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          string(3775) "<img class="alignnone size-full wp-image-10173" src="https://www.courttheatre.org/wp-content/uploads/2018/04/scalia-ginsburg-elephant.jpg" alt="" width="800" height="350" />

In <a href="https://www.courttheatre.org/people/john-strand/">John Strand</a>’s <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/the-originalist/"><em>The Originalist</em></a>, Justice Antonin Scalia—a notorious proponent of constitutional originalism, one who staunchly fought against judicial provisions for abortion, affirmative action, and gay marriage—mentors and befriends a liberal law clerk. Despite their ideological differences, the two find some common ground: love of arguing, respect for democracy, blackjack.

Their camaraderie isn’t merely a product of Strand’s imagination. In Scalia’s early years on the court, he hired one liberal law clerk each year to keep staff debates lively. “I love to argue,” he said, “I’ve always loved to argue. And I love to point out the weaknesses of the opposing arguments. [. . .] I feel less comfortable when everybody agrees with me. I say, ‘I better reexamine my position!’”

Perhaps, then, it’s unsurprising that one of Scalia’s best friends was Supreme Court Justice Ruth Bader Ginsburg.

<img class="size-medium wp-image-10166 alignleft" src="https://www.courttheatre.org/wp-content/uploads/2018/04/scalia-and-rbg-2-e1522873198533-300x244.jpg" alt="" width="300" height="244" />Scalia and Ginsburg spent New Year's Eve with one another every year. Scalia watch Ginsburg parasail in the south of France ("She's so light, you would think she would never come down.”). They even rode together on an elephant in India (Scalia joked that Ginsburg betrayed her feminism by sitting behind him. Ginsburg retorted: “The driver explained it was a matter of distribution of weight.”).

The two justices, though ideological adversaries, had a shared love and respect for one another’s intellect rarely found in today’s divided political world. “If you can’t disagree ardently with your colleagues about some issues of law and yet personally still be friends, get another job, for Pete’s sake,” Scalia asserted. “As annoyed as you might be about his zinging dissent, he’s so utterly charming, so amusing, so sometimes outrageous, you can’t help but say, ‘I’m glad that he’s my friend or he’s my colleague.’”

Following Scalia’s death in February of 2016, Ginsburg wrote the following tribute:
<blockquote>“From our years together at the D.C. Circuit, we were best buddies. We disagreed now and then, but when I wrote for the Court and received a Scalia dissent, the opinion ultimately released was notably better than my initial circulation. Justice Scalia nailed all the weak spots—the ‘applesauce’ and ‘argle bargle’—and gave me just what I needed to strengthen the majority opinion. He was a jurist of captivating brilliance and wit, with a rare talent to make even the most sober judge laugh. The press referred to his ‘energetic fervor,’ ‘astringent intellect,’ ‘peppery prose,’ ‘acumen,’ and ‘affability,’ all apt descriptions. He was eminently quotable, his pungent opinions so clearly stated that his words never slipped from the reader’s grasp. It was my great good fortune to have known him as working colleague and treasured friend.”</blockquote>
<a href="https://www.courttheatre.org/season-tickets/2017-2018-season/the-originalist/"><em>The Originalist</em></a> opens May 10 at Court Theatre.
<p class="caption">Top photo: Supreme Court Justices Antonin Scalia and Ruth Bader Ginsburg ride an elephant in India in 1994. (Collection of the Supreme Court of the United States)</p>"
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<strong>Since the show opened on March 15, critics have released their reviews of </strong><a href="https://www.courttheatre.org/season-tickets/2017-2018-season/guess-whos-coming-dinner/"><em><strong>Guess Who’s Coming to Dinner</strong></em></a><strong>:</strong>

"...If you like the movie, you’ll be fine reliving your memories. If you hate all that it represented, there is enough subversion here to keep you intellectually engaged. This material is just so interesting to see now...”
<a href="http://www.chicagotribune.com/entertainment/theater/reviews/ct-ent-coming-dinner-review-0327-story.html"><em>Chicago Tribune</em></a>, Chris Jones, 3 Stars

"...In the iconic 1967 film "Guess Who's Coming to Dinner," a young interracial couple forced their parents - and the world by extension - to confront the ugly bigoted recesses festering in even the most outwardly progressive souls. Tim Kreidler's stage adaptation hews close to William Rose's brilliant screenplay. But key differences underline the story's timeliness in a post-Obama world. Directed by Marti Lyons for Court Theatre, what could be a period piece has the bitter bite of today, a time when an actual Nazi just won (unopposed) a Republican congressional primary in Illinois."
<em><a href="https://chicago.suntimes.com/entertainment/the-stakes-stay-high-for-guess-whos-coming-to-dinner-at-court-theatre/">Chicago Sun-Times</a></em>, Catey Sullivan, 3.5 Stars

"...The acting in Guess Who's Coming to Dinner was great, but I loved the parts played by Sydney Charles as Tillie and Dan Waller as Monsignor Ryan. Charles almost stole the show with her portrayal of Tillie. She was amazingly funny with her spot on performance and Waller was equally brilliant. We have had the pleasure of seeing Sydney Charles in several performances, and she is an exceptional actress worth taking a serious look at as a Jeff Award Winner for her role as Tillie."
<a href="http://www.chicagonow.com/lets-play/2018/03/guess-whos-coming-to-dinner/"><em>Chicago Now</em></a>, Rick and Brenda McCain, HIGHLY RECOMMENDED

"...It has been 50 years since the movie "Guess Who's Coming To Dinner" brought our attention to interracial marriage and race relations. It was ground breaking at the time, but it was based on 1967 attitudes so how can a stage play drawn from the film be relevant today? Well, it is! Todd Kreidler's smartly written adaptation adds a few updates to the classic film script and stays true to the story with a 21st century interpretation. It is the perfect product for the Court Theatre and this production, directed by Marti Lyons with Associate Director Wardell Julius Clark, is outstanding!"
<a href="http://www.aroundthetownchicago.com/theatre-reviews/guess-whos-coming-to-dinner-reviewed-by-michael-horn/">Around The Town Chicago</a>, Michael Horn, HIGHLY RECOMMENDED

"...Originating as a movie with a screenplay by William Rose, "Guess Who's Coming to Dinner" premiered in 1967 at the height of the civil rights movement. And while it’s tempting to credit its trio of lead actors-Katherine Hepburn, Spencer Tracy and Sidney Poitier-for engendering a mountain of good will large enough to endear this portrait of interracial love to a market audience, a reevaluation fifty years later suggests that "Guess Who's Coming to Dinner" gets by on more than just charm."
<a href="https://www.newcitystage.com/2018/03/25/unprecedented-arrival-a-review-of-guess-whos-coming-to-dinner-at-court-theatre/">NewCity Chicago</a>, Kevin Greene, HIGHLY RECOMMENDED

"...The tension is palpable. But the real fireworks begin with the arrival of Prentice's parents. John Prentice Sr. (Dexter Zollicoffer, with a fine searing edge of bitterness), is, for his own reasons, even more opposed to the marriage than Matt, while his wife, Mary (Jacqueline Williams, in a fine mix of loyalty and reason), is deeply protective of both her husband and son."
<a href="https://chicagotonight.wttw.com/2018/03/28/guess-who-s-coming-dinner-sets-table-truths-about-love-and-race">WTTW</a>, Hedy Weiss, HIGHLY RECOMMENDED

"...Now, Hyde Park's Court Theatre presents a stage adaptation of the script by William Rose, and it proves as timely and relevant today as it was in 1967. Guess Who's Coming to Dinner? (here adapted by Todd Kreidler and directed by Marti Lyons) is, at its core, a story of two world views at odds: those who see the world as it is, and those who see it as it could be."
<a href="https://thirdcoastreview.com/2018/03/27/theater-review-guess-whos-coming-dinner/">Third Coast Review</a>, Lisa Trifone, HIGHLY RECOMMENDED

"...Interacting with the marvelous and interestingly symbolic stage setting by Scott Davis where the entire apartment, from carpeting on the floor to every piece of furniture and even the cactus house plants are white with black accents, the actors draw in the audience so effectively that you forget that you're watching a play. Lighting (Paul Toben and Andre Pluess) and sound (Christopher M. LaPort) featuring 1960's style music completes the atmosphere. All in all and evening of great, thought provoking and often humorous theatre."
<a href="http://www.picturethispost.com/court-theatre-guess-whos-coming-to-dinner/">Picture This Post</a>, Steve Bellinger, HIGHLY RECOMMENDED

"...It was fun to be a part of this mixed age group audience for this particular play in the center of Hyde Park, long recognized as a liberal multi-racial and multi-cultural community. The laughs and gasps were more audible and more frequent then I have heard in a while and which I am certain was a result of many of the audience members understanding this material in a more intimate and first hand way, as either participants or witnesses to similar real life stories."
<a href="http://chicagotheaterandarts.com/2018/03/26/guess-whos-coming-to-dinner-is-delicious/">Chicago Theatre and Arts</a>, Jodie Jacobs, HIGHLY RECOMMENDED

<a href="https://www.courttheatre.org/season-tickets/2017-2018-season/guess-whos-coming-dinner/"><em>Guess Who's Coming to Dinner</em></a> runs through April 15, 2018.
<p class="caption">Photo of Michael Aaron Pogue and Jacqueline Williams by Michael Brosilow.</p>"
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The <a href="https://www.courttheatre.org/event/listing/south-side-youth-performance-fest/">Exelon South Side Youth Performance Fest</a>, held annually at Court Theatre, marks the beginning of a rewarding partnership between Exelon and Court Theatre. Exelon, the parent company of the Chicago-based firm ComEd, is committed to strong corporate citizenship, with a significant focus on enabling student access to the arts and cultural experiences.

