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          string(3131) "<img class="alignnone size-full wp-image-10378" src="https://www.courttheatre.org/wp-content/uploads/2018/04/aaron-helen.jpg" alt="" width="800" height="300" />

If you’ve been to a Court Theatre <a href="https://www.courttheatre.org/community-engagement/spotlight-reading-series/">Spotlight Reading Series</a> event, chances are you’ve probably seen Helen Barrett. A retired Chicago Police detective, Helen has been a Court subscriber for over two decades. She’s also attended all but one of Court’s Spotlight Readings. Supported by The Joyce Foundation, the Spotlight Reading Series consists of five public readings of rarely produced plays written by artists of color, held annually at locations throughout the city.<span class="Apple-converted-space"> </span>

“Every time I attend a reading, I shake my head that it’s a free event,” says Helen. “These readings take me all over the city, introduce me to new neighborhoods, and provide me with an interactive theatrical experience.”<span class="Apple-converted-space"> </span>

Helen particularly appreciates the program’s focus on lesser known works, and the audience talkbacks with artists that take place after every Spotlight reading. “<a href="https://www.courttheatre.org/people/ron-oj-parson/">Ron OJ Parson</a> [Court Resident Artist and Director of the Spotlight Reading Series] interacts with all the patrons, and the artists provide such interesting commentary on the plays and how they connect to the world today.”<span class="Apple-converted-space"> </span>

As a subscriber to Court’s mainstage productions, Helen loves the range of plays that Court produces each year, from musicals to dramas to comedies. “I go to the theatre to get to know different groups and types of people through the stories onstage. Court’s productions include everyone, and the intimate setting makes you feel engaged with everything that’s happening. It creates a different sense of empathy, a new way of looking at the world. The world is always changing, and we have to change with it.”

Court is grateful for Helen’s longstanding commitment as a subscriber, and for her passionate support of the Spotlight Reading Series. The Spotlight Reading Series is just one of Court’s <a href="https://www.courttheatre.org/community-engagement/education-initiative/">Education</a> and <a href="https://www.courttheatre.org/community-engagement/">Community Engagement</a> initiatives that bring theatre to new audiences across the city. These programs are offered at no- or significantly reduced-cost to individuals, and rely on the support of generous patrons and donors to continue. ■

<b>Make your gift today to ensure that your community continues to experience the unique moments of theatre provided by Court’s Community Engagement programs.</b>
<p class="caption">Above: Helen Barret with Court Theatre Community Programs Manager Aaron Mays at the Spotlight Reading of <a href="https://www.courttheatre.org/season-tickets/%production-section%/spotlight-reading-trouble-mind/"><i>Trouble in Mind</i></a> (Photo by Jake Newell).</p>"
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            string(414) "If you’ve been to a Court Theatre Spotlight Reading Series event, chances are you’ve probably seen Helen Barrett. A retired Chicago Police detective, Helen has been a Court subscriber for over two decades. She’s also attended all but one of Court’s Spotlight Readings. Court is grateful for Helen’s longstanding commitment as a subscriber, and for her passionate support of the Spotlight Reading Series. "
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          string(3595) "<em><img class="alignnone size-full wp-image-10026" src="https://www.courttheatre.org/wp-content/uploads/2018/01/marti-wardell-800.jpg" alt="" width="800" height="315" />Perhaps the most familiar title in Court’s 63rd Season, </em><a href="https://www.courttheatre.org/season-tickets/2017-2018-season/guess-whos-coming-dinner/">Guess Who’s Coming to Dinner</a><em> is based on the 1967 film of the same name, starring Sidney Poitier, Spencer Tracy, and Katharine Hepburn. Despite the deep cultural impact of the film over the last 50 years, the stage adaptation written by Todd Kreidler is just a few years old. Staged first in Atlanta and then in Washington, D.C., Court’s production will be its Chicago premiere. Director <a href="https://www.courttheatre.org/people/marti-lyons/">Marti Lyons</a> discusses what the implications of this production are for our audiences.</em>

<b>Many audience members may already know this story from the beloved film. How does the play differ from the story that we have seen on the big screen?</b>

When Associate Director <a href="https://www.courttheatre.org/people/wardell-julius-clark/">Wardell Clark</a> and I first encountered this material, we simply could not divorce it from our contemporary context. Once enough time has passed from an original production, there is no way to interpret it but to <i>re-interpret</i> it. My first response to this material was how harrowing it was to read this play juxtaposed against our current moment. Wardell and I will not just interpret, but with this beautiful text by Todd Kreidler, as well as and guidance from our dramaturg Gabby Randle and an outstanding company of actors and designers, we will re-interpret this beautiful, flawed, historical, unnerving, and urgent work.

<b>What is it that you as directors hope to bring to the piece, given our world today is very different than (and, often the same as) the world of 1967?</b>

The play’s exposure of white liberal hypocrisy rings so loudly in my ears (as much as my own indictment as any other) and this, as just one example of many in this complex material, feels so unnervingly resonant. Our production will be set fully in period in 1967 in San Francisco: within the household itself, and also with a sense of the world exploding outside of the household. This world will be pressing its way inside through our design and through the characters who enter the play. We believe that setting it in the 1960s with specificity will allow audience members to draw their own conclusions about the world of the play and the world as it stands, now.

<b>You’ve mentioned that you want to bring the female characters out of the background and incorporate them more into the action of the play. How do you hope to do that, and with what intention?</b>

In early conversations with our dramaturg Gabby Randle, we discussed the complex racial dynamics of the piece, but also the gender dynamics. The women in this play seem on the sidelines; they have opinions and may instigate, but they don’t drive any of the action. They seem observers and commentators, with a few rare exceptions. Gabby, Wardell, and I are curious to explore what it means to expose this, and to find opportunities for moments of awakening. ■

<i>Guess Who’s Coming to Dinner </i>runs from March 15 through April 15, 2018. <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/guess-whos-coming-dinner/">Tickets are available now.</a>
<p class="caption">Photo of Wardell Julius Clark and Marti Lyons at first rehearsal by Joe Mazza.</p>"
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          string(7433) "<i><img class="alignnone size-full wp-image-9675" src="https://www.courttheatre.org/wp-content/uploads/2018/01/women-ww2-800.jpg" alt="" width="800" height="578" />Professor Deborah Nelson, current Chair of the University of Chicago’s Department of English, chats with Resident Dramaturg Nora Titone about Arthur Miller’s </i><a href="https://www.courttheatre.org/season-tickets/2017-2018-season/all-my-sons/">All My Sons</a>.

<strong>Arthur Miller lifts the curtain on the Kellers as they come to a reckoning with what happened to their family during the war. Peace has arrived, but the characters cannot move forward into the future. What is the impediment?</strong>

Essentially, time had been suspended for six years of war—and this suspension of time is a global phenomenon. The conventional markers of time do not operate any more: things like graduating from high school, or having a baby, or your kid starting school, or getting married. Basically, it’s like this vast interruption.

One of the things you always have to think about is: what does mass mobilization, what does total war, really mean? It means there is literally no part of life that isn’t affected by the war. Everything you have done for the past six years has been part of the war effort. You go to work as a part of the war effort. You recycle garbage, plastic, and aluminum because it’s part of the war effort. You’re on war rations. How do people return to their lives after having been profoundly interrupted?

<strong>You talk about the clock of normal life being stopped by war. In the play, it seems like some characters are eager to start that clock running again. Kate Keller, though, wants to remain frozen in time, waiting for her son to come home.</strong>

A really interesting component of the play is how it shows characters working through different reactions to the war. Kate’s reaction, maybe in some ways, is an index that time has been stopped for so long, that for some people to get it to restart again is going to be very difficult, or it won’t happen at all. A lot of different things are getting worked through, but one of them is, “We have to wake up, we have to process what has happened. We have to stop pretending that we can either stop the clock, or just blithely move on from the war. We have to process this thing.” And that is a very large problem to face. That’s not just the family’s problem. It’s not even just the nation’s problem. In a sense, that’s the world’s problem in 1946.

<strong>Miller’s older brother, Kermit, led an infantry unit in France and saw heavy fighting at the Battle of the Bulge. Kermit came back from the war a different person; in addition to his physical injuries, he was heavily affected by post-traumatic stress disorder, or PTSD.</strong>

Miller’s brother doesn’t come back, is what happened. Somebody came back, but it was not his brother. And that could actually be another way to think about these ghosts of men who have returned from combat: they actually didn’t ever return, and yet they live with you. There were hundreds of thousands of people who come back with physical injuries, but the mental impact of the things they had seen and done was disabling too. Think about the 19-year-old G.I.s who helped liberate the death camps. When I teach my World War II class, I always remind the students that those soldiers were their own age. This is the end of the war, the soldiers were young, and they walk into Buchenwald.

<strong>What literary aspect of this play draws you in the most?</strong>

It’s the women in the play, because they are, in some sense, a potent absence. It’s not really their story, but there’s so much to be said and thought about them. At Ann’s first entrance, and through that whole scene, every single character will comment on her looks—her beauty, her robustness, her vitality. In some respect, she’s like a pinup girl. It’s so striking, it’s like Rita Hayworth has just walked in the door!

You learn she’s been living in New York, but who knows what she’s been doing? You have to assume she is working, and there’s something about her manner that suggests that she had a professional life. But the fact that we don’t have to care about that part of her at all is really interesting! The Keller family has known her forever, but are they focusing on the surface so as not to trouble the depths? Because they are all worried that the things they don’t want to talk about are now going to be talked about?

One of the things we know related to Ann is that women had to enter the workforce for the war effort because most of the men were mobilized. But when the men came back home, they needed to be re-employed. Women were ushered out of the workplace, and there was a reorientation to the home and childbearing. In many ways this is where the feminist movement will be born, when people realized—as Betty Friedan wrote in <i>The Feminine Mystique</i>—that the women who moved into the private family spaces of the American suburbs were being asked to be figures of sacrifice for the children and for the husband.

