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<p style="text-align: left; padding-left: 30px;">Is the Constitution a living document, one that should change and evolve over time, or is it a text frozen in the moment of its creation, strictly bound by the Founding Fathers’ original intentions?<span class="Apple-converted-space"> </span></p>
<p style="text-align: left; padding-left: 30px;">David A. Strauss, Gerald Ratner Distinguished Service Professor of Law at the University of Chicago, wrote <i>The Living Constitution</i> (Oxford University Press, 2010) to address this question.<span class="Apple-converted-space"> </span></p>
<p style="padding-left: 30px;">Strauss has served as Special Counsel to the U. S. Senate Judiciary Committee and as Assistant Solicitor General of the United States, and argued nineteen cases before the U.S. Supreme Court. Court’s Resident Dramaturg about Justice Scalia and the debate over the nature of the Constitution.</p>

<h5>What is your definition of originalism?</h5>
I think originalism is the claim that we can figure out what the Constitution allows and forbids by looking at decisions made by the Founders—decisions made at the time the Constitution was written. My view is that just cannot be done. You cannot get answers to today’s issues by consulting the intentions of people who lived in an utterly different country in the late 18th century. And because originalism really doesn’t work in the way its proponents claim, the appeal to the Founders ends up being a kind of rhetorical move that people use to accomplish something else. Originalists, I think, often find principles in the text and in the decisions of the founding generation that they want to find there. They might be perfectly good principles, but they should be defended on their own merits, not by invoking the authority of the Founders or the text.<span class="Apple-converted-space"> </span>
<h5>What kind of originalist was Antonin Scalia?</h5>
Justice Scalia was regarded as a conservative, but one thing people do not always realize is that originalism is not necessarily a conservative approach. The most influential originalist of the last 100 years was not Justice Scalia at all. It was Justice Hugo Black, an intellectual force for civil rights and free speech on the Warren Court. In most respects, Justice Black was what we would call a liberal, and he very much fancied himself an originalist.<span class="Apple-converted-space"> </span>

What that tells me is that originalism is something people use to attack the tradition they grew up in. Justice Black, who was from Alabama, grew up in a tradition of racism, in a time when there was Jim Crow segregation and repression in the South, and he hated it. So he appealed to the Founders, claiming that they believed in racial equality and civil liberties. Racial equality and civil liberties are good things, but it’s not so clear that the Founders thought so!<span class="Apple-converted-space"> </span>

Justice Scalia grew up in the Warren Court era, when the Court was aggressively protecting what the Court saw as disadvantaged groups in society, and Justice Scalia thought the Warren Court went too far. So he portrayed the Founders in a different way.
<h5>Your view of the Constitution is the opposite of originalism. Could you explain what you mean by a “living” Constitution?</h5>
One of the strengths of our Constitutional system is that it maintains certain principles as fundamental, but it shapes and adapts those principles to changing circumstances, changing times, and to particular crises that arise.<span class="Apple-converted-space">  </span>That’s because our system, it seems to me, is based mostly on precedent and tradition, instead of simply looking for an authoritative command from the Founders or the text of the Constitution. That’s the sense in which the Constitution is “living”: it is able to adapt without losing touch with the past, by continuing to develop principles that have been worked out over time.<span class="Apple-converted-space"> </span>
<h5>What are examples of the “living Constitution” in action?</h5>
There are a lot of them, because major events in the history of this country have changed our understanding of the Constitution in many ways. Those changes are now built into our institutions and our traditions and even our ways of thinking about each other. Take racial equality, for example. The Supreme Court’s decisions establishing principles of racial equality rely on the Fourteenth Amendment to the Constitution, but when that Amendment was adopted, the idea that African Americans were equal to whites was a radical position. The Amendment just gave blacks certain limited rights. No one, for example, thought that the Amendment meant that there was a right to interracial marriage. But over time, we made progress. Americans came to understand that racial discrimination was intolerable in all its forms. It took a while for the country to come around to that view, but the country did come around, and it is now a point of essentially universal consensus—as much a part of the Constitution as anything you can think of, even though the text was never amended. I could give you a lot of other examples; women’s equality is in a way an even more dramatic case. ■

Check out <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/the-originalist/"><em>The Originalist</em></a> at Court Theatre, May 10 - June 10, 2028."
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          string(7164) "<a href="https://www.courttheatre.org/people/john-strand/"><img class="size-full wp-image-10403 alignright" src="https://www.courttheatre.org/wp-content/uploads/2018/04/scalia-600.jpg" alt="" width="300" height="452" />John Strand</a> was the playwright in residence at Arena Stage in Washington, D.C. when his play, <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/the-originalist/"><i>The Originalist</i></a>, premiered in 2015. He is currently at work on the film version of <i>The Originalist</i>, as well as the new play, <i>River of Doubt</i>, about the life of Teddy Roosevelt. <a href="https://www.courttheatre.org/people/nora-titone/">Nora Titone</a>, Court Theatre’s Resident Dramaturg,<span class="Apple-converted-space">  </span>spoke with Strand to discover how he created a version of Justice Scalia for the stage, and what his motivation was for exploring this complex moment in America’s highest court.

<hr />

<h5>You observed that “Nobody is neutral on the subject of late Supreme Court Justice Antonin Scalia.” What is it about him that evokes such passionate responses across the political spectrum?</h5>
One primary reason is that he was a puncher. He was pugilistic in his approach to what he believed and that really antagonized people who disagreed with him and caused people who agreed with him to stand on their feet and cheer. It was his nature to be controversial in public and we see that in his words from the bench. Part of what led me to first research Scalia was how vicious and vitriolic the comments were about him, not just as a Supreme Court Justice, but as an individual. But when I began to speak with people who worked with him and knew him well, he was this wonderful, paternal, humorous, brilliant individual. I thought there must be an interesting way to reconcile those two extremes.<span class="Apple-converted-space"> </span>
<h5>By exploring Scalia’s character, did you hope there was going to be a collective lesson we could learn, or a political rift that could be healed? Or was it really just purely intellectual, to answer the question: how does he tick?</h5>
Many people join me in feeling alarm at the polarization of political discourse, if we can even dignify it with this term. I wanted to use Scalia as an example of someone who represents the extreme and see what it would be like to put him in the same ring with someone who is his polar opposite. We match him with a woman of color in her twenties, fresh out of law school, and what happens is that this pairing is not a mismatch: she learns how to punch. The historic Scalia was someone who welcomed debate from his clerks and made a point of hiring a liberal law clerk because it inspired heated debate. He loved that. But I think there’s an intellectual generosity in the idea that, ‘I don’t agree with you, but I will listen to you explain your condition respectfully and then I’ll answer you respectfully,’ and that’s how he treated the people around him. He was much tougher on his fellow justices. When they did something that he thought was wrong— that went against his own originalist interpretation of the Constitution—he could be vicious. You wouldn’t want to be on the wrong side of Antonin Scalia when he was reading a dissent to the bench. He frequently excoriated the other justices when he thought that they were violating the principles of the Constitution as he saw them.
<h5>Were there particular decisions of his from the bench that you had at the forefront of your mind as you were thinking about creating his portrait?</h5>
I went back and read all of his dissents. Scalia was a brilliant thinker and he had a comic timing that was really remarkable. He was funny from the bench, often to the chagrin of the people of opposing view. I think someone did a survey of how many times each justice solicited humor from fellow justices or the Court during a hearing and Scalia did so at a rate of about ten times that of any other. He knew how to deliver a line. There was a certain performer in Scalia, which is another thing that really interested me. He loved opera and he even appeared in a few operas as an extra. Scalia was a larger than life character and I think he really enjoyed that. He used the bench with its very theatrical setting, its costumes, and its lighting to perform. He performed from the bench.<span class="Apple-converted-space"> </span>

The play was embraced in Washington by enthusiastics audiences during Scalia’s lifetime, and now is proliferating in a new way in a new political moment. What do you hope to see happen as people come to the theater now and watch this piece?<span class="Apple-converted-space"> </span>

At the heart of the play is the idea that it is possible for two people of extremely divergent viewpoints to argue their case and at the same time not lose respect for one another and even, perhaps, gain respect for one another. The alternative is for us all to retreat into a kind of childish, reactionary, hateful response to people with whom we disagree politically. But here are two people who are extreme opposites of one another but have a certain amount of hope to move towards the other’s position. If you don’t have the respect to listen, research, and learn from an opposite viewpoint,<span class="Apple-converted-space">  </span>you’ll never be effective in arguing against it. So that’s the hope from this, I think. In the play they come to respect one another in a way that neither one of them would have anticipated.<span class="Apple-converted-space"> </span>
<h5>And as you say there’s a historical basis in the life of Justice Scalia for that hopefulness.</h5>
You need only look at his most famous buddy sitting next to him on the bench, Justice Ginsburg. His positions may have driven her crazy from time to time but she loved him for his qualities as a person: his humor, the way he mentored his clerks— liberal or conservative—and the way he was a natural teacher. She has said that there are many times when she would submit one of her opinions to Scalia, asking him to read and comment on it. He was tough on her but she said that he made her argument better, stronger, more accurate. In reading her opinion, he probably disagreed with every line, but he took it seriously and worked to strengthen her argument. I think he greatly admired her courage and he saw how difficult it was for a woman in those days to advance in law and then rise all the way to the Supreme Court. I think he would begin from the position of: if you’re seated next to me on the bench, you’re a remarkable person and you are very talented in matters of law or you wouldn’t be here. If past that point you also happen to have a wonderful sense of humor and you’re just a real humanist and and intellectual, as is true of Justice Ginsburg, she had his respect. ■

<i>-Edited by Ella Hester</i>

Catch <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/the-originalist/"><em>The Originalist</em></a> at Court Theatre May 10 - June 10, 2018."
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<p style="padding-left: 60px;">When Washington, D.C.-based actor <a href="https://www.courttheatre.org/people/4104/">Edward Gero</a> agreed to take on the role of Antonin Scalia, he had no idea of the unlikely relationship that would develop between him and the late Supreme Court justice. Prior to Scalia’s passing in 2016, Gero had visited “Nino” dozens of times, and bonded with him about their shared backgrounds, love of Shakespeare, and passion for language. Gero talked with Shelby Wenner, Court’s Associate Director of Marketing, about his process to understand this character, and his hopes in bringing <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/the-originalist/"><i>The Originalist </i></a>to Chicago.</p>

<h5>Tell me a little bit about the process of getting to know Justice Scalia, from an artist’s perspective.</h5>
For me, the actual person and the character in the biographical play are deeply intertwined. I had the opportunity to meet Justice Scalia about six to seven months before starting rehearsal, but I decided that was too soon; I had to do my own research first! So I read biographies on him, I read The Federalist Papers, books on the Supreme Court, and so on.

In November of 2014, I was invited as Justice Scalia’s guest to a hearing, and lunch in his chambers afterwards. I was sitting in his guest seats, and when he came out into the Court, he looked over at me. We locked eyes and regarded each other—it was a very long stare, and I thought to myself, “As long as I don’t melt, I’ll be fine.” He finally looked away, and off he went. He was very engaged in that particular hearing, asking a lot of questions and using many behaviors that I could use as an actor.

We had lunch afterwards, and he was very charming. He said to me, “I want you to know that I won’t be seeing the play, but I’m glad they got someone good to do it.” We talked about some ideas that I had to understand his legal interpretations and theory. I used an analogy of how I approach Shakespearean work: with text analysis, syntax, and semantics, deriving meaning from the text itself. He said that this was perfectly analogous to how he approaches the United States Constitution. This really confirmed my early decisions about how I thought his mind worked. We talked about music, Italy, our New Jersey roots, our religious background. He had a command of language that I hadn’t experienced before. He said to come back anytime I liked, and I took him up on that offer.
<h5>What was it like meeting him?<span class="Apple-converted-space"> </span></h5>
Life-altering. Inspiring to be in the presence of someone who had such commitment to democracy and the law. What surprised me about him was his humility. Like a good actor, you serve the playwright. Like a good justice, you serve the law. Being in the courtroom is like being in the theatre… words really matter.

