Court proof by Footlights.com

2012/2013 the 58th season Dear Court family, For nearly twenty years now, my family and I have made Hyde Park our home. To Hyde Parkers like me, there’s a natural pride in seeing our neighborhood so lovingly recreated on film and stage as it is in a play like David Auburn’s Proof. Mr. Auburn absorbed the culture of Hyde Park and the University of Chicago when he was a student here and clearly carried it with him when he left. In the character of Catherine and her relationship with her father, a genius mathematician, he captured both the greatness and vivaciousness of this place, as well as Hyde Park’s somewhat haunted quality: its deeply rooted affinity with the ghosts of the past. I’ve long admired David Auburn’s Proof for this very reason, but when I recently revisited the play, I was completely overcome by a dimension of the text I had not previously experienced. Having lost a parent, Proof suddenly resonated with me on a deeply emotional level. I came to see the play as a story about an individual whose grief allows her to grow beyond her father and to finally claim her own identity. The death of a parent often radically alters the way we see ourselves. In approaching the play through this psychological lens, we will hopefully show you a side of David Auburn’s Proof that you hadn’t previously observed. It is a special occasion for Court and the University to bring this award-winning play home to its native setting in Hyde Park. Last fall, as the University opened the Reva and David Logan Center for the Arts, the University Theater and Theater and Performance Studies Program (TAPS) opened one of its new theatres with a student production of Proof. I served as an artistic advisor on the production and was so impressed by the studentactors that Court then employed them as understudies for our production. David Auburn was also generous enough to visit campus for the opening of the Logan Center and sit for a public interview with me on the set of the University Theater production. It was a great moment for all of us—students, faculty, and professionals—who devote themselves to theatre at the University of Chicago. I’m thrilled that Mr. Auburn has entrusted us with his brilliant work, and most grateful for making himself available as a resource to Court and the many aspiring theatre students at the University. His play is a part of this great university, and he has been and continues to be both generous and committed to the University of Chicago. Finally, thank you, the audience, for making this work possible. 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

PROOF by David Auburn directed by Charles Newell | March 7 - April 7, 2013

Scenic Design by Martin Andrew U.S.A. Costume Design by Rachel Laritz U.S.A. Lighting Design by Keith Parham U.S.A. Sound Design by Andre Pluess U.S.A. Casting by Cree Rankin

John Boller Production Dramaturg Sara Gammage Production Stage Manager Beth Ellen Spencer Assistant Stage Manager

Originally produced by the Manhattan Theatre Club on May 23, 2000. Subsequently produced on Broadway by the Manhattan Theatre Club, Lynne Meadow, Artistic Director, Barry Grove, Executive Producer, Roger Berlind, Carole Shorenstein Hays, Jujamcyn Theatres, Ostar Enterprises, Daryl Roth and Stuart Thompson on October 24, 2000.

Presented by special arrangement with DRAMATISTS PLAY SERVICE, INC. The Director is a member of the Society of Stage Directors and Choreographers, Inc., an independent national labor union. 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. The Stage Managers are members of Actorsâ&#x20AC;&#x2122; Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Sponsored by Court Theatre 2

University of Chicago Office of the Provost

CAST Catherine........................................................................................Chaon Cross* Robert...........................................................................................Kevin Gudahl* Hal.................................................................................................. Erik Hellman* Claire................................................................................................Megan Kohl Understudies: David Federman (Hal), Molly Miller (Catherine), Ellenor Riley-Condit (Claire), John Henry Roberts (Robert) *Denotes a member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

SETTING

The back porch of a house in Hyde Park. There will be one 15-minute intermission.

PRODUCTION STAFF Assistant Director............................................................................................................Elly Green Lighting Associate............................................................................................ Margaret Hartmann Assistant Master Electrician.....................................................................................Jared Gooding Electricians............................ Liz Boros-Kazai, Nicholas Carroll, Tamar Daskin, Jason McCreery, Tom McGrath, Tristan Meredith, Cassie Mings, Pete Mug, Erik Parsons, Simon Robinson, Kim Schechter, Dayna Shrader, Megan Snowder, Lauren Taylor, Viv Woodland Floor Manager.................................................................................................Heather Timmerman Stage Management Intern.......................................................................... Marrissa Miles Coccaro Costume Shop Assistant/Wardrobe Supervisor.................................................................Alexia Rutherford Scenic Artists................................................................. Scott Gerwitz U.S.A., Julie Ruscitti U.S.A. Carpenters...................... Brian Claggett, Kevin Decker, Dylan Jost, Josh Lambert, Erik Tylkowski 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. Cover photo of Chaon Cross by joe mazza/brave lux inc. 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 whatsoever are 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 Drew Dir in Conversation with Playwright

