker</a>, <a href="https://www.courttheatre.org/people/alex-weisman/">Alex Weisman</a>, <a href="https://www.courttheatre.org/people/hollis-resnik/">Hollis Resnik</a>, <a href="https://www.courttheatre.org/people/larry-yando/">Larry Yando</a>, <a href="https://www.courttheatre.org/people/mara-blumenfeld/">Mara Blumenfeld</a>, <a href="https://www.courttheatre.org/people/nick-bowling/">Nick Bowling</a>, <a href="https://www.courttheatre.org/people/rob-lindley/">Rob Lindley</a>, <a href="https://www.courttheatre.org/people/sean-fortunato/">Sean Fortunato</a>, <a href="https://www.courttheatre.org/people/shanesia-davis/">Shanesia Davis</a>, <a href="https://www.courttheatre.org/people/todd-rosenthal/">Todd Rosenthal</a>, and <a href="https://www.courttheatre.org/people/vanessa-stalling/">Vanessa Stalling</a>, director of our upcoming production of </span><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/"><i><span style="font-weight: 400;">Photograph 51</span></i></a><span style="font-weight: 400;">.</span>

<span style="font-weight: 400;">We are privileged to be part of the incredible theatre community in Chicago, and thank the audiences and artists in the community for making this such a rewarding city to make theatre. See all of the nominations </span><a href="http://www.jeffawards.org/equity-nominees"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">.</span><span style="font-weight: 400;">
</span><span style="font-weight: 400;">
</span><span style="font-weight: 400;">Subscribe for the 2018/19 Season so you won’t miss a moment! Up next at Court: </span><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/radio-golf/"><i><span style="font-weight: 400;">Radio Golf</span></i></a><span style="font-weight: 400;">, August Wilson’s final play in the American Century Cycle.</span>"
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        string(328) "To learn more about Pittsburgh’s place in Wilson’s plays, we interviewed Laurence Glasco, Assistant Professor, Department of History, University of Pittsburgh. He shares his thoughts on the significance of real estate, memory, and class in the Hill District, the Pittsburgh neighborhood in which <em>Radio Golf</em> unfolds."
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      string(6679) "<p style="padding-left: 30px;"><em><img class="alignnone size-full wp-image-11071" src="https://www.courttheatre.org/wp-content/uploads/2018/08/hill-district-800.jpg" alt="Hill District" width="800" height="251" />Underneath August Wilson’s rhythmic prose is the pulse of his hometown of Pittsburgh. This Rust Belt city serves as more than just the setting for his plays; it’s the source of his literary imagination.<span class="Apple-converted-space"> </span></em></p>
<p style="padding-left: 30px;"><em>“People think of the Hill District as a slum or a ghetto, but it wasn’t that way at all. In the three to four blocks around the Wilson home, it was a quiet, racially mixed, harmonious neighborhood where people looked out for one another. It was one that shaped August,” said Laurence Glasco, an associate professor of history at the University of Pittsburgh and co-author of </em>August Wilson: Pittsburgh Places in His Life and Plays<em>, which chronicles the history of Wilson’s Pittsburgh with a focus on the Hill District. </em></p>
<p style="padding-left: 30px;"><em>To learn more about Pittsburgh’s place in Wilson’s plays, we interviewed Laurence Glasco, Assistant Professor, Department of History, University of Pittsburgh. He shares his thoughts on the significance of real estate, memory, and class in the Hill District, the Pittsburgh neighborhood in which </em>Radio Golf<em> unfolds.</em></p>

<h4>I’ve read that you take your University of Pittsburgh students on a walking tour of the Hill District each semester where they view landmarks and talk to residents. Do you ever make any new discoveries on these tours?</h4>
The students certainly make new discoveries. I’ve been doing these tours for over ten years now, so I have my set path. But for the students, it’s a wonderful experience. Getting your feet on the pavement makes you identify with the place in a way that reading about it and driving through it doesn’t do. The students come away with a real feeling of the Hill. It’s almost mystical, if you will.<span class="Apple-converted-space"> </span>

