2012/2013 the 58th season Dear Court family, At the first rehearsal for James Joyce’s “The Dead,” our costume designer, Linda Roethke (who has designed costumes for Court’s previous productions) remarked, “I think you’re finally directing the production you always wanted to do, Charlie.” Linda, insightful as ever, put her finger on the central motivating force behind our return to James Joyce’s “The Dead.” As a director I seldom repeat myself, but this production represents more than just a return to a beloved work of theatre. It is the culmination of years of artistic selfdiscovery—of an epiphany, if you will. For Gabriel Conroy, the central character in Joyce’s short story “The Dead,” epiphany comes suddenly and unexpectedly on the night of his aunts’ Christmas party. My epiphany, however, was a decade in the making. When I directed the first production of “The Dead” ten years ago, it was my first time directing a musical. Musicals were an undiscovered country for me, and as I began rehearsals, I was privately terrified of everything I didn’t know. With the collaboration of an exceptional cast (led by John Reeger and Paula Scrofano), we created a joyous production that opened a new door for musicals at Court Theatre. The very next year, we revived James Joyce’s “The Dead,” this time with a new music director: Doug Peck. That first collaboration with Doug sparked an artistic partnership that went on to produce Guys and Dolls, Raisin, Carousel, Man of La Mancha, Caroline, or Change, and Porgy and Bess. Over the course of these productions, Doug and I learned the power that authenticity and spirituality could bring to the community of characters these musicals depicted. Those qualities are defining features of James Joyce’s “The Dead,” but hadn’t been apparent to me yet. So when Doug and I sat down after Porgy and Bess to answer the question “what’s next?,” the epiphany was unexpected but clear as a bell: we would revisit James Joyce’s “The Dead.” Not to revive, but to reinvent. As just one example of our reinvention, there is not a traditional “orchestra” in this production: instead, all of the characters play their own instruments, providing a new level of authenticity that we weren’t previously able to achieve. The creators Richard Nelson and Shaun Davey have been generous in their support of our new thinking, and I’d like to thank them for entrusting us with their beautiful play as we finally create the production of James Joyce’s “The Dead” I’d always intended. Though we take it for granted today, Court’s newly stated commitment to musical theatre was a provocative step for the theatre ten years ago, and I’d like to thank our supporters and especially our audience members for recognizing and encouraging that vision. You have made possible an impressive collection of productions here at Court and paved the way for many more to come.
Charles Newell, Artistic Director Court Theatre 1
2012/2013 the 58th season Ar t i st i c D i re ct o r CHA R L E S N E W E L L
E xe cu t i v e D ir ec t or S T E P H EN J . A LB ER T
James Joyce’s ” “ the
November 8 – December 9, 2012
Book by | Music by Lyrics conceived and adapted by Richard Nelson and Shaun Davey Directed by Charles Newell | Music Direction by Doug Peck
Scenic Design by Scott Davis Costumes by Linda Roethke* Lighting by Jennifer Tipton* Sound Design by Josh Horvath* Casting by Cree Rankin
Katie Spelman Choreographer Claudia Anderson Dialect Coach Drew Dir Resident Dramaturg William Collins Production Stage Manager Donald E. Claxon Stage Manager
James Joyce’s “The Dead” is presented by special arrangement with SAMUEL FRENCH, INC. James Joyce’s “The Dead” was Originally Produced on Broadway by Arielle Tepper and Gregory Mosher. Playwrights Horizons, Inc., New York City produced the New York City Premiere in 1999. The Director and Choreographer are members of the Society of Stage Directors and Choreographers, Inc., an independent national labor union. *Denotes a member of the United Scenic Artists, I.A.T.S.E. Local USA829, AFL-CIO, CLC. The Stage Managers are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
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CAST Gabriel Conroy................................................................... Philip Earl Johnson* Aunt Julia Morkan, Gabriel’s aunt..................................................Mary Ernster* Aunt Kate Morkan, Gabriel’s aunt.................................................... Anne Gunn* Mary Jane Morkan, Julia and Kate’s niece (Violin).......................Regina Leslie Gretta Conroy, Gabriel’s wife.................................................Susie McMonagle* Lily, the Morkans’ maid (Flute)................................................... Suzanne Gillen Mr. Browne, a family friend (Cello)................................................Steve Tomlitz Molly Ivors, Gabriel’s colleague...........................................................Lara Filip* Michael, Mary Jane’s student (Guitar).............................................Jim DeSelm Rita, Aunt Julia’s student / Young Julia...................................... Rachel Klippel† Bartell D’Arcy, an opera singer............................................... J. Michael Finley* Mrs. Malins, a family friend..................................................Rebecca Finnegan* Freddy Malins, her son.................................................................... Rob Lindley* Understudies: Allison Cook, Kelli Harrington, Benjamin Magnuson*, Shaun Nathan Baer *Denotes a member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. †Dance Captain
SETTING January 6, 1904. Dublin, Ireland. The Misses Morkans’ annual party to celebrate the Feast of the Epiphany. James Joyce’s “The Dead” is presented without intermission. Court Theatre performs in the intimate Abelson Auditorium, made possible through a gift from Hope and Lester Abelson. The video and/or audio recording of this performance by any means is strictly prohibited. Please turn off all phones, pagers, and chiming watches. 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 City Arts grant from the City of Chicago Department of Cultural Affairs and Special Events; and the Cultural Outreach Program of the City of Chicago. 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, Arts Alliance Illinois, and the League of Chicago Theatres.
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PLAY NOTES Gabriel Conroy, a university professor, recalls the Misses Morkans’ annual party, held on the eve of the Feast of Epiphany or Twelfth Night, the traditional Christian celebration of the revelation of God in human form by the visitation of the Magi to the infant Jesus. On the night of this particular party, Gabriel remarks that “snow would be general all over Ireland,” a rare occurrence. The hostesses of this annual gathering are Gabriel’s Aunt Kate and Aunt Julia, and his cousin Mary Jane. Until recently, Aunt Julia sang in the choir at the Church of the Immaculate Conception (or Adam and Eve’s), while Aunt Kate and now Mary Jane support themselves by giving music lessons. The other party guests include Gabriel’s wife, Gretta, who grew up in Galway in the West of Ireland; a pair of music students, Rita and Michael; a famous tenor, Bartell D’Arcy; a younger colleague of Gabriel’s, Molly Ivors; an old family friend, Mrs. Malins; her son, Freddy Malins; the housemaid, Lily; and the lone Protestant at the party, Mr. Browne.
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PLAY NOTES All of the music in James Joyce’s “The Dead” was composed by Shaun Davey. Many of the lyrics have been adapted by Davey and Richard Nelson from several different sources in Anglo-Irish literature, rendering the music of “The Dead” a true literary treasure hunt. The list below traces each musical number to its lyrical origin. “Killarney’s Lakes” Lyrics adapted from a poem by Michael William Balfe, “By Killarney’s Lakes and Fells” “Kate Kearney” Lyrics adapted from a traditional Irish song “Parnell’s Plight” Lyrics adapted from a traditional Irish song “Adieu to Ballyshannon” Lyrics adapted from an 1877 poem by William Allingham, “The Winding Banks of Erne (or, The Emigrant’s Adieu to Ballyshannon)” “When Lovely Lady Stoops to Folly” Lyrics adapted from a poem by Oliver Goldsmith, “When Lovely Woman Stoops to Folly” “The Three Jolly Pigeons” Lyrics adapted from a song by Oliver Goldsmith from his 1773 play She Stoops to Conquer “Goldenhair” Lyrics adapted from two poems by James Joyce, “Lean Out of the Window” and “My Dove, My Beautiful One” “The Three Graces” Lyrics by Richard Nelson and Shaun Davey “Naughty Girls” Lyrics adapted from the 1898 operetta, A Greek Slave: A Musical Comedy in Two Acts, with lyrics by Harry Greenbank and Adrian Ross “Wake the Dead” Lyrics by Richard Nelson and Shaun Davey “D’Arcy’s Aria” Lyrics adapted from the traditional “Lass of Aughrim” (Translated into Italian by Ali Davey) “Queen of Our Hearts” Lyrics by Richard Nelson and Shaun Davey “Michael Furey” Lyrics adapted from “The Dead” by James Joyce “The Living and the Dead” Lyrics adapted from “The Dead” by James Joyce Court Theatre 5
PLAY NOTES Drew Dir in Coversation with
Doug Peck is the music director behind Court’s productions of Guys and Dolls, Carousel, Raisin, Man of La Mancha, Caroline, or Change, and Porgy and Bess. His first show was 2003’s production of James Joyce’s “The Dead,” and now, ten years later, he chats about returning, older and wiser, to Richard Nelson and Shaun Davey’s musical.
