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          string(11987) "[caption id="attachment_12423" align="alignnone" width="800"]<img class="wp-image-12423 size-full" src="https://www.courttheatre.org/wp-content/uploads/2019/04/bellowblogwide.jpg" alt="" width="800" height="300" /> Bellow’s US Passport | Saul Bellow Papers | Special Collections Research Center | University of Chicago[/caption]
<ol>
 	<li><b>Immigrant</b></li>
</ol>
<span style="font-weight: 400;">Saul Bellow arrived with his family in Chicago on July 4, 1924, smuggled by bootleggers across the border from Canada. He was nine years old. He would remain an “illegal alien”—we would now say, “undocumented immigrant”—until the age of 27.</span>

<span style="font-weight: 400;">Bellow was born in 1915 in Lachine, Quebec. His parents were Russian Jews. They had originally come to Canada to flee anti-Semitic violence and political persecution in their home city of St. Petersburg, Russia. </span>

<span style="font-weight: 400;">The Bellow family arrived on American soil two short months after the U. S. Congress passed the 1924 Immigration Restriction Act, a drastic and sweeping revision of federal immigration policy. The new law slammed the door on a tide of humanity that had been flowing to America since the late 19th-century, ending the greatest era of mass migration to the United States in its history. From 1880 to 1924, waves of newcomers, primarily from Southern and Eastern Europe. powered the rapid growth of Chicago. The city’s population quadrupled in thirty years’ time, growing from 500,000 residents in 1880 to over 2 million in 1910. By 1924, when Bellow took up residence with his family in the Russian Jewish enclave of Humboldt Park, 70% of Chicago residents were foreign-born or the children of foreign-born parents.</span>

<span style="font-weight: 400;">His whole life, Bellow retained a vivid impression of the first day he spent in America: July 4, 1924. He recalled his nine-year-old self thinking the fireworks, flags, bunting and parades of Independence Day were for him, meant to hail the promise of his new life in America.</span>

<span style="font-weight: 400;">But the 1924 Immigration Restriction Act told a less welcoming story. The law was informed by the burgeoning eugenics movement, which maintained that peoples from Southern and Eastern Europe, Latin America, Asia and Africa were genetically inferior to those from Northern and Western Europe. The 1924 Act accordingly slashed immigration rates from targeted nations by 98%, barring admission to Russian Jews, Poles, Hungarians, Bulgarians, Italians, Greeks, Chinese, Turks, Armenians, Lithuanians and Africans, among many others. Conspicuously, the 1924 Act left the door open to migrants from Great Britain, Ireland, Denmark, Germany, Sweden and Norway. </span>

<span style="font-weight: 400;">Eugenicists celebrated the 1924 Act as a measure that would “preserve the purity of American stock” by welcoming immigrants only “of higher intelligence,” who thus presented “the best material for American citizenship”. The now-excluded categories of people, it was believed, had “made an excessive contribution to our feeble-minded, insane, criminal and other socially inadequate classes.” A related federal act prohibited entry to “epileptics, and insane persons; paupers; professional beggars; persons likely to become a public charge; persons afflicted with a loathsome or dangerous disease; and persons who have committed a felony or other crime involving moral turpitude.” Polygamists, prostitutes and those with “mental or physical defects which might affect their ability to earn a living” were also banned.</span>

<span style="font-weight: 400;">A natural reading of </span><i><span style="font-weight: 400;">The Adventures of Augie March</span></i><span style="font-weight: 400;"> views it as Bellow’s artistic response to the contradictions inherent to the historical moment of his arrival in this country,. </span>

<span style="font-weight: 400;">The story Bellow scrawled, beginning in 1947,in a succession of battered notebooks—notebooks now housed in the University of Chicago archives—charts the coming of age of a young undocumented immigrant amidst the foreign-born multitudes of Chicago,. Augie, Bellow’s narrator, struggles amongst the plenty and poverty of the city toward self-knowledge. He achieves it at last in discovering his identity as an American writer.</span>

<span style="font-weight: 400;">Bellow’s novel offers a rejoinder to the premise that a person’s country of origin, physical form or natural endowments determine their fitness for American life. . The characters peopling </span><i><span style="font-weight: 400;">The Adventures of Augie March</span></i><span style="font-weight: 400;"> hail from the countries of origin marked for exclusion by the 1924 Immigration Restriction Act: they are Russian Jews, they are Mexican, they are Hungarian and Polish, they are Czech and Italian. They may be paralyzed, blind, physically disabled, or “insane”. They are relegated to the poverty-stricken and criminal margins of the city’s teeming social world. Invariably they are the “socially inferior.” But they are unmistakably American, and they contribute to the vibrant day-to-day of an unmistakably American city.</span>
<ol start="2">
 	<li><b> Writer</b></li>
</ol>
<span style="font-weight: 400;">Augie is not quite Bellow’s alter ego. But his life echoes aspects of Bellow’s life, and his impressions and experiences are often artful silhouettes of Bellow’s own. Above all, the language Bellow uses to recount Augie’s adventures bears the unique and unmistakable stamp of the city that shaped him. </span>

<span style="font-weight: 400;">As a child coming of age on the streets of Chicago, Bellow absorbed a rich inheritance. His earliest spoken languages were Russian and Yiddish. Hhe picked up English on Chicago’s West Side, where he played alongside the children of recently-arrived Poles, Italians, Swedes, Greeks, Hungarians, Czechs and Romanians. Bellow remembered these immigrant youths being as eager as he was to talk about distinctly American things:“baseball, prizefights, speakeasies, graft, jazz, crap games, gang wars.” As an adolescent, Bellow drew inspiration from soapbox preachers on Division Street, vendors hawking wares in the Maxwell Street Market, and speeches by orators, labor leaders and poets who assembled for debates in Bughouse Square, the park beside the Newberry Library. He haunted the stacks of multiple branches of the Chicago Public Library, where classic texts of world literature were freely available to him, the son of a low-wage employee at a kosher bakery on Augusta Avenue. </span>

<span style="font-weight: 400;">These multitudinous influences are evident in the language Augie March uses to tell his story. Inflected with Yiddish rhythms, salted with slang and idiomatic speech, packed with interludes of heightened poetic phrasing and allusions to high culture, Augie’s narrative voice immerses readers in the colloquial language of the Chicago streets. One of the signal achievements of </span><i><span style="font-weight: 400;">The Adventures of Augie March</span></i><span style="font-weight: 400;">, according to the writer Philip Roth, was how the novel raised “the language you spoke, the American argot you heard on the street,” to the level of high literature.</span>

<span style="font-weight: 400;">Augie’s narrative voice even keeps pace with the evolution of Chicago street speech over three decades. As the chapters proceed the music of the language shifts from the rhythms of the Prohibition-era vernacular, to the minor key changes of the Great Depression in the 1930s, to the grander tones of the 1940s heralding the post-war economic boom.</span>

<span style="font-weight: 400;">The idea for the novel came to Bellow when he was living in Paris in 1947. Watching city workers opening the valves of hydrants to allow gushing water to sweep clean the pavements, he asked himself, “why not have as much freedom of movement as this running water?” The flowing hydrants conjured the sudden memory, Bellow said, of “a handsome, freewheeling kid from childhood whose surname was August, and who used to yell when we were playing, ‘I got a scheme!’” Recreating the exuberance and brio of this long-ago Chicago friend was the start of </span><i><span style="font-weight: 400;">Augie March</span></i><span style="font-weight: 400;">: “Subject and language appeared at the same moment—I was enriched with words,” Bellow recalled.  “I found myself with magical suddenness writing the first paragraph. It rushed out of me.” The novel’s language came to his mind so swiftly, he remembered, “All I had to do was be there with buckets to catch it.”</span>
<ol start="3">
 	<li><b> Mythologist</b></li>
</ol>
<span style="font-weight: 400;">While Bellow transmuted the phrasings and cadences of Chicago’s immigrant residents into a new kind of heightened literary language, he also likened their personhood to figures of myth and history. The cast of characters populating Augie’s street-level world are compared to gods and heroes of Greek mythology, or heroes from the annals of world history.</span>

<span style="font-weight: 400;">Simon, Augie’s body-building older brother, is afflicted with bouts of insanity like his mythological correlate, Hercules. The orating, wheelchair-using real estate broker William Einhorn is at once equated with Hephaestus, the blacksmith God of Invention, and President Franklin Roosevelt. Grandma Lausch, physically infirm but ruthlessly tyrannical, is compared to Emperor Timur, the 14th-century conqueror of Asia and heir to Genghis Khan. Rebecca March, Augie’s blind, incapacitated mother stands with the many mortal women in Greek mythology who, seduced and abandoned by Zeus, give birth to demigods. Augie himself is likened to Alcibiades, legendary orator of 5th-century B.C.E. Athens, beloved by the gods for his charisma and gift of self-expression. </span>

<span style="font-weight: 400;">Bellow suggests gods and geniuses walk the streets of Chicago, reincarnated as immigrants and workers. With immigrants from the “old world” no longer free to enter America, this promise is forestalled. Bellow begins the novel with a quote from Heraclitus, the 5th-century B.C.E. philosopher: Heraclitus says that “a man’s character is his fate”— not race, ethnicity or physical endowments. </span>

<span style="font-weight: 400;">The publication of </span><i><span style="font-weight: 400;">The Adventures of Augie March</span></i><span style="font-weight: 400;"> in 1953, when he was 38 years old, launched Saul Bellow’s reputation as a novelist and established the future Nobel Laureate’s literary renown. Congress, meanwhile, would not end the exclusionary quota system imposed by the 1924 Immigration Restriction Act until 1965. The opening lines of </span><i><span style="font-weight: 400;">Augie March</span></i><span style="font-weight: 400;"> --</span><i><span style="font-weight: 400;">I am an American, Chicago born—Chicago, that somber city—and go at things as I have taught myself, freestyle, and will make the record in my own way: first to knock, first admitted; sometimes an innocent knock, sometimes a not so innocent—</span></i><span style="font-weight: 400;">stand</span> <span style="font-weight: 400;">as Bellow’s testament to the city that shaped him as a writer, and to thee liberating potential of the American immigrant experience.</span>

<strong>Performances of<em> <a href="https://www.courttheatre.org/season-tickets/2018-2019-season/adventures-augie-march/">The Adventures of Augie March</a> </em>begin May 9! <a href="https://www.courttheatre.org/season-tickets/2018-2019-season/adventures-augie-march/">Save your seats →</a></strong>"
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          string(5227) "<img class="alignnone size-full wp-image-12412" src="https://www.courttheatre.org/wp-content/uploads/2019/04/nambi-wide-blog.jpg" alt="" width="800" height="300" />

Court Theatre and playwright Nambi E. Kelley have received the Prince Prize for Commissioning Original Work for 2018. Prince Charitable Trusts makes an award of $75,000 each year to a major Chicago dance, music, visual arts or theater company. When the Trust approached Court Theatre about projects that might fit their vision for the Prize, it was only natural to ask playwright Nambi E. Kelley to create an original play based on the story of Stokely Carmichael’s activism and legacy for the stage. In 2014, Kelley had adapted Richard Wright’s <a href="https://www.courttheatre.org/season-tickets/2014-2015-season/native-son/"><i>Native Son</i></a> for Court Theatre in a co-production with American Blues Theatre that garnered great critical and popular acclaim. Another collaboration would build upon these successes.

Kelley shares, “I am thrilled to be receiving the Prince Prize for 2018 to develop a new play based upon such a transformative activist as Stokely Carmichael. His fearless approach to constant and perpetual self-reinvention is something that I am excited to share with Court Theatre's audiences. Equally, what a gift to return to Court Theatre to work with scholars, artists, and the community to birth a new play that the late Stephen Albert called ‘his last gift to the American Theatre.’”

Charles Newell, Marilyn F. Vitale Artistic Director, comments, “Nambi is an immense talent, and Court Theatre couldn’t be more honored to be collaborating with her again. Thanks to Prince Charitable Trusts, we will have the opportunity to deepen our relationship with this gifted playwright and share her work with even more artists and audiences across Chicagoland.”

Benna Wilde, Program Director at Prince Charitable Trusts, adds, “We are delighted to make this award to Court Theatre, an important cultural resource on the South Side of Chicago, and to Nambi E. Kelley, a great young Chicago talent whose work we are proud to support.”

Stokely Carmichael, a pivotal activist in the Civil Rights and Black Power movements, was one of the original freedom riders in 1961. Nambi E. Kelley will explore the transformational journey Carmichael’s activism took, starting with an alignment with Martin Luther King, Jr. on non-violence, evolving into Black Power as articulated by Malcolm X, and then transforming a third time into a unique articulation of Pan Africanism. Newell’s father worked with Carmichael at New York Avenue Presbyterian Church while Carmichael was a student at Howard University and Carmichael frequently stayed with Newell’s family, adding to Newell’s passion for sharing this story.

Under the guidance of Court’s late Executive Director, Stephen J. Albert, a renewed focus on commissioning began in 2011 with a new adaptation of Ralph Ellison’s <a href="https://www.courttheatre.org/season-tickets/2011-2012-season/invisible-man/"><i>Invisible Man</i></a> written by Oren Jacoby. Court has long been developing and producing new work including the aforementioned <a href="https://www.courttheatre.org/season-tickets/2014-2015-season/native-son/"><i>Native Son</i></a> written by Nambi E. Kelley, <i>Man in the Ring</i> written by Michael Cristofer, <a href="https://www.courttheatre.org/season-tickets/2014-2015-season/the-good-book/"><i>The Good Book</i></a> written by Denis O’Hare and Lisa Peterson, and Court’s upcoming production of Saul Bellow’s <a href="https://www.courttheatre.org/season-tickets/2018-2019-season/adventures-augie-march/"><i>The Adventures of Augie March</i></a>, written by David Auburn.

In its years of commissioning work, Court has learned how to support playwrights with different needs and desires during the development process, while leveraging relationships with the University and community organizations that enhance productions for not only the playwrights, but also for audiences. To support the development of her play, Kelley will have access to the resources of Court Theatre and the University of Chicago. The University of Chicago is home to a large and engaged faculty, multiple libraries, and world-class research facilities, and Court will leverage its University connections to bring Kelley together with any resources she may desire when working on her play about Carmichael.

Prince Charitable Trusts makes an award of $75,000 each year to a major Chicago dance, music, visual arts or theater company. The Prince Prize will commission a promising mid-career artist chosen by the performing or visual arts institution and must be at least one-third of the award. The remainder of the grant may be used by the company to help underwrite development and initial performance of the commissioned work. The intent of the Prize program is to serve as a catalyst for creative collaboration between promising artists and Chicago’s highest caliber arts organizations. Their goal is to provide an opportunity to showcase both the artists and Chicago’s great performing arts companies to the Chicago public and the nation."
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          string(7133) "<img class="alignnone wp-image-12352 size-full" src="https://www.courttheatre.org/wp-content/uploads/2019/03/fcg-800x300.jpg" alt="" width="800" height="300" />

<span style="font-weight: 400;">Press throughout Chicago praise Ntozake Shange's </span><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/for-colored-girls/"><i><span style="font-weight: 400;">For Colored Girls Who Have Considered Suicide / When the Rainbow Is Enuf</span></i></a><span style="font-weight: 400;">, with most critics unanimous in their decision to Highly Recommend the production</span><span style="font-weight: 400;">. Audiences and critics alike agree that <a href="https://www.courttheatre.org/people/seret-scott/">Seret Scott</a>'s direction and the work of the ensemble is powerful, moving, and compelling. See why Shange's cherished work belongs in the canon of classic plays — <a href="https://www.courttheatre.org/season-tickets/2018-2019-season/for-colored-girls/">get tickets</a> to </span><i><span style="font-weight: 400;">For Colored Girls</span></i><span style="font-weight: 400;">.</span>

<hr />

<span style="font-weight: 400;">“...the entire cast feels carefully curated. Rich inner lives reside in a public space. How stories are heard here is as important as how they are told, listening being both a rare and radical act.</span><span style="font-weight: 400;">"</span>

<a href="https://www.chicagotribune.com/entertainment/theater/reviews/ct-ent-colored-girls-review-0326-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;"><b>★</b></span><span style="font-weight: 400;"><b>★</b></span><span style="font-weight: 400;"><b>★</b></span><span style="font-weight: 400;"><b>★ </b></span><span style="font-weight: 400;">Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“</span>This production makes clear exactly why “for colored girls…” skyrocketed to prominence: Shange’s dramatic sense of language that when performed feels so deeply evocative and true. Read the play, and it’s impressive but distant. Performed here, the language is urgent and real and consistently compelling. The performances are all terrific, filled with spunky individualism<span style="font-weight: 400;">”</span>

<a href="https://chicago.suntimes.com/entertainment/for-colored-girls-who-have-considered-suicide-when-the-rainbow-is-enuf-review-court-theatre-chicago/"><span style="font-weight: 400;">—Steven Oxman, </span><i><span style="font-weight: 400;">Chicago Sun-Times, </span></i><span style="font-weight: 400;">Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“It is impossible to overstate how talented this entire cast is... <em>for colored girls who have considered suicide/when the rainbow is enuf</em> is one of the top productions of this theater season. Shange's words cradle you and linger long after the final curtain. Laugh, cry, and be soothed by the full and beautiful soulful voices.”</span>

<a href="https://www.chicagoreader.com/chicago/for-colored-girls-court-theatre/Content?oid=69245564"><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;">“The meld of fine performance and staging with Shange’s writing and concept are irresistible. The commitment of the cast was visible at the curtain call, with several of the performers in tears. The show obviously meant much to them personally as well as artistically. A most rewarding evening for everyone in the theater.”</span>