<strong>Miller sets the play in a suburb He wanted the action to seem as if it could unfold in any home in any neighborhood in any part of the country. You have worked on the question of privacy in post-war America: what does a suburb signify for you?</strong>

1946 is not yet the age of the suburbs. Suburbs exist, but the massification of their scale has not arrived. We’re at the dawn of the trend. So Miller is drafting off of a fantasy that’s being advertised to returning G.I.s, but hasn’t been built yet. With this play we already have the suburb in place as the fantasy space of post-war America. It is fantasized as a place of withdrawal, privacy, and healing. The Kellers live in an enclosed space. Obviously, the space is penetrable because the neighbors are always walking in and out, but there are poplars planted around the Keller home; it’s hidden from sight. The suburb is a fantasy space, but as we see in the play, there are secrets and pain and loss in this space that very much have to do with reality. It is a place where people are recovering from fifteen years of family dislocation, deprivation, death, and loss. Families were broken apart during the Great Depression, and they were broken apart during the war, so a lot of pressure is being put on private space to remedy these things. Why did the private home and the private family become the touchstone of the post-war period? Many of the reasons may be seen in the play. ■

<hr />

Deborah Nelson works on late 20th-century literature and culture. Her book <i>Tough Enough: Arbus, Arendt, Didion, McCarthy, Sontag, Weil </i>was published by the University of Chicago Press in 2017. She is also the author of <i>Pursuing Privacy in Cold War America.</i> She recently led a Mellon-funded Sawyer Seminar called “@1948” and edited a special issue of <i>Critical Inquiry </i>devoted to mid-century literature and culture. She is a founding member of Post45, a collective at Stanford University Press that publishes an online journal and a book series.
<p class="caption">Photo: This 1945 photo shows a group of Army wives anxiously waiting to catch a glimpse of their returning husbands (National Park Service, U.S. Department of the Interior).</p>"
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            string(174) "Professor Deborah Nelson, current Chair of the University of Chicago’s Department of English, chats with Resident Dramaturg Nora Titone about Arthur Miller’s All My Sons."
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          string(6258) "<img class="alignnone size-full wp-image-9671" src="https://www.courttheatre.org/wp-content/uploads/2018/01/miller-800.jpg" alt="" width="800" height="422" />Arthur Miller’s directions for writing a good play were simple. “The best model,” he said, “is the Book of Genesis. You read about the Creation, and in only a page and a half, you’ve got the human race. That is the way to tell a story, a story that never dies. Less is better. Why? Nothing is wasted. It all counts.” In 1943, when he began to write <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/all-my-sons/"><i>All My Sons</i></a>, Miller was 28 years old. He dreamed of creating a play that would distill the trauma and tragedy of World War II into one day in the life of an American family. Turning to the Old Testament for inspiration made sense to him: the unfolding global conflict was Biblical in its destruction.

As one historian has written, World War II was “the largest event in human history—the greatest and most terrible of all human experiences.” From September 1939 to August 1945, people around the world were shaken from the normal round of everyday life into violence, catastrophe, chaos and devastation. More than 60 million died. Those who survived often found it difficult to talk about their experiences: what had happened to them, in many cases, defied comprehension.

Arthur Miller was a non-combatant. Classified 4-F because of a high school football injury to his knee, he stayed behind while his beloved older brother, Kermit, enlisted as an Army infantry captain and embarked for Europe. Throughout the war, Kermit would write searing letters home to “Arty” from the battlefields of France and Belgium, filled with stories about the self-sacrifice, brotherhood and devotion of the young men he led “into the line.”

Miller had studied playwriting in college; the work he found to do during the war drew on that skill. From 1942 to 1945, he was a roving reporter, visiting Army hospitals and training camps, talking to soldiers and turning their stories into patriotic radio plays for CBS and NBC. For one broadcast, Miller interviewed Air Force pilots whose planes had been shot up over Germany, and who now were hospitalized stateside. The horrific injuries sustained by the men—many of them no more than 19 or 20 years old—“moved me terribly,” Miller said. “They were all younger than me, and marred for life. I couldn’t turn my back on them and I felt I owed it to them to write their stories.”

The genesis of <i>All My Sons</i> came in 1943, Miller said, when he was feeling like “a stretched string waiting to be plucked—a young, fit man barred from a war others were dying in.” The chord of inspiration struck when he read “about a young girl somewhere in central Ohio who turned her father in to the FBI for having manufactured faulty aircraft parts.” The scandal dominated the news: a profit-minded industrialist at the Curtiss-Wright Aeronautical Corporation knowingly shipped defective engines to the U.S. Army Air Forces, causing the deaths of 21 pilots who flew P-40 Warhawk fighter planes.

This was the plot Miller had been waiting for, a story about a child’s powerful sense of social responsibility triumphing over her loyalty to her own father. For Miller, the anecdote distilled the question at the heart of the war effort: Was our struggle only for our own families, or were we fighting for the family of all humankind?

To trace the development of <i>All My Sons</i> in the playwright’s imagination, we turned to the Arthur Miller Collection at the Harry Ransom Center of the University of Texas, Austin, where Miller’s journals, diaries, correspondence and wartime radio scripts are archived, along with the early drafts of <i>All My Sons</i>.

We read the diary that Miller kept from 1943 to 1945, a volume filled with poems and scene fragments, and his thoughts about how this play might transform the hearts and minds of American audiences. Miller believed “writing a worthy play” was comparable “to saving a life—it was one of the most important things a human being could do.” He hoped this piece of theatre would change the world.

We compared Miller’s early drafts of <i>All My Sons</i>—two unfinished plays titled “The Sign of the Archer,” and “Morning, Noon and Night”—to the completed version. Studying these early iterations of the work allowed us to dive beneath the surface of the finished text and explore how the characters, story and language took shape in Miller’s mind.

Miller maintained that in this play, “I sought to reconstruct my own life, becoming my brother from time to time, my father, my mother, putting on their forms and faces.” When we learned the playwright modeled Kate, Joe, and Chris Keller on his own family, we researched the Millers carefully, so as to invest the Kellers with identities rooted in fact.

Jewish immigrants from Eastern Europe, the Millers had achieved extraordinary success as garment manufacturers in the decade after World War I, only to lose everything in the Crash. Miller witnessed his parents’ swift plummet from wealth to poverty in 1929. He watched his brother, Kermit, go to war in 1942 and welcomed him home again in 1945, broken and shell-shocked, a shadow of the man he once had been.

By transferring the weight of his own personal history onto a day in the life of an average American family, Miller infused <i>All My Sons</i> with the full power of the defining events of the 20th century: the immigrant experience, the Great Depression, World War II, the coming of peace, and the soldiers’ return.

<i>All My Sons</i> is a story of creation and destruction, the revelation of a playwright who believed building a better world was the only answer to the global ordeal of war.  ■
<p class="caption">Photo: Playwright Arthur Miller pictured during an interview in his apartment in New York, 1987. Miller said that—after coming out of depression, trying in a dozen ways to stir the country’s soul, and being hauled before Congress for being un-American—he “has survived, and that’s not bad.” (REUTERS/Mark Petersen MP/PN)</p>"
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          string(2250) "<img class="alignnone size-full wp-image-9161" src="https://www.courttheatre.org/wp-content/uploads/2017/10/pizza-nella.jpg" alt="Pizza at Nella" width="800" height="225" />On Thursday, January 11, <a href="http://nellachicago.com/" target="_blank" rel="noopener">Nella Pizza e Pasta</a>, will be featured during our <strong>First Preview Tasting</strong>.  Nella will join us for appetizers and other small items from their menu at 6:30p in our lobby followed by the first preview performance of <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/all-my-sons/"><em>All My Sons</em></a> at 7:30p.

<a href="http://nellachicago.com/" target="_blank" rel="noopener"><img class="size-full wp-image-9123 alignright" src="https://www.courttheatre.org/wp-content/uploads/2017/05/Nella-150.jpg" alt="Nella" width="150" height="114" /></a>New to the Hyde Park neighborhood and Court's newest Dining Partner, Nella is an authentic Italian restaurant focusing on Neapolitan pizza and pasta dishes using recipes handed down through the generations. Served in an atmosphere of joy and warmth, Nella's array of dishes are a welcome addition to the Hyde Park dining scene.  Their bright yet cozy space boasts an open kitchen where patrons can watch their pizza from start to finish.  Their ingredients are fresh, authentic and simple.  What comes out of that wood burning stove is a perfect crust, covered in custom toppings, fresh cheeses and just what us cold Chicagoan's need to warm our bodies and spirits.  Come warmer months, their beautiful patio is not to be missed.

Located just around the corner from Court Theatre, we are happy to include Nella in this season's collection of Dining Partners.  After tasting their delicious offerings, we hope that you'll return to their space at 1125 E. 55th Street and enjoy 12% off your bill. See details on our <a href="https://www.courttheatre.org/plan-your-visit/recommended-restaurants/">Recommended Restaurants</a> page.

We hope you will join us and help to celebrate the first show of the New Year!

<a href="https://www.courttheatre.org/season-tickets/purchase/7:30%20pm%20-%20All%20My%20Sons/2018-01-06/3256/">Order tickets for first preview, Thursday, January 11</a>."
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            string(260) "On Thursday, January 11, Nella Pizza e Pasta, will be featured during our First Preview Tasting.  Nella will join us for appetizers and other small items from their menu at 6:30p in our lobby followed by the First Preview performance of All My Sons at 7:30p."
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          string(1376) "<img class="alignnone size-full wp-image-9560" src="https://www.courttheatre.org/wp-content/uploads/2017/12/steve-800x400.jpg" alt="" width="800" height="396" />We are deeply saddened to share the news that Steve Albert, Court Theatre's Executive Director, our friend and partner, passed away peacefully on December 29, surrounded by his family.

From Court's Artistic Director Charles Newell:
<blockquote>"For many years, we at Court had an idea and a plan of where we might go, and Steve brought creative, strategic thinking to help us achieve our goals. He was fond of saying his job lived at the intersection of ambition and reality. He believed in dreaming big and then figuring out how you could get even partially there. He became a dear, close friend and I am the better man for that."</blockquote>
He will be deeply missed.

A celebration of Steve’s life will be held at Court Theatre on January 27, 2018. For more information or to leave condolences for the family, <a href="https://courttheatre.us16.list-manage.com/track/click?u=8f83719f4a6947c9a9a8c39e8&amp;id=3cf12c9797&amp;e=9251936362" target="_blank" rel="noopener">click here</a>.

