Sponsored by
The 2023 Court gala - Play, In Three Acts - was a resounding success! Thank you to everyone who brought this party to life on June 10, including Court's Board of Trustees, University of Chicago faculty and administrators, artists, guests, gala co-chairs Dana Levinson and Andrea Sáenz, and honorees Barbara Franke, Lorna Ferguson, and Audrey Petty.
Read more about the gala here and enjoy this video clip celebrating the honorees!
You can still help support our programs! A few tickets remain for available for Robed in the Renaissance: A Night of Immersion with Ada Palmer.
Tickets available for purchase. Please contact Assistant Director of Development Cara Peterson at 773-834-5293 to join us.
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.
[button link="https://giving.uchicago.edu/site/Donation2?df_id=1681&mfc_pref=T&1681.donation=form1&set.DesignationType=1026&set.Designee=1530&s_src=9P3EF" text="Donate"]Lorna Ferguson
Barbara Franke
Audrey Petty
Dana Levinson
Andrea Sáenz
Dana Levinson, Chair
Andrea Saenz, Chair
Daniel O. Ash
Lois R. Beznos
Maurice J. Beznos
Mary Louise Gorno
Judy Lindsay
Sarah Marmor
Lise Spacapan
Will Snyder
Susana Vasquez
Gustavo E. Bamberger, Chair
Dana Levinson, Secretary
Lawrence E. Strickling,
Treasurer
Diane Anderson
Mary Anton
Adam Bush
Joan Coppleson
John Culbert
Felicia Davis
Sean Durkin
Roberta Evans
Lorna C. Ferguson
Barbara E. Franke
Virginia Gerst
Mary Louise Gorno
Andre Guichard
Frances Guichard
Tracie D. Hall
Kevin J. Hochberg
Thomas Kittle‑Kamp
Sarah R. Marmor
Shirley Massey
Joan E. Neal
Nicole Robinson
Judith L. Sensibar
Robert Shapiro
Will Snyder
Lise Spacapan
Marilyn Fatt Vitale
David J. Levin
Charles Newell
Larry Norman
Susana Vasquez
Angel Ysaguirre
Sponsored by |
Court Theatre, in partnership with UChicago Presents, is delighted to welcome acclaimed musical ensemble, Eighth Blackbird, to our space for a limited-run performance of their innovative and enchanting work, composition as explanation.
Eighth Blackbird (8BB) has been pushing the interpretative boundaries of chamber music since its first choreographed program in 1996. So far, the organization has created seven full evening-length staged productions. What began as an experiment has become a repertoire coined as “Super Chamber Music” by composer David Lang. This still-unofficial genre falls in the cracks between music and theater and has been a conundrum for marketing professionals for two decades. Nonetheless, 8BB does it anyway. This playground between disciplines is an inevitable extension of Eighth Blackbird’s inner workings. It is the guts and it is the bones of their artistry.
composition as explanation is 8BB’s next foray into uncharted aesthetic territories. This time the evening is composed by David Lang and directed by Anne Bogart, though the true hero of the evening is Gertrude Stein. Her essay (by the same name) is the heart and breath of this work.
How should 8BB bring an audience into the repetitive and plainspoken and circular format of Stein’s writing? She has blurred the relationship between her content, her form, and her performance. 8BB follows her lead and blurs performance distinctions between instrumental virtuosity, chamber ensemble dexterity, acting, singing, costume, lighting, audio, and staging.
Is this work really all about Stein though? No. Her writing is the catalyst, but what the audience leaves with is a new point of inquiry regarding how they absorb art. Any art. By lifting Stein’s enigmatic oration from the printed page, 8BB creates layers of interpretation and reveals the human relationship with art from an entirely unprecedented perspective. A perspective that is experienced, rather than erudite, as thoughtful, clever, humorous, intuitive, insightful, and joyful.
composition as explanation runs from Sept 28 - 30, 2023 and tickets are on sale now! Tickets can be purchased online or by calling the Box Office at (773)753-4472.
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Join us from September 28 - 30 for a one-of-a-kind experience from acclaimed ensemble, Eighth Blackbird!
