Dear Court Theatre Family, Every year, Court Theatre undergoes

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Dear Court Theatre Family,
Every year, Court Theatre undergoes lengthy and robust conversation
before we come to a decision about which five plays will make up our
next season. Extensive research and artistic debate are integral to this
process, but equally important are the roles of providence, instinct,
and the unsolicited coincidences of art and life. In the case of The Year
of Magical Thinking, the impetus came in the form of an unexpected
tragedy: the passing of my mother, Martha Paine Newell. In the turmoil
of my grief I encountered Joan Didion’s book, an account of the
bewildering year that followed the death of her husband, John Gregory
Dunne. Didion’s story, told with humor, grace, and unflinching honesty,
helped me make sense of my own grieving process and come to terms
with such impossible loss.
When I discovered that Joan Didion had adapted her book into a play
for one actor, I decided to take a risk and direct The Year of Magical
Thinking for Court Theatre. Without a doubt, it is the most personal
project I’ve undertaken in my sixteen years here, and I would not have
dared to attempt it without the collaboration of Mary Beth Fisher.
It is my hope that Court’s production of The Year of Magical Thinking will
stir your own memories of loved ones, present and past, and lead you
to the same vistas of self-knowledge that it has for me. Finally, I’d like
to direct your attention to page 15 of the program where you can find
brief information on the newly established Martha Paine Newell Fund
to support emerging artists. I would not be Artistic Director of Court
Theatre today if not for the unfailing support of my mother, and it is to
her memory that I dedicate this production.
Charles Newell
Artistic Director
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Professio
nal The
Cast
atre at
A r t i st i c D i rect o r C h a r l es N ewell
Joan Didion....................................................Mary Beth Fisher
icago
ity of Ch
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the Univ
T H E
Y E A R
O F
MAGICAL
THINKING
by JOAN DIDION
The Actress and Stage Managers employed in this production are members of Actors’ Equity
Association, the Union of Professional Actors and Stage Managers in the United States.
Setting
Time: Late 2005.
The Year of Magical Thinking is presented without intermission.
Directed by CHARLES NEWELL
January 14 – February 14, 2010
Scenery Designed by John Culbert, U.S.A.
Costumes Designed by Susan Hilferty, U.S.A.
Lighting Designed by Jennifer Tipton, U.S.A.
Sound Designed by André Pluess, U.S.A.
Projections Designed by Mike Tutaj
Production Dramaturg
Megan Geigner
Production Stage Manager William Collins
Assistant Stage Manager
Jonathan Nook
Those Designers and Scenic Artists identified by U.S.A. are members of
United Scenic Artists, I.A.T.S.E. Local USA829, AFL-CIO, CLC.
Sponsored by
Originally Produced By:
Scott Rudin
Roger Berlind Debra Black
The Shubert Orgranization
Court Theatre performs in the intimate Abelson Auditorium, made possible through a gift
from Hope and Lester Abelson.
The use of cameras, videotape recorders, or audio recorders by the audience during
this performance is strictly prohibited. Please turn off all cellular phones and pagers.
Court Theatre operates under an agreement between the League of Resident Theatres
and Actors’ Equity Association, the Union of Professional Actors and Stage Managers
in the United States. Productions are made possible, in part, by a grant from the Illinois
Arts Council, a state agency, a CityArts IV grant from the City of Chicago Department
of Cultural Affairs, and a grant from the Cultural Outreach Program of the City of
Chicago. Court Theatre is partially funded by a grant from the National Endowment for
the Arts. Court Theatre is a constituent of Theatre Communications Group, the national
organization for the American Theatre; the League of Resident Theatres; the Illinois
Humanities Council; the Illinois Arts Alliance; and the League of Chicago Theatres.
Professional Theatre at
Daryl Roth
Executive Producers:
Stuart Thompson John Barlow
The Year of Magical Thinking is presented by special arrangement with Samuel French, Inc.
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Play Notes
Lessons in
Survival
from Joan Didion
When asked the difference between
her memoir The Year of Magical
Thinking and the play, Joan Didion
answered: “When I was writing the
book, I did not know whether or not I
would survive. When I was writing the
play, I knew that I had survived.”1
In November 2009, Joan Didion invited
Mary Beth Fisher and Charlie Newell
to her Upper East Side apartment for
afternoon tea and to share her lessons
in survival. Faced with the apartment
door, Mary Beth’s mind raced. After
all, she was about to come face to
face with the woman whose brain she
had been inhabiting for months. “What
if she is nothing like I’ve imagined?”
worried Mary Beth. “What if she
doesn’t like me? What if I don’t like
her?” As she and Charlie entered
the apartment, Mary Beth handed
Didion a gift: a white orchid with a
peppermint stripe. Didion looked at it
and responded, “this is perfect.” Then
she led them to the living room where
they sat on her sofa and Didion sat
in a wooden chair. “She was allowing
complete strangers from Chicago into
her apartment to sit down and have
1
Play Notes
by Megan Geigner
a conversation about something so
personal,” remembers Charlie. “To me
it was an honor. Very generous.” He
expressed to Didion how necessary
the book The Year of Magical Thinking
had been to him after the passing
of his mother. He then told her he
hoped to honor and serve her intent
in presenting the Chicago premiere of
the play.
Without a word—without needing
words—Didion invited their questions.
Mary Beth explained that she couldn’t
think of the narrator as Joan Didion
but rather as a character like any
other which must be discovered and
presented on the stage. Didion agreed,
saying that she does not think of this
character as herself anymore. She
wrote the book in an effort to process
what was happening to her. When
asked by the National Theatre in
London to adapt it to the stage, she
had her doubts. Because she trusted
the producer, however, and because
she had never worked in the theater,
she went ahead.2 Didion told Mary
Beth and Charlie that she understood
the difference between experiencing
Renee Montange. “Didion brings ‘Magical Thinking’ to Broadway.” NPR Morning Addition. Feb 8, 2007.
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Actress Mary Beth Fisher and Artistic Director Charles Newell early in the rehearsal process
for The Year of Magical Thinking (photograph courtesy of Will Anderson).
the play in the theater and reading
the book. Didion now thinks of herself
as audience, the receiver, a listener,
rather than the creator of the piece.
She maintains distance. Charlie felt
a sense of affirmation: the author is
letting this piece go into the world and
trusts it in the hands of others.
