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!

https://www.youtube.com/watch?v=K0J17zJ9Xbg

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"]

Honorees

Lorna Ferguson
Barbara Franke
Audrey Petty

Gala Chairs

Dana Levinson
Andrea Sáenz


Gala Committee

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

Board of Trustees

Gustavo E. Bamberger, Chair
Dana Levinson, Secretary
Lawrence E. Strickling,
Treasurer

Trustees

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

Ex-Officio

David J. Levin
Charles Newell
Larry Norman
Susana Vasquez
Angel Ysaguirre

Sponsored by

Visit the Chicago Community Trust websiteVisit the Field Foundation of Illinois website
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A group of musicians play on a crowded stage. There is a woman playing a violin, a woman playing the cello, and a man playing the clarinet in the background.
Photo by Alex Boerner.

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. 

A woman in a white top, a black top hat, and brown and yellow checkered pants holds a clipboard. She is standing to a man wearing suspenders and a brown tie. He is shrugging.
Photo by Alex Boerner.

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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“Closely attuned to the needs of musicians and audiences today, David Lang, Anne Bogart, and Eighth Blackbird created a performance that was extraordinary, inventive, and deserving of constant reinvention.”  - Cultural Voice of North Carolina

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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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!

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.
Exploring select moments, scenes, and characters, our facilitation team of haydee souffrant, rebecca brown, and Kelli Covey will invite the audience to step into the emotion and energy of the production, exploring the many shifting movements and feelings—exhilaration, anger, surprise, sadness—that shape this powerful story. We will also discuss the way Court's production translates the traditional narrative of Shakespeare’s play for their stage, addressing themes such as power, silence, identity, and what it means to be fully human. Audience members will be invited to consider how this production of The Tragedy of Othello challenges traditional productions. Talkbacks will occur after the following performances:

About the Facilitators

Kelli Covey is a trainer, facilitator, mediator, coach and organizational development consultantwith over 20 years’ experience working with both nonprofit organizations and corporations. Kelli was previously the co-director of the Center for Civic Reflection, where she trained hundreds of facilitators in the practice of reflective discussion, including teachers, probation officers, AmeriCorps members, librarians, and organizational and community leaders. She also served as Director of Diversity, Equity and Inclusion at Teach for America-Chicago, a large educational organization focused on educationalequity.Kelli is a certified mediator through the Chicago-based Center for Conflict Resolution (CCR). She mediates regularly in the Cook County court system and handles a variety of mediation cases, including victim-offender mediation, tenant/landlord,and juvenile and family mediation. She also leads conflict management workshops for CCR and serves on the continuing education committee. Kelli is an enrolled member of the Cherokee Nation proud to have served as a recent board member and treasurer for the American Indian Center, one of the oldest urban-based Native membership community centers in the United States. She continues to support AIC as a community member, volunteer and consultant. rebecca brown (she/they) is a dynamic facilitator, trainer, consultant, project manager and poet. She often describes herself as “made of questions (that don’t always need answers)” and is pleased to bring her creative thinking, deep listening and engaging facilitation skills to each project. rebecca forged over 15 years of nonprofit experience and leadership as a program director with an award-winningChicago area literary non-profit organization, designing and facilitating book group discussions and poetry writing circles with youth in under-resourced communities, as well as training others to do so. She has built her consultation and project management skills over the last five years, including becoming a trained practitioner of racial healing circles and supporting organizations in racial equity assessments, education and planning. rebecca is proud to share her skills for simultaneous big-picture/small-detail thinking, comfort with uncertainty and continuous learning, dedication to reflection, and capacity for finding the right questions to move forward with all her project partners.
haydee r. souffranthaydee souffrant (she/her) is a Chicago-based Haitian American writer, producer, and certified mediator through the Chicago-based Center for Conflict Resolution (CCR). Many of her artist workshops incorporate creative writing, meditation and facilitated discussions on healing and restorative justice practices for people of color, artists, educators, youth and adult audiences.In her 12 years as an arts administrator, souffrant’s professional and creative work has focused on production stage management, production and community arts program, and facilitations for both profit and nonprofit organizations, theaters, gallery and storefront venues such as Illinois Caucus of Adolescent Health, Theater on the Lake, Berger Park Theater, Links Hall, MPAACT at The Greenhouse Theater, The Chicago Mosaic School, The Black Revolutionary Theatre Workshop (New York), Dramatic Questions Theatre (New York) and additional theaters and artist spaces.