Eighth Blackbird (8BB) has been pushing the interpretative boundaries of chamber music since its first choreographed program in 1996. So far, the organization has created seven full evening-length staged productions. What began as an experiment has become a repertoire coined as “Super Chamber Music” by composer David Lang. This still-unofficial genre falls in the cracks between music and theater and has been a conundrum for marketing professionals for two decades. Nonetheless, 8BB does it anyway. This playground between disciplines is an inevitable extension of Eighth Blackbird’s inner workings. It is the guts and it is the bones of their artistry.
composition as explanation is 8BB’s next foray into uncharted aesthetic territories. This time the evening is composed by David Lang and directed by Anne Bogart, though the true hero of the evening is Gertrude Stein. Her essay (by the same name) is the heart and breath of this work.
How should 8BB bring an audience into the repetitive and plainspoken and circular format of Stein’s writing? She has blurred the relationship between her content, her form, and her performance. 8BB follows her lead and blurs performance distinctions between instrumental virtuosity, chamber ensemble dexterity, acting, singing, costume, lighting, audio, and staging.
Is this work really all about Stein though? No. Her writing is the catalyst, but what the audience leaves with is a new point of inquiry regarding how they absorb art. Any art. By lifting Stein’s enigmatic oration from the printed page, 8BB creates layers of interpretation and reveals the human relationship with art from an entirely unprecedented perspective. A perspective that is experienced, rather than erudite, as thoughtful, clever, humorous, intuitive, insightful, and joyful.
[button link="https://www.courttheatre.org/wp-content/uploads/2023/09/UCP-Court-8BB-Program-Book.pdf" text="Download PDF Program"]Presented in partnership with UChicago Presents.
composition as explanation was co-commissioned for Eighth Blackbird by the Arts Club of Chicago on the occasion of its centennial, and by Duke Performances at Duke University, with additional commissioning support from Richard Replin and Elissa Stein, and from the Modlin Center for the Arts at the University of Richmond. Support for the recording provided by Çedille Records.
Photo of Eighth Blackbird ensemble by Alex Boerner.
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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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Court Theatre is excited to collaborate with The Covey Group for a series of post-show talkbacks about The Tragedy of Othello, the Moor of Venice beginning October 30th.
The Tragedy of Othello, the Moor of Venice | Wed-Sun, through Dec 5, 2021 at Court Theatre
Participants are encouraged to view a live or streamed performance of Court Theatre’s production of The Tragedy of Othello, the Moor of Venice prior to attending subsequent events. 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.
Tickets are no longer available.
Poetry Reading + Activation | Friday, December 17, 2021 - 6:00pm
at Stony Island Arts Bank
Poets, commissioned by Smart Museum of Art and Court Theatre, will activate the Stony Island Arts Bank exhibition with public readings of original or archival poems and prose inspired by the themes of Black Lives, misconceptions, mirrors, and the moon in front of Wilson’s sculpture. Commissioned poets include Runako Jahi, Tarnynon Onumonu, rebecca brown, Reginald Rice, and others.
This event is sold-out.
Gallery Talk + Collage Activity | Saturday, December 18, 2021 - 2:00pm
at Stony Island Arts Bank
Participants will view the Toward Common Cause exhibition, in collaboration with Smart Museum, at Stony Island Arts Bank. The exhibition includes several works focusing on Black identity as well as Wilson’s sculpture, Act V. Scene II Exeunt Omnes. A gallery talk will follow to identify themes witnessed in The Tragedy of Othello that resonate with this work. Following this conversation, guests of all ages will participate in a collage activity to make their own art in creative response.
This event is sold-out.
Header photo: Fred Wilson, Act V. Scene II – Exeunt Omnes, 2014. Murano glass and wood, 87” x 10’8” x 8 3/8” (221 x 325.1 x 21.3 cm). © Fred Wilson, courtesy Pace Gallery. Photo credit: Kerry Ryan McFate.