Throughout the conversation, Mary
Beth was struck by Didion’s wicked
sense of humor. Charlie was struck by
her long but active silences in which he
nevertheless could see the thoughts
moving in her mind. Didion spoke about
the act of discovery and understanding
through the act of typing. In her early
career, she would type out Hemingway
to better understand his structure, and
Mary Beth admitted that she had typed
out the text of Didion’s play to better
understand Joan Didion. Sitting there,
Charlie realized that the actor isn’t so
different from the writer. Each has an
active need of understanding satisfied
by the action of making the text; the
writer types and the actor speaks.
As the afternoon tea drew to an
end, Charlie and Mary Beth felt like
2
Didion was giving them her blessing
to present her play. Perhaps the most
significant moment came when, as
they were leaving, Didion told them
that a hybrid orchid had been named
after her daughter Quintana Roo. Mary
Beth asked her what it looked like.
White, Didion said, with a peppermint
stripe. Like the exchange between
artists that afternoon, the gift of the
orchid had been perfect indeed.
Charlie and Mary Beth’s visit with
Didion gave them more than a glimpse
into the complex woman that is Joan
Didion, a glimpse that has lingered
with Charlie and Mary Beth through
the intensive rehearsal process. It
seemed to pass the torch from the
writer of the play to the creators of this
production. Didion has described the
process of adapting her memoir to the
stage as a “liberating experience,”3 and
this production strives to offer those
who see it the strength, beauty, and
creativity that let Didion survive her
year of magical thinking.
Megan Geigner is Court Theatre’s Production
Dramaturg for The Year of Magical Thinking.
Anita Gates. “Joan Didion’s ‘Magical Thinking,’ Playing in a City of Memories”
3
ibid
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Play Notes
Play Notes
The Question of Pity:
Style, Feeling, & Morality
in Joan Didion
by Deborah Nelson
“First of all, the ones in sorrow should be urged if possible to
sit in a sunny room and where there is an open fire. If they feel
unequal to going to the table, a very little food should be taken
to them on a tray. A cup of tea or coffee or bouillon, a little thin
toast, a poached egg, milk if they like it hot, or milk toast. Cold
milk is bad for one who is already over-chilled.”
Emily Post, “On Funerals” in Etiquette (1922)
“When someone dies, I was taught growing up in California, you
bake a ham. You drop it by the house. You go to the funeral. If the
family is Catholic you also go to the rosary but you do not wail
or keen or in any other way demand the attention of the family.
In the end Emily Post’s 1922 etiquette book turned out to be
as acute in its apprehension of this other way of death, and as
prescriptive in its treatment of grief, as anything else I read.”
Joan Didion, The Year of Magical Thinking
It should not surprise us that Didion anoints Emily Post’s 1922 etiquette manual
as the most insightful book on the subject of grief in The Year of Magical Thinking.
Didion explains that her satisfaction with the etiquette manual stems from its
historical place: very simply, it derives from a time when death was a part of
everyday life and was therefore susceptible to the rituals and duties of ordinary
social congress, much like a dinner party, though sadder. But this is not the whole
story. “It spoke to [her] directly” because it respects specificity and emotional
distance.
Emily Post’s concrete practicality relieves those who are a party to grief of
uncertainty by its minute legislation of correct action: where to sit in church, what
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On a patio deck overlooking the ocean, Quintana Roo Dunne (L) leans on a railing with her
parents, American authors and scriptwriters John Gregory Dunne (1932 - 2003) and Joan
Didion, Malibu, California, 1976. (Photo by John Bryson/Time Life Pictures/Getty Images)
to bring to the home. Specificity in this case is a social ethics, a set of discrete
behaviors (not abstract maxims that can be interpreted variably) towards others that
demonstrate “competency” and “sensitivity” in the aftermath of death. For Didion,
Post’s greatest insight lies in her appreciation of the physiology of the griever, the
somatic responses to loss in, for instance, the lack of appetite or increased agitation.
Because the book attends to physical, not emotional, manifestations of grief, it
provides a proper guide for those caring for the grieving. The most important advice
is to protect the bereaved from “all over-emotional people, no matter how near or
dear”: You might bring a ham, but “you do not wail or keen or in any other ways
demand the attention of the family.” Other people’s emotions – even those of one’s
most intimate friends and family -- are thereby properly bounded and contained,
opening a space around the bereaved that maroons her with her own unbearable
sense of loss.
The problem that Didion leaves herself is to chart the expressive latitude of the
griever, which she formulated as “the question of self-pity” in the first pages of her
book. “Life changes fast./Life changes in an instant./You sit down to dinner and life as
you know it ends./The Question of Self-Pity.” Didion uses these lines as a leit motif,
repeating one or more of the four throughout the memoir, each return marking out
her relationship to self-pity as she cycles through a year of grief. By the end, Didion
has not changed her mind about self-pity—it remains a degraded outlook—but she
has begun to revise her relationship to it.
In the last return of “the question of self-pity” toward the conclusion of the work,
Didion makes her strongest reassessment of the morality of attending to one’s own
feelings of loss. While she is certain that her own youthful scorn of self-pity was
rather easily held, her more dramatic recalculation comes with the emotion itself.
First she describes the collective horror of self-pity, our “abhorrence” of it conveyed
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in the synonyms for the word: thumb-sucking, boo hoo poor me, indulge, wallow.
These words convey the childish satisfactions of grief from which the moral adult
abstains. Didion concludes: “Self-pity remains both the most common and the most
universally reviled of our character defects, its pestilential destructiveness accepted
as given.” Most universally reviled? pestilential? This hyperbole, never Didion’s
stylistic preference, suggests the extent of her anxiety. But finally, Didion makes
her tentative peace with self-pity by weighing it against the form of consolation she
finds even more morally dubious: self-delusion. Reassessing her attachment to
the popular music of her grandmother’s generation, she comes to realize that what
she took to be tough-minded optimism was, in fact, emotional self-indulgence. She
finally concludes: “We are not idealized wild things./We are imperfect mortal beings,
aware of that mortality even as we push it away, failed by our very complication,
so wired that when we mourn our losses we also mourn, for better or for worse,
ourselves. As we were. As we are no longer. As we will one day not be at all”
(198, YMT). The Year of Magical Thinking has finally been able to record Didion’s
emotional devastation, not in an outpouring of grief, a “wail” or “keen,” but merely in
the allowance it makes for emotional self-reflection.
Deborah Nelson is an Associate Professor in the Department of English Language and
Literature at The University of Chicago
This piece is excerpted and abridged from Deborah Nelson’s forthcoming book Tough Broads: Suffering in Style.