“We believe the arts are integral to the health and vitality of the communities we serve, and it’s critical to support arts programming in our schools,” said Steve Solomon, Exelon’s Vice President of Corporate Relations and President of the Exelon Foundation. “As we see public and private funding in this area declining, we want to help provide continued access to and appreciation for the arts.”

This year, Exelon supported the intersection of arts and education in Chicago’s South Side through the Exelon South Side Youth Performance Fest. On January 23, 66 students presented scenic designs and performed monologues from work they developed during their <a href="https://www.courttheatre.org/community-engagement/education-initiative/artists-in-schools/">Artists-in-the-Schools</a> (AIS) Residencies. The Youth Performance Fest serves as a capstone for the Residencies, and often marks the first time that AIS students perform on a stage of any kind. This year, students were able to work with teaching artists across four different AIS Residencies: Devised Work, Scene Exploration, Scenic Design, and the August Wilson Monologue Competition. Solomon said, “For the students involved in arts education, they are exposed to an environment that inspires teamwork, compassion, empathy, and understanding.”

AIS provides quality exposure to the arts, and the Youth Performance Fest provides students an exciting end goal to motivate their efforts during the Residencies. Solomon elaborated, saying, “The Youth Performance Fest gave students at the participating high schools an outlet to express themselves authentically, and a mechanism for understanding the human experience in a multi-dimensional way.” Parents, peers, teaching artists, and community members were amazed by the hard work they saw on Court’s stage.<span class="Apple-converted-space"> </span>

Court is grateful to the following AIS partner schools: John M. Harlan Community Academy High School, Kenwood Academy High School, Walter H. Dyett High School for the Arts, Wendell Phillips Academy High School, and William R. Harper High.

Thanks to Exelon for making this night possible! ■

<strong>To find out how you or your company can support arts education at Court, please contact Susan M. Zellner, Director of Development at (773) 834-3305 or <a href="mailto:szellner@uchicago.edu">email</a>.<span class="Apple-converted-space"> </span></strong>
<p class="caption">Photo by Joe Mazza</p>"
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          string(4354) "<blockquote><img class="size-full wp-image-10005 alignright" src="https://www.courttheatre.org/wp-content/uploads/2018/03/gabby-200sq.jpg" alt="" width="200" height="200" />“The adaptation for the stage departs from the film in a few distinct ways, but the fact remains that this play is a story oft repeated. A story that has crossed a continent, a memory that made its way into the hearts of a generation...”
-Gabrielle Randle</blockquote>
I invite you to conjure a memory. Try to think of a story you find yourself returning to often, something that has stuck with you. The sort of thing that comes up at dinner parties or family functions—a shared experience. Now think about how that memory makes you feel. Is it warming or chilling? Do you feel comforted by this memory, or is a story of foreboding? Is it a memory that serves as a cautionary fable, a mistake never to make again?

There is an unforgettable event, an exciting notion, or an intriguing memory behind most great stories—and of course, there is a tale behind this one as well. <em>Guess Who’s Coming to Dinner</em> film director Stanley Kramer recalls a conversation with screenwriter William Rose in his biography, <em>Stanley Kramer: Filmmaker</em>: “… As we walked, he told me a story, mostly a comedy, about a white South African man, a liberal, whose daughter falls in love with a black guy. I said, ‘Geez, we ought to set the story here, in this country, in this background … I thought to myself, ‘What a sorry sight to see a frontline liberal come face to face with all his principles right in his own house.”

Kramer knew exactly who he wanted to play the role of this reticent patriarch. Spencer Tracy signed on, then Katharine Hepburn, and quickly thereafter Sidney Poitier. All three stars committed to the project before Rose had written any lines of text. What was it in this story that each actor saw, what strong memory did it evoke? <em>Guess Who’s Coming to Dinner</em> was an historic tale, even in its own time.

Kramer produced his first film in 1942, and William Rose adapted his first screenplay in 1948; their take on racial politics in 1967 was tinged with the nostalgia of a bygone era (perhaps most effectively illustrated in the groundbreaking political and cinematic influence of the other members of the Best Picture class of 1968: <em>In the Heat of the Night, The Graduate, Bonnie and Clyde, </em>and<em> Doctor Dolittle</em>). This nostalgia is marked most clearly in the lack of intersectional foresight (or the success of a particular liberal hegemonic ideology) of the tale. Though Dr. Prentice is embraced as a part of the family at the end of the film, the image of the black maid, Tillie, still standing on the margin, is the haunting final figure.

When playwright Todd Kreidler and stage director Kenny Leon took up the task of adapting <em>Guess Who’s Coming to Dinner</em> about a decade ago, they too had a sense that this was a story worth retelling. The adaptation for the stage departs from the film in a few distinct ways, but the fact remains that this play is a story oft repeated. A story that has crossed a continent, a memory that made its way into the hearts of a generation: the image of a Black man on a patio looking out over San Francisco Bay. But what of all of those other images that filled screens in 1967? Images of cities burning, of war, of LSD, of a summer of love played alongside the story of Dr. John Prentice and Joanna Drayton. Those stories have their place in our memory, but they are not the story we revisit today. <em>Guess Who’s Coming to Dinner</em> is in that world, but not of it.

Return to your personal memory. Let it sit with you as you take in this production. Imagine <em>Guess Who’s Coming to Dinner</em> as its own type of cultural memory. What makes some images, experiences, or narratives worth returning to? What about the actual event gets smoothed over and rubbed out over time? I invite you into this examination of memory, and how that memory makes meaning. I invite you to ask the question alongside us: why is this the memory we return to? ■

Todd Kreidler's stage adaptation of the classic film runs March 15-April 15. <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/guess-whos-coming-dinner/">Learn more</a>."
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            string(126) "Production Dramaturg Gabrielle Randle explores the cultural significance of the 1967 Film <i>Guess Who's Coming to Dinner.</i>"
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          string(3044) "When <em>Guess Who’s Coming to Dinner</em> premiered in 1967, interracial marriage was still outlawed in thirteen states. Less than 20 percent of the population approved of marriages “<a href="http://news.gallup.com/poll/163697/approve-marriage-blacks-whites.aspx">between white and colored people</a>.” Marketing executives feared that few white filmgoers would even see a film with a black lead. However, in the face of widespread institutionalized bigotry, Stanley Kramer’s film was an immediate box office hit.

<img class="size-medium wp-image-9938 alignleft" src="https://www.courttheatre.org/wp-content/uploads/2018/02/gwc-film-1-158x300.jpg" alt="" width="158" height="300" />

Despite the film’s commercial success, and despite undeniable racial prejudices throughout the country, many liberal critics found Guess Who’s Coming to Dinner to be overly-polite, even dated. In his review for Life magazine, critic Richard Schickel stated, “Kramer is earnestly preaching away on matters that have long since ceased to be true issues.”

Many critics took issue with the characterization of the film’s hero, Dr. John Prentice. Played by Sidney Poitier, one of Hollywood’s first black movie stars, Prentice was, for many viewers, too perfect. After all, a handsome, respectful, Johns Hopkins-<em>and</em>-Yale-trained doctor fighting tropical disease is unparalleled fiancé material by almost all parents’ account. Prentice’s perfection worked to placate white audiences while skewing reality for black audiences.

Unfortunately, this flagrant disparity between reality and media representation has persisted long past 1967. Media depiction of interracial couples has grown on television, owing to shows like <em>Black-ish</em>, <em>Modern Family</em>, and <em>Scandal</em>, but mixed couples in film remain rare. Although we have moved past times of the <a href="http://productioncode.dhwritings.com/multipleframes_productioncode.php">Motion Picture Production Code</a>, which attempted to instill particular moral values in audiences, and although the census has found <a href="https://www.census.gov/newsroom/releases/archives/2010_census/cb12-68.html">record rates</a> of mixed marriages and relationships, few of these couples make it to the screen.

According to Kevin Noble Maillard, co-editor of the essay collection <em>Loving v. Virginia in a Post-Racial World</em>, “Interracial love is the complicated, unacknowledged silence of the American past. The overwhelming lack of these stories onscreen reveals a tacit cinematic apartheid that insists upon racial separation.” As original critics of <em>Guess Who’s Coming to Dinner</em> noted, interracial couples existed long before 1967. Yet even in contemporary film, these couples scarcely exist in their own universal right.

