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          string(2072) "<img class="alignnone wp-image-14242 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/07/800X2502.jpg" alt="Stoppard's Leopoldsadt" width="1667" height="521" />

<strong>Are you interested in attending all seven sessions of our upcoming <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/">Deep Dive series, on Tom Stoppard's <em>Leopoldstadt</em></a> for free?</strong> Enter our ticket giveaway for a chance to win a free ticket to the series (a $250 value) and take an in-depth examination of Tom Stoppard’s new, epic drama, <em>Leopoldstadt</em>. Combining the personal and philosophical, Stoppard's groundbreaking new play explores both history and Stoppard’s own Jewish heritage, discovered late in his life.

<strong>Entry Instructions:  </strong>

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<em>*Limit one entry per household. Must be 18 years or older to enter. Entry void where prohibited by law. Cannot be transferred to another individual. By entering this ticket giveaway you agree to have your name shared on social media if selected as the winner of the drawing. Entries must be received by October 2, 2020. We will notify winners on October 5, 2020.</em>

<strong>Want more chances to have your name drawn?</strong>
<ul>
 	<li><strong>Share</strong> <a href="https://www.facebook.com/CourtTheatre/posts/10158020681331997">Court Theatre's Facebook post</a> about the ticket giveaway for an extra 5 (five) entries.</li>
 	<li><strong>Comment</strong> on <a href="https://www.facebook.com/CourtTheatre/posts/10158020681331997">Court Theatre's Facebook post </a>about why you're excited about Deep Dive for an extra 3 (three) entries.</li>
 	<li><strong>Tag a friend</strong> who might be interested in Deep Dive <a href="https://www.facebook.com/CourtTheatre/posts/10158020681331997">on Facebook</a> for an extra 1 (one) entry.</li>
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<strong>Are you interested in attending all four sessions of our upcoming <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/theatre-thought/">Theatre &amp; Thought series</a>, <a href="https://www.courttheatre.org/about/blog/theatre-thought-euripides-the-bacchae-contemporary-adaptation/">Euripides' <em>The Bacchae</em> + Contemporary Adaptation</a> for free?</strong> Enter our ticket giveaway for a chance to win a free ticket to the series (an $85 value) and learn more about the dramatic elements that make Euripides’ tragedy ripe for adaptation, including a digital performance of a translation by founding artistic director <a href="https://www.courttheatre.org/people/nicholas-rudall/">Nicholas Rudall</a>, and a discussion of Wole Soyinka’s <em>The Bacchae of Euripides</em>.

<strong>Entry Instructions:  </strong>

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<em>*Limit one entry per household. Must be 18 years or older to enter. Entry void where prohibited by law. Cannot be transferred to another individual. By entering this ticket giveaway you agree to have your name shared on social media if selected as the winner of the drawing. Entries must be received by October 2, 2020. We will notify winners on October 5, 2020.</em>

<strong>Want more chances to have your name drawn?</strong>
<ul>
 	<li><strong>Share</strong> <a href="https://www.facebook.com/CourtTheatre/posts/10158018508816997">Court Theatre's Facebook post</a> about the ticket giveaway for an extra 5 (five) entries.</li>
 	<li><strong>Comment</strong> on <a href="https://www.facebook.com/CourtTheatre/posts/10158018508816997">Court Theatre's Facebook post </a>about why you're excited about Euripides' <em>The Bacchae</em> for an extra 3 (three) entries.</li>
 	<li><strong>Tag a friend</strong> who might be interested in Euripides' <em>The Bacchae </em>+ Contemporary Adaptation <a href="https://www.facebook.com/CourtTheatre/posts/10158018508816997">on Facebook</a> for an extra 1 (one) entry.</li>
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          ["post_content"]=>
          string(13155) "<img class="alignnone wp-image-14779 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/09/1000x4004-1.jpg" alt="" width="2083" height="833" />The extant Greek plays continue to speak to contemporary cultures, fueled by a myriad of creative retellings and adaptations by contemporary playwrights. Euripides’ ancient Greek tragedy explores the consequences of mixing the personal and political and the importance of listening to the will of the people. Sarah Nooter, renowned author and faculty member of the Department of Classics and the College, shares insights about the dramatic elements that make Euripides’ tragedy ripe for adaptation, including a discussion of Wole Soyinka’s <i>The Bacchae of Euripides.</i>

[button link="https://tickets.courttheatre.org/online/default.asp?doWork::WScontent::loadArticle=Load&amp;BOparam::WScontent::loadArticle::article_id=52000507-75C7-471A-B05A-E0B97128A932" text="Register for the Seminar"]

<hr />

<img class="wp-image-14782 size-full alignright" src="https://www.courttheatre.org/wp-content/uploads/2020/09/greece_1.jpg" alt="" width="400" height="225" />
<h3>Euripides’ <em>Bacchae</em>: Sight and Blindness; Self and Other</h3>
<h4>October 7, 2020 | Featuring Dr. Sarah Nooter and Dr. Christopher Faraone</h4>
<span style="font-weight: 400;">In this session, Dr. Nooter and Dr. Faraone will discuss the religious background of <em>The </em></span><i><span style="font-weight: 400;">Bacchae</span></i><span style="font-weight: 400;">, including issues of divine recognition, belief, madness, mystery rites, and the role of gods and worship in ancient Greece. Participants will learn how these issues come into contact with tragic questions of knowing oneself and encountering the “other” within. Along the way, we will cover the question of how the self and the society relate to one another and what it means to relinquish free will. Our discussion will make use of Sophocles’ </span><i><span style="font-weight: 400;">Oedipus the King</span></i><span style="font-weight: 400;"> as a point of comparison.</span>

<hr />

<img class="wp-image-14783 size-full alignright" src="https://www.courttheatre.org/wp-content/uploads/2020/09/wole-soyinka.jpg" alt="" width="400" height="225" />
<h3><em>The Bacchae</em> and Adaptation: Identity, History, and Change</h3>
<h4>October 14, 2020 | Featuring Dr. Sarah Nooter and Dr. Clifford Ando</h4>
<b>Suggested Reading Prior to this Session: </b>Wole Soyinka’s <a href="https://www.semcoop.com/bacchae-euripidesa-communion-rite" target="blank" rel="noopener noreferrer"><i><span style="font-weight: 400;">The Bacchae of Euripides: A Communion Rite</span></i></a>

<span style="font-weight: 400;">In this session, Dr. Nooter and Dr. Ando will look at the </span><i><span style="font-weight: 400;">Bacchae</span></i><span style="font-weight: 400;"> and its afterlife in the Gospel of John and Wole Soyinka’s adaptation from 1973 called </span><i><span style="font-weight: 400;">The Bacchae of Euripides: A Communion Rite</span></i><span style="font-weight: 400;">. Here we will look at the structure of the play as one of recognition in different versions, emphasizing themes of knowledge and allegory, and showing how the language and imagery of these works reveal and invert reality. We will also see how the play reverberates through Christian culture and evokes questions of social upheaval and division, examining issues of identity, history, and change. Participants will be asked to read excerpts from The Gospel of John and Soyinka’s </span><i><span style="font-weight: 400;">Bacchae</span></i><span style="font-weight: 400;">.</span>

<hr />

<img class="wp-image-14784 size-full alignright" src="https://www.courttheatre.org/wp-content/uploads/2020/09/bacchaereading.jpg" alt="" width="400" height="225" />
<h3>Digital Reading: Euripides'<em> The Bacchae</em></h3>
<h4>October 21, 2020
Translated by Nicholas Rudall
Directed by Monty Cole
Assistant Directed by Monet Felton</h4>
The inventive Chicago-based director Monty Cole will lead a reading of <em>The Bacchae</em> translated by Court’s Founding Artistic Director, Nicholas Rudall, a premier translator of Greek texts. Together, with assistant director Monet Felton and a cast of female-identifying actors, Cole brings Euripides' words to life in this digital reading, its themes reverberating with uncanny resonance in 2020.

The digital reading of Euripides' <em>The Bacchae </em>will feature actors <a href="https://www.courttheatre.org/people/adia-alli/">Adia Alli</a>, <a href="https://www.courttheatre.org/people/cheryl-lynn-bruce/">Cheryl Lynn Bruce</a>, <a href="https://www.courttheatre.org/people/atra-asdou/">Atra Asdou</a>, <a href="https://www.courttheatre.org/people/mckenzie-shinn/">McKenzie Shinn</a>, <a href="https://www.courttheatre.org/people/stephanie-diaz/">Stephanie Diaz</a>, <a href="https://www.courttheatre.org/people/kirsten-fitzgerald/">Kirsten Fitzgerald</a>, <a href="https://www.courttheatre.org/people/jennifer-latimore/">Jennifer Latimore</a>, <a href="https://www.courttheatre.org/people/karissa-murrell-myers/">Karissa Murrell Myers</a>, and <a href="https://www.courttheatre.org/people/mj-rawls/">MJ D. Rawls.</a>

<hr />

<img class="wp-image-14787 size-full alignright" src="https://www.courttheatre.org/wp-content/uploads/2020/09/identity.jpg" alt="" width="400" height="225" />
<h3><em>The Bacchae</em> in Performance: Gender, Identity, and Self-Knowledge</h3>
<h4>October 28, 2020 | Featuring Dr. Sarah Nooter and Monty Cole</h4>
In this session, Dr. Nooter and Director Monty Cole will discuss the previous session's staged reading of <em>The Bacchae</em> and how its directorial choices reflect fundamental questions of gender, identity, and self-knowledge. We will aim to revisit some of the themes and questions covered in previous sessions in light of the insights gained through performance.
<h2>About the Scholars and Artists</h2>
<strong><img class="wp-image-14780 size-full alignleft" src="https://www.courttheatre.org/wp-content/uploads/2020/09/sarahnooter_Sq.jpg" alt="" width="250" height="250" />Dr. Sarah Nooter</strong> is a professor of classics and theater and performance studies at the University of Chicago. She is the author of When Heroes Sing: Sophocles and the Shifting Soundscape of Tragedy and The Mortal Voice in the Tragedies of Aeschylus. She also coedited Sound and the Ancient Senses, with Shane Butler, and is the editor in chief of Classical Philology. She is working on a book, Bodies in Time: The Substance of Greek Poetry (working title), which explores modes of embodiment and temporality in ancient Greek poetry and song. At the University of Chicago, she serves on the faculty advisory board to Court Theatre and chairs the Poetry and the Human sequence in the Humanities Core.

&nbsp;

<strong><img class="size-full wp-image-14825 alignleft" src="https://www.courttheatre.org/wp-content/uploads/2020/09/faraone_200.jpg" alt="" width="200" height="200" /></strong><span style="font-weight: 400;"><strong>Christopher Athanasius Faraone</strong> is a Professor in the Classics Department at the University of Chicago.  His work is primarily concerned with ancient Greek religion and poetry.  He is co-editor (with D. Dodd) of </span><i><span style="font-weight: 400;">Initiation in Ancient Greek Rituals and Narratives: New Critical Perspectives</span></i><span style="font-weight: 400;"> (2003), (with L. McClure) of </span><i><span style="font-weight: 400;">Prostitutes and Courtesans in the Ancient World</span></i><span style="font-weight: 400;"> (2005), (with F. Naiden) </span><i><span style="font-weight: 400;">Ancient Victims, Modern Observers: Reflections on Greek and Roman Sacrifice</span></i><span style="font-weight: 400;"> (2011) and (with D. Obbink), </span><i><span style="font-weight: 400;">The Getty Hexameters: Magic, Poetry and Mystery in Ancient Selinous</span></i><span style="font-weight: 400;"> (Oxford 2013).  Recent books include </span><i><span style="font-weight: 400;">The Stanzaic Architecture of Ancient Greek Elegiac Poetry</span></i><span style="font-weight: 400;"> (2008), </span><i><span style="font-weight: 400;">The Transformation of Ancient Greek Amulets in Roman Times</span></i><span style="font-weight: 400;"> (2018) and numerous articles on Ancient Greek magic, poetry and religion.</span>
<div>

<strong><img class="wp-image-14813 size-full alignleft" src="https://www.courttheatre.org/wp-content/uploads/2020/09/cliffordando.jpg" alt="" width="250" height="250" />Clifford Ando </strong>received his PhD from the University of Michigan and taught in Toronto and Los Angeles before coming to Chicago.  His writing focuses on the histories of religion, law and government in the ancient world.  His books include <i>The Matter of the Gods: Religion and the Roman Empire</i> (2008); <i>Law, Language and Empire in the Roman Tradition</i> (2011); and <i>Roman Social Imaginaries. Language and Thought in Contexts of Empire</i> (2015).  He served for five years as co-director of Chicago's Center for the Study of Ancient Religions, and has delivered more than 300 lectures in 24 countries.

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<strong><img class="size-full wp-image-14781 alignleft" src="https://www.courttheatre.org/wp-content/uploads/2020/09/montycole_sq.jpg" alt="" width="250" height="250" />Monty Cole </strong>is a director based in Chicago and Los Angeles. Cole has workshopped and directed new plays and re-imaginings of classic text across the country. He has directed for Steppenwolf (<em>The Brothers Size</em> by Tarell Alvin McCraney), Center Theatre Group (<em>Campaign</em> by Laura Jacqmin and <em>How to Raise a Freeman</em> by Zakiyyah Alexander at the LA Writers Workshop Fest), The Goodman Theatre (<em>Incendiary</em> by Dave Harris and <em>florissant &amp; canfield</em> by Kristiana Rae Colon at the New Stages Festival), Victory Gardens Theater (<em>end of message</em> by Laura Jacqmin and <em>Suspension</em> by Kristiana Rae Colon at the Ignition Festival of New Plays), Cape Cod Theatre Project and Alley Theatre All New Festival (<em>end of message</em>), American Theatre Company (<em>The Project(s)</em> and <em>Black Like Me</em> workshop), The House Theatre of Chicago (<em>Borealis, Ogalala</em> workshop and <em>Thatcher Woods</em> workshop), Haven (<em>Kiss</em> by Guillermo Calderon) the Chicago Theater Marathon (<em>That Unnamed Feeling</em> by Alysia and Monty Cole) California Institute of the Arts and others. Cole directed the Jeff Award winning production of <em>The Hairy Ape</em> for Oracle Productions. He’s currently commissioned to adapt <em>Black Like Me</em>, the classic investigation of race by John Howard Griffin. Monty is also working with collaborator and choreographer Breon Arzell on revitalizing<em> In Dahomey</em>, the first black written and performed Broadway musical. Up next, Cole will direct the west coast premiere of Young Jean Lee’s <em>We’re Gonna Die</em>, a workshop of his Goodman commission <em>American Adolescence, </em>followed by <em>Black Odyssey </em>by Marcus Gardley at Oregon Shakespeare Festival. Monty has a BFA in Theatre Studies from Emerson College and an MFA Directing degree from the California Institute of the Arts.