Do not cite or quote without permission from the author.
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Profiles
Mary Beth Fisher (Joan Didion) most recently collaborated
with Charles Newell in Tom Stoppard’s Rock ‘n’ Roll at the
Goodman Theatre. Her previous appearances at Court Theatre
are: The Wild Duck, What the Butler Saw, Arcadia, The
Glass Menagerie, Travesties, and The Importance of Being
Earnest. Other Chicago credits include: Frank’s Home, The
Clean House, Dinner with Friends, Heartbreak House, The
Guys, The Rose Tattoo, Boy Gets Girl, Spinning Into Butter,
Design for Living, Light up the Sky, The Night of the Iguana, and Marvin’s Room (Goodman
Theatre); Dead Man’s Cell Phone, The Dresser, The Memory of Water (Steppenwolf); The
Laramie Project: Epilogue, The Little Dog Laughed, and Theatre District (About Face); My
Own Stranger (Writer’s). Her NY credits include: Frank’s Home (Playwrights’ Horizons),
Boy Gets Girl (Drama League Honoree, Drama Desk and Lucile Lortel nominations), The
Radical Mystique, and By The Sea (Manhattan Theatre Club); The Night of the Iguana
(Roundabout), and Extremities (Westside Arts). Ms. Fisher has worked in regional theatres
all over the country, most recently playing Mary Todd Lincoln in James Still’s The Heavens
are Hung in Black at Indiana Repertory Theatre. Her TV/film credits include: State of
Romance, Without a Trace, Numb3rs, Prison Break, NYPD Blue, Profiler, Early Edition,
Turks, To Have & To Hold, Formosa Betrayed, Dragonfly, Trauma, and the award-winning
short film Safe Storage. Ms. Fisher has taught acting privately and at Southern Methodist
University. She is a proud member of Actors’ Equity and an Inaugural Lunt-Fontanne Fellow. For James. For Tom. For Tess. For Joan.
Joan Didion (Playwright) was born in California and is a graduate of the University
of California at Berkeley. Winner of the 2005 National Book Award, The Year of Magical
Thinking is one of 13 books by Joan Didion. Her other books include Play It As It Lays,
Democracy, Slouching Towards Bethlehem, The White Album, Salvador, Miami, and Political
Fictions. With her husband, John Gregory Dunne, she wrote the screenplays for such
pictures as The Panic in Needle Park with Al Pacino, True Confessions with Robert De
Niro and Robert Duvall, A Star Is Born with Barbra Streisand, and Up Close & Personal
with Michelle Pfeiffer and Robert Redford. She is a member of the American Academy of
Arts and Letters, which awarded her its 2005 Gold Medal in nonfiction. She also received
the 1996 Edward MacDowell Medal, the 1999 Columbia Journalism Award, and the 2002
George Polk Book Award. She contributes to various periodicals, most frequently The New
York Review of Books. Didion has spent her adult life in New York and Los Angeles.
Charles Newell (Artistic Director/Director) has been
Artistic Director of Court Theatre since 1994, where he has
directed over 30 productions. He made his Chicago directorial
debut in 1993 with The Triumph of Love, which won the Joseph
Jefferson Award for Best Production. Directorial highlights
at Court include The Wild Duck, Caroline, or Change, Titus
Andronicus, Arcadia, Man of La Mancha, Uncle Vanya, Raisin,
The Glass Menagerie, Travesties, Who’s Afraid of Virginia
Woolf?, Hamlet, The Invention of Love, The Little Foxes, Nora, and The Misanthrope. Charlie has also directed at the Goodman Theatre (Rock ‘n’ Roll); the Guthrie Theater
(Resident Director: The History Cycle, Cymbeline); Arena Stage; John Houseman’s The
Acting Company (Staff Repertory Director); the California and Alabama Shakespeare
Festivals; Juilliard; and New York University. He is the recipient of the 1992 TCG Alan
Schneider Director Award. He has served on the Board of Theatre Communications Group,
as well as on several panels for the National Endowment for the Arts. Opera directing credits
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PROFILEs
include Marc Blitzstein’s Regina at the Lyric Opera of Chicago, and Rigoletto at Opera
Theatre of St. Louis. Charlie is a multiple Joseph Jefferson Award nominee and recipient.
Most recently, his production of Caroline, Or Change at Court was the recipient of 4 Joseph
Jefferson Awards, including Best Production–Musical and Best Director–Musical.
JohN CulBerT (Scenic
Scenic Designer
Designer) recently designed scenery for Court Theatre’s
productions of Ma Rainey’s Black Bottom, Caroline, or Change, Man of La Mancha (for
which he received a Joseph Jefferson award) and Carousel
Carousel; Northlight Theatre’s Grey
Gardens; Rigoletto for Opera Theatre of St. Louis; and Lyric Opera of Chicago’s Regina.
He also designed Lookingglass Theatre’s Argonautika, Goodman Theatre’s Rock ‘n’ Roll
and Mirror of the Invisible World
World, and Long Wharf Theatre’s Hughie. He has designed
productions for the Singapore Repertory, Opéra National du Rhin, Berkeley Repertory
Theatre, McCarter Theatre, and the Shakespeare Theatre. Other projects include the
lighting design for the Chicago Park District’s Buckingham Fountain. Mr. Culbert serves as
the dean of The Theatre School at DePaul University.
susAN hilFerTy (Costume
Costume Designer
Designer) has designed over 300 productions from Broadway
to the Bay area and internationally including Japan, London, Australia, Germany, and South
Africa. Recent designs include Wicked (2004 Tony, Outer Critics Circle, Drama Desk, and
Olivier nominations), Spring Awakening (Tony nomination) August Wilson’s Radio Golf
and Jitney,
Jitney Lestat (Tony nomination), Assassins, Into the Woods (Tony and Drama Desk
nominations; Hewes Award), Manon at LA Opera and Berlin Staatsoper, Richard Nelson’s
Conversations in Tusculum, and Frank Wildhorn’s Wonderland
Wonderland. She has worked with such
well-known directors as Joe Mantello, James Lapine, Michael Mayer, Walter Bobbie, Robert
Falls, Tony Kushner, Robert Woodruff, JoAnne Akalaitis, the late Garland Wright, James
MacDonald, Bart Sher, Mark Lamos, Frank Galati, Des McAnuff, Christopher Ashley, Emily
Mann, David Jones, Marion McClinton, Rebecca Taichman, Laurie Anderson, Doug Wright,
Carole Rothman, Garry Hynes, Richard Nelson, and Athol Fugard (the South African writer
with whom she has worked as set and costume designer and often as co-director since
1980). Hilferty also designs for opera, film, and dance, and chairs the Department of Design
for Stage and Film at NYU’s Tisch School of the Arts. Hilferty’s many awards include a 2000
OBIE for Sustained Excellence in Design.
