Dear Friends, This production of Sizwe Banzi is

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Dear Friends,
This production of Sizwe Banzi is Dead marks the first time a classic play
from South Africa has been presented at Court Theatre. The occasion is long
overdue. When it was first performed in Cape Town in 1972, Sizwe Banzi was
a powerful indictment of legal apartheid and its devastating effect on human
dignity. Almost forty years later, I still find Athol Fugard’s play relevant: not
only for those too young to remember South African apartheid, but also for
those of us in need of renewed moral clarity about the human oppression
that continues to take place around the world today.
Court’s production of Sizwe Banzi is Dead also marks the culmination of
Chicago’s Fugard Festival 2010. This unique collaboration among three
Chicago theatres—Remy Bumppo Theatre Company, TimeLine Theatre
Company, and Court Theatre—has re-introduced Chicago to three of Athol
Fugard’s major works: The Island, ‘Master Harold’…and the Boys, and now
Sizwe Banzi is Dead. Whether you’re enjoying your third, second, or very
first play in the festival, we’re glad you’re here, and I’m proud to take part in
presenting this revival of Athol Fugard’s plays.
Finally, be sure to check out the newly announced plays in Court Theatre’s
2010/11 Season (including my production of Home by Samm-Art Williams,
which you can catch later this year). In addition, Artistic Director Charlie
Newell has asked me to serve as Artistic Consultant on our production of
Porgy and Bess, a bold and controversial project that will surely generate
much conversation. I’m very excited about the new season, and I hope I’ll
see you again in the fall!
Ron OJ Parson
Resident Artist
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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
icago
ity of Ch
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the Univ
Sizwe Banzi is Dead
by Athol Fugard, John Kani, and Winston Ntshona
Styles/Buntu............................................................. Chiké Johnson
Sizwe Banzi................................................................Allen Gilmore
The Actors 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
The African township of New Brighton, Port Elizabeth.
Directed by Ron OJ Parson
special thanks
May 13 – June 13, 2010
Jack Magaw, U.S.A.
Scenic Design
Christine Pascual, U.S.A.
Costume Design
Lee Keenan, U.S.A.
Lighting Design
Nick Keenan
Sound Design
Kelli Marino
Production Dramaturg
Sara Gammage
Production Stage Manager
Jonathan Nook
Assistant Stage Manager
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
Professional Theatre at
Lungelo Kuzwayo
Basil Clunie
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 Arts Alliance Illinois; and the League of Chicago Theatres.
Marion M. Lloyd
Court Theatre Fund
SIZWE BANZI IS DEAD is presented by special arrangement with
SAMUEL FRENCH, INC.
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Play Notes
The History of Apartheid
Play Notes
by Kelli Marino
In 1948, the policy of Apartheid institutionalized and enforced racial segregation in the
already divided South Africa. For the next fifty years, South Africans would be forced
apart, imprisoned, and murdered in the name of white domination.
In 1910, South Africa gained dominion status within the British Empire. This followed
the British Empire’s victory in the Anglo-Boer War, in which the British gained control
over South Africa from its former Dutch settlers (known as Boers or Afrikaners). Over
the next decade, the government instituted several acts to segregate South Africa’s
blacks from its whites. The Native Areas Act in particular (passed in both 1913 and
1936), forced native Africans (non-whites) to live on less than fourteen percent of
the land, even though they made-up roughly eighty-five percent of the country’s
population.
After the National Party’s victory in the 1948
election, Apartheid’s “total segregation”
was enacted. This first period of apartheid,
known as baaskap (Afrikaner for mastery
and white supremacy) resulted in an allwhite South Africa where non-whites were
sent out of major cities to ethnic “homelands”
and lost all citizenship rights in the “white”
areas of South Africa. White miners, farmers, and industries, realizing that their cheap
labor came from those whom they had recently exiled, “allowed” the non-white South
Africans to return to the “white” areas to work. To keep tabs on the non-whites in white
territory, a number of significant acts were passed into law, including the Population
Registration Act (1950) and the Reservation of Separate Amenities Act (1953).
The most potent
weapon in the hands
of the oppressor is the
mind of the oppressed.
-Stephen Biko
When Hendrick Verwoerd, Apartheid’s chief architect, became prime minister in 1958,
Verwoerd rephrased Apartheid from the indelicate baaskap to the more sophisticated
“separate development.” Despite the change in official language, non-whites still
could not vote, own land, move freely from one country to another, or choose their
employment. Those who were able to live on “white” land as a result of work had to
do so with a permit. Passbooks or “Books of Life” were mandatory for all non-whites
to carry, and consisted of marriage and driver’s licenses, birth certificates, and work
permits. To be caught without a passbook was punishable by imprisonment and in
extreme cases torture and beatings.
The 1950s also saw growth in the anti-Apartheid movement. The African National
Congress (ANC), an organization whose membership included Nelson Mandela,
staged the peaceful Defiance Campaign of Unjust Laws. During this campaign, the
ANC adopted the Congress of the People’s Freedom Charter which demanded
full civil rights and equality for all South Africans. In December 1956, after several
protests, more than one hundred activists were arrested and charged with high
treason in the “Treason Trial” of 1961; all of the accused were acquitted. The newly
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formed Pan Africanist Congress
(PAC) soon began its anti-Pass
Laws campaign against Apartheid.
Their first attack resulted in March
1960’s Sharpeville Massacre,
where sixty-nine people were shot
after responding to a PAC call to
turn in passes and submit to arrest.
That same year, Anti-Apartheid
resistance was officially outlawed
under the Unlawful Organizations
Act.
As protests grew, so did the world’s
interest in Apartheid, and many
countries began challenging South
Africa’s regime. As a result, Prime
Minister Balthazar Johannes
Verwoerd withdrew South Africa
South African blacks burn government passes as
from the United Nations in 1961,
new violence among the black population erupted
left the British Commonwealth, and at Orlando, near Johannesburg, South Africa,
South Africa was banned from the
March 28, 1960. (AP Photo/Dennis Lee Royle)
Olympic Games. In 1966, Verwoerd
was assassinated and succeeded by John Vorster who relaxed some of Apartheid’s
petty laws; this did not stop protest, violence or brutality during the 1970s.
