
Director Shana Cooper is known for her visceral takes on classic plays. Her work with frequent collaborator and choreographer Erika Chong Shuch on Shakespeare’s plays utilizes movement to inject each production with a physical muscularity that matches their use of language. We chatted with Cooper to discuss The Lady from the Sea and returning to the Court stage.
What drew you to Ibsen’s The Lady from the Sea?
This is a play that’s been with me for about ten years. I first directed a staged reading of it in 2009 at Oregon Shakespeare Festival and I haven’t been able to shake it since. It’s haunted me. The thing that’s really remained with me about it is the visceral way Ibsen captures the nature of struggling with who you are and discovering a different sense of self over the course of your life. That idea of self-discovery and exploration is terrifying and exhilarating, and in this play, Ibsen carves a vivid expression of the dramatic storm of what it feels like to wrestle with your identity, and the role that free will can play in us authentically embracing our truest self, as well as the complexity and contradictions of desires and needs that exist within us.
How are those ideas informing your approach to his work?
One of my goals with Shakespeare is an interest in how to make these plays as muscular physically and emotionally as they are linguistically, and that’s one of my goals with this production, too. I have an extraordinary choreographer, Erika Chung Shuch, who’s a longtime collaborator with me. My hope is that as a company we can come up with a physicality to express these ineffable urges that the play deals with. My dream is that it’s a marriage of Ibsen’s brilliant dramaturgy, character, and language as well as a physical life that gets at the deeper yearnings buckling under the text that are hard to express. I hope it feels like we are expressing something new.
What was the inspiration for this new translation by Richard Nelson, and how is it different than previous versions of this play?
The Lady from the Sea is one of Ibsen’s least known works, which is part of why it’s so thrilling that Court originally programmed it, and the gift they are giving us by continuing with that journey after our pandemic shutdown. Because it is rarely produced, there are very few translations, and as far as I know there hasn’t been a contemporary American translation that expresses the hearts and souls of these characters with the clarity and humanity that Richard Nelson has uncovered. Through Richard Nelson’s luminous translation, we can not only understand but feel deeply the drama that pulses underneath these characters as they wrestle with their identities as individuals and within the most important relationships in their lives. Beyond transforming our experience of working on The Lady from the Sea, Richard’s translation is making a vital contribution to the American canon of Ibsen translations and finally making one of Ibsen’s more mysterious journeys, accessible to us all.
What do you hope that audiences take away from The Lady from the Sea?
My hope is that this play is an invitation to look at our own lives and life choices and identity and maybe view this idea of cracking open questions about our spirituality and our identity as a real possibility. The thing that’s brilliant about this play is that it’s quite true-to-life to me. The play is an invitation for us to reflect back on our lives in terms of how the small and large choices we make are at play with and against our free will. I want to tell a story that young, modern women in particular can connect to and be thrilled by and learn from and have exciting conversations inspired by it. They’re on my mind.
The Lady from the Sea was cancelled following the final dress rehearsal on March 11, 2020 due to the global pandemic. What does it mean to you to be (re)mounting this show now?
Ibsen, like all great writers, is a dreamer. And the man dreams big. This quote is from a letter Ibsen wrote early in his career, an ambitious vision for humanity, “People want only special revolutions, in externals, in politics, and so on. But that’s just tinkering. What really is called for is a revolution of the human mind…”
The remarkable thing about The Lady from the Sea is that you can actually see that revolution beginning. In small but profound ways in the actions and choices of many of the characters, who begin the play in a crisis of their own making, and then actually manage to change, not only how they think, but their choices and actions in life and in love. As we return to this project after almost two years of essential reckonings within ourselves and our society, I think the question of what we do with this tremendous force of “free-will” that is central to Ibsen’s work is going to have fresh and more urgent meaning to artists and audiences who have learned by living through a pandemic just how harrowing it can be to feel lost in a storm of questions about who we are and what our role in the world can or should be. And perhaps most importantly what we can do “of our own free will” to find the lighthouse that will guide us home.
I believe, as Ibsen seems to suggest in The Lady from the Sea, that by living in that place of the deep and raw discomfort of not knowing and wrestling with the mysteries of free-will and how that can help us to access our truest selves, we may discover a rare capacity for change. And thus begins the revolution of the human mind…
Previews to The Lady from the Sea directed by Shana Cooper begin February 25. Learn more →
Photo of the cast of The Lady from the Sea by Michael Brosilow.
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"overflows with metaphor and verbal imagery ... Cross is luminous" -Chicago Sun-Times
Tickets to The Lady from the Sea are no longer available.