Has acting as Justice Scalia in multiple productions of <i>The Originalist </i>as the world changes drastically affected your relationship with the play’s meaning?

I was present for the <i>Obergefell v. Hodges</i> hearing [the landmark civil rights case in which the Supreme Court ruled that same-sex couples are guaranteed the fundamental right to marry], I had lunch with him afterwards in his chambers, and I performed <i>The Originalist</i> that night. The audience was trying to read the tea leaves to see if there was anything there—but we didn’t talk politics. For him, it didn’t matter if you didn’t agree with him. What was important to him was what you thought, and how you arrived at it. Let’s challenge it, poke holes in it, and move on. The fact that we vilify people who disagree with us was not something he was doing. Fundamentally, it was about taking the law and democracy seriously.

What hass changed since his passing and the last election cycle are audience reactions and expectations. What started out as a lecture to the political left about being open-minded has become not only that, but also a cautionary tale to the right. A consistent and transparent conservative to whom words matter is seen as a hope, and people appreciate him more because you at least know what you’re going to get every time.
<h5>When not performing on stage, you are on faculty at George Mason University. How does working with and teaching students interact with your profession as an actor?</h5>
There is definitely influence; <a href="https://www.courttheatre.org/people/jade-wheeler/">Jade</a> [Wheeler, playing Cat] is actually my former student! We come by the relationship organically and honestly, which is a great boon to the play. It’s been wonderful to work with her.

I’ve been at George Mason University for over 25 years. My students value my role as a professional actor, as a role model for students showing that having a life in both a theatre and in a community is possible. I’ve made a serious commitment to regional theatre, but I spend nine hours a day at George Mason on Mondays, the Equity day off. This schedule frees me to go to rehearsals, bring best practices back to the classroom, and my students are able to come to performances to see me hopefully walking the walk.
<h5>What are your hopes for bringing <i>The Originalist</i> to a Chicago audience? How do you hope this play lives on in the future?</h5>
I love Chicago audiences: they’re smart, hip, critical, diverse. From the vibrancy of a college town, to the working class, and all the way up the scale. They like grit, and they like new ideas. I’m excited to see how they respond.

As a Shakespearean actor, I’m used to playing a lot of characters people love to hate, but I’ve never played one that audiences hate to love. It is my hope that audiences get a sense of the human being that I got to know, and in so doing, reconsider their ideas of the man and the Justice. I hope the play engages audiences to reconsider how they conduct their civil discourse. Work at listening, especially when we disagree. Get out, get engaged, express yourself, and vote! ■

Don't miss Edward Gero as Justice Antonin Scalia in<em> <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/the-originalist/">The Originalist</a></em>, May 10 - June 10, 2018.
<p class="caption">Photo by Gary W. Sweetman.</p>"
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            string(326) "When Washington, D.C.-based actor Edward Gero agreed to take on the role of Antonin Scalia, he had no idea of the unlikely relationship that would develop between him and the late Supreme Court justice. Gero talks with Court about his process to understand this character, and his hopes in bringing The Originalist to Chicago."
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          string(3495) "<img class="alignnone size-full wp-image-10390" src="https://www.courttheatre.org/wp-content/uploads/2018/04/jack-halpern.jpg" alt="" width="800" height="300" />

On January 31, 2018, Court Theatre lost a friend and supporter, Professor Jack Halpern. Jack served as a member of the Court Theatre Board of Trustees from 1988 until his death.

Jack Halpern joined the faculty of the Chemistry Department at the University of Chicago in 1962 and remained there, as well as a resident of Hyde Park, for the rest of his career. His contributions to chemistry included hundreds of published scientific articles and serving as editor for numerous scientific journals. During his lifetime, he received many honors and much recognition for his work.<span class="Apple-converted-space"> </span>

Beyond his scientific knowledge and expertise, Jack always had a fondness for the arts. His daughter, Janice, said, “Science was his calling, but art in all forms was his passion.” Jack and his late wife, Helen, were fans of modern art, especially Expressionist, Cubist, and Surrealist works, and over the years they developed an extensive collection.

Jack also was a longtime fan of Court’s work. Janice recalled, “He loved being part of the Court family. He felt like an insider because of his long connection with the theatre, his participation on the Board, and attendance at the many Opening Nights and other Court-sponsored events, where he could enjoy the company of its wonderful staff and patrons.” His younger daughter, Nina, added, “When I spoke with my father on the phone in later years, one of the most frequent topics of conversation was his immense pride in whatever the most recent production of Court Theatre happened to be.”

During Jack’s service on the Board, he saw Court through many changes, including <a href="https://www.courttheatre.org/people/charles-newell/">Charles Newell</a>’s appointment as Marilyn F. Vitale Artistic Director, and the expansion of the theatre’s work to include new adaptations and pieces from the African American canon.

During his nearly 30 years on the Board, Jack’s support was integral to the theatre’s success.<span class="Apple-converted-space">  </span>In the 1990s, Jack and Helen established a Charitable Gift Annuity, indicating that after both of their deaths, the remaining funds would be distributed equally to Court Theatre and the Smart Museum. Since the Annuity was established over two decades ago, it has grown significantly from its original value. The distributed funds will be added to Court’s endowment, helping the theatre fulfill its mission of dedication to innovation, inquiry, intellectual engagement, and community service for next season, and seasons to come.

Nina said of her father, “I think he took great pride in the high quality of Court’s productions, and was happy to contribute to that ongoing excellence in whatever way he could.”

Court is humbled to carry on Jack’s and Helen’s legacy of passion for the arts. ■

<strong>Have you already included Court in your will or estate plans? Would you like to learn more about adding a bequest in your will to support Court or designating Court as beneficiary of your retirement account or life insurance plan? Contact Susan M. Zellner, Director of Development, at (773) 834-3305 or <a href="mailto:szellner@uchicago.edu">email</a>.</strong>
<p class="caption">PHOTO: UNIVERSITY OF CHICAGO NEWS OFFICE</p>"
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            string(262) "On January 31, 2018, Court Theatre lost a friend and supporter, Professor Jack Halpern. Jack served as a member of the Court Theatre Board of Trustees from 1988 until his death. Court is humbled to carry on Jack’s and Helen’s legacy of passion for the arts. "
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          string(6369) "In the spirit of <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/the-originalist/"><em>The Originalist</em></a>, a play about listening to and engaging in civil discourse with those who have opposing viewpoints, Court is pleased to host a series of post-play discussions to delve deeper into the art and its related themes. Even if you are attending the production on a different day, we invite Court patrons to attend any of the discussions. The production runs approximately 100 minutes and discussions begin promptly at the end of the performance. We hope you will join us!

<hr />

<img class="alignnone size-full wp-image-10193" src="https://www.courttheatre.org/wp-content/uploads/2018/04/firstpreview-chant.jpg" alt="" width="300" height="137" />
<strong>Thursday, May 10: First Preview Tasting with CHANT and Discussion
</strong>Enjoy samples from Dining Partner <a href="https://www.chantchicago.com" target="_blank" rel="noopener">CHANT</a> pre-show in the lobby, and a post-play discussion led by <a href="https://www.courttheatre.org/people/seema-sueko/">Seema Sueko</a>, Arena Stage Deputy Artistic Director.
<strong><a href="https://www.courttheatre.org/season-tickets/purchase/7:30%20pm%20-%20The%20Originalist/2018-04-16/3320/">Buy Tickets for May 10 at 7:30PM</a></strong>

<hr />

<img class="alignnone size-full wp-image-10197" src="https://www.courttheatre.org/wp-content/uploads/2018/04/preview-discussions.jpg" alt="" width="300" height="137" />
<strong>May 11-17: Preview Performances with Post-Play Discussion
</strong>Following all preview performances, <a href="https://www.courttheatre.org/people/seema-sueko/">Seema Sueko</a>, Arena Stage Deputy Artistic Director, or <a href="https://www.courttheatre.org/people/4104/">Edward Gero</a> who portrays Justice Scalia, or other members of the artistic team lead a discussion with the audience.
<a href="https://www.courttheatre.org/season-tickets/2017-2018-season/the-originalist/#calendar"><strong>Buy Tickets for a Preview May 11-17</strong></a>

<hr />

<img class="alignnone size-full wp-image-10194" src="https://www.courttheatre.org/wp-content/uploads/2018/04/strand-john.jpg" alt="" width="300" height="137" />
<strong>Friday, May 18: <em>The Originalist</em> Playwright John Strand
</strong>Following the Friday 8:00PM performance, Charles MacArthur Award winning playwright <a href="https://www.courttheatre.org/people/john-strand/">John Strand</a> leads the audience discussion.
<a href="https://www.courttheatre.org/season-tickets/purchase/8:00%20pm%20-%20The%20Originalist/2018-04-16/3327/"><strong>Buy Tickets for May 18 at 8PM</strong></a>

<hr />

<img class="alignnone size-full wp-image-10198" src="https://www.courttheatre.org/wp-content/uploads/2018/04/nussbaum-corvino.jpg" alt="" width="300" height="137" />
<strong>Sunday, May 20: Martha Nussbaum and John Corvino on Religion, Law, and LGBT Rights
</strong>Following the Sunday 2:30PM matinee, <a href="https://www.law.uchicago.edu/faculty/nussbaum" target="_blank" rel="noopener">Martha Nussbaum</a>, Ernst Freund Distinguished Service Professor of Law and Ethics at the University of Chicago, joins <a href="https://clasprofiles.wayne.edu/profile/ae9123" target="_blank" rel="noopener">John Corvino</a>, Professor of Philosophy at Wayne State University and author of <em>Debating Same-Sex Marriage</em>, to discuss Supreme Court decisions on religious liberty and LGBT rights.
<a href="https://www.courttheatre.org/season-tickets/purchase/2:30%20pm%20-%20The%20Originalist/2018-04-16/3329/"><strong>Buy Tickets for May 20 at 2:30PM</strong></a>

<hr />

<img class="alignnone size-full wp-image-10610" src="https://www.courttheatre.org/wp-content/uploads/2018/04/bevington-may24.jpg" alt="" width="300" height="137" />
<strong>Thursday, May 24: Theatre scholar David Bevington
</strong>Following the 7:30PM performance, join us for a discussion with <a href="https://english.uchicago.edu/emeritus/david-bevington-emeritus-teaching-2016-17" target="_blank" rel="noopener">David Bevington</a>, author, theatre scholar, and University of Chicago Phyllis Fay Horton Distinguished Service Professor Emeritus, and <a href="https://www.courttheatre.org/people/charles-newell/">Charles Newell</a>, Court's Marilyn F. Vitale Artistic Director.
<a href="https://www.courttheatre.org/season-tickets/purchase/7:30%20pm%20-%20The%20Originalist/2018-04-26/3332/"><strong>Buy Tickets for May 24 at 7:30PM</strong></a>

<hr />

<img class="alignnone size-full wp-image-10195" src="https://www.courttheatre.org/wp-content/uploads/2018/04/feldman.jpg" alt="" width="300" height="137" />
<strong>Saturday, May 26: Elliot Feldman, Attorney and Legal Advisor for <em>The Originalist</em>
</strong>Following the Saturday 3:00PM matinee, enjoy a discussion led by <a href="https://www.bakerlaw.com/ElliotJFeldman#overview" target="_blank" rel="noopener">Elliot Feldman</a>, Senior Partner at Baker &amp; Hostetler LLP in Washington, D.C., UChicago Alumnus, and Legal Consultant for <em>The Originalist</em>.
<a href="https://www.courttheatre.org/season-tickets/purchase/3:00%20pm%20-%20The%20Originalist/2018-04-16/3334/"><strong>Buy Tickets for May 26 at 3PM</strong></a>