With Peiter Willem Botha’s 1978 election to prime minister, Apartheid laws relaxed
and granted non-whites limited political rights, including the abolition of the longstanding pass system. While these restrictions were lessened, Botha continued to
condemn government opposition. By 1983, six hundred South African organizations
had come together to create the United Democratic Front, an alliance of trade unions
and organizations endorsing the Freedom Charter and the elimination of “homelands.”
In 1986 Botha declared a state of emergency and deployed five thousand soldiers
to ban, arrest, and detain tens of thousands of South Africans, many of whom were
tortured and murdered. Foreign countries began pulling their business transactions,
trades, and investments with South Africa by the end of the 1980s, leaving the country
in a state of economic depression.
In 1989, National Party leader Frederik Willem de Klerk became prime minister and
released many of Apartheid’s black political prisoners. He declared to Parliament
that Apartheid had failed and all bans on political parties would be immediately lifted.
In February 1990, anti-Apartheid organizations were un-banned, political prisoners
were freed, and resolution was in the air. Apartheid officially ended in 1994 with
the democratic election, abolition of “homelands,” and new interim (1994) and final
constitutions (1996). All apartheid laws were repealed and South Africa laid the
foundations for a multiracial and multiparty transitional government. Nelson Mandela
became the first freely elected majority president, setting into action equality for all
South Africans and the reclamation of native lands by its once native inhabitants.
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Play Notes
SIZWE BANZI IS DEAD Production History
by Kelli Marino
John Kani and Winston Ntshona in the
original iteration of Sizwe Banzi is Dead.
In 1971, Athol Fugard, John Kani, and
Winston Ntshona began collaborating
on a devised piece called Sizwe Banzi
is Dead. Kani and Ntshona had first
performed together with Fugard’s
Serpent Players in Camus’ The Just
(re-titled The Terrorists), and their
onstage camaraderie had been
undeniable. Both men resigned from
their jobs to become full time actors.
Because the government did not
recognize acting as a legal profession
for black South Africans, Kani and
Ntshona had to become employed as
domestic servants for Fugard (Kani
a gardener, Ntshona a chauffeur)
in order to remain in the city. Sizwe
Banzi premiered in 1972 at the Space
Theatre in Cape Town, South Africa.
The opening monologue of the play,
spoken by the character Styles, was
originally improvised each night by John
Kani, who would use the headlines of
that day’s newspaper as inspiration.
Recalling the play’s first performance,
Guardian theatre critic Brent Meersman
remembered that Kani’s improvisation
“went on for an hour and a half, until
Fugard sent a furious Ntshona on stage
in the middle of yet another yarn.”
This South African production was followed the next year by a production at London’s
Royal Court Theatre where it won the London Theatre Critics award. The production
moved to Broadway in November 1974 and was presented in repertory with Fugard’s
The Island, an adaptation of Antigone about life on Robben Island, inspired by two
former Serpent Players who had been imprisoned there. Kani and Ntshona together
won Tony Awards for “Best Actor in a Play” for their performances in both Sizwe Banzi
Is Dead and The Island.
In the 1970s Ntshona and Kani toured Sizwe Banzi and The Island to African schools,
community halls, student groups, churches, and any venue they could find in the black
townships. The production’s performance in Umtata in 1976 resulted in the arrests of
continued
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play notes
Ntshona and Kani by the Bantustan regime for vulgar language in the play. The play
moved back to London in 1977. Of that production, Fugard wrote his thoughts in his
journal:
The play has a life, now, of its own. If anything, the experience has
been worth it just to discover that. I’ve always rated Sizwe fairly low,
a play which walked the tightrope between poetry and propaganda.
Maybe I’m wrong. That first amble through the text on a bare Royal
Court stage was very moving. Its structure and style remain clever —
its essential hon­esty and humility still radiant —and, miraculously, John
and Win­ston hand themselves over to it, are taken over by it, with the
same spontaneity of four years ago. I am as confident of the integrity
and honesty of its ‘witness’ now as I was then and, equivalently, am
just as sustained by it.
Sizwe Banzi is Dead later ran in 1978 at The Market Theatre in Johannesburg. When
the play was to be re-opened at The Space Theatre in 1979, the police stopped the
event before it began because of the turmoil the play had been causing.
In 2006, Kani and Ntshona starred in a revival of Sizwe Banzi at the Baxter Theatre
Centre at the National Arts Festival in Grahamstown, South Africa, directed by
Aubrey Sekhabi, who worked from a BBC recording of the production made in the
late 1970s. The production also toured the State Theatre in Pretoria, The Market
Theatre in Johannesburg and the Hilton Festival in South Africa. The Sekhabi revival
moved in March 2007 to the Royal National Theatre’s Lyttelton Theatre. In the same
year, Sizwe Banzi is Dead was translated into French by Marie-Hélène Estienne for a
version staged by Peter Brook at the Barbican Centre and to tour around the world.
In its final re-incarnation with the two collaborators, Kani and Ntshona returned to
Broadway in April 2008 for a limited engagement presented by the Brooklyn Academy
of Music.
NONBEING by Muthal Naidoo
non-white
non-entity
I think but am not
but to think I am not
is to be
not what I can
but what I must
invisible
unseen
In shades of yellow, brown and black
that fade in the white glare
of the being one
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play notes
BERTOLT BRECHT and ATHOL FUGARD
Excerpted from The Drama of South Africa by Loren Kruger
While the play [Sizwe Banzi is Dead] emerged out of
the contradiction between an affirmative image and a
sober representation of apartheid, it also negotiated
the tension between different modes of performance.