JeNNiFer TipToN (Lighting
Lighting Designer
Designer) is well known for her work in theater, dance, and
opera. Her recent work in opera includes Gounod’s Roméo et Juliette, directed by Bart
Sher at the Salzburg Festival; La Traviata for the Scottish National Opera and Il Trovatore
for the Metropolitan Opera, both directed by David McVicar; and the Wooster Group’s La
Didone. Her recent work in dance includes Balanchine’s Jewels for the Royal Ballet in
London, Jerome Robbins’ Les Noces for the New York City Ballet, and Paul Taylor’s Beautiful
Renegade. In theater, her recent work includes Conversations in Tusculum, written and
directed by Richard Nelson at the Public Theater; The Wild Duck
Duck, directed by Charlie
Newell for Court Theatre; and The Glass Menagerie, directed by Gordon Edelstein at the
Longwharf Theater in New Haven. Ms. Tipton teaches lighting at the Yale School of Drama.
She received the Dorothy and Lillian Gish Prize in 2001, the Jerome Robbins Prize in 2003,
and the Mayor’s Award for Arts and Culture in New York City in April 2004. In 2008 she was
made a United States Artists Gracie Fellow and a MacArthur Fellow.
ANDrÉ pluess (Sound
Sound Designer
Designer) is based in Chicago and his credits include numerous
productions for Court Theatre, Lookingglass Theatre (Artistic Associate), Victory Gardens
Theater (Resident Designer), About Face Theatre (Artistic Associate), Goodman Theatre,
Steppenwolf Theatre, Northlight Theatre, and many other Chicago and regional theaters.
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Profiles
Broadway credits: Metamorphoses, I Am My Own Wife, 33 Variations, and The Clean House
(Lincoln Center). Mr. Pluess has received multiple Joseph Jefferson Awards and Citations,
an L.A. Ovation Award, Barrymore Award, Drama Critics Circle Award, and Drama Desk/
Lortel nominations for composition and sound design. Recent projects include: Legacy
of Light (Arena Stage), Ghostwritten (Goodman Theatre), After the Quake (Steppenwolf,
Long Wharf, La Jolla, Berkeley Rep); Argonautika (Lookingglass, McCarter, Berkeley Rep,
Shakespeare Theatre Company); Lost Boys of the Sudan (Children’s Theatre Co., MN);
The Clay Cart (OSF); and A Midsummer Night’s Dream (Cal Shakes). Upcoming projects
include: Endgame (Steppenwolf Theatre), Equivocation (Seattle Rep), Merchant of Venice
and Cat on a Hot Tin Roof (Oregon Shakespeare Festival), and MacBeth and Much Ado
About Nothing (Cal Shakes). Mike Tutaj (Projection Designer) has been designing multimedia for theater in Chicago
since 2002. This is his first production with Court Theatre. Previous design credits
include: History Boys, Fiorello!, The House with no Walls, Guantanamo, Tesla’s Letters (Jeff
Nomination), Martin Furey’s Shot (Jeff Award), and This Happy Breed with TimeLine Theatre
Company; Tomorrow Morning (Jeff Award) with Hillary A Williams LLC; Jon (Jeff Nomination)
with Collaboraction; Macbeth and Romeo y Julieta with Chicago Shakespeare Theater;
Hana’s Suitcase and The Red Kite Project with Chicago Children’s Theatre; Pangs of the
Messiah and Our Enemies (Jeff Nomination) with Silk Road Theatre Project; Love Person
and I Sailed with Magellan (Jeff Nomination) with Victory Gardens; and Death of a Salesman
and Columbinus (Jeff Nomination) with Raven Theatre. Mike is an artistic associate with
TimeLine Theatre Company, and a company member of Barrel of Monkeys Productions.
Special Announcement
Announcing the
Martha Paine Newell
Fund for Emerging Artists
The Martha Paine Newell Fund will provide support for
emerging artists in the early stages of their careers. Martha was
committed to assisting many theatre artists, including a particular
young director at the beginning of his career – her son, Charles.
Established by her three children, Timothy, Patricia, and Charles,
this fund celebrates Martha Newell’s love for the art of theatre.
For information, please contact Cheryl Aponte at (773) 834-3305.
Megan Geigner (Production Dramaturg) is thrilled to be working with Court Theatre
for the first time. She currently serves as the Production Manager for the undergraduate
theater program at University of Chicago. She has worked in the capacities of administrator,
director, performer, technician, dramaturg, and designer at various theatres including
The Illinois Shakespeare Festival, Mary Arrchie, Profiles, Lookingglass, Miracle Theatre
(Portland, OR), and the Sundance Theatre Lab. She has taught theatre at Illinois State
University, Wilbur Wright College, and Heartland Community College. She holds an MA
in Liberal Studies from Reed College (Portland, Oregon), an MA in Theater History and
Criticism and a BS in directing both from Illinois State University. She has presented her
scholarship at many national and regional conferences including ATHE, MATC, and the Film
and Literature Association. Currently she is serving as a member of Jeff Artistic/Technical
Team and as a board member of the Neo Futurists.
WILLIAM COLLINS (Production Stage Manager) is joining Court Theatre for his fourth
season. He previously worked on Arcadia, Thyestes, Uncle Vanya, and Wild Duck, among
others. Locally, he has worked with Redmoon Theatre as their stage manager and
production manager on projects including Sink.Sank.Sunk, The Cabinet, and The Golden
Truffle. Last spring, he served as Assistant Director to Charles Newell on Goodman
Theatre’s production of Rock ‘n’ Roll.
JONATHAN NOOK (Assistant Stage Manager) loves coming home to share in the work
with the family at Court. He has worked here on productions of Ma Rainey’s Black Bottom,
The Piano Lesson, Wait Until Dark, The Wild Duck, Caroline, or Change, The First Breeze
of Summer, Carousel, Titus Andronicus, What the Butler Saw, and Thyestes. Other stage
management credits include Sex with Strangers, The 3rd and 4th Annual First Look
Repertory of New Work, Superior Donuts, Huck Finn (Steppenwolf); Radio Macbeth (Court/
SITI); Measure for Measure, Arms and the Man (American Players Theatre); Misalliance,
The Taffetas, Moonlight Room, Take Me Out (Milwaukee Chamber Theatre).