<hr />

<span style="font-weight: 400;">Court’s <b>Theatre &amp; Thought series</b> connects audiences to expert insights from University of Chicago faculty about the historical context, thematic relevance, and artistic possibilities surrounding classic works. Each Theatre &amp; Thought topic will feature a different play and include virtual meetings with University scholars to discuss the ideas underpinning these classic texts.  </span>

<a href="https://grahamschool.uchicago.edu" target="_blank" rel="noopener noreferrer"><img class="size-full wp-image-14219 alignleft" src="https://www.courttheatre.org/wp-content/uploads/2020/07/graham-logo-75.jpg" alt="Graham School" width="75" height="75" /></a><span style="font-weight: 400;">Court’s remote, digital experiences are produced in partnership with the <strong><a href="https://grahamschool.uchicago.edu" target="_blank" rel="noopener noreferrer">University of Chicago Graham School's</a> Arts@Graham series.</strong></span>

<strong>Select 1 course or enjoy the whole series!</strong> 5-event subscribers will have access to all seminars in Theatre &amp; Thought. 3 and 4-event subscribers may select the entire Theatre &amp; Thought series as just <em>one</em> of their event selections. 3-event subscription packages start at only $96—a huge savings over purchasing seminars separately. <span style="font-weight: 400;">Individual enrollment for the Theatre &amp; Thought series is $85 per course. </span>

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          ["post_title"]=>
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          string(4037) "<span style="font-weight: 400;"><img class="alignnone size-full wp-image-14757" src="https://www.courttheatre.org/wp-content/uploads/2020/09/hedley-kierra-kelvin-800.jpg" alt="King Hedley II" width="800" height="305" />Court Theatre is excited to announce that we received 11 Jeff Awards nominations for the shortened 2019/20 Season, with each production earning at least one nomination. At a time when non-profits arts organizations and theatres have been so affected by the pandemic, we are grateful to be reminded of all of the passionate artists whose work brings Chicago's stages to life.</span>

<span style="font-weight: 400;">Each year, the Joseph Jefferson Awards committee honors outstanding Chicago area theatres and artists. This achievement continues to reinforce the consistent quality of our artistic contributions to Chicago’s theatre scene.</span>
<h3>2020 Court Theatre Jeff Award Nominations</h3>
<b>Production – Play (Large)
</b>“<a href="https://www.courttheatre.org/season-tickets/2019-2020-season/king-hedley-ii/">King Hedley II</a>” – Court Theatre

<b>Director – Play (Large)
</b>“<a href="https://www.courttheatre.org/season-tickets/2019-2020-season/king-hedley-ii/">King Hedley II</a>” – Court Theatre – <a href="https://www.courttheatre.org/people/ron-oj-parson/">Ron OJ Parson</a>

<strong>Performer in a Principal Role – Play</strong>
<a href="https://www.courttheatre.org/people/kelvin-roston-jr/">Kelvin Roston, Jr.</a> (Hedley) - “<a href="https://www.courttheatre.org/season-tickets/2019-2020-season/king-hedley-ii/">King Hedley II</a>” - Court Theatre

<strong>Performer in a Supporting Role – Play</strong>
<a href="https://www.courttheatre.org/people/kierra-bunch/">Kierra Bunch</a> (Tonya) - “<a href="https://www.courttheatre.org/season-tickets/2019-2020-season/king-hedley-ii/">King Hedley II</a>” - Court Theatre
<a href="https://www.courttheatre.org/people/a-c-smith/">A.C. Smith</a> (Elmore) - “<a href="https://www.courttheatre.org/season-tickets/2019-2020-season/king-hedley-ii/">King Hedley II</a>” - Court Theatre

<strong>Scenic Design - Large</strong>
<a href="https://www.courttheatre.org/people/regina-garcia/">Regina Garcia</a> - “<a href="https://www.courttheatre.org/season-tickets/2019-2020-season/king-hedley-ii/">King Hedley II</a>” - Court Theatre

<strong>Costume Design - Large
</strong><a href="https://www.courttheatre.org/people/alison-siple/">Alison Siple</a> - “<a href="https://www.courttheatre.org/season-tickets/2019-2020-season/the-mousetrap/">The Mousetrap</a>” - Court Theatre

<strong>Sound Design - Large</strong>
<a href="https://www.courttheatre.org/people/chris-laporte/">Christopher M. LaPorte</a> - “<a href="https://www.courttheatre.org/season-tickets/2019-2020-season/king-hedley-ii/">King Hedley II</a>” - Court Theatre
<a href="https://www.courttheatre.org/people/andre-pluess/">André Pluess</a> and <a href="https://www.courttheatre.org/people/chris-laporte/">Christopher M. LaPorte</a> - “<a href="https://www.courttheatre.org/season-tickets/2019-2020-season/oedipus-rex/">Oedipus Rex</a>” - Court Theatre

<strong>Lighting Design - Large</strong>
<a href="https://www.courttheatre.org/people/keith-parham/">Keith Parham</a> - “<a href="https://www.courttheatre.org/season-tickets/2019-2020-season/oedipus-rex/">Oedipus Rex</a>” - Court Theatre

<strong>Artistic Specialization
</strong><a href="https://www.courttheatre.org/people/erin-kilmurray/">Erin Kilmurray</a> (Movement Design) - “<a href="https://www.courttheatre.org/season-tickets/2019-2020-season/oedipus-rex/">Oedipus Rex</a>” - Court Theatre

<span style="font-weight: 400;">We are privileged to be part of the incredible theatre community in Chicago, and look forward to being able to attend and celebrate live performance again. Congratulations to all of the nominees!</span><span style="font-weight: 400;">
</span>

<em>Photo of Kierra Bunch and Kelvin Roston, Jr. (Michael Brosilow).</em>"
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          string(2111) "<img class="alignnone size-full wp-image-14504" src="https://www.courttheatre.org/wp-content/uploads/2020/08/WorldOfAugustWilson800.jpg" alt="" width="800" height="300" />

<strong>Are you interested in attending all four sessions of our upcoming <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/theatre-thought/">Theatre &amp; Thought series</a>, <a href="https://www.courttheatre.org/about/blog/theatre-thought-the-world-of-august-wilson-and-the-black-creative-voice/">The World of August Wilson + The Black Creative Voice</a> for free?</strong> Enter our ticket giveaway for a chance to win a free ticket to the series (an $85 value) and learn more about August Wilson's life, plays, and relation to the Black Arts Movement.

<strong>Entry Instructions:  </strong>

[button link="https://docs.google.com/forms/d/e/1FAIpQLSfEuPuSVuHxvFkiKPOPDCb_b2xyHuxxCmfVu9ORNGR34kSLHQ/viewform" text="Fill Out This Form to Enter"]

<em>*Limit one entry per household. Must be 18 years or older to enter. Entry void where prohibited by law. Cannot be transferred to another individual. By entering this ticket giveaway you agree to have your name shared on social media if selected as the winner of the drawing. Entries must be received by September 3, 2020. We will notify winners on September 4, 2020.</em>

<strong>Want more chances to have your name drawn?</strong>
<ul>
 	<li><strong>Share</strong> <a href="https://www.facebook.com/CourtTheatre/posts/10157959496776997">Court Theatre's Facebook post</a> about the ticket giveaway for an extra 5 (five) entries.</li>
 	<li><strong>Comment</strong> on <a href="https://www.facebook.com/CourtTheatre/posts/10157959496776997">Court Theatre's Facebook post</a> about why you're excited about The World of August Wilson + The Black Creative Voice for an extra 3 (three) entries.</li>
 	<li><strong>Tag a friend</strong> who might be interested in The World of August Wilson + The Black Creative Voice <a href="https://www.facebook.com/CourtTheatre/posts/10157959496776997">on Facebook</a> for an extra 1 (one) entry.</li>
</ul>
&nbsp;"
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          string(11295) "<a href="https://www.courttheatre.org/people/august-wilson/">August Wilson</a> is most known for his Century Cycle (also called The Pittsburgh Cycle), a collection of ten plays that span across decades to document African American experiences in the 20th century. The plays chronicle the effect of social and historical situations of each decade on individual characters. All but one of the plays take place in the Hill District of Pittsburgh, Pennsylvania, an area that consists of historical black neighborhoods. The Hill District has been made well known on the national stage by Wilson, who himself lived there for a time in his childhood and would regularly return to visit, as well as for its cultural significance, economic decline, and for the impact that the 1968 Pittsburgh riots had on the neighborhood as well.

Wilson wrote the plays out of order, so while the publication/premiere dates vary greatly amongst them all, the chronological order is as follows:

<a href="https://www.courttheatre.org/season-tickets/2015-2016-season/gem-of-the-ocean/"><strong><em>Gem of the Ocean</em></strong></a>

[caption id="attachment_14447" align="alignnone" width="800"]<img class="wp-image-14447 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/08/gemoftheocean_800.jpg" alt="" width="800" height="300" /> Photo of Jerod Haynes, Jacqueline Williams, Tyla Abercrumbie, and A.C. Smith in GEM OF THE OCEAN by Michael Brosilow.[/caption]

Written in 2003, the play takes place in 1904. Citizen Barlow flees Alabama and goes to Pittsburgh in search of a different life. He visits Aunt Ester, a woman rumored to be 285 years old and who possess healing powers. She guides him on a spiritual journey, sending him to the City of Bones, a city in the Atlantic Ocean built from the bones of Africans who died on slave ships. Aunt Ester’s lessons shape Citizen’s actions near the end of the play when tragedy strikes and he is faced with an important decision.

<strong><em>Joe Turner’s Come and Gone</em></strong>
Written in 1988, the play takes place in a Pittsburgh boarding house in 1917. For historical context, the Great Migration of the 1910s was occurring, descendants of former slaves moving from the South to the industrial cities of the North in pursuit of new jobs and new lives. In the play, Seth and Bertha Holly run a boarding house where these travelers could rest on their journey to the North. Herald Loomis arrives at the boarding house with his daughter Zonia in search of his wife Martha. Joe Turner refers to the bounty hunter who illegally enslaved Herald; horrific memories of the man haunt Herald during his journey. At the boarding house, Herald meets a variety of characters who represent different generations and personal histories. One such character is Bynum Walker, who helps him see that he is really searching for his own identity.

<a href="https://www.courttheatre.org/season-tickets/2009-2010-season/ma-raineys-black-bottom/"><em><strong>Ma Rainey’s Black Bottom</strong></em></a>

[caption id="attachment_14448" align="alignnone" width="800"]<img class="wp-image-14448 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/08/marainey_800.jpg" alt="" width="800" height="300" /> Photo of Greta Oglesby, Kelvin Roston Jr., Kristy Johnson, A.C. Smith, James T. Alfred, Alfred H. Wilson, Cedric Young, Thomas J. Cox and Stephen Spencer MA RAINEY'S BLACK BOTTOM by Michael Brosilow.[/caption]

Written in 1982, the play takes place in 1927 in a Chicago recording studio, the only play in the Cycle that does not take place in Pittsburgh. Tensions between Ma Rainey’s blues band and the white studio owners, as well as within the band itself, escalate as the creatives are pitted against one another and rebel against the exploitation of the music producers. It is inspired by the real life of Gertrude “Ma” Rainey, a professional blues singer known as the “Mother of Blues”.

<a href="https://www.courttheatre.org/season-tickets/2008-2009-season/the-piano-lesson/"><em><strong>The Piano Lesson</strong></em></a>

[caption id="attachment_14449" align="alignnone" width="800"]<img class="wp-image-14449 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/08/thepianolesson_800.jpg" alt="" width="800" height="300" /> Photo of Alfred H. Wilson, Ronald L. Conner, A.C. Smith, and Brian Weddington in THE PIANO LESSON by Michael Brosilow.[/caption]

Written in 1987, the play takes place in Pittsburgh in 1936, during the aftermath of the Great Depression. The play follows the Charles family and the arguments of siblings Berniece and Boy Willie over the fate of their old family piano, an object that symbolizes history and learning from ancestral legacies. The play won a Pulitzer prize and New York Drama Critics' Circle Award.

<a href="https://www.courttheatre.org/season-tickets/2013-2014-season/seven-guitars/"><em><strong>Seven Guitars</strong></em></a>

[caption id="attachment_14450" align="alignnone" width="800"]<img class="wp-image-14450 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/08/sevenguiatrs_800.jpg" alt="" width="800" height="300" /> Photo of Kelvin Roston Jr., Jerod Haynes, Ebony Wimbs Felicia P. Fields, Ronald L. Conner, and Allen Gilmore in SEVEN GUITARS by Michael Brosilow.[/caption]

Written in 1995, the play takes place in 1948. It starts with the aftermath of the funeral of Floyd “Schoolboy” Barton and then quickly launches backward in time, weeks before his death. Floyd is released from prison and is looking to move from Pittsburgh to Chicago after a recording studio there expresses interest in him due to his recent musical success. However, he pawned his guitar for money and now needs to get it back before leaving. He works to get a band together, reconcile with his girlfriend Vera, and find money to get his guitar back, but the latter in particular proves difficult as he is met with barrier after barrier. The play details events that lead up to Floyd’s death, ending again at the funeral of Floyd where his friends are reminiscing and a revelation even they are not aware of about his death.

<a href="https://www.courttheatre.org/season-tickets/2005-2006-season/fences/"><em><strong>Fences</strong></em></a>

[caption id="attachment_14451" align="alignnone" width="800"]<img class="wp-image-14451 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/08/fences_800.jpg" alt="" width="800" height="300" /> Photo of Jacqueline Williams, A.C. Smith, and John Steven Crowley in FENCES by Michael Brosilow.[/caption]

First performed in 1983, the play takes place in 1957. Troy Maxson was a talented baseball player but never had the opportunity to make into a professional career as major baseball leagues do not accept black players. After some time in prison, Troy works as a garbage collector, the first black man to drive the garbage truck in the city. His family consists of his wife Rose, sons Lyons and Cory, brother Gabe, best friend Bono, mistress Alberta, and, toward the end of the play, baby daughter Raynell. Troy drinks and bitterly reminisces about his past and the injustices he faces. He scolds Lyons for his dreams of being a musician and refuses to let Cory pursue a football scholarship as he harbors resentment for his own lost opportunity. Family tensions arise and are ultimately addressed in this tale of forgiveness, prejudice, bitterness, and love. The play won a Pulitzer Prize, Tony Award, and numerous other accolades. A film adaptation starring Denzel Washington and Viola Davis was released in 2016 to acclaim.

<a href="https://www.courttheatre.org/season-tickets/2020-2021-season/two-trains-running/"><em><strong>Two Trains Running</strong></em></a>

First performed in 1990, the play is set in a diner in 1969, a period that features the civil rights movement and the rise of the Black Power movement, as mentioned within the text. The work examines the effect of such times on individuals still stuck in place and downtrodden, confronted by continued injustice. Hill District residents gather to talk about their realities, from recent demonstrations to looking for work. Memphis is faced with a decision to sell the diner, as the entire city is subjected to growing gentrification.

<a href="https://www.courttheatre.org/season-tickets/2012-2013-season/jitney/"><em><strong>Jitney</strong></em></a>

[caption id="attachment_14452" align="alignnone" width="800"]<img class="wp-image-14452 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/08/jitney_800.jpg" alt="" width="800" height="300" /> Photo of Kamal Angelo Boldon, Alfred H. Wilson, Allen Gilmore, A.C. Smith, and Cedric Young in JITNEY by Michael Brosilow.[/caption]

First performed in 1982, the play is set in 1977 in a Pittsburgh cab station. The city is shutting down businesses during a time when gentrification has seized not only Pittsburgh, but the entire country. The cab station is one such business under threat. The play follows the personal struggles of five cab drivers as their jobs and futures are threatened. It premiered on Broadway in 2017 to acclaim.

<a href="https://www.courttheatre.org/season-tickets/2019-2020-season/king-hedley-ii/"><strong><em>King Hedley II</em></strong></a>

[caption id="attachment_14453" align="alignnone" width="800"]<img class="wp-image-14453 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/08/kinghedley_800.jpg" alt="" width="800" height="300" /> Photo of Kelvin Roston, Jr. and TayLar in KING HEDLEY II by Michael Brosilow.[/caption]

Written in 1999, the play takes place in 1985. It follows King Hedley II, son of Ruby and the spiritual son of Hedley from Seven Guitars, as he tries to carve out a living selling stolen refrigerators after seven years in prison.

<a href="https://www.courttheatre.org/season-tickets/2018-2019-season/radio-golf/"><em><strong>Radio Golf</strong></em></a>

[caption id="attachment_14454" align="alignnone" width="800"]<img class="wp-image-14454 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/08/radiogolf_800.jpg" alt="" width="800" height="300" /> Photo of Allen Gilmore and James Vincent Meredith in RADIO GOLF by Michael Brosilow.[/caption]

First performed in 2005, the play takes place in 1997. Harmond Wilks is a real estate developer dedicated to becoming the first black mayor of Pittsburgh as he envisions reviving the Hill District. However, he begins to question his mission when learning of the risk such change poses to the neighborhood’s vital history.

Numerous characters reappear throughout the cycle, though stories portrayed are not always directly connected. Wilson is lauded for his significant contributions to American theatre, and all works in the Century Cycle remain pertinent and relevant, years after the playwright’s death.

<hr />

Want to learn more about August Wilson's work? Check out our upcoming <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/theatre-thought/">Theatre &amp; Thought</a> series on <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/theatre-thought/">The World of August Wilson + The Black Creative Voice →</a>"
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            string(79) "Get a brief overview of each of the ten plays in August Wilson's Century Cycle."
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          string(15457) "<img class="alignnone size-full wp-image-14504" src="https://www.courttheatre.org/wp-content/uploads/2020/08/WorldOfAugustWilson800.jpg" alt="" width="800" height="300" />
In this conversational, intimate look at August Wilson and the American Century Cycle, Dr. Kenneth Warren and Resident Artist Ron OJ Parson will examine how one of America’s most essential classic playwrights has been influenced by and impacted generations of Black artists.

You can still purchase and enjoy this seminar even though the first date has passed. After purchase, you will be able to view a recording of the previous sessions.

[button link="https://tickets.courttheatre.org/online/default.asp?doWork::WScontent::loadArticle=Load&amp;BOparam::WScontent::loadArticle::article_id=5B3D6F0D-DBA7-4225-9964-5746DB741695" text="Register for the Seminar"]

[button link="https://www.courttheatre.org/wp-content/uploads/2020/09/TT-Wilson-Digital-Program.pdf" text="Read the Digital Playbill"]

<hr />

<img class="size-full wp-image-14497 alignright" src="https://www.courttheatre.org/wp-content/uploads/2020/08/bedford.jpg" alt="" width="400" height="225" />
<h3><strong>August Wilson and The Great Migration</strong></h3>
<h4>September 8, 2020 | Featuring Dr. Kenneth Warren and Professor Sandra Shannon</h4>
In this session, Dr. Kenneth Warren and Professor Sandra Shannon will discuss urbanization, migration, and property ownership in Pittsburgh’s Hill District as well as various theatrical trends that surface in August Wilson’s work. Participants will also learn about how Wilson's work was received and the way Wilson's play tackle issues of historical representation and cultural history.

<strong>Mentioned in this session:
</strong>

Details about the August Wilson Society's September 24th event in its second annual <em>August Wilson's Ground</em> Lecture Series: August and Africa: <a href="https://awslectureseries2020.eventbrite.com">https://awslectureseries2020.eventbrite.com</a>

Details about the August Wilson Society: <a href="http://augustwilsonsociety.org">http://augustwilsonsociety.org</a>

After purchase, you will be able to view a recording of this first session which occurred on September 8.