When a sailor returns to fulfill their promise, a lighthouse keeper’s daughter must choose between her landlocked marriage and the mesmerizing allure of the sea. Hailed as a watershed moment in Ibsen’s writing, The Lady from the Sea dissects issues of duty, marriage, and agency with raw emotion and disarming resonance.
Canceled in March of 2020 due to the coronavirus pandemic, The Lady from the Sea makes a triumphant return to Court’s stage in a new translation from playwright Richard Nelson starring Chaon Cross (Photograph 51, The Hard Problem). Director Shana Cooper injects Nelson’s text with a visceral physicality that thrillingly reflects and refracts Ibsen’s structure and characterization.
No longer available. Professionally captured with multiple cameras, our on-demand video version offers an intimate way to experience this beautiful play. The stream is available March 21 - April 10, 2022. Questions? See our streaming FAQ or call the Box Office at (773) 753-4472.
The Lady from the Sea is sponsored by Sidley Austin Foundation and Elizabeth F. Cheney Foundation
[button link="https://www.courttheatre.org/wp-content/uploads/2022/02/Court-Theatre-The-Lady-from-the-Sea-program.pdf" text="Download a PDF of the Program"]Photo of Gregory Linington, Will Mobley, Dexter Zollicoffer, and Chaon Cross. (Brosilow)
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When Othello’s closest confidant objects to his actions, their brotherhood is shattered, provoking a series of tragic events for Othello and everyone around him. Co-directors Charles Newell and Gabrielle Randle-Bent helm this theatrical examination of humanity and tragedy in Shakespeare’s fraught and famous work. Through scenic design that places audiences in the middle of the action, this telling grapples with how complex notions of race, gender, and complicity at the heart of the play’s murderous events speak to a world on the brink of change. Running time: 100 minutes, presented without intermission In addition to live performances, a digital version is available to stream through December 5, 2021. Professionally captured with multiple cameras in front of a live audience, this on-demand video version offers an intimate way to experience Shakespeare's fraught and famous tragedy. Re-Opening Policy: All visitors to Court Theatre must provide proof of vaccination. By exception, visitors who are unable to be vaccinated for medical reasons or due to a sincerely-held religious belief may provide proof of a negative COVID-19 test taken within 72 hours of the event start time, or proof of a positive COVID-19 test taken 14-90 days before the date of the performance with affirmation that you are not experiencing any symptoms. This accommodation also applies to children under 12 who are currently unable to be vaccinated. University of Chicago students, faculty, other academic appointees, postdoctoral researchers, and staff subject to the University’s vaccine requirements may demonstrate proof of compliance by presenting their UChicago ID at entry. All visitors, regardless of vaccination status, must wear a mask while at Court Theatre. Learn more about COVID-19 protocols at Court Theatre. The Tragedy of Othello, the Moor of Venice is sponsored by Bayless Family Foundation and Michael Charles Litt Click here to download The Tragedy of Othello program.
Photo Kelvin Roston, Jr., Amanda Drinkall, Erik Hellman, Karissa Murrell Myers, Sean Fortunato, Cruz Gonzalez-Cadel, and Timothy Edward Kane by Michael Brosilow.
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Chicago Tribune. Full Review
Amidst the Civil Rights Movement, Memphis Lee’s restaurant is slated for demolition. While Memphis fights to sell his diner for a fair price, the rest of the restaurant’s regulars search for work, love, and justice as their neighborhood continues to change in unpredictable ways.
Two Trains Running explores Black identity in the 1960s with passion and humor, demonstrating why Wilson is one of America’s most essential voices. With his singular point of view, Resident Artist Ron OJ Parson directs the penultimate play in Court’s ongoing commitment to staging all of Wilson’s American Century Cycle.
Two Trains Running is only available to view live onstage. Licensing restrictions prevent streaming this production.
Accessible performances: June 4 @2pm TT/AD | June 5 @2pm OC | June 5 @7:30pm ASL
Sponsored by Allstate, Gustavo Bamberger and Martha Van Haitsma, and Neil Ross and Lynn Hauser. Ron OJ Parson’s residency is made possible by the Joyce Foundation.
[button link="https://www.courttheatre.org/wp-content/uploads/2022/05/TwoTrains-Program-2022-single-pages-1.pdf" text="Download PDF Program"]UPDATE AS OF 5/30/22: The CDC has moved the City of Chicago's COVID-19 community transmission level to "high." In light of that, Court Theatre requires properly worn face masks for attendance at all remaining performances of Two Trains Running. COVID protocols are subject to change. Please check current guidelines prior to your attendance.
Header: Photograph of Joseph Primes, Alfred H. Wilson, A.C. Smith, Jerod Haynes, and Kierra Bunch (Michael Brosilow).
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