<hr />

<img class="alignnone size-full wp-image-10196" src="https://www.courttheatre.org/wp-content/uploads/2018/04/lacroix-merchant.jpg" alt="" width="300" height="137" />
<strong>Sunday, June 3: Alison LaCroix and Jason Merchant on Rhetoric and Legal Interpretation
</strong>Following the Sunday 2:30PM matinee
In celebration of Alumni Weekend at the University of Chicago, the discussion will be led by <a href="https://www.law.uchicago.edu/faculty/lacroix" target="_blank" rel="noopener">Alison LaCroix</a>, Robert Newton Reid Professor of Law at the University of Chicago Law School, and<a href="http://home.uchicago.edu/merchant/" target="_blank" rel="noopener"> Jason Merchant</a>, Lorna Puttkammer Straus Professor, Department of Linguistics and Humanities Collegiate Division at the University of Chicago.
<a href="https://www.courttheatre.org/season-tickets/purchase/2:30%20pm%20-%20The%20Originalist%20(OC)/2018-04-16/3343/"><strong>Buy Tickets for June 3 at 2:30PM</strong></a>"
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          string(3775) "<img class="alignnone size-full wp-image-10173" src="https://www.courttheatre.org/wp-content/uploads/2018/04/scalia-ginsburg-elephant.jpg" alt="" width="800" height="350" />

In <a href="https://www.courttheatre.org/people/john-strand/">John Strand</a>’s <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/the-originalist/"><em>The Originalist</em></a>, Justice Antonin Scalia—a notorious proponent of constitutional originalism, one who staunchly fought against judicial provisions for abortion, affirmative action, and gay marriage—mentors and befriends a liberal law clerk. Despite their ideological differences, the two find some common ground: love of arguing, respect for democracy, blackjack.

Their camaraderie isn’t merely a product of Strand’s imagination. In Scalia’s early years on the court, he hired one liberal law clerk each year to keep staff debates lively. “I love to argue,” he said, “I’ve always loved to argue. And I love to point out the weaknesses of the opposing arguments. [. . .] I feel less comfortable when everybody agrees with me. I say, ‘I better reexamine my position!’”

Perhaps, then, it’s unsurprising that one of Scalia’s best friends was Supreme Court Justice Ruth Bader Ginsburg.

<img class="size-medium wp-image-10166 alignleft" src="https://www.courttheatre.org/wp-content/uploads/2018/04/scalia-and-rbg-2-e1522873198533-300x244.jpg" alt="" width="300" height="244" />Scalia and Ginsburg spent New Year's Eve with one another every year. Scalia watch Ginsburg parasail in the south of France ("She's so light, you would think she would never come down.”). They even rode together on an elephant in India (Scalia joked that Ginsburg betrayed her feminism by sitting behind him. Ginsburg retorted: “The driver explained it was a matter of distribution of weight.”).

The two justices, though ideological adversaries, had a shared love and respect for one another’s intellect rarely found in today’s divided political world. “If you can’t disagree ardently with your colleagues about some issues of law and yet personally still be friends, get another job, for Pete’s sake,” Scalia asserted. “As annoyed as you might be about his zinging dissent, he’s so utterly charming, so amusing, so sometimes outrageous, you can’t help but say, ‘I’m glad that he’s my friend or he’s my colleague.’”

Following Scalia’s death in February of 2016, Ginsburg wrote the following tribute:
<blockquote>“From our years together at the D.C. Circuit, we were best buddies. We disagreed now and then, but when I wrote for the Court and received a Scalia dissent, the opinion ultimately released was notably better than my initial circulation. Justice Scalia nailed all the weak spots—the ‘applesauce’ and ‘argle bargle’—and gave me just what I needed to strengthen the majority opinion. He was a jurist of captivating brilliance and wit, with a rare talent to make even the most sober judge laugh. The press referred to his ‘energetic fervor,’ ‘astringent intellect,’ ‘peppery prose,’ ‘acumen,’ and ‘affability,’ all apt descriptions. He was eminently quotable, his pungent opinions so clearly stated that his words never slipped from the reader’s grasp. It was my great good fortune to have known him as working colleague and treasured friend.”</blockquote>
<a href="https://www.courttheatre.org/season-tickets/2017-2018-season/the-originalist/"><em>The Originalist</em></a> opens May 10 at Court Theatre.
<p class="caption">Top photo: Supreme Court Justices Antonin Scalia and Ruth Bader Ginsburg ride an elephant in India in 1994. (Collection of the Supreme Court of the United States)</p>"
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<strong>Since the show opened on March 15, critics have released their reviews of </strong><a href="https://www.courttheatre.org/season-tickets/2017-2018-season/guess-whos-coming-dinner/"><em><strong>Guess Who’s Coming to Dinner</strong></em></a><strong>:</strong>

"...If you like the movie, you’ll be fine reliving your memories. If you hate all that it represented, there is enough subversion here to keep you intellectually engaged. This material is just so interesting to see now...”
<a href="http://www.chicagotribune.com/entertainment/theater/reviews/ct-ent-coming-dinner-review-0327-story.html"><em>Chicago Tribune</em></a>, Chris Jones, 3 Stars

"...In the iconic 1967 film "Guess Who's Coming to Dinner," a young interracial couple forced their parents - and the world by extension - to confront the ugly bigoted recesses festering in even the most outwardly progressive souls. Tim Kreidler's stage adaptation hews close to William Rose's brilliant screenplay. But key differences underline the story's timeliness in a post-Obama world. Directed by Marti Lyons for Court Theatre, what could be a period piece has the bitter bite of today, a time when an actual Nazi just won (unopposed) a Republican congressional primary in Illinois."
<em><a href="https://chicago.suntimes.com/entertainment/the-stakes-stay-high-for-guess-whos-coming-to-dinner-at-court-theatre/">Chicago Sun-Times</a></em>, Catey Sullivan, 3.5 Stars

"...The acting in Guess Who's Coming to Dinner was great, but I loved the parts played by Sydney Charles as Tillie and Dan Waller as Monsignor Ryan. Charles almost stole the show with her portrayal of Tillie. She was amazingly funny with her spot on performance and Waller was equally brilliant. We have had the pleasure of seeing Sydney Charles in several performances, and she is an exceptional actress worth taking a serious look at as a Jeff Award Winner for her role as Tillie."
<a href="http://www.chicagonow.com/lets-play/2018/03/guess-whos-coming-to-dinner/"><em>Chicago Now</em></a>, Rick and Brenda McCain, HIGHLY RECOMMENDED

"...It has been 50 years since the movie "Guess Who's Coming To Dinner" brought our attention to interracial marriage and race relations. It was ground breaking at the time, but it was based on 1967 attitudes so how can a stage play drawn from the film be relevant today? Well, it is! Todd Kreidler's smartly written adaptation adds a few updates to the classic film script and stays true to the story with a 21st century interpretation. It is the perfect product for the Court Theatre and this production, directed by Marti Lyons with Associate Director Wardell Julius Clark, is outstanding!"
<a href="http://www.aroundthetownchicago.com/theatre-reviews/guess-whos-coming-to-dinner-reviewed-by-michael-horn/">Around The Town Chicago</a>, Michael Horn, HIGHLY RECOMMENDED

"...Originating as a movie with a screenplay by William Rose, "Guess Who's Coming to Dinner" premiered in 1967 at the height of the civil rights movement. And while it’s tempting to credit its trio of lead actors-Katherine Hepburn, Spencer Tracy and Sidney Poitier-for engendering a mountain of good will large enough to endear this portrait of interracial love to a market audience, a reevaluation fifty years later suggests that "Guess Who's Coming to Dinner" gets by on more than just charm."
<a href="https://www.newcitystage.com/2018/03/25/unprecedented-arrival-a-review-of-guess-whos-coming-to-dinner-at-court-theatre/">NewCity Chicago</a>, Kevin Greene, HIGHLY RECOMMENDED

"...The tension is palpable. But the real fireworks begin with the arrival of Prentice's parents. John Prentice Sr. (Dexter Zollicoffer, with a fine searing edge of bitterness), is, for his own reasons, even more opposed to the marriage than Matt, while his wife, Mary (Jacqueline Williams, in a fine mix of loyalty and reason), is deeply protective of both her husband and son."
<a href="https://chicagotonight.wttw.com/2018/03/28/guess-who-s-coming-dinner-sets-table-truths-about-love-and-race">WTTW</a>, Hedy Weiss, HIGHLY RECOMMENDED

"...Now, Hyde Park's Court Theatre presents a stage adaptation of the script by William Rose, and it proves as timely and relevant today as it was in 1967. Guess Who's Coming to Dinner? (here adapted by Todd Kreidler and directed by Marti Lyons) is, at its core, a story of two world views at odds: those who see the world as it is, and those who see it as it could be."
<a href="https://thirdcoastreview.com/2018/03/27/theater-review-guess-whos-coming-dinner/">Third Coast Review</a>, Lisa Trifone, HIGHLY RECOMMENDED

"...Interacting with the marvelous and interestingly symbolic stage setting by Scott Davis where the entire apartment, from carpeting on the floor to every piece of furniture and even the cactus house plants are white with black accents, the actors draw in the audience so effectively that you forget that you're watching a play. Lighting (Paul Toben and Andre Pluess) and sound (Christopher M. LaPort) featuring 1960's style music completes the atmosphere. All in all and evening of great, thought provoking and often humorous theatre."
<a href="http://www.picturethispost.com/court-theatre-guess-whos-coming-to-dinner/">Picture This Post</a>, Steve Bellinger, HIGHLY RECOMMENDED

"...It was fun to be a part of this mixed age group audience for this particular play in the center of Hyde Park, long recognized as a liberal multi-racial and multi-cultural community. The laughs and gasps were more audible and more frequent then I have heard in a while and which I am certain was a result of many of the audience members understanding this material in a more intimate and first hand way, as either participants or witnesses to similar real life stories."
<a href="http://chicagotheaterandarts.com/2018/03/26/guess-whos-coming-to-dinner-is-delicious/">Chicago Theatre and Arts</a>, Jodie Jacobs, HIGHLY RECOMMENDED

<a href="https://www.courttheatre.org/season-tickets/2017-2018-season/guess-whos-coming-dinner/"><em>Guess Who's Coming to Dinner</em></a> runs through April 15, 2018.
<p class="caption">Photo of Michael Aaron Pogue and Jacqueline Williams by Michael Brosilow.</p>"
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          string(3128) "<img class="alignnone size-full wp-image-10385" src="https://www.courttheatre.org/wp-content/uploads/2018/03/hs-fest-2018.jpg" alt="" width="800" height="300" />

The <a href="https://www.courttheatre.org/event/listing/south-side-youth-performance-fest/">Exelon South Side Youth Performance Fest</a>, held annually at Court Theatre, marks the beginning of a rewarding partnership between Exelon and Court Theatre. Exelon, the parent company of the Chicago-based firm ComEd, is committed to strong corporate citizenship, with a significant focus on enabling student access to the arts and cultural experiences.

“We believe the arts are integral to the health and vitality of the communities we serve, and it’s critical to support arts programming in our schools,” said Steve Solomon, Exelon’s Vice President of Corporate Relations and President of the Exelon Foundation. “As we see public and private funding in this area declining, we want to help provide continued access to and appreciation for the arts.”

This year, Exelon supported the intersection of arts and education in Chicago’s South Side through the Exelon South Side Youth Performance Fest. On January 23, 66 students presented scenic designs and performed monologues from work they developed during their <a href="https://www.courttheatre.org/community-engagement/education-initiative/artists-in-schools/">Artists-in-the-Schools</a> (AIS) Residencies. The Youth Performance Fest serves as a capstone for the Residencies, and often marks the first time that AIS students perform on a stage of any kind. This year, students were able to work with teaching artists across four different AIS Residencies: Devised Work, Scene Exploration, Scenic Design, and the August Wilson Monologue Competition. Solomon said, “For the students involved in arts education, they are exposed to an environment that inspires teamwork, compassion, empathy, and understanding.”