<hr />

<img class="wp-image-14499 size-full alignright" src="https://www.courttheatre.org/wp-content/uploads/2020/08/civilrights.jpg" alt="" width="400" height="225" />
<h3><strong>August Wilson and The Civil Rights Movement</strong></h3>
<h4>September 15, 2020 | Featuring Dr. Kenneth Warren and Joel Rhone</h4>
In this session, Dr. Kenneth Warren and UChicago Doctoral student Joel Rhone will discuss the protest movements of the 1960s and 1970s in relation to August Wilson’s work. Also discussed will be the representational power of the family/familial struggle in Wilson’s plays and his nostalgia for the Civil Rights Movement in the 1980s and 1990s.

<hr />

<img class="wp-image-14498 size-full alignright" src="https://www.courttheatre.org/wp-content/uploads/2020/08/gemoftheocean.jpg" alt="" width="400" height="225" />
<h3>August Wilson, Genealogy, and Tradition</h3>
<h4>September 22, 2020 | Featuring Dr. Kenneth Warren and Professor Honey Crawford</h4>
In this session, Dr. Kenneth Warren and Professor Honey Crawford will expound on Wilson’s engagement with heteronormative leadership hierarchies of the Civil Rights Movement and address the representation of slavery, genealogy, and matriarchy in the plays of August Wilson. Additional discussion will concern the performance of African American vernacular speech and other cultural traditions in Wilson’s theatre and the social changes that sparked a renewed interest in African American folk culture in the 1980s and 1990s.
<div class="m_-8458824699283011380column">
<div id="m_-8458824699283011380heading-image-text-block-1597851930676"></div>
</div>

<hr />

<img class="wp-image-14496 size-full alignright" src="https://www.courttheatre.org/wp-content/uploads/2020/08/ronwilson.jpg" alt="" width="400" height="225" />
<h3><strong>The Ground on Which I Stand</strong></h3>
<h4>September 29, 2020 | Featuring Dr. Kenneth Warren and Resident Artist Ron OJ Parson</h4>
In this session, Resident Artist Ron OJ Parson and Dr. Kenneth Warren will explore Wilson’s simultaneous commitments to Western and African traditions and Wilson’s push for a “black theatre” in the speech “The Ground on Which I Stand.” Participants will also learn more about the influences on Wilson from the Black Arts/Black Power movement and contemporary artists who would identify Wilson as an influence.
<h2>About the Scholars and Artists</h2>
<strong><img class="size-full wp-image-14510 alignleft" src="https://www.courttheatre.org/wp-content/uploads/2020/08/kenwarren_250sq.jpg" alt="" width="250" height="250" />Dr. Kenneth Warren</strong>'s scholarship and teaching focuses on American and African American literature from the late nineteenth century through the middle of the twentieth century. Professor Warren is particularly interested in the way that debates about literary form and genre articulate with discussions of political and social change. His single-authored books, which include <em>What Was African American Literature?</em> (Harvard 2010), <em>So Black and Blue: Ralph Ellison and the Occasion of Criticism</em> (Chicago, 2003), and <em>Black and White Strangers: Race and American Literary Realism</em> (Chicago, 1993), explore how American literature by black and white writers helped consolidate, and subsequently responded to, Jim Crow America. Professor Warren is also a coeditor of two books, <em>Renewing Black Intellectual History: The Material and Ideological Foundations of African America Thought</em> (Paradigm 2010) and <em>Jim Crow, Literature, and the Legacy of Sutton E. Griggs</em> (Georgia 2013). His articles have also appeared in <em>Boston Review</em>, <em>The Los Angeles Review of Books</em>, and <em>Jacobin</em>. At the University of Chicago, the various courses he teaches reflect his interest in genre, the politics of race, and the relation of culture to politics.

<strong><img class="size-full wp-image-14511 alignleft" src="https://www.courttheatre.org/wp-content/uploads/2020/08/sandrashannon_250sq.jpg" alt="" width="250" height="250" />Dr. Sandra G. Shannon </strong>is Professor of African American Literature in the Department of English at Howard University. She is a leading scholar on the works of playwright August Wilson with titles such as <em>The Dramatic Vision of August Wilson</em> and <em>August Wilson's Fences: A Reference Guide</em> to her credit. She coedited the essay collection <em>August Wilson and Black Aesthetic</em> and is completing her work as coeditor of the forthcoming <em>MLA Approaches to Teaching</em> series volume <em>Approaches to Teaching the Plays of August Wilson</em>. Dr. Shannon has most recently published “An Intimate Look at Lynn Nottage,” which appeared along with an in-depth interview of the playwright in the collection, Contemporary African American Women Playwrights. She is also the author of “Women Playwrights Who Cross Cultural Borders,” which appears in the 2013 edition of The Cambridge Companion to African American Theatre. Dr. Shannon is currently part of an NEH award-winning team that will produce the PBS American Masters documentary on August Wilson set to air in 2014. She was recently named a Fulbright Specialist and has since won a grant from the U. S. State Department to travel to Botswana to do archival research on the written correspondences of the country’s most influential writer, the late Bessie Head. Dr. Shannon has recently accepted the editorship of the College Language Association Journal.

<strong><img class="size-full wp-image-14541 alignleft" src="https://www.courttheatre.org/wp-content/uploads/2020/08/honeycrawford_sq.jpg" alt="" width="250" height="250" />Honey Crawford’</strong>s research interests include global feminisms, critical race theory, public spectacle, and protest. She specializes in Afro Brazilian cultural performance as both a scholar and practitioner, exploring intersections between ritual performance and self-making through a repertoire that includes carnival, media activism, radical theatre, and the performance of everyday life. She earned her PhD in theatre studies from Cornell University in 2017 where she was also a New York Public Humanities Fellow.

Honey is currently developing her dissertation into her book manuscript, <em>Negra Demais! Overwhelming Performances of Afro Brazilian Femininity</em>. This project takes an interdisciplinary approach, positioning women-driven spectacles of black consciousness in the 20th- 21st century against prevalent discourse on the black diaspora and performance studies. Paying close attention to theatrical traditions that press against the bounds of propriety and indulge in an aesthetic of abundance, this book identifies a preoccupation with the transgressive potential held in performances of black feminine power.

<strong><img class="size-full wp-image-14513 alignleft" src="https://www.courttheatre.org/wp-content/uploads/2020/08/RonOJParson_250sq.jpg" alt="" width="250" height="250" />Ron OJ Parson </strong>hails from Buffalo, New York and is a graduate of the University of Michigan’s professional theatre program. He is a Resident Artist at Court Theatre,  former co-founder and artistic director of the Onyx Theatre Ensemble, and co-founder of the Beyond the Stage Theatre Project. Ron is a company member of TimeLine Theatre, and associate artist at Writers Theatre and Teatro Vista. Court Theatre: <a href="https://www.courttheatre.org/season-tickets/2005-2006-season/fences/"><em>Fences</em></a>, <i><a href="https://www.courttheatre.org/season-tickets/2015-2016-season/gem-of-the-ocean/">Gem of the Ocean</a>,</i> <i><a href="https://www.courttheatre.org/season-tickets/2013-2014-season/seven-guitars/">Seven Guitars</a>, <a href="https://www.courttheatre.org/season-tickets/2009-2010-season/ma-raineys-black-bottom/">Ma Rainey’s Black Bottom</a>, <a href="https://www.courttheatre.org/season-tickets/2008-2009-season/the-piano-lesson/">The Piano Lesson</a>, </i>and<i> </i><a href="https://www.courttheatre.org/season-tickets/2012-2013-season/jitney/"><i>Jitney</i></a> by August Wilson; <a href="https://www.courttheatre.org/season-tickets/2013-2014-season/the-moutaintop/"><i>The Mountaintop</i></a><i> </i>by Katori Hall; <a href="https://www.courttheatre.org/season-tickets/2014-2015-season/waiting-for-godot/"><i>Waiting for Godot</i></a> by Samuel Beckett;<a href="https://www.courttheatre.org/season-tickets/2009-2010-season/sizwe-banzi-dead/"><em> Sizwe Banzi is Dead</em></a> by Athol Fugard, John Kani and Winston Ntshona; <a href="https://www.courttheatre.org/season-tickets/2016-2017-season/blues-alabama-sky/"><em>Blues for an Alabama Sky</em></a> and <a href="https://www.courttheatre.org/season-tickets/2006-2007-season/flyin-west/"><em>Flyin’ West</em></a> by Pearl Cleage; <em><a href="https://www.courttheatre.org/season-tickets/2010-2011-season/home/">Home</a></em> by Samm-Art Williams; <a href="https://www.courttheatre.org/season-tickets/2008-2009-season/wait-until-dark/"><em>Wait Until Dark</em></a> by Frederick Knott; <em><a href="https://www.courttheatre.org/season-tickets/2007-2008-season/first-breeze-summer/">The First Breeze of Summer</a></em> by Leslie Lee; and the musical <em><a href="https://www.courttheatre.org/season-tickets/2017-2018-season/five-guys-named-moe/">Five Guys Named Moe</a></em>.  In Chicagoland, Ron has also worked with Black Ensemble Theatre, eta Creative Arts Foundation, Chicago Dramatists, Congo Square, Oak Park Theatre Festival, Goodman, Victory Gardens, Northlight, Chicago Dramatists, Urban Theater Company, Steppenwolf, and City Lit Theatre. Regional theatres include American Players Theatre, Virginia Stage Company, Portland Stage (Maine), Studio Arena Theatre, Roundabout, Studio Theatre (DC), Baltimore Center Stage, Actors Theatre of Louisville, Wilshire Theater, Coronet Theatre, The Mechanic Theatre, Milwaukee Rep, St. Louis Black Rep, Pittsburgh Public Theater, Pittsburgh Playwrights Theatre, Geva, Signature (New York), The Alliance Theatre, South Coast Rep, Kansas City Repertory, and Pasadena Playhouse. In Canada, Ron directed the world premiere of Palmer Park at the Stratford Festival. Ron is a member of SAG-AFTRA, SDC, and Actors Equity. Visit <a href="http://www.ronojparson.com/" target="_blank" rel="noopener noreferrer">www.RonOJParson.com</a>.

<strong><img class="size-full wp-image-14526 alignleft" src="https://www.courttheatre.org/wp-content/uploads/2020/08/joelrhone.jpg" alt="" width="250" height="250" />Joel Rhone </strong>is a PhD student at the University of Chicago. Joel earned his BA from Howard University in 2016, and after winning the Marshall Scholarship he received an MA from the University of Manchester in 2017. His research interests include historical fiction, diaspora studies, and Black writers in exile. More broadly, he studies the performance of solidarity in African American letters. Joel was awarded honorable mention for the Ford Foundation Predoctoral Fellowship in 2019, and serves as an admissions assistant with UChicago GRAD.

<hr />

<span style="font-weight: 400;">Court’s <b>Theatre &amp; Thought series</b> connects audiences to expert insights from University of Chicago faculty about the historical context, thematic relevance, and artistic possibilities surrounding classic works. Each Theatre &amp; Thought topic will feature a different play and include virtual meetings with University scholars to discuss the ideas underpinning these classic texts.  </span>

<a href="https://grahamschool.uchicago.edu" target="_blank" rel="noopener noreferrer"><img class="size-full wp-image-14219 alignleft" src="https://www.courttheatre.org/wp-content/uploads/2020/07/graham-logo-75.jpg" alt="Graham School" width="75" height="75" /></a><span style="font-weight: 400;">Court’s remote, digital experiences are produced in partnership with the <strong><a href="https://grahamschool.uchicago.edu" target="_blank" rel="noopener noreferrer">University of Chicago Graham School's</a> Arts@Graham series.</strong></span>

<strong>Select 1 course or enjoy the whole series!</strong> 5-event subscribers will have access to all seminars in Theatre &amp; Thought. 3 and 4-event subscribers may select the entire Theatre &amp; Thought series as just <em>one</em> of their event selections. 3-event subscription packages start at only $96—a huge savings over purchasing seminars separately. <span style="font-weight: 400;">Individual enrollment for the Theatre &amp; Thought series is $85 per course. </span>

[button link="https://tickets.courttheatre.org/Online/default.asp?doWork::WScontent::loadArticle=Load&amp;BOparam::WScontent::loadArticle::article_id=E634BF39-9FCD-4B2E-82E4-3501ECD83D9B&amp;menu_id=74BC12C2-635B-49C1-84E4-5D82FAA92D98" text="Subscribe and Save"]
<p class="fine-print"><i>Photo of Jacqueline Williams and Tyla Abercrumbie in August Wilson's <a href="https://www.courttheatre.org/season-tickets/2015-2016-season/gem-of-the-ocean/">GEM OF THE OCEAN</a> by Michael Brosilow.
</i></p>
<p class="fine-print"><i>Photo of August Wilson with Ron OJ Parson by Ray Baker.</i></p>"
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          string(6464) "<strong><img class="alignnone size-full wp-image-13113" src="https://www.courttheatre.org/wp-content/uploads/2019/11/LightingOedipus_800x300.jpg" alt="" width="800" height="300" />We’re thrilled to announce that Kelvin Roston, Jr. is the recipient of the 2019/20 Nicholas Rudall Classic Artist Award! </strong>

<span style="font-weight: 400;">Established in 2018 to honor <a href="https://www.courttheatre.org/people/nicholas-rudall/">Founding Artistic Director <strong>Nicholas Rudall</strong></a>, this award acknowledges an artist with a passion for and dedication to classic plays. <a href="https://www.courttheatre.org/people/kelvin-roston-jr/"><strong>Kelvin Roston, Jr.</strong></a> joins previous recipients <strong>Kate Fry</strong> and <strong>Allen Gilmore</strong> as a shining example of an artist upholding Rudall’s vision for classic theatre’s capacity to pose enduring and provocative questions that define the human experience.</span>

“Kelvin is masterful at making stories resonate with contemporary audiences thanks to his passion, intelligence, and extraordinary range as an actor,” says <strong>Charles Newell</strong>, Marilyn F. Vitale Artistic Director. “I know Nick would have been dazzled by Kelvin’s towering portrayals of two such different kings, Hedley and Oedipus.”

<strong>Clare Lorring</strong>, Nicholas Rudall’s daughter, shared, “I am thrilled to hear about Kelvin as the recipient of the Nick Rudall award. He is a kind, thoughtful, and brilliant actor, and I know my dad would have been glad for Kelvin to receive this honor. I look forward to being able to see Kelvin at Court in the future.”

<img class="alignnone size-full wp-image-14453" src="https://www.courttheatre.org/wp-content/uploads/2020/08/kinghedley_800.jpg" alt="" width="800" height="300" />

<span style="font-weight: 400;">We interviewed Kelvin to learn a bit more about the place Court holds in his career as an actor and how it feels to be recognized in this way.</span>

<b>What does it mean to you to win the Nick Rudall award?</b>

<span style="font-weight: 400;">Receiving the Nick Rudall Award is absolutely amazing!  There aren't words that can adequately express how completely overwhelmed and honored I felt when I received the news. It feels incredible to have your peers enjoy your work.</span>

<b>How has Court played a role in your work as an actor?</b>

<span style="font-weight: 400;">Court has been tremendous for me and my career.  When I moved to Chicago from St. Louis, MO on April 30, 2008, I planned to audition in the city for the rest of the year and figured that I would begin booking in 2009. However, God had other plans. The opening night for Court's production of </span><a href="https://www.courttheatre.org/season-tickets/2007-2008-season/first-breeze-summer/"><i><span style="font-weight: 400;">The First Breeze of Summer</span></i></a><span style="font-weight: 400;"> by Leslie Lee, directed by the incomparable Ron OJ Parson, was happening in May. My cousin, Ron Conner, was in the show and invited me. At that opening night, I met the wonderful Runako Jahi and the incredible Ilesa Duncan who were working on a production at ETA Creative Art Foundation that I was able to audition for and book!  </span>

<span style="font-weight: 400;">Fast forward to August of 2009, and I was cast in my first Court production, August Wilson's </span><a href="https://www.courttheatre.org/season-tickets/2009-2010-season/ma-raineys-black-bottom/"><i><span style="font-weight: 400;">Ma Rainey's Black Bottom</span></i></a><span style="font-weight: 400;"> as the stuttering nephew, Sylvester. That show made me a member of the Actors Equity Association. Being involved in different readings of plays, workshops of scripts, and a music consultant on productions have all aided in sharpening my skills and my craft. Of course, this past season has been mind-blowing, being able to perform in an African-American classic, August Wilson's </span><i><span style="font-weight: 400;"><a href="https://www.courttheatre.org/season-tickets/2019-2020-season/king-hedley-ii/">King Hedley II</a></span></i><span style="font-weight: 400;"> and Sophocles' classic, </span><a href="https://www.courttheatre.org/season-tickets/2019-2020-season/oedipus-rex/"><i><span style="font-weight: 400;">Oedipus Rex</span></i></a><span style="font-weight: 400;">. So, Court will always have a special place in my heart.</span>

<b>What's been one of your favorite roles at Court?</b>

<span style="font-weight: 400;">One of my favorite roles at Court has to include the first one, Sylvester from </span><i><span style="font-weight: 400;">Ma Rainey's Black Bottom</span></i><span style="font-weight: 400;">. I've always enjoyed digging into a character and attempting to find the deeper qualities they possess. It was more satisfying in this role, however, because I've found that we generally attribute a speech impediment to a level of weakness. I tried to fight against that. I wanted the audience to see him as a strong individual who happened to have a stutter as opposed to allowing the stutter to define him, completely.  </span>

<span style="font-weight: 400;">Floyd Barton from August Wilson's </span><a href="https://www.courttheatre.org/season-tickets/2013-2014-season/seven-guitars/"><i><span style="font-weight: 400;">Seven Guitars</span></i></a><span style="font-weight: 400;"> is right up there at the top, as well. That cast was incredible. Finally, most recently, playing the role of Oedipus in </span><i><span style="font-weight: 400;">Oedipus Rex</span></i><span style="font-weight: 400;"> is one of the highlights of my career. The family we became as a cast and crew in the creation of that piece of art was something one rarely experiences.</span>

<b>In what ways are you hoping to give back to Court's audiences and community in your future collaborations with us?</b>

<span style="font-weight: 400;">I am an artist. I do art, because it's who I am. I can do art just for myself; just for the sake of art.  However, I always remember that I can only do art as a </span><i><span style="font-weight: 400;">career</span></i><span style="font-weight: 400;"> because of the audiences who come out and buy those tickets or that subscription. All I can offer is my complete self in every single production I'm blessed to be a part of. </span>

<em>Photos by Michael Brosilow.</em>"
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            string(395) "Established in 2018 to honor Founding Artistic Director Nicholas Rudall, this award acknowledges an artist with a passion for and dedication to classic plays. Roston, Jr. joins previous recipients Kate Fry and Allen Gilmore as a shining example of an artist upholding Rudall’s vision for classic theatre’s capacity to pose enduring and provocative questions that define the human experience."
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          string(5466) "We know that our upcoming <a href="https://www.courttheatre.org/about/blog/the-2020-21-season-reimagined/">2020/21 Season</a> is different than past seasons, and want to make sure all of your questions and concerns are addressed. Check out the FAQ below or give our Box Office a call at (773) 753-4472 with any questions you might have and we'll be happy to get them answered. Our Box Office hours are Monday - Friday, 12pm - 5pm.