Mallard continues: “The absence of these accounts wordlessly validates the impossibility of integration at the most intimate, personal level. It is the duty of film and art to fill these narrative voids.”"
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          string(1398) "<img class="alignnone size-full wp-image-9782" src="https://www.courttheatre.org/wp-content/uploads/2018/02/patrese-800.jpg" alt="" width="800" height="390" />

<hr />
<p style="font-weight: 400;">Court Theatre is thrilled to announce that <strong>Patrese D. McClain</strong> officially joins us today as our Director of Education!</p>
<p style="font-weight: 400;">Patrese has been a teaching artist for Court's <a href="https://www.courttheatre.org/community-engagement/education-initiative/artists-in-schools/">Artists-in-the-Schools</a> program for several years, working with students across the South Side. She has become a face of the program around the city; partner school teachers, fellow teaching artists, and students all recognize her hard work and commitment. She most recently organized the 11th annual <a href="https://www.courttheatre.org/season-tickets/special-event/11-high-school-performance-festival/">Exelon South Side Youth Performance Fest</a>, bringing 66 students to Court's stage to perform—some on stage for the very first time.</p>
<p style="font-weight: 400;">Patrese will continue working with our wonderful lead teaching artists and coaches: Kona Burks, Jennifer Glasse, and Michael Pogue. Together, they will expand Court's work in the schools and serve our community.</p>
<p style="font-weight: 400;">Please join us in welcoming Patrese!</p>"
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          string(6402) "<img class="alignnone size-full wp-image-9728" src="https://www.courttheatre.org/wp-content/uploads/2018/01/all-my-sons-800.jpg" alt="" width="800" height="305" />

Since opening night on January 20, critics have been sharing their reviews of <i><a href="https://www.courttheatre.org/season-tickets/2017-2018-season/all-my-sons/">All My Sons</a>.</i>

"... Newell is a spectacularly capable director ... and <em>All My Sons</em> lands in his sweetest spot. ... Newell invariably does his best work when he can deconstruct a seemingly realistic environment, when there is a powerful existing story that can keep his conceptual train on the tracks and allow Newell to foreground, collapse and intensify. And, of course, reveal. He does enough of that here that my mouth fell open at times."
<p style="padding-left: 30px;"><strong>- <a href="http://www.chicagotribune.com/entertainment/theater/reviews/ct-ent-all-my-sons-review-0122-story.html" target="_blank" rel="noopener"><em>Chicago Tribune</em></a>, Chris Jones</strong>, ★★★★</p>


<hr />

"... A blistering revival at Court Theatre ... it is to the great credit of director Charles Newell and his fervent, raw-nerved cast that they have wrestled so fearlessly with this bear of a play."
<p style="padding-left: 30px;"><strong>- <a href="https://chicago.suntimes.com/entertainment/in-all-my-sons-guilt-and-denial-over-wartime-profits-and-losses/" target="_blank" rel="noopener"><em>Chicago Sun-Times</em></a>, Hedy Weiss, </strong><strong>HIGHLY RECOMMENDED</strong></p>


<hr />

"Take in director Charles Newell’s staging of “All My Sons” and you will leave the theater feeling as if you have been blown to pieces and stitched back together – in the best possible way. It is cathartic, dynamic, urgent and, in terms of sheer storytelling, mesmerizing."
<p style="padding-left: 30px;"><strong>- <a href="http://perform.ink/review-sons-court-theatre/">PerformInk</a>, Catey Sullivan, CRITIC'S PICK</strong></p>


<hr />

<span style="font-weight: 400;">"What a great play this is! Not a slavish recapitulation of classical tropes, but a recasting of them into a work that’s somehow weighty and lithe, inexorable and unexpected, eternal and American, all at once. Even if you know </span><i><span style="font-weight: 400;">All My Sons</span></i><span style="font-weight: 400;">, you don’t know it."</span>
<p style="padding-left: 30px;"><strong>- <a href="https://www.chicagoreader.com/chicago/all-my-sons-joins-the-pantheon-of-court-theatres-great-tragedies/Content?oid=39562770" target="_blank" rel="noopener"><em>Chicago Reader</em></a>, Tony Adler, READER RECOMMENDED</strong></p>


<hr />

"... A clap of thunder, a flash of lightning, a fallen tree; so begins the Court Theatre's revival of Arthur Miller's <em>All My Sons</em>, and it is absolutely FABULOUS! ... In the capable hands of Director Charles Newell, the Court production is seamless and riveting, with a remarkable cast."
<p style="padding-left: 30px;"><strong>- <a href="http://www.aroundthetownchicago.com/theatre-reviews/all-my-sons-reviewed-by-michael-horn/" target="_blank" rel="noopener">Around The Town Chicago</a>, Alan Bresloff, </strong><strong>HIGHLY RECOMMENDED</strong></p>


<hr />

"... Director Charles Newell's approach to this classic play of deceptions and lies is nothing short of tremendous, and the timing of the characters is exceptional. Timothy Edward Kane has shown his theatrical, dramatic range in this play, and we must say "bravo!" to John Judd for giving us a masterful performance ... and Kate Collins is phenomenal."
<p style="padding-left: 30px;"><strong>- <a href="http://www.chicagonow.com/lets-play/2018/01/all-my-sons/" target="_blank" rel="noopener"><em>Chicago Now</em></a>, Rick and Brenda McCain, </strong><strong>HIGHLY RECOMMENDED</strong></p>


<hr />

"... Miller’s realistic underpinnings mesh with Newell’s striking vision to create a theatrical and dramatic experience that elevates the drama to a new level."
<p style="padding-left: 30px;"><strong>- <a href="https://chicagolandtheaterreviews.com/chicagoland-productions/court-theatre/" target="_blank" rel="noopener">Chicagoland Theater Reviews</a>, Dan Zeff, </strong><strong>HIGHLY RECOMMENDED</strong></p>


<hr />

"...Charles Newell's production of Arthur Miller's <em>All My Sons</em> at Court Theatre is an emotionally wrenching tragedy. ... Not until the last few minutes do you understand the enormity of the story, and then it punches you in the gut."
<p style="padding-left: 30px;"><strong>- <a href="https://thirdcoastreview.com/2018/01/24/all-my-sons-at-court-theatre/" target="_blank" rel="noopener">Third Coast Review,</a> Nancy Bishop, </strong><strong>HIGHLY RECOMMENDED</strong></p>


<hr />

"...Court Theatre Artistic Director Charles Newell has assembled a magnificent cast and production staff to bring this play to life. It’s no surprise that Scenic Designer John Culbert’s prior credits include several operas. Get to your seat early enough to study its simplicity in great detail so you can appreciate how every angle, color, and jagged edge was so clearly chosen to frame this grand, opera-sized story."
<p style="padding-left: 30px;"><strong>- <a href="http://www.picturethispost.com/court-theatre-presents-sons-review/" target="_blank" rel="noopener">Picture This Post</a>, Amy Munice, </strong><strong>HIGHLY RECOMMENDED</strong></p>


<hr />

"The magnificent revival of Arthur Miller’s <em>All My Sons</em>, now playing at the Court Theatre, is a gripping and compelling production precisely imagined and perfectly staged by Charles Newell, Court’s Marilyn F. Vitale Artistic Director."
<p style="padding-left: 30px;">-<strong><a href="https://www.conversationswithedtracy.com/picksinsix/2017/1/22/picksinsix-review-all-my-sons" target="_blank" rel="noopener">CONVERSATIONS with Ed Tracy</a>, HIGHLY RECOMMENDED</strong></p>


<hr />

<a href="https://www.courttheatre.org/season-tickets/2017-2018-season/all-my-sons/"><em>All My Sons</em></a> is extended through February 18. <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/all-my-sons/">Learn more and save your seats here</a>.
<p class="caption">Photo of John Judd, Timothy Edward Kane, Heidi Kettenring, and Kate Collins by Michael Brosilow.</p>"
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          string(2623) "<img class="alignnone size-full wp-image-9738" src="https://www.courttheatre.org/wp-content/uploads/2018/01/nyt-review-all-my-sons.jpg" alt="" width="800" height="357" />

This <a href="http://www.nytimes.com/packages/pdf/theater/AllMySons.pdf">1957 <em>New York Times</em> review of <em>All My Sons</em></a> described Arthur Miller’s work as “an original play of superior quality by a playwright who knows his craft and has unusual understanding of the tangled loyalties of human beings.” The review is beaming from start to finish, declaring Miller a “a genuine new talent” in theater.

Prior to the opening of <em>All My Sons</em>, however, one may not have expected Miller’s second play to garner much critical—or popular—success. After all, his first work, <em>The Man Who Had All the Luck</em>, was a flop in all regards.

The 1944 <em>New York Times</em> review stated that the play lacked “either the final care or the luck to make it a good play.” In the <em>Herald Tribune</em>, a reviewer described it as “unpleasant, unexciting, and downright mystifying.” Another called it “far from satisfactory.” The show closed after just four performances, and its disastrous reception nearly dissuaded Miller from writing any more plays.

Nevertheless, Miller kept writing. He crafted <em>All My Sons</em> as a final attempt at producing a commercially successful play, vowing to "find some other line of work" if it failed. To Miller’s delight, <em>All My Sons</em> went on to run for 328 performances. It won the New York Drama Critics’ Circle Award and the Tony Award for Best Authored Play, beating out Eugene O’Neill’s <em>The Iceman Cometh</em>.