AIS provides quality exposure to the arts, and the Youth Performance Fest provides students an exciting end goal to motivate their efforts during the Residencies. Solomon elaborated, saying, “The Youth Performance Fest gave students at the participating high schools an outlet to express themselves authentically, and a mechanism for understanding the human experience in a multi-dimensional way.” Parents, peers, teaching artists, and community members were amazed by the hard work they saw on Court’s stage.<span class="Apple-converted-space"> </span>

Court is grateful to the following AIS partner schools: John M. Harlan Community Academy High School, Kenwood Academy High School, Walter H. Dyett High School for the Arts, Wendell Phillips Academy High School, and William R. Harper High.

Thanks to Exelon for making this night possible! ■

<strong>To find out how you or your company can support arts education at Court, please contact Susan M. Zellner, Director of Development at (773) 834-3305 or <a href="mailto:szellner@uchicago.edu">email</a>.<span class="Apple-converted-space"> </span></strong>
<p class="caption">Photo by Joe Mazza</p>"
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          string(4354) "<blockquote><img class="size-full wp-image-10005 alignright" src="https://www.courttheatre.org/wp-content/uploads/2018/03/gabby-200sq.jpg" alt="" width="200" height="200" />“The adaptation for the stage departs from the film in a few distinct ways, but the fact remains that this play is a story oft repeated. A story that has crossed a continent, a memory that made its way into the hearts of a generation...”
-Gabrielle Randle</blockquote>
I invite you to conjure a memory. Try to think of a story you find yourself returning to often, something that has stuck with you. The sort of thing that comes up at dinner parties or family functions—a shared experience. Now think about how that memory makes you feel. Is it warming or chilling? Do you feel comforted by this memory, or is a story of foreboding? Is it a memory that serves as a cautionary fable, a mistake never to make again?

There is an unforgettable event, an exciting notion, or an intriguing memory behind most great stories—and of course, there is a tale behind this one as well. <em>Guess Who’s Coming to Dinner</em> film director Stanley Kramer recalls a conversation with screenwriter William Rose in his biography, <em>Stanley Kramer: Filmmaker</em>: “… As we walked, he told me a story, mostly a comedy, about a white South African man, a liberal, whose daughter falls in love with a black guy. I said, ‘Geez, we ought to set the story here, in this country, in this background … I thought to myself, ‘What a sorry sight to see a frontline liberal come face to face with all his principles right in his own house.”

Kramer knew exactly who he wanted to play the role of this reticent patriarch. Spencer Tracy signed on, then Katharine Hepburn, and quickly thereafter Sidney Poitier. All three stars committed to the project before Rose had written any lines of text. What was it in this story that each actor saw, what strong memory did it evoke? <em>Guess Who’s Coming to Dinner</em> was an historic tale, even in its own time.

Kramer produced his first film in 1942, and William Rose adapted his first screenplay in 1948; their take on racial politics in 1967 was tinged with the nostalgia of a bygone era (perhaps most effectively illustrated in the groundbreaking political and cinematic influence of the other members of the Best Picture class of 1968: <em>In the Heat of the Night, The Graduate, Bonnie and Clyde, </em>and<em> Doctor Dolittle</em>). This nostalgia is marked most clearly in the lack of intersectional foresight (or the success of a particular liberal hegemonic ideology) of the tale. Though Dr. Prentice is embraced as a part of the family at the end of the film, the image of the black maid, Tillie, still standing on the margin, is the haunting final figure.

When playwright Todd Kreidler and stage director Kenny Leon took up the task of adapting <em>Guess Who’s Coming to Dinner</em> about a decade ago, they too had a sense that this was a story worth retelling. The adaptation for the stage departs from the film in a few distinct ways, but the fact remains that this play is a story oft repeated. A story that has crossed a continent, a memory that made its way into the hearts of a generation: the image of a Black man on a patio looking out over San Francisco Bay. But what of all of those other images that filled screens in 1967? Images of cities burning, of war, of LSD, of a summer of love played alongside the story of Dr. John Prentice and Joanna Drayton. Those stories have their place in our memory, but they are not the story we revisit today. <em>Guess Who’s Coming to Dinner</em> is in that world, but not of it.

Return to your personal memory. Let it sit with you as you take in this production. Imagine <em>Guess Who’s Coming to Dinner</em> as its own type of cultural memory. What makes some images, experiences, or narratives worth returning to? What about the actual event gets smoothed over and rubbed out over time? I invite you into this examination of memory, and how that memory makes meaning. I invite you to ask the question alongside us: why is this the memory we return to? ■

Todd Kreidler's stage adaptation of the classic film runs March 15-April 15. <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/guess-whos-coming-dinner/">Learn more</a>."
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          string(3044) "When <em>Guess Who’s Coming to Dinner</em> premiered in 1967, interracial marriage was still outlawed in thirteen states. Less than 20 percent of the population approved of marriages “<a href="http://news.gallup.com/poll/163697/approve-marriage-blacks-whites.aspx">between white and colored people</a>.” Marketing executives feared that few white filmgoers would even see a film with a black lead. However, in the face of widespread institutionalized bigotry, Stanley Kramer’s film was an immediate box office hit.

<img class="size-medium wp-image-9938 alignleft" src="https://www.courttheatre.org/wp-content/uploads/2018/02/gwc-film-1-158x300.jpg" alt="" width="158" height="300" />

Despite the film’s commercial success, and despite undeniable racial prejudices throughout the country, many liberal critics found Guess Who’s Coming to Dinner to be overly-polite, even dated. In his review for Life magazine, critic Richard Schickel stated, “Kramer is earnestly preaching away on matters that have long since ceased to be true issues.”

Many critics took issue with the characterization of the film’s hero, Dr. John Prentice. Played by Sidney Poitier, one of Hollywood’s first black movie stars, Prentice was, for many viewers, too perfect. After all, a handsome, respectful, Johns Hopkins-<em>and</em>-Yale-trained doctor fighting tropical disease is unparalleled fiancé material by almost all parents’ account. Prentice’s perfection worked to placate white audiences while skewing reality for black audiences.

Unfortunately, this flagrant disparity between reality and media representation has persisted long past 1967. Media depiction of interracial couples has grown on television, owing to shows like <em>Black-ish</em>, <em>Modern Family</em>, and <em>Scandal</em>, but mixed couples in film remain rare. Although we have moved past times of the <a href="http://productioncode.dhwritings.com/multipleframes_productioncode.php">Motion Picture Production Code</a>, which attempted to instill particular moral values in audiences, and although the census has found <a href="https://www.census.gov/newsroom/releases/archives/2010_census/cb12-68.html">record rates</a> of mixed marriages and relationships, few of these couples make it to the screen.

According to Kevin Noble Maillard, co-editor of the essay collection <em>Loving v. Virginia in a Post-Racial World</em>, “Interracial love is the complicated, unacknowledged silence of the American past. The overwhelming lack of these stories onscreen reveals a tacit cinematic apartheid that insists upon racial separation.” As original critics of <em>Guess Who’s Coming to Dinner</em> noted, interracial couples existed long before 1967. Yet even in contemporary film, these couples scarcely exist in their own universal right.

Mallard continues: “The absence of these accounts wordlessly validates the impossibility of integration at the most intimate, personal level. It is the duty of film and art to fill these narrative voids.”"
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<p style="text-align: left; padding-left: 30px;">Is the Constitution a living document, one that should change and evolve over time, or is it a text frozen in the moment of its creation, strictly bound by the Founding Fathers’ original intentions?<span class="Apple-converted-space"> </span></p>
<p style="text-align: left; padding-left: 30px;">David A. Strauss, Gerald Ratner Distinguished Service Professor of Law at the University of Chicago, wrote <i>The Living Constitution</i> (Oxford University Press, 2010) to address this question.<span class="Apple-converted-space"> </span></p>
<p style="padding-left: 30px;">Strauss has served as Special Counsel to the U. S. Senate Judiciary Committee and as Assistant Solicitor General of the United States, and argued nineteen cases before the U.S. Supreme Court. Court’s Resident Dramaturg about Justice Scalia and the debate over the nature of the Constitution.</p>

<h5>What is your definition of originalism?</h5>
I think originalism is the claim that we can figure out what the Constitution allows and forbids by looking at decisions made by the Founders—decisions made at the time the Constitution was written. My view is that just cannot be done. You cannot get answers to today’s issues by consulting the intentions of people who lived in an utterly different country in the late 18th century. And because originalism really doesn’t work in the way its proponents claim, the appeal to the Founders ends up being a kind of rhetorical move that people use to accomplish something else. Originalists, I think, often find principles in the text and in the decisions of the founding generation that they want to find there. They might be perfectly good principles, but they should be defended on their own merits, not by invoking the authority of the Founders or the text.<span class="Apple-converted-space"> </span>
<h5>What kind of originalist was Antonin Scalia?</h5>
Justice Scalia was regarded as a conservative, but one thing people do not always realize is that originalism is not necessarily a conservative approach. The most influential originalist of the last 100 years was not Justice Scalia at all. It was Justice Hugo Black, an intellectual force for civil rights and free speech on the Warren Court. In most respects, Justice Black was what we would call a liberal, and he very much fancied himself an originalist.<span class="Apple-converted-space"> </span>

What that tells me is that originalism is something people use to attack the tradition they grew up in. Justice Black, who was from Alabama, grew up in a tradition of racism, in a time when there was Jim Crow segregation and repression in the South, and he hated it. So he appealed to the Founders, claiming that they believed in racial equality and civil liberties. Racial equality and civil liberties are good things, but it’s not so clear that the Founders thought so!<span class="Apple-converted-space"> </span>

Justice Scalia grew up in the Warren Court era, when the Court was aggressively protecting what the Court saw as disadvantaged groups in society, and Justice Scalia thought the Warren Court went too far. So he portrayed the Founders in a different way.
<h5>Your view of the Constitution is the opposite of originalism. Could you explain what you mean by a “living” Constitution?</h5>
One of the strengths of our Constitutional system is that it maintains certain principles as fundamental, but it shapes and adapts those principles to changing circumstances, changing times, and to particular crises that arise.<span class="Apple-converted-space">  </span>That’s because our system, it seems to me, is based mostly on precedent and tradition, instead of simply looking for an authoritative command from the Founders or the text of the Constitution. That’s the sense in which the Constitution is “living”: it is able to adapt without losing touch with the past, by continuing to develop principles that have been worked out over time.<span class="Apple-converted-space"> </span>
<h5>What are examples of the “living Constitution” in action?</h5>
There are a lot of them, because major events in the history of this country have changed our understanding of the Constitution in many ways. Those changes are now built into our institutions and our traditions and even our ways of thinking about each other. Take racial equality, for example. The Supreme Court’s decisions establishing principles of racial equality rely on the Fourteenth Amendment to the Constitution, but when that Amendment was adopted, the idea that African Americans were equal to whites was a radical position. The Amendment just gave blacks certain limited rights. No one, for example, thought that the Amendment meant that there was a right to interracial marriage. But over time, we made progress. Americans came to understand that racial discrimination was intolerable in all its forms. It took a while for the country to come around to that view, but the country did come around, and it is now a point of essentially universal consensus—as much a part of the Constitution as anything you can think of, even though the text was never amended. I could give you a lot of other examples; women’s equality is in a way an even more dramatic case. ■