<b>How will my experience at Court Theatre change from previous seasons?</b>

<span style="font-weight: 400;">Court Theatre is remaining responsive to ongoing guidance surrounding how to keep patrons, artists, and staff members safe during the pandemic. To that end, it is highly likely that Box Office check-in, seating arrangements, and other aspects of your theatregoing experience will be different than you’re used to. We are hard at work crafting safe and appropriate guidelines for live performances and will communicate any changes to you well in advance of our programming resuming in 2021.</span>

<b>What happens if social distancing guidelines further limit attendance for live performances venues?</b>

<span style="font-weight: 400;">Although we remain optimistic about the future, in the event of city, state, or university ordinances preventing us from moving forward with programming as planned, we will reach out about any necessary changes in schedule or seating. <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/theatre-thought/">Theatre &amp; Thought</a>, <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/">Deep Dive</a>, </span><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/titanic/"><i><span style="font-weight: 400;">Titanic</span></i></a><span style="font-weight: 400;">, and </span><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/othello/"><i><span style="font-weight: 400;">Othello </span></i></a><span style="font-weight: 400;">are all confirmed for digital streaming and may be experienced from the comfort of your home.</span>

<b>What if I can’t attend on a specific date listed for Theatre &amp; Thought or Deep Dive: </b><b><i>Leopoldstadt</i></b><b>?</b>

<span style="font-weight: 400;">Digital access to recorded seminars and discussions will be available to all ticket holders for our <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/theatre-thought/">Theatre &amp; Thought</a> series and <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/">Deep Dive</a> events.</span>

<b>If I've renewed my subscription do I need to register separately for Theatre &amp; Thought or Deep Dive: <em>Leopoldstadt</em>? </b>

<span style="font-weight: 400;">If you renewed your 5-Play Subscription (or renewed a 4 or 3-Play Subscription and selected Theatre &amp; Thought and/or Deep Dive as part of your subscription), you are automatically registered for all events. You can expect further information via email with your access link and login information closer to the date of the event.</span>

<b>Will I have the same seats?</b>

<span style="font-weight: 400;">When we do resume live performances, we expect to be seating only 25% of our normal capacity. As such, your seating location may be affected by social distancing guidelines, although subscribers will be given priority for each in-person performance. We will endeavor to accommodate seating requests and locations whenever possible. </span>

<b>What if I don’t want to or am undecided about attending in person?</b>

<span style="font-weight: 400;">Four of our five events (<a href="https://www.courttheatre.org/season-tickets/2020-2021-season/theatre-thought/">Theatre &amp; Thought</a>, <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/">Deep Dive</a>, <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/titanic/"><i>Titanic</i></a>, and <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/othello/"><i>Othello </i></a></span><span style="font-weight: 400;">) are all confirmed for digital streaming and may be experienced from the comfort of your home. If you’re not sure about returning to attend live theatre in person but are still interested in renewing your subscription, we will happily hold your seats for future seasons as a subscriber at Court.</span>

<b>If I've purchased or renewed my subscription, will I receive a packet in the mail with tickets and other details?</b>

As our fall offerings are exclusively happening digitally, we will not be mailing subscriber packets this year. Tickets to seated performances of <em>Othello</em>, <em>Titanic</em>, and <em>Two Trains Running </em>will be mailed to you at a future date.

<b>Will you be streaming past productions online?</b>

Unfortunately, due to licensing agreements, we are unable to stream past Court productions at this time.

<b>Do I need any special software to access Court's digital content online?</b>

You don't need any special software to access Court's digital content — only an internet-enabled device with a web browser.

<hr />

<strong>Still have questions?</strong> Give our Box Office a call at (773) 753-4472 and we'll be happy to get them answered. Our Box Office hours are Monday - Friday, 12pm - 5pm."
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          string(10304) "<p class="" dir="ltr">We've reimagined our 2020/21 Season, breaking the mold of past seasons and providing unparalleled depth and access in the absence of being able to physically gather this Fall.</p>
<p class="" dir="ltr">From our <b class="">Theatre &amp; Thought </b>Series, which connects audiences to expert insights from University of Chicago faculty about classic texts, to our <b class="">Deep Dive </b>events exploring Tom Stoppard's newest play <i class="">Leopoldstadt</i>, and productions like <b class=""><i class="">Titanic (Scenes from the British Wreck Commissioner's Inquiry, 1912)</i></b>, <i class=""><strong>Othello</strong>,</i> and<b class=""> August Wilson's <i class="">Two Trains Running</i></b>, our updated season is thematically rich, intellectually rigorous, and deeply ambitious.</p>
<p class="" dir="ltr">You can learn more about each of these thrilling offerings below. We hope the stories and programs we’ve chosen to share will offer the spiritual sustenance so many of us are seeking in this unprecedented time.</p>
<p dir="ltr"><img class="alignnone size-full wp-image-14547" src="https://www.courttheatre.org/wp-content/uploads/2020/07/1000x400-d2-overview-2.jpg" alt="" width="800" height="320" />
<span style="font-weight: 400;">Court’s </span><b>Theatre &amp; Thought series</b><span style="font-weight: 400;"> connects audiences to expert insights from University of Chicago faculty about the historical context, thematic relevance, and artistic possibilities surrounding classic works. Each topic will feature a different play and include virtual meetings with scholars to discuss the ideas underpinning these classic texts. <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/theatre-thought/"><strong>Learn More</strong></a></span></p>
<p dir="ltr"><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/"><img class="alignnone size-full wp-image-14242" src="https://www.courttheatre.org/wp-content/uploads/2020/07/800X2502.jpg" alt="Stoppard's Leopoldsadt" width="1667" height="521" /></a><span style="font-weight: 400;">In our most ambitious addition to the Fall season, Court Theatre’s </span><b>Deep Dive: </b><b><i>Leopoldstadt</i></b><span style="font-weight: 400;"> provides an in-depth examination of Tom Stoppard’s epic drama, </span><i><span style="font-weight: 400;">Leopoldstadt</span></i><span style="font-weight: 400;">. Leopoldstadt is a place, a state of mind, and a return. Stoppard’s newest play is as groundbreaking and sprawling as anything he has written. <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/"><strong>Learn More</strong></a></span></p>
<p dir="ltr"><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/titanic/"><img class="alignnone size-full wp-image-14244" src="https://www.courttheatre.org/wp-content/uploads/2020/07/800X2504.jpg" alt="Titanic" width="1667" height="521" /></a><span style="font-weight: 400;">The sinking of the RMS </span><i><span style="font-weight: 400;">Titanic</span></i><span style="font-weight: 400;"> has long been studied for its historical significance and unmistakable hubris. A survivors’ story fraught with intrigue, Owen McCafferty’s </span><i><span style="font-weight: 400;">play </span></i><span style="font-weight: 400;">tells the story using verbatim testimonies from witnesses of the wreck. What emerges is a startling portrait of class, chaos, and moral ambiguity. <i>A digital version will be available to stream for patrons who do not yet wish to attend in person. </i><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/titanic/"><strong>Learn More</strong></a></span></p>
<p dir="ltr"><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/othello/"><img class="alignnone size-full wp-image-14243" src="https://www.courttheatre.org/wp-content/uploads/2020/07/800X2503.jpg" alt="Othello" width="1667" height="521" /></a><span style="font-weight: 400;">Othello, the great Venetian general, unknowingly seals his fate when he fails to select his standard-bearer, Iago, for a military promotion. When his wife, Desdemona, is implicated in an affair, Othello is faced with a series of irreversible events that spell catastrophe for him and his country. <i>A digital version will be available to stream for patrons who do not yet wish to attend in person. </i><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/othello/"><strong>Learn More</strong></a></span></p>
<p dir="ltr"><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/two-trains-running/"><img class="alignnone size-full wp-image-14245" src="https://www.courttheatre.org/wp-content/uploads/2020/07/800X2505.jpg" alt="Two Trains Running" width="1667" height="521" /></a><span style="font-weight: 400;">Amidst the Civil Rights Movement, Memphis Lee’s restaurant is slated for demolition. While Memphis fights to sell his diner for a fair price, the rest of the restaurant’s regulars search for work, love, and justice as their neighborhood continues to change in unpredictable ways. <i>This production will be available to attend in-person. </i><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/two-trains-running/"><strong>Learn More</strong></a></span></p>


<hr />

<b>Subscription and Ticket Information</b>

<span style="font-weight: 400;">Individual enrollment for the <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/theatre-thought/">Theatre &amp; Thought</a> series is $85 per course. Individual enrollment to <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/">Deep Dive: <em>Leopoldstadt</em></a></span><span style="font-weight: 400;"> is $250. Three, four and five-play subscriptions to Court’s 2020/21 season range from $96 to $300 and are on sale now. 5-Play subscribers will have access to all plays, content, and programs listed above as a part of their subscription package. </span>

<span style="font-weight: 400;">Court’s Box Office will be in touch with previously renewed subscribers to discuss how these changes impact their subscription series. 3 and 4-Play subscribers will have the opportunity to choose from the Theatre &amp; Thought series, Deep Dive: </span><i><span style="font-weight: 400;">Leopoldstadt</span></i><span style="font-weight: 400;">, or any of the three plays scheduled for 2021. Court’s Box Office will be in touch with previously renewed subscribers to discuss their options.</span>

<span style="font-weight: 400;">University of Chicago students will receive complimentary access and UChicago faculty and staff will receive a 25% discount to Court Theatre’s fall digital programming.</span>

<span style="font-weight: 400;">To purchase a subscription or receive more information, call the Court Theatre Box Office at <strong>(773) 753-4472</strong>, or <a href="https://www.courttheatre.org/season-tickets/subscriptions/"><strong>learn more here</strong></a></span><span style="font-weight: 400;">. Individual tickets for all Spring 2021 productions will be available in Fall 2020.</span>

[button link="/season-tickets/subscriptions/" text="Subscribe Now"]

<span style="font-weight: 400;">The previously announced live productions of </span><i><span style="font-weight: 400;">Violet, The Gospel at Colonus</span></i><span style="font-weight: 400;">, </span><i><span style="font-weight: 400;">Fen</span></i><span style="font-weight: 400;">, and </span><i><span style="font-weight: 400;">Antigone </span></i><span style="font-weight: 400;">have been postponed and will be produced in a future season.</span> <span style="font-weight: 400;">Current subscribers will be able to exchange their existing tickets to previously announced productions for any of the above offerings. Court Theatre’s Box Office will be in touch to discuss subscriber options via phone and email. </span>

<span style="font-weight: 400;">Court is still evaluating new performance dates for its site-specific production of </span><a href="https://www.courttheatre.org/season-tickets/2019-2020-season/an-iliad-at-oi/"><i><span style="font-weight: 400;">An Iliad</span></i></a><span style="font-weight: 400;">. Ticket holders will be contacted with further information when details have been solidified.</span>

<a href="https://grahamschool.uchicago.edu" target="_blank" rel="noopener noreferrer"><img class="size-full wp-image-14219 alignleft" src="https://www.courttheatre.org/wp-content/uploads/2020/07/graham-logo-75.jpg" alt="Graham School" width="75" height="75" /></a>Court’s remote, digital experiences are produced in partnership with the <strong><a href="https://grahamschool.uchicago.edu" target="_blank" rel="noopener noreferrer">University of Chicago Graham School’s</a> Arts@Graham series.</strong>

<hr />
<p class="caption"><span style="font-weight: 400;"><em>Titanic (Scenes from the British Wreck Commissioner's Inquiry, 1912)</em> is sponsored by Gustavo "Chip" Bamberger and Martha Van Haitsma. <em>Othello</em> is sponsored by Michael Charles Litt. August Wilson’s <em>Two Trains Running</em> is sponsored by Allstate and Neil Ross and Lynn Hauser. Ron OJ Parson’s Residency is made possible by the Joyce Foundation. Programming is partially supported by a grant from the Illinois Arts Council Agency. Additional support is provided by Harper Court Arts Council, Paul M. Angell Family Foundation, Prince Charitable Trusts, and the Shubert Foundation.
</span></p>
<p class="caption"><span style="font-weight: 400;">Court Theatre remains committed to following all government guidelines surrounding the COVID-19 pandemic in order to maintain the safety of our artists, staff, and patrons. To that end, dates and programming are subject to change based on rights acquisition, pandemic conditions, and other developments in order to remain responsive to evolving circumstances. As in-person gatherings are currently scheduled to resume in February of 2021, we will communicate information about enhanced cleaning and safety protocols to ensure everyone’s safety at Court Theatre.</span></p>"
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            string(478) "From our Theatre & Thought Series, which connects audiences to expert insights from University of Chicago faculty about classic texts, to our Deep Dive events exploring Tom Stoppard's newest play <i>Leopoldstadt</i>, and productions like <i>Titanic (Scenes from the British Wreck Commissioner's Inquiry, 1912)</i>, <i>Othello</i>, and August Wilson's <i>Two Trains Running</i>, our updated season is thematically rich, intellectually rigorous, and formally ambitious."
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        string(2072) "<img class="alignnone wp-image-14242 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/07/800X2502.jpg" alt="Stoppard's Leopoldsadt" width="1667" height="521" />

<strong>Are you interested in attending all seven sessions of our upcoming <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/">Deep Dive series, on Tom Stoppard's <em>Leopoldstadt</em></a> for free?</strong> Enter our ticket giveaway for a chance to win a free ticket to the series (a $250 value) and take an in-depth examination of Tom Stoppard’s new, epic drama, <em>Leopoldstadt</em>. Combining the personal and philosophical, Stoppard's groundbreaking new play explores both history and Stoppard’s own Jewish heritage, discovered late in his life.

<strong>Entry Instructions:  </strong>

[button link="https://docs.google.com/forms/d/e/1FAIpQLSe8XABrr6ODsr1oQ5-ivVO60xjAh4dblVkP0mLy3BP-N5GFNQ/viewform?usp=sf_link" text="Fill Out This Form to Enter"]

<em>*Limit one entry per household. Must be 18 years or older to enter. Entry void where prohibited by law. Cannot be transferred to another individual. By entering this ticket giveaway you agree to have your name shared on social media if selected as the winner of the drawing. Entries must be received by October 2, 2020. We will notify winners on October 5, 2020.</em>

<strong>Want more chances to have your name drawn?</strong>
<ul>
 	<li><strong>Share</strong> <a href="https://www.facebook.com/CourtTheatre/posts/10158020681331997">Court Theatre's Facebook post</a> about the ticket giveaway for an extra 5 (five) entries.</li>
 	<li><strong>Comment</strong> on <a href="https://www.facebook.com/CourtTheatre/posts/10158020681331997">Court Theatre's Facebook post </a>about why you're excited about Deep Dive for an extra 3 (three) entries.</li>
 	<li><strong>Tag a friend</strong> who might be interested in Deep Dive <a href="https://www.facebook.com/CourtTheatre/posts/10158020681331997">on Facebook</a> for an extra 1 (one) entry.</li>
</ul>"
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<strong>Are you interested in attending all seven sessions of our upcoming <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/">Deep Dive series, on Tom Stoppard's <em>Leopoldstadt</em></a> for free?</strong> Enter our ticket giveaway for a chance to win a free ticket to the series (a $250 value) and take an in-depth examination of Tom Stoppard’s new, epic drama, <em>Leopoldstadt</em>. Combining the personal and philosophical, Stoppard's groundbreaking new play explores both history and Stoppard’s own Jewish heritage, discovered late in his life.