<a href="http://www.chicagotribune.com/entertainment/theater/ct-ent-stephen-albert-obit-0101-story.html" target="_blank" rel="noopener">Read Steve's obituary by Chris Jones of the <em>Chicago Tribune</em> here</a>."
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          string(5890) "<em>John Culbert is the scenic designer for Court Theatre’s upcoming production of Arthur Miller’s </em>All My Sons<em>. Court Theatre intern Emily Lynch spoke with him about the design process, his plans for the production, and the thrill of creating a world onstage.</em>

<strong>Tell me about your design for <em>All My Sons</em>.</strong>

Our effort was to find a design that was not only a literal recreation of the environment described in the script, but also hopefully to capture some of the emotional content of the play. You have a family who is working really hard to uphold this facade of truth and good, and there’s also the town around them. The threat of the neighborhood always is present as the Kellers try to uphold their lie. So we tried to create a world that would make those opposing forces palpable.

Also, we don’t necessarily want all the actors’ behavior to be naturalistic. We wanted room, particularly in extreme moments, for behavior to be extreme. We wanted a world to allude to locations in the script but not duplicate a realistic world on stage.

<strong>What was your process like?</strong>

<img class="size-medium wp-image-9528 alignright" src="https://www.courttheatre.org/wp-content/uploads/2017/12/culber-ams-set-300x225.jpeg" alt="" width="300" height="225" />

The basis for all of it was research. We did literal research, looking at images of wartime factories and backyards, and we also looked at artwork of the period.

There’s an image in the script which we were struggling to figure out—the apple tree. It’s fraught with inconsistencies: they planted this apple tree three years ago in recognition of their son, so it’s literally [holds fingers together] <em>this</em> big around. It wouldn’t have fruit on it, nor would it blow over in a storm. So I looked at images of trees to deepen my understanding of how the tree might be useful to us. We ended up not wanting to magnify the image, because I couldn’t figure out why we would. What does this apple tree do in the script besides serve as symbolism for their son?

We did find out, though, that Arthur Miller had a son in the war who wrote many letters home. There was one letter in which the son wrote about how his unit had camped in an apple orchard, and the trees had fruit on them, but they weren’t allowed to touch any of the fruit. So the conjecture is that there’s an apple tree in this play is because it was meaningful to Arthur Miller.

<img class="size-medium wp-image-9497 alignleft" src="https://www.courttheatre.org/wp-content/uploads/2017/11/hopper-173x300.jpeg" alt="" width="173" height="300" />

We also looked a lot at Edward Hopper paintings. What we were responding to with these is that they depict real things but in a very abstracted way. And then there’s a lot of negative space and a lot of strong, geometric shapes. We ended up taking those ideas, and ended up with a center wall and with an island of a yard. The world around them is represented by negative shapes, by cutouts of poplar trees.

<strong>What is the significance of using Edward Hopper as an inspiration?</strong>

His paintings capture a specific feeling of the play. These are classic American scenes that appear to be happy in one way, but if you look closer, you can see that all is not well. We—all of the designers—were captured by this contrast of appearance and reality.

<strong>How does your design interact with the other design elements of the show?</strong>

Well, I hope they interact completely and totally! The designs tend to be generated at different times, but we’re all involved in the process of building a world, in choosing levels of reality, color palette, all of that.

<strong>Do you think there has been a recent shift towards minimalist set designs? If so, what do you think accounts for that?</strong>

I don’t know that it’s recent. I think there have been, for decades, different ways that people look at classic plays. And when you’re working on a classic piece, there are a lot of ways into it. The hope is that through different entry points we will yield different insights.

I guess the question is, “How do we get the audience to see themselves in the piece? How do we get them to learn something about themselves?” I don’t mean “learn” in the sense that we’re teaching them something, but that they can have a new insight into human behavior and maybe even their own behavior.

The hope is that when you make a world that is not totally literal, people bring their own experiences to it. They come up with metaphors that they saw in the world that are way richer than anything we dreamt about while we were designing it ourselves. Often in talkbacks audience members will say, “The set made me think of this and this and this. Did you mean that?” And we’re like, “Sure!”

Overall, you’re hoping the play invites the audience to be actively involved. An abstract, less realistic world makes the audience dig deeper.

<strong>What initially drew you, and what continues to draw you to scenic design?</strong>

I do scenery and lighting design, and I see them both very similarly. I’m excited about the possibility of creating a world, about having that world support a specific story, and about getting the audience to think.

I think live theater is a very important way that our community can gain understanding about itself. It’s a collective experience. We’re surrounded by people we don’t know, and I think that’s both part of why it works and part of why it’s different than other ways we receive stories today.

It’s very important that there’s this communal element to live theater, and being able to create a world that allows that to happen is very exciting.
<p class="caption">Image: Edward Hopper, High Noon, 1949</p>"
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          string(4776) "<img class="alignnone size-full wp-image-9112" src="https://www.courttheatre.org/wp-content/uploads/2017/10/season-1718-800x320.jpg" alt="" width="800" height="320" />

We are thrilled that you’re here for our 2017/18 Season at Court Theatre. The spirit of this year’s productions is exploring classic stories that originated in unique moments of American history.

Court Theatre may be a classic theatre, but what we define as classic are enduringly resonant pieces that speak loudly to our life and world today with their themes and ideas. Our approach is to see each work with new eyes, and to make a new artistic experience for artist and audience alike that speaks to our modern moment.

<img class="alignnone size-full wp-image-9108" src="https://www.courttheatre.org/wp-content/uploads/2017/10/allmysons-800x250.jpg" alt="All My Sons" width="800" height="225" />

For the third installment in Court’s season beginning January 2018, I’m taking an aggressive new look at Arthur Miller’s <a href="https://www.courttheatre.org/season-tickets/producers-circle/opening-night-sons/"><em>All My Sons</em></a>. As I write this, I know what this play is not going to be—it will not be a traditional, backyard, naturalistic production. Rather, through design and primal character expression, we will push ourselves to the next level of artistic risk, shedding new light on a masterpiece of American drama.

<img class="alignnone size-full wp-image-9110" src="https://www.courttheatre.org/wp-content/uploads/2017/10/guess-800x250.jpg" alt="Guess Who's Coming to Dinner" width="800" height="225" />

<a href="https://www.courttheatre.org/season-tickets/producers-circle/opening-night-guess-whos-coming-dinner/"><em>Guess Who’s Coming to Dinner</em></a> may be based on the 40-year-old iconic film, but we found <a href="https://www.courttheatre.org/about/blog/todd-kreidler/">Todd Kreidler</a>’s 2012 stage adaptation to be startlingly relevant and thought-provoking for a modern audience. While Court’s production will still be set in 1967 America, we don’t approach this piece with an eye for nostalgia, but rather with an eye on the complexity of the conversation about race and racism in today’s America. This production marks the Court debut of acclaimed Chicago director <a href="https://www.courttheatre.org/people/marti-lyons/">Marti Lyons</a>, who is joined by Associate Director <a href="https://www.courttheatre.org/people/wardell-julius-clark/">Wardell Julius Clark</a>.

<img class="alignnone size-full wp-image-9109" src="https://www.courttheatre.org/wp-content/uploads/2017/10/originalist-800x250.jpg" alt="The Originalist" width="800" height="225" />

Our final production of the season, <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/the-originalist/"><em>The Originalist</em></a>, was inspired, or perhaps provoked, by the tumultuous political climate we find ourselves in. At a tremendous cost to our democracy, unbudging partisan rhetoric has become the norm. The strength of this play is that it is about listening—listening to and engaging in civil discourse with those who have opposing viewpoints. This production comes to us fresh from a cross-country tour under the direction of Arena Stage Artistic Director <a href="https://www.courttheatre.org/people/molly-smith/">Molly Smith</a>, with four-time Helen Hayes Award-winner and distinguished D.C. actor <a href="https://www.courttheatre.org/people/4104/">Edward Gero</a> reprising his role as Justice Antonin Scalia.

All three of these plays have the potential to inspire us to venture into new emotional and intellectual spaces where our preconceived notions may be challenged and changed. We are so thankful you are willing to venture there with us.

We look forward to continuing the artistic conversation with you at the theatre soon, and <a href="https://www.facebook.com/CourtTheatre" target="_blank" rel="noopener">we hope to hear your response</a> to the plays throughout the season.

<img class="alignnone wp-image-9102" src="https://www.courttheatre.org/wp-content/uploads/2017/10/charlie_sig.png" alt="Charlie's Signature" width="38" height="26" />

<hr />

Flex and 3-play subscriptions are available <a href="https://www.courttheatre.org/season-tickets/subscriptions/">online</a> or by calling the box office at (773) 753-4472. Subscriptions offer ticket savings, unlimited ticket exchanges, and discounts at the lobby bar. <a href="https://www.courttheatre.org/season-tickets/subscriptions/">Learn more here</a>.
<p class="caption">Photos: 1. Bryce Gangel and Michael Aaron Pogue 2. Kate Fry 3. Bryce Gangel, Michael Aaron Pogue, and Jacqueline Williams (by Joe Mazza) 4. Edward Gero (by C. Stanley Photography).</p>"
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            string(146) "Charles Newell, Court's Marilyn F. Vitale Artistic Director, shares his passion for the classic American stories we explore in Winter/Spring 2018."
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        object(WP_Post)#3693 (28) {
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          string(4511) "<em>Richard Strier is Frank L. Sulzberger Distinguished Service Professor Emeritus in English Language &amp; Literature at the University of Chicago, where he has taught since 1973. Court Theatre intern Emily Lynch had the opportunity to talk to him about Emily Dickinson’s enigmatic life and extraordinary writing.</em>

<strong>To what extent was Emily Dickinson, in fact, “<a href="https://www.poets.org/poetsorg/poem/im-nobody-who-are-you-260">Nobody</a>”?</strong>

In terms of being known to her world, she only published a handful of poems. Thomas Higginson, who published her, knew she was a great and scary poet—he didn’t quite know what to do with her. Her family and circle knew she was a great and scary person, but the world at large didn’t know about her.

One of the astonishing things in her publication history is that the poems came out through a friend of the family in the 1890s and in very edited forms. Gradually—and it took a while—she was starting to be recognized as a major poet. Now, there’s a whole scholarly industry of Dickinson.

<strong>What do you mean by <em>scary</em>?</strong>

She is—and I think she knew this—preternaturally intelligent, and also very much in her own world of concepts and terms. She, like many other incredibly talented people, knew she was incredibly talented. I think she’d be delighted, but not surprised, that there’s a journal studying her work, that she’s in every anthology, and that scholars all over the world are studying her poetry. She would think, “Yeah, that seems about right!”