What makes James Joyce’s “The Dead” different from other musicals? James Joyce’s “The Dead” is relatively unique in the world of musical theatre in that it includes both diagetic songs (characters are performing music, aware that they are singing) and presentational songs (characters are expressing emotion musically, but not aware they are singing). The piece begins with exclusively diagetic music and makes a transition to presentational songs as the narrative deepens. Our narrator, Gabriel, is the first character to sing a presentational song directly to the audience (the aside sections of “The Three Graces”), and Freddy Malins, in some ways the most truthful character in the story, is the first to sing a number that blends the two types of songs. This song, “Wake The Dead,” marks the transition from the more public first two scenes into the more private final two scenes in a stirring, extremely Joycean way.
Why have you and Charlie returned to “The Dead,” and what can returning audiences expect to see that’s different about this production? I was thrilled when Charlie asked me to join him in revisiting “The Dead.” Like Joyce’s short story, this piece yields new riches and deeper levels of meaning every time you encounter it. The huge opportunity in this new production is incorporating the musicians into the company—other than me at the piano, every note of music is made not by external musicians, but by the characters themselves. Joyce’s story is CONTINUED ON PP 8-9 Court Theatre 6
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PLAY NOTES deeply concerned with musicians and music lovers, so this approach makes both narrative and conceptual sense. My husband, Rob Lindley, and I often host “old fashioned piano parties” in an effort to recall a world in which making music was as central to the home as it was in Joyce’s time.
Describe the casting process behind finding the right artists to fill the roles of the actor-musicians. Finding the right company of performers was a unique challenge for this production—in some ways, the hardest-to-cast piece in my career. Working with Charlie, choreographer Katie Spelman, and casting director Cree Rankin, we were able to find superior actor-singermusicians who are able to cover the violin, cello, guitar, and flute demands of Shaun Davey’s score, as well as play the various characters in the story. In addition to these primary players, the rest of the company also picks up flutes, harmoniums, bodhrans, and other musical instruments to integrate the score into the action even more deeply. As we explore the piece in rehearsal, parallels both expected and unexpected are emerging about the rightness of each character playing a particular instrument, both tonally (Mr. Browne as the cello) and energetically (Lily as a flute). It is also fascinating to explore why each character begins to play at any given moment in the action.
James Joyce’s “The Dead” was your very first show here at Court Theatre almost ten years ago. How have you changed as an artist and a person over the last decade? Now that you’re older, do you see or hear “The Dead” any differently? James Joyce’s “The Dead” in 2003 was my first show at Court Theatre, as well as my real Chicago theatre debut. I was twenty-two years old and brought the perspective of a very young man to the story. Thankfully, the experience was glorious—I learned so much from Charlie about story-telling and emotional investment, and I got so much confidence from wonderful, kind actors like John Reeger, Paula Scrofano, Ann Whitney, and Steve Wallem, among many others. Since “The Dead” Charlie and I have collaborated on seven other productions (Guys and Dolls, The Importance of Court Theatre 8
Being Earnest, Man of La Mancha, Raisin, Carousel, Caroline, or Change, and Porgy and Bess) and have a wealth of history in our artistic partnership and our friendship to deepen our work and our approach to this text. I think in 2003, I only really understood the very young and the very old characters. Now that I’m married with a bit more world experience, I know I understand the central, middle-aged characters much better. I hope I have many more chances to revisit this glorious show with Charlie at Court Theatre! Pictured on pp 6 and 8, top to bottom: Charles Newell and Doug Peck; John Reeger and Paula Scrofano in James Joyce’s “The Dead” (2003); Neil Friedman and Jeff Dumas in Guys and Dolls (2004); Neil Friedman, Herbert Perry, and Hollis Resnik in Man of La Mancha (2005); Harriet Nzinga Plumpp and Adero Neely in Raisin (2006); Ernestine Jackson, Travis Turner, and Tommy Rapley in Carousel (2008); E. Faye Butler, Malcolm Durning, Harriet Nzinga Plumpp, and Byron Glenn Willis in Caroline, or Change (2008); and Alexis J. Rogers and James Earl Jones II in Porgy and Bess (2011). Photos by Michael Brosilow.
The Music of James Joyce’s “The Dead” “The Dead,” James Joyce’s famous short story, initially appears to be difficult theatrical material. Joyce’s writing is notable for its subtle revelations of the extraordinary within seemingly ordinary moments and people—perhaps atypical fare for a Broadway musical. But in 1991, playwright Richard Nelson and composer Shaun Davey were introduced through a mutual friend; they spent that summer together in Dublin, looking for material to collaborate on and were drawn to the intimacy and strongly character-based qualities of “The Dead.” Nelson and Davey spent several years working on this piece; James Joyce’s “The Dead” premiered in October of 1999. Produced Off-Broadway at Playwright Horizons, that first production starred Christopher Walken as Gabriel, the narrator of the story, and Blair Brown as Gretta, his wife. The show received positive reviews, with The New York Times describing it as “[achieving] a soft spoken air of intimacy that has you leaning forward like a fascinated eavesdropper.” The production moved to Broadway in January 2000, and was nominated that year for five Tony Awards, including Best Musical and Original Score. It ultimately won the Tony for Best Book in a Musical, and completed a successful run of over 100 Broadway performances. A musical version of Joyce’s “The Dead” isn’t as unlikely as it first appears. Joyce was steeped in music, and his fascination reveals itself in the names of long-past singers that the partygoers discuss in “The Dead,” all of which came from Joyce’s encyclopedic knowledge of the musical world in Dublin and abroad. Joyce himself had a beautiful tenor voice, and had he performed better in the sight-reading trials of a singing competition he entered at the age of 22, might have had a much different career as a professional singer.
–Shelly Horwitz and Drew Dir Court Theatre 9
NOTES for James Joyce’s “The Dead” By Stephen C. Meredith Stephen C. Meredith is Professor of Pathology, Biochemistry and Molecular Biology, and the College at the University of Chicago, where he works on the biophysics of protein structure, concentrating on amyloid proteins associated with neurodegenerative diseases. He also teaches courses on James Joyce’s Ulysses, St. Thomas Aquinas, and Dostoevsky.