<a href="https://chicagolandtheaterreviews.com/chicagoland-productions/colored-girls/"><span style="font-weight: 400;">—Dan Zeff, </span><i><span style="font-weight: 400;">Chicagoland 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;">“In Seret Scott's searing and soaring production of <em>For Colored Girls</em> at Court Theatre, Shange's words weave a tapestry of pain, defiance, joy and renewal, all delivered by a cast of eight women who not only occupy the space but reclaim it for Black women whose voices have been ignored or disparaged...Shange's piece and Scott's staging remind us that Black women in the United States have been fighting their own battles for centuries. It's not their job to save us—but we damn well better start listening to them.”</span>

<a href="http://www.windycitymediagroup.com/lgbt/THEATER-REVIEW-For-Colored-Girls-Who-Have-Considered-Suicide-When-the-Rainbow-Is-Enuf/65694.html"><span style="font-weight: 400;">—Kerry Reid, <i>Windy City Times</i></span><span style="font-weight: 400;">, </span><span style="font-weight: 400;">Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“Even after forty years, this play still resonates profoundly with women and audience alike. It's a magnificent story about the soul and depth of African American women who tell the unapologetic black truth....the ladies at Court Theater makes this version a MUST-SEE!</span><span style="font-weight: 400;">”</span>

<a href="http://www.chicagonow.com/lets-play/2019/03/for-colored-girls-who-have-considered-suicide-when-the-rainbow-is-enuf/"><span style="font-weight: 400;">—Rick and Brenda McCain, </span><i><span style="font-weight: 400;">Chicago Now Let's Play</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">Highly Recommended</span> - Critics Pick</a>

<hr />

<span style="font-weight: 400;">“There are many moments during the performance where the audience grew so quiet that it seemed like there were only eight women in the building… the girls on stage.</span><span style="font-weight: 400;">”</span>

<a href="https://www.chicagotheatrereview.com/2019/03/the-more-things-change-the-more-they-stay-the-same/"><span style="font-weight: 400;">—Shelly Berry and Scott Kirshenbaum, </span><i><span style="font-weight: 400;">Chicago Theatre Review,</span></i><span style="font-weight: 400;"> Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“Sharply defined in terms of character, language and overall narrative drive. Scott and her highly individualistic cast of eight (including the balladeer who has been added to the usual cast of seven), has tapped into the verbal music of the play in a wholly fresh way.</span><span style="font-weight: 400;">”</span>

<a href="https://news.wttw.com/2019/03/27/ntozake-shange-for-colored-girls-court-theatre-review"><span style="font-weight: 400;">—Hedy Weiss, </span><i><span style="font-weight: 400;">WTTW Chicago</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">Highly Recommended</span></a>

<hr />
<p class="caption">Photo by Michael Brosilow.</p>"
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          string(5749) "<img class="alignnone wp-image-12311 size-full" src="https://www.courttheatre.org/wp-content/uploads/2019/03/ntozake800x300.jpg" alt="" width="800" height="300" />

Looking back at 2018, many may argue that it was a year of and about women. Women broke their silence, and spoke out about what matters to them. Women ran for office in record numbers, and held influential and powerful men accountable in cases of sexual harassment and assault with the #MeToo Movement. Women everywhere—white, yellow, red, brown, and black alike—used their voices to fight against sexism, racism, classism, ableism, and ageism. Using various platforms like music, movies, literature, poetry, and speeches, women unapologetically, truthfully, and boldly expressed themselves.

Women like Michelle Obama, Chimamanda Ngozi Adichie, Beyonce, Nikki Minaj, Reese Witherspoon, Amy Poehler, Meryl Streep, Sandra Oh, Emma Stone, Stacey Adams, Tamika Mallory, Angela Davis, Alice Walker, and Toni Morrison made their voices heard and inspired others to do the same. Even Oprah Winfrey’s speech at the Golden Globes touched on issues of sexual abuse and empowered women to call out their abusers. In the midst of all of this amazing female power, one who embodies the spirit of all of these women, Ntozake Shange, made her transition from this life. In the African tradition, as well as in other cultures, some may say Shange is now one of the ancestral elders who will continue to guide and inform us.

To this end, Shange’s death is inspiring many to reflect and revisit the genius of and in her work. While Shange’s literary oeuvre is quite extensive, she is best known for <a href="https://www.courttheatre.org/season-tickets/2018-2019-season/for-colored-girls/"><em>For Colored Girls Who Have Considered Suicide/When the Rainbow Is Enuf</em></a> (1975). This play received an Obie Award, the Outer Critics Circle Award, and the AUDELCO Award as well as Tony, Grammy, and Emmy Award nominations. In 2010, director Tyler Perry adapted the choreo-poem into a feature-length film. Furthermore, on the Poetry Foundation’s website, <em>For Colored Girls</em> is characterized as:
<blockquote>[a] unique blend of poetry, music, dance and drama called a “choreopoem,” it “took the theatre world by storm,” noted Jacqueline Trescott in the Washington Post, as it “became an electrifying Broadway hit and provoked heated exchanges about the relationships between black men and women. ... Its form—seven women on the stage dramatizing poetry—was a refreshing slap at the traditional, one-two-three-act structures.”</blockquote>
Mel Gussow, writing in the New York Times, stated that “Miss Shange was a pioneer in terms of her subject matter: the fury of black women at their double subjugation in white male America.”

Shange’s fury and insight brought fire, drama, and excitement to the stage and has been voiced by others, particularly black, female playwrights. For example, in the posthumously written New York Times article, “Seven Flames Kindled by the Focused Fire of Ntozake Shange,” Laura Collins-Hughes shares how playwright and spoken word artist Aleshea Harris pays homage to Shange in her work: “She’s given me so much permission—to be unapologetic, to talk about my pain and my joy. I’ve certainly been a colored girl who’s considered suicide, so just the title, everything, it feels like ‘You are here, I affirm you, you exist and you should exist loudly.’” These very sentiments are also connected to the movement of women today. In viewing this play, particularly in the city of Chicago, women--particularly black women--who choose to voice their concerns and bring themselves to the forefront of the American landscape will see themselves reflected in Shange’s work.

Although<em> For Colored Girls</em> first appeared on the stage in 1975, its themes permeate our current American conversation. Simultaneously, Shange’s text is laced with key historical references, including Willie Colon, Toussaint L’ouverture, and Claude McKay’s poem “Harlem Dancer.” The women express feeling excluded from critical places and spaces in cities like St. Louis, New York City, Chicago, Houston, Baltimore, Detroit, and San Francisco. This notion of “being on the outside as a woman,” particularly a black woman, contributes to its timeliness as women continue to fight for a seat at the table.

In the forward of the 2010 second publication of her play, Shange beautifully articulates: “<em>for colored girls</em> continues to resonate so profoundly almost forty years after I first set pen to paper. It is bittersweet for me. Though we have achieved many milestones, the stories and struggles of our lives as women, and in particular, women of color, are still not granted the full address due. But, then, perhaps that is part of the fuel that moves me to continue writing.” Parallel to Shange’s guiding words here, <em>For Colored Girls</em> continues to resonate as we examine the stories and struggles of women today. Witnessing these powerful stories will inevitably move us all to empathize with women beyond Court Theatre’s stage, supporting their march to be heard throughout America and across the world.

<hr />

<em>Dr. Khalilah T. Watson is an Assistant Professor in the Department of Communications English at Olive-Harvey College-One of the City Colleges of Chicago. Her areas of specialization are composition, twentieth century African American fiction, and literary theory, particularly Toni Morrison. She holds a Ph.D. in English from Georgia State University, a master’s degree from Eastern Michigan University, and a bachelor’s degree from Albion College.</em>"
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In conjunction with our production of Ntozake Shange’s<a href="https://www.courttheatre.org/season-tickets/2018-2019-season/for-colored-girls/"> <em>For Colored Girls Who Have Considered Suicide / When the Rainbow is Enuf</em></a>, Court Theatre is presenting <strong><em>beyond the rainbow: Court Community Conversations</em></strong>, a series of curated, community-focused events allowing participants to engage with the themes in Shange’s work in a variety of ways.

<hr />

<b>a laying on of hands: An Opening Ritual | March 14 from 5:30 - 7:00pm | McCormick Theological Seminary (</b><b>5460 S University Ave, Chicago, IL 60615)</b>

<span style="font-weight: 400;">An opening ceremony preceding our first preview with spiritual leaders from the South Side in partnership with McCormick Theological Seminary and the Lutheran School Theological Seminary. <strong>Free and open to the public.</strong> <strong>Online registration coming soon.</strong></span>

<hr />

<b>dark phrases of womanhood: Dramatists Guild Panel | March 24 at 4:30pm | Court Theatre (</b><b>5535 S Ellis Ave, Chicago, IL 60637)</b>

<span style="font-weight: 400;">Members of the Dramatists Guild will discuss Ntozake Shange’s influence on their own work as female playwrights of color in this post-show discussion. <strong>Free and open to the public.</strong></span>

<hr />

<b>sing your song: An Open Mic Night | April 1 at 7:00pm | Court Theatre (</b><b>5535 S Ellis Ave, Chicago, IL 60637)</b>

<span style="font-weight: 400;">An open mic on the set of </span><i><span style="font-weight: 400;">For Colored Girls</span></i><span style="font-weight: 400;"> celebrating original work and personal anecdotes about the play by women of color. <strong>Free and open to the public. Online registration coming soon.</strong></span>

<hr />

<b>there wuz no air: A Community Conversation | April 5 at </b><b>9:15pm</b><b> | Court Theatre (</b><b>5535 S Ellis Ave, Chicago, IL 60637)</b>

<span style="font-weight: 400;">A post-show panel discussion for men and boys to discuss the trauma of men in the black community, in partnership with 100 Black Men. <strong>Free and open to the public.</strong></span>

<hr />

<b>Spotlight Reading Series: A Tribute to Ntozake | April 8 at 6:30pm | Experimental Station (</b><b>6100 S Blackstone Ave, Chicago, IL 60637)</b>

<span style="font-weight: 400;">A reading of Shange’s play, </span><a href="https://www.courttheatre.org/season-tickets/spotlight-reading-series/spotlight-reading-boogie-woogie-landscapes/"><i><span style="font-weight: 400;">Boogie Woogie Landscapes</span></i></a><span style="font-weight: 400;">, about the dreams and memories of a young, black woman as part of Court’s Spotlight Reading Series. Light refreshments catered by Exquisite Catering. <strong>Free and open to the public. <a href="https://www.courttheatre.org/season-tickets/spotlight-reading-series/spotlight-reading-boogie-woogie-landscapes/">Learn more →</a></strong></span>

<hr />

<b>Exelon South Side Youth Performance Fest Presents “FCGirls Project” | April 9 at 7:00pm | Court Theatre (</b><b>5535 S Ellis Ave, Chicago, IL 60637)</b>

<span style="font-weight: 400;">The second act of the annual Exelon South Side Youth Performance Fest will be dedicated to student work engaging with </span><i><span style="font-weight: 400;">For Colored Girls </span></i><span style="font-weight: 400;">as part of Court’s FCGirls Project. A post-show reception at the Smart Museum of Art will include catering by Piccolo Mondo. <strong>Free and open to the public. <a href="https://www.courttheatre.org/community-engagement/education-initiative/high-school-performance-festival/">Learn more →</a></strong></span>

<hr />

<b>loving her fiercely: A Day of Wellness for Women of Color | April 13th from 11:00am - 4:00pm | Location To Be Announced</b>

<span style="font-weight: 400;">Meditation, visual art, and wellness techniques combine for this day-long wellness event for women of color, featuring massage, reiki, and a vendor fair of female-run businesses promoting a holistic and healthy lifestyle. <strong>Free and open to the public. Online registration coming soon.</strong></span>
<table border="0" width="“100%”" cellpadding="0">
<tbody>
<tr>
<td align="center" valign="center" width="33%">
<p class="caption"><em>For Colored Girls</em> is sponsored by</p>
</td>
<td align="left" valign="center" width="33%">
<p class="caption"><a href="https://www.poetryfoundation.org/poets/ntozake-shange" target="_blank" rel="noopener"><img class="size-full wp-image-10791 aligncenter" src="https://www.courttheatre.org/wp-content/uploads/2018/02/POETRY_1C_PRIMARY_RGB_P-100wide.png" alt="" width="100" height="182" /></a></p>
</td>
<td align="center" valign="center" width="33%"><a href="https://www.sidley.com/en/us/" target="_blank" rel="noopener"><img class="size-full wp-image-4857 aligncenter" style="text-align: start;" src="https://www.courttheatre.org/wp-content/uploads/2017/06/sidley_200.jpg" alt="The Sidley Austin Foundation" width="200" height="29" /></a></td>
</tr>
</tbody>
</table>
<p class="caption">Photo of Alexis J. Roston, Patrese D. McClain, Melissa DuPrey, Angelica Katie, and Melody Angel by Joe Mazza.</p>"
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<span style="font-weight: 400;">Resident Artist Ron OJ Parson was honored by the University of Chicago on January 15, 2019 with one of three prestigious Diversity Leadership Awards. Each year, The Diversity Leadership Council, in conversation with the University of Chicago Alumni Board, chooses a University faculty member, alumnus, and staff member to recognize for the role that they have played in promoting social justice and equity in America. This year, Ron was that staff member. </span>

<span style="font-weight: 400;">One of Ron’s greatest impacts at Court has been the </span><a href="https://www.courttheatre.org/about/blog/spotlight-reading-series-redefining-american-stage/"><span style="font-weight: 400;">Spotlight Reading Series</span></a><span style="font-weight: 400;">, </span><span style="font-weight: 400;">a citywide reading series in which Court presents rarely-produced classics by authors of color. In addition to expanding Court’s audience base, the Spotlight Reading Series has also brought together a diverse variety of community members across a spectrum of ethnicities and income levels. Not only was Ron instrumental in initiating the program, he has also directed several of the readings himself. Several of the Spotlight Reading plays from last year may even go on to full productions at other theatres in the next year. </span>

<span style="font-weight: 400;">Additionally, Ron has directed seven of the ten August Wilson </span><i><span style="font-weight: 400;">Century Cycle</span></i><span style="font-weight: 400;"> plays at Court, which explore the black experience in 20th century America. The </span><i><span style="font-weight: 400;">Chicago Tribune</span></i><span style="font-weight: 400;"> listed the most recent,</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;">, as one of the 10 best shows in Chicago Theatre last year. In addition to his work with August Wilson's plays, s</span><span style="font-weight: 400;">ome of Ron’s other Court productions include </span><a href="https://www.courttheatre.org/season-tickets/2013-2014-season/the-moutaintop/"><i><span style="font-weight: 400;">The Mountaintop</span></i></a><span style="font-weight: 400;"> by Katori Hall; </span><a href="https://www.courttheatre.org/season-tickets/2014-2015-season/waiting-for-godot/"><i><span style="font-weight: 400;">Waiting for Godot</span></i></a><span style="font-weight: 400;"> by Samuel Beckett; </span><a href="https://www.courttheatre.org/season-tickets/2016-2017-season/blues-alabama-sky/"><i><span style="font-weight: 400;">Blues for an Alabama Sky</span></i></a><span style="font-weight: 400;"> by Pearl Cleage; </span><a href="https://www.courttheatre.org/season-tickets/2010-2011-season/home/"><i><span style="font-weight: 400;">Home </span></i></a><span style="font-weight: 400;">by Samm-Art Williams; and </span><a href="https://www.courttheatre.org/season-tickets/2008-2009-season/wait-until-dark/"><i><span style="font-weight: 400;">Wait Until Dark</span></i></a><span style="font-weight: 400;"> by Frederick Knott. As Court’s Resident Artist, he will be directing again next season. </span>

<span style="font-weight: 400;">Ron and the other winners received their awards at a January 15 reception in addition to being honored during the University of Chicago’s annual Martin Luther King Jr. commemoration. We are so very grateful for his contributions to our theatre and community. </span>

<span style="font-weight: 400;">For more information about the University of Chicago’s Diversity Leadership Awards, </span><a href="https://news.uchicago.edu/story/three-members-uchicago-community-receive-diversity-leadership-awards"><span style="font-weight: 400;">visit the University of Chicago’s newsroom</span></a><span style="font-weight: 400;">.</span>"
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          string(6479) "<img class="alignnone wp-image-11900 size-full" src="https://www.courttheatre.org/wp-content/uploads/2019/01/reviewblog800x300.jpg" alt="" width="800" height="300" />

<span style="font-weight: 400;">Critics across Chicagoland highly recommend Anna Ziegler’s </span><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/"><i><span style="font-weight: 400;">Photograph 51</span></i></a><span style="font-weight: 400;">. Chris Jones of the </span><i><span style="font-weight: 400;">Chicago Tribune </span></i><span style="font-weight: 400;">awarded the production four stars and wrote that "there is no better 90 minutes in town." </span><span style="font-weight: 400;">Audiences and critics alike agree that Vanessa Stalling’s production is as powerful as it is empowering. See for yourself what the buzz is about —<a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/"> get tickets</a><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/"> to </a></span><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/"><i><span style="font-weight: 400;">Photograph 51</span></i></a><span style="font-weight: 400;">.</span>

<hr />

<span style="font-weight: 400;">“Stalling directs with the pacing of a murder mystery... fascinating. And never dull for a second. If you know a young girl or woman interested in science, there is no better 90 minutes in town. Actually, that’s true for anyone. For the role of Franklin has allowed the actress Chaon Cross to do the best work of her career. If this were a movie, there would be Oscar chatter.</span><span style="font-weight: 400;">"</span>

<a href="https://www.chicagotribune.com/entertainment/theater/reviews/ct-ent-photograph-51-review-0129-story.html"><span style="font-weight: 400;">—Chris Jones, </span><i><span style="font-weight: 400;">Chicago Tribune</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">★★★★ Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“A compelling portrait of scientists as well as of science itself...The combined forces of Arnel Sancianco’s set design, Keith Parham’s lighting design and Paul Deziel’s projections are both understated and...spectacular.”</span>