About The Covey Group

The Covey Group is a small group of dedicated partners committed to providing high-quality training, facilitation, consulting, and professional development, with a special focus on reflection and dialogue. Their mission is to support and engage individuals, organizations, and communities in creating a more meaningful, inclusive, and just world through practices of reflection, dialogue, and shared inquiry.

Header photo of Kelvin Roston, Jr. in THE TRAGEDY OF OTHELLO, THE MOOR OF VENICE by Michael Brosilow.
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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." ["_related_events_2_description"]=> string(19) "field_594b07b990c04" ["related_events"]=> array(3) { [0]=> string(9) "add_event" [1]=> string(9) "add_event" [2]=> string(9) "add_event" } ["_related_events"]=> string(19) "field_5926f77ac9260" } ["___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(6456) "Programmed during the full moon phases between November and December, Mirrors and Misconceptions is a special series exploring Black identity. It pairs the visual art of Fred Wilson’s Murano Glass sculpture, Act V. Scene II Exeunt Omnes—the final stage direction in Shakespeare’s Othello—with Court Theatre’s production of The Tragedy of Othello, the Moor of Venice to build conversation and community while exploring themes on how Blackness is othered and perceived.
number 1The 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. 
number 2Poetry 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. 
number 3Gallery 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. 
Learn more about Toward Common Cause Organized by the Smart Museum of Art at the University of Chicago, in collaboration with more than two dozen partner organizations across Chicago, Toward Common Cause: Art, Social Change, and the MacArthur Fellows Program at 40 uses the idea of “the commons” to explore the current socio-political moment. Questions of inclusion, exclusion, ownership, and rights of access are constantly being challenged across a wide array of human endeavors.  The Stony Island Arts Bank (SIAB) group show as part of the Toward Common Cause multi-site initiative focuses primarily on the question of race that has been examined by artists for decades and includes artworks by MacArthur Fellows Carrie Mae Weems, Kerry James Marshall, Gary Hill, Whitfield Lovell, Trevor Paglen, Deborah Willis, Dawoud Bey, Fred Wilson and Nicole Eisenman.
COVID-19 Protocol Face mask is required for attendance. This convening is open to all invitees who are compliant with UChicago vaccination requirements and, because of ongoing health risks, particularly to the unvaccinated, participants are expected to adopt the risk mitigation measures (masking and social distancing, etc.) appropriate to their vaccination status as advised by public health officials or to their individual vulnerabilities as advised by a medical professional. Public convening may not be safe for all and carries a risk for contracting COVID-19, particularly for those unvaccinated. Participants will not know the vaccination status of others and should follow appropriate risk mitigation measures.