Check out <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/the-originalist/"><em>The Originalist</em></a> at Court Theatre, May 10 - June 10, 2028."
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<p style="text-align: left; padding-left: 30px;">Is the Constitution a living document, one that should change and evolve over time, or is it a text frozen in the moment of its creation, strictly bound by the Founding Fathers’ original intentions?<span class="Apple-converted-space"> </span></p>
<p style="text-align: left; padding-left: 30px;">David A. Strauss, Gerald Ratner Distinguished Service Professor of Law at the University of Chicago, wrote <i>The Living Constitution</i> (Oxford University Press, 2010) to address this question.<span class="Apple-converted-space"> </span></p>
<p style="padding-left: 30px;">Strauss has served as Special Counsel to the U. S. Senate Judiciary Committee and as Assistant Solicitor General of the United States, and argued nineteen cases before the U.S. Supreme Court. Court’s Resident Dramaturg about Justice Scalia and the debate over the nature of the Constitution.</p>

<h5>What is your definition of originalism?</h5>
I think originalism is the claim that we can figure out what the Constitution allows and forbids by looking at decisions made by the Founders—decisions made at the time the Constitution was written. My view is that just cannot be done. You cannot get answers to today’s issues by consulting the intentions of people who lived in an utterly different country in the late 18th century. And because originalism really doesn’t work in the way its proponents claim, the appeal to the Founders ends up being a kind of rhetorical move that people use to accomplish something else. Originalists, I think, often find principles in the text and in the decisions of the founding generation that they want to find there. They might be perfectly good principles, but they should be defended on their own merits, not by invoking the authority of the Founders or the text.<span class="Apple-converted-space"> </span>
<h5>What kind of originalist was Antonin Scalia?</h5>
Justice Scalia was regarded as a conservative, but one thing people do not always realize is that originalism is not necessarily a conservative approach. The most influential originalist of the last 100 years was not Justice Scalia at all. It was Justice Hugo Black, an intellectual force for civil rights and free speech on the Warren Court. In most respects, Justice Black was what we would call a liberal, and he very much fancied himself an originalist.<span class="Apple-converted-space"> </span>

What that tells me is that originalism is something people use to attack the tradition they grew up in. Justice Black, who was from Alabama, grew up in a tradition of racism, in a time when there was Jim Crow segregation and repression in the South, and he hated it. So he appealed to the Founders, claiming that they believed in racial equality and civil liberties. Racial equality and civil liberties are good things, but it’s not so clear that the Founders thought so!<span class="Apple-converted-space"> </span>

Justice Scalia grew up in the Warren Court era, when the Court was aggressively protecting what the Court saw as disadvantaged groups in society, and Justice Scalia thought the Warren Court went too far. So he portrayed the Founders in a different way.
<h5>Your view of the Constitution is the opposite of originalism. Could you explain what you mean by a “living” Constitution?</h5>
One of the strengths of our Constitutional system is that it maintains certain principles as fundamental, but it shapes and adapts those principles to changing circumstances, changing times, and to particular crises that arise.<span class="Apple-converted-space">  </span>That’s because our system, it seems to me, is based mostly on precedent and tradition, instead of simply looking for an authoritative command from the Founders or the text of the Constitution. That’s the sense in which the Constitution is “living”: it is able to adapt without losing touch with the past, by continuing to develop principles that have been worked out over time.<span class="Apple-converted-space"> </span>
<h5>What are examples of the “living Constitution” in action?</h5>
There are a lot of them, because major events in the history of this country have changed our understanding of the Constitution in many ways. Those changes are now built into our institutions and our traditions and even our ways of thinking about each other. Take racial equality, for example. The Supreme Court’s decisions establishing principles of racial equality rely on the Fourteenth Amendment to the Constitution, but when that Amendment was adopted, the idea that African Americans were equal to whites was a radical position. The Amendment just gave blacks certain limited rights. No one, for example, thought that the Amendment meant that there was a right to interracial marriage. But over time, we made progress. Americans came to understand that racial discrimination was intolerable in all its forms. It took a while for the country to come around to that view, but the country did come around, and it is now a point of essentially universal consensus—as much a part of the Constitution as anything you can think of, even though the text was never amended. I could give you a lot of other examples; women’s equality is in a way an even more dramatic case. ■

Check out <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/the-originalist/"><em>The Originalist</em></a> at Court Theatre, May 10 - June 10, 2028."
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      string(7164) "<a href="https://www.courttheatre.org/people/john-strand/"><img class="size-full wp-image-10403 alignright" src="https://www.courttheatre.org/wp-content/uploads/2018/04/scalia-600.jpg" alt="" width="300" height="452" />John Strand</a> was the playwright in residence at Arena Stage in Washington, D.C. when his play, <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/the-originalist/"><i>The Originalist</i></a>, premiered in 2015. He is currently at work on the film version of <i>The Originalist</i>, as well as the new play, <i>River of Doubt</i>, about the life of Teddy Roosevelt. <a href="https://www.courttheatre.org/people/nora-titone/">Nora Titone</a>, Court Theatre’s Resident Dramaturg,<span class="Apple-converted-space">  </span>spoke with Strand to discover how he created a version of Justice Scalia for the stage, and what his motivation was for exploring this complex moment in America’s highest court.

<hr />

<h5>You observed that “Nobody is neutral on the subject of late Supreme Court Justice Antonin Scalia.” What is it about him that evokes such passionate responses across the political spectrum?</h5>
One primary reason is that he was a puncher. He was pugilistic in his approach to what he believed and that really antagonized people who disagreed with him and caused people who agreed with him to stand on their feet and cheer. It was his nature to be controversial in public and we see that in his words from the bench. Part of what led me to first research Scalia was how vicious and vitriolic the comments were about him, not just as a Supreme Court Justice, but as an individual. But when I began to speak with people who worked with him and knew him well, he was this wonderful, paternal, humorous, brilliant individual. I thought there must be an interesting way to reconcile those two extremes.<span class="Apple-converted-space"> </span>
<h5>By exploring Scalia’s character, did you hope there was going to be a collective lesson we could learn, or a political rift that could be healed? Or was it really just purely intellectual, to answer the question: how does he tick?</h5>
Many people join me in feeling alarm at the polarization of political discourse, if we can even dignify it with this term. I wanted to use Scalia as an example of someone who represents the extreme and see what it would be like to put him in the same ring with someone who is his polar opposite. We match him with a woman of color in her twenties, fresh out of law school, and what happens is that this pairing is not a mismatch: she learns how to punch. The historic Scalia was someone who welcomed debate from his clerks and made a point of hiring a liberal law clerk because it inspired heated debate. He loved that. But I think there’s an intellectual generosity in the idea that, ‘I don’t agree with you, but I will listen to you explain your condition respectfully and then I’ll answer you respectfully,’ and that’s how he treated the people around him. He was much tougher on his fellow justices. When they did something that he thought was wrong— that went against his own originalist interpretation of the Constitution—he could be vicious. You wouldn’t want to be on the wrong side of Antonin Scalia when he was reading a dissent to the bench. He frequently excoriated the other justices when he thought that they were violating the principles of the Constitution as he saw them.
<h5>Were there particular decisions of his from the bench that you had at the forefront of your mind as you were thinking about creating his portrait?</h5>
I went back and read all of his dissents. Scalia was a brilliant thinker and he had a comic timing that was really remarkable. He was funny from the bench, often to the chagrin of the people of opposing view. I think someone did a survey of how many times each justice solicited humor from fellow justices or the Court during a hearing and Scalia did so at a rate of about ten times that of any other. He knew how to deliver a line. There was a certain performer in Scalia, which is another thing that really interested me. He loved opera and he even appeared in a few operas as an extra. Scalia was a larger than life character and I think he really enjoyed that. He used the bench with its very theatrical setting, its costumes, and its lighting to perform. He performed from the bench.<span class="Apple-converted-space"> </span>

The play was embraced in Washington by enthusiastics audiences during Scalia’s lifetime, and now is proliferating in a new way in a new political moment. What do you hope to see happen as people come to the theater now and watch this piece?<span class="Apple-converted-space"> </span>

At the heart of the play is the idea that it is possible for two people of extremely divergent viewpoints to argue their case and at the same time not lose respect for one another and even, perhaps, gain respect for one another. The alternative is for us all to retreat into a kind of childish, reactionary, hateful response to people with whom we disagree politically. But here are two people who are extreme opposites of one another but have a certain amount of hope to move towards the other’s position. If you don’t have the respect to listen, research, and learn from an opposite viewpoint,<span class="Apple-converted-space">  </span>you’ll never be effective in arguing against it. So that’s the hope from this, I think. In the play they come to respect one another in a way that neither one of them would have anticipated.<span class="Apple-converted-space"> </span>
<h5>And as you say there’s a historical basis in the life of Justice Scalia for that hopefulness.</h5>
You need only look at his most famous buddy sitting next to him on the bench, Justice Ginsburg. His positions may have driven her crazy from time to time but she loved him for his qualities as a person: his humor, the way he mentored his clerks— liberal or conservative—and the way he was a natural teacher. She has said that there are many times when she would submit one of her opinions to Scalia, asking him to read and comment on it. He was tough on her but she said that he made her argument better, stronger, more accurate. In reading her opinion, he probably disagreed with every line, but he took it seriously and worked to strengthen her argument. I think he greatly admired her courage and he saw how difficult it was for a woman in those days to advance in law and then rise all the way to the Supreme Court. I think he would begin from the position of: if you’re seated next to me on the bench, you’re a remarkable person and you are very talented in matters of law or you wouldn’t be here. If past that point you also happen to have a wonderful sense of humor and you’re just a real humanist and and intellectual, as is true of Justice Ginsburg, she had his respect. ■

<i>-Edited by Ella Hester</i>

Catch <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/the-originalist/"><em>The Originalist</em></a> at Court Theatre May 10 - June 10, 2018."
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        string(326) "When Washington, D.C.-based actor Edward Gero agreed to take on the role of Antonin Scalia, he had no idea of the unlikely relationship that would develop between him and the late Supreme Court justice. Gero talks with Court about his process to understand this character, and his hopes in bringing The Originalist to Chicago."
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<p style="padding-left: 60px;">When Washington, D.C.-based actor <a href="https://www.courttheatre.org/people/4104/">Edward Gero</a> agreed to take on the role of Antonin Scalia, he had no idea of the unlikely relationship that would develop between him and the late Supreme Court justice. Prior to Scalia’s passing in 2016, Gero had visited “Nino” dozens of times, and bonded with him about their shared backgrounds, love of Shakespeare, and passion for language. Gero talked with Shelby Wenner, Court’s Associate Director of Marketing, about his process to understand this character, and his hopes in bringing <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/the-originalist/"><i>The Originalist </i></a>to Chicago.</p>

<h5>Tell me a little bit about the process of getting to know Justice Scalia, from an artist’s perspective.</h5>
For me, the actual person and the character in the biographical play are deeply intertwined. I had the opportunity to meet Justice Scalia about six to seven months before starting rehearsal, but I decided that was too soon; I had to do my own research first! So I read biographies on him, I read The Federalist Papers, books on the Supreme Court, and so on.

In November of 2014, I was invited as Justice Scalia’s guest to a hearing, and lunch in his chambers afterwards. I was sitting in his guest seats, and when he came out into the Court, he looked over at me. We locked eyes and regarded each other—it was a very long stare, and I thought to myself, “As long as I don’t melt, I’ll be fine.” He finally looked away, and off he went. He was very engaged in that particular hearing, asking a lot of questions and using many behaviors that I could use as an actor.

We had lunch afterwards, and he was very charming. He said to me, “I want you to know that I won’t be seeing the play, but I’m glad they got someone good to do it.” We talked about some ideas that I had to understand his legal interpretations and theory. I used an analogy of how I approach Shakespearean work: with text analysis, syntax, and semantics, deriving meaning from the text itself. He said that this was perfectly analogous to how he approaches the United States Constitution. This really confirmed my early decisions about how I thought his mind worked. We talked about music, Italy, our New Jersey roots, our religious background. He had a command of language that I hadn’t experienced before. He said to come back anytime I liked, and I took him up on that offer.
<h5>What was it like meeting him?<span class="Apple-converted-space"> </span></h5>
Life-altering. Inspiring to be in the presence of someone who had such commitment to democracy and the law. What surprised me about him was his humility. Like a good actor, you serve the playwright. Like a good justice, you serve the law. Being in the courtroom is like being in the theatre… words really matter.

