We are delighted and honored to share that Court Theatre has received nine Jeff Award nominations for the 2022/23 season! These nominations are a credit to the actors, musicians, designers, and crews who bring classic stories to life on our stage, and we are proud to work with each and every one of them. Congratulations to all of the nominees!
Each year, the Joseph Jefferson Awards committee honors outstanding Chicago-area theatres and artists. We look forward to celebrating with the rest of the nominees at the 55th annual Jeff Equity Awards on Monday, October 2. The ceremony will be held at Drury Lane Theatre in Oakbrook. More information can be found at www.jeffawards.org.
Production – Musical (Large)
The Gospel at Colonus
Short Run – Production
The Island
Ensemble – Musical or Revue
The Gospel at Colonus
Director of a Musical (Large)
Mark J.P. Hood and Charles Newell – The Gospel at Colonus
Music Direction
Mark J.P. Hood – The Gospel at Colonus
Performer in a Principal Role – Musical
Kelvin Roston Jr. (Oedipus) – The Gospel at Colonus
Short Run – Performer
Ronald L. Conner (Winston) – The Island
Kai A. Ealy (John) – The Island
Scenic Design (Large)
John Culbert – Arsenic and Old Lace
We'd also like to give a special shout-out to our fellow nominee, Resident Artist Ron OJ Parson, who was nominated for Best Director for Toni Stone and Trouble in Mind.
To the Jeff committee, thank you for recognizing our work; to our collaborators, thank you for your insight, dedication, and creativity; to our audiences, thank you for your unwavering support; and to the Chicago theatre community, thank you for being such an incredible home.
See all of the nominations here, and don’t forget to subscribe to the 2023/24 season! Centering timeless themes in strikingly rich interpretations, next season finds the fresh in the familiar with a carefully curated blend of beloved texts and new voices.
Jeff-nominated director, Ron OJ Parson, helms The Lion in Winter; Gabrielle Randle-Bent, director of the Jeff-nominated The Island, brings the Oedipus Trilogy to a thrilling conclusion with Antigone; Jeff-nominated director Charles Newell returns to the Court stage with Rosencrantz and Guildenstern Are Dead; and the final production is the world premiere of Stokely: The Unfinished Revolution. That's quite the lineup!
With packages starting at $37 per ticket, subscribing is the most flexible and cost-effective way to see the season. Learn more →
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Court Theatre is proud to remount our production of The Gospel at Colonus at the Getty Villa in Malibu, California. Experience the joy, redemption, and healing of Chicago gospel all the way in the Golden State!
Each fall, the Outdoor Theater at the Getty Villa series features a classical tragedy or comedy in the Villa’s dramatic Barbara and Lawrence Fleischman Theater, an outdoor venue modeled after ancient Greek and Roman theatres. These productions are drawn from respected theatres across the nation, and an invitation to the Getty Villa is a highly-sought honor for theatres producing classical works. Court Theatre is honored to remount our production of The Gospel at Colonus at the Getty Villa stage in Malibu, California.
Mark J.P. Hood and Marilyn F. Vitale Artistic Director Charles Newell lead this reprisal at the Getty, joined by the majority of the original cast and band. Soulful and stirring, this one-of-a-kind theatrical event breathes new life into the Oedipus myth with a score of powerful gospel music. A bold collaboration from an extraordinary team, The Gospel at Colonus builds upon the strengths and experiences of its artists to bring this redemptive musical celebration to life.
“It is an honor to bring The Gospel at Colonus to the Getty Villa,” shares Director Mark J.P. Hood. “Charlie Newell and I have been developing this production for five years, and that time has been totally worth it. To finally be able to do this production in Chicago and have it be so well-received, and now, to be able to do it at the Getty? This is a God dream! As a native Chicagoan who now lives in Los Angeles, I can’t wait to take this production from one of my home cities to the other. Let’s go, LA!”
Director Charles Newell comments: “The Gospel at Colonus has been utterly life-changing, ever since I first saw it at the Brooklyn Academy of Music in 1983. The fact that I have been able to direct it, together with Mark J.P. Hood, has been such a gift, and the fact that Court’s staging has touched so many, so deeply is a testament to the incredible cast, band, production team, and creative team. My deepest thanks to Mark J.P. Hood; Mahmoud Khan; Nick Rudall, Court’s founding Artistic Director; and our Chicago audiences. We now take the exciting next step and bring The Gospel at Colonus to the Getty Villa in Los Angeles, and we can’t wait to share this production with you.”