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_1_description"]=> string(19) "field_594b07b990c04" ["related_events_2_title"]=> string(41) "Dec 17, 18 → Mirrors and Misconceptions" ["_related_events_2_title"]=> string(19) "field_59271ea3b8e31" ["related_events_2_link"]=> string(85) "https://www.courttheatre.org/season-tickets/special-event/mirrors-and-misconceptions/" ["_related_events_2_link"]=> string(19) "field_59271ebdb8e32" ["related_events_2_description"]=> string(359) "Mirrors and Misconceptions pairs the visual art of Fred Wilson’s Murano Glass sculpture, Act V. Scene II Exeunt Omnes—the final stage direction in Shakespeare’s Othello—with Court Theatre’s production of The Tragedy of Othello, the Moor of Venice to build conversation and community while exploring themes on how Blackness is othered and perceived. " ["_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.
Allen Gilmore Allen has appeared at Court Theatre in Man in the Ring, Scapin, Cyrano (title role), Endgame, Sizwe Banzi Is Dead (title role), Jitney, The Misanthrope, Tartuffe, Seven Guitars, Waiting for Godot, The Good Book, and One Man, Two Guvnors. Other Chicago performances: Joe Turner’s Come and Gone and The African Company Presents Richard the Third (Congo Square); Argonautika and Arabian Nights (Lookingglass); Rosencrantz and Guildenstern Are Dead and Buried Child (Writers Theatre); Love’s Labor’s Lost (Chicago Shakespeare); The Matchmaker, Yasmina’s Necklace, An Enemy of the People, Objects in the Mirror, and three seasons as Scrooge (Alt.) in A Christmas Carol (Goodman). Originally from Houston, he is a U.S. Army Infantry veteran, a 2015 3Arts Award winner, a 2015 Lunt-Fontanne fellow, and a proud ensemble member of Congo Square. Keith Hamilton Cobb Keith is an actor and a playwright who has been drawn mostly to the stage in his working life, but is also recognized for several unique character portrayals he has created for television. He has appeared in classical and contemporary roles on regional stages country-wide. He is a graduate of New York University’s Tisch School of the Arts with a BFA in acting.  His award-winning play, American Moor (published by Methuen Drama), which explores the perspective of the African American male through the metaphor of Shakespeare’s Othello, ran off-Broadway at Cherry Lane Theatre in the fall of 2019.  It is the winner of an Elliot Norton Award, an AUDELCO Award, two IRNE Awards, and is part of the permanent collection of the Folger Shakespeare Library.   Keith has recently begun work on a project called Untitled Othello, which operates as an extended touring “interrogation with actors” of Shakespeare’s play exploring the human struggles with race, religion, and sexuality that it activates whenever it is performed.  The Untitled Othello ensemble begins its journey with a two-week table reading process hosted by Sacred Heart University and in conversation with undergraduates there and at the University of Maryland via livestream beginning on November 29. Learn more at AmericanMoor.com, UntitledOthello.com, and KeithHamiltonCobb.com. Jocelyn Prince Jocelyn is a Principal at ALJP Consulting. Selected Production Dramaturgy credits include Middle Passage (Lifeline Theatre); Invisible ManThe First Breeze of Summer, and Raisin (Court Theatre); A Raisin in The Sun (Juilliard School of Drama); Harriet Jacobs and Intimate Apparel (Steppenwolf Theatre Company); Black Diamond (Lookingglass Theatre Company); The MLK Project (Writers Theatre). Jocelyn has directed new work for the Playwrights Gym at Dobama Theatre, the Cleveland Playwrights Festival at Playwrights Local 4181, The Dark Room at Cleveland Public Theater, the Go Green Festival at The Movement Theatre Company in NYC, the Around the Coyote Festival in Chicago, and Snapshots 10-Minute Play Festival at 20% Theatre Company Chicago. She has read and evaluated scripts for The Kilroys List, the Emerging Writers Group, The Ohio University Seabury Quinn, Jr. Playwrights’ Festival, and The PlayPenn conference. Her performance poetry has been featured by The Encyclopedia Show Chicago, The Encyclopedia Show DC, and La Ti Do. Jocelyn holds a B.A. in Journalism from Bradley University and a M.A. in Performance Studies from Northwestern University. She has written for TimeOut ChicagoTimeOut New YorkThe Chicago ReporterNonprofit Quarterly and the African American Review. Jocelyn has served on the faculties of Northwestern University and Yale University. Kelvin Roston, Jr. Court credits: Oedipus Rex, King Hedley II, Five Guys Named Moe, Seven Guitars, Porgy and Bess, Ma Rainey’s Black Bottom. Chicagoland: Congo Square, Paramount, Marriott-Lincolnshire, Goodman, ITC, Eta, Writers, Black Ensemble, TimeLine, Northlight, Steppenwolf. Regional: The Black Rep (St. Louis), Fulton (Lancaster, PA), New Theatre (Overland Park, KS), MSMT (Brunswick, ME), Baltimore Center Stage, Mosaic (Washington DC), Apollo (New York). International: Orb (Tokyo), Festival Hall (Osaka, Japan). Television: Chicago Med, Chicago PD, South Side, KFC, Instant Care, Ace Hardware. Film: Get a Job, Princess Cyd, Breathing Room. Awards: Jeff Award, 3 BTA Awards, 2 Black Excellence Awards, NAMI Award. AEA, Paonessa Talent.

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 EnglishDepartment 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’s Les Indes Galantes  Wednesday, April 14, 2021 at 1pm

Bintou DembéléBintou 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]  

Keith Hamilton Cobb’s American Moor Wednesday, April 28, 2021 at 6pm 

Keith Hamilton CobbIn 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. [embed]https://www.youtube.com/watch?v=20TKzjqPmZw[/embed]  

Debra Ann Byrd's Becoming Othello: A Black Girl’s Journey Monday, May 3, 2021 at 6pm

Debra Ann Byred headshotIn 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.

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Ellis Ave., Chicago, IL 60637 Date/Time: March 20, 2020 | 7:30pm - 10:30pm You're invited to Henrik Ibsen's birthday party! He's turning 192 on March 20th and can't wait to celebrate with you! Enjoy post-show birthday festivities including a performance of The Lady from the Sea, a talk back, pin the tail on the mermaid, spin the wheel for prizes, and cupcakes! The birthday party will begin following the performance. 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Welcome Eighth Blackbird

Acclaimed musical ensemble Eighth Blackbird brings their incredible COMPOSITION AS EXPLANATION to Court's stage!

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