<strong>Entry Instructions:  </strong>

[button link="https://docs.google.com/forms/d/e/1FAIpQLSe8XABrr6ODsr1oQ5-ivVO60xjAh4dblVkP0mLy3BP-N5GFNQ/viewform?usp=sf_link" text="Fill Out This Form to Enter"]

<em>*Limit one entry per household. Must be 18 years or older to enter. Entry void where prohibited by law. Cannot be transferred to another individual. By entering this ticket giveaway you agree to have your name shared on social media if selected as the winner of the drawing. Entries must be received by October 2, 2020. We will notify winners on October 5, 2020.</em>

<strong>Want more chances to have your name drawn?</strong>
<ul>
 	<li><strong>Share</strong> <a href="https://www.facebook.com/CourtTheatre/posts/10158020681331997">Court Theatre's Facebook post</a> about the ticket giveaway for an extra 5 (five) entries.</li>
 	<li><strong>Comment</strong> on <a href="https://www.facebook.com/CourtTheatre/posts/10158020681331997">Court Theatre's Facebook post </a>about why you're excited about Deep Dive for an extra 3 (three) entries.</li>
 	<li><strong>Tag a friend</strong> who might be interested in Deep Dive <a href="https://www.facebook.com/CourtTheatre/posts/10158020681331997">on Facebook</a> for an extra 1 (one) entry.</li>
</ul>"
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<strong>Are you interested in attending all four sessions of our upcoming <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/theatre-thought/">Theatre &amp; Thought series</a>, <a href="https://www.courttheatre.org/about/blog/theatre-thought-euripides-the-bacchae-contemporary-adaptation/">Euripides' <em>The Bacchae</em> + Contemporary Adaptation</a> for free?</strong> Enter our ticket giveaway for a chance to win a free ticket to the series (an $85 value) and learn more about the dramatic elements that make Euripides’ tragedy ripe for adaptation, including a digital performance of a translation by founding artistic director <a href="https://www.courttheatre.org/people/nicholas-rudall/">Nicholas Rudall</a>, and a discussion of Wole Soyinka’s <em>The Bacchae of Euripides</em>.

<strong>Entry Instructions:  </strong>

[button link="https://docs.google.com/forms/d/e/1FAIpQLScxUy54Kd30gWdcEkzmzy6OSF34VtDMaXPImyPQOgxN2aRmcw/viewform?usp=sf_link" text="Fill Out This Form to Enter"]

<em>*Limit one entry per household. Must be 18 years or older to enter. Entry void where prohibited by law. Cannot be transferred to another individual. By entering this ticket giveaway you agree to have your name shared on social media if selected as the winner of the drawing. Entries must be received by October 2, 2020. We will notify winners on October 5, 2020.</em>

<strong>Want more chances to have your name drawn?</strong>
<ul>
 	<li><strong>Share</strong> <a href="https://www.facebook.com/CourtTheatre/posts/10158018508816997">Court Theatre's Facebook post</a> about the ticket giveaway for an extra 5 (five) entries.</li>
 	<li><strong>Comment</strong> on <a href="https://www.facebook.com/CourtTheatre/posts/10158018508816997">Court Theatre's Facebook post </a>about why you're excited about Euripides' <em>The Bacchae</em> for an extra 3 (three) entries.</li>
 	<li><strong>Tag a friend</strong> who might be interested in Euripides' <em>The Bacchae </em>+ Contemporary Adaptation <a href="https://www.facebook.com/CourtTheatre/posts/10158018508816997">on Facebook</a> for an extra 1 (one) entry.</li>
</ul>"
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      string(13155) "<img class="alignnone wp-image-14779 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/09/1000x4004-1.jpg" alt="" width="2083" height="833" />The extant Greek plays continue to speak to contemporary cultures, fueled by a myriad of creative retellings and adaptations by contemporary playwrights. Euripides’ ancient Greek tragedy explores the consequences of mixing the personal and political and the importance of listening to the will of the people. Sarah Nooter, renowned author and faculty member of the Department of Classics and the College, shares insights about the dramatic elements that make Euripides’ tragedy ripe for adaptation, including a discussion of Wole Soyinka’s <i>The Bacchae of Euripides.</i>

[button link="https://tickets.courttheatre.org/online/default.asp?doWork::WScontent::loadArticle=Load&amp;BOparam::WScontent::loadArticle::article_id=52000507-75C7-471A-B05A-E0B97128A932" text="Register for the Seminar"]

<hr />

<img class="wp-image-14782 size-full alignright" src="https://www.courttheatre.org/wp-content/uploads/2020/09/greece_1.jpg" alt="" width="400" height="225" />
<h3>Euripides’ <em>Bacchae</em>: Sight and Blindness; Self and Other</h3>
<h4>October 7, 2020 | Featuring Dr. Sarah Nooter and Dr. Christopher Faraone</h4>
<span style="font-weight: 400;">In this session, Dr. Nooter and Dr. Faraone will discuss the religious background of <em>The </em></span><i><span style="font-weight: 400;">Bacchae</span></i><span style="font-weight: 400;">, including issues of divine recognition, belief, madness, mystery rites, and the role of gods and worship in ancient Greece. Participants will learn how these issues come into contact with tragic questions of knowing oneself and encountering the “other” within. Along the way, we will cover the question of how the self and the society relate to one another and what it means to relinquish free will. Our discussion will make use of Sophocles’ </span><i><span style="font-weight: 400;">Oedipus the King</span></i><span style="font-weight: 400;"> as a point of comparison.</span>

<hr />

<img class="wp-image-14783 size-full alignright" src="https://www.courttheatre.org/wp-content/uploads/2020/09/wole-soyinka.jpg" alt="" width="400" height="225" />
<h3><em>The Bacchae</em> and Adaptation: Identity, History, and Change</h3>
<h4>October 14, 2020 | Featuring Dr. Sarah Nooter and Dr. Clifford Ando</h4>
<b>Suggested Reading Prior to this Session: </b>Wole Soyinka’s <a href="https://www.semcoop.com/bacchae-euripidesa-communion-rite" target="blank" rel="noopener noreferrer"><i><span style="font-weight: 400;">The Bacchae of Euripides: A Communion Rite</span></i></a>

<span style="font-weight: 400;">In this session, Dr. Nooter and Dr. Ando will look at the </span><i><span style="font-weight: 400;">Bacchae</span></i><span style="font-weight: 400;"> and its afterlife in the Gospel of John and Wole Soyinka’s adaptation from 1973 called </span><i><span style="font-weight: 400;">The Bacchae of Euripides: A Communion Rite</span></i><span style="font-weight: 400;">. Here we will look at the structure of the play as one of recognition in different versions, emphasizing themes of knowledge and allegory, and showing how the language and imagery of these works reveal and invert reality. We will also see how the play reverberates through Christian culture and evokes questions of social upheaval and division, examining issues of identity, history, and change. Participants will be asked to read excerpts from The Gospel of John and Soyinka’s </span><i><span style="font-weight: 400;">Bacchae</span></i><span style="font-weight: 400;">.</span>

<hr />

<img class="wp-image-14784 size-full alignright" src="https://www.courttheatre.org/wp-content/uploads/2020/09/bacchaereading.jpg" alt="" width="400" height="225" />
<h3>Digital Reading: Euripides'<em> The Bacchae</em></h3>
<h4>October 21, 2020
Translated by Nicholas Rudall
Directed by Monty Cole
Assistant Directed by Monet Felton</h4>
The inventive Chicago-based director Monty Cole will lead a reading of <em>The Bacchae</em> translated by Court’s Founding Artistic Director, Nicholas Rudall, a premier translator of Greek texts. Together, with assistant director Monet Felton and a cast of female-identifying actors, Cole brings Euripides' words to life in this digital reading, its themes reverberating with uncanny resonance in 2020.

The digital reading of Euripides' <em>The Bacchae </em>will feature actors <a href="https://www.courttheatre.org/people/adia-alli/">Adia Alli</a>, <a href="https://www.courttheatre.org/people/cheryl-lynn-bruce/">Cheryl Lynn Bruce</a>, <a href="https://www.courttheatre.org/people/atra-asdou/">Atra Asdou</a>, <a href="https://www.courttheatre.org/people/mckenzie-shinn/">McKenzie Shinn</a>, <a href="https://www.courttheatre.org/people/stephanie-diaz/">Stephanie Diaz</a>, <a href="https://www.courttheatre.org/people/kirsten-fitzgerald/">Kirsten Fitzgerald</a>, <a href="https://www.courttheatre.org/people/jennifer-latimore/">Jennifer Latimore</a>, <a href="https://www.courttheatre.org/people/karissa-murrell-myers/">Karissa Murrell Myers</a>, and <a href="https://www.courttheatre.org/people/mj-rawls/">MJ D. Rawls.</a>

<hr />

<img class="wp-image-14787 size-full alignright" src="https://www.courttheatre.org/wp-content/uploads/2020/09/identity.jpg" alt="" width="400" height="225" />
<h3><em>The Bacchae</em> in Performance: Gender, Identity, and Self-Knowledge</h3>
<h4>October 28, 2020 | Featuring Dr. Sarah Nooter and Monty Cole</h4>
In this session, Dr. Nooter and Director Monty Cole will discuss the previous session's staged reading of <em>The Bacchae</em> and how its directorial choices reflect fundamental questions of gender, identity, and self-knowledge. We will aim to revisit some of the themes and questions covered in previous sessions in light of the insights gained through performance.
<h2>About the Scholars and Artists</h2>
<strong><img class="wp-image-14780 size-full alignleft" src="https://www.courttheatre.org/wp-content/uploads/2020/09/sarahnooter_Sq.jpg" alt="" width="250" height="250" />Dr. Sarah Nooter</strong> is a professor of classics and theater and performance studies at the University of Chicago. She is the author of When Heroes Sing: Sophocles and the Shifting Soundscape of Tragedy and The Mortal Voice in the Tragedies of Aeschylus. She also coedited Sound and the Ancient Senses, with Shane Butler, and is the editor in chief of Classical Philology. She is working on a book, Bodies in Time: The Substance of Greek Poetry (working title), which explores modes of embodiment and temporality in ancient Greek poetry and song. At the University of Chicago, she serves on the faculty advisory board to Court Theatre and chairs the Poetry and the Human sequence in the Humanities Core.

&nbsp;

<strong><img class="size-full wp-image-14825 alignleft" src="https://www.courttheatre.org/wp-content/uploads/2020/09/faraone_200.jpg" alt="" width="200" height="200" /></strong><span style="font-weight: 400;"><strong>Christopher Athanasius Faraone</strong> is a Professor in the Classics Department at the University of Chicago.  His work is primarily concerned with ancient Greek religion and poetry.  He is co-editor (with D. Dodd) of </span><i><span style="font-weight: 400;">Initiation in Ancient Greek Rituals and Narratives: New Critical Perspectives</span></i><span style="font-weight: 400;"> (2003), (with L. McClure) of </span><i><span style="font-weight: 400;">Prostitutes and Courtesans in the Ancient World</span></i><span style="font-weight: 400;"> (2005), (with F. Naiden) </span><i><span style="font-weight: 400;">Ancient Victims, Modern Observers: Reflections on Greek and Roman Sacrifice</span></i><span style="font-weight: 400;"> (2011) and (with D. Obbink), </span><i><span style="font-weight: 400;">The Getty Hexameters: Magic, Poetry and Mystery in Ancient Selinous</span></i><span style="font-weight: 400;"> (Oxford 2013).  Recent books include </span><i><span style="font-weight: 400;">The Stanzaic Architecture of Ancient Greek Elegiac Poetry</span></i><span style="font-weight: 400;"> (2008), </span><i><span style="font-weight: 400;">The Transformation of Ancient Greek Amulets in Roman Times</span></i><span style="font-weight: 400;"> (2018) and numerous articles on Ancient Greek magic, poetry and religion.</span>
<div>

<strong><img class="wp-image-14813 size-full alignleft" src="https://www.courttheatre.org/wp-content/uploads/2020/09/cliffordando.jpg" alt="" width="250" height="250" />Clifford Ando </strong>received his PhD from the University of Michigan and taught in Toronto and Los Angeles before coming to Chicago.  His writing focuses on the histories of religion, law and government in the ancient world.  His books include <i>The Matter of the Gods: Religion and the Roman Empire</i> (2008); <i>Law, Language and Empire in the Roman Tradition</i> (2011); and <i>Roman Social Imaginaries. Language and Thought in Contexts of Empire</i> (2015).  He served for five years as co-director of Chicago's Center for the Study of Ancient Religions, and has delivered more than 300 lectures in 24 countries.

&nbsp;

</div>
<div></div>
<div></div>
<strong><img class="size-full wp-image-14781 alignleft" src="https://www.courttheatre.org/wp-content/uploads/2020/09/montycole_sq.jpg" alt="" width="250" height="250" />Monty Cole </strong>is a director based in Chicago and Los Angeles. Cole has workshopped and directed new plays and re-imaginings of classic text across the country. He has directed for Steppenwolf (<em>The Brothers Size</em> by Tarell Alvin McCraney), Center Theatre Group (<em>Campaign</em> by Laura Jacqmin and <em>How to Raise a Freeman</em> by Zakiyyah Alexander at the LA Writers Workshop Fest), The Goodman Theatre (<em>Incendiary</em> by Dave Harris and <em>florissant &amp; canfield</em> by Kristiana Rae Colon at the New Stages Festival), Victory Gardens Theater (<em>end of message</em> by Laura Jacqmin and <em>Suspension</em> by Kristiana Rae Colon at the Ignition Festival of New Plays), Cape Cod Theatre Project and Alley Theatre All New Festival (<em>end of message</em>), American Theatre Company (<em>The Project(s)</em> and <em>Black Like Me</em> workshop), The House Theatre of Chicago (<em>Borealis, Ogalala</em> workshop and <em>Thatcher Woods</em> workshop), Haven (<em>Kiss</em> by Guillermo Calderon) the Chicago Theater Marathon (<em>That Unnamed Feeling</em> by Alysia and Monty Cole) California Institute of the Arts and others. Cole directed the Jeff Award winning production of <em>The Hairy Ape</em> for Oracle Productions. He’s currently commissioned to adapt <em>Black Like Me</em>, the classic investigation of race by John Howard Griffin. Monty is also working with collaborator and choreographer Breon Arzell on revitalizing<em> In Dahomey</em>, the first black written and performed Broadway musical. Up next, Cole will direct the west coast premiere of Young Jean Lee’s <em>We’re Gonna Die</em>, a workshop of his Goodman commission <em>American Adolescence, </em>followed by <em>Black Odyssey </em>by Marcus Gardley at Oregon Shakespeare Festival. Monty has a BFA in Theatre Studies from Emerson College and an MFA Directing degree from the California Institute of the Arts.

<hr />

<span style="font-weight: 400;">Court’s <b>Theatre &amp; Thought series</b> connects audiences to expert insights from University of Chicago faculty about the historical context, thematic relevance, and artistic possibilities surrounding classic works. Each Theatre &amp; Thought topic will feature a different play and include virtual meetings with University scholars to discuss the ideas underpinning these classic texts.  </span>

<a href="https://grahamschool.uchicago.edu" target="_blank" rel="noopener noreferrer"><img class="size-full wp-image-14219 alignleft" src="https://www.courttheatre.org/wp-content/uploads/2020/07/graham-logo-75.jpg" alt="Graham School" width="75" height="75" /></a><span style="font-weight: 400;">Court’s remote, digital experiences are produced in partnership with the <strong><a href="https://grahamschool.uchicago.edu" target="_blank" rel="noopener noreferrer">University of Chicago Graham School's</a> Arts@Graham series.</strong></span>

<strong>Select 1 course or enjoy the whole series!</strong> 5-event subscribers will have access to all seminars in Theatre &amp; Thought. 3 and 4-event subscribers may select the entire Theatre &amp; Thought series as just <em>one</em> of their event selections. 3-event subscription packages start at only $96—a huge savings over purchasing seminars separately. <span style="font-weight: 400;">Individual enrollment for the Theatre &amp; Thought series is $85 per course. </span>

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      string(4037) "<span style="font-weight: 400;"><img class="alignnone size-full wp-image-14757" src="https://www.courttheatre.org/wp-content/uploads/2020/09/hedley-kierra-kelvin-800.jpg" alt="King Hedley II" width="800" height="305" />Court Theatre is excited to announce that we received 11 Jeff Awards nominations for the shortened 2019/20 Season, with each production earning at least one nomination. At a time when non-profits arts organizations and theatres have been so affected by the pandemic, we are grateful to be reminded of all of the passionate artists whose work brings Chicago's stages to life.</span>

<span style="font-weight: 400;">Each year, the Joseph Jefferson Awards committee honors outstanding Chicago area theatres and artists. This achievement continues to reinforce the consistent quality of our artistic contributions to Chicago’s theatre scene.</span>
<h3>2020 Court Theatre Jeff Award Nominations</h3>
<b>Production – Play (Large)
</b>“<a href="https://www.courttheatre.org/season-tickets/2019-2020-season/king-hedley-ii/">King Hedley II</a>” – Court Theatre

<b>Director – Play (Large)
</b>“<a href="https://www.courttheatre.org/season-tickets/2019-2020-season/king-hedley-ii/">King Hedley II</a>” – Court Theatre – <a href="https://www.courttheatre.org/people/ron-oj-parson/">Ron OJ Parson</a>

<strong>Performer in a Principal Role – Play</strong>
<a href="https://www.courttheatre.org/people/kelvin-roston-jr/">Kelvin Roston, Jr.</a> (Hedley) - “<a href="https://www.courttheatre.org/season-tickets/2019-2020-season/king-hedley-ii/">King Hedley II</a>” - Court Theatre