<em><img class="size-medium wp-image-9264 alignleft" src="https://www.courttheatre.org/wp-content/uploads/2017/06/Bell-of-Amherst-MBP_0415-199x300.jpg" alt="The Belle of Amherst" width="199" height="300" /></em>

<strong>Why do you think Dickinson's personal life receives as much—if not more—attention than her poetry?</strong>

The poetry is so difficult, so people are reaching out for interpretive keys. The poetry also seems to be referring to things that happened, seems to refer to an event. There’s this love poetry, some of which is fairly sexy, and so readers immediately think, “Did she have an affair? Who was it with?” She then has these letters to someone she addresses as her “master,” and so we ask, “Who was her master?”

I think all of this is irrelevant. We just don’t know. There’s a whole industry of finding biography in her poetry, but it takes away the idea of imagination. To think a human being needs to have had sexual relationships to be able to imagine what one might be like seems like a pretty impoverished sense of what the imagination can do.

But I think this is partly because the poetry is so convincing. You think, “No, this must be about a real event.” And the other reason is that it’s just so difficult.

<strong>How can knowledge of her life be misused in interpreting her poems? Do you think she uses narrators other than herself in her poetry?</strong>

To that last question, yes, because she sometimes says things like “when I was a boy.” Whatever you think about her, she was never a boy. She may or may not have had love affairs, but she was never a boy. She also wrote from the point of view of a dead person, and she had never been that either.

<strong>How did her poetry differ from that of her contemporaries?</strong>

It was more abstract, more discontinuous in syntax. It’s just not like anyone else’s poetry in terms of the powerful use of abstraction.

The manuscripts were without normal punctuation and just had a lot of dashes. You know, the nineteenth century loved dashes, so she’s not unusual in that, but she is unusual in practically not using any other punctuation. You often don’t know where a sentence begins and ends.

In the first editions of her poetry, they punctuated it. The editor would say, “Here’s where the sentence ends,” and he’d make a decision. Nowadays, we don’t do that anymore, which makes the poems much harder to read. In order to make sense of them, we have to decide, “Where one thought end and the next begin?” But she doesn’t help you with that.

<strong>Why does Dickinson continue to capture readers’ attention today?</strong>

The quality of her writing is just so high. It’s so extraordinary and interesting and powerful that once you know about it, it’s hard to ignore.

<p class="caption">Photo of Kate Fry by Michael Brosilow.</p>"
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          string(5339) "In <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/the-belle-of-amherst/"><em>The Belle of Amherst</em></a>, Emily Dickinson serves up her famous “black cake” to audiences. We’ve done the work and made it ourselves. See the <em>Washington Post</em>'s official recipe we used below, and bring a new tradition to your family’s table for the holidays!

SERVINGS: 60

Tested (with modifications) by Court staff members Lauren Kincaid-Filbey and Heather Dumdei:

<iframe src="https://www.youtube.com/embed/7yCuwoVGaos?rel=0&amp;showinfo=0?ecver=1" width="560" height="315" frameborder="0" allowfullscreen="allowfullscreen"></iframe>

FOR THE SYRUP
<ul>
 	<li>3 cups sugar</li>
 	<li>1 cup brandy, or more to taste</li>
</ul>
TO MACERATE THE FRUIT
<ul>
 	<li>1 3/4 pounds raisins</li>
 	<li>8 ounces dried currants</li>
 	<li>8 ounces dried apricots, cut into pieces the size of raisins</li>
 	<li>2 ounces dried pears, cut into pieces the size of raisins</li>
 	<li>4 ounces pitted dates, cut into pieces the size of raisins</li>
 	<li>1/2 cup brandy</li>
 	<li>8 ounces pitted dried prunes, cut into pieces the size of raisins</li>
</ul>
FOR THE BATTER
<ul>
 	<li>3 1/4 cups unbleached flour</li>
 	<li>4 1/2 teaspoons baking powder</li>
 	<li>1 1/2 teaspoons baking soda</li>
 	<li>1 1/2 teaspoons salt</li>
 	<li>1 1/4 teaspoons cinnamon</li>
 	<li>1 1/4 teaspoons ground cloves</li>
 	<li>1 1/4 teaspoons mace</li>
 	<li>1 1/2 teaspoons nutmeg</li>
 	<li>1/4 teaspoon cardamom</li>
 	<li>1/4 teaspoon ground ginger</li>
 	<li>1 1/2 pounds unsalted butter, softened, plus extra for the pan(s)</li>
 	<li>3 cups sugar</li>
 	<li>13 eggs, at room temperature</li>
 	<li>1 1/2 teaspoons vanilla</li>
 	<li>3/4 cup molasses</li>
</ul>
<strong>DIRECTIONS</strong>
If possible, prepare the syrup the day before baking the cake. The brandy can be a Cognac-type by itself, or a combination of flavors, including amaretto or hazelnut liqueur.

** This recipe makes about 20 cups of batter. An average loaf pan holds between 4 and 5 cups of batter, so this recipe will make about four large loaf cakes, or five or six 9-inch rounds. Or, in a 12-by-2-inch round pan, perhaps two. Or, one large 13-by-18-by-2 1/2-inch pan. You can bake it in any size and shape.

<strong>The day before baking:</strong>
<ol>
 	<li>In a 2-quart saucepan, combine 3 cups sugar and 2 cups water. Cook over medium-high heat until the sugar dissolves. Cool, then add 1 cup brandy (or more to taste).</li>
 	<li>Cover tightly and refrigerate.</li>
 	<li>To macerate the fruit: In a large bowl, toss raisins, currants, apricots, prunes, pears and dates (or fruit of your choice) with 1/2 cup brandy. Let stand overnight, preferably, or for an hour, or just while you get the other ingredients together.</li>
</ol>
<strong>The day of baking:</strong>
<ol>
 	<li>Preheat oven to 350 degrees. Butter and line the pan(s) with wax paper or parchment; butter or spray the paper or parchment with nonstick cookware spray.</li>
 	<li>Sift the flour, baking powder, baking soda, salt, cinnamon, cloves, mace, nutmeg, cardamom and ginger together. Set aside.</li>
 	<li>In a very large bowl (I use the 5-quart bowl of my standing mixer), cream the butter and gradually add 3 cups sugar, beating until the mixture is light in color and texture. Add the eggs 3 at a time (adding 4 at the last addition), beating well after each addition and scraping down the sides of the bowl several times with a spatula. Add the vanilla. With the mixer on medium speed, pour in the molasses. The mixture may look curdled, but that's okay.</li>
 	<li>Transfer the batter to a very big mixing bowl. Gradually add the flour mixture, mixing just until the flour is incorporated. Drain the macerating fruit, reserving the liquid left in the bowl. Fold the fruit into the batter, taking care not to overmix. Note: With this much batter, make sure your spatula is sturdy; otherwise, your hands are your best folding tools.</li>
 	<li>Turn the batter into the prepared pan(s), filling each pan about 2/3 full. Smooth the top and bake until the top of the cake is firm to the touch in the middle. Nine-inch rounds will take 30 to 35 minutes. The cake will be very dark on top and slightly sunken.</li>
 	<li>Let the cake cool in the pan. With a skewer, poke holes in the cake at 1-inch intervals. Begin brushing/tapping the brandy-sugar syrup evenly over the cake, allowing a few minutes for the syrup to soak in before brushing on more. If the cake seems moist enough, it might not be necessary to use all the syrup.</li>
 	<li>Wrap the cake well in plastic wrap (or slide it into a large clean plastic bag) and allow it to stand for at least 1 hour -- or, preferably, a day or two -- in a cool place. This cake will keep for several weeks if stored in the refrigerator or in a cool place.</li>
 	<li>Run a small knife around the cake to loosen it from the sides of the pan. Invert the cake onto a serving platter, then remove the liner. Cover the cake to preserve moisture until presentation time. Fresh greens and flowers around it add a festive touch.</li>
</ol>
If you make the recipe, drop us a line in the comments and let us know how it turned out!
<p class="caption">Photo of Kate Fry by Michael Brosilow.</p>"
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If you’ve been to a Court Theatre <a href="https://www.courttheatre.org/community-engagement/spotlight-reading-series/">Spotlight Reading Series</a> event, chances are you’ve probably seen Helen Barrett. A retired Chicago Police detective, Helen has been a Court subscriber for over two decades. She’s also attended all but one of Court’s Spotlight Readings. Supported by The Joyce Foundation, the Spotlight Reading Series consists of five public readings of rarely produced plays written by artists of color, held annually at locations throughout the city.<span class="Apple-converted-space"> </span>

“Every time I attend a reading, I shake my head that it’s a free event,” says Helen. “These readings take me all over the city, introduce me to new neighborhoods, and provide me with an interactive theatrical experience.”<span class="Apple-converted-space"> </span>

Helen particularly appreciates the program’s focus on lesser known works, and the audience talkbacks with artists that take place after every Spotlight reading. “<a href="https://www.courttheatre.org/people/ron-oj-parson/">Ron OJ Parson</a> [Court Resident Artist and Director of the Spotlight Reading Series] interacts with all the patrons, and the artists provide such interesting commentary on the plays and how they connect to the world today.”<span class="Apple-converted-space"> </span>

As a subscriber to Court’s mainstage productions, Helen loves the range of plays that Court produces each year, from musicals to dramas to comedies. “I go to the theatre to get to know different groups and types of people through the stories onstage. Court’s productions include everyone, and the intimate setting makes you feel engaged with everything that’s happening. It creates a different sense of empathy, a new way of looking at the world. The world is always changing, and we have to change with it.”