The balancing act between Grotowskian “poor
theatre” and exuberant impersonation, Brechtian
coolness and the engaging, even ingratiating variety
act, corresponded to the tension, in the lives of actors
and characters alike, between the matter-of-fact
negotiation of absurd but painful conflicts caused
by apartheid law and the energetic mockery of that
absurdity. The dramatization of this tension using
props like the passbook and the social gests involved
in handling them drew on Brecht by way of [Fugard’s earlier play] The Coat. The
pace and tone of the performance was, however, shaped by the actors’ life-histories,
especially Kani’s seven years with Ford. Kani’s expansive impersonation of different
characters, set off by Ntshona’s straight-man portrayal of Sizwe, also suggests the
variety sketches that toured the townships. Kani’s virtuoso performance as Styles
and his antagonists, from his boss to a horde of cheeky cockroaches, was not really
a monologue, as it is often described, but a satirical variety turn. Kani’s impersonation
of “Baas Bradley” and his own former self at the Ford assembly plant in anticipation of
the visit of Henry Ford Jr. is typical. . . . Kani’s mimicry of his boss’s efforts to speak to
his “boys,” enhanced by direct engagement of the audience, recalls the performance
style of township shows.
This affinity did not please everybody. Sipho Sepamla criticized the ingratiating aspect
of the impersonation for making black spectators “laugh too hard at the white man to
see beyond that” (S’ketsh 1973: 24); his skepticism was echoed in New York, where
Kani’s performance was compared to that staple of minstrelsy, Stephin Fetchit. In St.
Stephen’s Hall in New Brighton, however, audiences proved able to combine heartfelt
laughter at situations they knew all too well with strategic intervention:
At the end of the Ford Factory story a man…entered the acting area and
then, as if he was a referee at a boxing match, held up John’s arm and
announced that “Kani has knocked out Henry Ford the Junior.”
(Athol Fugard 1993:30)
Fugard calls this intervention Brechtian and, while it corresponds to Brecht’s idea of
the active spectator, it is also thoroughly African. As Fugard had already noted of The
Coat, there was a significant difference between the white audience’s emotional but
alienated response of “horror and fascination” (1984: 143) and the cast members’
dispassionate comment. . . . The difference between the fascination with staged
suffering favored by audiences accustomed to the illusionistic Anglo-American stage
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play notes
and an African preference for interacting with the action rather than silently watching
may have been new to Fugard, but African interest in social relations on stage was
noted in the 1940s (Routh 1950b: 23), as well as in accounts of present-day African
producers and audiences. . . .
After watching the first few seconds of the operation [putting Sizwe’s
photograph into Zwelinzima’s pass] in stunned silence... a voice shouted out
from the audience: “Don’t do it brother…” Another voice responded… “Go
ahead and try. They haven’t caught me yet.” That was the cue for the most
amazing and spontaneous debate I have ever heard. As I stood… listening
to it all, I realized I was watching a very special example of one of theater’s
major responsibilities in an oppressive society: to break… the conspiracy of
silence… The action of our play was being matched… by the action of the
audience. . . . A performance on stage had provoked a political event in the
auditorium.
(Athol Fugard 1993: 31–32)
. . . .This intervention is powerful not because it
“breaks the silence” but because it acknowledges
the symbolic character of the action. The audience’s
debate, like the show it interrupts, is a performance;
its enactment here—in the luminal space between
the familiar ground of the township outside and
the occasional, unlikely character of the show
inside the hall—is significant precisely because it
is impossible outside. When Buntu and “Robert” in
Sizwe Banzi simulate likely encounters with potential
power brokers like the boss or the police or when
prisoner John (Kani) mimes “calling home” from
The Island—recalling the symbolic acts of Robben
Island prisoners deprived of family contact—this performance reenacts ordinary acts in
extraordinary circumstances. By intervening in the play, the members of the audience
do not abandon the fiction; they use it. Their participation in a public performance
reenacts the symbolic action of reclaiming and occupying public space and so
entertains the possibility of a future public culture.
Loren Kruger is a Professor in the Departments of English, Cinema and Media Studies,
Comparative Literature, Germanic Studies, and Theater and Performance Studies, as well as
the Committee on African and African-American Studies at the University of Chicago.
Excerpted from The Drama of South Africa by Loren Kruger, published in 1999 by Routledge. All
rights reserved. Do not reprint without permission from the publisher.
Work cited:
Fugard, Athol (1982) “Sizwe Banzi is Dead,” in R. Harwood (ed.) A Night at the Theatre, London:
Methuen, 21–33.
Fugard, Athol (1984) Notebooks: 1960–77, New York: Theatre Communications Group.
Routh, G. (1950b) “The Bantu People’s Theatre,” Trek (October): 20–23
S’ketsh (1973) (Summer).
Photographs: New York Public Library.
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Profiles
ALLEN GILMORE (Sizwe Banzi) returns to Court Theatre having
performed here as Argante in Scapin, as Cyrano in Cyrano (coproduced with Redmoon Theater), and as Hamm in Endgame.
He recently performed at Yale Rep as Pantalone in The Servant
of Two Masters and as The Player in Rosencrantz and
Guildenstern are Dead at Writers’ Theatre. He next travels to
Intiman Theatre for its production of The Doctor in Spite of Himself. Allen is a proud ensemble
member and artistic associate of Congo Square and Next Theatres, repspectively.
Chiké Johnson (Styles/Buntu) was last seen in Ruined, a coproduction between the Goodman Theatre and Manhattan
Theatre Club. Some of his past theater credits include: The
Crucible, Huck Finn, and The Unmentionables (Steppenwolf
Theatre); The Unmentionables (Yale Repertory Theater); Topdog/
Underdog (Renaissance Theaterworks); King Lear (Milwaukee
Repertory Theater). TV and film credits include: Law & Order SVU, Law & Order, Prison Break,
Verizon High Speed Internet commercials, Detour, Brooklyn Shakara, The Machinist, and El
Traje. Chiké shares his life with his beautiful wife, Malkia, and their three wonderful children,
Kwasi, Nafia, and Zaria.
ATHOL FUGARD (Playwright) is a South African playwright, novelist, actor, and director best
known for his political plays opposing the South African system of apartheid and for the 2005
Academy Award-winning film of his novel Tsotsi, directed by Gavin Hood. He is an adjunct
professor of playwriting, acting, and directing in the Department of Theatre and Dance at
the University of California, San Diego. The recipient of many awards, honors, and honorary
degrees, including the 2005 Order of Ikhamanga in Silver “for his excellent contribution and
achievements in the theatre” from the government of South Africa, he is also an Honorary
Fellow of the Royal Society of Literature.