<a href="https://chicago.suntimes.com/entertainment/photograph-51-review-rosalind-franklin-court-theatre-anna-ziegler/"><span style="font-weight: 400;">—Catey Sullivan, </span><i><span style="font-weight: 400;">Chicago Sun-Times</span></i></a>

<hr />

<span style="font-weight: 400;">“Anna Ziegler's imaginative rendering of an often-overlooked piece of history...vindicates Franklin's role in this breakthrough discovery. In the hands of leading lady Chaon Cross, the result is a complex heroine with a brilliant mind, a rigorous work ethic, exceptional integrity, and a sensitive soul. ”</span>

<a href="https://www.broadwayworld.com/chicago/article/BWW-Review-PHOTOGRAPH-51-at-Court-Theatre-20190127"><span style="font-weight: 400;">—Emily McClanathan, </span><i><span style="font-weight: 400;">Broadway World Chicago</span></i></a>

<hr />

<span style="font-weight: 400;">“Chaon Cross delivers an exhilarating and flawless performance...<em>Photograph 51</em> is an empowering statement about equality, perseverance and truth. While “the world wins,” the moving and heartfelt performance of Chaon Cross reveals Franklin as a complex, compassionate, driven chemist with an extraordinary thirst for knowledge. Most importantly, as art and science intersect, Rosalind Franklin’s rightful place as a trailblazer is assured.</span><span style="font-weight: 400;">”</span>

<a href="https://www.conversationswithedtracy.com/picksinsix/2019/1/27/picksinsix-review-photograph-51-court-theatre"><span style="font-weight: 400;">—Ed Tracy, </span><i><span style="font-weight: 400;">PicksInSix</span></i></a>

<hr />

<span style="font-weight: 400;">“<em>Photograph 51</em>’s spectacular set that reminds of double helices, carbon molecule diagrams, a screen for projected computations, and a fast shot that might be electricity, atoms on the march or just the psychic charge of scientific discovery...The timing in this performance shows an expert touch by director Vanessa Stalling.</span><span style="font-weight: 400;">”</span>

<a href="https://www.picturethispost.com/court-theatre-presents-photograph-51-review-what-if/"><span style="font-weight: 400;">—Amy Munice, </span><i><span style="font-weight: 400;">Picture this Post</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“...a biting, emotionally vivid production at Court Theatre – a company whose connection to the University of Chicago (a renowned hotbed of scientific activity and Nobel laureates) only adds a frisson of interest to the story.”</span>

<a href="https://news.wttw.com/2019/01/28/photograph-51-exposes-pattern-delayed-recognition-rosalind-franklin"><span style="font-weight: 400;">—Hedy Weiss, WTTW’s </span><i><span style="font-weight: 400;">Chicago Tonight</span></i></a>

<hr />

<span style="font-weight: 400;">“<em>Photograph 51</em> emphasizes the tragedy of not only the stolen ideas from Franklin’s data but also her lack of recognition as an equal or even as a competent human by her colleagues. The Court’s production is a powerful story of the real woman behind one of the greatest accomplishments in biological history.</span><span style="font-weight: 400;">”</span>

<a href="https://www.chicagomaroon.com/article/2019/1/22/photograph-51-worth-thousand-words/"><span style="font-weight: 400;">—Alina Kim, </span><i><span style="font-weight: 400;">Chicago Maroon</span></i></a>

<hr />

<span style="font-weight: 400;">“Ziegler’s tight, impressive drama weaves emotion, tension and context into the events leading up to that world-changing discovery and Franklin’s role in it.”</span>

<a href="https://thirdcoastreview.com/2019/01/29/stages-review-photograph-51/?fbclid=IwAR12suF2o940p17j8Yt6JQEKDC1S3UPYuK3Z8QAO1QfCz0OSc5EuC_k2BCE"><span style="font-weight: 400;">—Lisa Trifone, </span><i><span style="font-weight: 400;">Third Coast Review</span></i></a>

<hr />
<p class="caption">Photo of Chaon Cross by Michael Brosilow.</p>"
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          string(3251) "<img class="alignnone size-full wp-image-11873" src="https://www.courttheatre.org/wp-content/uploads/2019/01/Weil-Kovener-800x300.jpg" alt="" width="800" height="400" />On a good day, the drive from Naperville to Court Theatre in Hyde Park takes an hour each way. But for several years, the Weils and Koveners have braved the traffic to see Court’s productions together.

Tom and Barbara Weil attended their first Court production, <i>Arms and the Man</i> in 1972, and have been devoted advocates ever since. For Tom and Barbara, “Court’s stage is a unique space where a variety of stimulating performances enhance our theatre experience.”

Gary and Sharon Kovener quickly became regular Court patrons after attending a Producers’ Circle event. Beyond the challenging, emotional work that is produced onstage, Gary and Sharon also appreciate Court’s engagement with the community, the University of Chicago, and the audience.<span class="Apple-converted-space">   </span>

As members of the <a href="https://www.courttheatre.org/support/producers-circle/">Producers’ Circle</a>, Court’s premier giving society, the Weils and Koveners are fans of the exclusive members-only events at Court. These events allow them to follow the development of each production from First Rehearsal through Opening Night: “First Rehearsals and the Producers’ Circle Events have given us an insight into more dimensions of theatre productions.”<span class="Apple-converted-space"> </span>

With so many years of Court Theatre to consider, the couples have many favorite moments and productions. Tom and Barbara particularly enjoyed <a href="https://www.courttheatre.org/season-tickets/2016-2017-season/man-in-the-ring/"><i>Man in the Ring</i></a> (2016) and <a href="https://www.courttheatre.org/season-tickets/2009-2010-season/year-magical-thinking/"><i>The Year of Magical Thinking </i></a>(2010). For Gary and Sharon, two behind-the-scenes moments that stand out are discovering the intricate set design in <a href="https://www.courttheatre.org/season-tickets/2016-2017-season/blues-alabama-sky/"><i>Blues for an Alabama Sky</i></a> (2017) and exploring the themes of justice and vengeance in <a href="https://www.courttheatre.org/season-tickets/2016-2017-season/electra/"><i>Electra</i></a> (2016).<span class="Apple-converted-space"> </span>

As fellow Court Producers’ Circle members and friends with a passion for theatre, the Weils’ and Koveners’ longstanding commitment to Court Theatre has grown. Even the commute doesn’t deter them: “Our Court adventure has provided a great opportunity to critique plays during our hour-long drive home!”<span class="Apple-converted-space"> </span>

Court is grateful to the Weils, Koveners, and all donors for supporting theatre on Chicago’s South Side. ■

<hr />

The Producers’ Circle is the premier giving society that provides you with exclusive access to the creative artists and inspiring scholars involved in Court productions. To learn more about the Producers’ Circle and become a member, contact Lauren Sheely, Development Assistant, at (773) 834-3563 or <a href="mailto:lsheely@uchicago.edu">via email</a>.
<p class="caption">Photo by Joe Mazza.</p>"
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          string(16039) "<img class="alignnone size-full wp-image-11865" src="https://www.courttheatre.org/wp-content/uploads/2019/01/doublehelixdoublestandardwide.jpg" alt="" width="800" height="300" />

<span style="font-weight: 400;">Anna Ziegler’s play </span><i><span style="font-weight: 400;">Photograph 51</span></i><span style="font-weight: 400;"> participates in a vital lineage of storytelling that revisits the people and events leading to the discovery of the DNA double helix.  Working at the University of Cambridge, James Watson and Francis Crick solved the riddle of DNA’s molecular structure in early 1953, ahead of Rosalind Franklin and Maurice Wilkins, who were themselves investigating the same problem from King’s College London.  The terrain of these tectonic events is not uncontested, and the play inhabits a freer, more uniquely theatrical space than that of definitive chronology. In the world of </span><i><span style="font-weight: 400;">Photograph 51</span></i><span style="font-weight: 400;">, the fragile seams between memory and history come unbound, and the historical record is allowed to live side by side with conjecture and points of contention.</span>

<span style="font-weight: 400;">The crucial contributions that Rosalind Franklin made to the double-helix discovery might well have been consigned to history’s dustbin altogether were it not for the outrageously misogynist portrayal of her in James Watson’s sudsy memoir </span><i><span style="font-weight: 400;">The Double Helix</span></i><span style="font-weight: 400;">, published in 1968.  Watson, a graduate of the University of Chicago, published his defamatory account of Franklin knowing full well that she had died of ovarian cancer 10 years earlier, and so could raise no objections to his convenient version of events.  Dubbing her “Rosy” throughout the book, Watson dipped his pen into an ample inkwell of sexism to compose such classic passages of chauvinist condescension as his grievance that Rosy “did not emphasize her feminine qualities. Though her features were strong, she was not unattractive and might have been quite stunning had she taken even a mild interest in clothes.  This she did not. There was never lipstick to contrast with her straight black hair… So it was quite easy to imagine her the product of an unsatisfied mother who unduly stressed the desirability of professional careers…”<sup>1</sup></span>

<span style="font-weight: 400;">When he wrote his tell-all, Watson was a professor of biochemistry at Harvard, but Harvard University Press refused publication of </span><i><span style="font-weight: 400;">The Double Helix</span></i><span style="font-weight: 400;"> owing to objections raised by key players portrayed in the book—namely, Crick and Wilkins, who denounced their former colleague’s manuscript as irredeemably self-glorifying and wildly fictionalized.  A commercial press advanced the book for publication, and it went on to become a bestseller.</span>

<span style="font-weight: 400;">When it was suggested to Rosalind’s mother that Watson’s sensationalizing account at least ensured that Rosalind would never be forgotten, her mother answered forlornly, “I would rather she were forgotten than remembered in this way.”<sup>2</sup></span>

<span style="font-weight: 400;">Reaction against Watson’s hit job blossomed into an impressively long arc of conversation around not only Franklin’s groundbreaking work but the treatment of women in the sciences more generally.  Anne Sayre, a personal friend of Rosalind, published a concise biography of Franklin in 1975 that reassessed the events chronicled in </span><i><span style="font-weight: 400;">The Double Helix</span></i><span style="font-weight: 400;"> from her friend’s point of view.  Francis Crick published a book in 1988 from his own perspective.  Journalist Brenda Maddox wrote a thoroughgoing, arguably more objective biography of Franklin in 2002.  Maurice Wilkins penned an autobiography in 2003. And in 2012 Rosalind’s younger sister by 9 years, Jenifer Glynn, published her own biography of her sister, who was by now much debated and discussed.</span>

<span style="font-weight: 400;">In the absence of a definitive narrative from Rosalind Franklin herself, we’re always, in the end, only seeing her through others’ eyes, catching glimpses between the latticework built by others’ interpretations.  The frustration we might feel in disentangling the “real” Rosalind from these clashing points of view is only fitting, since her own work with DNA so regularly hit up against the specter of unknowability. The experiments that Franklin oversaw sought to reveal the dimensions and shape of the DNA molecule using X-ray diffraction.  Franklin would mount a DNA sample in front of an X-ray tube, then subject the sample to a stream of X-rays for a very long exposure time, up to 100 hours. During that time, the X-rays would diffract off the molecule and leave traces on a photographic film placed behind the sample. Franklin would then study the traces left on the film in order to calculate backwards, and deduce what three-dimensional shape might have caused that particular pattern of traces.  With her diffraction photographs, Franklin was only ever seeing incomplete facets of the double helix, distortions and fragments from deflected illuminations. She sought to map out DNA then much the way we’re forced to seek out a sense of her now—through traces and fragments. In both pursuits, we’re straining to make out the contours of a portrait without ever quite getting at a conclusive answer.</span>

<span style="font-weight: 400;">It’s understandable that the stakeholders in the discovery of the double helix were invested in offering competing accounts.  No one wants to live in infamy. In his autobiography Maurice Wilkins confessed that he felt the need to tell his side of the story because “Rosalind’s male colleagues were to some extent demonised” in all the back-and-forth.  “The most prominent demon,” he lamented, “seemed to be me.”<sup>3</sup></span><span style="font-weight: 400;">  Such insistent attempts to correct the record are evoked in Ziegler’s play with the way the characters quibble over facts and story points.  They jockey for control of the narrative, in art as in life.</span>

<span style="font-weight: 400;">But then, jockeying for narrative control is a response that has come to be central to our collective mythologizing around DNA’s powers.  Exalted by Crick and Watson and so many others as “the secret of life,” DNA inspires fear and fascination because it dangles before us the disquieting prospect that we might not be as in control of our own destinies as we’d like to think we are.  In the face of DNA’s workings, which are nothing short of miraculous, we struggle to wrest back some possibility for self-determination from the terrifying sense that who we are may have already been predestined. This emerges as an important tension proposed by the play: the tension between our power to author our own outcomes and our powerlessness to undo a bad hand we’ve been dealt.  The constellation of experimenters peopling </span><i><span style="font-weight: 400;">Photograph 51</span></i><span style="font-weight: 400;"> yearn to write their own stories; but they must also confront moments when fighting the inevitable is no longer any use.</span>

<span style="font-weight: 400;">The architecture of fate implied by DNA may elicit our apprehension, but we are equally in thrall of what it implies about potential, about blueprints of possibilities that do or do not get fully realized.  This, too, we hear about in the play: missed opportunities and roads not taken, to include the roads we actively choose never to take.</span>

<span style="font-weight: 400;">The twists and turns of the double helix’s discovery are so densely laden with what-ifs and what-might-have-beens that one becomes positively heartsick to consider all the wasted possibilities.<sup>4</sup></span><span style="font-weight: 400;">  What if Rosalind and Maurice had just found a way to talk things through?  What if she had just had a colleague at King’s College who had encouraged her to realize her potential?  “She needed a collaborator,” said her former colleague Aaron Klug in an interview decades later, “and she didn’t have one.  Somebody to break the pattern of her thinking, to show her what was right in front of her, to push her up and over.”<sup>5</sup></span>

<span style="font-weight: 400;">The even larger what-if inherent in this line of questioning is, what if women were encouraged to excel in the sciences?  What if the thumb were taken off the scale? Why is it that, between 1901 and 1951, when Rosalind started her work on DNA, only 3 out of 169 Nobel Prize winners in the sciences were women?  Why is it that by 1951 women comprised not even 1% of the Fellows of the Royal Society, and that up until the end of the century women comprised not even 4% of their total membership? Sociologist Sandra Hanson sums the problem up succinctly with the title of her book </span><i><span style="font-weight: 400;">Lost Talent: Women in the Sciences</span></i><span style="font-weight: 400;">.  What if the talent were embraced and nourished, and not lost?</span>

<span style="font-weight: 400;">Lost in the deification of Watson and Crick are, all too predictably, contributions from women who facilitated their path to glory, and not only Rosalind Franklin.  Francis Crick’s wife Odile, herself an artist and fashion designer, drew the famous barbershop-pole diagram of the DNA molecule that appeared with the landmark essay by Watson and Crick in the April 25, 1953, issue of </span><i><span style="font-weight: 400;">Nature</span></i><span style="font-weight: 400;">, which announced their discovery of DNA’s configuration.  Odile’s drawing became one of the most reproduced images in 20</span><span style="font-weight: 400;">th</span><span style="font-weight: 400;">-century science.  Watson’s sister Betty did them the favor of typing up their scrawled manuscript, which made the publication of their breakthrough possible.  Such invisible work from women relegated to the wings of heroic science warrants corrective unearthing, and Rosalind Franklin has come to stirringly signify the erasure and thwarted potential of many more than just herself.</span>

<span style="font-weight: 400;">The Franklin family has at times been a bit stunned and mystified by all the unexpected attention.  Tracing the evolving versions of her older sister that she has watched play out in books and on television over the years, Jenifer Glynn writes that “Rosalind became a symbol, first of an argumentative swot, then of a downtrodden woman scientist, and finally of a triumphant heroine in a man’s world.  She was none of these things, and would have hated all of them.” Glynn goes on to assert that her sister was “simply a very good scientist.”<sup>6</sup></span>

<span style="font-weight: 400;">In her exacting standards and eye to detail, Rosalind Franklin was also, most certainly, an artist. Time and again, </span><i><span style="font-weight: 400;">Photograph 51</span></i><span style="font-weight: 400;"> links Franklin’s work as a scientist with the exquisite labor of artistic creation.  It’s an important linkage, given that Franklin is often faulted in science histories for lacking the creativity to intuit the double helix’s shape, despite having gathered so much critical evidence.  Insisting on the parallel between Franklin’s science and art, the play echoes an obituary tribute from pioneering physicist J. D. Bernal, with whom Franklin worked. Bernal wrote, “Her photographs are among the most beautiful X-ray photographs of any substance ever taken.  Their excellence was the fruit of extreme care in preparation and mounting of the specimens as well as in the taking of the photographs. She did nearly all this work with her own hands.”<sup>7</sup></span><span style="font-weight: 400;">  In the lab Franklin was indeed said to have hands that were “golden,”<sup>8</sup></span><span style="font-weight: 400;"> with the precision and steady confidence of a true sculptor.</span>

<span style="font-weight: 400;">At one point in Ziegler’s play, Rosalind is slyly compared to Hermione, the grossly wronged queen of Sicily, in a passing reference to Shakespeare’s </span><i><span style="font-weight: 400;">The Winter’s Tale</span></i><span style="font-weight: 400;">.  At the end of Shakespeare’s play, Hermione is presented as a statue.  Like the Hermione of Shakespeare, the Rosalind of Ziegler’s play is an unjustly treated heroine given to us in the form of an artistic creation.  But this Rosalind is herself an artist and author, too. Early on we hear her assert, “I don’t like others to analyze </span><i><span style="font-weight: 400;">my</span></i><span style="font-weight: 400;"> data, </span><i><span style="font-weight: 400;">my</span></i><span style="font-weight: 400;"> work.”<sup>9</sup></span><span style="font-weight: 400;">  Minus the mention of “data,” it’s a sentiment I’ve heard uttered by absolutely every playwright I’ve ever met.</span>