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Information
5535 South Ellis Avenue, Chicago, IL 60637
(773) 753-4472 www.CourtTheatre.org
n
Professio
al Thea
tre at
This exhibition is organized by the National Gallery of Art, Washington, DC. Anders Zorn, An Irish Girl (detail), 1894, Etching. National Gallery of Art, Washington, Rosenwald Collection.
Mission
Court Theatre is guided by a mission to discover the power of
classic theatre. Underlying this mission is the goal of becoming the
Chicago
national center for classic theatre, where the arts community looks for
ersity of
iv
n
U
e
th
leadership in the creation, production, and study of classic theatrical
works. Court works to fulfill this mission first through the rigorous
exploration of dramatic texts, including the African-American canon and musical theatre works;
second, by expanding the canon of classic theatre through initiatives such as the Barbara E.
Franke Commissioning Program for New Classics; and third, by ongoing institutional strategic
planning, which currently includes the possibility of an expanded, state-of-the-art facility.
Named “the most consistently excellent theater company in America” by The Wall Street
Journal, Court has a national reputation for excellence and innovation. Through five adventurous
and compelling main stage productions per season, as well as a wealth of free symposia, postperformance discussions, and education programs, it endeavors to make a lasting contribution
to American theatre by thoroughly examining and imaginatively re-envisioning classic works to
illuminate timeless themes and uncover immediately relevant messages.
History
Court Theatre was founded in 1955 as an amateur outdoor summer theatre at the University of
Chicago. In 1971, classics professor Nicholas Rudall assumed the role of director and conceived
Court’s tradition of translating and adapting classic texts for contemporary audiences; the theatre
was then established as a professional company with Actors’ Equity Association in 1975. In
1981, Court built its current home, the intimate, 247-seat Abelson Auditorium, and in 1983 the
theatre incorporated as an independent non-profit organization. Artistic Director Charles Newell
(named “one of the city’s most significant artistic assets” by the Chicago Tribune) has led Court
since 1994.
The Darker SiDe OF LighT
arTS OF Privacy, 1850 –1900
Opens February 11
“ Mesmerizing” – The Washington Post
With an operating budget of over $3 million, Court reaches nearly 35,000 patrons annually
through its main stage productions, as well as 400 South Side high school students each
year with intensive in-school and extracurricular programs, including an annual high school
performance festival, and 3,200 Chicago-area teens through our deeply-discounted student
matinee series.
Box Office Hours
Monday through Saturday: 12:00 pm to 5:00 pm.
Performance days: 12:00 pm until evening curtain.
TTY service is available by calling through the Illinois Relay Center, 1-800-526-0844.
Group discounts may be arranged by calling (773) 834-3243. Students and senior citizens
receive reduced rates. University of Chicago students may purchase tickets for $10 with a
valid U of C ID.
SMART MUSEUM OF ART UNIVERSIT Y OF CHICAGO
5550 South Greenwood Avenue | Chicago, Illinois 60637 | http://smartmuseum.uchicago.edu
Court Theatre 16
Latecomers cannot be seated until a suitable break in the performance. At that time, the House
Manager will direct latecomers to seats at the rear of the house. Patrons may take their ticketed
seats during intermission.
Court Theatre 17
Board of Trustees
Chair
Vice Chairs
Secretary
Treasurer
Duruflé
Requiem
Saturday, March 27, 7:30 p.m.
St. Thomas the Apostle Church
5472 S. Kimbark Ave.
Trustees Roland Baker
David Bevington
Leigh Breslau
James E. Clark
Martha Clinton
Joan Coppleson
Paula D’Angelo
Joan Feitler
Lorna C. Ferguson
Karen Frank
Mary Louise Gorno
Philip Gossett
Jack Halpern
Kevin Hochberg
Ann Marie Lipinski
Michael Lowenthal
David Moes
Stephen R. Patton
Jerrold Ruskin
Karla Scherer
Charron F. Traut
Marilyn Fatt Vitale
Honorary Trustee Stanley Freehling
Ex-Officio Charles Newell
Larry Norman
Nicholas Rudall
Production Staff
$20 general admission ($12 w/ student ID).
Free parking available.
Tickets available at www.chicagochorale.org,
by calling 773-306-6195, or at the Seminary
Co-op Bookstore and 57th Street Books
Virginia Gerst
Barbara E. Franke
Timothy G. Goodsell
Mary Anton
Margaret Maxwell Zagel
Floor Manager Susana Pelayo
Assistant Lighting Designer Matthew Chapman
Assistant Director Joshua Altman
Scenic Artists Scott Gerwitz*, Julie Ruscitti*
Wardrobe Supervisor Samantha Pudil
Costume Shop Assistant Alexia Rutherford
Assistant Master Electrician Christine Ferriter
Assistant Technical Director Rupert Priniski
Carpenters Jason Feriend, Colin Jarrell
*Denotes a member of the United Scenic Artists union (USA).
Court Theatre 18
Court Theatre 19
Mar 11 - Apr 11
UP NEXT
Staff
The Illusion
by Tony Kushner
Freely adapted from Pierre Corneille’s L’Illusion Comique
Directed by Charles Newell
Tony Kushner brings his sophisticated style and breathtaking language
to the French Baroque’s most powerful romance. A father’s attempt to
find his estranged son raises the curtain on a world of theatrical magic,
outrageous humor, and true, complicated love.
The Women’s Board
Sponsored by
may 13 - june 13
The Unversity of Chicago
Sizwe Banzi is Dead
by Athol Fugard, John Kani,
and Winston Ntshona
Directed by RON OJ PARSON
Master playwright Fugard and the actors of the original South African
cast collaboratively wrote the story of a man who pretends to be dead
in order to live. This searing exploration of identity and the political
power of storytelling is presented in a new, intimate staging by Court
Resident Artist Ron OJ Parson.
Sponsored by
Marion M. Lloyd
Court Theatre Fund
Call (773) 753-4472 for great seats!