The play will feature set design by John Culbert, costumes by Raquel Adorno, lighting design by Keith Parham, movement design by Cristin Carole, and sound design by Sarah Ramos.
Court Theatre was last at the Getty in 2017 for their staging of Iphigenia in Aulis, Euripides’s ancient tale of power and sacrifice. It has been over five years since a Court production has toured to the Getty space, and it is an immense honor to return.
“We are thrilled to welcome back Court Theatre to the Getty Villa for this year’s gospel musical production, The Gospel at Colonus,” says Timothy Potts, Maria Hummer-Tuttle and Robert Tuttle Director of the Getty Museum. “Theater was a fundamental component of religious and social life in ancient Greece, and our theater program continues to demonstrate the importance of classical drama in contemporary society.”
Performances of The Gospel at Colonus will be held at 8:00pm, Thursdays through Saturdays, from September 07 – 30, with previews on August 31 – September 02. American Sign Language (ASL) interpreted performances will take place on September 14 and 21.
Tickets are on sale now and can be purchased online or by calling the Getty Villa (310) 440-7300. We'll see you in California!
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Experience the joy, redemption, and healing of Chicago gospel all the way in the Golden State!
Tickets for the Getty production can be purchased here.
Each fall, the Outdoor Theater at the Getty Villa series features a classical tragedy or comedy in the Villa’s dramatic Barbara and Lawrence Fleischman Theater, an outdoor venue modeled after ancient Greek and Roman theatres. These productions are drawn from respected theatres across the nation, and an invitation to the Getty Villa is a highly-sought honor for theatres producing classical works. Court Theatre is honored to remount our production of The Gospel at Colonus at the Getty Villa stage in Malibu, California.
The Getty Villa
17985 Pacific Coast Highway
Pacific Palisades, California
Mark J.P. Hood and Marilyn F. Vitale Artistic Director Charles Newell lead this revival at the Getty, joined by the majority of the original cast and band. Soulful and stirring, this one-of-a-kind theatrical event breathes new life into the Oedipus myth with a score of powerful gospel music. A bold collaboration from an extraordinary team, The Gospel at Colonus builds upon the strengths and experiences of its artists to bring this redemptive musical celebration to life.
Sponsored by  | Sponsored by Gustavo Bamberger and Martha Van Haitsma | Sponsored by David J. and Marilyn Fatt Vitale | This project is supported in part by  |
Based on an adaptation of Sophocles' Oedipus at Colonus in the version by Robert Fitzgerald and incorporating passages from both Sophocles' Oedipus Rex and Antigone in the versions by Dudley Fitts and Robert Fitzgerald, which are published as The Oedipus Cycle of Sophocles, a Harvest/HBJ Book, Harcourt Brace Jovanovich, Inc.
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The Gospel at Colonus is a lush theatrical experience. The cast, band, and creative team depict Oedipus's fateful curse and redemption through intricate vocal arrangements, a powerful score, and compelling storytelling. For the 90 minutes of the production's duration, audiences are awash in sound and story, complemented and accentuated by John Culbert and Raquel Adorno's skillful designs.
Here, scenic designer Culbert and costume designer Adorno take us behind-the-scenes of their designs, sharing their inspiration and outlining how the set and costumes contribute to Sophocles's timeless text. Read on to learn more!
John: There was actually a world developed for this production before the pandemic, and a set that was designed by Arnel Sanciano, but that version of our own world – and that version of the story that was going to be told in 2018 when we first started this journey – has evolved since then. The original world for this show was based a church, and that’s the same approach that the original production of The Gospel at Colonus took: the idea that we’re in a church.
To me, that creates a world for the form of the story that they were telling, and the vocabulary of how it was going to be told. In the meantime, for this production – for the 2023 Court production – the story evolved to focus more on the original story of the play, Oedipus at Colonus; the story of Oedipus and the journey he takes to be transformed, to be accepted, and for him to accept himself and thus be able to pass to the next world peacefully.
So, focusing on the actual human journey of Oedipus leads you to create a different kind of world. The focus changes to capturing the human journey through this particular vocabulary of gospel music, and the power that that music has to reveal that human journey is what makes this all so magical.