In his <em>Collected Plays</em>, Miller remarks:
<blockquote>
<p style="text-align: left;"><em>The success of a play, especially one's first success, is somewhat like pushing against a door which suddenly opens from the other side. One may fall on one's face or not, but certainly a new room is opened that was always securely shut until then. For myself, the experience was invigorating. It made it possible to dream of daring more and risking more. The audience sat in silence before the unwinding of </em>ALL MY SONS<em> and gasped when they should have, and I tasted that power which is reserved, I imagine, for playwrights, which is to know that by one's invented a mass of strangers has been publicly transfixed.</em></p>
</blockquote>
<strong><a href="https://www.courttheatre.org/season-tickets/2017-2018-season/all-my-sons/"><em>All My Sons</em></a> runs until February 11 at Court Theatre.</strong>"
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          string(3161) "<img class="alignnone size-full wp-image-10378" src="https://www.courttheatre.org/wp-content/uploads/2018/04/aaron-helen.jpg" alt="" width="800" height="300" />

If you’ve been to a Court Theatre <a href="https://www.courttheatre.org/community-engagement/spotlight-reading-series/">Spotlight Reading Series</a> event, chances are you’ve probably seen Helen Barrett. A retired Chicago Police detective, Helen has been a Court subscriber for over two decades. She’s also attended all but one of Court’s Spotlight Readings. Supported by The Joyce Foundation, the Spotlight Reading Series consists of five public readings of rarely produced plays written by artists of color, held annually at locations throughout the city.<span class="Apple-converted-space"> </span>

“Every time I attend a reading, I shake my head that it’s a free event,” says Helen. “These readings take me all over the city, introduce me to new neighborhoods, and provide me with an interactive theatrical experience.”<span class="Apple-converted-space"> </span>

Helen particularly appreciates the program’s focus on lesser known works, and the audience talkbacks with artists that take place after every Spotlight reading. “<a href="https://www.courttheatre.org/people/ron-oj-parson/">Ron OJ Parson</a> [Court Resident Artist and Director of the Spotlight Reading Series] interacts with all the patrons, and the artists provide such interesting commentary on the plays and how they connect to the world today.”<span class="Apple-converted-space"> </span>

As a subscriber to Court’s mainstage productions, Helen loves the range of plays that Court produces each year, from musicals to dramas to comedies. “I go to the theatre to get to know different groups and types of people through the stories onstage. Court’s productions include everyone, and the intimate setting makes you feel engaged with everything that’s happening. It creates a different sense of empathy, a new way of looking at the world. The world is always changing, and we have to change with it.”

Court is grateful for Helen’s longstanding commitment as a subscriber, and for her passionate support of the Spotlight Reading Series. The Spotlight Reading Series is just one of Court’s <a href="https://www.courttheatre.org/community-engagement/education-initiative/">Education</a> and <a href="https://www.courttheatre.org/community-engagement/">Community Engagement</a> initiatives that bring theatre to new audiences across the city. These programs are offered at no- or significantly reduced-cost to individuals, and rely on the support of generous patrons and donors to continue. ■

<b>Make your gift today to ensure that your community continues to experience the unique moments of theatre provided by Court’s Community Engagement programs.</b>
<p class="caption">Above: Helen Barret with Court Theatre Community Programs Manager Aaron Mays at the Spotlight Reading of <a href="https://www.courttheatre.org/season-tickets/%production-section%/spotlight-reading-trouble-mind/"><i>Trouble in Mind</i></a> (Photo by Jake Newell).</p>"
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            string(414) "If you’ve been to a Court Theatre Spotlight Reading Series event, chances are you’ve probably seen Helen Barrett. A retired Chicago Police detective, Helen has been a Court subscriber for over two decades. She’s also attended all but one of Court’s Spotlight Readings. Court is grateful for Helen’s longstanding commitment as a subscriber, and for her passionate support of the Spotlight Reading Series. "
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          string(3620) "<em><img class="alignnone size-full wp-image-10026" src="https://www.courttheatre.org/wp-content/uploads/2018/01/marti-wardell-800.jpg" alt="" width="800" height="315" />Perhaps the most familiar title in Court’s 63rd Season, </em><a href="https://www.courttheatre.org/season-tickets/2017-2018-season/guess-whos-coming-dinner/">Guess Who’s Coming to Dinner</a><em> is based on the 1967 film of the same name, starring Sidney Poitier, Spencer Tracy, and Katharine Hepburn. Despite the deep cultural impact of the film over the last 50 years, the stage adaptation written by Todd Kreidler is just a few years old. Staged first in Atlanta and then in Washington, D.C., Court’s production will be its Chicago premiere. Director <a href="https://www.courttheatre.org/people/marti-lyons/">Marti Lyons</a> discusses what the implications of this production are for our audiences.</em>

<b>Many audience members may already know this story from the beloved film. How does the play differ from the story that we have seen on the big screen?</b>

When Associate Director <a href="https://www.courttheatre.org/people/wardell-julius-clark/">Wardell Clark</a> and I first encountered this material, we simply could not divorce it from our contemporary context. Once enough time has passed from an original production, there is no way to interpret it but to <i>re-interpret</i> it. My first response to this material was how harrowing it was to read this play juxtaposed against our current moment. Wardell and I will not just interpret, but with this beautiful text by Todd Kreidler, as well as and guidance from our dramaturg Gabby Randle and an outstanding company of actors and designers, we will re-interpret this beautiful, flawed, historical, unnerving, and urgent work.

<b>What is it that you as directors hope to bring to the piece, given our world today is very different than (and, often the same as) the world of 1967?</b>

The play’s exposure of white liberal hypocrisy rings so loudly in my ears (as much as my own indictment as any other) and this, as just one example of many in this complex material, feels so unnervingly resonant. Our production will be set fully in period in 1967 in San Francisco: within the household itself, and also with a sense of the world exploding outside of the household. This world will be pressing its way inside through our design and through the characters who enter the play. We believe that setting it in the 1960s with specificity will allow audience members to draw their own conclusions about the world of the play and the world as it stands, now.

<b>You’ve mentioned that you want to bring the female characters out of the background and incorporate them more into the action of the play. How do you hope to do that, and with what intention?</b>

In early conversations with our dramaturg Gabby Randle, we discussed the complex racial dynamics of the piece, but also the gender dynamics. The women in this play seem on the sidelines; they have opinions and may instigate, but they don’t drive any of the action. They seem observers and commentators, with a few rare exceptions. Gabby, Wardell, and I are curious to explore what it means to expose this, and to find opportunities for moments of awakening. ■

<i>Guess Who’s Coming to Dinner </i>runs from March 15 through April 15, 2018. <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/guess-whos-coming-dinner/">Tickets are available now.</a>
<p class="caption">Photo of Wardell Julius Clark and Marti Lyons at first rehearsal by Joe Mazza.</p>"
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        string(3775) "<img class="alignnone size-full wp-image-10173" src="https://www.courttheatre.org/wp-content/uploads/2018/04/scalia-ginsburg-elephant.jpg" alt="" width="800" height="350" />

In <a href="https://www.courttheatre.org/people/john-strand/">John Strand</a>’s <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/the-originalist/"><em>The Originalist</em></a>, Justice Antonin Scalia—a notorious proponent of constitutional originalism, one who staunchly fought against judicial provisions for abortion, affirmative action, and gay marriage—mentors and befriends a liberal law clerk. Despite their ideological differences, the two find some common ground: love of arguing, respect for democracy, blackjack.

Their camaraderie isn’t merely a product of Strand’s imagination. In Scalia’s early years on the court, he hired one liberal law clerk each year to keep staff debates lively. “I love to argue,” he said, “I’ve always loved to argue. And I love to point out the weaknesses of the opposing arguments. [. . .] I feel less comfortable when everybody agrees with me. I say, ‘I better reexamine my position!’”

Perhaps, then, it’s unsurprising that one of Scalia’s best friends was Supreme Court Justice Ruth Bader Ginsburg.

<img class="size-medium wp-image-10166 alignleft" src="https://www.courttheatre.org/wp-content/uploads/2018/04/scalia-and-rbg-2-e1522873198533-300x244.jpg" alt="" width="300" height="244" />Scalia and Ginsburg spent New Year's Eve with one another every year. Scalia watch Ginsburg parasail in the south of France ("She's so light, you would think she would never come down.”). They even rode together on an elephant in India (Scalia joked that Ginsburg betrayed her feminism by sitting behind him. Ginsburg retorted: “The driver explained it was a matter of distribution of weight.”).

The two justices, though ideological adversaries, had a shared love and respect for one another’s intellect rarely found in today’s divided political world. “If you can’t disagree ardently with your colleagues about some issues of law and yet personally still be friends, get another job, for Pete’s sake,” Scalia asserted. “As annoyed as you might be about his zinging dissent, he’s so utterly charming, so amusing, so sometimes outrageous, you can’t help but say, ‘I’m glad that he’s my friend or he’s my colleague.’”

Following Scalia’s death in February of 2016, Ginsburg wrote the following tribute:
<blockquote>“From our years together at the D.C. Circuit, we were best buddies. We disagreed now and then, but when I wrote for the Court and received a Scalia dissent, the opinion ultimately released was notably better than my initial circulation. Justice Scalia nailed all the weak spots—the ‘applesauce’ and ‘argle bargle’—and gave me just what I needed to strengthen the majority opinion. He was a jurist of captivating brilliance and wit, with a rare talent to make even the most sober judge laugh. The press referred to his ‘energetic fervor,’ ‘astringent intellect,’ ‘peppery prose,’ ‘acumen,’ and ‘affability,’ all apt descriptions. He was eminently quotable, his pungent opinions so clearly stated that his words never slipped from the reader’s grasp. It was my great good fortune to have known him as working colleague and treasured friend.”</blockquote>
<a href="https://www.courttheatre.org/season-tickets/2017-2018-season/the-originalist/"><em>The Originalist</em></a> opens May 10 at Court Theatre.
<p class="caption">Top photo: Supreme Court Justices Antonin Scalia and Ruth Bader Ginsburg ride an elephant in India in 1994. (Collection of the Supreme Court of the United States)</p>"
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      string(3775) "<img class="alignnone size-full wp-image-10173" src="https://www.courttheatre.org/wp-content/uploads/2018/04/scalia-ginsburg-elephant.jpg" alt="" width="800" height="350" />

In <a href="https://www.courttheatre.org/people/john-strand/">John Strand</a>’s <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/the-originalist/"><em>The Originalist</em></a>, Justice Antonin Scalia—a notorious proponent of constitutional originalism, one who staunchly fought against judicial provisions for abortion, affirmative action, and gay marriage—mentors and befriends a liberal law clerk. Despite their ideological differences, the two find some common ground: love of arguing, respect for democracy, blackjack.