RON OJ PARSON (Director) is the co-founder and former artistic
director of the Onyx Theatre Ensemble of Chicago, and is
currently the Resident Artist at Court Theatre. He has worked with
such Chicago theatres as Steppenwolf Theatre Company,
Goodman Theatre, Victory Gardens Theater, Northlight Theatre,
Black Ensemble Theatre, eta Creative Arts Foundation, Chicago
Theatre Company, Eclipse Theatre Company, Congo Square Theatre Company, City Lit
Theater Company, Urban Theater Company, Writers’ Theatre, and a variety of arts in education
programs. Regionally Ron has directed at the Actors Theatre of Louisville, Portland Stage
Company, Virginia Stage Company, Pittsburgh Public Theater, Madison Repertory Theatre,
Studio Arena Theatre in Buffalo, Ensemble Theatre of Cincinnati, New York’s Signature
Theatre Company, Centerstage Baltimore, and the world premiere of Palmer Park at the
Stratford Shakespeare Festival in Ontario, Canada. Most recently he directed August Wilson’s
Two Trains Running at Geva Theatre in Rochester, New York. For Court Theatre, Ron recently
directed Wilson’s Ma Rainey’s Black Bottom and The Piano Lesson, and recently directed The
Old Settler at Writers’ Theatre. He is a proud member of Actors’ Equity Association and SSDC. JACK MAGAW (Scenic Designer) is based in Chicago and also teaches design at both
DePaul and Northwestern universities. He has designed numerous productions for Court
Theatre including The Mystery of Irma Vep, Flyin’ West, and Fences. Other recent Chicago
and regional theatre credits include A Life (Northlight Theatre), The Old Settler and Picnic
(Writers’ Theatre), Funny Girl (Drury Lane Oakbrook), Mauritius (TheatreSquared), All My
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Court Theatre 13
Profiles
Sons (TimeLine Theatre), Evie’s Waltz (Geva Theatre), This Wonderful Life (Indiana Repertory
Theatre), Radio Golf (Pittsburgh Public Theatre), Winesburg, Ohio and A Flea in Her Ear
(Kansas City Repertory), Souvenir (Skylight Opera Theatre), Four Places (Victory Gardens
Theater) and Love’s Labour’s Lost (Clarence Brown Theatre). He received Joseph Jefferson
Award nominations for Picnic and Bus Stop (Writers’ Theatre), Fences (Court Theatre) and
Seven Guitars (Congo Square). Upcoming projects include Heroes (Peninsula Players
Theatre) and Lowdown Dirty Blues (Northlight Theatre).
CHRISTINE PASCUAL (Costume Designer) is delighted to be back at the Court working
with the talented cast and Ron. Previous credits include: Joe Turner’s Come and Gone
(Centerstage Baltimore), The House on Mango Street, Elliot: A Soldier’s Fugue (Steppenwolf
Theatre), The Piano Lesson, The First Breeze of Summer, Flyin’ West (Court Theatre),
The Elaborate Entrance of Chad Deity (world premiere), Relatively Close, The Romance of
Magno Rubio, Symmetry (Victory Gardens Theatre), Sanctified, St. James Infirmary, Joe
Turner’s Come and Gone, Seven Guitars, Black Nativity, The Talented Tenth, Stickfly (world
premiere) (Congo Square Theatre), Our Lady of the Underpass (world premiere), Breakfast,
Lunch and Dinner, Another Part of the House, Living Out (Teatro Vista), Our Enemies:
Lively Scenes of Love and Combat (Silk Road Theatre Project), Ten Cent Night (world
premiere) (Chicago Dramatists), Capriccio Barocco (Yale Baroque Opera Project), Defiance,
Fabulation (Next Theatre), Welcome to Arroyo’s, Topdog/Underdog, True West (American
Theater Company), La Rondine ( Roosevelt University). She is an artistic associate of Teatro
Vista. Upcoming projects: The Elaborate Entrance of Chad Deity at Second Stage, NY, and
Generic Latina at Teatro Luna.
LEE KEENAN (Lighting Designer) has designed lights for The House Theatre of Chicago
(Company Member), Lookingglass Theatre, Centerstage Baltimore, Kansas City Rep, Next
Theatre, 500 Clown, Silk Road Theatre Project (Artistic Associate), The Griffin Theatre, Circle
Theatre, The Building Stage, Apple Tree, and Milwaukee Repertory. Lee’s scenic designs
have been seen at Silk Road Theatre Project, Collaboraction, Adventure Stage, Infamous
Commonwealth, and The Hyopcrites. Lee is a founding member of Sandbox Theatre Project
and an Instructor of Lighting Design at Loyola University Chicago.
NICK KEENAN (Sound Designer) is delighted to return to Court Theatre after designing
The Illusion and The Piano Lesson. Designs include Goodman Theatre (Strange Interlude,
assistant for Trip to Bountiful, Shining City, Mirror of the Invisible World), TUTA, Next, Dog
& Pony, BackStage, Collaboraction, Rivendell, Raven, Apple Tree, A Red Orchid, the NeoFuturists, the side project, and New Leaf Theatre, where he is a company member. Nick
operates sound at Goodman, teaches at Northwestern’s Cherub program, and authors a blog
(theaterforthefuture.com) discussing arts sustainability and technology in theater.