<span style="font-weight: 400;">“It’s a tricky thing about time, and memory,” Don Caspar says in the play, “whole worlds of things we wish had happened are as real in our heads as what actually did occur.”<sup>10</sup></span><span style="font-weight: 400;">  The same can be said of the imagined world on a stage.  It gently places what might have happened on equal footing with what actually did, making one as real as the other.  Out of the tangled knots of the double helix’s variant strands, Anna Ziegler grants us the space in </span><i><span style="font-weight: 400;">Photograph 51</span></i><span style="font-weight: 400;"> to dream of what might have been for Rosalind Franklin, while we also weigh what was.</span>

See <em><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/">Photograph 51</a> </em>on Court's stage—performances continue through February 17. <a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/"><strong>Get tickets →</strong></a>
<p class="caption"><em>Photo of Chaon Cross, Nicholas Harazin, Alex Goodrich, and Nathan Hosner from PHOTOGRAPH 51 by Michael Brosilow.</em></p>


<hr />
<p class="caption">1. James D. Watson, <i>The Double Helix: A Personal Account of the Discovery of the Structure of DNA</i> (New York: W.W. Norton, 1980) 14.
2. Brenda Maddox, <i>Rosalind Franklin: The Dark Lady of DNA</i> (New York: HarperCollins, 2002) 312.
3. <span style="font-weight: 400;"> Maurice Wilkins, </span><i><span style="font-weight: 400;">The Third Man of the Double Helix: The Autobiography of Maurice Wilkins</span></i><span style="font-weight: 400;"> (Oxford: Oxford UP, 2003) x.
</span>4. <span style="font-weight: 400;"> For many more what-ifs, see Jenifer Glynn, </span><i><span style="font-weight: 400;">My Sister Rosalind Franklin</span></i><span style="font-weight: 400;"> (Oxford: Oxford UP, 2012) 121, and Maddox 140.
</span>5. <span style="font-weight: 400;"> Horace Freeland Judson, </span><i><span style="font-weight: 400;">The Eighth Day of Creation: Makers of the Revolution in Biology</span></i><span style="font-weight: 400;"> (Plainview, NY: Cold Spring Harbor Laboratory Press, 1996) 148.
</span>6. Glynn 160.
7. <span style="font-weight: 400;"> J. D. Bernal, “Dr. Rosalind E. Franklin,” </span><i><span style="font-weight: 400;">Nature</span></i><span style="font-weight: 400;"> 182 (1958): 154.
</span>8.  <span style="font-weight: 400;">Maddox 143.
</span>9. Anna Ziegler, <i>Photograph 51</i> (New York: Dramatists Play Service, 2011) 13.
10. Ziegler 58.</p>"
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<em>We asked several female University of Chicago undergraduate science students to reflect on Rosalind Franklin and their own experiences in overcoming gender-related obstacles in their fields. Their answers illuminate the challenges women continue to face in STEM fields, and uncover the unconscious biases young women encounter growing up.</em>

<strong>Why do you think Rosalind Franklin’s story is especially resonant today?</strong>

“Today, we are far more aware of the bias against women in traditionally male fields, and Franklin’s story—that of an extraordinary scientist whose contributions to the structure of DNA were not recognized in the 1962 Nobel Prize awarded to her male colleges—is an archetypical reminder of the barriers we’ve overcome and the ones we still face today,” says Hannah Morin, AB’20, a chemistry and molecular engineering major.

Khloe Pastore, AB’21, studying biology, adds that “While there are a great deal more opportunities today for women in science, a large amount of sexism still exists that makes it seem as if men’s ideas are somehow more important and valid than women with the same basis of knowledge and experience.”

Elizabeth, another biology major, agrees that “Part of that process is not only giving women scientists today the recognition that they deserve, but also emphasizing the role that women had in past discoveries that were glossed over due to their gender. I think that can be really important in inspiring women to pursue science, because they can look up to all of the women who have made meaningful contributions before them.”

<strong>Do you identify with Franklin’s struggles? In what ways?</strong>

According to Khloe, “I have been refused an opportunity that a man with qualifications equal or lesser than my own was handed without a second thought.” Elizabeth also says that “there is still a cultural norm that men are good at math and science, while women are not. I definitely felt that growing up.”

Hannah has had a similar experience: “On a very basic level I assume Franklin found herself the only woman in a room too and had to constantly combat the idea that women are not good at math or are not technical. Back then, we didn’t have a word for impostor syndrome, but having to constantly combat the idea that the group, not a particular individual, is incompetent is exhausting.”

<strong>What does it mean to be a female scientist in 2018? Has that changed in your lifetime?  </strong>

Hannah tells the story of how, “A few years ago, Nobel Laurette Tim Hunt told a convention of female scientists he was in favor of same-sex labs, because when women are in the lab, ‘You fall in love with them, they fall in love with you and when you criticize them, they cry.’ In the same breath, he declared that he ‘didn’t want to stand in the way of women.’ These clashing ideals are representative of the female experience in science: the field knows we need to support women, but old habits die hard.”

To Khloe, “As a female scientist, you aren’t just representing yourself, you’re representing an entire group of women working in fields that even 50 years ago weren’t readily available to us.”

<strong>What can audiences learn from Franklin’s story? </strong>

“At 16, she decided she wanted to be a scientist. The year was 1937, and female scientists were almost unheard of. During the three years leading up to her PhD, she published an amazing five papers. Her work on plant viruses was pioneering and before her death she was already giving talks on the topic. Watson caricatured her as incompetent and ill-tempered; we must be careful not to caricature her as the woman passed over for the Nobel. She was much more than that,” argues Hannah.

Finally, Khloe adds, “An important takeaway from Franklin’s story is that while women in science have come a long way since the 1950s, there’s still a lot that needs to be done in order for women to be seen as equals to their male counterparts.”

See these issues explored more in Anna Ziegler's play about Rosalind Franklin, <a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/"><em>Photograph 51</em></a>. <a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/"><strong>Learn more about the play →</strong></a>

<hr />

Girls in middle and high school are invited to share their interests in STEM fields by completing a brief survey. Responses will be showcased during <a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/"><em>Photograph 51</em></a> in a Court lobby display representing the future of women in STEM. <b>→ <a href="https://www.courttheatre.org/girls-in-stem/">Share with the STEM girls in your life!</a></b>"
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        string(11987) "[caption id="attachment_12423" align="alignnone" width="800"]<img class="wp-image-12423 size-full" src="https://www.courttheatre.org/wp-content/uploads/2019/04/bellowblogwide.jpg" alt="" width="800" height="300" /> Bellow’s US Passport | Saul Bellow Papers | Special Collections Research Center | University of Chicago[/caption]
<ol>
 	<li><b>Immigrant</b></li>
</ol>
<span style="font-weight: 400;">Saul Bellow arrived with his family in Chicago on July 4, 1924, smuggled by bootleggers across the border from Canada. He was nine years old. He would remain an “illegal alien”—we would now say, “undocumented immigrant”—until the age of 27.</span>

<span style="font-weight: 400;">Bellow was born in 1915 in Lachine, Quebec. His parents were Russian Jews. They had originally come to Canada to flee anti-Semitic violence and political persecution in their home city of St. Petersburg, Russia. </span>

<span style="font-weight: 400;">The Bellow family arrived on American soil two short months after the U. S. Congress passed the 1924 Immigration Restriction Act, a drastic and sweeping revision of federal immigration policy. The new law slammed the door on a tide of humanity that had been flowing to America since the late 19th-century, ending the greatest era of mass migration to the United States in its history. From 1880 to 1924, waves of newcomers, primarily from Southern and Eastern Europe. powered the rapid growth of Chicago. The city’s population quadrupled in thirty years’ time, growing from 500,000 residents in 1880 to over 2 million in 1910. By 1924, when Bellow took up residence with his family in the Russian Jewish enclave of Humboldt Park, 70% of Chicago residents were foreign-born or the children of foreign-born parents.</span>

<span style="font-weight: 400;">His whole life, Bellow retained a vivid impression of the first day he spent in America: July 4, 1924. He recalled his nine-year-old self thinking the fireworks, flags, bunting and parades of Independence Day were for him, meant to hail the promise of his new life in America.</span>

<span style="font-weight: 400;">But the 1924 Immigration Restriction Act told a less welcoming story. The law was informed by the burgeoning eugenics movement, which maintained that peoples from Southern and Eastern Europe, Latin America, Asia and Africa were genetically inferior to those from Northern and Western Europe. The 1924 Act accordingly slashed immigration rates from targeted nations by 98%, barring admission to Russian Jews, Poles, Hungarians, Bulgarians, Italians, Greeks, Chinese, Turks, Armenians, Lithuanians and Africans, among many others. Conspicuously, the 1924 Act left the door open to migrants from Great Britain, Ireland, Denmark, Germany, Sweden and Norway. </span>

<span style="font-weight: 400;">Eugenicists celebrated the 1924 Act as a measure that would “preserve the purity of American stock” by welcoming immigrants only “of higher intelligence,” who thus presented “the best material for American citizenship”. The now-excluded categories of people, it was believed, had “made an excessive contribution to our feeble-minded, insane, criminal and other socially inadequate classes.” A related federal act prohibited entry to “epileptics, and insane persons; paupers; professional beggars; persons likely to become a public charge; persons afflicted with a loathsome or dangerous disease; and persons who have committed a felony or other crime involving moral turpitude.” Polygamists, prostitutes and those with “mental or physical defects which might affect their ability to earn a living” were also banned.</span>

<span style="font-weight: 400;">A natural reading of </span><i><span style="font-weight: 400;">The Adventures of Augie March</span></i><span style="font-weight: 400;"> views it as Bellow’s artistic response to the contradictions inherent to the historical moment of his arrival in this country,. </span>

<span style="font-weight: 400;">The story Bellow scrawled, beginning in 1947,in a succession of battered notebooks—notebooks now housed in the University of Chicago archives—charts the coming of age of a young undocumented immigrant amidst the foreign-born multitudes of Chicago,. Augie, Bellow’s narrator, struggles amongst the plenty and poverty of the city toward self-knowledge. He achieves it at last in discovering his identity as an American writer.</span>

<span style="font-weight: 400;">Bellow’s novel offers a rejoinder to the premise that a person’s country of origin, physical form or natural endowments determine their fitness for American life. . The characters peopling </span><i><span style="font-weight: 400;">The Adventures of Augie March</span></i><span style="font-weight: 400;"> hail from the countries of origin marked for exclusion by the 1924 Immigration Restriction Act: they are Russian Jews, they are Mexican, they are Hungarian and Polish, they are Czech and Italian. They may be paralyzed, blind, physically disabled, or “insane”. They are relegated to the poverty-stricken and criminal margins of the city’s teeming social world. Invariably they are the “socially inferior.” But they are unmistakably American, and they contribute to the vibrant day-to-day of an unmistakably American city.</span>
<ol start="2">
 	<li><b> Writer</b></li>
</ol>
<span style="font-weight: 400;">Augie is not quite Bellow’s alter ego. But his life echoes aspects of Bellow’s life, and his impressions and experiences are often artful silhouettes of Bellow’s own. Above all, the language Bellow uses to recount Augie’s adventures bears the unique and unmistakable stamp of the city that shaped him. </span>

<span style="font-weight: 400;">As a child coming of age on the streets of Chicago, Bellow absorbed a rich inheritance. His earliest spoken languages were Russian and Yiddish. Hhe picked up English on Chicago’s West Side, where he played alongside the children of recently-arrived Poles, Italians, Swedes, Greeks, Hungarians, Czechs and Romanians. Bellow remembered these immigrant youths being as eager as he was to talk about distinctly American things:“baseball, prizefights, speakeasies, graft, jazz, crap games, gang wars.” As an adolescent, Bellow drew inspiration from soapbox preachers on Division Street, vendors hawking wares in the Maxwell Street Market, and speeches by orators, labor leaders and poets who assembled for debates in Bughouse Square, the park beside the Newberry Library. He haunted the stacks of multiple branches of the Chicago Public Library, where classic texts of world literature were freely available to him, the son of a low-wage employee at a kosher bakery on Augusta Avenue. </span>

<span style="font-weight: 400;">These multitudinous influences are evident in the language Augie March uses to tell his story. Inflected with Yiddish rhythms, salted with slang and idiomatic speech, packed with interludes of heightened poetic phrasing and allusions to high culture, Augie’s narrative voice immerses readers in the colloquial language of the Chicago streets. One of the signal achievements of </span><i><span style="font-weight: 400;">The Adventures of Augie March</span></i><span style="font-weight: 400;">, according to the writer Philip Roth, was how the novel raised “the language you spoke, the American argot you heard on the street,” to the level of high literature.</span>

<span style="font-weight: 400;">Augie’s narrative voice even keeps pace with the evolution of Chicago street speech over three decades. As the chapters proceed the music of the language shifts from the rhythms of the Prohibition-era vernacular, to the minor key changes of the Great Depression in the 1930s, to the grander tones of the 1940s heralding the post-war economic boom.</span>

<span style="font-weight: 400;">The idea for the novel came to Bellow when he was living in Paris in 1947. Watching city workers opening the valves of hydrants to allow gushing water to sweep clean the pavements, he asked himself, “why not have as much freedom of movement as this running water?” The flowing hydrants conjured the sudden memory, Bellow said, of “a handsome, freewheeling kid from childhood whose surname was August, and who used to yell when we were playing, ‘I got a scheme!’” Recreating the exuberance and brio of this long-ago Chicago friend was the start of </span><i><span style="font-weight: 400;">Augie March</span></i><span style="font-weight: 400;">: “Subject and language appeared at the same moment—I was enriched with words,” Bellow recalled.  “I found myself with magical suddenness writing the first paragraph. It rushed out of me.” The novel’s language came to his mind so swiftly, he remembered, “All I had to do was be there with buckets to catch it.”</span>
<ol start="3">
 	<li><b> Mythologist</b></li>
</ol>
<span style="font-weight: 400;">While Bellow transmuted the phrasings and cadences of Chicago’s immigrant residents into a new kind of heightened literary language, he also likened their personhood to figures of myth and history. The cast of characters populating Augie’s street-level world are compared to gods and heroes of Greek mythology, or heroes from the annals of world history.</span>

<span style="font-weight: 400;">Simon, Augie’s body-building older brother, is afflicted with bouts of insanity like his mythological correlate, Hercules. The orating, wheelchair-using real estate broker William Einhorn is at once equated with Hephaestus, the blacksmith God of Invention, and President Franklin Roosevelt. Grandma Lausch, physically infirm but ruthlessly tyrannical, is compared to Emperor Timur, the 14th-century conqueror of Asia and heir to Genghis Khan. Rebecca March, Augie’s blind, incapacitated mother stands with the many mortal women in Greek mythology who, seduced and abandoned by Zeus, give birth to demigods. Augie himself is likened to Alcibiades, legendary orator of 5th-century B.C.E. Athens, beloved by the gods for his charisma and gift of self-expression. </span>

<span style="font-weight: 400;">Bellow suggests gods and geniuses walk the streets of Chicago, reincarnated as immigrants and workers. With immigrants from the “old world” no longer free to enter America, this promise is forestalled. Bellow begins the novel with a quote from Heraclitus, the 5th-century B.C.E. philosopher: Heraclitus says that “a man’s character is his fate”— not race, ethnicity or physical endowments. </span>

<span style="font-weight: 400;">The publication of </span><i><span style="font-weight: 400;">The Adventures of Augie March</span></i><span style="font-weight: 400;"> in 1953, when he was 38 years old, launched Saul Bellow’s reputation as a novelist and established the future Nobel Laureate’s literary renown. Congress, meanwhile, would not end the exclusionary quota system imposed by the 1924 Immigration Restriction Act until 1965. The opening lines of </span><i><span style="font-weight: 400;">Augie March</span></i><span style="font-weight: 400;"> --</span><i><span style="font-weight: 400;">I am an American, Chicago born—Chicago, that somber city—and go at things as I have taught myself, freestyle, and will make the record in my own way: first to knock, first admitted; sometimes an innocent knock, sometimes a not so innocent—</span></i><span style="font-weight: 400;">stand</span> <span style="font-weight: 400;">as Bellow’s testament to the city that shaped him as a writer, and to thee liberating potential of the American immigrant experience.</span>

<strong>Performances of<em> <a href="https://www.courttheatre.org/season-tickets/2018-2019-season/adventures-augie-march/">The Adventures of Augie March</a> </em>begin May 9! <a href="https://www.courttheatre.org/season-tickets/2018-2019-season/adventures-augie-march/">Save your seats →</a></strong>"
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      string(11987) "[caption id="attachment_12423" align="alignnone" width="800"]<img class="wp-image-12423 size-full" src="https://www.courttheatre.org/wp-content/uploads/2019/04/bellowblogwide.jpg" alt="" width="800" height="300" /> Bellow’s US Passport | Saul Bellow Papers | Special Collections Research Center | University of Chicago[/caption]
<ol>
 	<li><b>Immigrant</b></li>
</ol>
<span style="font-weight: 400;">Saul Bellow arrived with his family in Chicago on July 4, 1924, smuggled by bootleggers across the border from Canada. He was nine years old. He would remain an “illegal alien”—we would now say, “undocumented immigrant”—until the age of 27.</span>

<span style="font-weight: 400;">Bellow was born in 1915 in Lachine, Quebec. His parents were Russian Jews. They had originally come to Canada to flee anti-Semitic violence and political persecution in their home city of St. Petersburg, Russia. </span>