DAVID AUBURN Long before he wrote Proof, playwright David Auburn was a student at the University of Chicago, where he wrote short comic sketches for Off-Off Campus, the university’s improv and sketch comedy group. Mr. Auburn spoke to Court’s Resident Dramaturg, Drew Dir, about being one of the UofC’s most celebrated alumni authors. When you first came to the University of Chicago as a student, did you have alternate career plans besides becoming a playwright? DA: I had no idea I wanted to be a playwright. I was a political science major. I think I imagined in some vague, not-very-well-thought-out way that I wanted to work in international aid or development. And when did that change for you? DA: I got involved with Off-Off Campus, which was the [comedy] revue troupe [at the UofC]. I found that I liked writing short comic sketches, and performing in them, and it gradually took over my life. [By the time I was a second year] we had put together a show that we were taking to the Edinburgh Fringe Festival. I remember being on the plane waiting to take off and thinking: “This is what I want to do. I want to try and write for the theatre.” In retrospect a lot of what I know about playwriting comes from writing those revue sketches. You develop a rough toolbox of techniques that apply very nicely when you try to write longer things. Do you remember the first time that you wrote something really good? The first time you were 100% proud of your writing? DA: I doubt it was particularly good, but I do remember the first time I wrote and performed in a sketch that got a big laugh. I don’t even remember the sketch, but I do recall the distinct feeling of sitting up on stage in one of those bent-wood chairs and saying a line and feeling a wave of laughter rolling at me and the headiness of that—it was something of a different order than just saying a funny line in a play that somebody else had written. Court Theatre 4

In the play Proof, your character, Hal, describes the pressures on mathematicians to publish and make discoveries early in their career. Did any of that come from a personal anxiety about being a writer in the theatre? Did you have a deadline for yourself, as in: “I must produce something great by this age”? I felt hungry to get work done and to write a lot and to be active in the world; I don’t know that I felt any particular age pressure. What I’ve learned, of course, is that it gets easier and more interesting the longer you do it—in that you have more things to say and more ways to say them as experience accumulates. How did you go about depicting those mathematician characters—did you talk to real mathematicians? What were the strategies you used for making the professional details in the play feel plausible? DA: I I had known mathematicians in school and I had friends who did it. After I’d written a draft of the play I sought out a couple of people who agreed to read it, and then had conversations with them about what was plausible or not. We always brought in math people to talk to the Broadway casts. Often in pairs; they would get into arguments or disagreements—sometimes fundamental ones. That was useful for the actors, who came away with a sense that this wasn’t a dry, technical field—that this was something that engendered real debate and humor and passion among the people who did it. When you’re writing, what is your favorite part the process—is it starting the project, conceptualizing it; is it the tinkering and the edits; or is it just finally seeing it realized on stage? DA: I don’t dislike the process of grinding it out on the page, though that varies - you have some good days at your desk and other days you want to defenestrate yourself. But if I had to pick a favorite part of it, I love the early days in the rehearsal room with the actors. The first few times you’re hearing it read and you start to see what some of the possibilities are, and some of the flaws are, and you have this sense of a thing you’ve made that’s still very molten and alive and in the hands of other people as well as you—I enjoy that. When you were a student at the UofC, on any given Saturday night, what were you up to? DA: I went to hear a lot of music; that was one of the things I liked about Chicago. Not every weekend, but many weekends I would be downtown at a show, at a place like the Metro, or Lounge Ax. Either that or going to the theatre—I went to everything that Steppenwolf and the Goodman and Remains and Theatre Oobleck and all of these wonderful theatre companies did, and I found that a very rich experience. I came from Little Rock, which isn’t a small town but it ain’t Chicago, and getting to Chicago and opening the Reader and seeing what was on that night, I felt like a kid in a candy store. Court Theatre 5