KELLI MARINO (Production Dramaturg) is the “Fugard Chicago 2010” Staff Writer for
Timeline Theatre, Remy Bumppo Theatre Company, and Court Theatre. She has dramaturged
Timeline’s ‘Master Harold’…and the Boys, Remy Bumppo’s The Island, and is excited about
working on Court’s production of Sizwe Banzi is Dead. Since moving to Chicago a year
and a half ago, Kelli has worked as Production Manager for A Red Orchid Theatre’s Youth
Ensemble, Production Manager for American Blues Theatre, Mosaic Program Coordinator
and an Education Intern at American Theater Company, Marketing Intern and Dramaturg
for Remy Bumppo’s production of Old Times, and Assistant Director for Northlight Theatre
Academy’s production of Esperanza Rising. Her favorite dramaturg credits outside of
Chicago include Candide (Arizona Repertory Theatre), To Kill a Mockingbird (Arizona Theatre
Company), God’s Man in Texas (Little Theatre of the Rockies), Tartuffe (Arizona Repertory
Theatre), Reckless and Scapin (University of Northern Colorado). Kelli holds a M.A. in Theatre
Court Theatre 14
SUBSCRIBE NOW
2010/2011
the 56th season
The Comedy of Errors
by William Shakespeare
Directed by sean graney
SEptember 16 - oCTober 17, 2010
Home
by samm-art williams
Directed by ron oj parson
november 11 - december 12, 2010
Virginia Woolf’s
Orlando
Adapted by Sarah ruhl
Directed by jessica thebus
march 10 - april 10, 2011
The Gershwins’
Porgy and Bess
by George Gershwin, DuBose and Dorothy Heyward,
and Ira Gershwin
charles newell
DOUG PECK Artistic Consultant Ron OJ Parson
may 12 - june 19, 2011
Directed by
Music Dir
Professio
nal Thea
tre at
Plus, Court is pursuing the rights to produce
Edward Albee’s
Three Tall Women
directed by Charles Newell in January/February 2011
ersity
the Univ
go
of Chica
Orlando: Copyright © Gordon Taylor. Reproduced by permission c/o Rogers,
Coleridge & White Ltd., 20 Powis Mews, London W11 1JN.
Photo of Chris Sullivan and Erik Hellman by Michael Brosilow.
Court Theatre 15
Profiles
Studies from the University of Arizona and a B.A. in Theatre Education from the University of
Northern Colorado, and is a proud member of Chicago’s Joseph Jefferson A/T Team! SARA GAMMAGE (Production Stage Manager) is always delighted to return to Court Theatre.
Previous Court credits include The Illusion, The Mystery of Irma Vep, Guys and Dolls, Fräulein
Else, Travesties, Man of La Mancha, Lettice and Lovage, Raisin, Flyin’ West, What the Butler
Saw, The First Breeze of Summer, and Wait Until Dark. Other Chicago credits include Edward
II at Chicago Shakespeare Theater, Botanic Garden at the Greenhouse Theater, A Christmas
Story at Theatre at the Center, Once Upon a Time in New Jersey at Marriot Theatre, Dessa
Rose and Tale of the Allergist’s Wife at Apple Tree Theatre, the pre-Broadway tryout of All
Shook Up, Sink, Sank, Sunk with Redmoon Theater, The World Goes ‘Round with LaRed
Productions, and The Last Five Years with Syndicate Productions. She recently finished
another season at Peninsula Players Theatre in Door County, WI; credits there include Wait
Until Dark, Is He Dead?, Rumors, and The Lady’s Not for Burning. Sara is a proud graduate of
Northwestern University.
JONATHAN NOOK (Assistant Stage Manager) loves coming home to the family at Court. He
has worked here on productions of The Year of Magical Thinking, 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: Radio Macbeth (Court/SITI); Sex with Strangers, The 3rd and
4th Annual First Look Repertory of New Work, Superior Donuts, Huck Finn (Steppenwolf);
Measure for Measure, Arms and the Man (American Players Theatre); Misalliance, The
Taffetas, Moonlight Room, Take Me Out (Milwaukee Chamber Theatre).
AT
THE
5/16
5/22
ROCK
CHORAL EVENSONG, 5 PM
PÄRT MAGNIFICAT AND BEATITUDES
LITTLE OL KOREA CONCERT, 4 PM
847.296.4555
FOR INFORMATION:
6/5
THE BEST OF ROCKEFELLER, 4:30 PM
ORGAN, CARILLON AND CHOIR GALA CONCERT
FREE, FOR INFORMATION: 773.702.7059
6/6
TINY MAHLER ORCHESTRA CONCERT, 7:30 PM
QUEEN OF HEAVEN, QUEEN OF EARTH
FOR INFORMATION: HTTP://TINYMAHLER.COM
6/20
THE BELLS IN SUMMER, 6 PM
FREE CARILLON CONCERTS, WITH TOURS AT 5:30 PM
SUNDAYS THROUGH AUGUST 22
CHARLES NEWELL (Artistic 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
Illusion, The Year of Magical Thinking, 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 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
(Chicago’s highest theatrical honor) nominee and recipient. His production of Caroline, or
Change at Court was the recipient of 4 Joseph Jefferson Awards, including Best Production
and Best Director.
The University of Chicago’s Rockefeller Memorial Chapel
5850 S Woodlawn Ave. • rockefeller.uchicago.edu • 773.702.2100
Court Theatre 16
Court Theatre 17
Information
5535 South Ellis Avenue, Chicago, IL 60637
(773) 753-4472 www.CourtTheatre.org
“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.
n
Professio
al Thea
tre at
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.
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.
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 18
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.
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 19
Board of Trustees
Chair
Vice Chairs
Secretary
Treasurer
Virginia Gerst
Barbara E. Franke
Timothy G. Goodsell
Mary Anton
Margaret Maxwell Zagel
Trustees
Roland Baker
David Bevington
Leigh Breslau
James Chandler
James E. Clark
Martha Clinton
Joan Coppleson
Paula D’Angelo
Joan Feitler
Lorna C. Ferguson
Karen Frank
Mary Louise Gorno
Philip Gossett
Jan Grayson
Jack Halpern
Kevin Hochberg
Tom Kallen
Ann Marie Lipinski
Michael Lowenthal
David Moes
Stephen R. Patton
Jerrold Ruskin
Karla Scherer
Charron F. Traut
Marilyn Fatt Vitale
Leon Walker
Honorary Trustee
Ex-Officio
Stanley Freehling
Charles Newell
Larry Norman
Nicholas Rudall
Production Staff
Floor Manager
Dialect Consultant
Assistant Director
Scenic Artists
Assistant Technical Director
Carpenters
Assistant Costume Designer
Wardrobe Supervisor
Assistant Master Electrician
Susana Pelayo
Mbongeni N. Mtshali
Aurelia Clunie
Scott Gerwitz*, Julie Ruscitti*
Rupert Priniski
Jack Birdwell, Jason Feriend, Colin Jarrell
Samantha Jones
Samantha Pudil
Paul Arebalo, Jr.