James Joyce had much affinity for theater. He was an early and ardent supporter of the “new realism” of Henrik Ibsen. He was himself the author of a play, Exiles—a seldom performed one. And, in 1909, he returned to Ireland where he made arrangements to open Dublin’s first movie theater. (Not surprisingly, this did not succeed financially.) Many have noted the cinematic qualities of Joyce’s prose, which increased in his later works, as the imagery became more phantasmagorical. Indeed, “The Dead,” A Portrait of the Artist as a Young Man, Ulysses, and even Finnegans Wake all have been turned into movies. But this has occurred in spite of a wide consensus that to do so is impossible. There is something to these reigning opinions. How on earth, for example, does one render the final pages of Episode 14 of Ulysses, which is a farrago of multiple languages, street argot, curses, farts, whistles, and climate changes—all with Pentecostal overtones? Or the bizarre imagery one finds in much of Episode 15, occurring in the brothel of Bella (“Circe”) Cohen? “The Dead” is, by the standards of bizarre imagery, a milder text, but it presents narrative challenges of its own. The opening of the story is a gem of Joyce’s ventriloquism: “Lily, the caretaker’s daughter, was literally run off her feet.” I would wager that James Joyce knew that Lily was figuratively, not literally run off her feet. But Lily the caretaker’s daughter would make such a mistake. The ventriloquism consists of the characters throwing their voices onto that of the narrator. As a result, the narrative voice in “The Dead” changes often. The final pages of the story contain sublime, beautiful prose, but whose voice speaks that prose? Perhaps it is a chastened Gabriel Conroy, throwing his melancholic voice onto the narrator. (In the story, these words are voiced in the third person. In the 1987 film, directed by John Huston, these words are given as a first person voice-over, which worked rather badly. IMHO. Then again, to me, any alteration in this text is sacrilege.) About that ending: despite its undeniable emotional power, there is no consensus about what, exactly, Joyce meant to convey. A few light taps upon the pane made him turn to the window. It had begun to snow again. He watched sleepily the flakes, silver and dark, falling obliquely against the lamplight. The time had come for him to set out on his journey westward. Yes, the newspapers were right: snow was general all over Ireland. It was falling on every part of the dark central plain, on the treeless hills, falling softly upon the Bog of Allen and, farther westward, softly falling into the dark mutinous Shannon waves. It was falling, too, upon every part of the lonely churchyard on the hill where Michael Furey lay buried. It lay thickly drifted on the crooked crosses and headstones, on the spears of the little gate, on the barren thorns. His soul swooned Court Theatre 10
slowly as he heard the snow falling faintly through the universe and faintly falling, like the descent of their last end, upon all the living and the dead. In these words, Gabriel Conroy, after failing devastatingly to rekindle his sexual life with his wife, ponders a trip to the rural West of Ireland, from which his wife, Gretta, hailed— as did Joyce’s wife. The trip would be made through the snow, which was “general all over Ireland”—a climatological oddity. Gretta was not the only one from the West: as she tells Gabriel, her long dead young lover, Michael Furey, with whom she “was great … at the time”, was also from the West. This story is, among other things, a love triangle, in which the dead are often more powerful and vital than the living. The journey to the West is not only a trip into the (supposedly) more authentically Irish Ireland, but also towards the setting of the sun, and the realm of the dead. Richard Ellmann, who often seemed rather eager to portray Joyce as an optimist, wrote: Gabriel, who has been sick of his own country, finds himself drawn inevitably into a silent tribute to it of much more consequence than his spoken tribute to the party. He has had illusions of the rightness of a way of life that should be outside of Ireland; but through this experience with his wife he grants a kind of bondage, of acceptance, even of admiration to a part of the country and a way of life that are most Irish. Ireland is shown to be stronger, more intense than he.1 One can wonder, however, whether this ending truly represents (as Ellmann states a few pages later) a “lyrical, melancholy acceptance of all that life and death offer”. For, while these pages surely are lyrical and melancholy, they are not clearly an acceptance of anything. Rather, they may be only a resigned concession, of the type that all mortals must eventually make to death. The normally reserved Gabriel blurts out his “sickness” with his own country in response to Miss Ivors’s scolding and self-righteous taunting. While dancing, she humorlessly “jests” to Gabriel, “you know nothing, of your own people, and your own country”. To Miss Ivors, to be Irish—“authentically” Irish, as she might have it—is sufficient. But is speaking Gaelic truly a proof of “authenticity,” or merely a type of romantic burnishing of a past that might never have existed? One wonders whether Gabriel, upon traveling west, would find his authentic self—or only be mired forever in provincial narrowness, which can also be “strong” and “intense.” For Gabriel, travelling to the West would preclude a literary odyssey like Joyce’s own. What would we have of James Joyce today, if he had travelled West, rather than east? CONTINUED ON P 12 1 2
Richard Ellmann, James Joyce; new and revised edition, Oxford University Press, p. 250. James Joyce on the Cover of Time, January 29, 1934. Court Theatre 11
PLAY NOTES The gathering in “The Dead” at the home of the Misses Morkan (whose name may be derived from the Danish, “mørke”, “darkness”) was for the Feast of the Epiphany, probably on January 6, 1904 (which one surmises from the discussion of Pope Pius X’s Motu Proprio, which banned women like Julia Morkan from the church choirs). An epiphany (Koine Greek, ἐπιφαεια) in Christian traditions refers to the showing forth of God to mankind in human form, in the person of Jesus Christ. In the West, it commemorates the visit of the Magi to the baby Jesus, hence his manifestation to the Gentiles. From 1898–1904, Joyce wrote 71 short sketches (40 now survive), which he dubbed epiphanies. As Stephen Dedalus says in Stephen Hero (the precursor of Portrait), these “epiphanies” are “a sudden spiritual manifestation, whether in the vulgarity of speech or of gesture or in a memorable phase of the mind itself.” (We should note that this passage did not make it into Portrait.) As this quote suggests, however, Joyce often juxtaposes opposites, as he did, for example, in one section of Ulysses entitled “Dear, Dirty Dublin.” Epiphany is a festival of light taking place in the deadness of winter. In much the same way, “The Dead” shows us points of light in an otherwise bleak landscape. There is, for example, the humorous exchange about galoshes (“everyone wears them on the Continent”)—which perhaps is reminiscent of many conversations that Nora and James had throughout their strange life together. The humor, however, is offset by a great deal of suppressed anger throughout this story. Lily startles Gabriel with such anger, when he inquires about her romantic life. Gabriel surprises himself and us by expressing such anger during his dance with Miss Ivors. He is also angry, at first, when he learns that Gretta had an earlier, and greater lover in her life than himself. And yet, as he watches Gretta sleep after her revelation, and also notes how she, too, has aged—as he begins to see her in a new light, his stance softens: Generous tears filled Gabriel’s eyes. He had never felt like that himself towards any woman, but he knew that such a feeling must be love. The tears gathered more thickly in his eyes and in the partial darkness he imagined he saw the form of a young man standing under a dripping tree. Other forms were near. His soul had approached that region where dwell the vast hosts of the dead. He was conscious of, but could not apprehend, their wayward and flickering existence. His own identity was fading out into a grey impalpable world: the solid world itself, which these dead had one time reared and lived in, was dissolving and dwindling. Gabriel is rather too hard on himself in thinking that he has never felt love. One must ask whence comes this generosity towards Gretta, and what, exactly, prompts him to shed these generous tears? In one sense, Gabriel’s generous tears are as supererogatory as God’s love. As Florence Walzl and others have noted, Michael (Furey) and Gabriel (Conroy) are the names of archangels. Michael is the judging archangel of the church militant: as Michael the Fury, he brings Gabriel to a harsh, perhaps overly harsh judgment of himself. In contrast, the archangel Gabriel is the bringer of the good news of God’s beneficence—most relevantly to this Feast of the Epiphany, he is the angel of the Annunciation, who brings the news to Mary (and to Elizabeth, wife of John the Baptist) that she would become the mother of the Son of God, marking his Incarnation (Luke 1:26-38). Joyce would never, of course, be so mawkish as to tell us explicitly who or what is being born or re-born here, or how, but if the journey westward is a journey into “the region where dwell the vast hosts of the dead”, it is also, perhaps, a journey into a new life. Court Theatre 12