Their camaraderie isn’t merely a product of Strand’s imagination. In Scalia’s early years on the court, he hired one liberal law clerk each year to keep staff debates lively. “I love to argue,” he said, “I’ve always loved to argue. And I love to point out the weaknesses of the opposing arguments. [. . .] I feel less comfortable when everybody agrees with me. I say, ‘I better reexamine my position!’”

Perhaps, then, it’s unsurprising that one of Scalia’s best friends was Supreme Court Justice Ruth Bader Ginsburg.

<img class="size-medium wp-image-10166 alignleft" src="https://www.courttheatre.org/wp-content/uploads/2018/04/scalia-and-rbg-2-e1522873198533-300x244.jpg" alt="" width="300" height="244" />Scalia and Ginsburg spent New Year's Eve with one another every year. Scalia watch Ginsburg parasail in the south of France ("She's so light, you would think she would never come down.”). They even rode together on an elephant in India (Scalia joked that Ginsburg betrayed her feminism by sitting behind him. Ginsburg retorted: “The driver explained it was a matter of distribution of weight.”).

The two justices, though ideological adversaries, had a shared love and respect for one another’s intellect rarely found in today’s divided political world. “If you can’t disagree ardently with your colleagues about some issues of law and yet personally still be friends, get another job, for Pete’s sake,” Scalia asserted. “As annoyed as you might be about his zinging dissent, he’s so utterly charming, so amusing, so sometimes outrageous, you can’t help but say, ‘I’m glad that he’s my friend or he’s my colleague.’”

Following Scalia’s death in February of 2016, Ginsburg wrote the following tribute:
<blockquote>“From our years together at the D.C. Circuit, we were best buddies. We disagreed now and then, but when I wrote for the Court and received a Scalia dissent, the opinion ultimately released was notably better than my initial circulation. Justice Scalia nailed all the weak spots—the ‘applesauce’ and ‘argle bargle’—and gave me just what I needed to strengthen the majority opinion. He was a jurist of captivating brilliance and wit, with a rare talent to make even the most sober judge laugh. The press referred to his ‘energetic fervor,’ ‘astringent intellect,’ ‘peppery prose,’ ‘acumen,’ and ‘affability,’ all apt descriptions. He was eminently quotable, his pungent opinions so clearly stated that his words never slipped from the reader’s grasp. It was my great good fortune to have known him as working colleague and treasured friend.”</blockquote>
<a href="https://www.courttheatre.org/season-tickets/2017-2018-season/the-originalist/"><em>The Originalist</em></a> opens May 10 at Court Theatre.
<p class="caption">Top photo: Supreme Court Justices Antonin Scalia and Ruth Bader Ginsburg ride an elephant in India in 1994. (Collection of the Supreme Court of the United States)</p>"
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<strong>Since the show opened on March 15, critics have released their reviews of </strong><a href="https://www.courttheatre.org/season-tickets/2017-2018-season/guess-whos-coming-dinner/"><em><strong>Guess Who’s Coming to Dinner</strong></em></a><strong>:</strong>

"...If you like the movie, you’ll be fine reliving your memories. If you hate all that it represented, there is enough subversion here to keep you intellectually engaged. This material is just so interesting to see now...”
<a href="http://www.chicagotribune.com/entertainment/theater/reviews/ct-ent-coming-dinner-review-0327-story.html"><em>Chicago Tribune</em></a>, Chris Jones, 3 Stars

"...In the iconic 1967 film "Guess Who's Coming to Dinner," a young interracial couple forced their parents - and the world by extension - to confront the ugly bigoted recesses festering in even the most outwardly progressive souls. Tim Kreidler's stage adaptation hews close to William Rose's brilliant screenplay. But key differences underline the story's timeliness in a post-Obama world. Directed by Marti Lyons for Court Theatre, what could be a period piece has the bitter bite of today, a time when an actual Nazi just won (unopposed) a Republican congressional primary in Illinois."
<em><a href="https://chicago.suntimes.com/entertainment/the-stakes-stay-high-for-guess-whos-coming-to-dinner-at-court-theatre/">Chicago Sun-Times</a></em>, Catey Sullivan, 3.5 Stars

"...The acting in Guess Who's Coming to Dinner was great, but I loved the parts played by Sydney Charles as Tillie and Dan Waller as Monsignor Ryan. Charles almost stole the show with her portrayal of Tillie. She was amazingly funny with her spot on performance and Waller was equally brilliant. We have had the pleasure of seeing Sydney Charles in several performances, and she is an exceptional actress worth taking a serious look at as a Jeff Award Winner for her role as Tillie."
<a href="http://www.chicagonow.com/lets-play/2018/03/guess-whos-coming-to-dinner/"><em>Chicago Now</em></a>, Rick and Brenda McCain, HIGHLY RECOMMENDED

"...It has been 50 years since the movie "Guess Who's Coming To Dinner" brought our attention to interracial marriage and race relations. It was ground breaking at the time, but it was based on 1967 attitudes so how can a stage play drawn from the film be relevant today? Well, it is! Todd Kreidler's smartly written adaptation adds a few updates to the classic film script and stays true to the story with a 21st century interpretation. It is the perfect product for the Court Theatre and this production, directed by Marti Lyons with Associate Director Wardell Julius Clark, is outstanding!"
<a href="http://www.aroundthetownchicago.com/theatre-reviews/guess-whos-coming-to-dinner-reviewed-by-michael-horn/">Around The Town Chicago</a>, Michael Horn, HIGHLY RECOMMENDED

"...Originating as a movie with a screenplay by William Rose, "Guess Who's Coming to Dinner" premiered in 1967 at the height of the civil rights movement. And while it’s tempting to credit its trio of lead actors-Katherine Hepburn, Spencer Tracy and Sidney Poitier-for engendering a mountain of good will large enough to endear this portrait of interracial love to a market audience, a reevaluation fifty years later suggests that "Guess Who's Coming to Dinner" gets by on more than just charm."
<a href="https://www.newcitystage.com/2018/03/25/unprecedented-arrival-a-review-of-guess-whos-coming-to-dinner-at-court-theatre/">NewCity Chicago</a>, Kevin Greene, HIGHLY RECOMMENDED

"...The tension is palpable. But the real fireworks begin with the arrival of Prentice's parents. John Prentice Sr. (Dexter Zollicoffer, with a fine searing edge of bitterness), is, for his own reasons, even more opposed to the marriage than Matt, while his wife, Mary (Jacqueline Williams, in a fine mix of loyalty and reason), is deeply protective of both her husband and son."
<a href="https://chicagotonight.wttw.com/2018/03/28/guess-who-s-coming-dinner-sets-table-truths-about-love-and-race">WTTW</a>, Hedy Weiss, HIGHLY RECOMMENDED

"...Now, Hyde Park's Court Theatre presents a stage adaptation of the script by William Rose, and it proves as timely and relevant today as it was in 1967. Guess Who's Coming to Dinner? (here adapted by Todd Kreidler and directed by Marti Lyons) is, at its core, a story of two world views at odds: those who see the world as it is, and those who see it as it could be."
<a href="https://thirdcoastreview.com/2018/03/27/theater-review-guess-whos-coming-dinner/">Third Coast Review</a>, Lisa Trifone, HIGHLY RECOMMENDED

"...Interacting with the marvelous and interestingly symbolic stage setting by Scott Davis where the entire apartment, from carpeting on the floor to every piece of furniture and even the cactus house plants are white with black accents, the actors draw in the audience so effectively that you forget that you're watching a play. Lighting (Paul Toben and Andre Pluess) and sound (Christopher M. LaPort) featuring 1960's style music completes the atmosphere. All in all and evening of great, thought provoking and often humorous theatre."
<a href="http://www.picturethispost.com/court-theatre-guess-whos-coming-to-dinner/">Picture This Post</a>, Steve Bellinger, HIGHLY RECOMMENDED

"...It was fun to be a part of this mixed age group audience for this particular play in the center of Hyde Park, long recognized as a liberal multi-racial and multi-cultural community. The laughs and gasps were more audible and more frequent then I have heard in a while and which I am certain was a result of many of the audience members understanding this material in a more intimate and first hand way, as either participants or witnesses to similar real life stories."
<a href="http://chicagotheaterandarts.com/2018/03/26/guess-whos-coming-to-dinner-is-delicious/">Chicago Theatre and Arts</a>, Jodie Jacobs, HIGHLY RECOMMENDED

<a href="https://www.courttheatre.org/season-tickets/2017-2018-season/guess-whos-coming-dinner/"><em>Guess Who's Coming to Dinner</em></a> runs through April 15, 2018.
<p class="caption">Photo of Michael Aaron Pogue and Jacqueline Williams by Michael Brosilow.</p>"
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The <a href="https://www.courttheatre.org/event/listing/south-side-youth-performance-fest/">Exelon South Side Youth Performance Fest</a>, held annually at Court Theatre, marks the beginning of a rewarding partnership between Exelon and Court Theatre. Exelon, the parent company of the Chicago-based firm ComEd, is committed to strong corporate citizenship, with a significant focus on enabling student access to the arts and cultural experiences.