<span style="font-weight: 400;">The Bellow family arrived on American soil two short months after the U. S. Congress passed the 1924 Immigration Restriction Act, a drastic and sweeping revision of federal immigration policy. The new law slammed the door on a tide of humanity that had been flowing to America since the late 19th-century, ending the greatest era of mass migration to the United States in its history. From 1880 to 1924, waves of newcomers, primarily from Southern and Eastern Europe. powered the rapid growth of Chicago. The city’s population quadrupled in thirty years’ time, growing from 500,000 residents in 1880 to over 2 million in 1910. By 1924, when Bellow took up residence with his family in the Russian Jewish enclave of Humboldt Park, 70% of Chicago residents were foreign-born or the children of foreign-born parents.</span>

<span style="font-weight: 400;">His whole life, Bellow retained a vivid impression of the first day he spent in America: July 4, 1924. He recalled his nine-year-old self thinking the fireworks, flags, bunting and parades of Independence Day were for him, meant to hail the promise of his new life in America.</span>

<span style="font-weight: 400;">But the 1924 Immigration Restriction Act told a less welcoming story. The law was informed by the burgeoning eugenics movement, which maintained that peoples from Southern and Eastern Europe, Latin America, Asia and Africa were genetically inferior to those from Northern and Western Europe. The 1924 Act accordingly slashed immigration rates from targeted nations by 98%, barring admission to Russian Jews, Poles, Hungarians, Bulgarians, Italians, Greeks, Chinese, Turks, Armenians, Lithuanians and Africans, among many others. Conspicuously, the 1924 Act left the door open to migrants from Great Britain, Ireland, Denmark, Germany, Sweden and Norway. </span>

<span style="font-weight: 400;">Eugenicists celebrated the 1924 Act as a measure that would “preserve the purity of American stock” by welcoming immigrants only “of higher intelligence,” who thus presented “the best material for American citizenship”. The now-excluded categories of people, it was believed, had “made an excessive contribution to our feeble-minded, insane, criminal and other socially inadequate classes.” A related federal act prohibited entry to “epileptics, and insane persons; paupers; professional beggars; persons likely to become a public charge; persons afflicted with a loathsome or dangerous disease; and persons who have committed a felony or other crime involving moral turpitude.” Polygamists, prostitutes and those with “mental or physical defects which might affect their ability to earn a living” were also banned.</span>

<span style="font-weight: 400;">A natural reading of </span><i><span style="font-weight: 400;">The Adventures of Augie March</span></i><span style="font-weight: 400;"> views it as Bellow’s artistic response to the contradictions inherent to the historical moment of his arrival in this country,. </span>

<span style="font-weight: 400;">The story Bellow scrawled, beginning in 1947,in a succession of battered notebooks—notebooks now housed in the University of Chicago archives—charts the coming of age of a young undocumented immigrant amidst the foreign-born multitudes of Chicago,. Augie, Bellow’s narrator, struggles amongst the plenty and poverty of the city toward self-knowledge. He achieves it at last in discovering his identity as an American writer.</span>

<span style="font-weight: 400;">Bellow’s novel offers a rejoinder to the premise that a person’s country of origin, physical form or natural endowments determine their fitness for American life. . The characters peopling </span><i><span style="font-weight: 400;">The Adventures of Augie March</span></i><span style="font-weight: 400;"> hail from the countries of origin marked for exclusion by the 1924 Immigration Restriction Act: they are Russian Jews, they are Mexican, they are Hungarian and Polish, they are Czech and Italian. They may be paralyzed, blind, physically disabled, or “insane”. They are relegated to the poverty-stricken and criminal margins of the city’s teeming social world. Invariably they are the “socially inferior.” But they are unmistakably American, and they contribute to the vibrant day-to-day of an unmistakably American city.</span>
<ol start="2">
 	<li><b> Writer</b></li>
</ol>
<span style="font-weight: 400;">Augie is not quite Bellow’s alter ego. But his life echoes aspects of Bellow’s life, and his impressions and experiences are often artful silhouettes of Bellow’s own. Above all, the language Bellow uses to recount Augie’s adventures bears the unique and unmistakable stamp of the city that shaped him. </span>

<span style="font-weight: 400;">As a child coming of age on the streets of Chicago, Bellow absorbed a rich inheritance. His earliest spoken languages were Russian and Yiddish. Hhe picked up English on Chicago’s West Side, where he played alongside the children of recently-arrived Poles, Italians, Swedes, Greeks, Hungarians, Czechs and Romanians. Bellow remembered these immigrant youths being as eager as he was to talk about distinctly American things:“baseball, prizefights, speakeasies, graft, jazz, crap games, gang wars.” As an adolescent, Bellow drew inspiration from soapbox preachers on Division Street, vendors hawking wares in the Maxwell Street Market, and speeches by orators, labor leaders and poets who assembled for debates in Bughouse Square, the park beside the Newberry Library. He haunted the stacks of multiple branches of the Chicago Public Library, where classic texts of world literature were freely available to him, the son of a low-wage employee at a kosher bakery on Augusta Avenue. </span>

<span style="font-weight: 400;">These multitudinous influences are evident in the language Augie March uses to tell his story. Inflected with Yiddish rhythms, salted with slang and idiomatic speech, packed with interludes of heightened poetic phrasing and allusions to high culture, Augie’s narrative voice immerses readers in the colloquial language of the Chicago streets. One of the signal achievements of </span><i><span style="font-weight: 400;">The Adventures of Augie March</span></i><span style="font-weight: 400;">, according to the writer Philip Roth, was how the novel raised “the language you spoke, the American argot you heard on the street,” to the level of high literature.</span>

<span style="font-weight: 400;">Augie’s narrative voice even keeps pace with the evolution of Chicago street speech over three decades. As the chapters proceed the music of the language shifts from the rhythms of the Prohibition-era vernacular, to the minor key changes of the Great Depression in the 1930s, to the grander tones of the 1940s heralding the post-war economic boom.</span>

<span style="font-weight: 400;">The idea for the novel came to Bellow when he was living in Paris in 1947. Watching city workers opening the valves of hydrants to allow gushing water to sweep clean the pavements, he asked himself, “why not have as much freedom of movement as this running water?” The flowing hydrants conjured the sudden memory, Bellow said, of “a handsome, freewheeling kid from childhood whose surname was August, and who used to yell when we were playing, ‘I got a scheme!’” Recreating the exuberance and brio of this long-ago Chicago friend was the start of </span><i><span style="font-weight: 400;">Augie March</span></i><span style="font-weight: 400;">: “Subject and language appeared at the same moment—I was enriched with words,” Bellow recalled.  “I found myself with magical suddenness writing the first paragraph. It rushed out of me.” The novel’s language came to his mind so swiftly, he remembered, “All I had to do was be there with buckets to catch it.”</span>
<ol start="3">
 	<li><b> Mythologist</b></li>
</ol>
<span style="font-weight: 400;">While Bellow transmuted the phrasings and cadences of Chicago’s immigrant residents into a new kind of heightened literary language, he also likened their personhood to figures of myth and history. The cast of characters populating Augie’s street-level world are compared to gods and heroes of Greek mythology, or heroes from the annals of world history.</span>

<span style="font-weight: 400;">Simon, Augie’s body-building older brother, is afflicted with bouts of insanity like his mythological correlate, Hercules. The orating, wheelchair-using real estate broker William Einhorn is at once equated with Hephaestus, the blacksmith God of Invention, and President Franklin Roosevelt. Grandma Lausch, physically infirm but ruthlessly tyrannical, is compared to Emperor Timur, the 14th-century conqueror of Asia and heir to Genghis Khan. Rebecca March, Augie’s blind, incapacitated mother stands with the many mortal women in Greek mythology who, seduced and abandoned by Zeus, give birth to demigods. Augie himself is likened to Alcibiades, legendary orator of 5th-century B.C.E. Athens, beloved by the gods for his charisma and gift of self-expression. </span>

<span style="font-weight: 400;">Bellow suggests gods and geniuses walk the streets of Chicago, reincarnated as immigrants and workers. With immigrants from the “old world” no longer free to enter America, this promise is forestalled. Bellow begins the novel with a quote from Heraclitus, the 5th-century B.C.E. philosopher: Heraclitus says that “a man’s character is his fate”— not race, ethnicity or physical endowments. </span>

<span style="font-weight: 400;">The publication of </span><i><span style="font-weight: 400;">The Adventures of Augie March</span></i><span style="font-weight: 400;"> in 1953, when he was 38 years old, launched Saul Bellow’s reputation as a novelist and established the future Nobel Laureate’s literary renown. Congress, meanwhile, would not end the exclusionary quota system imposed by the 1924 Immigration Restriction Act until 1965. The opening lines of </span><i><span style="font-weight: 400;">Augie March</span></i><span style="font-weight: 400;"> --</span><i><span style="font-weight: 400;">I am an American, Chicago born—Chicago, that somber city—and go at things as I have taught myself, freestyle, and will make the record in my own way: first to knock, first admitted; sometimes an innocent knock, sometimes a not so innocent—</span></i><span style="font-weight: 400;">stand</span> <span style="font-weight: 400;">as Bellow’s testament to the city that shaped him as a writer, and to thee liberating potential of the American immigrant experience.</span>

<strong>Performances of<em> <a href="https://www.courttheatre.org/season-tickets/2018-2019-season/adventures-augie-march/">The Adventures of Augie March</a> </em>begin May 9! <a href="https://www.courttheatre.org/season-tickets/2018-2019-season/adventures-augie-march/">Save your seats →</a></strong>"
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      string(5227) "<img class="alignnone size-full wp-image-12412" src="https://www.courttheatre.org/wp-content/uploads/2019/04/nambi-wide-blog.jpg" alt="" width="800" height="300" />

Court Theatre and playwright Nambi E. Kelley have received the Prince Prize for Commissioning Original Work for 2018. Prince Charitable Trusts makes an award of $75,000 each year to a major Chicago dance, music, visual arts or theater company. When the Trust approached Court Theatre about projects that might fit their vision for the Prize, it was only natural to ask playwright Nambi E. Kelley to create an original play based on the story of Stokely Carmichael’s activism and legacy for the stage. In 2014, Kelley had adapted Richard Wright’s <a href="https://www.courttheatre.org/season-tickets/2014-2015-season/native-son/"><i>Native Son</i></a> for Court Theatre in a co-production with American Blues Theatre that garnered great critical and popular acclaim. Another collaboration would build upon these successes.

Kelley shares, “I am thrilled to be receiving the Prince Prize for 2018 to develop a new play based upon such a transformative activist as Stokely Carmichael. His fearless approach to constant and perpetual self-reinvention is something that I am excited to share with Court Theatre's audiences. Equally, what a gift to return to Court Theatre to work with scholars, artists, and the community to birth a new play that the late Stephen Albert called ‘his last gift to the American Theatre.’”

Charles Newell, Marilyn F. Vitale Artistic Director, comments, “Nambi is an immense talent, and Court Theatre couldn’t be more honored to be collaborating with her again. Thanks to Prince Charitable Trusts, we will have the opportunity to deepen our relationship with this gifted playwright and share her work with even more artists and audiences across Chicagoland.”

Benna Wilde, Program Director at Prince Charitable Trusts, adds, “We are delighted to make this award to Court Theatre, an important cultural resource on the South Side of Chicago, and to Nambi E. Kelley, a great young Chicago talent whose work we are proud to support.”

Stokely Carmichael, a pivotal activist in the Civil Rights and Black Power movements, was one of the original freedom riders in 1961. Nambi E. Kelley will explore the transformational journey Carmichael’s activism took, starting with an alignment with Martin Luther King, Jr. on non-violence, evolving into Black Power as articulated by Malcolm X, and then transforming a third time into a unique articulation of Pan Africanism. Newell’s father worked with Carmichael at New York Avenue Presbyterian Church while Carmichael was a student at Howard University and Carmichael frequently stayed with Newell’s family, adding to Newell’s passion for sharing this story.

Under the guidance of Court’s late Executive Director, Stephen J. Albert, a renewed focus on commissioning began in 2011 with a new adaptation of Ralph Ellison’s <a href="https://www.courttheatre.org/season-tickets/2011-2012-season/invisible-man/"><i>Invisible Man</i></a> written by Oren Jacoby. Court has long been developing and producing new work including the aforementioned <a href="https://www.courttheatre.org/season-tickets/2014-2015-season/native-son/"><i>Native Son</i></a> written by Nambi E. Kelley, <i>Man in the Ring</i> written by Michael Cristofer, <a href="https://www.courttheatre.org/season-tickets/2014-2015-season/the-good-book/"><i>The Good Book</i></a> written by Denis O’Hare and Lisa Peterson, and Court’s upcoming production of Saul Bellow’s <a href="https://www.courttheatre.org/season-tickets/2018-2019-season/adventures-augie-march/"><i>The Adventures of Augie March</i></a>, written by David Auburn.

In its years of commissioning work, Court has learned how to support playwrights with different needs and desires during the development process, while leveraging relationships with the University and community organizations that enhance productions for not only the playwrights, but also for audiences. To support the development of her play, Kelley will have access to the resources of Court Theatre and the University of Chicago. The University of Chicago is home to a large and engaged faculty, multiple libraries, and world-class research facilities, and Court will leverage its University connections to bring Kelley together with any resources she may desire when working on her play about Carmichael.

Prince Charitable Trusts makes an award of $75,000 each year to a major Chicago dance, music, visual arts or theater company. The Prince Prize will commission a promising mid-career artist chosen by the performing or visual arts institution and must be at least one-third of the award. The remainder of the grant may be used by the company to help underwrite development and initial performance of the commissioned work. The intent of the Prize program is to serve as a catalyst for creative collaboration between promising artists and Chicago’s highest caliber arts organizations. Their goal is to provide an opportunity to showcase both the artists and Chicago’s great performing arts companies to the Chicago public and the nation."
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<span style="font-weight: 400;">Press throughout Chicago praise Ntozake Shange's </span><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/for-colored-girls/"><i><span style="font-weight: 400;">For Colored Girls Who Have Considered Suicide / When the Rainbow Is Enuf</span></i></a><span style="font-weight: 400;">, with most critics unanimous in their decision to Highly Recommend the production</span><span style="font-weight: 400;">. Audiences and critics alike agree that <a href="https://www.courttheatre.org/people/seret-scott/">Seret Scott</a>'s direction and the work of the ensemble is powerful, moving, and compelling. See why Shange's cherished work belongs in the canon of classic plays — <a href="https://www.courttheatre.org/season-tickets/2018-2019-season/for-colored-girls/">get tickets</a> to </span><i><span style="font-weight: 400;">For Colored Girls</span></i><span style="font-weight: 400;">.</span>

<hr />

<span style="font-weight: 400;">“...the entire cast feels carefully curated. Rich inner lives reside in a public space. How stories are heard here is as important as how they are told, listening being both a rare and radical act.</span><span style="font-weight: 400;">"</span>

<a href="https://www.chicagotribune.com/entertainment/theater/reviews/ct-ent-colored-girls-review-0326-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;"><b>★</b></span><span style="font-weight: 400;"><b>★</b></span><span style="font-weight: 400;"><b>★</b></span><span style="font-weight: 400;"><b>★ </b></span><span style="font-weight: 400;">Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“</span>This production makes clear exactly why “for colored girls…” skyrocketed to prominence: Shange’s dramatic sense of language that when performed feels so deeply evocative and true. Read the play, and it’s impressive but distant. Performed here, the language is urgent and real and consistently compelling. The performances are all terrific, filled with spunky individualism<span style="font-weight: 400;">”</span>

<a href="https://chicago.suntimes.com/entertainment/for-colored-girls-who-have-considered-suicide-when-the-rainbow-is-enuf-review-court-theatre-chicago/"><span style="font-weight: 400;">—Steven Oxman, </span><i><span style="font-weight: 400;">Chicago Sun-Times, </span></i><span style="font-weight: 400;">Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“It is impossible to overstate how talented this entire cast is... <em>for colored girls who have considered suicide/when the rainbow is enuf</em> is one of the top productions of this theater season. Shange's words cradle you and linger long after the final curtain. Laugh, cry, and be soothed by the full and beautiful soulful voices.”</span>

<a href="https://www.chicagoreader.com/chicago/for-colored-girls-court-theatre/Content?oid=69245564"><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;">“The meld of fine performance and staging with Shange’s writing and concept are irresistible. The commitment of the cast was visible at the curtain call, with several of the performers in tears. The show obviously meant much to them personally as well as artistically. A most rewarding evening for everyone in the theater.”</span>

<a href="https://chicagolandtheaterreviews.com/chicagoland-productions/colored-girls/"><span style="font-weight: 400;">—Dan Zeff, </span><i><span style="font-weight: 400;">Chicagoland 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;">“In Seret Scott's searing and soaring production of <em>For Colored Girls</em> at Court Theatre, Shange's words weave a tapestry of pain, defiance, joy and renewal, all delivered by a cast of eight women who not only occupy the space but reclaim it for Black women whose voices have been ignored or disparaged...Shange's piece and Scott's staging remind us that Black women in the United States have been fighting their own battles for centuries. It's not their job to save us—but we damn well better start listening to them.”</span>

<a href="http://www.windycitymediagroup.com/lgbt/THEATER-REVIEW-For-Colored-Girls-Who-Have-Considered-Suicide-When-the-Rainbow-Is-Enuf/65694.html"><span style="font-weight: 400;">—Kerry Reid, <i>Windy City Times</i></span><span style="font-weight: 400;">, </span><span style="font-weight: 400;">Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“Even after forty years, this play still resonates profoundly with women and audience alike. It's a magnificent story about the soul and depth of African American women who tell the unapologetic black truth....the ladies at Court Theater makes this version a MUST-SEE!</span><span style="font-weight: 400;">”</span>

<a href="http://www.chicagonow.com/lets-play/2019/03/for-colored-girls-who-have-considered-suicide-when-the-rainbow-is-enuf/"><span style="font-weight: 400;">—Rick and Brenda McCain, </span><i><span style="font-weight: 400;">Chicago Now Let's Play</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">Highly Recommended</span> - Critics Pick</a>

<hr />

<span style="font-weight: 400;">“There are many moments during the performance where the audience grew so quiet that it seemed like there were only eight women in the building… the girls on stage.</span><span style="font-weight: 400;">”</span>

<a href="https://www.chicagotheatrereview.com/2019/03/the-more-things-change-the-more-they-stay-the-same/"><span style="font-weight: 400;">—Shelly Berry and Scott Kirshenbaum, </span><i><span style="font-weight: 400;">Chicago Theatre Review,</span></i><span style="font-weight: 400;"> Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“Sharply defined in terms of character, language and overall narrative drive. Scott and her highly individualistic cast of eight (including the balladeer who has been added to the usual cast of seven), has tapped into the verbal music of the play in a wholly fresh way.</span><span style="font-weight: 400;">”</span>

<a href="https://news.wttw.com/2019/03/27/ntozake-shange-for-colored-girls-court-theatre-review"><span style="font-weight: 400;">—Hedy Weiss, </span><i><span style="font-weight: 400;">WTTW Chicago</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">Highly Recommended</span></a>

<hr />
<p class="caption">Photo by Michael Brosilow.</p>"
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      string(5749) "<img class="alignnone wp-image-12311 size-full" src="https://www.courttheatre.org/wp-content/uploads/2019/03/ntozake800x300.jpg" alt="" width="800" height="300" />

Looking back at 2018, many may argue that it was a year of and about women. Women broke their silence, and spoke out about what matters to them. Women ran for office in record numbers, and held influential and powerful men accountable in cases of sexual harassment and assault with the #MeToo Movement. Women everywhere—white, yellow, red, brown, and black alike—used their voices to fight against sexism, racism, classism, ableism, and ageism. Using various platforms like music, movies, literature, poetry, and speeches, women unapologetically, truthfully, and boldly expressed themselves.