A number of years ago, August’s sister, Freda, was still alive and we met her one time as she was working in her yard. She told us about the Wilson home where she was born and had grown up. For instance, her mother would set out a card table in the afternoon and neighbors would come over and play pinochle. One of the neighbors was Hedley, and another one was Louise, exactly as the characters in <i>Seven Guitars</i>.
<h4>The American Century Cycle, except for<i> Ma Rainey’s Black Bottom</i> which is set in Chicago, provides audiences with a man-on-the-street view of black life in Pittsburgh’s Hill District. How does Wilson incorporate this sense of place into <i>Radio Golf</i>?</h4>
There are a lot of references that August makes to people, places, and events. Of course, the big event was urban redevelopment and the threat that it posed to the Hill. The Bedford Hills Redevelopment Company, owned by Harmond Wilks, is located, as he says, at the corner of Centre and Herron Avenue. In fact, there was the major black banker and redeveloper of the Hill, Robert Lavelle, who had his business at the corner of Centre and Herron Avenue. It’s still there; his son is now running it. Certainly for someone from Pittsburgh, they would recognize it as a specific place.

The address 1839 Wylie—the home of Aunt Esther—doesn’t exist, but one can infer where it is. People would know it’s right in front of the former Ozanam Community Center; it’s an empty lot. But it’s right there at a place on Wylie, which was the main commercial corridor. The location evokes the past, the liveliness, the businesses, the jazz, and all these other things that went on which made the Hill such an exciting and vibrant neighborhood.
<h4>1839 Wylie Avenue is an ancestral landmark of sorts that reoccurs within the American Century Cycle. In <i>Radio Golf</i>, the character Harmond Wilks provides a majestic description of a Federalist brick house with beveled glass on every floor and a staircase of Brazilian wood with a hand-carved balustrade. As you mentioned, the location is real; however, there’s no house there. What do you think this fictitious home represents for residents who are facing the forces behind urban renewal?</h4>
It relates to something of value in these homes and places. They may not be as fine as 1839 Wylie, but they are places that have significance and are worth preserving. It’s a protest against urban renewal.<span class="Apple-converted-space"> </span>

In the 1950s, the Urban Redevelopment Authority (URA) characterized the whole area as a slum that needed to be torn down. However, recently reporters from the <i>Pittsburgh Post-Gazette</i> discovered in the basement of the URA boxes of records that the Authority used, along with photographs, where they classified the homes and described them. The URA’s own notes show that a number of these houses were certainly salvageable and could’ve been rehabilitated. It took the worst examples and used them to describe the whole neighborhood. Although most of the records were lost due to flooding, there were about 200 boxes that survived and paint a very different picture of the Hill. It has become a big scandal in Pittsburgh.

I think it confirms what August was saying in <i>Radio Golf</i>—that these homes were not just derelict properties that were beyond saving. August didn’t know about these records, of course, but I think it fits and he was on to something very important.
<h4>The Hill District has undergone immense change. Part of it was demolished for the Mellon Arena. Other sections never fully recovered after the riots spurred by Dr. King’s assassination in 1968. What remains of this collection of neighborhoods? And what preservation efforts are happening to save what was once called Pittsburgh’s Harlem?<span class="Apple-converted-space"> </span></h4>
Sadly, very little remains. In other black neighborhoods, like on the north side in Manchester, they have done a first-rate job of preserving their homes and rehabilitating them. It mainly has to do with leadership. The Hill, for whatever reason, never had that kind of leadership. It’s a spotty survival now. The Wilson home, fortunately, is being preserved. There’s a big effort to rehabilitate it, and in a year or so, it will be open to the public. ■

<hr />

<em><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/radio-golf/"><strong>Radio Golf</strong></a> </em><strong>is on stage August 30-September 30, 2018.</strong>"
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      string(6080) "<p style="padding-left: 30px;"><em><img class="alignnone size-full wp-image-11066" src="https://www.courttheatre.org/wp-content/uploads/2018/08/Ron-August-Wilson.jpg" alt="August Wilson with Ron OJ Parson" width="800" height="300" />Production Dramaturg Martine Kei Green-Rogers sat down with Director Ron OJ Parson to discuss his long history with August Wilson’s work and why he keeps coming back to it.<span class="Apple-converted-space"> </span></em></p>