<strong>Performer in a Supporting Role – Play</strong>
<a href="https://www.courttheatre.org/people/kierra-bunch/">Kierra Bunch</a> (Tonya) - “<a href="https://www.courttheatre.org/season-tickets/2019-2020-season/king-hedley-ii/">King Hedley II</a>” - Court Theatre
<a href="https://www.courttheatre.org/people/a-c-smith/">A.C. Smith</a> (Elmore) - “<a href="https://www.courttheatre.org/season-tickets/2019-2020-season/king-hedley-ii/">King Hedley II</a>” - Court Theatre

<strong>Scenic Design - Large</strong>
<a href="https://www.courttheatre.org/people/regina-garcia/">Regina Garcia</a> - “<a href="https://www.courttheatre.org/season-tickets/2019-2020-season/king-hedley-ii/">King Hedley II</a>” - Court Theatre

<strong>Costume Design - Large
</strong><a href="https://www.courttheatre.org/people/alison-siple/">Alison Siple</a> - “<a href="https://www.courttheatre.org/season-tickets/2019-2020-season/the-mousetrap/">The Mousetrap</a>” - Court Theatre

<strong>Sound Design - Large</strong>
<a href="https://www.courttheatre.org/people/chris-laporte/">Christopher M. LaPorte</a> - “<a href="https://www.courttheatre.org/season-tickets/2019-2020-season/king-hedley-ii/">King Hedley II</a>” - Court Theatre
<a href="https://www.courttheatre.org/people/andre-pluess/">André Pluess</a> and <a href="https://www.courttheatre.org/people/chris-laporte/">Christopher M. LaPorte</a> - “<a href="https://www.courttheatre.org/season-tickets/2019-2020-season/oedipus-rex/">Oedipus Rex</a>” - Court Theatre

<strong>Lighting Design - Large</strong>
<a href="https://www.courttheatre.org/people/keith-parham/">Keith Parham</a> - “<a href="https://www.courttheatre.org/season-tickets/2019-2020-season/oedipus-rex/">Oedipus Rex</a>” - Court Theatre

<strong>Artistic Specialization
</strong><a href="https://www.courttheatre.org/people/erin-kilmurray/">Erin Kilmurray</a> (Movement Design) - “<a href="https://www.courttheatre.org/season-tickets/2019-2020-season/oedipus-rex/">Oedipus Rex</a>” - Court Theatre

<span style="font-weight: 400;">We are privileged to be part of the incredible theatre community in Chicago, and look forward to being able to attend and celebrate live performance again. Congratulations to all of the nominees!</span><span style="font-weight: 400;">
</span>

<em>Photo of Kierra Bunch and Kelvin Roston, Jr. (Michael Brosilow).</em>"
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<strong>Are you interested in attending all four sessions of our upcoming <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/theatre-thought/">Theatre &amp; Thought series</a>, <a href="https://www.courttheatre.org/about/blog/theatre-thought-the-world-of-august-wilson-and-the-black-creative-voice/">The World of August Wilson + The Black Creative Voice</a> for free?</strong> Enter our ticket giveaway for a chance to win a free ticket to the series (an $85 value) and learn more about August Wilson's life, plays, and relation to the Black Arts Movement.

<strong>Entry Instructions:  </strong>

[button link="https://docs.google.com/forms/d/e/1FAIpQLSfEuPuSVuHxvFkiKPOPDCb_b2xyHuxxCmfVu9ORNGR34kSLHQ/viewform" text="Fill Out This Form to Enter"]

<em>*Limit one entry per household. Must be 18 years or older to enter. Entry void where prohibited by law. Cannot be transferred to another individual. By entering this ticket giveaway you agree to have your name shared on social media if selected as the winner of the drawing. Entries must be received by September 3, 2020. We will notify winners on September 4, 2020.</em>

<strong>Want more chances to have your name drawn?</strong>
<ul>
 	<li><strong>Share</strong> <a href="https://www.facebook.com/CourtTheatre/posts/10157959496776997">Court Theatre's Facebook post</a> about the ticket giveaway for an extra 5 (five) entries.</li>
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 	<li><strong>Tag a friend</strong> who might be interested in The World of August Wilson + The Black Creative Voice <a href="https://www.facebook.com/CourtTheatre/posts/10157959496776997">on Facebook</a> for an extra 1 (one) entry.</li>
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      string(11295) "<a href="https://www.courttheatre.org/people/august-wilson/">August Wilson</a> is most known for his Century Cycle (also called The Pittsburgh Cycle), a collection of ten plays that span across decades to document African American experiences in the 20th century. The plays chronicle the effect of social and historical situations of each decade on individual characters. All but one of the plays take place in the Hill District of Pittsburgh, Pennsylvania, an area that consists of historical black neighborhoods. The Hill District has been made well known on the national stage by Wilson, who himself lived there for a time in his childhood and would regularly return to visit, as well as for its cultural significance, economic decline, and for the impact that the 1968 Pittsburgh riots had on the neighborhood as well.

Wilson wrote the plays out of order, so while the publication/premiere dates vary greatly amongst them all, the chronological order is as follows:

<a href="https://www.courttheatre.org/season-tickets/2015-2016-season/gem-of-the-ocean/"><strong><em>Gem of the Ocean</em></strong></a>

[caption id="attachment_14447" align="alignnone" width="800"]<img class="wp-image-14447 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/08/gemoftheocean_800.jpg" alt="" width="800" height="300" /> Photo of Jerod Haynes, Jacqueline Williams, Tyla Abercrumbie, and A.C. Smith in GEM OF THE OCEAN by Michael Brosilow.[/caption]

Written in 2003, the play takes place in 1904. Citizen Barlow flees Alabama and goes to Pittsburgh in search of a different life. He visits Aunt Ester, a woman rumored to be 285 years old and who possess healing powers. She guides him on a spiritual journey, sending him to the City of Bones, a city in the Atlantic Ocean built from the bones of Africans who died on slave ships. Aunt Ester’s lessons shape Citizen’s actions near the end of the play when tragedy strikes and he is faced with an important decision.

<strong><em>Joe Turner’s Come and Gone</em></strong>
Written in 1988, the play takes place in a Pittsburgh boarding house in 1917. For historical context, the Great Migration of the 1910s was occurring, descendants of former slaves moving from the South to the industrial cities of the North in pursuit of new jobs and new lives. In the play, Seth and Bertha Holly run a boarding house where these travelers could rest on their journey to the North. Herald Loomis arrives at the boarding house with his daughter Zonia in search of his wife Martha. Joe Turner refers to the bounty hunter who illegally enslaved Herald; horrific memories of the man haunt Herald during his journey. At the boarding house, Herald meets a variety of characters who represent different generations and personal histories. One such character is Bynum Walker, who helps him see that he is really searching for his own identity.

<a href="https://www.courttheatre.org/season-tickets/2009-2010-season/ma-raineys-black-bottom/"><em><strong>Ma Rainey’s Black Bottom</strong></em></a>

[caption id="attachment_14448" align="alignnone" width="800"]<img class="wp-image-14448 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/08/marainey_800.jpg" alt="" width="800" height="300" /> Photo of Greta Oglesby, Kelvin Roston Jr., Kristy Johnson, A.C. Smith, James T. Alfred, Alfred H. Wilson, Cedric Young, Thomas J. Cox and Stephen Spencer MA RAINEY'S BLACK BOTTOM by Michael Brosilow.[/caption]

Written in 1982, the play takes place in 1927 in a Chicago recording studio, the only play in the Cycle that does not take place in Pittsburgh. Tensions between Ma Rainey’s blues band and the white studio owners, as well as within the band itself, escalate as the creatives are pitted against one another and rebel against the exploitation of the music producers. It is inspired by the real life of Gertrude “Ma” Rainey, a professional blues singer known as the “Mother of Blues”.

<a href="https://www.courttheatre.org/season-tickets/2008-2009-season/the-piano-lesson/"><em><strong>The Piano Lesson</strong></em></a>

[caption id="attachment_14449" align="alignnone" width="800"]<img class="wp-image-14449 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/08/thepianolesson_800.jpg" alt="" width="800" height="300" /> Photo of Alfred H. Wilson, Ronald L. Conner, A.C. Smith, and Brian Weddington in THE PIANO LESSON by Michael Brosilow.[/caption]

Written in 1987, the play takes place in Pittsburgh in 1936, during the aftermath of the Great Depression. The play follows the Charles family and the arguments of siblings Berniece and Boy Willie over the fate of their old family piano, an object that symbolizes history and learning from ancestral legacies. The play won a Pulitzer prize and New York Drama Critics' Circle Award.

<a href="https://www.courttheatre.org/season-tickets/2013-2014-season/seven-guitars/"><em><strong>Seven Guitars</strong></em></a>

[caption id="attachment_14450" align="alignnone" width="800"]<img class="wp-image-14450 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/08/sevenguiatrs_800.jpg" alt="" width="800" height="300" /> Photo of Kelvin Roston Jr., Jerod Haynes, Ebony Wimbs Felicia P. Fields, Ronald L. Conner, and Allen Gilmore in SEVEN GUITARS by Michael Brosilow.[/caption]

Written in 1995, the play takes place in 1948. It starts with the aftermath of the funeral of Floyd “Schoolboy” Barton and then quickly launches backward in time, weeks before his death. Floyd is released from prison and is looking to move from Pittsburgh to Chicago after a recording studio there expresses interest in him due to his recent musical success. However, he pawned his guitar for money and now needs to get it back before leaving. He works to get a band together, reconcile with his girlfriend Vera, and find money to get his guitar back, but the latter in particular proves difficult as he is met with barrier after barrier. The play details events that lead up to Floyd’s death, ending again at the funeral of Floyd where his friends are reminiscing and a revelation even they are not aware of about his death.

<a href="https://www.courttheatre.org/season-tickets/2005-2006-season/fences/"><em><strong>Fences</strong></em></a>

[caption id="attachment_14451" align="alignnone" width="800"]<img class="wp-image-14451 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/08/fences_800.jpg" alt="" width="800" height="300" /> Photo of Jacqueline Williams, A.C. Smith, and John Steven Crowley in FENCES by Michael Brosilow.[/caption]

First performed in 1983, the play takes place in 1957. Troy Maxson was a talented baseball player but never had the opportunity to make into a professional career as major baseball leagues do not accept black players. After some time in prison, Troy works as a garbage collector, the first black man to drive the garbage truck in the city. His family consists of his wife Rose, sons Lyons and Cory, brother Gabe, best friend Bono, mistress Alberta, and, toward the end of the play, baby daughter Raynell. Troy drinks and bitterly reminisces about his past and the injustices he faces. He scolds Lyons for his dreams of being a musician and refuses to let Cory pursue a football scholarship as he harbors resentment for his own lost opportunity. Family tensions arise and are ultimately addressed in this tale of forgiveness, prejudice, bitterness, and love. The play won a Pulitzer Prize, Tony Award, and numerous other accolades. A film adaptation starring Denzel Washington and Viola Davis was released in 2016 to acclaim.

<a href="https://www.courttheatre.org/season-tickets/2020-2021-season/two-trains-running/"><em><strong>Two Trains Running</strong></em></a>

First performed in 1990, the play is set in a diner in 1969, a period that features the civil rights movement and the rise of the Black Power movement, as mentioned within the text. The work examines the effect of such times on individuals still stuck in place and downtrodden, confronted by continued injustice. Hill District residents gather to talk about their realities, from recent demonstrations to looking for work. Memphis is faced with a decision to sell the diner, as the entire city is subjected to growing gentrification.

<a href="https://www.courttheatre.org/season-tickets/2012-2013-season/jitney/"><em><strong>Jitney</strong></em></a>

[caption id="attachment_14452" align="alignnone" width="800"]<img class="wp-image-14452 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/08/jitney_800.jpg" alt="" width="800" height="300" /> Photo of Kamal Angelo Boldon, Alfred H. Wilson, Allen Gilmore, A.C. Smith, and Cedric Young in JITNEY by Michael Brosilow.[/caption]

First performed in 1982, the play is set in 1977 in a Pittsburgh cab station. The city is shutting down businesses during a time when gentrification has seized not only Pittsburgh, but the entire country. The cab station is one such business under threat. The play follows the personal struggles of five cab drivers as their jobs and futures are threatened. It premiered on Broadway in 2017 to acclaim.

<a href="https://www.courttheatre.org/season-tickets/2019-2020-season/king-hedley-ii/"><strong><em>King Hedley II</em></strong></a>

[caption id="attachment_14453" align="alignnone" width="800"]<img class="wp-image-14453 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/08/kinghedley_800.jpg" alt="" width="800" height="300" /> Photo of Kelvin Roston, Jr. and TayLar in KING HEDLEY II by Michael Brosilow.[/caption]

Written in 1999, the play takes place in 1985. It follows King Hedley II, son of Ruby and the spiritual son of Hedley from Seven Guitars, as he tries to carve out a living selling stolen refrigerators after seven years in prison.

<a href="https://www.courttheatre.org/season-tickets/2018-2019-season/radio-golf/"><em><strong>Radio Golf</strong></em></a>

[caption id="attachment_14454" align="alignnone" width="800"]<img class="wp-image-14454 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/08/radiogolf_800.jpg" alt="" width="800" height="300" /> Photo of Allen Gilmore and James Vincent Meredith in RADIO GOLF by Michael Brosilow.[/caption]

First performed in 2005, the play takes place in 1997. Harmond Wilks is a real estate developer dedicated to becoming the first black mayor of Pittsburgh as he envisions reviving the Hill District. However, he begins to question his mission when learning of the risk such change poses to the neighborhood’s vital history.

Numerous characters reappear throughout the cycle, though stories portrayed are not always directly connected. Wilson is lauded for his significant contributions to American theatre, and all works in the Century Cycle remain pertinent and relevant, years after the playwright’s death.

<hr />

Want to learn more about August Wilson's work? Check out our upcoming <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/theatre-thought/">Theatre &amp; Thought</a> series on <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/theatre-thought/">The World of August Wilson + The Black Creative Voice →</a>"
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      string(15457) "<img class="alignnone size-full wp-image-14504" src="https://www.courttheatre.org/wp-content/uploads/2020/08/WorldOfAugustWilson800.jpg" alt="" width="800" height="300" />
In this conversational, intimate look at August Wilson and the American Century Cycle, Dr. Kenneth Warren and Resident Artist Ron OJ Parson will examine how one of America’s most essential classic playwrights has been influenced by and impacted generations of Black artists.

You can still purchase and enjoy this seminar even though the first date has passed. After purchase, you will be able to view a recording of the previous sessions.

[button link="https://tickets.courttheatre.org/online/default.asp?doWork::WScontent::loadArticle=Load&amp;BOparam::WScontent::loadArticle::article_id=5B3D6F0D-DBA7-4225-9964-5746DB741695" text="Register for the Seminar"]

[button link="https://www.courttheatre.org/wp-content/uploads/2020/09/TT-Wilson-Digital-Program.pdf" text="Read the Digital Playbill"]

<hr />

<img class="size-full wp-image-14497 alignright" src="https://www.courttheatre.org/wp-content/uploads/2020/08/bedford.jpg" alt="" width="400" height="225" />
<h3><strong>August Wilson and The Great Migration</strong></h3>
<h4>September 8, 2020 | Featuring Dr. Kenneth Warren and Professor Sandra Shannon</h4>
In this session, Dr. Kenneth Warren and Professor Sandra Shannon will discuss urbanization, migration, and property ownership in Pittsburgh’s Hill District as well as various theatrical trends that surface in August Wilson’s work. Participants will also learn about how Wilson's work was received and the way Wilson's play tackle issues of historical representation and cultural history.

<strong>Mentioned in this session:
</strong>

Details about the August Wilson Society's September 24th event in its second annual <em>August Wilson's Ground</em> Lecture Series: August and Africa: <a href="https://awslectureseries2020.eventbrite.com">https://awslectureseries2020.eventbrite.com</a>

Details about the August Wilson Society: <a href="http://augustwilsonsociety.org">http://augustwilsonsociety.org</a>

After purchase, you will be able to view a recording of this first session which occurred on September 8.

<hr />

<img class="wp-image-14499 size-full alignright" src="https://www.courttheatre.org/wp-content/uploads/2020/08/civilrights.jpg" alt="" width="400" height="225" />
<h3><strong>August Wilson and The Civil Rights Movement</strong></h3>
<h4>September 15, 2020 | Featuring Dr. Kenneth Warren and Joel Rhone</h4>
In this session, Dr. Kenneth Warren and UChicago Doctoral student Joel Rhone will discuss the protest movements of the 1960s and 1970s in relation to August Wilson’s work. Also discussed will be the representational power of the family/familial struggle in Wilson’s plays and his nostalgia for the Civil Rights Movement in the 1980s and 1990s.