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PROFILES JIM DeSELM (Michael) is grateful to be working with wonderful artists at Court Theatre. He was most recently seen as the title character in Bohemian Theatre Ensemble’s production of Floyd Collins. Other recent credits include A Catered Affair (Porchlight Music Theatre), Pump Boys & Dinettes (Theo Ubique, Jeff nomination–Music Direction), and Violet (Bailiwick). Jim is represented by Gray Talent Agency and sends love to his beautiful wife, Karri. MARY ERNSTER (Aunt Julia Morkan) makes her Court Theatre debut. Chicago credits: Mrs. Potts/Beauty and the Beast (Chicago Shakespeare Theatre); Margaret/The Light in the Piazza, Anna/The King and I (Marriott Theatre); Emily/Wings, Lily/Man of No Importance (Apple Tree Theatre); Beatrice/Much Ado About Nothing (First Folio); Titania/Another Midsummer Night (Goodman Theatre); Sylviane/The Merry Widow (Lyric Opera of Chicago). Television credits: Early Edition (CBS), Normal (HBO), Love Hurts (ABC). She has received twelve Joseph Jefferson Award nominations, two Jeff Awards, and one After Dark Award. LARA FILIP (Molly Ivors) is delighted to make her Court Theatre debut with a piece so dear to her heart. Recently, she appeared at the Marriott Theatre as Enid in Legally Blonde and at the Paramount Theatre as The Narrator in Joseph and the Amazing Technicolor Dreamcoat. Lara is also the Artistic Director for Arranmore Center for the Arts. As a singer/songwriter, she is in pre-production for an album with her band, Birdie Wing. Many thanks to everyone involved with this inspiring piece. J. MICHAEL FINLEY (Bartell D’Arcy) was born in Jonesboro, Arkansas but considers Lebanon, Missouri his hometown. He is a graduate of CCPA Roosevelt University. Recently, he appeared in Grease and Hair at the Paramount Theatre, A Little Night Music at the Writers’ Theatre, The Christmas Schooner at the Mercury Theater, and Sweeney Todd at Drury Lane Oakbrook Terrace. John would like to say thanks to his friends and family for their support and encouragement. Gambete!—For my brother, Spc. James Matthew Finley. Without him, I would not be here. REBECCA FINNEGAN (Mrs. Malins) is a local Chicago actor. Her work has been seen at Chicago Shakespeare Theater, Goodman Theatre, Timeline Theatre, Theo Ubique, Porchlight Music Theatre, Drury Lane Oakbrook Terrace, Marriott Theatre, and Light Opera Works. Regionally Rebecca has worked with Arkansas Repertory Theatre, Human Race Theater, Huntington Theatre, Washington Shakespeare Theatre, and Peninsula Players. She is a multiple Joseph Jefferson and After Dark Award nominee and recipient and is honored to make her Court Theatre debut. Rebecca is represented by Paonessa Talent Agency. SUZANNE GILLEN (Lily) is a graduate flutist at DePaul University studying with Mary Stolper. Also a woodwind doubler and vocalist, her recent freelance work includes: City Lights Orchestra, Chicago Bach Ensemble, The Rivals (DePaul University), and numerous recording sessions for independent films. Notable masterclasses include: Yo-Yo Ma and the Silk Road Ensemble, Keith Underwood, and Yehudi Wyner. Ms. Gillen is grateful for her many opportunities and looks forward to where music will bring her next. Court Theatre 14
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PROFILES ANNE GUNN (Aunt Kate Morkan) is excited to be cast in James Joyce’s “The Dead.” She has been in The Drowsy Chaperone, All Shook Up, Footloose, Bye, Bye Birdie, Damn Yankees, Baby, For the Boys, and The Taffetas (Marriott Theatre); Married Alive! (Pheasant Run); Side by Side by Sondheim (Light Opera Works–Jeff nominated); The Pirates of Penzance, Sophisticated Ladies, and Guys and Dolls (Drury Lane Oakbrook Terrace); Closer Than Ever, Merrily We Roll Along, and Assassins (Apple Tree Theater–Jeff nominated); Beehive (Briar Street Theatre); Evita (Candlelight Theater); and Hot Mikado (Drury Lane Evergreen Park). PHILIP EARL JOHNSON (Gabriel Conroy) Court Theatre–The Mystery Cycle (Jesus); National tour: Angels in America (Joe); Chicago: Goodman Theatre–Talking Pictures (Willis), Writers’ Theatre–Old Glory (Peter), American Theater Company–The Big Meal (Man #2), Steppenwolf Theatre–Picasso at the Lapin Agile (Picasso), Chicago Shakespeare Theater–The Herbal Bed (Rafe); Regional: Illinois Shakespeare Festival– Cyrano de Bergerac (Cyrano). Recent television: Chicago Fire (NBC), Unemployed (MTV); Comedy: 23 years as MooNiE the Magnif’Cent–Juggler, Ropewalker, Foolish mortal! He is represented by Paonessa Talent Agency. RACHEL KLIPPEL (Rita/Young Julia) makes her Court Theatre debut. Chicago credits include Clara in The Light in the Piazza (Non-Equity Jeff nomination–Theo Ubique Cabaret Theatre); Sweeney Todd (Drury Lane Oakbrook Terrace); Nunsense (Metropolis Performing Arts Center); Pinkalicious the Musical (Broadway in Chicago by Emerald City Theatre Company); Hello, Dolly!, Iolanthe, Yeoman of the Guard (Light Opera Works). Thanks to Charlie and Doug for this opportunity and to family and friends for unconditional love and support. REGINA LESLIE (Mary Jane) makes her Court Theatre debut. She was recently seen in the London-based tour as Mrs. Darling in Barrie’s Peter Pan. Other acting credits include the national Equity tour of Scrooge: The Musical, The Quiet Man Tales at the Chicago Theatre Downstairs, A Christmas Carol at Goodman Theatre, Sketchfest at Collaboraction, and The Real Thing at Illinois Theatre Center. Regional credits include roles with The Ordway Center, Peninsula Players, and The Old Creamery. Regina plays violin with various ensembles, performing internationally and locally. ROB LINDLEY (Freddy Malins) returns to Court Theatre having been seen in Angels in America, The Wild Duck, Caroline, or Change, and Carousel (Jeff nomination). Other credits include Candide (Goodman Theatre and Shakespeare Theatre in Washington D.C.); Cabaret (Drury Lane Oakbrook); Urinetown (Mercury Theatre); Wings (Apple Tree Theatre); A New Brain, Children of Eden, Closer Than Ever (Porchlight Music Theatre); Bach at Liepzig, Oh Coward! (Writers’ Theatre). Rob won a Joseph Jefferson Award for Best Actor for Oh Coward! and can be heard on the company’s CD Bright Young People. His vocal trio Foiled Again has won an After Dark Award and their debut CD Foiled Again: Live is available on iTunes and CDbaby. com. Upcoming projects include directing Lady Day at Emerson’s Bar & Grill at Porchlight Music Theatre, where he is an Artistic Associate.
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PROFILES BENJAMIN MAGNUSON (Understudy Gabriel, Mr. Browne, Cello, Guitar) most recently played the Boatman in Sunday in the Park with George at Chicago Shakespeare Theatre. Broadway and National Tours: Sweeney Todd (2005), Guys and Dolls (2009) and Les Misérables (25th Anniversary). Regional: Long Wharf Theater, Paper Mill Playhouse, American Conservatory Theater, La Jolla Playhouse, Mercury Theater, and Human Race Theater Company. TV and Film: 30 Rock, The Other Guys. Training: University of Cincinnati, College-Conservatory of Music (CCM). For Em. SUSIE McMONAGLE (Gretta Conroy) was last seen at Court Theatre in Man of La Mancha. She appeared on Broadway as Fantine in Les Miserables. First National tours include Billy Elliot. Other National tours include Mamma Mia, Les Miserables, and The Secret Garden. Chicago credits include Rock ‘n’ Roll (Goodman Theatre); Black Pearl Sings, At Wits End, and Sideshow (Northlight Theatre). Additional Chicago credits: Indian Ink, Dirty Blonde, Spitfire Grill, Annie Get Your Gun, Miss Saigon, Anything Goes, Cats, Evita, and Chess. She is the recipient of After Dark Awards, a Critic’s Circle Award, and nine Joseph Jefferson nominations. Her BFA is from Stephens College. STEVE TOMLITZ (Mr. Browne) is absolutely thrilled to be making his Court Theatre debut. He was most recently seen in the David Cromer-directed production of Rent with American Theatre Company. Other Chicago credits include: Miracle on 34th Street and Ragtime with Porchlight Music Theatre, Hair with Tonkawa Theatre Tribe, Assassins with Boxer Rebellion Ensemble, and South Pacific at Metropolis Theatre. His favorite role is husband to the love of his life, Rebecca. 