Court is grateful for Helen’s longstanding commitment as a subscriber, and for her passionate support of the Spotlight Reading Series. The Spotlight Reading Series is just one of Court’s <a href="https://www.courttheatre.org/community-engagement/education-initiative/">Education</a> and <a href="https://www.courttheatre.org/community-engagement/">Community Engagement</a> initiatives that bring theatre to new audiences across the city. These programs are offered at no- or significantly reduced-cost to individuals, and rely on the support of generous patrons and donors to continue. ■

<b>Make your gift today to ensure that your community continues to experience the unique moments of theatre provided by Court’s Community Engagement programs.</b>
<p class="caption">Above: Helen Barret with Court Theatre Community Programs Manager Aaron Mays at the Spotlight Reading of <a href="https://www.courttheatre.org/season-tickets/%production-section%/spotlight-reading-trouble-mind/"><i>Trouble in Mind</i></a> (Photo by Jake Newell).</p>"
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If you’ve been to a Court Theatre <a href="https://www.courttheatre.org/community-engagement/spotlight-reading-series/">Spotlight Reading Series</a> event, chances are you’ve probably seen Helen Barrett. A retired Chicago Police detective, Helen has been a Court subscriber for over two decades. She’s also attended all but one of Court’s Spotlight Readings. Supported by The Joyce Foundation, the Spotlight Reading Series consists of five public readings of rarely produced plays written by artists of color, held annually at locations throughout the city.<span class="Apple-converted-space"> </span>

“Every time I attend a reading, I shake my head that it’s a free event,” says Helen. “These readings take me all over the city, introduce me to new neighborhoods, and provide me with an interactive theatrical experience.”<span class="Apple-converted-space"> </span>

Helen particularly appreciates the program’s focus on lesser known works, and the audience talkbacks with artists that take place after every Spotlight reading. “<a href="https://www.courttheatre.org/people/ron-oj-parson/">Ron OJ Parson</a> [Court Resident Artist and Director of the Spotlight Reading Series] interacts with all the patrons, and the artists provide such interesting commentary on the plays and how they connect to the world today.”<span class="Apple-converted-space"> </span>

As a subscriber to Court’s mainstage productions, Helen loves the range of plays that Court produces each year, from musicals to dramas to comedies. “I go to the theatre to get to know different groups and types of people through the stories onstage. Court’s productions include everyone, and the intimate setting makes you feel engaged with everything that’s happening. It creates a different sense of empathy, a new way of looking at the world. The world is always changing, and we have to change with it.”

Court is grateful for Helen’s longstanding commitment as a subscriber, and for her passionate support of the Spotlight Reading Series. The Spotlight Reading Series is just one of Court’s <a href="https://www.courttheatre.org/community-engagement/education-initiative/">Education</a> and <a href="https://www.courttheatre.org/community-engagement/">Community Engagement</a> initiatives that bring theatre to new audiences across the city. These programs are offered at no- or significantly reduced-cost to individuals, and rely on the support of generous patrons and donors to continue. ■

<b>Make your gift today to ensure that your community continues to experience the unique moments of theatre provided by Court’s Community Engagement programs.</b>
<p class="caption">Above: Helen Barret with Court Theatre Community Programs Manager Aaron Mays at the Spotlight Reading of <a href="https://www.courttheatre.org/season-tickets/%production-section%/spotlight-reading-trouble-mind/"><i>Trouble in Mind</i></a> (Photo by Jake Newell).</p>"
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      string(3595) "<em><img class="alignnone size-full wp-image-10026" src="https://www.courttheatre.org/wp-content/uploads/2018/01/marti-wardell-800.jpg" alt="" width="800" height="315" />Perhaps the most familiar title in Court’s 63rd Season, </em><a href="https://www.courttheatre.org/season-tickets/2017-2018-season/guess-whos-coming-dinner/">Guess Who’s Coming to Dinner</a><em> is based on the 1967 film of the same name, starring Sidney Poitier, Spencer Tracy, and Katharine Hepburn. Despite the deep cultural impact of the film over the last 50 years, the stage adaptation written by Todd Kreidler is just a few years old. Staged first in Atlanta and then in Washington, D.C., Court’s production will be its Chicago premiere. Director <a href="https://www.courttheatre.org/people/marti-lyons/">Marti Lyons</a> discusses what the implications of this production are for our audiences.</em>

<b>Many audience members may already know this story from the beloved film. How does the play differ from the story that we have seen on the big screen?</b>

When Associate Director <a href="https://www.courttheatre.org/people/wardell-julius-clark/">Wardell Clark</a> and I first encountered this material, we simply could not divorce it from our contemporary context. Once enough time has passed from an original production, there is no way to interpret it but to <i>re-interpret</i> it. My first response to this material was how harrowing it was to read this play juxtaposed against our current moment. Wardell and I will not just interpret, but with this beautiful text by Todd Kreidler, as well as and guidance from our dramaturg Gabby Randle and an outstanding company of actors and designers, we will re-interpret this beautiful, flawed, historical, unnerving, and urgent work.

<b>What is it that you as directors hope to bring to the piece, given our world today is very different than (and, often the same as) the world of 1967?</b>

The play’s exposure of white liberal hypocrisy rings so loudly in my ears (as much as my own indictment as any other) and this, as just one example of many in this complex material, feels so unnervingly resonant. Our production will be set fully in period in 1967 in San Francisco: within the household itself, and also with a sense of the world exploding outside of the household. This world will be pressing its way inside through our design and through the characters who enter the play. We believe that setting it in the 1960s with specificity will allow audience members to draw their own conclusions about the world of the play and the world as it stands, now.

<b>You’ve mentioned that you want to bring the female characters out of the background and incorporate them more into the action of the play. How do you hope to do that, and with what intention?</b>

In early conversations with our dramaturg Gabby Randle, we discussed the complex racial dynamics of the piece, but also the gender dynamics. The women in this play seem on the sidelines; they have opinions and may instigate, but they don’t drive any of the action. They seem observers and commentators, with a few rare exceptions. Gabby, Wardell, and I are curious to explore what it means to expose this, and to find opportunities for moments of awakening. ■

<i>Guess Who’s Coming to Dinner </i>runs from March 15 through April 15, 2018. <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/guess-whos-coming-dinner/">Tickets are available now.</a>
<p class="caption">Photo of Wardell Julius Clark and Marti Lyons at first rehearsal by Joe Mazza.</p>"
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      string(7433) "<i><img class="alignnone size-full wp-image-9675" src="https://www.courttheatre.org/wp-content/uploads/2018/01/women-ww2-800.jpg" alt="" width="800" height="578" />Professor Deborah Nelson, current Chair of the University of Chicago’s Department of English, chats with Resident Dramaturg Nora Titone about Arthur Miller’s </i><a href="https://www.courttheatre.org/season-tickets/2017-2018-season/all-my-sons/">All My Sons</a>.

<strong>Arthur Miller lifts the curtain on the Kellers as they come to a reckoning with what happened to their family during the war. Peace has arrived, but the characters cannot move forward into the future. What is the impediment?</strong>

Essentially, time had been suspended for six years of war—and this suspension of time is a global phenomenon. The conventional markers of time do not operate any more: things like graduating from high school, or having a baby, or your kid starting school, or getting married. Basically, it’s like this vast interruption.

One of the things you always have to think about is: what does mass mobilization, what does total war, really mean? It means there is literally no part of life that isn’t affected by the war. Everything you have done for the past six years has been part of the war effort. You go to work as a part of the war effort. You recycle garbage, plastic, and aluminum because it’s part of the war effort. You’re on war rations. How do people return to their lives after having been profoundly interrupted?

<strong>You talk about the clock of normal life being stopped by war. In the play, it seems like some characters are eager to start that clock running again. Kate Keller, though, wants to remain frozen in time, waiting for her son to come home.</strong>

A really interesting component of the play is how it shows characters working through different reactions to the war. Kate’s reaction, maybe in some ways, is an index that time has been stopped for so long, that for some people to get it to restart again is going to be very difficult, or it won’t happen at all. A lot of different things are getting worked through, but one of them is, “We have to wake up, we have to process what has happened. We have to stop pretending that we can either stop the clock, or just blithely move on from the war. We have to process this thing.” And that is a very large problem to face. That’s not just the family’s problem. It’s not even just the nation’s problem. In a sense, that’s the world’s problem in 1946.

<strong>Miller’s older brother, Kermit, led an infantry unit in France and saw heavy fighting at the Battle of the Bulge. Kermit came back from the war a different person; in addition to his physical injuries, he was heavily affected by post-traumatic stress disorder, or PTSD.</strong>

Miller’s brother doesn’t come back, is what happened. Somebody came back, but it was not his brother. And that could actually be another way to think about these ghosts of men who have returned from combat: they actually didn’t ever return, and yet they live with you. There were hundreds of thousands of people who come back with physical injuries, but the mental impact of the things they had seen and done was disabling too. Think about the 19-year-old G.I.s who helped liberate the death camps. When I teach my World War II class, I always remind the students that those soldiers were their own age. This is the end of the war, the soldiers were young, and they walk into Buchenwald.

<strong>What literary aspect of this play draws you in the most?</strong>

It’s the women in the play, because they are, in some sense, a potent absence. It’s not really their story, but there’s so much to be said and thought about them. At Ann’s first entrance, and through that whole scene, every single character will comment on her looks—her beauty, her robustness, her vitality. In some respect, she’s like a pinup girl. It’s so striking, it’s like Rita Hayworth has just walked in the door!

You learn she’s been living in New York, but who knows what she’s been doing? You have to assume she is working, and there’s something about her manner that suggests that she had a professional life. But the fact that we don’t have to care about that part of her at all is really interesting! The Keller family has known her forever, but are they focusing on the surface so as not to trouble the depths? Because they are all worried that the things they don’t want to talk about are now going to be talked about?

One of the things we know related to Ann is that women had to enter the workforce for the war effort because most of the men were mobilized. But when the men came back home, they needed to be re-employed. Women were ushered out of the workplace, and there was a reorientation to the home and childbearing. In many ways this is where the feminist movement will be born, when people realized—as Betty Friedan wrote in <i>The Feminine Mystique</i>—that the women who moved into the private family spaces of the American suburbs were being asked to be figures of sacrifice for the children and for the husband.