Has acting as Justice Scalia in multiple productions of <i>The Originalist </i>as the world changes drastically affected your relationship with the play’s meaning?

I was present for the <i>Obergefell v. Hodges</i> hearing [the landmark civil rights case in which the Supreme Court ruled that same-sex couples are guaranteed the fundamental right to marry], I had lunch with him afterwards in his chambers, and I performed <i>The Originalist</i> that night. The audience was trying to read the tea leaves to see if there was anything there—but we didn’t talk politics. For him, it didn’t matter if you didn’t agree with him. What was important to him was what you thought, and how you arrived at it. Let’s challenge it, poke holes in it, and move on. The fact that we vilify people who disagree with us was not something he was doing. Fundamentally, it was about taking the law and democracy seriously.

What hass changed since his passing and the last election cycle are audience reactions and expectations. What started out as a lecture to the political left about being open-minded has become not only that, but also a cautionary tale to the right. A consistent and transparent conservative to whom words matter is seen as a hope, and people appreciate him more because you at least know what you’re going to get every time.
<h5>When not performing on stage, you are on faculty at George Mason University. How does working with and teaching students interact with your profession as an actor?</h5>
There is definitely influence; <a href="https://www.courttheatre.org/people/jade-wheeler/">Jade</a> [Wheeler, playing Cat] is actually my former student! We come by the relationship organically and honestly, which is a great boon to the play. It’s been wonderful to work with her.

I’ve been at George Mason University for over 25 years. My students value my role as a professional actor, as a role model for students showing that having a life in both a theatre and in a community is possible. I’ve made a serious commitment to regional theatre, but I spend nine hours a day at George Mason on Mondays, the Equity day off. This schedule frees me to go to rehearsals, bring best practices back to the classroom, and my students are able to come to performances to see me hopefully walking the walk.
<h5>What are your hopes for bringing <i>The Originalist</i> to a Chicago audience? How do you hope this play lives on in the future?</h5>
I love Chicago audiences: they’re smart, hip, critical, diverse. From the vibrancy of a college town, to the working class, and all the way up the scale. They like grit, and they like new ideas. I’m excited to see how they respond.

As a Shakespearean actor, I’m used to playing a lot of characters people love to hate, but I’ve never played one that audiences hate to love. It is my hope that audiences get a sense of the human being that I got to know, and in so doing, reconsider their ideas of the man and the Justice. I hope the play engages audiences to reconsider how they conduct their civil discourse. Work at listening, especially when we disagree. Get out, get engaged, express yourself, and vote! ■

Don't miss Edward Gero as Justice Antonin Scalia in<em> <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/the-originalist/">The Originalist</a></em>, May 10 - June 10, 2018.
<p class="caption">Photo by Gary W. Sweetman.</p>"
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        string(262) "On January 31, 2018, Court Theatre lost a friend and supporter, Professor Jack Halpern. Jack served as a member of the Court Theatre Board of Trustees from 1988 until his death. Court is humbled to carry on Jack’s and Helen’s legacy of passion for the arts. "
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On January 31, 2018, Court Theatre lost a friend and supporter, Professor Jack Halpern. Jack served as a member of the Court Theatre Board of Trustees from 1988 until his death.

Jack Halpern joined the faculty of the Chemistry Department at the University of Chicago in 1962 and remained there, as well as a resident of Hyde Park, for the rest of his career. His contributions to chemistry included hundreds of published scientific articles and serving as editor for numerous scientific journals. During his lifetime, he received many honors and much recognition for his work.<span class="Apple-converted-space"> </span>

Beyond his scientific knowledge and expertise, Jack always had a fondness for the arts. His daughter, Janice, said, “Science was his calling, but art in all forms was his passion.” Jack and his late wife, Helen, were fans of modern art, especially Expressionist, Cubist, and Surrealist works, and over the years they developed an extensive collection.

Jack also was a longtime fan of Court’s work. Janice recalled, “He loved being part of the Court family. He felt like an insider because of his long connection with the theatre, his participation on the Board, and attendance at the many Opening Nights and other Court-sponsored events, where he could enjoy the company of its wonderful staff and patrons.” His younger daughter, Nina, added, “When I spoke with my father on the phone in later years, one of the most frequent topics of conversation was his immense pride in whatever the most recent production of Court Theatre happened to be.”

During Jack’s service on the Board, he saw Court through many changes, including <a href="https://www.courttheatre.org/people/charles-newell/">Charles Newell</a>’s appointment as Marilyn F. Vitale Artistic Director, and the expansion of the theatre’s work to include new adaptations and pieces from the African American canon.

During his nearly 30 years on the Board, Jack’s support was integral to the theatre’s success.<span class="Apple-converted-space">  </span>In the 1990s, Jack and Helen established a Charitable Gift Annuity, indicating that after both of their deaths, the remaining funds would be distributed equally to Court Theatre and the Smart Museum. Since the Annuity was established over two decades ago, it has grown significantly from its original value. The distributed funds will be added to Court’s endowment, helping the theatre fulfill its mission of dedication to innovation, inquiry, intellectual engagement, and community service for next season, and seasons to come.

Nina said of her father, “I think he took great pride in the high quality of Court’s productions, and was happy to contribute to that ongoing excellence in whatever way he could.”

Court is humbled to carry on Jack’s and Helen’s legacy of passion for the arts. ■

<strong>Have you already included Court in your will or estate plans? Would you like to learn more about adding a bequest in your will to support Court or designating Court as beneficiary of your retirement account or life insurance plan? Contact Susan M. Zellner, Director of Development, at (773) 834-3305 or <a href="mailto:szellner@uchicago.edu">email</a>.</strong>
<p class="caption">PHOTO: UNIVERSITY OF CHICAGO NEWS OFFICE</p>"
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      string(6369) "In the spirit of <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/the-originalist/"><em>The Originalist</em></a>, a play about listening to and engaging in civil discourse with those who have opposing viewpoints, Court is pleased to host a series of post-play discussions to delve deeper into the art and its related themes. Even if you are attending the production on a different day, we invite Court patrons to attend any of the discussions. The production runs approximately 100 minutes and discussions begin promptly at the end of the performance. We hope you will join us!

<hr />

<img class="alignnone size-full wp-image-10193" src="https://www.courttheatre.org/wp-content/uploads/2018/04/firstpreview-chant.jpg" alt="" width="300" height="137" />
<strong>Thursday, May 10: First Preview Tasting with CHANT and Discussion
</strong>Enjoy samples from Dining Partner <a href="https://www.chantchicago.com" target="_blank" rel="noopener">CHANT</a> pre-show in the lobby, and a post-play discussion led by <a href="https://www.courttheatre.org/people/seema-sueko/">Seema Sueko</a>, Arena Stage Deputy Artistic Director.
<strong><a href="https://www.courttheatre.org/season-tickets/purchase/7:30%20pm%20-%20The%20Originalist/2018-04-16/3320/">Buy Tickets for May 10 at 7:30PM</a></strong>

<hr />

<img class="alignnone size-full wp-image-10197" src="https://www.courttheatre.org/wp-content/uploads/2018/04/preview-discussions.jpg" alt="" width="300" height="137" />
<strong>May 11-17: Preview Performances with Post-Play Discussion
</strong>Following all preview performances, <a href="https://www.courttheatre.org/people/seema-sueko/">Seema Sueko</a>, Arena Stage Deputy Artistic Director, or <a href="https://www.courttheatre.org/people/4104/">Edward Gero</a> who portrays Justice Scalia, or other members of the artistic team lead a discussion with the audience.
<a href="https://www.courttheatre.org/season-tickets/2017-2018-season/the-originalist/#calendar"><strong>Buy Tickets for a Preview May 11-17</strong></a>

<hr />

<img class="alignnone size-full wp-image-10194" src="https://www.courttheatre.org/wp-content/uploads/2018/04/strand-john.jpg" alt="" width="300" height="137" />
<strong>Friday, May 18: <em>The Originalist</em> Playwright John Strand
</strong>Following the Friday 8:00PM performance, Charles MacArthur Award winning playwright <a href="https://www.courttheatre.org/people/john-strand/">John Strand</a> leads the audience discussion.
<a href="https://www.courttheatre.org/season-tickets/purchase/8:00%20pm%20-%20The%20Originalist/2018-04-16/3327/"><strong>Buy Tickets for May 18 at 8PM</strong></a>

<hr />

<img class="alignnone size-full wp-image-10198" src="https://www.courttheatre.org/wp-content/uploads/2018/04/nussbaum-corvino.jpg" alt="" width="300" height="137" />
<strong>Sunday, May 20: Martha Nussbaum and John Corvino on Religion, Law, and LGBT Rights
</strong>Following the Sunday 2:30PM matinee, <a href="https://www.law.uchicago.edu/faculty/nussbaum" target="_blank" rel="noopener">Martha Nussbaum</a>, Ernst Freund Distinguished Service Professor of Law and Ethics at the University of Chicago, joins <a href="https://clasprofiles.wayne.edu/profile/ae9123" target="_blank" rel="noopener">John Corvino</a>, Professor of Philosophy at Wayne State University and author of <em>Debating Same-Sex Marriage</em>, to discuss Supreme Court decisions on religious liberty and LGBT rights.
<a href="https://www.courttheatre.org/season-tickets/purchase/2:30%20pm%20-%20The%20Originalist/2018-04-16/3329/"><strong>Buy Tickets for May 20 at 2:30PM</strong></a>

<hr />

<img class="alignnone size-full wp-image-10610" src="https://www.courttheatre.org/wp-content/uploads/2018/04/bevington-may24.jpg" alt="" width="300" height="137" />
<strong>Thursday, May 24: Theatre scholar David Bevington
</strong>Following the 7:30PM performance, join us for a discussion with <a href="https://english.uchicago.edu/emeritus/david-bevington-emeritus-teaching-2016-17" target="_blank" rel="noopener">David Bevington</a>, author, theatre scholar, and University of Chicago Phyllis Fay Horton Distinguished Service Professor Emeritus, and <a href="https://www.courttheatre.org/people/charles-newell/">Charles Newell</a>, Court's Marilyn F. Vitale Artistic Director.
<a href="https://www.courttheatre.org/season-tickets/purchase/7:30%20pm%20-%20The%20Originalist/2018-04-26/3332/"><strong>Buy Tickets for May 24 at 7:30PM</strong></a>

<hr />

<img class="alignnone size-full wp-image-10195" src="https://www.courttheatre.org/wp-content/uploads/2018/04/feldman.jpg" alt="" width="300" height="137" />
<strong>Saturday, May 26: Elliot Feldman, Attorney and Legal Advisor for <em>The Originalist</em>
</strong>Following the Saturday 3:00PM matinee, enjoy a discussion led by <a href="https://www.bakerlaw.com/ElliotJFeldman#overview" target="_blank" rel="noopener">Elliot Feldman</a>, Senior Partner at Baker &amp; Hostetler LLP in Washington, D.C., UChicago Alumnus, and Legal Consultant for <em>The Originalist</em>.
<a href="https://www.courttheatre.org/season-tickets/purchase/3:00%20pm%20-%20The%20Originalist/2018-04-16/3334/"><strong>Buy Tickets for May 26 at 3PM</strong></a>

<hr />

<img class="alignnone size-full wp-image-10196" src="https://www.courttheatre.org/wp-content/uploads/2018/04/lacroix-merchant.jpg" alt="" width="300" height="137" />
<strong>Sunday, June 3: Alison LaCroix and Jason Merchant on Rhetoric and Legal Interpretation
</strong>Following the Sunday 2:30PM matinee
In celebration of Alumni Weekend at the University of Chicago, the discussion will be led by <a href="https://www.law.uchicago.edu/faculty/lacroix" target="_blank" rel="noopener">Alison LaCroix</a>, Robert Newton Reid Professor of Law at the University of Chicago Law School, and<a href="http://home.uchicago.edu/merchant/" target="_blank" rel="noopener"> Jason Merchant</a>, Lorna Puttkammer Straus Professor, Department of Linguistics and Humanities Collegiate Division at the University of Chicago.
<a href="https://www.courttheatre.org/season-tickets/purchase/2:30%20pm%20-%20The%20Originalist%20(OC)/2018-04-16/3343/"><strong>Buy Tickets for June 3 at 2:30PM</strong></a>"
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      string(3775) "<img class="alignnone size-full wp-image-10173" src="https://www.courttheatre.org/wp-content/uploads/2018/04/scalia-ginsburg-elephant.jpg" alt="" width="800" height="350" />

In <a href="https://www.courttheatre.org/people/john-strand/">John Strand</a>’s <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/the-originalist/"><em>The Originalist</em></a>, Justice Antonin Scalia—a notorious proponent of constitutional originalism, one who staunchly fought against judicial provisions for abortion, affirmative action, and gay marriage—mentors and befriends a liberal law clerk. Despite their ideological differences, the two find some common ground: love of arguing, respect for democracy, blackjack.