3 1/2 years and counting! JAMES JOYCE (Novelist, 1882-1940) remains one of the twentieth century’s most lauded and accomplished authors. Born into an Irish upper middle class family, he observed his father’s drunken spendthrift habits and his mother’s biennial pregnancies. As a young man, he renounced first Catholicism, then the Middle Class and finally Ireland for a continental Bohemian life. Although Joyce spent his adulthood in Italy, Zurich, and Paris, his imagination remained rooted in the Edwardian Dublin of his youth. This Dublin seemed paralyzed by the English rule and economic depression, yet was profoundly affected by strong cultural and political impulses finalized by Irish Nationalism. In his four masterpieces, Dubliners, Portrait of the Artist as a Young Man, Ulysses, and Finnegans Wake. Joyce explored this world using increasingly radical literary techniques. In 1903, Joyce returned from his first self-exile in Paris to attend to his dying mother, May Joyce. She died in August of 1903, and a year later Joyce met Nora Barnacle, the love of his life, striding along a Dublin street. Nora, from a humble Western Irish family, profoundly affected Joyce’s eye, ear, and soul. In “The Dead,” the last of his Dubliners stories and the only one written in Europe, Joyce used a story from Nora’s youth to examine a spiritual world of “the living and the dead.” RICHARD NELSON (Author/Adaptor/Lyricist) is the author of many plays, including Conversations in Tusculum, Frank’s Home, How Shakespeare Won the West, Rodney’s Wife, Franny’s Way, Madame Melville, Goodnight Children Everywhere (Olivier Award, Best Play), The General From America, New England, Left, Misha’s Party (with Alexander Gelman), Columbus and the Discovery of Japan, Two Shakespearean Actors (Tony Nomination, Best Play), Some Americans Abroad (Olivier Nomination, Best Comedy), and Principia Scriptoriae. His musicals include James Joyce’s “The Dead” (with Shaun Davey, Tony Award, Best Book of a Musical), My Life With Albertine (with Ricky Ian Gordon), Paradise Found (with Hal Prince, Ellen Fitzhugh, and Jonathan Tunick). He has adapted and/or translated numerous Court Theatre 18
PROFILES classical and contemporary plays including Chekhov’s The Seagull, The Wood Demon, and Three Sisters, Strindberg’s Miss Julie, The Father, Goldoni’s Il Campiello, Beaumarchais’ The Marriage of Figaro, Pirandello’s Enrico IV, Moliere’s Don Juan, Erdman’s The Suicide, Fo’s Accidental Death of an Anarchist, and Jean-Claude Carriere’s The Controversy of Valladolid. His work for film and television includes Ethan Frome (Miramax Films), Sensibility and Sense, and The End of a Sentence (American Playhouse). He has written numerous radio plays for the BBC. He is an Honorary Associate Artist of the Royal Shakespeare Company, a recipient of the Academy Award in Literature from the American Academy of Arts and Letters, and the 2008 PEN/Laura Pels Master Playwright Award. He was born in Chicago. SHAUN DAVEY (Composer/Adaptor/Lyricist) was born in Belfast and lives in Wicklow. He has chosen, in his concert works, to explore the turning points in Irish history, celebrating that which unites rather than divides the Celtic people. His works include The Brendan Voyage, The Pilgrim, Granuaile, Concerto for Uilleann Pipes and Orchestra, The Relief of Derry Symphony, and the Concerto for Two Harps. Davey’s works have been performed at the Sydney Opera House; Royal Festival Hall, London; the Albert Hall, London; the Glasgow Royal Concert Hall; Munich Gasteig; the Quebec Tercentenary Festival; the New York Arts Festival; the Queen’s Festival, Belfast; the Edinburgh Folk Festival; and at music festivals in Lorient and Rennes in Brittany, St. Chartier, and Romans in France and at Expo ‘92 in Spain. CHARLES NEWELL (Director/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 Angels in America, An Iliad, Porgy and Bess, Three Tall Women, The Year of Magical Thinking, The Wild Duck, Caroline, Or Change, Titus Andronicus, Travesties, Who’s Afraid of Virginia Woolf?, Hamlet, and The Invention of Love. 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. DOUG PECK (Music Director) is always thrilled to come home to Court Theatre. He is the winner of five Joseph Jefferson Awards (Porgy and Bess, Caroline, or Change, Carousel, Fiorello!, Man of La Mancha) and two After Dark Awards (Guys and Dolls, Hello, Again). Other favorite projects include Dreamgirls, Shenandoah, Fiddler on the Roof, Cabaret, James Joyce’s “The Dead,” A Catered Affair, Hair, Grey Gardens, Oh, Coward!, My Fair Lady, Beauty and the Beast, Raisin, Animal Crackers, and Mary Zimmerman’s acclaimed production of Candide. Peck can be heard on the recordings Bright Young People: The Songs of Noël Coward, Foiled Again: Live, and Loving, Repeating: A Musical of Gertrude Stein. He is a creative partner with Goodman Theatre, an artistic associate with Porchlight Music Theatre, and a faculty member of the National High School Institute of the Arts. A proud Northwestern University graduate, Peck also trained at the Interlochen Center for the Arts. He is married to actor Rob Lindley. SCOTT DAVIS (Scenic Designer) Select designs—Othello: the Remix (Shakespeare’s Globe, Edinburgh [scenographer]); Beauty and the Beast, Murder for Two, and Short Shakespeare! Macbeth (Chicago Shakespeare Theater); Failure: A Love Story and L-Vis Live! (Victory Gardens Theater); Venus and Court Theatre 19
PROFILES Where We’re Born (Steppenwolf Garage); Kin (Griffin Theater); Peribañz, A Midsummer Night’s Dream, In Trousers, MASS, Jungalbook [costume design], and The State(s) of America: The Regina Taylor Project (Northwestern University); and The Trinity River Plays (Goodman Theatre and Dallas Theatre Center [associate designer]). LINDA ROETHKE (Costume Designer) Court Theatre productions include Orlando, Arcadia, The Romance Cycle, James Joyce’s “The Dead,” The Little Foxes, Hay Fever, An Ideal Husband (Joseph Jefferson Award). Other theatres: King Lear, As You Like It, Julius Caesar, All’s Well That Ends Well (Oregon Shakespeare Festival); The Motherf**ker with the Hat, Dead Man’s Cell Phone, Intimate Apparel, I Never Sang for My Father (Steppenwolf Theatre); Stage Kiss, The Clean House (Goodman Theatre); Cincinnati Playhouse in the Park, The Alliance Theatre, Repertory Theatre of St. Louis, Northlight Theatre, Actors Theatre of Louisville, Chicago Shakespeare Theater, Utah Shakespeare Festival, Connecticut Repertory Theatre, Arden Theatre Company, Maltz Jupiter Theatre, Drury Lane, and American Players Theatre. Linda is the director of the MFA Design Program at Northwestern University. JENNIFER TIPTON (Lighting Designer) is well known for her work in theater, dance, and opera. Her recent work in opera includes Donizetti’s L’Elisir D’Amore directed by Bartlett Sher at the Metropolitan Opera and Elektra for the Lyric Opera of Chicago directed by David McVicar. Her recent work in dance includes Alexei Ratmansky’s Romeo and Juliet for the National Ballet of Canada and Paul Taylor’s Gossamer Gallants. In theater her recent work includes Autumn Sonata by Ingmar Bergman directed by Robert Woodruff at Yale Repertory Theater and Richard Nelson’s Sorry at the New York Shakespeare Festival in New York. 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 2004. In 2008 she was made a United States Artists “Gracie” Fellow and a MacArthur Fellow. JOSH HORVATH (Sound Designer) has worked on over forty productions at Court Theatre. Favorites include: Titus Andronicus, Angels in America, The Illusion, Caroline, or Change, Fences, Porgy and Bess, Endgame, Ma Rainey’s Black Bottom, and The Romance Cycle. Other Chicago credits: Goodman, Steppenwolf, Chicago Shakespeare, Northlight, Next, Lookingglass, About Face, TimeLine, The House, and Congo Square. Regional: Lincoln Center, Kennedy Center, Hartford Stage, Long Wharf, Centerstage, The Alliance, Kansas City Rep, Milwaukee Rep, Madison Rep, First Stage, Center Theatre Group, and California Shakespeare. Josh is the recipient of four Joseph Jefferson Awards and an LA Ovation Award, teaches sound design at Northwestern University, is an artistic associate of Lookingglass Theatre and a creative partner of Goodman Theatre, and is a co-owner of Aria Music Designs, LLC. Current and upcoming shows: The Verona Project (The American Musical Theatre Project, South Coast Rep), Sweet Charity (Writers’ Theatre), A Raisin in the Sun (Milwaukee Rep), and Tartuffe (Court Theatre). KATIE SPELMAN (Choreographer) is a director, choreographer, and performer in Chicago, and is thrilled to have the opportunity to work with Court Theatre for the first time. Credits include: Fanny Brice (Asolo Repertory); Hair (Paramount Theatre); 48 Hour Musicals: Forget Me Not (The Music Theatre Company); CPS Shakespeare! Romeo and Juliet (Chicago Shakespeare Theatre); Theories of the Sun, Idomeneus (Sideshow Theatre Company); Apocalyptour, Holy Musical B@man (Starkid); Down and Derby (The New Colony); and The Merry Widow, Street Scene, Ghetto, The Who’s Tommy (Northwestern University). Katie has also assisted and/or performed with Goodman Theatre, Writers’ Theatre, Drury Lane Oakbrook, Marriott Lincolnshire, The House Theatre, City Lit Theatre, Stage Left Theatre, Maltz-Jupiter Theatre, Northlight Theatre, and American Theatre Company and is an associate member of SDC. Overwhelming gratitude to Charlie and Doug for inviting her into this beautiful project; love to Mom and Dad. CLAUDIA ANDERSON (Dialect Coach) has worked at Court Theatre as dialect coach for James Joyce’s “The Dead,” Travesties, The Importance of Being Earnest, and My Fair Lady. Additional credits include My Court Theatre 20