<strong>Miller sets the play in a suburb He wanted the action to seem as if it could unfold in any home in any neighborhood in any part of the country. You have worked on the question of privacy in post-war America: what does a suburb signify for you?</strong>

1946 is not yet the age of the suburbs. Suburbs exist, but the massification of their scale has not arrived. We’re at the dawn of the trend. So Miller is drafting off of a fantasy that’s being advertised to returning G.I.s, but hasn’t been built yet. With this play we already have the suburb in place as the fantasy space of post-war America. It is fantasized as a place of withdrawal, privacy, and healing. The Kellers live in an enclosed space. Obviously, the space is penetrable because the neighbors are always walking in and out, but there are poplars planted around the Keller home; it’s hidden from sight. The suburb is a fantasy space, but as we see in the play, there are secrets and pain and loss in this space that very much have to do with reality. It is a place where people are recovering from fifteen years of family dislocation, deprivation, death, and loss. Families were broken apart during the Great Depression, and they were broken apart during the war, so a lot of pressure is being put on private space to remedy these things. Why did the private home and the private family become the touchstone of the post-war period? Many of the reasons may be seen in the play. ■

<hr />

Deborah Nelson works on late 20th-century literature and culture. Her book <i>Tough Enough: Arbus, Arendt, Didion, McCarthy, Sontag, Weil </i>was published by the University of Chicago Press in 2017. She is also the author of <i>Pursuing Privacy in Cold War America.</i> She recently led a Mellon-funded Sawyer Seminar called “@1948” and edited a special issue of <i>Critical Inquiry </i>devoted to mid-century literature and culture. She is a founding member of Post45, a collective at Stanford University Press that publishes an online journal and a book series.
<p class="caption">Photo: This 1945 photo shows a group of Army wives anxiously waiting to catch a glimpse of their returning husbands (National Park Service, U.S. Department of the Interior).</p>"
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      string(6258) "<img class="alignnone size-full wp-image-9671" src="https://www.courttheatre.org/wp-content/uploads/2018/01/miller-800.jpg" alt="" width="800" height="422" />Arthur Miller’s directions for writing a good play were simple. “The best model,” he said, “is the Book of Genesis. You read about the Creation, and in only a page and a half, you’ve got the human race. That is the way to tell a story, a story that never dies. Less is better. Why? Nothing is wasted. It all counts.” In 1943, when he began to write <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/all-my-sons/"><i>All My Sons</i></a>, Miller was 28 years old. He dreamed of creating a play that would distill the trauma and tragedy of World War II into one day in the life of an American family. Turning to the Old Testament for inspiration made sense to him: the unfolding global conflict was Biblical in its destruction.

As one historian has written, World War II was “the largest event in human history—the greatest and most terrible of all human experiences.” From September 1939 to August 1945, people around the world were shaken from the normal round of everyday life into violence, catastrophe, chaos and devastation. More than 60 million died. Those who survived often found it difficult to talk about their experiences: what had happened to them, in many cases, defied comprehension.

Arthur Miller was a non-combatant. Classified 4-F because of a high school football injury to his knee, he stayed behind while his beloved older brother, Kermit, enlisted as an Army infantry captain and embarked for Europe. Throughout the war, Kermit would write searing letters home to “Arty” from the battlefields of France and Belgium, filled with stories about the self-sacrifice, brotherhood and devotion of the young men he led “into the line.”

Miller had studied playwriting in college; the work he found to do during the war drew on that skill. From 1942 to 1945, he was a roving reporter, visiting Army hospitals and training camps, talking to soldiers and turning their stories into patriotic radio plays for CBS and NBC. For one broadcast, Miller interviewed Air Force pilots whose planes had been shot up over Germany, and who now were hospitalized stateside. The horrific injuries sustained by the men—many of them no more than 19 or 20 years old—“moved me terribly,” Miller said. “They were all younger than me, and marred for life. I couldn’t turn my back on them and I felt I owed it to them to write their stories.”

The genesis of <i>All My Sons</i> came in 1943, Miller said, when he was feeling like “a stretched string waiting to be plucked—a young, fit man barred from a war others were dying in.” The chord of inspiration struck when he read “about a young girl somewhere in central Ohio who turned her father in to the FBI for having manufactured faulty aircraft parts.” The scandal dominated the news: a profit-minded industrialist at the Curtiss-Wright Aeronautical Corporation knowingly shipped defective engines to the U.S. Army Air Forces, causing the deaths of 21 pilots who flew P-40 Warhawk fighter planes.

This was the plot Miller had been waiting for, a story about a child’s powerful sense of social responsibility triumphing over her loyalty to her own father. For Miller, the anecdote distilled the question at the heart of the war effort: Was our struggle only for our own families, or were we fighting for the family of all humankind?

To trace the development of <i>All My Sons</i> in the playwright’s imagination, we turned to the Arthur Miller Collection at the Harry Ransom Center of the University of Texas, Austin, where Miller’s journals, diaries, correspondence and wartime radio scripts are archived, along with the early drafts of <i>All My Sons</i>.

We read the diary that Miller kept from 1943 to 1945, a volume filled with poems and scene fragments, and his thoughts about how this play might transform the hearts and minds of American audiences. Miller believed “writing a worthy play” was comparable “to saving a life—it was one of the most important things a human being could do.” He hoped this piece of theatre would change the world.

We compared Miller’s early drafts of <i>All My Sons</i>—two unfinished plays titled “The Sign of the Archer,” and “Morning, Noon and Night”—to the completed version. Studying these early iterations of the work allowed us to dive beneath the surface of the finished text and explore how the characters, story and language took shape in Miller’s mind.

Miller maintained that in this play, “I sought to reconstruct my own life, becoming my brother from time to time, my father, my mother, putting on their forms and faces.” When we learned the playwright modeled Kate, Joe, and Chris Keller on his own family, we researched the Millers carefully, so as to invest the Kellers with identities rooted in fact.

Jewish immigrants from Eastern Europe, the Millers had achieved extraordinary success as garment manufacturers in the decade after World War I, only to lose everything in the Crash. Miller witnessed his parents’ swift plummet from wealth to poverty in 1929. He watched his brother, Kermit, go to war in 1942 and welcomed him home again in 1945, broken and shell-shocked, a shadow of the man he once had been.

By transferring the weight of his own personal history onto a day in the life of an average American family, Miller infused <i>All My Sons</i> with the full power of the defining events of the 20th century: the immigrant experience, the Great Depression, World War II, the coming of peace, and the soldiers’ return.

<i>All My Sons</i> is a story of creation and destruction, the revelation of a playwright who believed building a better world was the only answer to the global ordeal of war.  ■
<p class="caption">Photo: Playwright Arthur Miller pictured during an interview in his apartment in New York, 1987. Miller said that—after coming out of depression, trying in a dozen ways to stir the country’s soul, and being hauled before Congress for being un-American—he “has survived, and that’s not bad.” (REUTERS/Mark Petersen MP/PN)</p>"
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      string(2250) "<img class="alignnone size-full wp-image-9161" src="https://www.courttheatre.org/wp-content/uploads/2017/10/pizza-nella.jpg" alt="Pizza at Nella" width="800" height="225" />On Thursday, January 11, <a href="http://nellachicago.com/" target="_blank" rel="noopener">Nella Pizza e Pasta</a>, will be featured during our <strong>First Preview Tasting</strong>.  Nella will join us for appetizers and other small items from their menu at 6:30p in our lobby followed by the first preview performance of <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/all-my-sons/"><em>All My Sons</em></a> at 7:30p.

<a href="http://nellachicago.com/" target="_blank" rel="noopener"><img class="size-full wp-image-9123 alignright" src="https://www.courttheatre.org/wp-content/uploads/2017/05/Nella-150.jpg" alt="Nella" width="150" height="114" /></a>New to the Hyde Park neighborhood and Court's newest Dining Partner, Nella is an authentic Italian restaurant focusing on Neapolitan pizza and pasta dishes using recipes handed down through the generations. Served in an atmosphere of joy and warmth, Nella's array of dishes are a welcome addition to the Hyde Park dining scene.  Their bright yet cozy space boasts an open kitchen where patrons can watch their pizza from start to finish.  Their ingredients are fresh, authentic and simple.  What comes out of that wood burning stove is a perfect crust, covered in custom toppings, fresh cheeses and just what us cold Chicagoan's need to warm our bodies and spirits.  Come warmer months, their beautiful patio is not to be missed.

Located just around the corner from Court Theatre, we are happy to include Nella in this season's collection of Dining Partners.  After tasting their delicious offerings, we hope that you'll return to their space at 1125 E. 55th Street and enjoy 12% off your bill. See details on our <a href="https://www.courttheatre.org/plan-your-visit/recommended-restaurants/">Recommended Restaurants</a> page.

We hope you will join us and help to celebrate the first show of the New Year!

<a href="https://www.courttheatre.org/season-tickets/purchase/7:30%20pm%20-%20All%20My%20Sons/2018-01-06/3256/">Order tickets for first preview, Thursday, January 11</a>."
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      string(1376) "<img class="alignnone size-full wp-image-9560" src="https://www.courttheatre.org/wp-content/uploads/2017/12/steve-800x400.jpg" alt="" width="800" height="396" />We are deeply saddened to share the news that Steve Albert, Court Theatre's Executive Director, our friend and partner, passed away peacefully on December 29, surrounded by his family.

From Court's Artistic Director Charles Newell:
<blockquote>"For many years, we at Court had an idea and a plan of where we might go, and Steve brought creative, strategic thinking to help us achieve our goals. He was fond of saying his job lived at the intersection of ambition and reality. He believed in dreaming big and then figuring out how you could get even partially there. He became a dear, close friend and I am the better man for that."</blockquote>
He will be deeply missed.

A celebration of Steve’s life will be held at Court Theatre on January 27, 2018. For more information or to leave condolences for the family, <a href="https://courttheatre.us16.list-manage.com/track/click?u=8f83719f4a6947c9a9a8c39e8&amp;id=3cf12c9797&amp;e=9251936362" target="_blank" rel="noopener">click here</a>.

<a href="http://www.chicagotribune.com/entertainment/theater/ct-ent-stephen-albert-obit-0101-story.html" target="_blank" rel="noopener">Read Steve's obituary by Chris Jones of the <em>Chicago Tribune</em> here</a>."
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        string(187) "We are deeply saddened to share the news that Steve Albert, Court Theatre's Executive Director, our friend and partner, passed away peacefully on December 29, surrounded by his family.  "
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      string(5890) "<em>John Culbert is the scenic designer for Court Theatre’s upcoming production of Arthur Miller’s </em>All My Sons<em>. Court Theatre intern Emily Lynch spoke with him about the design process, his plans for the production, and the thrill of creating a world onstage.</em>

<strong>Tell me about your design for <em>All My Sons</em>.</strong>

Our effort was to find a design that was not only a literal recreation of the environment described in the script, but also hopefully to capture some of the emotional content of the play. You have a family who is working really hard to uphold this facade of truth and good, and there’s also the town around them. The threat of the neighborhood always is present as the Kellers try to uphold their lie. So we tried to create a world that would make those opposing forces palpable.

Also, we don’t necessarily want all the actors’ behavior to be naturalistic. We wanted room, particularly in extreme moments, for behavior to be extreme. We wanted a world to allude to locations in the script but not duplicate a realistic world on stage.

<strong>What was your process like?</strong>

<img class="size-medium wp-image-9528 alignright" src="https://www.courttheatre.org/wp-content/uploads/2017/12/culber-ams-set-300x225.jpeg" alt="" width="300" height="225" />

The basis for all of it was research. We did literal research, looking at images of wartime factories and backyards, and we also looked at artwork of the period.