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["_related_events_0_description"]=> string(19) "field_594b07b990c04" ["related_events_1_title"]=> string(31) "Oct 23 → Othellos in Dialogue" ["_related_events_1_title"]=> string(19) "field_59271ea3b8e31" ["related_events_1_link"]=> string(79) "https://www.courttheatre.org/season-tickets/special-event/othellos-in-dialogue/" ["_related_events_1_link"]=> string(19) "field_59271ebdb8e32" ["related_events_1_description"]=> string(254) "Join Production Dramaturg Jocelyn Prince for this conversation about how actors have approached portraying the character of Othello on stage. Featuring Court favorites Allen Gilmore and Kelvin Roston, Jr. Tickets are free but must be reserved in advance." ["_related_events_1_description"]=> string(19) "field_594b07b990c04" ["related_events_2_title"]=> string(38) "Nov 8 → Spotlight Reading: Desdemona" ["_related_events_2_title"]=> string(19) "field_59271ea3b8e31" ["related_events_2_link"]=> string(97) "https://www.courttheatre.org/season-tickets/spotlight-reading-series/spotlight-reading-desdemona/" ["_related_events_2_link"]=> string(19) "field_59271ebdb8e32" ["related_events_2_description"]=> string(218) "Written by acclaimed novelist Toni Morrison, Desdemona puts the doomed heroine of Shakespeare’s Othello center stage to reflect on the events of The Bard’s tragedy. Tickets are free but must be reserved in advance." 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" ["_related_events_2_description"]=> string(19) "field_594b07b990c04" } ["___content":protected]=> NULL ["_permalink":protected]=> NULL ["_next":protected]=> array(0) { } ["_prev":protected]=> array(0) { } ["_css_class":protected]=> NULL ["post_author"]=> string(1) "6" ["post_content"]=> string(6182) "Join Production Dramaturg Jocelyn Prince for this conversation about how actors have approached portraying the character of Othello on stage. Prince was joined by actors Kelvin Roston, Jr. (Othello in Court's production of The Tragedy of Othello, the Moor of Venice), Allen Gilmore (who has played the role of both Othello and Iago in production), and Keith Hamilton Cobb (creator of American Moor) to discuss their processes and experiences bringing such a complex character to life, as well as what it means to tackle Shakespeare's most famous Black character.Header photo Keith Hamilton Cobb, Allen Gilmore, and Kelvin Roston, Jr.
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Featured speakers in Black Baroque include Bintou Dembélé, Keith Hamilton Cobb, and Debra Ann Byrd, who will converse with UChicago Assistant Professor of English Noémie Ndiaye about Blackness politically, historically, performatively, and transnationally. The co-curricular series was designed by Noémie Ndiaye and visiting professor Gabrielle Randle-Bent and is co-sponsored by Court Theatre, the Committee on Theatre and Performance Studies, the Department of English, Department of Romance Languages and Literatures, the Center for the Study of Gender and Sexuality, and the Center for Study of Race, Politics, and Culture.
Bintou Dembélé created the choreography of a landmark production of Rameau's opera-ballet Les Indes Galantes (1735)—a ballet saturated with unbridled French Baroque colonial fantasies—which shook the Opéra Bastille in 2019. As a speaker featured on the “Black Baroque” focus series, Dembélé will comment on the significance of the Bastille production of Les Indes Galantes as well as her work dismantling oppressive structures as a Queer Black artist in the world of opera.
[embed]https://www.youtube.com/watch?v=QnNfySQ6lck[/embed]
In his solo show American Moor, Keith Hamilton Cobb reckons with the impossible task of staging Othello today—a task which African-American stage actors are nonetheless inexorably pressed to perform on a regular basis. Short clips from the Cherry Lane production of the play will accompany this interview with Keith Hamilton Cobb about what many scholars consider to be a new classic.
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In December 2020, the National Arts Club hosted the world premiere of Debra Ann Byrd’s solo show, Becoming Othello: A Black Girl’s Journey. This 126-minute, tour-de-force, living memoir explores a young woman’s acting journey on the road to becoming Othello, her trials and triumphs with race and the classics, some memorable experiences on her gender-flipped journey, and her fun-loving and tumultuous youth. The solo performance is complemented by moving multimedia images, lyrical language from Black urban playwrights, William Shakespeare, Langston Hughes, Martin Luther King, Jr., Frederick Douglass, Harriet Tubman, and the King James Bible—along with soulful songs and the music that shaped her life in her beloved Harlem. As a speaker, Byrd will comment on the journey that led to Becoming Othello, her own relation to Shakespeare and Baroque theatre, and her experience playing the role of Othello as a Black woman.