PROFILES Fair Lady (Paramount Theatre), The Real Thing, A Streetcar Named Desire, and Oh, Coward! (Writers’ Theatre), Cabaret (Drury Lane Oakbrook), The U.N. Inspector, Defiance, The Love Song of J. Robert Oppenheimer, and Entertaining Mr. Sloane (Next Theatre Company.) Claudia teaches Voice and Speech at The Theatre School, DePaul University. Her CD of original songs is titled In Dreams I Can Fly. DREW DIR (Resident Dramaturg) is the Resident Dramaturg at Court Theatre, where he oversees dramaturgy and literary management. Production highlights include Orlando, The Comedy of Errors, Ma Rainey’s Black Bottom, The Illusion, Porgy and Bess, An Iliad, and Angels in America. Drew is also the cofounder of Manual Cinema, a Chicago-based shadow puppetry company, whose productions include The Ballad of Lula Del Ray, FJORDS, and Ada/Ava. Drew holds an MA in Text and Performance Studies from King’s College London and the Royal Academy of Dramatic Art. For the past three years, Drew has been a lecturer in Theater and Performance Studies at the University of Chicago, where he co-teaches History and Theory of Drama with Professor David Bevington. WILLIAM COLLINS (Production Stage Manager) is excited to return to Court Theatre where he has been a resident stage manager for the past six seasons. Previous Court credits include Angels in America, An Iliad, Porgy and Bess, Three Tall Women, The Year of Magical Thinking, Uncle Vanya, Thyestes, Titus Andronicus, The Comedy of Errors, and Arcadia, among others. Most recently William stage managed Chicago and Murder on the Nile at Peninsula Players Theatre in Door County, Wisconsin. Other credits include work with Paramount Theatre, Drury Lane Oakbrook Terrace (Sugar), Chicago Humanities Festival, Goodman Theatre (Vigils and Rock ‘n’ Roll), Redmoon Theater, About Face Theatre (Undone), and Guthrie Theatre. DONALD E. CLAXON (Stage Manager) is proud to be making his debut with Court Theatre. Originally from Louisville, he now calls Chicago home. His Chicago credits include: Chicago Opera Theater, Paramount Theater (Broadway Series), Silk Road Rising, The Second City, About Face Theater, The Addams Family: A New Musical, and Dreamwork’s Shrek: The Musical (Production Assistant). Regionally he has worked with Peninsula Players, Yale Opera, Florentine Opera, Glimmerglass Festival, Barrington Stage, and Yale Repertory Theatre. He is a graduate of Wabash College and The Yale School of Drama. STEPHEN J. ALBERT (Executive Director) is a founding Partner in Albert Hall & Associates, LLC a leading arts consulting firm. Prior to forming the consulting practice, Albert was recognized as a leading arts manager. He has led some of America’s most prestigious theatres, including the Mark Taper Forum/Center Theatre Group, Alley Theatre, and Hartford Stage Company. Albert began his career with the Mark Taper Forum/Center Theatre Group in Los Angeles where he worked in senior management positions for over a decade, rising to Managing Director. He went on to become Executive Director of Houston’s Alley Theatre where he led a turnaround that stabilized the organization, enabling the Alley to return to national standing and drove a capital campaign that secured the organization’s future. At Hartford Stage, his partnership with Mark Lamos resulted in some of the theatre’s most successful seasons and reinforced Hartford Stage’s position at the forefront of the regional theatre movement. During his tenure in Hartford, Mr. Albert led the initiative to create a 25,000 square foot, state-of-the-art production center, securing the donation of the facility and the funding for its renovation. Albert has served as both President and Vice President of the League of Resident Theatres (LORT) and as a board member of Theatre Communications Group (TCG). He has also written and produced a variety of productions for television, is an ACE Award nominee, and has been an associate producer of numerous acclaimed Broadway productions. He is a Senior Fellow with the American Leadership Forum, a graduate of the University of Southern California, and holds a MBA from the UCLA Graduate School of Management. Court Theatre 21
BOARD OF TRUSTEES Marilyn Fatt Vitale, Chair Joan Feitler, Secretary Barbara E. Franke, Vice Chair Margaret Maxwell Zagel, Vice Chair Roland Baker, Treasurer Trustees Mary Anton David Bevington Leigh Breslau Tim Bryant Jonathan Bunge James Chandler Joan Coppleson Kenneth Cunningham Joan Feitler Lorna C. Ferguson David Fithian
Karen Frank Virginia Gerst Mary Louise Gorno Jack Halpern Kevin Hochberg Thomas Kallen Dana Levinson Michael Lowenthal Michael McGarry Linda Patton Jerrold Ruskin
Diane Saltoun Karla Scherer Leon I. Walker Honorary Trustee Stanley Freehling Ex-Officio Stephen J. Albert Charles Newell Larry Norman D. Nicholas Rudall
FACULTY ADVISORY COUNCIL Shadi Bartsch David Bevington Robert Bird James Chandler Cathy Cohen Michael Dawson Philip Gossett Tom Gunning Heinrich Jaeger
Travis A. Jackson Jonathan Lear David J. Levin Patchen Markell Margaret Mitchell Deborah Nelson David Nirenberg Sarah Nooter Larry Norman
Martha Nussbaum Jessica Stockholder Kenneth Warren David Wellbery Christopher Wild David Wray Judith Zeitlin
PRODUCTION STAFF Directing Assistant Dramaturgy Assistant Scenic Assistant Costume Assistant Assistant Master Electrician Floor Manager Wardrobe Supervisor Wig Design Costume Shop Assistant/Wardrobe Draper Stitchers Knitter Scenic Artists Carpenters
Jessie Mills Shelly Horwitz Emily Tarleton Kelsey Ettman Dayna Shrader Heather Timmerman Savannah Peregoy Christina Carlson Alexia Rutherford Emily Waecker Erin Gallagher, Stephanie Nielitz, Tina Stasny Yvette Wesley Scott Gerwitz*, Julie Ruscitti* Jack Birdwell, Kevin Decker, Jared Gooding, Josh Lambo, Kathy Parsons, Erik Tylkowski *Denotes a member of the United Scenic Artists union (USA).
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Artistic Director Charles Newell Executive Director Stephen J. Albert
Resident Artist Resident Dramaturg Dramaturgy Intern Casting Director and Artists-in-the-Schools Director Teaching Artists Casting/Education Assistant Kemper Casting/Education Fellow
Cree Rankin Tyla Abercrumbie, Kamal Angelo Bolden, Tracey N. Bonner, Allen Gilmore, Ashley Honore, Tony Lawry, Patrese D. McClain, Mechelle Moe, Michael Pogue, Brian Weddington Isabel Olive China Whitmire
Production Manager Assistant Production Mgr/Company Mgr Technical Director Assistant Technical Director Properties Manager Costume Shop Manager Master Electrician Sound Engineer
Jennifer Gadda Joshua Kaiser Ray Vlcek Adina Lee Weinig Lara Musard Erica Franklin Brenton Wright Sarah Ramos
Director of Advancement Assistant Director of Development for Institutional Relations Assistant Director of Development for Special Events Development Assistant Kemper Development Fellows
Ron OJ Parson Drew Dir Shelly Horwitz, Jesse Roth
Christopher Schram Jennifer Foughner Rebecca Silverman Erin Kelsey Mason Heller, Will Taylor
General Manager Heidi Thompson Saunders Business Manager Zachary Davis Management Assistant Gretchen Wright
Director of Marketing and Communications Associate Director of Marketing Assistant Director of Marketing for Group Sales and Community Relations Kemper Marketing Fellows Public Relations
Adam Thurman Traci Brant
Box Office Manager Associate Box Office Manager and Database Admininstrator Customer Relations Manager Box Office Assistants House Managers Concessionaires Volunteer Ushers Volunteer Coordinator
Kate Vangeloff Shelly Horwitz, Kristie Lai Cathy Taylor Public Relations, Inc.
Heather Dumdei Milan Pejnovich Matt Hiller, Kareem Mohammad, Alice Tsao Jason McCreery, Matthew Sitz Alex Colborn, Calen Cole, Jason McCreery, Bobby Morales Courtesy of The Saints Judd Rinsema Court Theatre 23
SPONSORS Court Theatre is grateful to the following corporations, foundations, and government agencies, which generously support our productions, outreach programs, and general operations.