Court Theatre 20
nal
Professio
Theatre
at
hicago
C
ersity of
the Univ
Artistic Director
Resident Artist
Casting Director and Artists-in-the-Schools Director
Resident Dramaturg
Teaching Artists
Artistic Administrator
Casting/Education Assistant
Kemper Casting Fellow
Charles Newell
Ron OJ Parson
Cree Rankin
Director of Production
Assistant Production Manager and Company Manager
Technical Director
Properties Manager
Costume Shop Manager
Master Electrician
Sound Engineer
Marc Stubblefield
Laura Dieli
Director of Development
Assistant Director of Development
for Special Events and Individual Giving
Assistant Director of Development
for Institutional Relations
Development Manager
Development Clerk
Kemper Development Fellow
Drew Dir
Roxanna Bevil, Melanie Brezill,
Michael Brosilow, Ben Dicke, Stacey Flaster,
Jennifer Foughner, Emjoy Gavino, Kam Hobbs,
Jonathon Lynch, Amber Mak, Mechelle Moe
Buddy Reeder, Larry Rothbard
Jack Tamburri
Sara Tamler
Julian Owens
Ray Vlcek
Lara Musard
Erica Friesen
Marc Chevalier
Rory Murphy
Cheryl Aponte
Colette Gregory
Jennifer Foughner
Melissa Aburano-Meister
Nina Leung
Eleanor Davis
General Manager Heidi Thompson Saunders
Business Manager Zachary Davis
Kemper General Management Fellow Laura Burgos
Director of Marketing & Communications
Associate Director of Marketing
Marketing Associate
Kemper Marketing Fellow
Kemper Web Fellow
Public Relations
Box Office Manager
Associate Box Office Manager
and Database Admininstrator
Assistant Box Office Manager
Box Office Assistants
House Manager
Concessionaires
Volunteer Ushers
Adam Thurman
Traci Brant
Milan Pejnovich
Erin Kelsey
Lyndsey Moulds
Cathy Taylor Public Relations, Inc.
Diane Osolin
Heather Dumdei
Benjamin Brownson
Jenna Blackburn, Jacob Tyrell, Kathleen Wolk
Matthew Sitz
Steffi Carter, Bobby Morales,
Anna Mormolstein, Jacob Tyrell
Courtesy of The Saints
Court Theatre 21
Classic Circle
Classic Circle
The following individuals and institutions have made major gifts to the Classic Circle,
Court’s premier giving society, and we are deeply grateful for the generosity of these
donors. The list reflects gifts received through December 2, 2009. If you have a
correction or would prefer to remain anonymous, please call (773) 834-0941.
Leadership Circle ($100,000 and above)
Richard and Barbara Franke*
The University of Chicago
Producer’s Circle ($50,000-$99,000)
The Chicago Community Trust
Hyde Park Bank+
Joyce Foundation
The John D. and Catherine T. MacArthur Foundation
Polk Bros. Foundation+
The Shubert Foundation
Skidmore, Owings & Merrill LLP
Distinguished Patrons ($25,000-$49,999)
Joan and Robert Feitler
James and Karen Frank
The Julius Frankel Foundation
Gary and Virginia Gerst
Grant Thornton LLP
The National Endowment for the Arts
Prince Charitable Trusts
Larry E. Strickling and Sydney L. Hans
The University of Chicago Women’s Board
Grand Patrons ($15,000-$24,999)
Alphawood Foundation+
The Elizabeth F. Cheney Foundation
Cultural Outreach Program, City of
Chicago Department of Cultural Affairs
James E. Clark and Christina Labate
Martha and Bruce Clinton
Gaylord and Dorothy Donnelley Foundation+
Lorna Ferguson and Terry Clark+
Grand Benefactors ($10,000-$14,999)
Mary Anton and Paul Barron
Helen N. and Roland C. Baker
Paula and Oscar D’Angelo
Mary Louise Gorno
Kevin Hochberg and James McDaniel
Kirkland & Ellis LLP
Court Theatre 22
The Royal Court ($5,000-$9,999)
Anonymous
AT&T Foundation
Maurice J. and Lois R. Beznos
Leigh S. Breslau and Irene J. Sherr
Ann and Richard Carr
City Arts IV, City of Chicago Department
of Cultural Affairs
Ms. Katharine Darrow
Mr. and Mrs. F. Conrad Fischer
Follett Corporation
The Irving Harris Foundation
The Crown Society ($2,500-$4,999)
ABC 7 Chicago
Jay R. Franke and Pamela Baker
Mrs. Edwin A. Bergman
Ms. Adela Cepeda
Joyce Chelberg
Nancy and Bill Fry
Richard and Mary L. Gray
Mr. and Mrs. I.A. Grodzins
Carlton Guthrie
Jack and Helen Halpern
Bill and Jan Jentes
Mr. and Mrs. Jack Karp
Director’s Circle ($1,500-$2,499)
Anonymous
Jean and John Berghoff
Michael D. and Jolynn Blair Family Foundation+
Jonathan and Gertude Bunge
Russell and Suzy Campbell
Stan and Elin Christianson
Joan and Warwick Coppleson
Harper Court Arts Council
Illinois Arts Council
The James S. Kemper Foundation+
Kraft Foods, Inc.
Martha P. Newell^
Karla Scherer
David and Marilyn Vitale
Nuveen Investments
Sidley Austin LLP
Charron and Richard Traut
Margaret Maxwell Zagel
Terese S. and Robert J. Zimmer
Classic Circle ($1,000-$1,499)
Cheryl and John Aponte
David and Peggy Bevington
Mr. and Mrs. Charles F. Custer
The Richard H. Driehaus Foundation
Phyllis and Philip Eaton*
Mr. Robert Fergus
Sylvia Fergus
Mr. Harve Ferrill
Mrs. Zollie Frank
Susan and Paul Freehling, in honor of
Edna, William, and Alison
Eugene Goldwasser and Deone Jackman
Timothy G. Goodsell
Philip and Suzanne Gossett
Janet and Bob Helman
Mrs. Alice Heydemann
Anne Kutak
Mr. and Mrs. William Landes
Gayle H. Jensen
Mr. and Mrs. John McCarter
David Moes and Jani Lesko
Mr. and Mrs. John R. Montgomery, III
Brooks and Howard Morgan
Navigant Consulting
Stephen and Linda Patton
Mr. Barry Preston
Mrs. Brenda M. Shapiro
Mr. and Mrs. Stuart Townsend
Michael Lowenthal and Amy Osler
Mr. and Mrs. Lewis Manilow
Robert McDermott and
Sarah Jaicks McDermott
William and Kate Morrison
Kathleen and Rita Picken
Thomas Rosenbaum and Katherine Faber
Jerrold Ruskin
Elaine and Richard Tinberg
Fidelis and Bonnie Umeh
Ms. Judith Wright
Eileen and Richard Epstein
Mr. and Mrs. Thomas C. Heagy
Tom and Esta Kallen
Lynne F. and Ralph A. Schatz
Joan and James Shapiro
Kathy and Robert Sullivan
Mr. Fred Walz
Alfred L. McDougal and Nancy Lauter McDougal
Francis L. Lederer Foundation
John and Jill Levi
Charlene and Gary MacDougal
Linda Herreid and Brian Meister
Ms. Susan Miller
James Noonan and Dana Levinson
Messrs. Robert Ollis
Allan and Carla Price
Mr. and Mrs. James M. Ratcliffe
David and Judith L. Sensibar
Nikki and Fred Stein
Mr. James Stone
Al Stonitsch and Helen Witt
The Ultmann Family, in loving memory of
John Thomas and Barbara Weil
Joan E. Neal and David Weisbach
Charles and Sallie Wolf
*Special gifts made to support the Barbara E. Franke Commissioning Program for New Classics.