*Denotes a member of the United Scenic Artists union (USA).
Court Theatre 20
Protect your future, and Court Theatre’s.
Use cash or appreciated securities
to fund a charitable gift annuity to
benefit Court Theatre, and in return:
• Receive an income tax
deduction in the year of
the gift; and
• Receive a guaranteed annual
payment for your lifetime,
with a portion of each payment
tax-free throughout your
life expectancy.
For more information, please contact Heather McClean in the
Office of Gift Planning at (773) 834-2117 or [email protected].
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 21
Staff
Artistic Director
Resident Artist
Casting Director and Artists-in-the-Schools Director
Resident Dramaturg
Teaching Artists
Casting/Education Assistant
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 Fellows
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
Sara Tamler
Ray Vlcek
Lara Musard
Erica Friesen
Marc Chevalier
Rory Murphy
Cheryl Aponte
Colette Gregory
Jennifer Foughner
Melissa Aburano-Meister
Nina Leung
Eleanor Davis, Sarah Jahnke
General Manager Heidi Thompson Saunders
Business Manager Zachary Davis
Management Assistant Brea Hayes
Director of Marketing & Communications
Associate Director of Marketing
Marketing Associate
Kemper Marketing Fellows
Marketing Assistants
Public Relations
Box Office Manager
Associate Box Office Manager
and Database Admininstrator
Assistant Box Office Manager
Box Office Assistants
House Manager
Concessionaires
Volunteer Ushers
Court Theatre 22
Adam Thurman
Traci Brant
Milan Pejnovich
Vanessa Banoni, William Bishop
Devin O’Rourke, Gabriel Panek
Cathy Taylor Public Relations, Inc.
Diane Osolin
Heather Dumdei
Benjamin Brownson
Jenna Blackburn, Jacob Tyrell, Kathleen Wolk
Matthew Sitz
Jacob Beebe, Bobby Morales,
Anna Mormolstein, Jacob Tyrell
Courtesy of The Saints
Court Theatre 23
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 April 22, 2010. 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
The Crown Society ($2,500-$4,999)
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
Distinguished Patrons ($25,000-$49,999)
Joan and Robert Feitler
James and Karen Frank
The Julius Frankel Foundation
Virginia and Gary Gerst
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+
Helen N. and Roland C. Baker
The Elizabeth F. Cheney Foundation
Cultural Outreach Program, City of
Chicago Department of Cultural Affairs
James E. Clark and Christina Labate
Gaylord and Dorothy Donnelley Foundation+
Grand Benefactors ($10,000-$14,999)
Martha and Bruce Clinton
Paula and Oscar D’Angelo
Lorna Ferguson and Terry Clark+
Mary Louise Gorno
The Royal Court ($5,000-$9,999)
Anonymous
Mary Anton and Paul Barron
AT&T Foundation
Leigh S. Breslau and Irene J. Sherr
Ann and Richard Carr
Joyce Chelberg
City Arts IV, City of Chicago Department
of Cultural Affairs
Court Theatre 24
Mr. and Mrs. John McCarter
David Moes and Jani Lesko
Mr. and Mrs. John R. Montgomery, III
Brooks and Howard Morgan
Navigant Consulting
Martha P. Newell^
Stephen and Linda Patton
ABC 7 Chicago
Jay R. Franke and Pamela Baker
Mrs. Edwin A. Bergman
Ms. Adela Cepeda
Nancy and Bill Fry
Carlton Guthrie
Jack and Helen Halpern
Bill and Jan Jentes
Mr. and Mrs. Jack Karp, in honor of Karen Frank
Michael Lowenthal and Amy Osler
Mr. and Mrs. Lewis Manilow
Director’s Circle ($1,500-$2,499)
Grant Thornton LLP
Kevin Hochberg and James McDaniel
Illinois Arts Council
The James S. Kemper Foundation+
Karla Scherer
David and Marilyn Vitale
Margaret Maxwell Zagel
Kirkland & Ellis LLP
Nuveen Investments
Sidley Austin LLP
Winston & Strawn LLP
Joan and Warwick Coppleson
Ms. Katharine Darrow
Mr. and Mrs. F. Conrad Fischer
Follett Corporation
Richard and Mary L. Gray
The Irving Harris Foundation
Gayle H. Jensen
Ann Marie Lipinski and Steve Kagan
Jean and John Berghoff
David and Peggy Bevington
Stan and Elin Christianson
Mr. and Mrs. Stephen Cruise
Eileen and Richard Epstein
Mr. and Mrs. Mark Filip
Julie and Ronald Gould
Mr. and Mrs. Thomas C. Heagy
Janet and Bob Helman
Ms. Kineret Jaffe
Tom and Esta Kallen
Classic Circle ($1,000-$1,499)
Anonymous
Cheryl and John Aponte
Judith Barnard and Michael Fain
M.R. Beal & Company
Russell and Suzy Campbell
Mr. and Mrs. Charles F. Custer
Nancy and Eugene DeSombre
The Richard H. Driehaus Foundation
Phyllis and Philip Eaton*
Sylvia Fergus
Mr. Harve Ferrill
Mrs. Zollie Frank
Eugene Goldwasser and Deone Jackman
Timothy G. Goodsell
Philip and Suzanne Gossett
Mrs. Alice Heydemann
Anne Kutak
Mr. Barry Preston
Mrs. Brenda M. Shapiro
Skidmore, Owings & Merrill LLP
Mr. and Mrs. Stuart Townsend
Charron and Richard Traut
Sarita I. Warshawsky
Robert McDermott and Sarah Jaicks McDermott
William and Kate Morrison
James Noonan and Dana Levinson
Thomas Rosenbaum and Katherine Faber
Jerrold Ruskin
Lynne F. and Ralph A. Schatz
Mr. James Stone
Elaine and Richard Tinberg
Anne and William Tobey
Anne and John Tuohy
Fidelis and Bonnie Umeh
Ms. Judith Wright
Francesca Johns and Angelo Kokkino
Alfred L. McDougal and Nancy Lauter McDougal
Linda Herreid and Brian Meister
Kathleen Picken
Michael Saidel
Joan and James Shapiro
Mr. and Mrs. Donald Stewart
Kathy and Robert Sullivan
Allison Thomas
Mr. Fred Walz
Mr. and Mrs. William Landes
Francis L. Lederer Foundation
Mrs. and Mr. Karen Lewis
Charlene and Gary MacDougal
Ms. Susan Miller
Messrs. Robert Ollis and Richard Gibbons
Allan and Carla Price
Mr. and Mrs. James M. Ratcliffe
David and Judith L. Sensibar
Nikki and Fred Stein
Al Stonitsch and Helen Witt
Mr. and Mrs. James Tonsgard
Mr. and Mrs. Thomas M. Tully
The Ultmann Family, in loving memory of John
Mr. and Mrs. R. Todd Vieregg
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 25
Annual Support
Patrons ($500-$999)
Anonymous
Arie & Ida Crown Memorial
Brett and Carey August
Ms. Heather Black
Mr. Nathanial Blackman
Mr. and Mrs. Edward M. Blair, Jr.