Their camaraderie isn’t merely a product of Strand’s imagination. In Scalia’s early years on the court, he hired one liberal law clerk each year to keep staff debates lively. “I love to argue,” he said, “I’ve always loved to argue. And I love to point out the weaknesses of the opposing arguments. [. . .] I feel less comfortable when everybody agrees with me. I say, ‘I better reexamine my position!’”

Perhaps, then, it’s unsurprising that one of Scalia’s best friends was Supreme Court Justice Ruth Bader Ginsburg.

<img class="size-medium wp-image-10166 alignleft" src="https://www.courttheatre.org/wp-content/uploads/2018/04/scalia-and-rbg-2-e1522873198533-300x244.jpg" alt="" width="300" height="244" />Scalia and Ginsburg spent New Year's Eve with one another every year. Scalia watch Ginsburg parasail in the south of France ("She's so light, you would think she would never come down.”). They even rode together on an elephant in India (Scalia joked that Ginsburg betrayed her feminism by sitting behind him. Ginsburg retorted: “The driver explained it was a matter of distribution of weight.”).

The two justices, though ideological adversaries, had a shared love and respect for one another’s intellect rarely found in today’s divided political world. “If you can’t disagree ardently with your colleagues about some issues of law and yet personally still be friends, get another job, for Pete’s sake,” Scalia asserted. “As annoyed as you might be about his zinging dissent, he’s so utterly charming, so amusing, so sometimes outrageous, you can’t help but say, ‘I’m glad that he’s my friend or he’s my colleague.’”

Following Scalia’s death in February of 2016, Ginsburg wrote the following tribute:
<blockquote>“From our years together at the D.C. Circuit, we were best buddies. We disagreed now and then, but when I wrote for the Court and received a Scalia dissent, the opinion ultimately released was notably better than my initial circulation. Justice Scalia nailed all the weak spots—the ‘applesauce’ and ‘argle bargle’—and gave me just what I needed to strengthen the majority opinion. He was a jurist of captivating brilliance and wit, with a rare talent to make even the most sober judge laugh. The press referred to his ‘energetic fervor,’ ‘astringent intellect,’ ‘peppery prose,’ ‘acumen,’ and ‘affability,’ all apt descriptions. He was eminently quotable, his pungent opinions so clearly stated that his words never slipped from the reader’s grasp. It was my great good fortune to have known him as working colleague and treasured friend.”</blockquote>
<a href="https://www.courttheatre.org/season-tickets/2017-2018-season/the-originalist/"><em>The Originalist</em></a> opens May 10 at Court Theatre.
<p class="caption">Top photo: Supreme Court Justices Antonin Scalia and Ruth Bader Ginsburg ride an elephant in India in 1994. (Collection of the Supreme Court of the United States)</p>"
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      string(6393) "<img class="alignnone size-full wp-image-10170" src="https://www.courttheatre.org/wp-content/uploads/2018/04/guess-blog-800x300-prodphoto.jpg" alt="" width="800" height="300" />

<strong>Since the show opened on March 15, critics have released their reviews of </strong><a href="https://www.courttheatre.org/season-tickets/2017-2018-season/guess-whos-coming-dinner/"><em><strong>Guess Who’s Coming to Dinner</strong></em></a><strong>:</strong>

"...If you like the movie, you’ll be fine reliving your memories. If you hate all that it represented, there is enough subversion here to keep you intellectually engaged. This material is just so interesting to see now...”
<a href="http://www.chicagotribune.com/entertainment/theater/reviews/ct-ent-coming-dinner-review-0327-story.html"><em>Chicago Tribune</em></a>, Chris Jones, 3 Stars

"...In the iconic 1967 film "Guess Who's Coming to Dinner," a young interracial couple forced their parents - and the world by extension - to confront the ugly bigoted recesses festering in even the most outwardly progressive souls. Tim Kreidler's stage adaptation hews close to William Rose's brilliant screenplay. But key differences underline the story's timeliness in a post-Obama world. Directed by Marti Lyons for Court Theatre, what could be a period piece has the bitter bite of today, a time when an actual Nazi just won (unopposed) a Republican congressional primary in Illinois."
<em><a href="https://chicago.suntimes.com/entertainment/the-stakes-stay-high-for-guess-whos-coming-to-dinner-at-court-theatre/">Chicago Sun-Times</a></em>, Catey Sullivan, 3.5 Stars

"...The acting in Guess Who's Coming to Dinner was great, but I loved the parts played by Sydney Charles as Tillie and Dan Waller as Monsignor Ryan. Charles almost stole the show with her portrayal of Tillie. She was amazingly funny with her spot on performance and Waller was equally brilliant. We have had the pleasure of seeing Sydney Charles in several performances, and she is an exceptional actress worth taking a serious look at as a Jeff Award Winner for her role as Tillie."
<a href="http://www.chicagonow.com/lets-play/2018/03/guess-whos-coming-to-dinner/"><em>Chicago Now</em></a>, Rick and Brenda McCain, HIGHLY RECOMMENDED

"...It has been 50 years since the movie "Guess Who's Coming To Dinner" brought our attention to interracial marriage and race relations. It was ground breaking at the time, but it was based on 1967 attitudes so how can a stage play drawn from the film be relevant today? Well, it is! Todd Kreidler's smartly written adaptation adds a few updates to the classic film script and stays true to the story with a 21st century interpretation. It is the perfect product for the Court Theatre and this production, directed by Marti Lyons with Associate Director Wardell Julius Clark, is outstanding!"
<a href="http://www.aroundthetownchicago.com/theatre-reviews/guess-whos-coming-to-dinner-reviewed-by-michael-horn/">Around The Town Chicago</a>, Michael Horn, HIGHLY RECOMMENDED

"...Originating as a movie with a screenplay by William Rose, "Guess Who's Coming to Dinner" premiered in 1967 at the height of the civil rights movement. And while it’s tempting to credit its trio of lead actors-Katherine Hepburn, Spencer Tracy and Sidney Poitier-for engendering a mountain of good will large enough to endear this portrait of interracial love to a market audience, a reevaluation fifty years later suggests that "Guess Who's Coming to Dinner" gets by on more than just charm."
<a href="https://www.newcitystage.com/2018/03/25/unprecedented-arrival-a-review-of-guess-whos-coming-to-dinner-at-court-theatre/">NewCity Chicago</a>, Kevin Greene, HIGHLY RECOMMENDED

"...The tension is palpable. But the real fireworks begin with the arrival of Prentice's parents. John Prentice Sr. (Dexter Zollicoffer, with a fine searing edge of bitterness), is, for his own reasons, even more opposed to the marriage than Matt, while his wife, Mary (Jacqueline Williams, in a fine mix of loyalty and reason), is deeply protective of both her husband and son."
<a href="https://chicagotonight.wttw.com/2018/03/28/guess-who-s-coming-dinner-sets-table-truths-about-love-and-race">WTTW</a>, Hedy Weiss, HIGHLY RECOMMENDED

"...Now, Hyde Park's Court Theatre presents a stage adaptation of the script by William Rose, and it proves as timely and relevant today as it was in 1967. Guess Who's Coming to Dinner? (here adapted by Todd Kreidler and directed by Marti Lyons) is, at its core, a story of two world views at odds: those who see the world as it is, and those who see it as it could be."
<a href="https://thirdcoastreview.com/2018/03/27/theater-review-guess-whos-coming-dinner/">Third Coast Review</a>, Lisa Trifone, HIGHLY RECOMMENDED

"...Interacting with the marvelous and interestingly symbolic stage setting by Scott Davis where the entire apartment, from carpeting on the floor to every piece of furniture and even the cactus house plants are white with black accents, the actors draw in the audience so effectively that you forget that you're watching a play. Lighting (Paul Toben and Andre Pluess) and sound (Christopher M. LaPort) featuring 1960's style music completes the atmosphere. All in all and evening of great, thought provoking and often humorous theatre."
<a href="http://www.picturethispost.com/court-theatre-guess-whos-coming-to-dinner/">Picture This Post</a>, Steve Bellinger, HIGHLY RECOMMENDED

"...It was fun to be a part of this mixed age group audience for this particular play in the center of Hyde Park, long recognized as a liberal multi-racial and multi-cultural community. The laughs and gasps were more audible and more frequent then I have heard in a while and which I am certain was a result of many of the audience members understanding this material in a more intimate and first hand way, as either participants or witnesses to similar real life stories."
<a href="http://chicagotheaterandarts.com/2018/03/26/guess-whos-coming-to-dinner-is-delicious/">Chicago Theatre and Arts</a>, Jodie Jacobs, HIGHLY RECOMMENDED

<a href="https://www.courttheatre.org/season-tickets/2017-2018-season/guess-whos-coming-dinner/"><em>Guess Who's Coming to Dinner</em></a> runs through April 15, 2018.
<p class="caption">Photo of Michael Aaron Pogue and Jacqueline Williams by Michael Brosilow.</p>"
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      string(3128) "<img class="alignnone size-full wp-image-10385" src="https://www.courttheatre.org/wp-content/uploads/2018/03/hs-fest-2018.jpg" alt="" width="800" height="300" />

The <a href="https://www.courttheatre.org/event/listing/south-side-youth-performance-fest/">Exelon South Side Youth Performance Fest</a>, held annually at Court Theatre, marks the beginning of a rewarding partnership between Exelon and Court Theatre. Exelon, the parent company of the Chicago-based firm ComEd, is committed to strong corporate citizenship, with a significant focus on enabling student access to the arts and cultural experiences.

“We believe the arts are integral to the health and vitality of the communities we serve, and it’s critical to support arts programming in our schools,” said Steve Solomon, Exelon’s Vice President of Corporate Relations and President of the Exelon Foundation. “As we see public and private funding in this area declining, we want to help provide continued access to and appreciation for the arts.”

This year, Exelon supported the intersection of arts and education in Chicago’s South Side through the Exelon South Side Youth Performance Fest. On January 23, 66 students presented scenic designs and performed monologues from work they developed during their <a href="https://www.courttheatre.org/community-engagement/education-initiative/artists-in-schools/">Artists-in-the-Schools</a> (AIS) Residencies. The Youth Performance Fest serves as a capstone for the Residencies, and often marks the first time that AIS students perform on a stage of any kind. This year, students were able to work with teaching artists across four different AIS Residencies: Devised Work, Scene Exploration, Scenic Design, and the August Wilson Monologue Competition. Solomon said, “For the students involved in arts education, they are exposed to an environment that inspires teamwork, compassion, empathy, and understanding.”