Women like Michelle Obama, Chimamanda Ngozi Adichie, Beyonce, Nikki Minaj, Reese Witherspoon, Amy Poehler, Meryl Streep, Sandra Oh, Emma Stone, Stacey Adams, Tamika Mallory, Angela Davis, Alice Walker, and Toni Morrison made their voices heard and inspired others to do the same. Even Oprah Winfrey’s speech at the Golden Globes touched on issues of sexual abuse and empowered women to call out their abusers. In the midst of all of this amazing female power, one who embodies the spirit of all of these women, Ntozake Shange, made her transition from this life. In the African tradition, as well as in other cultures, some may say Shange is now one of the ancestral elders who will continue to guide and inform us.

To this end, Shange’s death is inspiring many to reflect and revisit the genius of and in her work. While Shange’s literary oeuvre is quite extensive, she is best known for <a href="https://www.courttheatre.org/season-tickets/2018-2019-season/for-colored-girls/"><em>For Colored Girls Who Have Considered Suicide/When the Rainbow Is Enuf</em></a> (1975). This play received an Obie Award, the Outer Critics Circle Award, and the AUDELCO Award as well as Tony, Grammy, and Emmy Award nominations. In 2010, director Tyler Perry adapted the choreo-poem into a feature-length film. Furthermore, on the Poetry Foundation’s website, <em>For Colored Girls</em> is characterized as:
<blockquote>[a] unique blend of poetry, music, dance and drama called a “choreopoem,” it “took the theatre world by storm,” noted Jacqueline Trescott in the Washington Post, as it “became an electrifying Broadway hit and provoked heated exchanges about the relationships between black men and women. ... Its form—seven women on the stage dramatizing poetry—was a refreshing slap at the traditional, one-two-three-act structures.”</blockquote>
Mel Gussow, writing in the New York Times, stated that “Miss Shange was a pioneer in terms of her subject matter: the fury of black women at their double subjugation in white male America.”

Shange’s fury and insight brought fire, drama, and excitement to the stage and has been voiced by others, particularly black, female playwrights. For example, in the posthumously written New York Times article, “Seven Flames Kindled by the Focused Fire of Ntozake Shange,” Laura Collins-Hughes shares how playwright and spoken word artist Aleshea Harris pays homage to Shange in her work: “She’s given me so much permission—to be unapologetic, to talk about my pain and my joy. I’ve certainly been a colored girl who’s considered suicide, so just the title, everything, it feels like ‘You are here, I affirm you, you exist and you should exist loudly.’” These very sentiments are also connected to the movement of women today. In viewing this play, particularly in the city of Chicago, women--particularly black women--who choose to voice their concerns and bring themselves to the forefront of the American landscape will see themselves reflected in Shange’s work.

Although<em> For Colored Girls</em> first appeared on the stage in 1975, its themes permeate our current American conversation. Simultaneously, Shange’s text is laced with key historical references, including Willie Colon, Toussaint L’ouverture, and Claude McKay’s poem “Harlem Dancer.” The women express feeling excluded from critical places and spaces in cities like St. Louis, New York City, Chicago, Houston, Baltimore, Detroit, and San Francisco. This notion of “being on the outside as a woman,” particularly a black woman, contributes to its timeliness as women continue to fight for a seat at the table.

In the forward of the 2010 second publication of her play, Shange beautifully articulates: “<em>for colored girls</em> continues to resonate so profoundly almost forty years after I first set pen to paper. It is bittersweet for me. Though we have achieved many milestones, the stories and struggles of our lives as women, and in particular, women of color, are still not granted the full address due. But, then, perhaps that is part of the fuel that moves me to continue writing.” Parallel to Shange’s guiding words here, <em>For Colored Girls</em> continues to resonate as we examine the stories and struggles of women today. Witnessing these powerful stories will inevitably move us all to empathize with women beyond Court Theatre’s stage, supporting their march to be heard throughout America and across the world.

<hr />

<em>Dr. Khalilah T. Watson is an Assistant Professor in the Department of Communications English at Olive-Harvey College-One of the City Colleges of Chicago. Her areas of specialization are composition, twentieth century African American fiction, and literary theory, particularly Toni Morrison. She holds a Ph.D. in English from Georgia State University, a master’s degree from Eastern Michigan University, and a bachelor’s degree from Albion College.</em>"
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In conjunction with our production of Ntozake Shange’s<a href="https://www.courttheatre.org/season-tickets/2018-2019-season/for-colored-girls/"> <em>For Colored Girls Who Have Considered Suicide / When the Rainbow is Enuf</em></a>, Court Theatre is presenting <strong><em>beyond the rainbow: Court Community Conversations</em></strong>, a series of curated, community-focused events allowing participants to engage with the themes in Shange’s work in a variety of ways.

<hr />

<b>a laying on of hands: An Opening Ritual | March 14 from 5:30 - 7:00pm | McCormick Theological Seminary (</b><b>5460 S University Ave, Chicago, IL 60615)</b>

<span style="font-weight: 400;">An opening ceremony preceding our first preview with spiritual leaders from the South Side in partnership with McCormick Theological Seminary and the Lutheran School Theological Seminary. <strong>Free and open to the public.</strong> <strong>Online registration coming soon.</strong></span>

<hr />

<b>dark phrases of womanhood: Dramatists Guild Panel | March 24 at 4:30pm | Court Theatre (</b><b>5535 S Ellis Ave, Chicago, IL 60637)</b>

<span style="font-weight: 400;">Members of the Dramatists Guild will discuss Ntozake Shange’s influence on their own work as female playwrights of color in this post-show discussion. <strong>Free and open to the public.</strong></span>

<hr />

<b>sing your song: An Open Mic Night | April 1 at 7:00pm | Court Theatre (</b><b>5535 S Ellis Ave, Chicago, IL 60637)</b>

<span style="font-weight: 400;">An open mic on the set of </span><i><span style="font-weight: 400;">For Colored Girls</span></i><span style="font-weight: 400;"> celebrating original work and personal anecdotes about the play by women of color. <strong>Free and open to the public. Online registration coming soon.</strong></span>

<hr />

<b>there wuz no air: A Community Conversation | April 5 at </b><b>9:15pm</b><b> | Court Theatre (</b><b>5535 S Ellis Ave, Chicago, IL 60637)</b>

<span style="font-weight: 400;">A post-show panel discussion for men and boys to discuss the trauma of men in the black community, in partnership with 100 Black Men. <strong>Free and open to the public.</strong></span>

<hr />

<b>Spotlight Reading Series: A Tribute to Ntozake | April 8 at 6:30pm | Experimental Station (</b><b>6100 S Blackstone Ave, Chicago, IL 60637)</b>

<span style="font-weight: 400;">A reading of Shange’s play, </span><a href="https://www.courttheatre.org/season-tickets/spotlight-reading-series/spotlight-reading-boogie-woogie-landscapes/"><i><span style="font-weight: 400;">Boogie Woogie Landscapes</span></i></a><span style="font-weight: 400;">, about the dreams and memories of a young, black woman as part of Court’s Spotlight Reading Series. Light refreshments catered by Exquisite Catering. <strong>Free and open to the public. <a href="https://www.courttheatre.org/season-tickets/spotlight-reading-series/spotlight-reading-boogie-woogie-landscapes/">Learn more →</a></strong></span>

<hr />

<b>Exelon South Side Youth Performance Fest Presents “FCGirls Project” | April 9 at 7:00pm | Court Theatre (</b><b>5535 S Ellis Ave, Chicago, IL 60637)</b>

<span style="font-weight: 400;">The second act of the annual Exelon South Side Youth Performance Fest will be dedicated to student work engaging with </span><i><span style="font-weight: 400;">For Colored Girls </span></i><span style="font-weight: 400;">as part of Court’s FCGirls Project. A post-show reception at the Smart Museum of Art will include catering by Piccolo Mondo. <strong>Free and open to the public. <a href="https://www.courttheatre.org/community-engagement/education-initiative/high-school-performance-festival/">Learn more →</a></strong></span>

<hr />

<b>loving her fiercely: A Day of Wellness for Women of Color | April 13th from 11:00am - 4:00pm | Location To Be Announced</b>

<span style="font-weight: 400;">Meditation, visual art, and wellness techniques combine for this day-long wellness event for women of color, featuring massage, reiki, and a vendor fair of female-run businesses promoting a holistic and healthy lifestyle. <strong>Free and open to the public. Online registration coming soon.</strong></span>
<table border="0" width="“100%”" cellpadding="0">
<tbody>
<tr>
<td align="center" valign="center" width="33%">
<p class="caption"><em>For Colored Girls</em> is sponsored by</p>
</td>
<td align="left" valign="center" width="33%">
<p class="caption"><a href="https://www.poetryfoundation.org/poets/ntozake-shange" target="_blank" rel="noopener"><img class="size-full wp-image-10791 aligncenter" src="https://www.courttheatre.org/wp-content/uploads/2018/02/POETRY_1C_PRIMARY_RGB_P-100wide.png" alt="" width="100" height="182" /></a></p>
</td>
<td align="center" valign="center" width="33%"><a href="https://www.sidley.com/en/us/" target="_blank" rel="noopener"><img class="size-full wp-image-4857 aligncenter" style="text-align: start;" src="https://www.courttheatre.org/wp-content/uploads/2017/06/sidley_200.jpg" alt="The Sidley Austin Foundation" width="200" height="29" /></a></td>
</tr>
</tbody>
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<p class="caption">Photo of Alexis J. Roston, Patrese D. McClain, Melissa DuPrey, Angelica Katie, and Melody Angel by Joe Mazza.</p>"
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<span style="font-weight: 400;">Resident Artist Ron OJ Parson was honored by the University of Chicago on January 15, 2019 with one of three prestigious Diversity Leadership Awards. Each year, The Diversity Leadership Council, in conversation with the University of Chicago Alumni Board, chooses a University faculty member, alumnus, and staff member to recognize for the role that they have played in promoting social justice and equity in America. This year, Ron was that staff member. </span>

<span style="font-weight: 400;">One of Ron’s greatest impacts at Court has been the </span><a href="https://www.courttheatre.org/about/blog/spotlight-reading-series-redefining-american-stage/"><span style="font-weight: 400;">Spotlight Reading Series</span></a><span style="font-weight: 400;">, </span><span style="font-weight: 400;">a citywide reading series in which Court presents rarely-produced classics by authors of color. In addition to expanding Court’s audience base, the Spotlight Reading Series has also brought together a diverse variety of community members across a spectrum of ethnicities and income levels. Not only was Ron instrumental in initiating the program, he has also directed several of the readings himself. Several of the Spotlight Reading plays from last year may even go on to full productions at other theatres in the next year. </span>

<span style="font-weight: 400;">Additionally, Ron has directed seven of the ten August Wilson </span><i><span style="font-weight: 400;">Century Cycle</span></i><span style="font-weight: 400;"> plays at Court, which explore the black experience in 20th century America. The </span><i><span style="font-weight: 400;">Chicago Tribune</span></i><span style="font-weight: 400;"> listed the most recent,</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;">, as one of the 10 best shows in Chicago Theatre last year. In addition to his work with August Wilson's plays, s</span><span style="font-weight: 400;">ome of Ron’s other Court productions include </span><a href="https://www.courttheatre.org/season-tickets/2013-2014-season/the-moutaintop/"><i><span style="font-weight: 400;">The Mountaintop</span></i></a><span style="font-weight: 400;"> by Katori Hall; </span><a href="https://www.courttheatre.org/season-tickets/2014-2015-season/waiting-for-godot/"><i><span style="font-weight: 400;">Waiting for Godot</span></i></a><span style="font-weight: 400;"> by Samuel Beckett; </span><a href="https://www.courttheatre.org/season-tickets/2016-2017-season/blues-alabama-sky/"><i><span style="font-weight: 400;">Blues for an Alabama Sky</span></i></a><span style="font-weight: 400;"> by Pearl Cleage; </span><a href="https://www.courttheatre.org/season-tickets/2010-2011-season/home/"><i><span style="font-weight: 400;">Home </span></i></a><span style="font-weight: 400;">by Samm-Art Williams; and </span><a href="https://www.courttheatre.org/season-tickets/2008-2009-season/wait-until-dark/"><i><span style="font-weight: 400;">Wait Until Dark</span></i></a><span style="font-weight: 400;"> by Frederick Knott. As Court’s Resident Artist, he will be directing again next season. </span>

<span style="font-weight: 400;">Ron and the other winners received their awards at a January 15 reception in addition to being honored during the University of Chicago’s annual Martin Luther King Jr. commemoration. We are so very grateful for his contributions to our theatre and community. </span>

<span style="font-weight: 400;">For more information about the University of Chicago’s Diversity Leadership Awards, </span><a href="https://news.uchicago.edu/story/three-members-uchicago-community-receive-diversity-leadership-awards"><span style="font-weight: 400;">visit the University of Chicago’s newsroom</span></a><span style="font-weight: 400;">.</span>"
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<span style="font-weight: 400;">Critics across Chicagoland highly recommend Anna Ziegler’s </span><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/"><i><span style="font-weight: 400;">Photograph 51</span></i></a><span style="font-weight: 400;">. Chris Jones of the </span><i><span style="font-weight: 400;">Chicago Tribune </span></i><span style="font-weight: 400;">awarded the production four stars and wrote that "there is no better 90 minutes in town." </span><span style="font-weight: 400;">Audiences and critics alike agree that Vanessa Stalling’s production is as powerful as it is empowering. See for yourself what the buzz is about —<a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/"> get tickets</a><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/"> to </a></span><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/"><i><span style="font-weight: 400;">Photograph 51</span></i></a><span style="font-weight: 400;">.</span>

<hr />

<span style="font-weight: 400;">“Stalling directs with the pacing of a murder mystery... fascinating. And never dull for a second. If you know a young girl or woman interested in science, there is no better 90 minutes in town. Actually, that’s true for anyone. For the role of Franklin has allowed the actress Chaon Cross to do the best work of her career. If this were a movie, there would be Oscar chatter.</span><span style="font-weight: 400;">"</span>

<a href="https://www.chicagotribune.com/entertainment/theater/reviews/ct-ent-photograph-51-review-0129-story.html"><span style="font-weight: 400;">—Chris Jones, </span><i><span style="font-weight: 400;">Chicago Tribune</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">★★★★ Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“A compelling portrait of scientists as well as of science itself...The combined forces of Arnel Sancianco’s set design, Keith Parham’s lighting design and Paul Deziel’s projections are both understated and...spectacular.”</span>

<a href="https://chicago.suntimes.com/entertainment/photograph-51-review-rosalind-franklin-court-theatre-anna-ziegler/"><span style="font-weight: 400;">—Catey Sullivan, </span><i><span style="font-weight: 400;">Chicago Sun-Times</span></i></a>

<hr />

<span style="font-weight: 400;">“Anna Ziegler's imaginative rendering of an often-overlooked piece of history...vindicates Franklin's role in this breakthrough discovery. In the hands of leading lady Chaon Cross, the result is a complex heroine with a brilliant mind, a rigorous work ethic, exceptional integrity, and a sensitive soul. ”</span>

<a href="https://www.broadwayworld.com/chicago/article/BWW-Review-PHOTOGRAPH-51-at-Court-Theatre-20190127"><span style="font-weight: 400;">—Emily McClanathan, </span><i><span style="font-weight: 400;">Broadway World Chicago</span></i></a>

<hr />

<span style="font-weight: 400;">“Chaon Cross delivers an exhilarating and flawless performance...<em>Photograph 51</em> is an empowering statement about equality, perseverance and truth. While “the world wins,” the moving and heartfelt performance of Chaon Cross reveals Franklin as a complex, compassionate, driven chemist with an extraordinary thirst for knowledge. Most importantly, as art and science intersect, Rosalind Franklin’s rightful place as a trailblazer is assured.</span><span style="font-weight: 400;">”</span>