+
Includes gifts designated for Court’s Student Education Program. ^Deceased
Court Theatre 23
Annual Support
Annual Support
The following individuals and institutions have made gifts to Court Theatre, and we are deeply
grateful for their generosity. This list reflects gifts received through December 2, 2009. If you have
a correction or would prefer to remain anonymous, please call (773) 834-0941.
Patrons ($500-$999)
Anonymous
Brett and Carey August
Joan and Julian Berman
Mr. Nathanial Blackman
Phyllis Booth
Douglas Bragan
Robert B. Cassey
Daisy A. Driss
Nancie and Bruce Dunn
Kent S. Dymak and Theodore N. Foss
Sidney and Sondra Berman Epstein
Julie and Ronald Gould
Mr. and Mrs. Joel Guillory
David and Betty Hess
Mr. and Mrs. Peter Heydemann
Mr. and Mrs. Peter Hilton
Bernard and Averill Leviton
Phoebe R. and John D. Lewis Family Foundation
Mr. Michael C. Litt
Mr. and Mrs. William Mason
Bill Mulliken and Lorna Filippini-Mulliken
Contributors ($250-$499)
Susan Aaron
Accenture Foundation
Paul F. and Mary H. Anderson
Mr. and Mrs. Adrian Beverly
Ed and Judy Burton
Agnes Canning
The Chaffetz Family Foundation
Elizabeth Fama and John Cochrane
Barbara Flynn Currie
Ms. Julie Danis and Mr. Paul Donahue
Mr. and Mrs. Robert J. Darnall
Frederick T. Dearborn
Dr. and Mrs. Robert L. Deiss
Eloise DeYoung
Mr. and Mrs. William J. Fanning
Edie and Ray Fessler
B. Ellen Fisher
Ms. Jenny Foughner
Dr. and Mrs. James L. Franklin
Gerry and Stan Glass
Mr. and Mrs. Samuel Golden
Mrs. Betty Guttman
Gene and Nancy Haller
Harris Bank
Mr. and Mrs. Robert Hartfield, in honor of
Virginia Gerst
Douglas and Lola Hotchkis
Carrie and Gary Huff
Ms. Kineret Jaffe
Judith H. Janowiak
Nancy and Richard Kosobud
Larry and Carole Krucoff
Bill and Blair Lawlor
Court Theatre 24
Harvey Nathan and Lisa Kohn
Prof. Larry F. Norman
Elizabeth M. Postell
Edward M. Rafalski
Ms. Yolanda Saul
Roche Schulfer
Ms. Susan Schwartzwald
Dr. Salvador J. Sedita and Ms. Pamela L. Owens
Susan and Robert Shapiro
Ilene W. Shaw
Mary and Charles Shea
Mr. Fred Siegman
Louise K. Smith
Tim Burroughs and Barbara Smith
Mr. and Mrs. Donald Stewart
Otto and Elsbeth Thilenius
Anne and William Tobey
Mr. and Mrs. James Tonsgard
Brady Twiggs
Elaine and Patrick Wackerly
Dr. and Mrs. James Madara
Mr. and Mrs. Joe Madden
Sue Malmberg
Michelle Maton and Mike Schaeffer
David E. McNeel
Renee M. Menegaz and Prof. R. D. Bock
Glenn E. Merritt
Mr. Charles Newell
Ms. Cathy Niden
Northern Trust Matching Gift Program
Margaret and William J. O’Connor
Ms. Grayce Papp
Irma Parker
Bruce Rodman
Nuna and Ennio Rossi
Ms. Martha Roth
Sharon Salveter and Stephan Meyer
Mr. Jeffrey Schamis and Ms. Eva Eves
Mr. and Mrs. Thomas Scott
Mr. and Mrs. Daniel Shannon
Joan and Lynn Small
Elizabeth and Hugo Sonnenschein
Spencer Foundation
Mr. and Mrs. David Stalle
Dorie Sternberg
Edward and Edith Turkington
Dr. and Mrs. W. H. Van Houten
Steve and Debbie Viktora
Mr. Albert Wanninger
Nicholas Weingarten and Cynthia Winter
Mrs. Iris S. Witkowsky
Paul and Mary Yovovich
Associates ($150-$249)
Anonymous
Mort Arnsdorf and Rosemary Crowley
Drs. Andrew J. and Iris K. Aronson
Ted and Barbara Asner
Nancy and Richard Baum
Ms. Kathleen Betterman
James B. and Dorothy Bishop
Jim and Sandy Boves
Mary and Carl Boyer
John and Sally Carton
Mr. and Mrs. David Chemerow
Judy Chernick
Lydia G. Cochrane
Mr. and Mrs. David Crabb
Katherine and John Culbert
Quinn and Robert Delaney
Nancy and Eugene DeSombre
Dr. and Mrs. James Downey
Mr. Gutty Dudley
John Dyble
Roberta and Richard Evans, in honor of
Kevin Hochberg and Jim McDaniel
Ms. Sara Stern and Mr. Ted Fishman
Mr. Dale Fitschen
David Follmer and Anita Samen
Joan M. Giardina
Mrs. Betty Gilbert
Mr. Ray Greenblatt
Carrie L. Hedges
Richard and Marilyn Helmholz
Beth and Howard Helsinger
Holly E. Humphreys
IBM Corporation
Thea and Christopher Janus
Mr. and Mrs. Abel P. Jeuland
Mr. William Jovan
Mr. Dennis Keller
Claire and Richard L. Landau
Prof. and Mrs. Emmet Larkin
Bruce and Mary Leep
Barry Lesht and Kay Schichtel, in memory of
Jack Shannon
Saul Levmore and Julie Roin
Herb Malkind and Etta Boot
James and Katharine Mann
Mr. and Mrs. McKim Marriott
Dr. Barbara J. Martin
Mr. Frank Mayer
Stacey and Patrick McCusker
Dean Miller and Martha Swift
Dr. Ernest Mond
Mr. Milton Podolsky
Jerry Proffit
Mr. Stuart Rice
Ann M. Rothschild
Drs. Donald A. and Janet Rowley
Susan L. Sack
Craig Schuttenberg and Colleen O’Leary
Dr. Laurence Segil
Roberta and Howard Siegel
Mr. Chuck Smith
Dr. Donna Spaan
Ms. Faith Spencer
Dr. and Mrs. Eric Spratford
Franklin St. Lawrence
Dr. and Mrs. Jerome Strauss
Casmir and Dorothy Szczepaniak
Gregory Tabaczynski
Lynne A. Taylor and Timothy D. Smith
Russell and Marlene Tuttle