<h4>As a dramaturg, I am always interested in the question “Why this play? Why this play now?” Why did you want to direct <i>Radio Golf?</i><span class="Apple-converted-space"> </span></h4>
Because it is August Wilson. I <i>always</i> want to direct August Wilson—particularly the later ones, the ones that I have not done as much. This production of <i>Radio Golf</i> is my 25th production of Wilson’s work. I am proud of that. I learn something new every time I direct his plays. At Court, my home theatre, we did a reading of <i>Radio Golf </i>during an August Wilson reading series sponsored by Goodman Theatre. I was reintroduced to the play, and I was once again moved by these characters and the rhythm of the language—it made me want to go on that journey once again.
<h4>How do you feel the play is relevant to audiences now?<span class="Apple-converted-space"> </span></h4>
All plays about the black experience are relevant today because we continue to battle forces that are against us. Plus, anytime you can introduce a younger generation to Wilson’s work, it’s important and relevant. Wilson is one of the most profound and prolific black writers in history. Considering the crazy politics of today, a play like <i>Radio Golf, </i>which is about the political scene, is particularly relevant. These characters feel (to the audience) like real people going through things that could be happening in today’s world.
<h4>One of the things that is interesting about <i>Radio Golf</i> is the conversation around the pros and cons of gentrification. And more specifically, 1990s gentrification. Do you have any thoughts about gentrification in Chicago now, in 2018? Does it seem the same (or different) than the way it is discussed in the play?</h4>
Wilson touches on gentrification in a lot of his plays. And, yes, it certainly relates to Chicago or any larger city. Neighborhoods are definitely being gentrified. Property is being taken and redistributed all over Chicago—South, North, and West. In my hometown of Buffalo, New York, it is happening again, too. In this political climate, I don’t want to harp on this, but there is a new <i>aggressiveness</i> to take back the country, and gentrification is a part of that—part of “Make American Great Again.” For me, it is a situation where, when you think about the play in these terms, it is hard <i>not</i> to see how this play <i>is</i><i>n</i><i>’</i><i>t</i> relevant. Wilson’s characters and the subjects they bring up always make it worthwhile to explore. It is something people need to hear and see.
<h4>Since we are conducting this interview a few weeks before the first rehearsal, what excites you about the upcoming rehearsal process?</h4>
This group of artists is new to me except for a few people. Working with new actors on the same text is always fun and unique. I learn new things about the text when new actors and designers come together to help me tell the story. I have a few actors in this cast who have not done Wilson before. It is thrilling for me to watch their excitement to perform Wilson for the first time.<span class="Apple-converted-space"> </span>
<h4>Are there any challenges specific to this particular Wilson piece?</h4>
There are always challenges when you approach a gifted playwright, like getting actors that are new to Wilson to find the rhythm of his language. Even the ones that are not new to Wilson need direction in order to get it just right. It is a new set and sound design—those come with challenges. Even when you direct multiple productions of the same play, no production is exactly the same as the previous one. The rhythms might be the same, the energy and music of the piece may be similar, yet there are artistic differences that make creating multiple productions worthwhile. The next one is usually richer and deeper.<span class="Apple-converted-space"> </span>
<h4>What is your favorite moment in the play?<span class="Apple-converted-space"> </span></h4>
Harmond’s monologue—when he talks about Oprah Winfrey. It is the one that begins with “No. Common sense says that ain’t right. We see it different. No matter what you always on the edge. If you go to the center you look up and find everything done shifted and the center is now the edge. The rules change every day.” This monologue makes me think about all of the things white people expect out of black people. Also, I love some of the things Old Joe says. His comments about his history and his ancestors make me think of the connections we have, or should have, to our own ancestors. This is an ongoing theme in Wilson’s plays, particularly this one. Harmond goes through a big transformation in the play as he realizes his spiritual connection to his ancestors. I wonder how much of that we believe in these days.<span class="Apple-converted-space"> </span>
<h4>Any other fun tidbits you want to share with our audience?</h4>
It is always an honor and a pleasure to work on August Wilson at Court Theatre. We do something special in this theatre because of the intimacy of the space. People know when they come to see it at Court, even if they have seen the same play somewhere else, it will be different here. It is always thrilling to bring Wilson’s words to life in our theatre. ■

<hr />

<em><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/radio-golf/"><strong>Radio Golf</strong></a> </em><strong>is on stage August 30-September 30, 2018.</strong>
<p class="caption">Photo of August Wilson with Ron OJ Parson by Ray Baker.</p>"
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  <h1>Blog</h1>
  