The process started with looking at all kinds of spiritual spaces, not just churches. To me, walking in Court Theatre feels like a spiritual place, particularly when it’s empty. You walk in, and it’s like, “Wow. Think of all the things that can happen in here!” To me, that is a spiritual place as well. So there’s imagery of places of the spirit. In the context of the play, the actual, literal setting is a spiritual grove that’s the home of the Furies. In the story of Oedipus at Colonus, there are places in that grove that are forbidden, Oedipus goes there, and, as a result of that, he has to go through a ritual in order to appease the Furies.
Here, we see some imagery that was used for the notion of the grove. As my research progressed, I found images that combined those two things: they captured elements of a grove, but also the essence of those more architectural, spiritual places. Here, we see the wood-slatted wall in the back, and that wall is actually curved; it has elements of the grove, but also architectural elements of a church.
In the model, you see the slatted wall – that came directly from the inspiration image – but it’s also an organic space. The floor has a number of levels that are very organic in shape, and – right in the center – there’s a rock that’s more natural than the rest of the world onstage. That rock is the most sacred spot in the world; that is a place where you should not go. You shouldn’t sit on it without being invited by the Furies.
This world is one of islands within the theatre. We have that rock and we have the set. At the beginning of the show, Oedipus enters this space after being on a long journey. He meets the people of that world, the people of Colonus, who are on this island, which sets up the dynamic of who’s on that island and who isn’t – literally and figuratively – in that moment. But the theatre itself is also part of our spiritual place. As you can see in the set, the edges are visible all the way around. It’s not an endless world – it’s an island. And so the theatre around that island becomes part of the world, as well. To honor that, we’re using the house as part of the world of the play, which is always exciting.
One of the things that’s really amazing is just how many people are in that world - it’s really powerful. And then, of course, when you sing in that space, that’s going to be hugely powerful, as well. It’s really exciting!
Raquel: The costumes for The Gospel at Colonus are rooted in the visual language of Ancient Greece, African royalty, and contemporary fashion. Nearly all of the garments are natural fibers painted with metallic gold paint, some of which were hand-painted by Court's wardrobe team.
The palette is meant to evoke the colors of the grove that John Culbert designed: wood, stone, and sunlight. The actors, themselves, were also a huge source of inspiration. I spent many hours studying pictures of them trying to create looks that evoked the world of the play, their characters, and their individual style.
I also drew inspiration from the Black Pentecostal church; for example, the use of scarves is rooted in that tradition. During my senior year of college, I was going through a difficult time and my mentor noticed. As a means of support, she took me to church with her family - they were congregants of a Black Pentecostal church in central Illinois. There, the walls vibrated with energy, and music, and love, and the parishioners looked radiant as they worshipped. It's my hope that these costumes capture that same sense of ecstatic joy that I experienced with my mentor; I hope to respectfully honor that in this design.
The Gospel at Colonus is onstage from May 12 - June 18 and tickets are available now! Join us and experience this one-of-a-kind theatrical event for yourself!
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The evening of June 10th came alive with music and dancing. Court Theatre’s gala - held at Venue West (221 N. Paulina) - was in full swing, with guests celebrating and grooving late into the night. The event served as the culmination of what has undoubtedly been a banner year for the theatre.
The theme of this year’s gala - Play, In Three Acts - reflected the sense of joyful community, gathering supporters together to celebrate Court’s 2022 Regional Theatre Tony Award. The gala also recognized Barbara Franke and Lorna Ferguson, both long-standing Court trustees, and Audrey Petty, director of the Sojourner Scholars program at Illinois Humanities.
All of the honorees were in attendance, in addition to members of the theatre’s Board of Trustees, University of Chicago faculty and administrators, artists, and theatre enthusiasts. Dana Levinson, Chief Program Officer for the Josiah Macy Jr. Foundation, and Andrea Sáenz, President and CEO of the Chicago Community Trust, chaired the event. Notable guests included Lieutenant Governor of Illinois Juliana Stratton, Field Foundation of Illinois President Daniel O. Ash, and Executive Director of the American Library Association Tracie D. Hall. The event was generously sponsored by The Chicago Community Trust and the Field Foundation of Illinois.