“We believe the arts are integral to the health and vitality of the communities we serve, and it’s critical to support arts programming in our schools,” said Steve Solomon, Exelon’s Vice President of Corporate Relations and President of the Exelon Foundation. “As we see public and private funding in this area declining, we want to help provide continued access to and appreciation for the arts.”

This year, Exelon supported the intersection of arts and education in Chicago’s South Side through the Exelon South Side Youth Performance Fest. On January 23, 66 students presented scenic designs and performed monologues from work they developed during their <a href="https://www.courttheatre.org/community-engagement/education-initiative/artists-in-schools/">Artists-in-the-Schools</a> (AIS) Residencies. The Youth Performance Fest serves as a capstone for the Residencies, and often marks the first time that AIS students perform on a stage of any kind. This year, students were able to work with teaching artists across four different AIS Residencies: Devised Work, Scene Exploration, Scenic Design, and the August Wilson Monologue Competition. Solomon said, “For the students involved in arts education, they are exposed to an environment that inspires teamwork, compassion, empathy, and understanding.”

AIS provides quality exposure to the arts, and the Youth Performance Fest provides students an exciting end goal to motivate their efforts during the Residencies. Solomon elaborated, saying, “The Youth Performance Fest gave students at the participating high schools an outlet to express themselves authentically, and a mechanism for understanding the human experience in a multi-dimensional way.” Parents, peers, teaching artists, and community members were amazed by the hard work they saw on Court’s stage.<span class="Apple-converted-space"> </span>

Court is grateful to the following AIS partner schools: John M. Harlan Community Academy High School, Kenwood Academy High School, Walter H. Dyett High School for the Arts, Wendell Phillips Academy High School, and William R. Harper High.

Thanks to Exelon for making this night possible! ■

<strong>To find out how you or your company can support arts education at Court, please contact Susan M. Zellner, Director of Development at (773) 834-3305 or <a href="mailto:szellner@uchicago.edu">email</a>.<span class="Apple-converted-space"> </span></strong>
<p class="caption">Photo by Joe Mazza</p>"
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      string(4354) "<blockquote><img class="size-full wp-image-10005 alignright" src="https://www.courttheatre.org/wp-content/uploads/2018/03/gabby-200sq.jpg" alt="" width="200" height="200" />“The adaptation for the stage departs from the film in a few distinct ways, but the fact remains that this play is a story oft repeated. A story that has crossed a continent, a memory that made its way into the hearts of a generation...”
-Gabrielle Randle</blockquote>
I invite you to conjure a memory. Try to think of a story you find yourself returning to often, something that has stuck with you. The sort of thing that comes up at dinner parties or family functions—a shared experience. Now think about how that memory makes you feel. Is it warming or chilling? Do you feel comforted by this memory, or is a story of foreboding? Is it a memory that serves as a cautionary fable, a mistake never to make again?

There is an unforgettable event, an exciting notion, or an intriguing memory behind most great stories—and of course, there is a tale behind this one as well. <em>Guess Who’s Coming to Dinner</em> film director Stanley Kramer recalls a conversation with screenwriter William Rose in his biography, <em>Stanley Kramer: Filmmaker</em>: “… As we walked, he told me a story, mostly a comedy, about a white South African man, a liberal, whose daughter falls in love with a black guy. I said, ‘Geez, we ought to set the story here, in this country, in this background … I thought to myself, ‘What a sorry sight to see a frontline liberal come face to face with all his principles right in his own house.”

Kramer knew exactly who he wanted to play the role of this reticent patriarch. Spencer Tracy signed on, then Katharine Hepburn, and quickly thereafter Sidney Poitier. All three stars committed to the project before Rose had written any lines of text. What was it in this story that each actor saw, what strong memory did it evoke? <em>Guess Who’s Coming to Dinner</em> was an historic tale, even in its own time.

Kramer produced his first film in 1942, and William Rose adapted his first screenplay in 1948; their take on racial politics in 1967 was tinged with the nostalgia of a bygone era (perhaps most effectively illustrated in the groundbreaking political and cinematic influence of the other members of the Best Picture class of 1968: <em>In the Heat of the Night, The Graduate, Bonnie and Clyde, </em>and<em> Doctor Dolittle</em>). This nostalgia is marked most clearly in the lack of intersectional foresight (or the success of a particular liberal hegemonic ideology) of the tale. Though Dr. Prentice is embraced as a part of the family at the end of the film, the image of the black maid, Tillie, still standing on the margin, is the haunting final figure.

When playwright Todd Kreidler and stage director Kenny Leon took up the task of adapting <em>Guess Who’s Coming to Dinner</em> about a decade ago, they too had a sense that this was a story worth retelling. The adaptation for the stage departs from the film in a few distinct ways, but the fact remains that this play is a story oft repeated. A story that has crossed a continent, a memory that made its way into the hearts of a generation: the image of a Black man on a patio looking out over San Francisco Bay. But what of all of those other images that filled screens in 1967? Images of cities burning, of war, of LSD, of a summer of love played alongside the story of Dr. John Prentice and Joanna Drayton. Those stories have their place in our memory, but they are not the story we revisit today. <em>Guess Who’s Coming to Dinner</em> is in that world, but not of it.

Return to your personal memory. Let it sit with you as you take in this production. Imagine <em>Guess Who’s Coming to Dinner</em> as its own type of cultural memory. What makes some images, experiences, or narratives worth returning to? What about the actual event gets smoothed over and rubbed out over time? I invite you into this examination of memory, and how that memory makes meaning. I invite you to ask the question alongside us: why is this the memory we return to? ■

Todd Kreidler's stage adaptation of the classic film runs March 15-April 15. <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/guess-whos-coming-dinner/">Learn more</a>."
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      string(3044) "When <em>Guess Who’s Coming to Dinner</em> premiered in 1967, interracial marriage was still outlawed in thirteen states. Less than 20 percent of the population approved of marriages “<a href="http://news.gallup.com/poll/163697/approve-marriage-blacks-whites.aspx">between white and colored people</a>.” Marketing executives feared that few white filmgoers would even see a film with a black lead. However, in the face of widespread institutionalized bigotry, Stanley Kramer’s film was an immediate box office hit.

<img class="size-medium wp-image-9938 alignleft" src="https://www.courttheatre.org/wp-content/uploads/2018/02/gwc-film-1-158x300.jpg" alt="" width="158" height="300" />

Despite the film’s commercial success, and despite undeniable racial prejudices throughout the country, many liberal critics found Guess Who’s Coming to Dinner to be overly-polite, even dated. In his review for Life magazine, critic Richard Schickel stated, “Kramer is earnestly preaching away on matters that have long since ceased to be true issues.”

Many critics took issue with the characterization of the film’s hero, Dr. John Prentice. Played by Sidney Poitier, one of Hollywood’s first black movie stars, Prentice was, for many viewers, too perfect. After all, a handsome, respectful, Johns Hopkins-<em>and</em>-Yale-trained doctor fighting tropical disease is unparalleled fiancé material by almost all parents’ account. Prentice’s perfection worked to placate white audiences while skewing reality for black audiences.

Unfortunately, this flagrant disparity between reality and media representation has persisted long past 1967. Media depiction of interracial couples has grown on television, owing to shows like <em>Black-ish</em>, <em>Modern Family</em>, and <em>Scandal</em>, but mixed couples in film remain rare. Although we have moved past times of the <a href="http://productioncode.dhwritings.com/multipleframes_productioncode.php">Motion Picture Production Code</a>, which attempted to instill particular moral values in audiences, and although the census has found <a href="https://www.census.gov/newsroom/releases/archives/2010_census/cb12-68.html">record rates</a> of mixed marriages and relationships, few of these couples make it to the screen.

According to Kevin Noble Maillard, co-editor of the essay collection <em>Loving v. Virginia in a Post-Racial World</em>, “Interracial love is the complicated, unacknowledged silence of the American past. The overwhelming lack of these stories onscreen reveals a tacit cinematic apartheid that insists upon racial separation.” As original critics of <em>Guess Who’s Coming to Dinner</em> noted, interracial couples existed long before 1967. Yet even in contemporary film, these couples scarcely exist in their own universal right.