<a href="https://www.conversationswithedtracy.com/picksinsix/2019/1/27/picksinsix-review-photograph-51-court-theatre"><span style="font-weight: 400;">—Ed Tracy, </span><i><span style="font-weight: 400;">PicksInSix</span></i></a>

<hr />

<span style="font-weight: 400;">“<em>Photograph 51</em>’s spectacular set that reminds of double helices, carbon molecule diagrams, a screen for projected computations, and a fast shot that might be electricity, atoms on the march or just the psychic charge of scientific discovery...The timing in this performance shows an expert touch by director Vanessa Stalling.</span><span style="font-weight: 400;">”</span>

<a href="https://www.picturethispost.com/court-theatre-presents-photograph-51-review-what-if/"><span style="font-weight: 400;">—Amy Munice, </span><i><span style="font-weight: 400;">Picture this Post</span></i><span style="font-weight: 400;">, </span><span style="font-weight: 400;">Highly Recommended</span></a>

<hr />

<span style="font-weight: 400;">“...a biting, emotionally vivid production at Court Theatre – a company whose connection to the University of Chicago (a renowned hotbed of scientific activity and Nobel laureates) only adds a frisson of interest to the story.”</span>

<a href="https://news.wttw.com/2019/01/28/photograph-51-exposes-pattern-delayed-recognition-rosalind-franklin"><span style="font-weight: 400;">—Hedy Weiss, WTTW’s </span><i><span style="font-weight: 400;">Chicago Tonight</span></i></a>

<hr />

<span style="font-weight: 400;">“<em>Photograph 51</em> emphasizes the tragedy of not only the stolen ideas from Franklin’s data but also her lack of recognition as an equal or even as a competent human by her colleagues. The Court’s production is a powerful story of the real woman behind one of the greatest accomplishments in biological history.</span><span style="font-weight: 400;">”</span>

<a href="https://www.chicagomaroon.com/article/2019/1/22/photograph-51-worth-thousand-words/"><span style="font-weight: 400;">—Alina Kim, </span><i><span style="font-weight: 400;">Chicago Maroon</span></i></a>

<hr />

<span style="font-weight: 400;">“Ziegler’s tight, impressive drama weaves emotion, tension and context into the events leading up to that world-changing discovery and Franklin’s role in it.”</span>

<a href="https://thirdcoastreview.com/2019/01/29/stages-review-photograph-51/?fbclid=IwAR12suF2o940p17j8Yt6JQEKDC1S3UPYuK3Z8QAO1QfCz0OSc5EuC_k2BCE"><span style="font-weight: 400;">—Lisa Trifone, </span><i><span style="font-weight: 400;">Third Coast Review</span></i></a>

<hr />
<p class="caption">Photo of Chaon Cross by Michael Brosilow.</p>"
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      string(3251) "<img class="alignnone size-full wp-image-11873" src="https://www.courttheatre.org/wp-content/uploads/2019/01/Weil-Kovener-800x300.jpg" alt="" width="800" height="400" />On a good day, the drive from Naperville to Court Theatre in Hyde Park takes an hour each way. But for several years, the Weils and Koveners have braved the traffic to see Court’s productions together.

Tom and Barbara Weil attended their first Court production, <i>Arms and the Man</i> in 1972, and have been devoted advocates ever since. For Tom and Barbara, “Court’s stage is a unique space where a variety of stimulating performances enhance our theatre experience.”

Gary and Sharon Kovener quickly became regular Court patrons after attending a Producers’ Circle event. Beyond the challenging, emotional work that is produced onstage, Gary and Sharon also appreciate Court’s engagement with the community, the University of Chicago, and the audience.<span class="Apple-converted-space">   </span>

As members of the <a href="https://www.courttheatre.org/support/producers-circle/">Producers’ Circle</a>, Court’s premier giving society, the Weils and Koveners are fans of the exclusive members-only events at Court. These events allow them to follow the development of each production from First Rehearsal through Opening Night: “First Rehearsals and the Producers’ Circle Events have given us an insight into more dimensions of theatre productions.”<span class="Apple-converted-space"> </span>

With so many years of Court Theatre to consider, the couples have many favorite moments and productions. Tom and Barbara particularly enjoyed <a href="https://www.courttheatre.org/season-tickets/2016-2017-season/man-in-the-ring/"><i>Man in the Ring</i></a> (2016) and <a href="https://www.courttheatre.org/season-tickets/2009-2010-season/year-magical-thinking/"><i>The Year of Magical Thinking </i></a>(2010). For Gary and Sharon, two behind-the-scenes moments that stand out are discovering the intricate set design in <a href="https://www.courttheatre.org/season-tickets/2016-2017-season/blues-alabama-sky/"><i>Blues for an Alabama Sky</i></a> (2017) and exploring the themes of justice and vengeance in <a href="https://www.courttheatre.org/season-tickets/2016-2017-season/electra/"><i>Electra</i></a> (2016).<span class="Apple-converted-space"> </span>

As fellow Court Producers’ Circle members and friends with a passion for theatre, the Weils’ and Koveners’ longstanding commitment to Court Theatre has grown. Even the commute doesn’t deter them: “Our Court adventure has provided a great opportunity to critique plays during our hour-long drive home!”<span class="Apple-converted-space"> </span>

Court is grateful to the Weils, Koveners, and all donors for supporting theatre on Chicago’s South Side. ■

<hr />

The Producers’ Circle is the premier giving society that provides you with exclusive access to the creative artists and inspiring scholars involved in Court productions. To learn more about the Producers’ Circle and become a member, contact Lauren Sheely, Development Assistant, at (773) 834-3563 or <a href="mailto:lsheely@uchicago.edu">via email</a>.
<p class="caption">Photo by Joe Mazza.</p>"
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        string(145) "PHOTOGRAPH 51 production dramaturg Derek Matson chronicles the double standards Rosalind Franklin faced in her work and the history of her story."
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      string(16039) "<img class="alignnone size-full wp-image-11865" src="https://www.courttheatre.org/wp-content/uploads/2019/01/doublehelixdoublestandardwide.jpg" alt="" width="800" height="300" />

<span style="font-weight: 400;">Anna Ziegler’s play </span><i><span style="font-weight: 400;">Photograph 51</span></i><span style="font-weight: 400;"> participates in a vital lineage of storytelling that revisits the people and events leading to the discovery of the DNA double helix.  Working at the University of Cambridge, James Watson and Francis Crick solved the riddle of DNA’s molecular structure in early 1953, ahead of Rosalind Franklin and Maurice Wilkins, who were themselves investigating the same problem from King’s College London.  The terrain of these tectonic events is not uncontested, and the play inhabits a freer, more uniquely theatrical space than that of definitive chronology. In the world of </span><i><span style="font-weight: 400;">Photograph 51</span></i><span style="font-weight: 400;">, the fragile seams between memory and history come unbound, and the historical record is allowed to live side by side with conjecture and points of contention.</span>

<span style="font-weight: 400;">The crucial contributions that Rosalind Franklin made to the double-helix discovery might well have been consigned to history’s dustbin altogether were it not for the outrageously misogynist portrayal of her in James Watson’s sudsy memoir </span><i><span style="font-weight: 400;">The Double Helix</span></i><span style="font-weight: 400;">, published in 1968.  Watson, a graduate of the University of Chicago, published his defamatory account of Franklin knowing full well that she had died of ovarian cancer 10 years earlier, and so could raise no objections to his convenient version of events.  Dubbing her “Rosy” throughout the book, Watson dipped his pen into an ample inkwell of sexism to compose such classic passages of chauvinist condescension as his grievance that Rosy “did not emphasize her feminine qualities. Though her features were strong, she was not unattractive and might have been quite stunning had she taken even a mild interest in clothes.  This she did not. There was never lipstick to contrast with her straight black hair… So it was quite easy to imagine her the product of an unsatisfied mother who unduly stressed the desirability of professional careers…”<sup>1</sup></span>

<span style="font-weight: 400;">When he wrote his tell-all, Watson was a professor of biochemistry at Harvard, but Harvard University Press refused publication of </span><i><span style="font-weight: 400;">The Double Helix</span></i><span style="font-weight: 400;"> owing to objections raised by key players portrayed in the book—namely, Crick and Wilkins, who denounced their former colleague’s manuscript as irredeemably self-glorifying and wildly fictionalized.  A commercial press advanced the book for publication, and it went on to become a bestseller.</span>

<span style="font-weight: 400;">When it was suggested to Rosalind’s mother that Watson’s sensationalizing account at least ensured that Rosalind would never be forgotten, her mother answered forlornly, “I would rather she were forgotten than remembered in this way.”<sup>2</sup></span>

<span style="font-weight: 400;">Reaction against Watson’s hit job blossomed into an impressively long arc of conversation around not only Franklin’s groundbreaking work but the treatment of women in the sciences more generally.  Anne Sayre, a personal friend of Rosalind, published a concise biography of Franklin in 1975 that reassessed the events chronicled in </span><i><span style="font-weight: 400;">The Double Helix</span></i><span style="font-weight: 400;"> from her friend’s point of view.  Francis Crick published a book in 1988 from his own perspective.  Journalist Brenda Maddox wrote a thoroughgoing, arguably more objective biography of Franklin in 2002.  Maurice Wilkins penned an autobiography in 2003. And in 2012 Rosalind’s younger sister by 9 years, Jenifer Glynn, published her own biography of her sister, who was by now much debated and discussed.</span>

<span style="font-weight: 400;">In the absence of a definitive narrative from Rosalind Franklin herself, we’re always, in the end, only seeing her through others’ eyes, catching glimpses between the latticework built by others’ interpretations.  The frustration we might feel in disentangling the “real” Rosalind from these clashing points of view is only fitting, since her own work with DNA so regularly hit up against the specter of unknowability. The experiments that Franklin oversaw sought to reveal the dimensions and shape of the DNA molecule using X-ray diffraction.  Franklin would mount a DNA sample in front of an X-ray tube, then subject the sample to a stream of X-rays for a very long exposure time, up to 100 hours. During that time, the X-rays would diffract off the molecule and leave traces on a photographic film placed behind the sample. Franklin would then study the traces left on the film in order to calculate backwards, and deduce what three-dimensional shape might have caused that particular pattern of traces.  With her diffraction photographs, Franklin was only ever seeing incomplete facets of the double helix, distortions and fragments from deflected illuminations. She sought to map out DNA then much the way we’re forced to seek out a sense of her now—through traces and fragments. In both pursuits, we’re straining to make out the contours of a portrait without ever quite getting at a conclusive answer.</span>

<span style="font-weight: 400;">It’s understandable that the stakeholders in the discovery of the double helix were invested in offering competing accounts.  No one wants to live in infamy. In his autobiography Maurice Wilkins confessed that he felt the need to tell his side of the story because “Rosalind’s male colleagues were to some extent demonised” in all the back-and-forth.  “The most prominent demon,” he lamented, “seemed to be me.”<sup>3</sup></span><span style="font-weight: 400;">  Such insistent attempts to correct the record are evoked in Ziegler’s play with the way the characters quibble over facts and story points.  They jockey for control of the narrative, in art as in life.</span>

<span style="font-weight: 400;">But then, jockeying for narrative control is a response that has come to be central to our collective mythologizing around DNA’s powers.  Exalted by Crick and Watson and so many others as “the secret of life,” DNA inspires fear and fascination because it dangles before us the disquieting prospect that we might not be as in control of our own destinies as we’d like to think we are.  In the face of DNA’s workings, which are nothing short of miraculous, we struggle to wrest back some possibility for self-determination from the terrifying sense that who we are may have already been predestined. This emerges as an important tension proposed by the play: the tension between our power to author our own outcomes and our powerlessness to undo a bad hand we’ve been dealt.  The constellation of experimenters peopling </span><i><span style="font-weight: 400;">Photograph 51</span></i><span style="font-weight: 400;"> yearn to write their own stories; but they must also confront moments when fighting the inevitable is no longer any use.</span>

<span style="font-weight: 400;">The architecture of fate implied by DNA may elicit our apprehension, but we are equally in thrall of what it implies about potential, about blueprints of possibilities that do or do not get fully realized.  This, too, we hear about in the play: missed opportunities and roads not taken, to include the roads we actively choose never to take.</span>

<span style="font-weight: 400;">The twists and turns of the double helix’s discovery are so densely laden with what-ifs and what-might-have-beens that one becomes positively heartsick to consider all the wasted possibilities.<sup>4</sup></span><span style="font-weight: 400;">  What if Rosalind and Maurice had just found a way to talk things through?  What if she had just had a colleague at King’s College who had encouraged her to realize her potential?  “She needed a collaborator,” said her former colleague Aaron Klug in an interview decades later, “and she didn’t have one.  Somebody to break the pattern of her thinking, to show her what was right in front of her, to push her up and over.”<sup>5</sup></span>

<span style="font-weight: 400;">The even larger what-if inherent in this line of questioning is, what if women were encouraged to excel in the sciences?  What if the thumb were taken off the scale? Why is it that, between 1901 and 1951, when Rosalind started her work on DNA, only 3 out of 169 Nobel Prize winners in the sciences were women?  Why is it that by 1951 women comprised not even 1% of the Fellows of the Royal Society, and that up until the end of the century women comprised not even 4% of their total membership? Sociologist Sandra Hanson sums the problem up succinctly with the title of her book </span><i><span style="font-weight: 400;">Lost Talent: Women in the Sciences</span></i><span style="font-weight: 400;">.  What if the talent were embraced and nourished, and not lost?</span>

<span style="font-weight: 400;">Lost in the deification of Watson and Crick are, all too predictably, contributions from women who facilitated their path to glory, and not only Rosalind Franklin.  Francis Crick’s wife Odile, herself an artist and fashion designer, drew the famous barbershop-pole diagram of the DNA molecule that appeared with the landmark essay by Watson and Crick in the April 25, 1953, issue of </span><i><span style="font-weight: 400;">Nature</span></i><span style="font-weight: 400;">, which announced their discovery of DNA’s configuration.  Odile’s drawing became one of the most reproduced images in 20</span><span style="font-weight: 400;">th</span><span style="font-weight: 400;">-century science.  Watson’s sister Betty did them the favor of typing up their scrawled manuscript, which made the publication of their breakthrough possible.  Such invisible work from women relegated to the wings of heroic science warrants corrective unearthing, and Rosalind Franklin has come to stirringly signify the erasure and thwarted potential of many more than just herself.</span>

<span style="font-weight: 400;">The Franklin family has at times been a bit stunned and mystified by all the unexpected attention.  Tracing the evolving versions of her older sister that she has watched play out in books and on television over the years, Jenifer Glynn writes that “Rosalind became a symbol, first of an argumentative swot, then of a downtrodden woman scientist, and finally of a triumphant heroine in a man’s world.  She was none of these things, and would have hated all of them.” Glynn goes on to assert that her sister was “simply a very good scientist.”<sup>6</sup></span>

<span style="font-weight: 400;">In her exacting standards and eye to detail, Rosalind Franklin was also, most certainly, an artist. Time and again, </span><i><span style="font-weight: 400;">Photograph 51</span></i><span style="font-weight: 400;"> links Franklin’s work as a scientist with the exquisite labor of artistic creation.  It’s an important linkage, given that Franklin is often faulted in science histories for lacking the creativity to intuit the double helix’s shape, despite having gathered so much critical evidence.  Insisting on the parallel between Franklin’s science and art, the play echoes an obituary tribute from pioneering physicist J. D. Bernal, with whom Franklin worked. Bernal wrote, “Her photographs are among the most beautiful X-ray photographs of any substance ever taken.  Their excellence was the fruit of extreme care in preparation and mounting of the specimens as well as in the taking of the photographs. She did nearly all this work with her own hands.”<sup>7</sup></span><span style="font-weight: 400;">  In the lab Franklin was indeed said to have hands that were “golden,”<sup>8</sup></span><span style="font-weight: 400;"> with the precision and steady confidence of a true sculptor.</span>

<span style="font-weight: 400;">At one point in Ziegler’s play, Rosalind is slyly compared to Hermione, the grossly wronged queen of Sicily, in a passing reference to Shakespeare’s </span><i><span style="font-weight: 400;">The Winter’s Tale</span></i><span style="font-weight: 400;">.  At the end of Shakespeare’s play, Hermione is presented as a statue.  Like the Hermione of Shakespeare, the Rosalind of Ziegler’s play is an unjustly treated heroine given to us in the form of an artistic creation.  But this Rosalind is herself an artist and author, too. Early on we hear her assert, “I don’t like others to analyze </span><i><span style="font-weight: 400;">my</span></i><span style="font-weight: 400;"> data, </span><i><span style="font-weight: 400;">my</span></i><span style="font-weight: 400;"> work.”<sup>9</sup></span><span style="font-weight: 400;">  Minus the mention of “data,” it’s a sentiment I’ve heard uttered by absolutely every playwright I’ve ever met.</span>

<span style="font-weight: 400;">“It’s a tricky thing about time, and memory,” Don Caspar says in the play, “whole worlds of things we wish had happened are as real in our heads as what actually did occur.”<sup>10</sup></span><span style="font-weight: 400;">  The same can be said of the imagined world on a stage.  It gently places what might have happened on equal footing with what actually did, making one as real as the other.  Out of the tangled knots of the double helix’s variant strands, Anna Ziegler grants us the space in </span><i><span style="font-weight: 400;">Photograph 51</span></i><span style="font-weight: 400;"> to dream of what might have been for Rosalind Franklin, while we also weigh what was.</span>

See <em><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/">Photograph 51</a> </em>on Court's stage—performances continue through February 17. <a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/"><strong>Get tickets →</strong></a>
<p class="caption"><em>Photo of Chaon Cross, Nicholas Harazin, Alex Goodrich, and Nathan Hosner from PHOTOGRAPH 51 by Michael Brosilow.</em></p>


<hr />
<p class="caption">1. James D. Watson, <i>The Double Helix: A Personal Account of the Discovery of the Structure of DNA</i> (New York: W.W. Norton, 1980) 14.
2. Brenda Maddox, <i>Rosalind Franklin: The Dark Lady of DNA</i> (New York: HarperCollins, 2002) 312.
3. <span style="font-weight: 400;"> Maurice Wilkins, </span><i><span style="font-weight: 400;">The Third Man of the Double Helix: The Autobiography of Maurice Wilkins</span></i><span style="font-weight: 400;"> (Oxford: Oxford UP, 2003) x.
</span>4. <span style="font-weight: 400;"> For many more what-ifs, see Jenifer Glynn, </span><i><span style="font-weight: 400;">My Sister Rosalind Franklin</span></i><span style="font-weight: 400;"> (Oxford: Oxford UP, 2012) 121, and Maddox 140.
</span>5. <span style="font-weight: 400;"> Horace Freeland Judson, </span><i><span style="font-weight: 400;">The Eighth Day of Creation: Makers of the Revolution in Biology</span></i><span style="font-weight: 400;"> (Plainview, NY: Cold Spring Harbor Laboratory Press, 1996) 148.
</span>6. Glynn 160.
7. <span style="font-weight: 400;"> J. D. Bernal, “Dr. Rosalind E. Franklin,” </span><i><span style="font-weight: 400;">Nature</span></i><span style="font-weight: 400;"> 182 (1958): 154.
</span>8.  <span style="font-weight: 400;">Maddox 143.
</span>9. Anna Ziegler, <i>Photograph 51</i> (New York: Dramatists Play Service, 2011) 13.
10. Ziegler 58.</p>"
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<em>We asked several female University of Chicago undergraduate science students to reflect on Rosalind Franklin and their own experiences in overcoming gender-related obstacles in their fields. Their answers illuminate the challenges women continue to face in STEM fields, and uncover the unconscious biases young women encounter growing up.</em>

<strong>Why do you think Rosalind Franklin’s story is especially resonant today?</strong>

“Today, we are far more aware of the bias against women in traditionally male fields, and Franklin’s story—that of an extraordinary scientist whose contributions to the structure of DNA were not recognized in the 1962 Nobel Prize awarded to her male colleges—is an archetypical reminder of the barriers we’ve overcome and the ones we still face today,” says Hannah Morin, AB’20, a chemistry and molecular engineering major.