<hr />

<img class="wp-image-14498 size-full alignright" src="https://www.courttheatre.org/wp-content/uploads/2020/08/gemoftheocean.jpg" alt="" width="400" height="225" />
<h3>August Wilson, Genealogy, and Tradition</h3>
<h4>September 22, 2020 | Featuring Dr. Kenneth Warren and Professor Honey Crawford</h4>
In this session, Dr. Kenneth Warren and Professor Honey Crawford will expound on Wilson’s engagement with heteronormative leadership hierarchies of the Civil Rights Movement and address the representation of slavery, genealogy, and matriarchy in the plays of August Wilson. Additional discussion will concern the performance of African American vernacular speech and other cultural traditions in Wilson’s theatre and the social changes that sparked a renewed interest in African American folk culture in the 1980s and 1990s.
<div class="m_-8458824699283011380column">
<div id="m_-8458824699283011380heading-image-text-block-1597851930676"></div>
</div>

<hr />

<img class="wp-image-14496 size-full alignright" src="https://www.courttheatre.org/wp-content/uploads/2020/08/ronwilson.jpg" alt="" width="400" height="225" />
<h3><strong>The Ground on Which I Stand</strong></h3>
<h4>September 29, 2020 | Featuring Dr. Kenneth Warren and Resident Artist Ron OJ Parson</h4>
In this session, Resident Artist Ron OJ Parson and Dr. Kenneth Warren will explore Wilson’s simultaneous commitments to Western and African traditions and Wilson’s push for a “black theatre” in the speech “The Ground on Which I Stand.” Participants will also learn more about the influences on Wilson from the Black Arts/Black Power movement and contemporary artists who would identify Wilson as an influence.
<h2>About the Scholars and Artists</h2>
<strong><img class="size-full wp-image-14510 alignleft" src="https://www.courttheatre.org/wp-content/uploads/2020/08/kenwarren_250sq.jpg" alt="" width="250" height="250" />Dr. Kenneth Warren</strong>'s scholarship and teaching focuses on American and African American literature from the late nineteenth century through the middle of the twentieth century. Professor Warren is particularly interested in the way that debates about literary form and genre articulate with discussions of political and social change. His single-authored books, which include <em>What Was African American Literature?</em> (Harvard 2010), <em>So Black and Blue: Ralph Ellison and the Occasion of Criticism</em> (Chicago, 2003), and <em>Black and White Strangers: Race and American Literary Realism</em> (Chicago, 1993), explore how American literature by black and white writers helped consolidate, and subsequently responded to, Jim Crow America. Professor Warren is also a coeditor of two books, <em>Renewing Black Intellectual History: The Material and Ideological Foundations of African America Thought</em> (Paradigm 2010) and <em>Jim Crow, Literature, and the Legacy of Sutton E. Griggs</em> (Georgia 2013). His articles have also appeared in <em>Boston Review</em>, <em>The Los Angeles Review of Books</em>, and <em>Jacobin</em>. At the University of Chicago, the various courses he teaches reflect his interest in genre, the politics of race, and the relation of culture to politics.

<strong><img class="size-full wp-image-14511 alignleft" src="https://www.courttheatre.org/wp-content/uploads/2020/08/sandrashannon_250sq.jpg" alt="" width="250" height="250" />Dr. Sandra G. Shannon </strong>is Professor of African American Literature in the Department of English at Howard University. She is a leading scholar on the works of playwright August Wilson with titles such as <em>The Dramatic Vision of August Wilson</em> and <em>August Wilson's Fences: A Reference Guide</em> to her credit. She coedited the essay collection <em>August Wilson and Black Aesthetic</em> and is completing her work as coeditor of the forthcoming <em>MLA Approaches to Teaching</em> series volume <em>Approaches to Teaching the Plays of August Wilson</em>. Dr. Shannon has most recently published “An Intimate Look at Lynn Nottage,” which appeared along with an in-depth interview of the playwright in the collection, Contemporary African American Women Playwrights. She is also the author of “Women Playwrights Who Cross Cultural Borders,” which appears in the 2013 edition of The Cambridge Companion to African American Theatre. Dr. Shannon is currently part of an NEH award-winning team that will produce the PBS American Masters documentary on August Wilson set to air in 2014. She was recently named a Fulbright Specialist and has since won a grant from the U. S. State Department to travel to Botswana to do archival research on the written correspondences of the country’s most influential writer, the late Bessie Head. Dr. Shannon has recently accepted the editorship of the College Language Association Journal.

<strong><img class="size-full wp-image-14541 alignleft" src="https://www.courttheatre.org/wp-content/uploads/2020/08/honeycrawford_sq.jpg" alt="" width="250" height="250" />Honey Crawford’</strong>s research interests include global feminisms, critical race theory, public spectacle, and protest. She specializes in Afro Brazilian cultural performance as both a scholar and practitioner, exploring intersections between ritual performance and self-making through a repertoire that includes carnival, media activism, radical theatre, and the performance of everyday life. She earned her PhD in theatre studies from Cornell University in 2017 where she was also a New York Public Humanities Fellow.

Honey is currently developing her dissertation into her book manuscript, <em>Negra Demais! Overwhelming Performances of Afro Brazilian Femininity</em>. This project takes an interdisciplinary approach, positioning women-driven spectacles of black consciousness in the 20th- 21st century against prevalent discourse on the black diaspora and performance studies. Paying close attention to theatrical traditions that press against the bounds of propriety and indulge in an aesthetic of abundance, this book identifies a preoccupation with the transgressive potential held in performances of black feminine power.

<strong><img class="size-full wp-image-14513 alignleft" src="https://www.courttheatre.org/wp-content/uploads/2020/08/RonOJParson_250sq.jpg" alt="" width="250" height="250" />Ron OJ Parson </strong>hails from Buffalo, New York and is a graduate of the University of Michigan’s professional theatre program. He is a Resident Artist at Court Theatre,  former co-founder and artistic director of the Onyx Theatre Ensemble, and co-founder of the Beyond the Stage Theatre Project. Ron is a company member of TimeLine Theatre, and associate artist at Writers Theatre and Teatro Vista. Court Theatre: <a href="https://www.courttheatre.org/season-tickets/2005-2006-season/fences/"><em>Fences</em></a>, <i><a href="https://www.courttheatre.org/season-tickets/2015-2016-season/gem-of-the-ocean/">Gem of the Ocean</a>,</i> <i><a href="https://www.courttheatre.org/season-tickets/2013-2014-season/seven-guitars/">Seven Guitars</a>, <a href="https://www.courttheatre.org/season-tickets/2009-2010-season/ma-raineys-black-bottom/">Ma Rainey’s Black Bottom</a>, <a href="https://www.courttheatre.org/season-tickets/2008-2009-season/the-piano-lesson/">The Piano Lesson</a>, </i>and<i> </i><a href="https://www.courttheatre.org/season-tickets/2012-2013-season/jitney/"><i>Jitney</i></a> by August Wilson; <a href="https://www.courttheatre.org/season-tickets/2013-2014-season/the-moutaintop/"><i>The Mountaintop</i></a><i> </i>by Katori Hall; <a href="https://www.courttheatre.org/season-tickets/2014-2015-season/waiting-for-godot/"><i>Waiting for Godot</i></a> by Samuel Beckett;<a href="https://www.courttheatre.org/season-tickets/2009-2010-season/sizwe-banzi-dead/"><em> Sizwe Banzi is Dead</em></a> by Athol Fugard, John Kani and Winston Ntshona; <a href="https://www.courttheatre.org/season-tickets/2016-2017-season/blues-alabama-sky/"><em>Blues for an Alabama Sky</em></a> and <a href="https://www.courttheatre.org/season-tickets/2006-2007-season/flyin-west/"><em>Flyin’ West</em></a> by Pearl Cleage; <em><a href="https://www.courttheatre.org/season-tickets/2010-2011-season/home/">Home</a></em> by Samm-Art Williams; <a href="https://www.courttheatre.org/season-tickets/2008-2009-season/wait-until-dark/"><em>Wait Until Dark</em></a> by Frederick Knott; <em><a href="https://www.courttheatre.org/season-tickets/2007-2008-season/first-breeze-summer/">The First Breeze of Summer</a></em> by Leslie Lee; and the musical <em><a href="https://www.courttheatre.org/season-tickets/2017-2018-season/five-guys-named-moe/">Five Guys Named Moe</a></em>.  In Chicagoland, Ron has also worked with Black Ensemble Theatre, eta Creative Arts Foundation, Chicago Dramatists, Congo Square, Oak Park Theatre Festival, Goodman, Victory Gardens, Northlight, Chicago Dramatists, Urban Theater Company, Steppenwolf, and City Lit Theatre. Regional theatres include American Players Theatre, Virginia Stage Company, Portland Stage (Maine), Studio Arena Theatre, Roundabout, Studio Theatre (DC), Baltimore Center Stage, Actors Theatre of Louisville, Wilshire Theater, Coronet Theatre, The Mechanic Theatre, Milwaukee Rep, St. Louis Black Rep, Pittsburgh Public Theater, Pittsburgh Playwrights Theatre, Geva, Signature (New York), The Alliance Theatre, South Coast Rep, Kansas City Repertory, and Pasadena Playhouse. In Canada, Ron directed the world premiere of Palmer Park at the Stratford Festival. Ron is a member of SAG-AFTRA, SDC, and Actors Equity. Visit <a href="http://www.ronojparson.com/" target="_blank" rel="noopener noreferrer">www.RonOJParson.com</a>.

<strong><img class="size-full wp-image-14526 alignleft" src="https://www.courttheatre.org/wp-content/uploads/2020/08/joelrhone.jpg" alt="" width="250" height="250" />Joel Rhone </strong>is a PhD student at the University of Chicago. Joel earned his BA from Howard University in 2016, and after winning the Marshall Scholarship he received an MA from the University of Manchester in 2017. His research interests include historical fiction, diaspora studies, and Black writers in exile. More broadly, he studies the performance of solidarity in African American letters. Joel was awarded honorable mention for the Ford Foundation Predoctoral Fellowship in 2019, and serves as an admissions assistant with UChicago GRAD.

<hr />

<span style="font-weight: 400;">Court’s <b>Theatre &amp; Thought series</b> connects audiences to expert insights from University of Chicago faculty about the historical context, thematic relevance, and artistic possibilities surrounding classic works. Each Theatre &amp; Thought topic will feature a different play and include virtual meetings with University scholars to discuss the ideas underpinning these classic texts.  </span>

<a href="https://grahamschool.uchicago.edu" target="_blank" rel="noopener noreferrer"><img class="size-full wp-image-14219 alignleft" src="https://www.courttheatre.org/wp-content/uploads/2020/07/graham-logo-75.jpg" alt="Graham School" width="75" height="75" /></a><span style="font-weight: 400;">Court’s remote, digital experiences are produced in partnership with the <strong><a href="https://grahamschool.uchicago.edu" target="_blank" rel="noopener noreferrer">University of Chicago Graham School's</a> Arts@Graham series.</strong></span>

<strong>Select 1 course or enjoy the whole series!</strong> 5-event subscribers will have access to all seminars in Theatre &amp; Thought. 3 and 4-event subscribers may select the entire Theatre &amp; Thought series as just <em>one</em> of their event selections. 3-event subscription packages start at only $96—a huge savings over purchasing seminars separately. <span style="font-weight: 400;">Individual enrollment for the Theatre &amp; Thought series is $85 per course. </span>

[button link="https://tickets.courttheatre.org/Online/default.asp?doWork::WScontent::loadArticle=Load&amp;BOparam::WScontent::loadArticle::article_id=E634BF39-9FCD-4B2E-82E4-3501ECD83D9B&amp;menu_id=74BC12C2-635B-49C1-84E4-5D82FAA92D98" text="Subscribe and Save"]
<p class="fine-print"><i>Photo of Jacqueline Williams and Tyla Abercrumbie in August Wilson's <a href="https://www.courttheatre.org/season-tickets/2015-2016-season/gem-of-the-ocean/">GEM OF THE OCEAN</a> by Michael Brosilow.
</i></p>
<p class="fine-print"><i>Photo of August Wilson with Ron OJ Parson by Ray Baker.</i></p>"
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        string(395) "Established in 2018 to honor Founding Artistic Director Nicholas Rudall, this award acknowledges an artist with a passion for and dedication to classic plays. Roston, Jr. joins previous recipients Kate Fry and Allen Gilmore as a shining example of an artist upholding Rudall’s vision for classic theatre’s capacity to pose enduring and provocative questions that define the human experience."
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      string(6464) "<strong><img class="alignnone size-full wp-image-13113" src="https://www.courttheatre.org/wp-content/uploads/2019/11/LightingOedipus_800x300.jpg" alt="" width="800" height="300" />We’re thrilled to announce that Kelvin Roston, Jr. is the recipient of the 2019/20 Nicholas Rudall Classic Artist Award! </strong>

<span style="font-weight: 400;">Established in 2018 to honor <a href="https://www.courttheatre.org/people/nicholas-rudall/">Founding Artistic Director <strong>Nicholas Rudall</strong></a>, this award acknowledges an artist with a passion for and dedication to classic plays. <a href="https://www.courttheatre.org/people/kelvin-roston-jr/"><strong>Kelvin Roston, Jr.</strong></a> joins previous recipients <strong>Kate Fry</strong> and <strong>Allen Gilmore</strong> as a shining example of an artist upholding Rudall’s vision for classic theatre’s capacity to pose enduring and provocative questions that define the human experience.</span>

“Kelvin is masterful at making stories resonate with contemporary audiences thanks to his passion, intelligence, and extraordinary range as an actor,” says <strong>Charles Newell</strong>, Marilyn F. Vitale Artistic Director. “I know Nick would have been dazzled by Kelvin’s towering portrayals of two such different kings, Hedley and Oedipus.”

<strong>Clare Lorring</strong>, Nicholas Rudall’s daughter, shared, “I am thrilled to hear about Kelvin as the recipient of the Nick Rudall award. He is a kind, thoughtful, and brilliant actor, and I know my dad would have been glad for Kelvin to receive this honor. I look forward to being able to see Kelvin at Court in the future.”

<img class="alignnone size-full wp-image-14453" src="https://www.courttheatre.org/wp-content/uploads/2020/08/kinghedley_800.jpg" alt="" width="800" height="300" />

<span style="font-weight: 400;">We interviewed Kelvin to learn a bit more about the place Court holds in his career as an actor and how it feels to be recognized in this way.</span>

<b>What does it mean to you to win the Nick Rudall award?</b>

<span style="font-weight: 400;">Receiving the Nick Rudall Award is absolutely amazing!  There aren't words that can adequately express how completely overwhelmed and honored I felt when I received the news. It feels incredible to have your peers enjoy your work.</span>

<b>How has Court played a role in your work as an actor?</b>

<span style="font-weight: 400;">Court has been tremendous for me and my career.  When I moved to Chicago from St. Louis, MO on April 30, 2008, I planned to audition in the city for the rest of the year and figured that I would begin booking in 2009. However, God had other plans. The opening night for Court's production of </span><a href="https://www.courttheatre.org/season-tickets/2007-2008-season/first-breeze-summer/"><i><span style="font-weight: 400;">The First Breeze of Summer</span></i></a><span style="font-weight: 400;"> by Leslie Lee, directed by the incomparable Ron OJ Parson, was happening in May. My cousin, Ron Conner, was in the show and invited me. At that opening night, I met the wonderful Runako Jahi and the incredible Ilesa Duncan who were working on a production at ETA Creative Art Foundation that I was able to audition for and book!  </span>

<span style="font-weight: 400;">Fast forward to August of 2009, and I was cast in my first Court production, August Wilson's </span><a href="https://www.courttheatre.org/season-tickets/2009-2010-season/ma-raineys-black-bottom/"><i><span style="font-weight: 400;">Ma Rainey's Black Bottom</span></i></a><span style="font-weight: 400;"> as the stuttering nephew, Sylvester. That show made me a member of the Actors Equity Association. Being involved in different readings of plays, workshops of scripts, and a music consultant on productions have all aided in sharpening my skills and my craft. Of course, this past season has been mind-blowing, being able to perform in an African-American classic, August Wilson's </span><i><span style="font-weight: 400;"><a href="https://www.courttheatre.org/season-tickets/2019-2020-season/king-hedley-ii/">King Hedley II</a></span></i><span style="font-weight: 400;"> and Sophocles' classic, </span><a href="https://www.courttheatre.org/season-tickets/2019-2020-season/oedipus-rex/"><i><span style="font-weight: 400;">Oedipus Rex</span></i></a><span style="font-weight: 400;">. So, Court will always have a special place in my heart.</span>

<b>What's been one of your favorite roles at Court?</b>

<span style="font-weight: 400;">One of my favorite roles at Court has to include the first one, Sylvester from </span><i><span style="font-weight: 400;">Ma Rainey's Black Bottom</span></i><span style="font-weight: 400;">. I've always enjoyed digging into a character and attempting to find the deeper qualities they possess. It was more satisfying in this role, however, because I've found that we generally attribute a speech impediment to a level of weakness. I tried to fight against that. I wanted the audience to see him as a strong individual who happened to have a stutter as opposed to allowing the stutter to define him, completely.  </span>

<span style="font-weight: 400;">Floyd Barton from August Wilson's </span><a href="https://www.courttheatre.org/season-tickets/2013-2014-season/seven-guitars/"><i><span style="font-weight: 400;">Seven Guitars</span></i></a><span style="font-weight: 400;"> is right up there at the top, as well. That cast was incredible. Finally, most recently, playing the role of Oedipus in </span><i><span style="font-weight: 400;">Oedipus Rex</span></i><span style="font-weight: 400;"> is one of the highlights of my career. The family we became as a cast and crew in the creation of that piece of art was something one rarely experiences.</span>

<b>In what ways are you hoping to give back to Court's audiences and community in your future collaborations with us?</b>

<span style="font-weight: 400;">I am an artist. I do art, because it's who I am. I can do art just for myself; just for the sake of art.  However, I always remember that I can only do art as a </span><i><span style="font-weight: 400;">career</span></i><span style="font-weight: 400;"> because of the audiences who come out and buy those tickets or that subscription. All I can offer is my complete self in every single production I'm blessed to be a part of. </span>

<em>Photos by Michael Brosilow.</em>"
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      string(5466) "We know that our upcoming <a href="https://www.courttheatre.org/about/blog/the-2020-21-season-reimagined/">2020/21 Season</a> is different than past seasons, and want to make sure all of your questions and concerns are addressed. Check out the FAQ below or give our Box Office a call at (773) 753-4472 with any questions you might have and we'll be happy to get them answered. Our Box Office hours are Monday - Friday, 12pm - 5pm.