AIS provides quality exposure to the arts, and the Youth Performance Fest provides students an exciting end goal to motivate their efforts during the Residencies. Solomon elaborated, saying, “The Youth Performance Fest gave students at the participating high schools an outlet to express themselves authentically, and a mechanism for understanding the human experience in a multi-dimensional way.” Parents, peers, teaching artists, and community members were amazed by the hard work they saw on Court’s stage.<span class="Apple-converted-space"> </span>

Court is grateful to the following AIS partner schools: John M. Harlan Community Academy High School, Kenwood Academy High School, Walter H. Dyett High School for the Arts, Wendell Phillips Academy High School, and William R. Harper High.

Thanks to Exelon for making this night possible! ■

<strong>To find out how you or your company can support arts education at Court, please contact Susan M. Zellner, Director of Development at (773) 834-3305 or <a href="mailto:szellner@uchicago.edu">email</a>.<span class="Apple-converted-space"> </span></strong>
<p class="caption">Photo by Joe Mazza</p>"
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      string(4354) "<blockquote><img class="size-full wp-image-10005 alignright" src="https://www.courttheatre.org/wp-content/uploads/2018/03/gabby-200sq.jpg" alt="" width="200" height="200" />“The adaptation for the stage departs from the film in a few distinct ways, but the fact remains that this play is a story oft repeated. A story that has crossed a continent, a memory that made its way into the hearts of a generation...”
-Gabrielle Randle</blockquote>
I invite you to conjure a memory. Try to think of a story you find yourself returning to often, something that has stuck with you. The sort of thing that comes up at dinner parties or family functions—a shared experience. Now think about how that memory makes you feel. Is it warming or chilling? Do you feel comforted by this memory, or is a story of foreboding? Is it a memory that serves as a cautionary fable, a mistake never to make again?

There is an unforgettable event, an exciting notion, or an intriguing memory behind most great stories—and of course, there is a tale behind this one as well. <em>Guess Who’s Coming to Dinner</em> film director Stanley Kramer recalls a conversation with screenwriter William Rose in his biography, <em>Stanley Kramer: Filmmaker</em>: “… As we walked, he told me a story, mostly a comedy, about a white South African man, a liberal, whose daughter falls in love with a black guy. I said, ‘Geez, we ought to set the story here, in this country, in this background … I thought to myself, ‘What a sorry sight to see a frontline liberal come face to face with all his principles right in his own house.”

Kramer knew exactly who he wanted to play the role of this reticent patriarch. Spencer Tracy signed on, then Katharine Hepburn, and quickly thereafter Sidney Poitier. All three stars committed to the project before Rose had written any lines of text. What was it in this story that each actor saw, what strong memory did it evoke? <em>Guess Who’s Coming to Dinner</em> was an historic tale, even in its own time.

Kramer produced his first film in 1942, and William Rose adapted his first screenplay in 1948; their take on racial politics in 1967 was tinged with the nostalgia of a bygone era (perhaps most effectively illustrated in the groundbreaking political and cinematic influence of the other members of the Best Picture class of 1968: <em>In the Heat of the Night, The Graduate, Bonnie and Clyde, </em>and<em> Doctor Dolittle</em>). This nostalgia is marked most clearly in the lack of intersectional foresight (or the success of a particular liberal hegemonic ideology) of the tale. Though Dr. Prentice is embraced as a part of the family at the end of the film, the image of the black maid, Tillie, still standing on the margin, is the haunting final figure.

When playwright Todd Kreidler and stage director Kenny Leon took up the task of adapting <em>Guess Who’s Coming to Dinner</em> about a decade ago, they too had a sense that this was a story worth retelling. The adaptation for the stage departs from the film in a few distinct ways, but the fact remains that this play is a story oft repeated. A story that has crossed a continent, a memory that made its way into the hearts of a generation: the image of a Black man on a patio looking out over San Francisco Bay. But what of all of those other images that filled screens in 1967? Images of cities burning, of war, of LSD, of a summer of love played alongside the story of Dr. John Prentice and Joanna Drayton. Those stories have their place in our memory, but they are not the story we revisit today. <em>Guess Who’s Coming to Dinner</em> is in that world, but not of it.

Return to your personal memory. Let it sit with you as you take in this production. Imagine <em>Guess Who’s Coming to Dinner</em> as its own type of cultural memory. What makes some images, experiences, or narratives worth returning to? What about the actual event gets smoothed over and rubbed out over time? I invite you into this examination of memory, and how that memory makes meaning. I invite you to ask the question alongside us: why is this the memory we return to? ■

Todd Kreidler's stage adaptation of the classic film runs March 15-April 15. <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/guess-whos-coming-dinner/">Learn more</a>."
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      string(3044) "When <em>Guess Who’s Coming to Dinner</em> premiered in 1967, interracial marriage was still outlawed in thirteen states. Less than 20 percent of the population approved of marriages “<a href="http://news.gallup.com/poll/163697/approve-marriage-blacks-whites.aspx">between white and colored people</a>.” Marketing executives feared that few white filmgoers would even see a film with a black lead. However, in the face of widespread institutionalized bigotry, Stanley Kramer’s film was an immediate box office hit.

<img class="size-medium wp-image-9938 alignleft" src="https://www.courttheatre.org/wp-content/uploads/2018/02/gwc-film-1-158x300.jpg" alt="" width="158" height="300" />

Despite the film’s commercial success, and despite undeniable racial prejudices throughout the country, many liberal critics found Guess Who’s Coming to Dinner to be overly-polite, even dated. In his review for Life magazine, critic Richard Schickel stated, “Kramer is earnestly preaching away on matters that have long since ceased to be true issues.”

Many critics took issue with the characterization of the film’s hero, Dr. John Prentice. Played by Sidney Poitier, one of Hollywood’s first black movie stars, Prentice was, for many viewers, too perfect. After all, a handsome, respectful, Johns Hopkins-<em>and</em>-Yale-trained doctor fighting tropical disease is unparalleled fiancé material by almost all parents’ account. Prentice’s perfection worked to placate white audiences while skewing reality for black audiences.

Unfortunately, this flagrant disparity between reality and media representation has persisted long past 1967. Media depiction of interracial couples has grown on television, owing to shows like <em>Black-ish</em>, <em>Modern Family</em>, and <em>Scandal</em>, but mixed couples in film remain rare. Although we have moved past times of the <a href="http://productioncode.dhwritings.com/multipleframes_productioncode.php">Motion Picture Production Code</a>, which attempted to instill particular moral values in audiences, and although the census has found <a href="https://www.census.gov/newsroom/releases/archives/2010_census/cb12-68.html">record rates</a> of mixed marriages and relationships, few of these couples make it to the screen.

According to Kevin Noble Maillard, co-editor of the essay collection <em>Loving v. Virginia in a Post-Racial World</em>, “Interracial love is the complicated, unacknowledged silence of the American past. The overwhelming lack of these stories onscreen reveals a tacit cinematic apartheid that insists upon racial separation.” As original critics of <em>Guess Who’s Coming to Dinner</em> noted, interracial couples existed long before 1967. Yet even in contemporary film, these couples scarcely exist in their own universal right.

Mallard continues: “The absence of these accounts wordlessly validates the impossibility of integration at the most intimate, personal level. It is the duty of film and art to fill these narrative voids.”"
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  <h1>Blog</h1>
  
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/what-is-originalism/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/04/wethepeople-200sq.jpg" alt="" /></a>
      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/what-is-originalism/">What is Originalism?</a></h3>
        <p>Is the Constitution a living document, one that should change and evolve over time, or is it a text frozen in the moment of its creation, strictly bound by the Founding Fathers’ original intentions?   David A. Strauss, Gerald Ratner Distinguished Service Professor of Law at the University of Chicago, addresses this question. </p>
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    </article>
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/playwright-john-strand-on-justice-scalia/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/04/scalia-200sq.jpg" alt="" /></a>
      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/playwright-john-strand-on-justice-scalia/">Playwright John Strand on Justice Scalia</a></h3>
        <p>John Strand was the playwright in residence at Arena Stage in Washington, D.C. when his play, <i>The Originalist</i>, premiered in 2015. We spoke with Strand to discover how he created a version of Justice Scalia for the stage, and what his motivation was for exploring this complex moment in America’s highest court.</p>
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    </article>
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/qa-actor-edward-gero/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/04/gero-blog-200sq.jpg" alt="" /></a>
      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/qa-actor-edward-gero/">Q&#038;A: Actor Edward Gero</a></h3>
        <p>When Washington, D.C.-based actor Edward Gero agreed to take on the role of Antonin Scalia, he had no idea of the unlikely relationship that would develop between him and the late Supreme Court justice. Gero talks with Court about his process to understand this character, and his hopes in bringing The Originalist to Chicago.</p>
      </div>
    </article>
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/donor-stories-jack-halpern/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/04/jack-halpern-200sq.jpg" alt="" /></a>
      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/donor-stories-jack-halpern/">Donor Stories: Jack Halpern</a></h3>
        <p>On January 31, 2018, Court Theatre lost a friend and supporter, Professor Jack Halpern. Jack served as a member of the Court Theatre Board of Trustees from 1988 until his death. Court is humbled to carry on Jack’s and Helen’s legacy of passion for the arts. </p>
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    </article>
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/originalist-discussion-series/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/04/discussion-series-200sq.jpg" alt="" /></a>
      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/originalist-discussion-series/">Originalist Discussion Series</a></h3>
        <p>In the spirit of <i>The Originalist</i>, a play about listening to and engaging in civil discourse with those who have opposing viewpoints, Court is pleased to host a series of post-play discussions to delve deeper into the art and its related themes.</p>
      </div>
    </article>
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/justice-scalias-unlikely-best-friend/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/04/scalia-and-rbg-e1522873093169.jpg" alt="" /></a>
      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/justice-scalias-unlikely-best-friend/">Justice Scalia’s Unlikely Best Friend</a></h3>
        <p>Given the relationship dynamics in THE ORIGINALIST, perhaps it’s unsurprising that one of Scalia’s best friends was Supreme Court Justice Ruth Bader Ginsburg.</p>
      </div>
    </article>
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/critics-enamored-by-guess-whos-coming-to-dinner/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/04/guess-prodphoto-200sq.jpg" alt="" /></a>
      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/critics-enamored-by-guess-whos-coming-to-dinner/">Critics Enamored by GUESS WHO&#8217;S COMING TO DINNER</a></h3>
        <p>Since the show opened on March 15, critics have released their overwhelmingly positive reviews.</p>
      </div>
    </article>
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/exelon-south-side-youth-performance-fest/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/03/hs-fest-2018-200sq.jpg" alt="" /></a>
      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/exelon-south-side-youth-performance-fest/">Exelon South Side Youth Performance Fest</a></h3>
        <p>The Exelon South Side Youth Performance Fest, held annually at Court Theatre, marks the beginning of a rewarding partnership between Exelon and Court Theatre. Exelon, the parent company of the Chicago-based firm ComEd, is committed to strong corporate citizenship, with a significant focus on enabling student access to the arts and cultural experiences.</p>
      </div>
    </article>
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/cultural-memory/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/03/gabby-200sq.jpg" alt="" /></a>
      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/cultural-memory/">Cultural Memory</a></h3>
        <p>Production Dramaturg Gabrielle Randle explores the cultural significance of the 1967 Film <i>Guess Who's Coming to Dinner.</i></p>
      </div>
    </article>
      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/interracial-love-screen-1967-today/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/02/gwc-film-e1519246251881.jpg" alt="" /></a>
      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/interracial-love-screen-1967-today/">Interracial Love on Screen: 1967 and Today</a></h3>
        <p>When Guess Who’s Coming to Dinner premiered in 1967, interracial marriage was still outlawed in thirteen states.</p>
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