Khloe Pastore, AB’21, studying biology, adds that “While there are a great deal more opportunities today for women in science, a large amount of sexism still exists that makes it seem as if men’s ideas are somehow more important and valid than women with the same basis of knowledge and experience.”

Elizabeth, another biology major, agrees that “Part of that process is not only giving women scientists today the recognition that they deserve, but also emphasizing the role that women had in past discoveries that were glossed over due to their gender. I think that can be really important in inspiring women to pursue science, because they can look up to all of the women who have made meaningful contributions before them.”

<strong>Do you identify with Franklin’s struggles? In what ways?</strong>

According to Khloe, “I have been refused an opportunity that a man with qualifications equal or lesser than my own was handed without a second thought.” Elizabeth also says that “there is still a cultural norm that men are good at math and science, while women are not. I definitely felt that growing up.”

Hannah has had a similar experience: “On a very basic level I assume Franklin found herself the only woman in a room too and had to constantly combat the idea that women are not good at math or are not technical. Back then, we didn’t have a word for impostor syndrome, but having to constantly combat the idea that the group, not a particular individual, is incompetent is exhausting.”

<strong>What does it mean to be a female scientist in 2018? Has that changed in your lifetime?  </strong>

Hannah tells the story of how, “A few years ago, Nobel Laurette Tim Hunt told a convention of female scientists he was in favor of same-sex labs, because when women are in the lab, ‘You fall in love with them, they fall in love with you and when you criticize them, they cry.’ In the same breath, he declared that he ‘didn’t want to stand in the way of women.’ These clashing ideals are representative of the female experience in science: the field knows we need to support women, but old habits die hard.”

To Khloe, “As a female scientist, you aren’t just representing yourself, you’re representing an entire group of women working in fields that even 50 years ago weren’t readily available to us.”

<strong>What can audiences learn from Franklin’s story? </strong>

“At 16, she decided she wanted to be a scientist. The year was 1937, and female scientists were almost unheard of. During the three years leading up to her PhD, she published an amazing five papers. Her work on plant viruses was pioneering and before her death she was already giving talks on the topic. Watson caricatured her as incompetent and ill-tempered; we must be careful not to caricature her as the woman passed over for the Nobel. She was much more than that,” argues Hannah.

Finally, Khloe adds, “An important takeaway from Franklin’s story is that while women in science have come a long way since the 1950s, there’s still a lot that needs to be done in order for women to be seen as equals to their male counterparts.”

See these issues explored more in Anna Ziegler's play about Rosalind Franklin, <a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/"><em>Photograph 51</em></a>. <a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/"><strong>Learn more about the play →</strong></a>

<hr />

Girls in middle and high school are invited to share their interests in STEM fields by completing a brief survey. Responses will be showcased during <a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/"><em>Photograph 51</em></a> in a Court lobby display representing the future of women in STEM. <b>→ <a href="https://www.courttheatre.org/girls-in-stem/">Share with the STEM girls in your life!</a></b>"
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<style id='popup-maker-site-inline-css' type='text/css'>
/* Popup Google Fonts */
@import url('//fonts.googleapis.com/css?family=Montserrat|Acme');

/* Popup Theme 12798: Court Theatre Default Theme */
.pum-theme-12798, .pum-theme-court-theatre-default-theme { background-color: rgba( 10, 10, 10, 0.46 ) } 
.pum-theme-12798 .pum-container, .pum-theme-court-theatre-default-theme .pum-container { padding: 33px; border-radius: 1px; border: 1px solid #d9d9d9; box-shadow: 1px 1px 3px 0px rgba( 2, 2, 2, 0.00 ); background-color: rgba( 255, 255, 255, 1.00 ) } 
.pum-theme-12798 .pum-title, .pum-theme-court-theatre-default-theme .pum-title { color: #000000; text-align: left; text-shadow: 0px 0px 0px rgba( 2, 2, 2, 0.23 ); font-family: inherit; font-weight: 700; font-size: 32px; line-height: 36px } 
.pum-theme-12798 .pum-content, .pum-theme-court-theatre-default-theme .pum-content { color: #6b6b6b; font-family: inherit; font-weight: 400 } 
.pum-theme-12798 .pum-content + .pum-close, .pum-theme-court-theatre-default-theme .pum-content + .pum-close { position: absolute; height: 32px; width: 32px; left: auto; right: -1px; bottom: auto; top: -1px; padding: 3px; color: #ffffff; font-family: inherit; font-weight: 400; font-size: 22px; line-height: 22px; border: 1px none #ffffff; border-radius: 0px; box-shadow: 1px 1px 3px 0px rgba( 2, 2, 2, 0.00 ); text-shadow: 0px 0px 0px rgba( 0, 0, 0, 0.00 ); background-color: rgba( 10, 0, 0, 1.00 ) } 

/* Popup Theme 12791: Default Theme */
.pum-theme-12791, .pum-theme-default-theme { background-color: rgba( 255, 255, 255, 1.00 ) } 
.pum-theme-12791 .pum-container, .pum-theme-default-theme .pum-container { padding: 18px; border-radius: 0px; border: 1px none #000000; box-shadow: 1px 1px 3px 0px rgba( 2, 2, 2, 0.23 ); background-color: rgba( 249, 249, 249, 1.00 ) } 
.pum-theme-12791 .pum-title, .pum-theme-default-theme .pum-title { color: #000000; text-align: left; text-shadow: 0px 0px 0px rgba( 2, 2, 2, 0.23 ); font-family: inherit; font-weight: inherit; font-size: 32px; font-style: normal; line-height: 36px } 
.pum-theme-12791 .pum-content, .pum-theme-default-theme .pum-content { color: #8c8c8c; font-family: inherit; font-weight: inherit; font-style: normal } 
.pum-theme-12791 .pum-content + .pum-close, .pum-theme-default-theme .pum-content + .pum-close { position: absolute; height: auto; width: auto; left: auto; right: 0px; bottom: auto; top: 0px; padding: 8px; color: #ffffff; font-family: inherit; font-weight: inherit; font-size: 12px; font-style: normal; line-height: 14px; border: 1px none #ffffff; border-radius: 0px; box-shadow: 0px 0px 0px 0px rgba( 2, 2, 2, 0.23 ); text-shadow: 0px 0px 0px rgba( 0, 0, 0, 0.23 ); background-color: rgba( 0, 183, 205, 1.00 ) } 

/* Popup Theme 12792: Light Box */
.pum-theme-12792, .pum-theme-lightbox { background-color: rgba( 0, 0, 0, 0.60 ) } 
.pum-theme-12792 .pum-container, .pum-theme-lightbox .pum-container { padding: 18px; border-radius: 3px; border: 8px solid #000000; box-shadow: 0px 0px 30px 0px rgba( 2, 2, 2, 1.00 ); background-color: rgba( 255, 255, 255, 1.00 ) } 
.pum-theme-12792 .pum-title, .pum-theme-lightbox .pum-title { color: #000000; text-align: left; text-shadow: 0px 0px 0px rgba( 2, 2, 2, 0.23 ); font-family: inherit; font-size: 32px; line-height: 36px } 
.pum-theme-12792 .pum-content, .pum-theme-lightbox .pum-content { color: #000000; font-family: inherit } 
.pum-theme-12792 .pum-content + .pum-close, .pum-theme-lightbox .pum-content + .pum-close { position: absolute; height: 30px; width: 30px; left: auto; right: -24px; bottom: auto; top: -24px; padding: 0px; color: #ffffff; font-family: inherit; font-size: 24px; line-height: 26px; border: 2px solid #ffffff; border-radius: 30px; box-shadow: 0px 0px 15px 1px rgba( 2, 2, 2, 0.75 ); text-shadow: 0px 0px 0px rgba( 0, 0, 0, 0.23 ); background-color: rgba( 0, 0, 0, 1.00 ) } 

/* Popup Theme 12793: Enterprise Blue */
.pum-theme-12793, .pum-theme-enterprise-blue { background-color: rgba( 0, 0, 0, 0.70 ) } 
.pum-theme-12793 .pum-container, .pum-theme-enterprise-blue .pum-container { padding: 28px; border-radius: 5px; border: 1px none #000000; box-shadow: 0px 10px 25px 4px rgba( 2, 2, 2, 0.50 ); background-color: rgba( 255, 255, 255, 1.00 ) } 
.pum-theme-12793 .pum-title, .pum-theme-enterprise-blue .pum-title { color: #315b7c; text-align: left; text-shadow: 0px 0px 0px rgba( 2, 2, 2, 0.23 ); font-family: inherit; font-size: 34px; line-height: 36px } 
.pum-theme-12793 .pum-content, .pum-theme-enterprise-blue .pum-content { color: #2d2d2d; font-family: inherit } 
.pum-theme-12793 .pum-content + .pum-close, .pum-theme-enterprise-blue .pum-content + .pum-close { position: absolute; height: 28px; width: 28px; left: auto; right: 8px; bottom: auto; top: 8px; padding: 4px; color: #ffffff; font-family: inherit; font-size: 20px; line-height: 20px; border: 1px none #ffffff; border-radius: 42px; box-shadow: 0px 0px 0px 0px rgba( 2, 2, 2, 0.23 ); text-shadow: 0px 0px 0px rgba( 0, 0, 0, 0.23 ); background-color: rgba( 49, 91, 124, 1.00 ) } 

/* Popup Theme 12794: Hello Box */
.pum-theme-12794, .pum-theme-hello-box { background-color: rgba( 0, 0, 0, 0.75 ) } 
.pum-theme-12794 .pum-container, .pum-theme-hello-box .pum-container { padding: 30px; border-radius: 80px; border: 14px solid #81d742; box-shadow: 0px 0px 0px 0px rgba( 2, 2, 2, 0.00 ); background-color: rgba( 255, 255, 255, 1.00 ) } 
.pum-theme-12794 .pum-title, .pum-theme-hello-box .pum-title { color: #2d2d2d; text-align: left; text-shadow: 0px 0px 0px rgba( 2, 2, 2, 0.23 ); font-family: Montserrat; font-size: 32px; line-height: 36px } 
.pum-theme-12794 .pum-content, .pum-theme-hello-box .pum-content { color: #2d2d2d; font-family: inherit } 
.pum-theme-12794 .pum-content + .pum-close, .pum-theme-hello-box .pum-content + .pum-close { position: absolute; height: auto; width: auto; left: auto; right: -30px; bottom: auto; top: -30px; padding: 0px; color: #2d2d2d; font-family: inherit; font-size: 32px; line-height: 28px; border: 1px none #ffffff; border-radius: 28px; box-shadow: 0px 0px 0px 0px rgba( 2, 2, 2, 0.23 ); text-shadow: 0px 0px 0px rgba( 0, 0, 0, 0.23 ); background-color: rgba( 255, 255, 255, 1.00 ) } 

/* Popup Theme 12795: Cutting Edge */
.pum-theme-12795, .pum-theme-cutting-edge { background-color: rgba( 0, 0, 0, 0.50 ) } 
.pum-theme-12795 .pum-container, .pum-theme-cutting-edge .pum-container { padding: 18px; border-radius: 0px; border: 1px none #000000; box-shadow: 0px 10px 25px 0px rgba( 2, 2, 2, 0.50 ); background-color: rgba( 30, 115, 190, 1.00 ) } 
.pum-theme-12795 .pum-title, .pum-theme-cutting-edge .pum-title { color: #ffffff; text-align: left; text-shadow: 0px 0px 0px rgba( 2, 2, 2, 0.23 ); font-family: Sans-Serif; font-size: 26px; line-height: 28px } 
.pum-theme-12795 .pum-content, .pum-theme-cutting-edge .pum-content { color: #ffffff; font-family: inherit } 
.pum-theme-12795 .pum-content + .pum-close, .pum-theme-cutting-edge .pum-content + .pum-close { position: absolute; height: 24px; width: 24px; left: auto; right: 0px; bottom: auto; top: 0px; padding: 0px; color: #1e73be; font-family: inherit; font-size: 32px; line-height: 24px; border: 1px none #ffffff; border-radius: 0px; box-shadow: -1px 1px 1px 0px rgba( 2, 2, 2, 0.10 ); text-shadow: -1px 1px 1px rgba( 0, 0, 0, 0.10 ); background-color: rgba( 238, 238, 34, 1.00 ) } 

/* Popup Theme 12796: Framed Border */
.pum-theme-12796, .pum-theme-framed-border { background-color: rgba( 255, 255, 255, 0.50 ) } 
.pum-theme-12796 .pum-container, .pum-theme-framed-border .pum-container { padding: 18px; border-radius: 0px; border: 20px outset #dd3333; box-shadow: 1px 1px 3px 0px rgba( 2, 2, 2, 0.97 ) inset; background-color: rgba( 255, 251, 239, 1.00 ) } 
.pum-theme-12796 .pum-title, .pum-theme-framed-border .pum-title { color: #000000; text-align: left; text-shadow: 0px 0px 0px rgba( 2, 2, 2, 0.23 ); font-family: inherit; font-size: 32px; line-height: 36px } 
.pum-theme-12796 .pum-content, .pum-theme-framed-border .pum-content { color: #2d2d2d; font-family: inherit } 
.pum-theme-12796 .pum-content + .pum-close, .pum-theme-framed-border .pum-content + .pum-close { position: absolute; height: 20px; width: 20px; left: auto; right: -20px; bottom: auto; top: -20px; padding: 0px; color: #ffffff; font-family: Acme; font-size: 20px; line-height: 20px; border: 1px none #ffffff; border-radius: 0px; box-shadow: 0px 0px 0px 0px rgba( 2, 2, 2, 0.23 ); text-shadow: 0px 0px 0px rgba( 0, 0, 0, 0.23 ); background-color: rgba( 0, 0, 0, 0.55 ) } 

#pum-12800 {z-index: 1999999999}

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  <h1>Blog</h1>
  
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/first-to-knock-first-admitted-the-adventures-of-saul-bellow/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2019/04/bellowblogthumb.jpg" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/first-to-knock-first-admitted-the-adventures-of-saul-bellow/">First to Knock, First Admitted: The Adventures of Saul Bellow</a></h3>
        <p>Resident Dramaturg Nora Titone shares how author Saul Bellow's upbringing as a Jewish Russian immigrant in Chicago influenced the writing of his novel, THE ADVENTURES OF AUGIE MARCH.</p>
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    </article>
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/court-theatre-and-playwright-nambi-e-kelley-receive-the-75000-prince-prize-for-commissioning-original-work/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2019/04/nambi-200x200.jpg" alt="" /></a>
      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/court-theatre-and-playwright-nambi-e-kelley-receive-the-75000-prince-prize-for-commissioning-original-work/">Court Theatre and Playwright Nambi E. Kelley Receive the $75,000 Prince Prize for Commissioning Original Work</a></h3>
        <p>Court and playwright Nambi E. Kelley have received the Prince Prize to craft a play about activist Stokely Carmichael.</p>
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    </article>
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/powerful-for-colored-girls-praised-by-critics-and-audiences/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2019/03/fcg-200x200.jpg" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/powerful-for-colored-girls-praised-by-critics-and-audiences/">Powerful FOR COLORED GIRLS praised by critics and audiences</a></h3>
        <p>Chicago critics are raving about Court's production of Ntozake Shange's cherished classic.</p>
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      <article class="blog-teaser">
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