<b>How will my experience at Court Theatre change from previous seasons?</b>

<span style="font-weight: 400;">Court Theatre is remaining responsive to ongoing guidance surrounding how to keep patrons, artists, and staff members safe during the pandemic. To that end, it is highly likely that Box Office check-in, seating arrangements, and other aspects of your theatregoing experience will be different than you’re used to. We are hard at work crafting safe and appropriate guidelines for live performances and will communicate any changes to you well in advance of our programming resuming in 2021.</span>

<b>What happens if social distancing guidelines further limit attendance for live performances venues?</b>

<span style="font-weight: 400;">Although we remain optimistic about the future, in the event of city, state, or university ordinances preventing us from moving forward with programming as planned, we will reach out about any necessary changes in schedule or seating. <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/theatre-thought/">Theatre &amp; Thought</a>, <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/">Deep Dive</a>, </span><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/titanic/"><i><span style="font-weight: 400;">Titanic</span></i></a><span style="font-weight: 400;">, and </span><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/othello/"><i><span style="font-weight: 400;">Othello </span></i></a><span style="font-weight: 400;">are all confirmed for digital streaming and may be experienced from the comfort of your home.</span>

<b>What if I can’t attend on a specific date listed for Theatre &amp; Thought or Deep Dive: </b><b><i>Leopoldstadt</i></b><b>?</b>

<span style="font-weight: 400;">Digital access to recorded seminars and discussions will be available to all ticket holders for our <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/theatre-thought/">Theatre &amp; Thought</a> series and <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/">Deep Dive</a> events.</span>

<b>If I've renewed my subscription do I need to register separately for Theatre &amp; Thought or Deep Dive: <em>Leopoldstadt</em>? </b>

<span style="font-weight: 400;">If you renewed your 5-Play Subscription (or renewed a 4 or 3-Play Subscription and selected Theatre &amp; Thought and/or Deep Dive as part of your subscription), you are automatically registered for all events. You can expect further information via email with your access link and login information closer to the date of the event.</span>

<b>Will I have the same seats?</b>

<span style="font-weight: 400;">When we do resume live performances, we expect to be seating only 25% of our normal capacity. As such, your seating location may be affected by social distancing guidelines, although subscribers will be given priority for each in-person performance. We will endeavor to accommodate seating requests and locations whenever possible. </span>

<b>What if I don’t want to or am undecided about attending in person?</b>

<span style="font-weight: 400;">Four of our five events (<a href="https://www.courttheatre.org/season-tickets/2020-2021-season/theatre-thought/">Theatre &amp; Thought</a>, <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/">Deep Dive</a>, <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/titanic/"><i>Titanic</i></a>, and <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/othello/"><i>Othello </i></a></span><span style="font-weight: 400;">) are all confirmed for digital streaming and may be experienced from the comfort of your home. If you’re not sure about returning to attend live theatre in person but are still interested in renewing your subscription, we will happily hold your seats for future seasons as a subscriber at Court.</span>

<b>If I've purchased or renewed my subscription, will I receive a packet in the mail with tickets and other details?</b>

As our fall offerings are exclusively happening digitally, we will not be mailing subscriber packets this year. Tickets to seated performances of <em>Othello</em>, <em>Titanic</em>, and <em>Two Trains Running </em>will be mailed to you at a future date.

<b>Will you be streaming past productions online?</b>

Unfortunately, due to licensing agreements, we are unable to stream past Court productions at this time.

<b>Do I need any special software to access Court's digital content online?</b>

You don't need any special software to access Court's digital content — only an internet-enabled device with a web browser.

<hr />

<strong>Still have questions?</strong> Give our Box Office a call at (773) 753-4472 and we'll be happy to get them answered. Our Box Office hours are Monday - Friday, 12pm - 5pm."
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      string(10304) "<p class="" dir="ltr">We've reimagined our 2020/21 Season, breaking the mold of past seasons and providing unparalleled depth and access in the absence of being able to physically gather this Fall.</p>
<p class="" dir="ltr">From our <b class="">Theatre &amp; Thought </b>Series, which connects audiences to expert insights from University of Chicago faculty about classic texts, to our <b class="">Deep Dive </b>events exploring Tom Stoppard's newest play <i class="">Leopoldstadt</i>, and productions like <b class=""><i class="">Titanic (Scenes from the British Wreck Commissioner's Inquiry, 1912)</i></b>, <i class=""><strong>Othello</strong>,</i> and<b class=""> August Wilson's <i class="">Two Trains Running</i></b>, our updated season is thematically rich, intellectually rigorous, and deeply ambitious.</p>
<p class="" dir="ltr">You can learn more about each of these thrilling offerings below. We hope the stories and programs we’ve chosen to share will offer the spiritual sustenance so many of us are seeking in this unprecedented time.</p>
<p dir="ltr"><img class="alignnone size-full wp-image-14547" src="https://www.courttheatre.org/wp-content/uploads/2020/07/1000x400-d2-overview-2.jpg" alt="" width="800" height="320" />
<span style="font-weight: 400;">Court’s </span><b>Theatre &amp; Thought series</b><span style="font-weight: 400;"> connects audiences to expert insights from University of Chicago faculty about the historical context, thematic relevance, and artistic possibilities surrounding classic works. Each topic will feature a different play and include virtual meetings with scholars to discuss the ideas underpinning these classic texts. <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/theatre-thought/"><strong>Learn More</strong></a></span></p>
<p dir="ltr"><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/"><img class="alignnone size-full wp-image-14242" src="https://www.courttheatre.org/wp-content/uploads/2020/07/800X2502.jpg" alt="Stoppard's Leopoldsadt" width="1667" height="521" /></a><span style="font-weight: 400;">In our most ambitious addition to the Fall season, Court Theatre’s </span><b>Deep Dive: </b><b><i>Leopoldstadt</i></b><span style="font-weight: 400;"> provides an in-depth examination of Tom Stoppard’s epic drama, </span><i><span style="font-weight: 400;">Leopoldstadt</span></i><span style="font-weight: 400;">. Leopoldstadt is a place, a state of mind, and a return. Stoppard’s newest play is as groundbreaking and sprawling as anything he has written. <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/"><strong>Learn More</strong></a></span></p>
<p dir="ltr"><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/titanic/"><img class="alignnone size-full wp-image-14244" src="https://www.courttheatre.org/wp-content/uploads/2020/07/800X2504.jpg" alt="Titanic" width="1667" height="521" /></a><span style="font-weight: 400;">The sinking of the RMS </span><i><span style="font-weight: 400;">Titanic</span></i><span style="font-weight: 400;"> has long been studied for its historical significance and unmistakable hubris. A survivors’ story fraught with intrigue, Owen McCafferty’s </span><i><span style="font-weight: 400;">play </span></i><span style="font-weight: 400;">tells the story using verbatim testimonies from witnesses of the wreck. What emerges is a startling portrait of class, chaos, and moral ambiguity. <i>A digital version will be available to stream for patrons who do not yet wish to attend in person. </i><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/titanic/"><strong>Learn More</strong></a></span></p>
<p dir="ltr"><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/othello/"><img class="alignnone size-full wp-image-14243" src="https://www.courttheatre.org/wp-content/uploads/2020/07/800X2503.jpg" alt="Othello" width="1667" height="521" /></a><span style="font-weight: 400;">Othello, the great Venetian general, unknowingly seals his fate when he fails to select his standard-bearer, Iago, for a military promotion. When his wife, Desdemona, is implicated in an affair, Othello is faced with a series of irreversible events that spell catastrophe for him and his country. <i>A digital version will be available to stream for patrons who do not yet wish to attend in person. </i><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/othello/"><strong>Learn More</strong></a></span></p>
<p dir="ltr"><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/two-trains-running/"><img class="alignnone size-full wp-image-14245" src="https://www.courttheatre.org/wp-content/uploads/2020/07/800X2505.jpg" alt="Two Trains Running" width="1667" height="521" /></a><span style="font-weight: 400;">Amidst the Civil Rights Movement, Memphis Lee’s restaurant is slated for demolition. While Memphis fights to sell his diner for a fair price, the rest of the restaurant’s regulars search for work, love, and justice as their neighborhood continues to change in unpredictable ways. <i>This production will be available to attend in-person. </i><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/two-trains-running/"><strong>Learn More</strong></a></span></p>


<hr />

<b>Subscription and Ticket Information</b>

<span style="font-weight: 400;">Individual enrollment for the <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/theatre-thought/">Theatre &amp; Thought</a> series is $85 per course. Individual enrollment to <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/">Deep Dive: <em>Leopoldstadt</em></a></span><span style="font-weight: 400;"> is $250. Three, four and five-play subscriptions to Court’s 2020/21 season range from $96 to $300 and are on sale now. 5-Play subscribers will have access to all plays, content, and programs listed above as a part of their subscription package. </span>

<span style="font-weight: 400;">Court’s Box Office will be in touch with previously renewed subscribers to discuss how these changes impact their subscription series. 3 and 4-Play subscribers will have the opportunity to choose from the Theatre &amp; Thought series, Deep Dive: </span><i><span style="font-weight: 400;">Leopoldstadt</span></i><span style="font-weight: 400;">, or any of the three plays scheduled for 2021. Court’s Box Office will be in touch with previously renewed subscribers to discuss their options.</span>

<span style="font-weight: 400;">University of Chicago students will receive complimentary access and UChicago faculty and staff will receive a 25% discount to Court Theatre’s fall digital programming.</span>

<span style="font-weight: 400;">To purchase a subscription or receive more information, call the Court Theatre Box Office at <strong>(773) 753-4472</strong>, or <a href="https://www.courttheatre.org/season-tickets/subscriptions/"><strong>learn more here</strong></a></span><span style="font-weight: 400;">. Individual tickets for all Spring 2021 productions will be available in Fall 2020.</span>

[button link="/season-tickets/subscriptions/" text="Subscribe Now"]

<span style="font-weight: 400;">The previously announced live productions of </span><i><span style="font-weight: 400;">Violet, The Gospel at Colonus</span></i><span style="font-weight: 400;">, </span><i><span style="font-weight: 400;">Fen</span></i><span style="font-weight: 400;">, and </span><i><span style="font-weight: 400;">Antigone </span></i><span style="font-weight: 400;">have been postponed and will be produced in a future season.</span> <span style="font-weight: 400;">Current subscribers will be able to exchange their existing tickets to previously announced productions for any of the above offerings. Court Theatre’s Box Office will be in touch to discuss subscriber options via phone and email. </span>

<span style="font-weight: 400;">Court is still evaluating new performance dates for its site-specific production of </span><a href="https://www.courttheatre.org/season-tickets/2019-2020-season/an-iliad-at-oi/"><i><span style="font-weight: 400;">An Iliad</span></i></a><span style="font-weight: 400;">. Ticket holders will be contacted with further information when details have been solidified.</span>

<a href="https://grahamschool.uchicago.edu" target="_blank" rel="noopener noreferrer"><img class="size-full wp-image-14219 alignleft" src="https://www.courttheatre.org/wp-content/uploads/2020/07/graham-logo-75.jpg" alt="Graham School" width="75" height="75" /></a>Court’s remote, digital experiences are produced in partnership with the <strong><a href="https://grahamschool.uchicago.edu" target="_blank" rel="noopener noreferrer">University of Chicago Graham School’s</a> Arts@Graham series.</strong>

<hr />
<p class="caption"><span style="font-weight: 400;"><em>Titanic (Scenes from the British Wreck Commissioner's Inquiry, 1912)</em> is sponsored by Gustavo "Chip" Bamberger and Martha Van Haitsma. <em>Othello</em> is sponsored by Michael Charles Litt. August Wilson’s <em>Two Trains Running</em> is sponsored by Allstate and Neil Ross and Lynn Hauser. Ron OJ Parson’s Residency is made possible by the Joyce Foundation. Programming is partially supported by a grant from the Illinois Arts Council Agency. Additional support is provided by Harper Court Arts Council, Paul M. Angell Family Foundation, Prince Charitable Trusts, and the Shubert Foundation.
</span></p>
<p class="caption"><span style="font-weight: 400;">Court Theatre remains committed to following all government guidelines surrounding the COVID-19 pandemic in order to maintain the safety of our artists, staff, and patrons. To that end, dates and programming are subject to change based on rights acquisition, pandemic conditions, and other developments in order to remain responsive to evolving circumstances. As in-person gatherings are currently scheduled to resume in February of 2021, we will communicate information about enhanced cleaning and safety protocols to ensure everyone’s safety at Court Theatre.</span></p>"
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  <h1>Blog</h1>
  
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      <a href="https://www.courttheatre.org/about/blog/deep-dive-tom-stoppards-leopoldstadt-ticket-giveaway/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2020/09/leosq_200.jpg" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/deep-dive-tom-stoppards-leopoldstadt-ticket-giveaway/">Deep Dive: Tom Stoppard&#8217;s LEOPOLDSTADT Ticket Giveaway</a></h3>
        <p>Want a chance to attend our upcoming Deep Dive series on Tom Stoppard's LEOPOLDSTADT for free? Read on for entry rules and regulations.</p>
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      <a href="https://www.courttheatre.org/about/blog/theatre-thought-the-bacchae-ticket-giveaway/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2020/09/bacchae_200.jpg" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/theatre-thought-the-bacchae-ticket-giveaway/">Theatre &#038; Thought: The Bacchae Ticket Giveaway</a></h3>
        <p>Want a chance to attend our upcoming Theatre & Thought Series for free? Read on for entry rules and regulations.</p>
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      <a href="https://www.courttheatre.org/about/blog/theatre-thought-euripides-the-bacchae-contemporary-adaptation/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2020/09/bacchae_200.jpg" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/theatre-thought-euripides-the-bacchae-contemporary-adaptation/">Theatre &#038; Thought: Euripides&#8217; THE BACCHAE + Contemporary Adaptation</a></h3>
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      <a href="https://www.courttheatre.org/about/blog/court-receives-11-jeff-nominations-for-2019-20-season/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2020/09/hedley-200sq.jpg" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/court-receives-11-jeff-nominations-for-2019-20-season/">Court Receives 11 Jeff Award Nominations for 2019/20 Season</a></h3>
        <p>Court Theatre received 11 Jeff Award nominations for the shortened 2019/20 Season.</p>
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      <a href="https://www.courttheatre.org/about/blog/theatre-thought-world-of-august-wilson-ticket-giveaway/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2020/08/woaw_200.jpg" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/theatre-thought-world-of-august-wilson-ticket-giveaway/">Theatre &#038; Thought: World of August Wilson Ticket Giveaway</a></h3>
        <p>Want a chance to attend our upcoming Theatre & Thought Series for free? Read on for entry rules and regulations.</p>
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      <a href="https://www.courttheatre.org/about/blog/august-wilsons-century-cycle/"><img class="blog-teaser__img" src="" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/august-wilsons-century-cycle/">August Wilson&#8217;s Century Cycle</a></h3>
        <p>Get a brief overview of each of the ten plays in August Wilson's Century Cycle.</p>
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      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/theatre-thought-the-world-of-august-wilson-and-the-black-creative-voice/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2020/08/woaw_200.jpg" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/theatre-thought-the-world-of-august-wilson-and-the-black-creative-voice/">Theatre &#038; Thought: The World of August Wilson and The Black Creative Voice</a></h3>
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      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/kelvin-roston-jr-receives-rudall-classic-artist-award/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2020/08/kelvin-200.jpg" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/kelvin-roston-jr-receives-rudall-classic-artist-award/">Kelvin Roston, Jr. Receives Rudall Classic Artist Award</a></h3>
        <p>Established in 2018 to honor Founding Artistic Director Nicholas Rudall, this award acknowledges an artist with a passion for and dedication to classic plays. Roston, Jr. joins previous recipients Kate Fry and Allen Gilmore as a shining example of an artist upholding Rudall’s vision for classic theatre’s capacity to pose enduring and provocative questions that define the human experience.</p>
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      <a href="https://www.courttheatre.org/about/blog/digital-programming-faq/"><img class="blog-teaser__img" src="" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/digital-programming-faq/">2020/21 Season Programming FAQ</a></h3>
        <p>Check out these frequently asked questions about our virtual offerings as part of our re-imagined 2020/21 Season.</p>
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      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/the-2020-21-season-reimagined/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2020/07/2021-reimagined-200sq.jpg" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/the-2020-21-season-reimagined/">The 2020/21 Season Reimagined</a></h3>
        <p>From our Theatre & Thought Series, which connects audiences to expert insights from University of Chicago faculty about classic texts, to our Deep Dive events exploring Tom Stoppard's newest play <i>Leopoldstadt</i>, and productions like <i>Titanic (Scenes from the British Wreck Commissioner's Inquiry, 1912)</i>, <i>Othello</i>, and August Wilson's <i>Two Trains Running</i>, our updated season is thematically rich, intellectually rigorous, and formally ambitious.</p>
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