Production Sponsors Abbott Laboratories Fund Allstate Insurance Co. The Elizabeth F. Cheney Foundation The Chicago Community Trust Grant Thornton LLP Hyde Park Bank Kirkland & Ellis LLP National Endowment for the Arts The University of Chicago Women’s Board Winston & Strawn LLP
Student Education Program Sponsors The Crown Family Cultural Outreach Program, City of Chicago Department of Cultural Affairs and Special Events The James S. Kemper Foundation Polk Bros. Foundation Target
General Operating Sponsors Alphawood Foundation City Arts IV, City of Chicago Department of Cultural Affairs and Special Events The Julius Frankel Foundation The Irving Harris Foundation Illinois Arts Council John D. and Catherine T. MacArthur Foundation Nuveen Investments Peoples Gas Prince Charitable Trusts The Rhoades Foundation The Shubert Foundation Sidley Austin LLP Southwest Airlines University of Chicago
Special Initiatives Sponsors Boeing Company Harper Court Arts Council The Joyce Foundation
Travel Sponsor Southwest Airlines Court Theatre 24
The Producers Circle, Court Theatre’s premier donor society, is comprised of generous patrons who contribute $2,500 or more annually to the theatre. Members of the Producers Circle receive a host of benefits that offer extraordinary access to Court Theatre’s artists, creative team, and artistic process. Select benefits include: • Opening Night receptions • Invitations to exclusive dinner events featuring Court Theatre artists and University of Chicago scholars • Backstage tours ... and much more.
For more information, visit www.CourtTheatre.org or contact Rebecca Silverman, firstname.lastname@example.org or (773) 834-5293.
PRODUCERS CIRCLE The following individuals and institutions have made major gifts to the Producers Circle, Courtâ€™s premier giving society, and we are deeply grateful for the generosity of these donors. The list reflects gifts received through October 5, 2012. If you have a correction or would prefer to remain anonymous, please call (773) 834-0941.
Crown Society ($100,000 and above) Barbara and Richard Franke
Virginia and Gary Gerst
Royal Court ($50,000-$99,999)
Mr. Fred Eychaner, in support of Angels in America Linda and Stephen Patton Lorna Ferguson and Terry Clark Lawrence E. Strickling and Sydney L. Hans Mr. and Mrs. James S. Frank Mr. and Mrs. David J. Vitale
Distinguished Patrons ($25,000-$49,999) Joan and Bob Feitler Robert and Joan Rechnitz
Karla Scherer Margaret Maxwell Zagel
Grand Patrons ($15,000-$24,999) Mr. and Mrs. Timothy Bryant Martha and Bruce Clinton
Directors ($10,000-$14,999) Stephen and Terri Albert Helen N. and Roland C. Baker Mary Louise Gorno
Kevin Hochberg and James McDaniel Sarita I. Warshawsky James Noonan and Dana Levinson Earl and Brenda Shapiro
Mary Anton and Paul Barron Mr. and Mrs. Jonathan Bunge Richard and Ann Carr Joyce Chelberg James E. Clark and Christina Labate Joan and Warwick Coppleson Shawn M. Donnelley and Christopher M. Kelley David B. Fithian and Michael R. Rodriguez Mr. and Mrs. Robert Helman
Gayle H. Jensen Tom and Esta Kallen Anne Kutak William and Kate Morrison Ginger L. Petroff and Kenneth R. Cunningham Mr. and Mrs. Francis Straus Mr. and Mrs. Stuart Townsend Ms. Judith Wright
Mr. and Mrs. Jack Karp, in honor of Karen Frank Mr. and Mrs. Mark Koulogeorge Ms. Nancy A. Lauter and Mr. Alfred L. McDougal Mr. and Mrs. Robert Lewis Mr. Michael C. Litt Michael Lowenthal and Amy Osler Irma Parker Thomas Rosenbaum and Katherine Faber Ms. Martha Roth and Mr. Bryon Rosner Diane Saltoun and Bruce Braun Joan and James Shapiro Elaine and Richard Tinberg Anne and William Tobey Fidelis and Bonnie Umeh Thomas and Barbara Weil Paul and Mary Yovovich
Judith Barnard and Michael Fain Mary Jo and Doug Basler Leigh S. Breslau and Irene J. Sherr Jonathan and Gertude Bunge Stan and Elin Christianson Mr. Kirby Cunningham Sylvia Fergus and David Cooper Mr. Harve Ferrill Sonja and Conrad Fischer Dr. and Mrs. Willard A. Fry Mr. and Mrs. Graham Gerst Mr. and Mrs. Richard Gray Gene and Nancy Haller Jack Halpern Bill and Jan Jentes
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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 October 5, 2012. If you have a correction or would prefer to remain anonymous, please call (773) 834-0941. (* indicates deceased)
Ms. Deborah Hagman-Shannon and Dean Daniel Shannon Dr. and Mrs. Peter T. Heydemann Ms. Patricia Hunckler Bernard and Averill Leviton Shirley Sage Litt* Charlene and Gary MacDougal Mr. and Mrs. John W. McCarter, Jr. Robert McDermott and Sarah Jaicks McDermott Dr. and Mrs. Robert McMillan Brooks and Howard Morgan Kathleen Picken Mr. and Mrs. James M. Ratcliffe Lynne F. and Ralph A. Schatz Dr. Salvador J. Sedita and Ms. Pamela L. Owens David and Judith L. Sensibar James Stone Kathy and Robert Sullivan Anne and John Tuohy, in honor of Virginia Gerst Mr. and Mrs. R. Todd Vieregg Leon and Rian Walker Joan E. Neal and David Weisbach Charles and Sallie Wolf
Barry Lesht and Kay Schichtel, in memory of Jack Shannon John and Jill Levi Dr. and Mrs. Joel Levinson Ms. Nancy Levner Phoebe R. and John D. Lewis Family Foundation Mr. Ernest Mahaffey and Mrs. Sheila Penrose, in honor of Marilyn Vitale Bill Mulliken and Lorna Filippini-Mulliken Dr. Larry Norman Messrs. Robert Ollis and Richard Gibbons Ms. Grayce Papp Mr. Robert Patterson Ms. Yolanda Saul Roche Schulfer and Mary Beth Fisher Mr. and Mrs. Richard Seid Susan H. and Robert E. Shapiro Mr. and Mrs. Charles Shea Tim Burroughs and Barbara Smith Louise K. Smith Mr. Carl Stern and Mrs. Holly Hayes, in honor of Marilyn Vitale Ms. Cheryl Sturm Otto and Elsbeth Thilenius The Ultmann Family, in loving memory of John Ms. Martha Van Haitsma
Anonymous Mr. and Mrs. Paul F. Anderson Mr. Ed Bachrach Helen N. and Roland C. Baker Jean and John Berghoff Mrs. Edwin A. Bergman David and Peggy Bevington Catherine and Addison Braendel Ms. Janet V. Burch and Mr. Joel R. Guillory Mr. and Mrs. James K. Chandler Ms. Marcia S. Cohn Mr. and Mrs. Greg Coleman Ms. Cordelia Coppleson Mr. Charles F. Custer Daisy A. Driss Philip and Phyllis Eaton Eileen and Richard Epstein Ms. Sara Stern and Mr. Ted Fishman Mrs. Zollie S. Frank Ms. Ethel Gofen Ms. Patti Grimm Mrs. Betty Guttman Anonymous, in honor of Oren Jacoby Brett and Carey August Ms. Catherine Bannister Sharon and Robert Barton Maurice J. and Lois R. Beznos Henry and Leigh Bienen Mr. and Mrs. Andrew Block Phyllis Booth Mary and Carl Boyer Douglas Bragan Barbara Flynn Currie Nancie and Bruce Dunn Kent S. Dymak and Theodore N. Foss Mr. and Mrs. Wolfgang Epstein Mr. Stephen Fedo Mr. Bill Fraumann Mr. and Mrs. Paul E. Freehling Joan M. Giardina Jacqueline and Howard Gilbert Philip and Suzanne Gossett Mr. and Mrs. Arnold Hirsch Ms. Linda Hutson Jean A. Klingenstein Koldyke Family Fund Mr. and Mrs. Thomas A. Lasinski Court Theatre 26
ANNUAL SUPPORT Contributors ($250-$499) Filomena and Robert Albee John Archambault, in honor of Peggy Zagel on her retirement Drs. Andrew J. and Iris K. Aronson Eugene L. Balter and Judith R. Phillips Catharine Bell and Robert Weiglein Joan and Julian Berman Ms. Kathleen Betterman Mr. and Mrs. David L. Blumberg Jim and Sandy Boves Janet Brookman and Friend Brady and Geraldine Brownlee Judy Chernick Frederick T. Dearborn Eloise DeYoung Lisa and Rod Dir Ms. Rita Dragonette Mrs. Emlyn Eisenach and Mr. Eric Posner Sidney and Sondra Berman Epstein Edie and Ray Fessler B. Ellen Fisher Paul Fong Dr. and Mrs. James L. Franklin Mr. Richard Freiburger Mr. and Mrs. Herbert Friedmann Dr. Thomas Gajewski and Dr. Marisa Alegre Dr. Sandra Garber Judy and Mickey Gaynor Mr. and Mrs. Robert B. Hartfield Ms. Mary Harvey Mary J. Hayes, DDS Douglas and Lola Hotchkis Carrie and Gary Huff Ms. Kineret Jaffe Dorthea Juul Ms. Anne Van Wart and Mr. Michael Keable