Mallard continues: “The absence of these accounts wordlessly validates the impossibility of integration at the most intimate, personal level. It is the duty of film and art to fill these narrative voids.”"
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      string(1398) "<img class="alignnone size-full wp-image-9782" src="https://www.courttheatre.org/wp-content/uploads/2018/02/patrese-800.jpg" alt="" width="800" height="390" />

<hr />
<p style="font-weight: 400;">Court Theatre is thrilled to announce that <strong>Patrese D. McClain</strong> officially joins us today as our Director of Education!</p>
<p style="font-weight: 400;">Patrese has been a teaching artist for Court's <a href="https://www.courttheatre.org/community-engagement/education-initiative/artists-in-schools/">Artists-in-the-Schools</a> program for several years, working with students across the South Side. She has become a face of the program around the city; partner school teachers, fellow teaching artists, and students all recognize her hard work and commitment. She most recently organized the 11th annual <a href="https://www.courttheatre.org/season-tickets/special-event/11-high-school-performance-festival/">Exelon South Side Youth Performance Fest</a>, bringing 66 students to Court's stage to perform—some on stage for the very first time.</p>
<p style="font-weight: 400;">Patrese will continue working with our wonderful lead teaching artists and coaches: Kona Burks, Jennifer Glasse, and Michael Pogue. Together, they will expand Court's work in the schools and serve our community.</p>
<p style="font-weight: 400;">Please join us in welcoming Patrese!</p>"
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Since opening night on January 20, critics have been sharing their reviews of <i><a href="https://www.courttheatre.org/season-tickets/2017-2018-season/all-my-sons/">All My Sons</a>.</i>

"... Newell is a spectacularly capable director ... and <em>All My Sons</em> lands in his sweetest spot. ... Newell invariably does his best work when he can deconstruct a seemingly realistic environment, when there is a powerful existing story that can keep his conceptual train on the tracks and allow Newell to foreground, collapse and intensify. And, of course, reveal. He does enough of that here that my mouth fell open at times."
<p style="padding-left: 30px;"><strong>- <a href="http://www.chicagotribune.com/entertainment/theater/reviews/ct-ent-all-my-sons-review-0122-story.html" target="_blank" rel="noopener"><em>Chicago Tribune</em></a>, Chris Jones</strong>, ★★★★</p>


<hr />

"... A blistering revival at Court Theatre ... it is to the great credit of director Charles Newell and his fervent, raw-nerved cast that they have wrestled so fearlessly with this bear of a play."
<p style="padding-left: 30px;"><strong>- <a href="https://chicago.suntimes.com/entertainment/in-all-my-sons-guilt-and-denial-over-wartime-profits-and-losses/" target="_blank" rel="noopener"><em>Chicago Sun-Times</em></a>, Hedy Weiss, </strong><strong>HIGHLY RECOMMENDED</strong></p>


<hr />

"Take in director Charles Newell’s staging of “All My Sons” and you will leave the theater feeling as if you have been blown to pieces and stitched back together – in the best possible way. It is cathartic, dynamic, urgent and, in terms of sheer storytelling, mesmerizing."
<p style="padding-left: 30px;"><strong>- <a href="http://perform.ink/review-sons-court-theatre/">PerformInk</a>, Catey Sullivan, CRITIC'S PICK</strong></p>


<hr />

<span style="font-weight: 400;">"What a great play this is! Not a slavish recapitulation of classical tropes, but a recasting of them into a work that’s somehow weighty and lithe, inexorable and unexpected, eternal and American, all at once. Even if you know </span><i><span style="font-weight: 400;">All My Sons</span></i><span style="font-weight: 400;">, you don’t know it."</span>
<p style="padding-left: 30px;"><strong>- <a href="https://www.chicagoreader.com/chicago/all-my-sons-joins-the-pantheon-of-court-theatres-great-tragedies/Content?oid=39562770" target="_blank" rel="noopener"><em>Chicago Reader</em></a>, Tony Adler, READER RECOMMENDED</strong></p>


<hr />

"... A clap of thunder, a flash of lightning, a fallen tree; so begins the Court Theatre's revival of Arthur Miller's <em>All My Sons</em>, and it is absolutely FABULOUS! ... In the capable hands of Director Charles Newell, the Court production is seamless and riveting, with a remarkable cast."
<p style="padding-left: 30px;"><strong>- <a href="http://www.aroundthetownchicago.com/theatre-reviews/all-my-sons-reviewed-by-michael-horn/" target="_blank" rel="noopener">Around The Town Chicago</a>, Alan Bresloff, </strong><strong>HIGHLY RECOMMENDED</strong></p>


<hr />

"... Director Charles Newell's approach to this classic play of deceptions and lies is nothing short of tremendous, and the timing of the characters is exceptional. Timothy Edward Kane has shown his theatrical, dramatic range in this play, and we must say "bravo!" to John Judd for giving us a masterful performance ... and Kate Collins is phenomenal."
<p style="padding-left: 30px;"><strong>- <a href="http://www.chicagonow.com/lets-play/2018/01/all-my-sons/" target="_blank" rel="noopener"><em>Chicago Now</em></a>, Rick and Brenda McCain, </strong><strong>HIGHLY RECOMMENDED</strong></p>


<hr />

"... Miller’s realistic underpinnings mesh with Newell’s striking vision to create a theatrical and dramatic experience that elevates the drama to a new level."
<p style="padding-left: 30px;"><strong>- <a href="https://chicagolandtheaterreviews.com/chicagoland-productions/court-theatre/" target="_blank" rel="noopener">Chicagoland Theater Reviews</a>, Dan Zeff, </strong><strong>HIGHLY RECOMMENDED</strong></p>


<hr />

"...Charles Newell's production of Arthur Miller's <em>All My Sons</em> at Court Theatre is an emotionally wrenching tragedy. ... Not until the last few minutes do you understand the enormity of the story, and then it punches you in the gut."
<p style="padding-left: 30px;"><strong>- <a href="https://thirdcoastreview.com/2018/01/24/all-my-sons-at-court-theatre/" target="_blank" rel="noopener">Third Coast Review,</a> Nancy Bishop, </strong><strong>HIGHLY RECOMMENDED</strong></p>


<hr />

"...Court Theatre Artistic Director Charles Newell has assembled a magnificent cast and production staff to bring this play to life. It’s no surprise that Scenic Designer John Culbert’s prior credits include several operas. Get to your seat early enough to study its simplicity in great detail so you can appreciate how every angle, color, and jagged edge was so clearly chosen to frame this grand, opera-sized story."
<p style="padding-left: 30px;"><strong>- <a href="http://www.picturethispost.com/court-theatre-presents-sons-review/" target="_blank" rel="noopener">Picture This Post</a>, Amy Munice, </strong><strong>HIGHLY RECOMMENDED</strong></p>


<hr />

"The magnificent revival of Arthur Miller’s <em>All My Sons</em>, now playing at the Court Theatre, is a gripping and compelling production precisely imagined and perfectly staged by Charles Newell, Court’s Marilyn F. Vitale Artistic Director."
<p style="padding-left: 30px;">-<strong><a href="https://www.conversationswithedtracy.com/picksinsix/2017/1/22/picksinsix-review-all-my-sons" target="_blank" rel="noopener">CONVERSATIONS with Ed Tracy</a>, HIGHLY RECOMMENDED</strong></p>


<hr />

<a href="https://www.courttheatre.org/season-tickets/2017-2018-season/all-my-sons/"><em>All My Sons</em></a> is extended through February 18. <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/all-my-sons/">Learn more and save your seats here</a>.
<p class="caption">Photo of John Judd, Timothy Edward Kane, Heidi Kettenring, and Kate Collins by Michael Brosilow.</p>"
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      string(2623) "<img class="alignnone size-full wp-image-9738" src="https://www.courttheatre.org/wp-content/uploads/2018/01/nyt-review-all-my-sons.jpg" alt="" width="800" height="357" />

This <a href="http://www.nytimes.com/packages/pdf/theater/AllMySons.pdf">1957 <em>New York Times</em> review of <em>All My Sons</em></a> described Arthur Miller’s work as “an original play of superior quality by a playwright who knows his craft and has unusual understanding of the tangled loyalties of human beings.” The review is beaming from start to finish, declaring Miller a “a genuine new talent” in theater.

Prior to the opening of <em>All My Sons</em>, however, one may not have expected Miller’s second play to garner much critical—or popular—success. After all, his first work, <em>The Man Who Had All the Luck</em>, was a flop in all regards.

The 1944 <em>New York Times</em> review stated that the play lacked “either the final care or the luck to make it a good play.” In the <em>Herald Tribune</em>, a reviewer described it as “unpleasant, unexciting, and downright mystifying.” Another called it “far from satisfactory.” The show closed after just four performances, and its disastrous reception nearly dissuaded Miller from writing any more plays.

Nevertheless, Miller kept writing. He crafted <em>All My Sons</em> as a final attempt at producing a commercially successful play, vowing to "find some other line of work" if it failed. To Miller’s delight, <em>All My Sons</em> went on to run for 328 performances. It won the New York Drama Critics’ Circle Award and the Tony Award for Best Authored Play, beating out Eugene O’Neill’s <em>The Iceman Cometh</em>.

In his <em>Collected Plays</em>, Miller remarks:
<blockquote>
<p style="text-align: left;"><em>The success of a play, especially one's first success, is somewhat like pushing against a door which suddenly opens from the other side. One may fall on one's face or not, but certainly a new room is opened that was always securely shut until then. For myself, the experience was invigorating. It made it possible to dream of daring more and risking more. The audience sat in silence before the unwinding of </em>ALL MY SONS<em> and gasped when they should have, and I tasted that power which is reserved, I imagine, for playwrights, which is to know that by one's invented a mass of strangers has been publicly transfixed.</em></p>
</blockquote>
<strong><a href="https://www.courttheatre.org/season-tickets/2017-2018-season/all-my-sons/"><em>All My Sons</em></a> runs until February 11 at Court Theatre.</strong>"
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        string(414) "If you’ve been to a Court Theatre Spotlight Reading Series event, chances are you’ve probably seen Helen Barrett. A retired Chicago Police detective, Helen has been a Court subscriber for over two decades. She’s also attended all but one of Court’s Spotlight Readings. Court is grateful for Helen’s longstanding commitment as a subscriber, and for her passionate support of the Spotlight Reading Series. "
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      string(3161) "<img class="alignnone size-full wp-image-10378" src="https://www.courttheatre.org/wp-content/uploads/2018/04/aaron-helen.jpg" alt="" width="800" height="300" />

If you’ve been to a Court Theatre <a href="https://www.courttheatre.org/community-engagement/spotlight-reading-series/">Spotlight Reading Series</a> event, chances are you’ve probably seen Helen Barrett. A retired Chicago Police detective, Helen has been a Court subscriber for over two decades. She’s also attended all but one of Court’s Spotlight Readings. Supported by The Joyce Foundation, the Spotlight Reading Series consists of five public readings of rarely produced plays written by artists of color, held annually at locations throughout the city.<span class="Apple-converted-space"> </span>

“Every time I attend a reading, I shake my head that it’s a free event,” says Helen. “These readings take me all over the city, introduce me to new neighborhoods, and provide me with an interactive theatrical experience.”<span class="Apple-converted-space"> </span>

Helen particularly appreciates the program’s focus on lesser known works, and the audience talkbacks with artists that take place after every Spotlight reading. “<a href="https://www.courttheatre.org/people/ron-oj-parson/">Ron OJ Parson</a> [Court Resident Artist and Director of the Spotlight Reading Series] interacts with all the patrons, and the artists provide such interesting commentary on the plays and how they connect to the world today.”<span class="Apple-converted-space"> </span>

As a subscriber to Court’s mainstage productions, Helen loves the range of plays that Court produces each year, from musicals to dramas to comedies. “I go to the theatre to get to know different groups and types of people through the stories onstage. Court’s productions include everyone, and the intimate setting makes you feel engaged with everything that’s happening. It creates a different sense of empathy, a new way of looking at the world. The world is always changing, and we have to change with it.”