There’s an image in the script which we were struggling to figure out—the apple tree. It’s fraught with inconsistencies: they planted this apple tree three years ago in recognition of their son, so it’s literally [holds fingers together] <em>this</em> big around. It wouldn’t have fruit on it, nor would it blow over in a storm. So I looked at images of trees to deepen my understanding of how the tree might be useful to us. We ended up not wanting to magnify the image, because I couldn’t figure out why we would. What does this apple tree do in the script besides serve as symbolism for their son?

We did find out, though, that Arthur Miller had a son in the war who wrote many letters home. There was one letter in which the son wrote about how his unit had camped in an apple orchard, and the trees had fruit on them, but they weren’t allowed to touch any of the fruit. So the conjecture is that there’s an apple tree in this play is because it was meaningful to Arthur Miller.

<img class="size-medium wp-image-9497 alignleft" src="https://www.courttheatre.org/wp-content/uploads/2017/11/hopper-173x300.jpeg" alt="" width="173" height="300" />

We also looked a lot at Edward Hopper paintings. What we were responding to with these is that they depict real things but in a very abstracted way. And then there’s a lot of negative space and a lot of strong, geometric shapes. We ended up taking those ideas, and ended up with a center wall and with an island of a yard. The world around them is represented by negative shapes, by cutouts of poplar trees.

<strong>What is the significance of using Edward Hopper as an inspiration?</strong>

His paintings capture a specific feeling of the play. These are classic American scenes that appear to be happy in one way, but if you look closer, you can see that all is not well. We—all of the designers—were captured by this contrast of appearance and reality.

<strong>How does your design interact with the other design elements of the show?</strong>

Well, I hope they interact completely and totally! The designs tend to be generated at different times, but we’re all involved in the process of building a world, in choosing levels of reality, color palette, all of that.

<strong>Do you think there has been a recent shift towards minimalist set designs? If so, what do you think accounts for that?</strong>

I don’t know that it’s recent. I think there have been, for decades, different ways that people look at classic plays. And when you’re working on a classic piece, there are a lot of ways into it. The hope is that through different entry points we will yield different insights.

I guess the question is, “How do we get the audience to see themselves in the piece? How do we get them to learn something about themselves?” I don’t mean “learn” in the sense that we’re teaching them something, but that they can have a new insight into human behavior and maybe even their own behavior.

The hope is that when you make a world that is not totally literal, people bring their own experiences to it. They come up with metaphors that they saw in the world that are way richer than anything we dreamt about while we were designing it ourselves. Often in talkbacks audience members will say, “The set made me think of this and this and this. Did you mean that?” And we’re like, “Sure!”

Overall, you’re hoping the play invites the audience to be actively involved. An abstract, less realistic world makes the audience dig deeper.

<strong>What initially drew you, and what continues to draw you to scenic design?</strong>

I do scenery and lighting design, and I see them both very similarly. I’m excited about the possibility of creating a world, about having that world support a specific story, and about getting the audience to think.

I think live theater is a very important way that our community can gain understanding about itself. It’s a collective experience. We’re surrounded by people we don’t know, and I think that’s both part of why it works and part of why it’s different than other ways we receive stories today.

It’s very important that there’s this communal element to live theater, and being able to create a world that allows that to happen is very exciting.
<p class="caption">Image: Edward Hopper, High Noon, 1949</p>"
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      string(4776) "<img class="alignnone size-full wp-image-9112" src="https://www.courttheatre.org/wp-content/uploads/2017/10/season-1718-800x320.jpg" alt="" width="800" height="320" />

We are thrilled that you’re here for our 2017/18 Season at Court Theatre. The spirit of this year’s productions is exploring classic stories that originated in unique moments of American history.

Court Theatre may be a classic theatre, but what we define as classic are enduringly resonant pieces that speak loudly to our life and world today with their themes and ideas. Our approach is to see each work with new eyes, and to make a new artistic experience for artist and audience alike that speaks to our modern moment.

<img class="alignnone size-full wp-image-9108" src="https://www.courttheatre.org/wp-content/uploads/2017/10/allmysons-800x250.jpg" alt="All My Sons" width="800" height="225" />

For the third installment in Court’s season beginning January 2018, I’m taking an aggressive new look at Arthur Miller’s <a href="https://www.courttheatre.org/season-tickets/producers-circle/opening-night-sons/"><em>All My Sons</em></a>. As I write this, I know what this play is not going to be—it will not be a traditional, backyard, naturalistic production. Rather, through design and primal character expression, we will push ourselves to the next level of artistic risk, shedding new light on a masterpiece of American drama.

<img class="alignnone size-full wp-image-9110" src="https://www.courttheatre.org/wp-content/uploads/2017/10/guess-800x250.jpg" alt="Guess Who's Coming to Dinner" width="800" height="225" />

<a href="https://www.courttheatre.org/season-tickets/producers-circle/opening-night-guess-whos-coming-dinner/"><em>Guess Who’s Coming to Dinner</em></a> may be based on the 40-year-old iconic film, but we found <a href="https://www.courttheatre.org/about/blog/todd-kreidler/">Todd Kreidler</a>’s 2012 stage adaptation to be startlingly relevant and thought-provoking for a modern audience. While Court’s production will still be set in 1967 America, we don’t approach this piece with an eye for nostalgia, but rather with an eye on the complexity of the conversation about race and racism in today’s America. This production marks the Court debut of acclaimed Chicago director <a href="https://www.courttheatre.org/people/marti-lyons/">Marti Lyons</a>, who is joined by Associate Director <a href="https://www.courttheatre.org/people/wardell-julius-clark/">Wardell Julius Clark</a>.

<img class="alignnone size-full wp-image-9109" src="https://www.courttheatre.org/wp-content/uploads/2017/10/originalist-800x250.jpg" alt="The Originalist" width="800" height="225" />

Our final production of the season, <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/the-originalist/"><em>The Originalist</em></a>, was inspired, or perhaps provoked, by the tumultuous political climate we find ourselves in. At a tremendous cost to our democracy, unbudging partisan rhetoric has become the norm. The strength of this play is that it is about listening—listening to and engaging in civil discourse with those who have opposing viewpoints. This production comes to us fresh from a cross-country tour under the direction of Arena Stage Artistic Director <a href="https://www.courttheatre.org/people/molly-smith/">Molly Smith</a>, with four-time Helen Hayes Award-winner and distinguished D.C. actor <a href="https://www.courttheatre.org/people/4104/">Edward Gero</a> reprising his role as Justice Antonin Scalia.

All three of these plays have the potential to inspire us to venture into new emotional and intellectual spaces where our preconceived notions may be challenged and changed. We are so thankful you are willing to venture there with us.

We look forward to continuing the artistic conversation with you at the theatre soon, and <a href="https://www.facebook.com/CourtTheatre" target="_blank" rel="noopener">we hope to hear your response</a> to the plays throughout the season.

<img class="alignnone wp-image-9102" src="https://www.courttheatre.org/wp-content/uploads/2017/10/charlie_sig.png" alt="Charlie's Signature" width="38" height="26" />

<hr />

Flex and 3-play subscriptions are available <a href="https://www.courttheatre.org/season-tickets/subscriptions/">online</a> or by calling the box office at (773) 753-4472. Subscriptions offer ticket savings, unlimited ticket exchanges, and discounts at the lobby bar. <a href="https://www.courttheatre.org/season-tickets/subscriptions/">Learn more here</a>.
<p class="caption">Photos: 1. Bryce Gangel and Michael Aaron Pogue 2. Kate Fry 3. Bryce Gangel, Michael Aaron Pogue, and Jacqueline Williams (by Joe Mazza) 4. Edward Gero (by C. Stanley Photography).</p>"
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      string(4511) "<em>Richard Strier is Frank L. Sulzberger Distinguished Service Professor Emeritus in English Language &amp; Literature at the University of Chicago, where he has taught since 1973. Court Theatre intern Emily Lynch had the opportunity to talk to him about Emily Dickinson’s enigmatic life and extraordinary writing.</em>

<strong>To what extent was Emily Dickinson, in fact, “<a href="https://www.poets.org/poetsorg/poem/im-nobody-who-are-you-260">Nobody</a>”?</strong>

In terms of being known to her world, she only published a handful of poems. Thomas Higginson, who published her, knew she was a great and scary poet—he didn’t quite know what to do with her. Her family and circle knew she was a great and scary person, but the world at large didn’t know about her.

One of the astonishing things in her publication history is that the poems came out through a friend of the family in the 1890s and in very edited forms. Gradually—and it took a while—she was starting to be recognized as a major poet. Now, there’s a whole scholarly industry of Dickinson.

<strong>What do you mean by <em>scary</em>?</strong>

She is—and I think she knew this—preternaturally intelligent, and also very much in her own world of concepts and terms. She, like many other incredibly talented people, knew she was incredibly talented. I think she’d be delighted, but not surprised, that there’s a journal studying her work, that she’s in every anthology, and that scholars all over the world are studying her poetry. She would think, “Yeah, that seems about right!”

<em><img class="size-medium wp-image-9264 alignleft" src="https://www.courttheatre.org/wp-content/uploads/2017/06/Bell-of-Amherst-MBP_0415-199x300.jpg" alt="The Belle of Amherst" width="199" height="300" /></em>

<strong>Why do you think Dickinson's personal life receives as much—if not more—attention than her poetry?</strong>

The poetry is so difficult, so people are reaching out for interpretive keys. The poetry also seems to be referring to things that happened, seems to refer to an event. There’s this love poetry, some of which is fairly sexy, and so readers immediately think, “Did she have an affair? Who was it with?” She then has these letters to someone she addresses as her “master,” and so we ask, “Who was her master?”

I think all of this is irrelevant. We just don’t know. There’s a whole industry of finding biography in her poetry, but it takes away the idea of imagination. To think a human being needs to have had sexual relationships to be able to imagine what one might be like seems like a pretty impoverished sense of what the imagination can do.

But I think this is partly because the poetry is so convincing. You think, “No, this must be about a real event.” And the other reason is that it’s just so difficult.

<strong>How can knowledge of her life be misused in interpreting her poems? Do you think she uses narrators other than herself in her poetry?</strong>

To that last question, yes, because she sometimes says things like “when I was a boy.” Whatever you think about her, she was never a boy. She may or may not have had love affairs, but she was never a boy. She also wrote from the point of view of a dead person, and she had never been that either.