The proverbial first act, Cocktails With Antoinette, gave attendees the opportunity to take photos of themselves holding the award upon their arrival at the event. Most guests jumped at the chance to hold “Antoinette,” as Court staff refer to the Tony statuette. Guests mingled, sampled hors d’oeuvres and signature drinks, and viewed a number of vignettes comprised of props and costumes from past Court shows. These exquisite stage pieces, curated by Properties Manager Lara Musard, provided guests with a glimpse into the company’s storied production history. Attendees also bid on Silent Auction items that offered a variety of items and experiences, ranging from a Nick Cave print to a stay at an Italian villa.
As the event transitioned into its second act, guests were then treated to a multi-course meal and remarks from Marilyn F. Vitale Artistic Director Charles Newell and Executive Director Angel Ysaguirre. The contributions of honorees Barbara Franke, Lorna Ferguson, and Audrey Petty were then acknowledged from the stage.
Ron OJ Parson, Resident Artist and the Chicago Tribune’s Chicagoan of the Year for Theater, concluded the second act with an emotional toast, reflecting on Court’s artistic and community impact, its accomplishments, and its future successes.
Act three, Have A Ball, kicked off with a performance from Mark J.P. Hood, a Chicago native, musician and theatrical artist who served as Director and Musical Director for Court’s production of The Gospel at Colonus. He led a rousing medley of gospel staples highlighting Chicago’s gospel history. Hood then led attendees to the dance floor, where they were greeted by tunes and remixes from DJ Tess. The dance party brought the evening to an exuberant conclusion - there was even a Soul Train line! – and many guests commented on how much they enjoyed the event as they departed.
In all, the Court gala was a rousing success, raising over $300,000 to support the theatre’s artistic initiatives and educational programming. Court Theatre would like to thank all the attendees, honorees, and sponsors who brought this year’s gala to life; thank you for your continued support and partnership, and thank you for making Play, In Three Acts a night to remember!
All proceeds from the gala support Court Theatre’s artistic initiatives and education programs. Court Theatre is the Tony Award–winning professional theatre of the University of Chicago, dedicated to innovation, inquiry, intellectual engagement, and community service. Functioning as the University’s Center for Classic Theatre, Court and its artists mount theatrical productions and audience enrichment programs in collaboration with faculty. These collaborations enable a reexamination of classic texts that pose the enduring and provocative questions that define the human experience.
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Read on to learn more!
It is no coincidence that the telling of The Gospel in Colonus from within a South Side Chicago theatre hums with the tragedy and catharsis that gave birth to gospel music during the Great Migration, and with the joy and humility of the Pentecostal church whose presence is so deeply rooted in the South Side.
In this story of Oedipus’s forgiven debts and his release to the afterlife, we witness the Jubilee (which translates to “year of release”). Pentecostal ritual is evoked to tell the story of Oedipus and his daughters’ welcome to Colonus. Maundy, or Washing of the Saints’ Feet, is a Christian ritual of welcome and humility.
In Court Theatre’s telling, the washing is not of the feet, but of the hands - an artistic choice made to keep the eyes drawn upward as Oedipus’s journey continues to bring him closer to the heavens. The bowls are carved of wood, creating three organic shapes that are at once unique and united, as are the journeys of Oedipus, Antigone, and Ismene.
The Gospel at Colonus is on stage at Court Theatre from May 12 - June 18 → Get Tickets
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Cry hallelujah - Opening Night of The Gospel at Colonus was an awe-inspiring, soul-stirring success! Reviewers and audience members alike are singing the praises of Gospel, calling it "brilliant," "phenomenal," and "the one [show] you must see this year."
While this production runs until June 11th, performances are already filling up. Get your tickets before they're gone!
"A gorgeously produced, deeply inclusive and richly sung staging...Kelvin Roston Jr., a frequent Newell collaborator who sizzles with life here, as does Ariana Burks as an earnest Ismene and Aeriel Williams as a regal Antigone. As Theseus, Mark Spates Smith runs the service and Shari Addison, the nationally known Gospel singer playing both a chorus member and a soloist, and a longtime veteran of this particular piece of theater, is just thrilling.
It’s such a cliché in theater reviewing to praise fusion that I worry the power of what this particular production has achieved here inevitably is diminished in that telling. Suffice it to say, then, that this work clearly is born in long preparation and deep thought and the show has uncommon integrative power and thus a clear capacity for healing. All that and your ears fill with beautiful sound from a choir and a live band.