Court is grateful for Helen’s longstanding commitment as a subscriber, and for her passionate support of the Spotlight Reading Series. The Spotlight Reading Series is just one of Court’s <a href="https://www.courttheatre.org/community-engagement/education-initiative/">Education</a> and <a href="https://www.courttheatre.org/community-engagement/">Community Engagement</a> initiatives that bring theatre to new audiences across the city. These programs are offered at no- or significantly reduced-cost to individuals, and rely on the support of generous patrons and donors to continue. ■

<b>Make your gift today to ensure that your community continues to experience the unique moments of theatre provided by Court’s Community Engagement programs.</b>
<p class="caption">Above: Helen Barret with Court Theatre Community Programs Manager Aaron Mays at the Spotlight Reading of <a href="https://www.courttheatre.org/season-tickets/%production-section%/spotlight-reading-trouble-mind/"><i>Trouble in Mind</i></a> (Photo by Jake Newell).</p>"
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      string(3620) "<em><img class="alignnone size-full wp-image-10026" src="https://www.courttheatre.org/wp-content/uploads/2018/01/marti-wardell-800.jpg" alt="" width="800" height="315" />Perhaps the most familiar title in Court’s 63rd Season, </em><a href="https://www.courttheatre.org/season-tickets/2017-2018-season/guess-whos-coming-dinner/">Guess Who’s Coming to Dinner</a><em> is based on the 1967 film of the same name, starring Sidney Poitier, Spencer Tracy, and Katharine Hepburn. Despite the deep cultural impact of the film over the last 50 years, the stage adaptation written by Todd Kreidler is just a few years old. Staged first in Atlanta and then in Washington, D.C., Court’s production will be its Chicago premiere. Director <a href="https://www.courttheatre.org/people/marti-lyons/">Marti Lyons</a> discusses what the implications of this production are for our audiences.</em>

<b>Many audience members may already know this story from the beloved film. How does the play differ from the story that we have seen on the big screen?</b>

When Associate Director <a href="https://www.courttheatre.org/people/wardell-julius-clark/">Wardell Clark</a> and I first encountered this material, we simply could not divorce it from our contemporary context. Once enough time has passed from an original production, there is no way to interpret it but to <i>re-interpret</i> it. My first response to this material was how harrowing it was to read this play juxtaposed against our current moment. Wardell and I will not just interpret, but with this beautiful text by Todd Kreidler, as well as and guidance from our dramaturg Gabby Randle and an outstanding company of actors and designers, we will re-interpret this beautiful, flawed, historical, unnerving, and urgent work.

<b>What is it that you as directors hope to bring to the piece, given our world today is very different than (and, often the same as) the world of 1967?</b>

The play’s exposure of white liberal hypocrisy rings so loudly in my ears (as much as my own indictment as any other) and this, as just one example of many in this complex material, feels so unnervingly resonant. Our production will be set fully in period in 1967 in San Francisco: within the household itself, and also with a sense of the world exploding outside of the household. This world will be pressing its way inside through our design and through the characters who enter the play. We believe that setting it in the 1960s with specificity will allow audience members to draw their own conclusions about the world of the play and the world as it stands, now.

<b>You’ve mentioned that you want to bring the female characters out of the background and incorporate them more into the action of the play. How do you hope to do that, and with what intention?</b>

In early conversations with our dramaturg Gabby Randle, we discussed the complex racial dynamics of the piece, but also the gender dynamics. The women in this play seem on the sidelines; they have opinions and may instigate, but they don’t drive any of the action. They seem observers and commentators, with a few rare exceptions. Gabby, Wardell, and I are curious to explore what it means to expose this, and to find opportunities for moments of awakening. ■

<i>Guess Who’s Coming to Dinner </i>runs from March 15 through April 15, 2018. <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/guess-whos-coming-dinner/">Tickets are available now.</a>
<p class="caption">Photo of Wardell Julius Clark and Marti Lyons at first rehearsal by Joe Mazza.</p>"
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  <div class="container">
  
  <h1>Blog</h1>
  
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/justice-scalias-unlikely-best-friend/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/04/scalia-and-rbg-e1522873093169.jpg" alt="" /></a>
      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/justice-scalias-unlikely-best-friend/">Justice Scalia’s Unlikely Best Friend</a></h3>
        <p>Given the relationship dynamics in THE ORIGINALIST, perhaps it’s unsurprising that one of Scalia’s best friends was Supreme Court Justice Ruth Bader Ginsburg.</p>
      </div>
    </article>
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/critics-enamored-by-guess-whos-coming-to-dinner/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/04/guess-prodphoto-200sq.jpg" alt="" /></a>
      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/critics-enamored-by-guess-whos-coming-to-dinner/">Critics Enamored by GUESS WHO&#8217;S COMING TO DINNER</a></h3>
        <p>Since the show opened on March 15, critics have released their overwhelmingly positive reviews.</p>
      </div>
    </article>
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/exelon-south-side-youth-performance-fest/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/03/hs-fest-2018-200sq.jpg" alt="" /></a>
      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/exelon-south-side-youth-performance-fest/">Exelon South Side Youth Performance Fest</a></h3>
        <p>The Exelon South Side Youth Performance Fest, held annually at Court Theatre, marks the beginning of a rewarding partnership between Exelon and Court Theatre. Exelon, the parent company of the Chicago-based firm ComEd, is committed to strong corporate citizenship, with a significant focus on enabling student access to the arts and cultural experiences.</p>
      </div>
    </article>
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/cultural-memory/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/03/gabby-200sq.jpg" alt="" /></a>
      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/cultural-memory/">Cultural Memory</a></h3>
        <p>Production Dramaturg Gabrielle Randle explores the cultural significance of the 1967 Film <i>Guess Who's Coming to Dinner.</i></p>
      </div>
    </article>
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/interracial-love-screen-1967-today/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/02/gwc-film-e1519246251881.jpg" alt="" /></a>
      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/interracial-love-screen-1967-today/">Interracial Love on Screen: 1967 and Today</a></h3>
        <p>When Guess Who’s Coming to Dinner premiered in 1967, interracial marriage was still outlawed in thirteen states.</p>
      </div>
    </article>
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/patrese-d-mcclain-joins-court-staff-director-education/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/02/McClain-Patrese-D.-e1517504104139.jpg" alt="" /></a>
      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/patrese-d-mcclain-joins-court-staff-director-education/">Patrese D. McClain joins Court staff as Director of Education</a></h3>
        <p>A beloved teaching artist and Youth Performance Fest coordinator, Patrese takes on education programming at Court.</p>
      </div>
    </article>
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/critics-awe-sons/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/01/all-my-sons-200sq-reviews.jpg" alt="" /></a>
      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/critics-awe-sons/">Critics in awe of ALL MY SONS</a></h3>
        <p>The critical reception for All My Sons has been outstanding. Read excerpts from the reviews here. </p>
      </div>
    </article>
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/arthur-millers-lucky-break/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/01/nyt-review-all-my-sons-200sq.jpg" alt="" /></a>
      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/arthur-millers-lucky-break/">Arthur Miller’s Lucky Break</a></h3>
        <p>“The success of a play, especially one's first success, is somewhat like pushing against a door which suddenly opens from the other side."</p>
      </div>
    </article>
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/10377/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/01/aaron-helen-sq.jpg" alt="" /></a>
      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/10377/">Subscriber Spotlight: Helen Barrett</a></h3>
        <p>If you’ve been to a Court Theatre Spotlight Reading Series event, chances are you’ve probably seen Helen Barrett. A retired Chicago Police detective, Helen has been a Court subscriber for over two decades. She’s also attended all but one of Court’s Spotlight Readings. Court is grateful for Helen’s longstanding commitment as a subscriber, and for her passionate support of the Spotlight Reading Series. </p>
      </div>
    </article>
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/q-director-marti-lyons/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/01/guess-200-bl.jpg" alt="" /></a>
      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/q-director-marti-lyons/">Q&#038;A: Director Marti Lyons</a></h3>
        <p>Director Marti Lyons discusses <i>Guess Who's Coming to Dinner</i> how the company of artists will "re-interpret this beautiful, flawed, historical, unnerving, and urgent work."</p>
      </div>
    </article>
  
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