<strong>How did her poetry differ from that of her contemporaries?</strong>

It was more abstract, more discontinuous in syntax. It’s just not like anyone else’s poetry in terms of the powerful use of abstraction.

The manuscripts were without normal punctuation and just had a lot of dashes. You know, the nineteenth century loved dashes, so she’s not unusual in that, but she is unusual in practically not using any other punctuation. You often don’t know where a sentence begins and ends.

In the first editions of her poetry, they punctuated it. The editor would say, “Here’s where the sentence ends,” and he’d make a decision. Nowadays, we don’t do that anymore, which makes the poems much harder to read. In order to make sense of them, we have to decide, “Where one thought end and the next begin?” But she doesn’t help you with that.

<strong>Why does Dickinson continue to capture readers’ attention today?</strong>

The quality of her writing is just so high. It’s so extraordinary and interesting and powerful that once you know about it, it’s hard to ignore.

<p class="caption">Photo of Kate Fry by Michael Brosilow.</p>"
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      string(5339) "In <a href="https://www.courttheatre.org/season-tickets/2017-2018-season/the-belle-of-amherst/"><em>The Belle of Amherst</em></a>, Emily Dickinson serves up her famous “black cake” to audiences. We’ve done the work and made it ourselves. See the <em>Washington Post</em>'s official recipe we used below, and bring a new tradition to your family’s table for the holidays!

SERVINGS: 60

Tested (with modifications) by Court staff members Lauren Kincaid-Filbey and Heather Dumdei:

<iframe src="https://www.youtube.com/embed/7yCuwoVGaos?rel=0&amp;showinfo=0?ecver=1" width="560" height="315" frameborder="0" allowfullscreen="allowfullscreen"></iframe>

FOR THE SYRUP
<ul>
 	<li>3 cups sugar</li>
 	<li>1 cup brandy, or more to taste</li>
</ul>
TO MACERATE THE FRUIT
<ul>
 	<li>1 3/4 pounds raisins</li>
 	<li>8 ounces dried currants</li>
 	<li>8 ounces dried apricots, cut into pieces the size of raisins</li>
 	<li>2 ounces dried pears, cut into pieces the size of raisins</li>
 	<li>4 ounces pitted dates, cut into pieces the size of raisins</li>
 	<li>1/2 cup brandy</li>
 	<li>8 ounces pitted dried prunes, cut into pieces the size of raisins</li>
</ul>
FOR THE BATTER
<ul>
 	<li>3 1/4 cups unbleached flour</li>
 	<li>4 1/2 teaspoons baking powder</li>
 	<li>1 1/2 teaspoons baking soda</li>
 	<li>1 1/2 teaspoons salt</li>
 	<li>1 1/4 teaspoons cinnamon</li>
 	<li>1 1/4 teaspoons ground cloves</li>
 	<li>1 1/4 teaspoons mace</li>
 	<li>1 1/2 teaspoons nutmeg</li>
 	<li>1/4 teaspoon cardamom</li>
 	<li>1/4 teaspoon ground ginger</li>
 	<li>1 1/2 pounds unsalted butter, softened, plus extra for the pan(s)</li>
 	<li>3 cups sugar</li>
 	<li>13 eggs, at room temperature</li>
 	<li>1 1/2 teaspoons vanilla</li>
 	<li>3/4 cup molasses</li>
</ul>
<strong>DIRECTIONS</strong>
If possible, prepare the syrup the day before baking the cake. The brandy can be a Cognac-type by itself, or a combination of flavors, including amaretto or hazelnut liqueur.

** This recipe makes about 20 cups of batter. An average loaf pan holds between 4 and 5 cups of batter, so this recipe will make about four large loaf cakes, or five or six 9-inch rounds. Or, in a 12-by-2-inch round pan, perhaps two. Or, one large 13-by-18-by-2 1/2-inch pan. You can bake it in any size and shape.

<strong>The day before baking:</strong>
<ol>
 	<li>In a 2-quart saucepan, combine 3 cups sugar and 2 cups water. Cook over medium-high heat until the sugar dissolves. Cool, then add 1 cup brandy (or more to taste).</li>
 	<li>Cover tightly and refrigerate.</li>
 	<li>To macerate the fruit: In a large bowl, toss raisins, currants, apricots, prunes, pears and dates (or fruit of your choice) with 1/2 cup brandy. Let stand overnight, preferably, or for an hour, or just while you get the other ingredients together.</li>
</ol>
<strong>The day of baking:</strong>
<ol>
 	<li>Preheat oven to 350 degrees. Butter and line the pan(s) with wax paper or parchment; butter or spray the paper or parchment with nonstick cookware spray.</li>
 	<li>Sift the flour, baking powder, baking soda, salt, cinnamon, cloves, mace, nutmeg, cardamom and ginger together. Set aside.</li>
 	<li>In a very large bowl (I use the 5-quart bowl of my standing mixer), cream the butter and gradually add 3 cups sugar, beating until the mixture is light in color and texture. Add the eggs 3 at a time (adding 4 at the last addition), beating well after each addition and scraping down the sides of the bowl several times with a spatula. Add the vanilla. With the mixer on medium speed, pour in the molasses. The mixture may look curdled, but that's okay.</li>
 	<li>Transfer the batter to a very big mixing bowl. Gradually add the flour mixture, mixing just until the flour is incorporated. Drain the macerating fruit, reserving the liquid left in the bowl. Fold the fruit into the batter, taking care not to overmix. Note: With this much batter, make sure your spatula is sturdy; otherwise, your hands are your best folding tools.</li>
 	<li>Turn the batter into the prepared pan(s), filling each pan about 2/3 full. Smooth the top and bake until the top of the cake is firm to the touch in the middle. Nine-inch rounds will take 30 to 35 minutes. The cake will be very dark on top and slightly sunken.</li>
 	<li>Let the cake cool in the pan. With a skewer, poke holes in the cake at 1-inch intervals. Begin brushing/tapping the brandy-sugar syrup evenly over the cake, allowing a few minutes for the syrup to soak in before brushing on more. If the cake seems moist enough, it might not be necessary to use all the syrup.</li>
 	<li>Wrap the cake well in plastic wrap (or slide it into a large clean plastic bag) and allow it to stand for at least 1 hour -- or, preferably, a day or two -- in a cool place. This cake will keep for several weeks if stored in the refrigerator or in a cool place.</li>
 	<li>Run a small knife around the cake to loosen it from the sides of the pan. Invert the cake onto a serving platter, then remove the liner. Cover the cake to preserve moisture until presentation time. Fresh greens and flowers around it add a festive touch.</li>
</ol>
If you make the recipe, drop us a line in the comments and let us know how it turned out!
<p class="caption">Photo of Kate Fry by Michael Brosilow.</p>"
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      <a href="https://www.courttheatre.org/about/blog/10377/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/01/aaron-helen-sq.jpg" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/10377/">Subscriber Spotlight: Helen Barrett</a></h3>
        <p>If you’ve been to a Court Theatre Spotlight Reading Series event, chances are you’ve probably seen Helen Barrett. A retired Chicago Police detective, Helen has been a Court subscriber for over two decades. She’s also attended all but one of Court’s Spotlight Readings. Court is grateful for Helen’s longstanding commitment as a subscriber, and for her passionate support of the Spotlight Reading Series. </p>
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      <a href="https://www.courttheatre.org/about/blog/q-director-marti-lyons/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/01/guess-200-bl.jpg" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/q-director-marti-lyons/">Q&#038;A: Director Marti Lyons</a></h3>
        <p>Director Marti Lyons discusses <i>Guess Who's Coming to Dinner</i> how the company of artists will "re-interpret this beautiful, flawed, historical, unnerving, and urgent work."</p>
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      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/q-professor-deborah-nelson/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/01/women-ww2-200.jpg" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/q-professor-deborah-nelson/">Q&#038;A: Professor Deborah Nelson</a></h3>
        <p>Professor Deborah Nelson, current Chair of the University of Chicago’s Department of English, chats with Resident Dramaturg Nora Titone about Arthur Miller’s All My Sons.</p>
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      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/the-genesis-of-all-my-sons/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2018/01/miller-200.jpg" alt="" /></a>
      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/the-genesis-of-all-my-sons/">The Genesis of All My Sons</a></h3>
        <p>Read background on Arthur Miller and the genesis of All My Sons. </p>
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      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/first-preview-tasting/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2017/10/nella-pizza-200sq.jpg" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/first-preview-tasting/">First Preview Tasting</a></h3>
        <p>On Thursday, January 11, Nella Pizza e Pasta, will be featured during our First Preview Tasting.  Nella will join us for appetizers and other small items from their menu at 6:30p in our lobby followed by the First Preview performance of All My Sons at 7:30p.</p>
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      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/stephen-j-albert-1951-2017/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2017/06/albert_steve_200sq.jpg" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/stephen-j-albert-1951-2017/">Stephen J. Albert, 1951-2017</a></h3>
        <p>We are deeply saddened to share the news that Steve Albert, Court Theatre's Executive Director, our friend and partner, passed away peacefully on December 29, surrounded by his family.  </p>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/room-explore-sons/">Room to explore in ALL MY SONS</a></h3>
        <p>Scenic designer John Culbert talks about his design process, plans for the production, and the thrill of creating a world onstage.</p>
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      <a href="https://www.courttheatre.org/about/blog/season-american-classics/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2017/10/1718-200sq.jpg" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/season-american-classics/">A Season of American Classics</a></h3>
        <p>Charles Newell, Court's Marilyn F. Vitale Artistic Director, shares his passion for the classic American stories we explore in Winter/Spring 2018.</p>
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      <div class="blog-teaser__body">
        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/nobody-emily-dickinson/">How &#8220;nobody&#8221; is Emily Dickinson?</a></h3>
        <p>University of Chicago Professor Richard Strier speaks to Emily's unique and timeless poetic talent, and what she would think about scholars studying her today.</p>
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      <article class="blog-teaser">
      <a href="https://www.courttheatre.org/about/blog/emilys-black-cake-recipe-plus-thanksgiving-week-discount/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2017/05/emily-cake-200sq.jpg" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/emilys-black-cake-recipe-plus-thanksgiving-week-discount/">Emily&#8217;s Black Cake Recipe</a></h3>
        <p>In The Belle of Amherst, Emily Dickinson serves up her famous “black cake” to audiences. Enjoy a video of Court staffers' attempt to bake the cake and read the recipe.</p>
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