Dr. and Mrs. Thomas Vargish
Daina Variakojis and Ernest Frizke
Mr. Ted Walch, in memory of Martha Newell
Anna Mary and David Wallace, in honor of the
generosity of Kate Collins and Charles Newell
Ms. Katy Wampach
Ms. Lisa Warshauer
Virginia Wright Wexman and John Huntington
Ms. Gretchen Winter
Mrs. Grace Wolf
Ms. C. Elizabeth Howland and Mr. Dennis Zavac,
in honor of Brooks and Howard Morgan
AT
THE
ROCK
THAT GARGOYLE ON MY SHOULDER
Daily through March 19
An evolving, multimedia
exhibition, new pieces are
welcome as the installation continues –
poetry, photography, drawings, sculptures, multi-media pieces. Artists Anne
Benvenuti, David Tartof, Brian
Dortmund, Luke Tauber, Jennifer
Mannebach and Lorraine Brochu
contribute the initial
work.773.702.7059.
BACH IN B MINOR
Saturday, Feb. 27 at 8 PM
Rockefeller Chapel Choir,
James Kallembach, Conducting
Tickets $30 front nave/$20 general/$10
senior and student in advance by sending a check to the Chapel Office or at
the door.
The University of Chicago’s Rockefeller Memorial Chapel
5850 S Woodlawn Ave. • rockefeller.uchicago.edu
Court Theatre 25
Special Gifts
Endowment Support and Planned Gifts
Court Theatre greatly acknowledges the generous individuals and institutions who
have supported Court’s artistic excellence by contributing to our endowment or
making a planned gift.
Hope and Lester Abelson Family
The Michael and Lillian Braude Theatre Fund
Joan S. and Stanley M. Freehling Fund for the Arts
The Helen and Jack Halpern Fund
The William Randolph Hearst Foundation
Anne Kutak
Marion Lloyd Court Theatre Fund
Carol Mason Russell Fund
For more information on how to leave a legacy of support for the arts by making a planned gift
or contribution to Court Theatre’s endowment, contact Cheryl Aponte at (773) 834-3305.
Court Theatre Artist Housing Partner
Regents Park, by Crescent Heights
Court Theatre Facility Support
The University of Chicago
Court Theatre High School Matinees Sponsor
Bank of America Charitable Foundation
Court Theatre High School Performance Festival Sponsor
Hyde Park Bank
In-Kind Contributions
The following companies and individuals support Court Theatre through the
donation of goods or services:
The Boeing Company
Leigh Breslau
Julie Burros
Paula and Oscar D’Angelo
Digital Imaging Resources
C.M. Fasan Florist
Chant
Virginia Gerst
Timothy C. Goodsell
Mid-American Printing Systems
Orly’s
Park 52
Piccolo Mondo
Pizza Capri
Regents Park, by Crescent Heights
The Saints
Sidley Austin LLP
Skidmore, Owings & Merrill LLP
The University of Chicago
Terese S. and Robert J. Zimmer
“I enjoy great drama
“at Court Theatre.
“I enjoy great service
“at Hyde Park Bank.”
You know your neighborhood. It’s our neighborhood too.
We work and live here just like you.
We also take an active role in supporting the dozens of
schools, places of worship, arts and social service organizations that make our community vibrant and strong. We’re
proud to be Court Theatre’s largest corporate sponsor,
bringing the annual Hyde Park Bank High School Performance
Festival, the Jeff Award-winning Caroline, or Change, and this
season’s Ma Rainey’s Black Bottom to the Court stage.
Hyde Park Bank brings the best in banking home to you.
Come in, call, or visit us online today.
SM
1525 East 53rd Street, Chicago, Illinois 60615
1311 East 57th Street, Chicago, Illinois 60637
Tel 773.752.4600 www.hydeparkbank.net
Member FDIC © 2009 Hyde Park Bank & Trust Co. 1009
Michael Brosilow photo: Court Theatre’s Ma Rainey’s Black Bottom,
directed by Ron OJ Parson.
Court Theatre 26
Court Theatre 27
DININg sPONsORs
Receive 10% off at Court Theatre’s Hyde Park Dining Sponsors. Only one
discount per ticket. Not valid with any other offers.
asian fusion
1509 e. 53rd St.*
(773) 324-1999
*1 hour free parking behind Borders with validation
american Bistro
5201 S. Harper ave.
a
(773) 241-5200
Casual Italian
1642 east 56th Street
(773) 643-1106
THE SEMINARY CO-OP
BOOKSTORES
One of the world’s
premier academic
bookstores.
5757 S. University Ave.
(773) 752-4381
M-F: 8.30-9 Sa: 10-6
Su: 12-6
Books, cards and
gifts in a beautiful
setting.
60 W. Walton St.
(312) 255-3520
Tu-Thu: 9-6
Fr-Sa: 9-5
A great neighborhood store for readers of all ages.
1301 E. 57th St.
(773) 684-1300
M-F: 10-9
Sa-Su: 10-8
For over forty-five years the Seminary Co-op
Bookstores have served Chicago's reading needs.
Taken together, our three stores form one of the
most complete and far-reaching bookstores in the
country; separately, each offers a unique perspective on the world of books. Our knowledgeable
staff can put any book within reach. Please stop in
at any of our stores or check us out online at
www.semcoop.com
Court Theatre 28