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/meet-angel-ysaguirre/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/10/BlogThumbAngel.jpg" alt="" /></a>
      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/meet-angel-ysaguirre/">Meet Angel Ysaguirre</a></h3>
        <p>In September, Angel Ysaguirre joined Court as the new Executive Director. We caught up with Angel to ask him about his plans for Court, his love of the arts, and what he enjoys doing in his spare time.</p>
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      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/stephen-j-albert-living-legacy/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/01/steve-200x200.jpg" alt="" /></a>
      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/stephen-j-albert-living-legacy/">Stephen J. Albert Living Legacy</a></h3>
        <p>As Court’s Executive Director from 2010 until 2017, Stephen J. Albert presided over a robust period of growth, establishing the Center for Classic Theatre, strengthening Court’s ties to the community, and cultivating a much closer alliance with the University of Chicago. His influence and leadership ushered in new initiatives, world premiere productions, and increased programming to engage Court’s audiences and neighbors. </p>
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      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/the-music-of-frankenstein/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/10/manual-cinema-group.jpg" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/the-music-of-frankenstein/">The Music of Frankenstein</a></h3>
        <p>We spoke with two of Manual Cinema’s Co-Artistic Directors, Ben Kauffman and Kyle Vegter, about the role of music in Frankenstein. Both Kauffman and Vegter bring considerable experience in the worlds of composition and sound design to their work with Manual Cinema, helping to immerse audiences in their storytelling with live instrumentation. Read on to learn about their approach to creating the auditory world of <em>Frankenstein</em>.</p>
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      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/live-cinema/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/10/sarah-200x200.jpg" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/live-cinema/">Live Cinema</a></h3>
        <p>To learn more about Manual Cinema’s unique approach to creating theatre, we interviewed Sarah Fornace, Co-Artistic Director of the performance collective and performer in <em>Frankenstein</em>. She shares her thoughts on theatrical adaptation, the legacy of Mary Shelley’s work, and Manual Cinema’s “live cinema” aesthetic.</p>
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      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/qa-manual-cinema/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/10/qandafeatured.jpg" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/qa-manual-cinema/">Q&#038;A: MANUAL CINEMA</a></h3>
        <p>We spoke with Manual Cinema about their innovative, interdisciplinary creative process and how it adds new possibilities to a classic story. </p>
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    </article>
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/short-film-screening-empowers-students-and-audience-members/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/09/MG_6155-e1538080026775.jpg" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/short-film-screening-empowers-students-and-audience-members/">Short Film Screening Empowers Students and Audience Members</a></h3>
        <p>On Monday, September 24, 2018, Court Education Initiative (CEI) hosted a screening of SOS: Save Our School, a short film created by students at Harper High School</p>
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    </article>
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/tune-in-to-critics-responses-to-radio-golf/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/09/alfred-200sq.jpg" alt="" /></a>
      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/tune-in-to-critics-responses-to-radio-golf/">Tune in to critics’ responses to RADIO GOLF</a></h3>
        <p>Critics across Chicagoland highly recommend August Wilson’s RADIO GOLF, with the Chicago Tribune awarding the production four stars and boldly claiming that “'RADIO GOLF was never considered August Wilson's best — then it came to Court Theatre.” See for yourself what the buzz is about; get tickets to Radio Golf.</p>
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    </article>
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/court-receives-13-jeff-nominations-for-2017-18-season/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/08/jefflogo.jpg" alt="" /></a>
      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/court-receives-13-jeff-nominations-for-2017-18-season/">Court Receives 13 Jeff Nominations for 2017/18 Season</a></h3>
        <p>Court Theatre is thrilled to announce that we received 13 Jeff Award nominations for last season’s productions! Each year, the Joseph Jefferson Awards committee honors outstanding Chicago area theatre and artists.</p>
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    </article>
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/pittsburghs-place-within-august-wilsons-world/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/08/hill-district-200.jpg" alt="" /></a>
      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/pittsburghs-place-within-august-wilsons-world/">Pittsburgh’s Place within August Wilson’s World</a></h3>
        <p>To learn more about Pittsburgh’s place in Wilson’s plays, we interviewed Laurence Glasco, Assistant Professor, Department of History, University of Pittsburgh. He shares his thoughts on the significance of real estate, memory, and class in the Hill District, the Pittsburgh neighborhood in which <em>Radio Golf</em> unfolds.</p>
      </div>
    </article>
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/qa-ronojparson/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/08/Ron-August-Wilson-200sq.jpg" alt="" /></a>
      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/qa-ronojparson/">Q&#038;A: Director Ron OJ Parson</a></h3>
        <p>Production Dramaturg Martine Kei Green-Rogers sat down with Director Ron OJ Parson to discuss his long history with August Wilson’s work and why he keeps coming back to it. </p>
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