Anonymous Mr. Sam Adam Sr. Mr. and Mrs. Steven A. Adelman Ms. Roula Alakiotou and Mr. Alvin Burenstine Mrs. Geraldine S. Alvarez Dr. and Mrs. Thomas Anderson Mr. and Mrs. Adrian Beverly Helen and Charles Bidwell James Bishop Gregory and Rosalie Bork Mr. Aldridge Bousfield Ms. Sarah Bransfield Karen A. Callaway John and Sally Carton
Nancy and Richard Kosobud Larry and Carole Krucoff Ms. Carol L. Kutak David and Sandy Lentz Steven and Barbara Lewis Mr. and Mrs. Joe Madden David E. McNeel Mr. Daniel McShane Mr. Ernst Melchior Renee M. Menegaz and Prof. R. D. Bock Doris and Glenn E. Merritt Mr. and Mrs. Robert Moeller Lisa Kohn and Harvey Nathan Drs. Donald E. and Mary Ellen Newsom Mr. and Mrs. Harvey Plotnick Nuna and Ennio Rossi Ms. Ann M. Rothschild Sharon Salveter and Stephan Meyer Mr. and Mrs. Thomas Scott Ilene W. Shaw Elizabeth and Hugo Sonnenschein Nikki and Fred Stein Dorie Sternberg Gary Strandlund George P. Surgeon Edward and Edith Turkington Russell and MarleneTuttle Brady Twiggs Sharon and John van Pelt Daina Variakojis and Ernest Frizke Thomas J. Vega-Byrnes Virginia Wright Wexman and John Huntington Howard S. White Russell and Sindy Wieman, in honor of Peggy Zagel on her retirement Mrs. Iris Witkowsky Joseph Wolnski and Jane Christino Dr. Adam Cifu Mr. Richard Clark and Ms. Mary J. Munday Elizabeth Fama and John Cochrane Lydia G. Cochrane Ms. Michelle Collins Rosemary Crowley Katherine and John Culbert David Curry and George Kohler Bruce Davidson Quinn and Robert Delaney Nancy and Eugene DeSombre Susan and Patrick Floyd Mr. and Mrs. Julian Frazin, in honor of Virginia Gerst Kathleen Gallo, in honor of Rebecca Silverman for getting her Angels tickets Gerry and Stan Glass Court Theatre 27
ANNUAL SUPPORT Paul B. Glickman Natalie and Howard Goldberg Mr. and Mrs. Steven Gryll Joel and Sarah Handelman Roz and Jo Hays Carrie L. Hedges Angie Heisler Richard and Marilyn Helmholz Beth and Howard Helsinger Mr. James Holzhauer Ms. Susan Horn Mr. James Ibers Mr. James Jolley and R. Kyle Lammlein Mr. Richard Jones Robert Kapoun Mr. Norman Kohn Bill and Blair Lawlor Charles and Fran Licht James and Katharine Mann Mr. and Mrs. McKim Marriott Michelle Maton and Mike Schaeffer Stacey and Patrick McCusker Dr. and Mrs. Ernest Mhoon Dean Miller and Martha Swift Ms. Regina Modestas Ms. Donna Moore Doug and Jayne Morrison
Marianne Nathan and James Hugunin Irving and Vivian Paley Audrey and John Paton Elizabeth M. Postell Ms. Jane Grady and Mr. Alan J. Pulaski Mr. Michael Raftery Mr. and Mrs. Norman Raidl Mrs. Marelen F. Richman Bruce Rodman Drs. Donald A. and Janet Rowley Manfred Ruddat Martha Sabransky Judy Sagan Dr. Jacquelyn Sanders Mr. Kenneth Schug Mr. Steven Schulze Mr. Michael Shapiro Ms. Corinne Siegel Roberta and Howard Siegel Dr. and Mrs. Eric Spratford Judith E. Stein Gregory Tabaczynski Prof. and Mrs. Lester Telser Nancy and John Wood David and Suzanne Zesmer
FRENCH AND JAPANESE PRINTS
O c tO b e r 4 , 2 01 2â€“Ja n ua ry 2 0 , 2 01 3 a dm i ssi On i s a lways f r e e
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ABOUT COURT 5535 South Ellis Avenue, Chicago, IL 60637 (773) 753-4472 www.CourtTheatre.org Mission: The mission of Court Theatre is to create innovative productions of classic plays that are thought provoking, character-driven, and thematically enduring. Through main stage productions, audience enrichment programs, and collaborations with the University of Chicago, we re-examine, re-envision, and renew classic texts that pose enduring and provocative questions that define the human experience. Vision: Court Theatre’s vision is to create the Center for Classic Theatre at the University of Chicago. Dedicated to the creation of large-scale interdisciplinary theatrical experiences, the Center will: • Inspire, educate, and entertain audiences both on and off the stage. • Attract and feature artists of extraordinary talent. • Add new adaptations and translations of classic works to the canon. • Collaborate directly with University of Chicago scholars and students. • Connect Court Theatre to individuals throughout Chicagoland, and especially to our community on Chicago’s South Side. As a professional theatre-in-residence at the University of Chicago, Court is uniquely positioned to be a leader in the successful marriage of artistic practice and academic inquiry; by integrating the making of art with the creation of knowledge, Court will mount ambitious theatrical events unlike any other theatre in the country. The Center for Classic Theatre represents the realization of this potential and will propel Court Theatre to a position of national preeminence.
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SPECIAL GIFTS Endowment Support and Planned Gifts
Court Theatre greatly acknowledges the generous individuals and institutions who have supported Courtâ€™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 Michael Lowenthal Carroll 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 Theatreâ€™s endowment, please contact Erin Kelsey at (773) 834-0941 or email@example.com.
The University of Chicago
The following companies and individuals support Court through the donation of goods or services: Chant Joan and Warwick Coppleson Disney Theatricals Lorna Ferguson and Terry Clark Four Seasons Hotels & Resorts Karen and Jim Frank Frost Lighting Helaine and Peter Heydemann Kevin Hochberg and James McDaniel Limelight Catering The David and Reva Logan Center for the Performing Arts
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Visit the Court Theatre Blog
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ersit the Univ
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Mary Mastricola and La Petite Folie Morning Glory Flower Shop Park 52 Piccolo Mondo Prague Studios Ritz Carlton Chicago Ritz Carlton New York The Saints Thomas Schumacher Jason Smith Photography United Airlines David Vitale
Join Dramaturg Drew Dir and many other Court artists as they THINK OUT LOUD about all things Court Theatre. www.CourtTheatre.org/blog
Auto insurance through AAA. From the peace of mind experts. For generations, we’ve provided countless policyholders with the protection and security of auto insurance through AAA. Customers who’ve switched to insurance through AAA have saved up to $358 a year with our exceptional rates. Discounts are also available for AAA Members, bundling with AAA home and life insurance, safe driving records, air bags, car alarms and more.
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Insurance underwritten by Auto Club Insurance Association or MemberSelect Insurance Company.
Insurance Auto • Home • Life
10/15/12 2:22 PM
DINING PARTNERS Receive 10% off at these Hyde Park Dining Partners. Only one discount per ticket. Not valid with any other offers.
Asian fusion 1509 E. 53rd St. (773) 324-1999
Casual Italian 1642 E. 56th St. (773) 643-1106
American Bistro 5201 S. Harper Ave. (773) 241-5200
La Petite Folie offers a prix fixe menu for Court patrons (10% discount does not apply).
French Restaurant 1504 East 55th Street (773) 493-1394
Share the magic of Court Add a line or two of simple language to your will and keep Court performances running for generations to come.
For more information about bequests and other planned gifts, please contact Heather McClean in the Office of Gift Planning at 773.834.2117 or firstname.lastname@example.org.
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Published on Jan 13, 2014