Mr. and Mrs. Andrew Block
Mr. and Mrs. Laurence Booth
Phyllis Booth
Mary and Carl Boyer
Douglas Bragan
Daisy A. Driss
Nancie and Bruce Dunn
Kent S. Dymak and Theodore N. Foss
Mr. Bill Fraumann
Susan and Paul Freehling, in honor of
Edna, William and Alison
Mr. and Mrs. Joel Guillory
David and Betty Hess
Mr. and Mrs. Peter Heydemann
Judith Kaufman
Mr. and Mrs. Martin J. Koldyke
Barry Lesht and Kay Schichtel, in memory of
Jack Shannon
John and Jill Levi
Contributors ($250-$499)
Filomena and Robert Albee
Paul F. and Mary H. Anderson
Sharon and Robert Barton
Catharine Bell and Robert Weiglein
Joan and Julian Berman
Mr. and Mrs. Adrian Beverly
Mr. and Mrs. David Blumberg
Cheryl Bonander
Ed and Judy Burton
Agnes Canning
Robert B. Cassey
Mr. and Mrs. Howard Cohn
Elizabeth Hartigan Connelly and Matthew Connelly
Nelda Connors
Barbara Flynn Currie
Mr. Kermit Daniel
Ms. Julie Danis and Mr. Paul Donahue
Mr. and Mrs. Robert J. Darnall
Frederick T. Dearborn
Dr. and Mrs. Robert L. Deiss
Eloise DeYoung
Margie Feitler
Edie and Ray Fessler
Ms. Jenny Foughner
Court Theatre 26
Bernard and Averill Leviton
Phoebe R. and John D. Lewis Family Foundation
Mr. and Mrs. William Mason
Mr. and Mrs. Robert Moeller
Bill Mulliken and Lorna Filippini-Mulliken
Harvey Nathan and Lisa Kohn
Prof. Larry F. Norman
Ms. Grayce Papp
Edward M. Rafalski
Ms. Yolanda Saul
Roche Schulfer
Ms. Susan Schwartzwald
Dr. Salvador J. Sedita and Ms. Pamela L. Owens
Mr. and Mrs. Daniel Shannon
Susan and Robert Shapiro
Mary and Charles Shea
Mr. Fred Siegman
Tim Burroughs and Barbara Smith
Bill and Orli Staley
Dr. Francis H. Straus II
Otto and Elsbeth Thilenius
Steve and Debbie Viktora
Mr. and Mrs. David Wanger
Mrs. Iris S. Witkowsky
Ms. Lucia Woods
Dr. and Mrs. James L. Franklin
Joan M. Giardina
Gerry and Stan Glass
Ethel and Bill Gofen
Mr. and Mrs. Samuel Golden
Mrs. Betty Guttman
Gene and Nancy Haller
Mr. and Mrs. Robert Hartfield, in honor of
Virginia Gerst
Douglas and Lola Hotchkis
Carrie and Gary Huff
Ms. Melody Johnson
Michael Jones
Neil and Diana King
Nancy and Richard Kosobud
Larry and Carole Krucoff
Bill and Blair Lawlor
Steven and Barbara Lewis
Mr. Michael C. Litt
Mr. and Mrs. Joe Madden
Sue Malmberg
Michelle Maton and Mike Schaeffer
David E. McNeel
Renee M. Menegaz and Prof. R. D. Bock
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.
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 April 22, 2010. If you have a
correction or would prefer to remain anonymous, please call (773) 834-0941.
THE DARKER SIDE OF LIGHT
ARTS OF PRIVACY, –
On view through June 13
smartmuseum.uchicago.edu/darkersideof light
This exhibition is organized by the National Gallery of Art, Washington, DC.