In an era of resolutely secular, and often small, theater, Court has put up something with an expansive vision and a directorial approach that respects what Telson and Breuer achieved but gently improves upon it for the current moment. It’s a South Side rebirth for “Gospel at Colonus,” and thank whatever God you worship for that. May it live on."
— Chris Jones, Chicago Tribune, 4 out of 4 stars
"Court’s Gospel at Colonus gives us a glimpse of transcendence, hope, and revival, thanks to a soul-stirring ensemble and a tight five-piece band, delivering their music from above the stage like a session group from heaven."
— Chicago Reader, Reader Recommended
"There are so many high points from a talented ensemble, a most entertaining entity this writer enjoyed thoroughly. Juwon Tyrel Perry portrays The Friend, who first tells Oedipus he cannot enter a holy place, in a stunning vocal turn. Kai A. Ealy as the evil son Polyneices offers wonderful character work, full of depth and deception. As dual Choragos whose advice Oedipus accepts, Eric A. Lewis and Shari Addison deftly lead the citizenry in alternating moments of huge passion and quiet choral harmonies, all rooted in the Pentacostal tradition of call-and-response that is nothing if not exciting to watch here. Everyone deserves mention – Jessica Brooke Seals as a knowing preacher of sorts, augmented by a Greek chorus (Jerica Exum, Cherise Thomas, Isaac Ray, Shantina Lynet', Eva Ruwé) who takes the captivating music to emotional heights in a totally unique take of the Court’s classic theatre mode.
The Gospel at Colonus is co-directed with an elegant combination of big choral strokes and intimate individual moments by Mark J.P. Hood and Charles Newell with associate director TaRon Patton. A sparse scenic design by John Culbert; the colorful Raquel Adomo costuming; the wonderful, attentive shafts of sharp light in one moment and warm, enveloping light in another by Keith Parham; the complimentary sound layers designed by Sarah Ramos – all eloquent pieces to a puzzle of thick design and story. All of these elements, expert as they are, grabbed onto the coattails of the exciting, heartfelt gospel blues from the five-piece unit led by Mahmoud Khan. Along with the audience, one could even see Production Stage Manager Kate Ocker clapping along from the stage manager’s booth. That’s how infectious it is – spectacular and from the heart."
— Picks In Six, Highly Recommended
"Court Theatre closes its 2022/2023 season with what can only be described as a jubilant musical and dramatic celebration of life. I defy audiences to sit quietly, casually and passively just observing this pulsating production. If you aren’t clapping your hands, you’re bobbing your head to the beat; if you’re not actively participating in the kind of call-and-response tradition found in a Pentecostal Church service, you’re at the very least emotionally engaged. Theatergoers will find themselves filled with exultation at this ancient story brought into the twenty-first century. And if none of these things apply, you might want to check your pulse."
— Chicago Theatre Review, Highly Recommended
"The play is a musical rendering of the Oedipus Story like none other. This musical is masterfully directed by Mark J.P. Hood and Charles Newell...I highly recommend The Gospel at Colonus as an uplifting tale of Oedipus performed by a spectacular ensemble of actors and singers that lifted the audience on opening night. It will fill your soul."
— Third Coast Review, Highly Recommended
"The Gospel of Colonus isn't a story about God, but the spiritual music performed in this play will make you feel like you're in a church service....As a Baptist minister and a theater critic, it was the first time I had to force myself to stay in my seat during a review and not start dancing and singing at a play, but the Colonus choir had my spirit internally shouting...Dynamic singing in flawless harmony and impeccable acting provide 85 minutes of hallelujah joy — a soulful Greek chorus audience[s] will never forget."
— Let’s Play Theatrical Reviews, Highly Recommended
"Directors Charles Newell and Mark J.P. Hood with Associate Director Taron Patton [have] curated the best voices in gospel music available in the Chicagoland area...I heard the most complicated, beautiful vocalizing I have ever heard on stage. I thought my guest was going to stand up and do a holy dance - she came close...It was especially uplifting to see women in this male dominant production as more than placeholders...Bless yourself and see this show."
— Buzz Center Stage, Highly Recommended
"This modern interpretation of Sophocles’ classic myth is told in rhythmic, uplifting, and expressive song, featuring great soloists and responsive spiritual music, which moves the audience not only emotionally but to a locus in the fantasy world....In all, The Gospel at Colonus is a performance to remember!...This show is pure magic!"
— Around the Town Chicago, 5 out of 5 stars
"Here, laden with the wisdom of the ancient Greeks and the ambrosia throatiness of gospel singing, [Kelvin Roston Jr.] shedding his guilt is positively transcendent. Co-directed by Charles Newell and Mark J. P. Hood (Hood also handling music direction), and backdropped by the loveliest bare-bones chapel you’re likely to see for a while (by John Culbert), this Colonus is serious business, and, one can hope, will have serious legs beyond Chicago."
"It’s certainly a bold and ambitious approach to the trilogy, and these leads are all great performers...the show probes, via an African American perspective, complex and deeply human problems — sins, familial strife, notions of free will and fate — on the way to celebrating life."
— Chicago Sun-Times, 3 out of 4 stars
"Music, movement, and electric connection...tells the audience everything timeless and worth knowing about the story...For a show that is moving, uplifting and devastating, it's somehow hard to talk about individual performances, as this depends so deeply on the way the entire cast feeds and sparks off one another."
"There is more singing than speaking, with each cast member displaying tremendous vocal power and range through long, melismatic strings of sung notes."
"You will leave The Gospel at Colonus feeling uplifted or at least reveling in the joyous music, stellar singing and fine acting."
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Check out these resources for academics, enthusiasts, educators to support your learning and viewing of The Gospel at Colonus.
We’d love to hear what you think of our Learning Guides! Please complete this brief survey to share your feedback.
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Use these questions to reflect, discuss, or journal about your experience and reactions to The Gospel at Colonus! Explore any of the questions that interest you.
The Gospel at Colonus reimagines Sophocles’s Oedipus at Colonus as a Pentecostal church service. This glossary, compiled by Production Dramaturg Wenke (Coco) Huang, illustrates some of the connections between these two traditions as told in the vocabulary of the play.
| Word/Phrase | Greek Origin | Pentecostal Origin |
|---|---|---|
| The Book of Oedipus | Sophocles's Oedipus Rex. | The New Testament books of the Bible. |
| Invocation | The summoning of the divine by the suppliants. | The start of a prayer, sermon, etc. |
| Ode | A “Choral Ode” is sung by the Chorus after every “scene” as concluding commentary. They are lyrical poems accompanied by music and dance. | English odes are lyric poems that praise their subjects with exalted emotions. They have irregular meters, and are elaborate, imaginative, dignified, and sincere. Biblical Odes are chants from the Bible sung in Christian liturgies from the earliest period. They are essential to Orthodox worship. |
| Myrtle Sprigs | Myrtle & the goddess of love, Aphrodite (Venus); Venus is described by Ovid as emerging from the sea on her half-shell holding a sprig of myrtle. Myrtle crowns (chaplets) appear in wedding crowns for either the bride or the groom. Sometimes presented to poets and athletic prizes, they were also worn to sacrifices and banquets. As opposed to laurel wreaths, myrtle signified victory from a bloodless battle. | In Christianity, after losing its Greco-Roman association with female sexuality, myrtle came to be an emblematic symbol of the purity of the Virgin Mary. |
| Consummation | Oedipus's promised final rest. | The completion of a goal, the fulfillment of a desired outcome, and/or marks the arrival of something. For example, the Consummation the Kingdom is the arrival of Jesus Christ, when this world becomes the Kingdom of God on earth, death for all of the dead is abolished, and all the dead will be raised in Christ. |
| Curse | Rituals and worship of the "primitive" gods of the underworld (as opposed to a misleading triumphalist evolutionary model that elevates Zeus and the worship of the sky gods, the Olympian gods). | "...nothing can separate us from God's love" (Romans 8:37-39), and "greater is He that is in us (the Holy Spirit) than he who is in the world (Satan) (1 John 4:4)"; God's blessing eradicates all curses. "Curse" belongs to the demonic realm of voodoo, witchcraft, cults, and pagan worship. |
| Love | Goddess Aphrodite. Eros (Cupid) is the personification of love and its resulting madness/mania. There are six different words for "love" in Greek: eros, agape, philia, storge, philautia, xenia. | Total submission and immersion in the love of God. |