SMART MUSEUM OF ART UNIVERSIT Y OF CHICAGO
5550 South Greenwood Avenue | Chicago, Illinois 60637 | http://smartmuseum.uchicago.edu
Court Theatre 27
Annual Support
Dorism and Glenn E. Merritt
Omar Miller
Robert Moyer and Anita Nagler
Mr. Charles Newell
Ms. Cathy Niden
Northern Trust Matching Gift Program
Irma Parker
Bruce Rodman
William and Eunice Rosen
Ann M. Rothschild
Sharon Salveter and Stephan Meyer
Mr. and Mrs. Thomas Scott
Ilene W. Shaw
Joan and Lynn Small
Elizabeth and Hugo Sonnenschein
Associates ($150-$249)
Anonymous
Geraldine S. Alvarez
Mort Arnsdorf and Rosemary Crowley
Ted and Barbara Asner
Ms. Kathleen Betterman
Helen and Charles Bidwell
James B. and Dorothy Bishop
Jim and Sandy Boves
Carol Jean and Bernard Brown
The Chaffetz Family Foundation
Judy Chernick
Elizabeth Fama and John Cochrane
Lydia G. Cochrane
Mr. and Mrs. David Crabb
Katherine and John Culbert
Quinn and Robert Delaney
Dr. and Mrs. James Downey
John Dyble
Rose B. Dyrud
Thea and Christopher Janus
Sidney and Sondra Berman Epstein
B. Ellen Fisher
Ms. Mary Fisher
Mr. Dale Fitschen
Paul Fong
Mrs. Betty Gilbert
Mr. Ray Greenblatt
Harris Bank
Mr. Alton Harris
Carrie L. Hedges
Richard and Marilyn Helmholz
Beth and Howard Helsinger
IBM Corporation
Mr. and Mrs. Abel P. Jeuland
Prof. and Mrs. Emmet Larkin
Franklin St. Lawrence
Dorie Sternberg
George P. Surgeon
Ardis Tabb
Edward and Edith Turkington
Brady Twiggs
Dr. and Mrs. W. H. Van Houten
Daina Variakojis and Ernest Frizke
Elaine and Patrick Wackerly
Mr. Ted Walch, in memory of Martha Newell
Mr. Albert Wanninger
Nicholas Weingarten and Cynthia Winter
Paul and Mary Yovovich
Terese S. Zimmer
Charles and Fran Licht
James and Katharine Mann
Mr. and Mrs. McKim Marriott
Mr. Frank Mayer
Stacey and Patrick McCusker
Dean Miller and Martha Swift
Dr. Ernest Mond
Marianne Nathan and James Hugunin
Sarah and Richad Newell
Margaret and William J. O’Connor
Mr. Milton Podolsky
Elizabeth M. Postell
Jerry Proffit
Tina Reynolds
Mr. Stuart Rice
Nuna and Ennio Rossi
Cecilia and Joel Roth
Ms. Martha Roth
Drs. Donald A. and Janet Rowley
Roberta and Howard Siegel
Robert A. Smith
Ms. Faith Spencer
Dr. and Mrs. Eric Spratford
Judith E. Stein
Mrs. Josephine Strauss
Casmir and Dorothy Szczepaniak
Gregory Tabaczynski
Lynne A. Taylor and Timothy D. Smith
Russell and MarleneTuttle
Mr. and Mrs. John Twombly
Dr. and Mrs. Thomas Vargish
Joseph Wolnski and Jane Christino
Ms. C. Elizabeth Howland and Mr. Dennis Zavac,
in honor of Brooks and Howard Morgan
Once the show is over…
what do you do for fun?
Footlights is where you are – on Facebook, Twitter, the web,
the blogosphere. Keep up with what’s happening in the arts
and get special offers and giveaways!
Become a fan:
facebook.com/footlights
Follow us:
twitter.com/footlightschi
Make plans:
footlights.com/chicago/events
iPhone is a trademark of Apple, Inc.
Court Theatre 28
Court Theatre 29
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
The Martha Paine Newell Fund for Emerging Artists
A new endowment established by Timothy, Patricia, and Charles Newell in honor of
their mother, Martha “Matt” Newell, will allow Court Theatre to support the work of
early-career theatre artists. One emerging artist per year, identified by Court’s artistic
and production staff, will be invited to work on Court productions as a Matt Fellow.
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 Performance Festival Sponsor
Hyde Park Bank
Visit the Court Theatre Blog
Join Dramaturg Drew Dir and many other
Court artists as they THINK OUT LOUD
about all things Court Theatre.
www.CourtTheatre.org/blog
Court Theatre 30
Special Gifts
In-Kind Contributions
The following companies and individuals support Court Theatre through the
donation of goods or services:
Art + Science Salon
Helen N. and Roland C. Baker
David Bevington
Bistro Campagne
Bloomingdale’s
The Boeing Company
Leigh Breslau
Julie Burros
James Chandler
Chant
Charleston Tea Plantation
Chicago Botanic Garden
Chicago Shakespeare Theater
Chicago Symphony Orchestra
CJ’s Eatery
James E. Clark
C.M. Fasan Florist
Loreta Corsetti
Paula and Oscar D’Angelo
Digital Imaging Resources
Dan Dry
Exhale Spa
Joan Feitler
Lorna Ferguson and Terry Clark
Field Museum
Jacqueline Firkins
Sarah Fornace
Four Seasons Chicago
Four Seasons New York
Fox & Obel
Karen and James Frank
The Gage
Virginia Gerst
Goodman Theatre
Timothy Goodsell and Susan McGee
Philip Gossett
Grant Park Music Festival
Harris Theatre
Helaine and Peter Heydemann
Leslie Hindman
Kevin Hochberg and James McDaniel
KAP Graphics
Steven Kaplan and Carol Rubin
Tony Kushner
Limelight Catering…food illuminated
Lincoln Park Zoo
Lookingglass Theatre
Mary Mastricola and La Petite Folie
David Moes
Brooks and Howard Morgan
Charles Newell and Kate Collins
Northlight Theatre
Old Town School of Folk Music
Sara Paretsky
Park 52
Doug Peck
Piccolo Mondo
Barrett Pitts
Pizza Capri
Ravinia Festival
Regents Park, by Crescent Heights
Robin Richman
Rouge Steel
Salon Blonde
The Saints
Kate Sheehy
Sidley Austin LLP
Skidmore, Owings & Merrill
The Southern
Spoleto Festival
Steppenwolf Theatre Company
Jessica Tampas
Union League Club of Chicago
United Airlines
The University of Chicago
Dennis Watkins
Wishbone Restaurant
Margaret Maxwell Zagel
Court Theatre 31
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.
(773) 241-5200
Casual Italian
1642 East 56th Street
(773) 643-1106
Chicago’s International Theater Series continues this summer
FrOM SOUTH AFrICA
ITSOSENG
written and performed by Omphile Molusi
Upstairs at Chicago Shakespeare
“A powerful, poignant
but also funny picture of life
in a forgotten township”
–The Scotsman (UK)
JUNE 9–20, 2010
Tickets start at just $28
Court Theatre 32