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PLAY NOTES Drew Dir in Conversation with Mathematician & Dramaturg

JOHN BOLLER

John Boller is a Senior Lecturer and Assistant Director of Undergraduate Studies in Mathematics at the University of Chicago. He is also a man of the theatre, and has served as a dramaturg and a math specialist on Court Theatre’s productions of Tom Stoppard’s Arcadia and now on David Auburn’s Proof. Resident Dramaturg Drew Dir sat down with John Boller in his office to speak about the mathematics in Proof and what it’s like to be a real University of Chicago mathematician. DD: There are three mathematicians depicted in Proof: Catherine, Robert, and Hal. With which character do you identify the most? JB: My own personal experience is very close to that of Hal’s. I was a graduate student here at the University of Chicago. To quote Robert, I was on the “‘Infinite’ program”: it took me more than the average five, five-and-a-half years to finish my PhD here. I had an advisor who was not entirely unlike Robert: genius of a guy, very much a force of personality, very much a commanding personality around the department, someone who was looked up to by graduate students and faculty members alike. (This is Paul Sally, of course.) So not only was I a graduate student like Hal who took a while to get my degree, and was very unconfident about his research, but I am now back teaching at the university! So the idea that Hal was a graduate student here and is back teaching here—well, I’ve had both of those experiences. Thus, I certainly sympathize with that character, and even to some degree with some of his feelings about what it takes to do research mathematics. There’s definitely a skepticism that would arise when being presented with a proof by someone who doesn’t have formal training. That’s not quite reasonable these days: the amount of training, the amount of work, the number of classes, the amount of study and everything else it takes to even get to a point where you can start on these questions? It’s staggering! So the idea that a genius like Catherine can accomplish that—I mean obviously, she has the genes for it; obviously she’s surrounded by math in her family, and she’s done the work, but—that’s not evident for someone from the outside. It would be shocking and rather mind-blowing to think that somebody without at least a math major and some graduate work, much less a PhD, could do something like what she accomplished. DD: Is a discovery like Catherine’s, a breakthrough of genius, even possible in today’s mathematics? JB: Sure, but it usually happens after years and years and years of possibly frustrating work that is made possible by all the research that has come before. Someone with training and exposure to ideas via classes and seminars and conferences and reading other peoples’ papers. I mean, when Andrew Wiles proved Fermat’s Last Theorem, yes, he had essentially isolated himself for years to get his head around everything that was necessary. But it came after the work of Taniyama, Shimura and Weil and everybody in the decades before him. He Court Theatre 7

PLAY NOTES couldn’t possibly have done it by himself without their work that preceded it. He may have secluded himself and done the last steps by himself, but he was already a professor at Princeton. He wasn’t some twenty-five year-old graduate student—he was already near the top of the mathematical mountain! DD: Does the stereotype of mathematicians being socially awkward ring true to you? JB: If it were completely untrue, we wouldn’t have jokes like the following. Q: How can you tell an outgoing mathematician? A: He’s the one who looks at *your* shoes when he talks to you. DD: What drew you to mathematics? JB: I think I knew from the time I was probably in fifth grade, when I would do math for fun. You know, the math in school was… absurdly easy for me. I never had to work at anything related to math. The first time I had to think hard at a math problem was—in school?—it wasn’t until I’d finished the high school curriculum and began taking college courses. The hard math problems were the fun things on the side, where I would just sort of pick up a book, or my dad would pose a problem, something outside of the standard curriculum. I remember very clearly when I learned, in sixth or seventh grade, what a perfect number was. A perfect number is a positive integer, the sum of whose positive divisors is exactly equal to the number itself (and of course this is not including the number itself as one of its divisors). So, for example: 6. What are the divisors of 6? 1, 2, 3, and 6. We throw away 6, and we add up the remaining numbers: 1 + 2 + 3 = 6, and that makes 6 a perfect number. Anyway, I discovered what this definition was, and the book that I was reading at the time listed the first few perfect numbers: 6 is the first perfect number, 28 turns out to be the next perfect number, 496 is the third one, then 8,128 is the fourth one, and it went on to list something like the first ten perfect numbers. And I thought, “well, that’s pretty cool,” so I played with the numbers enough to the point where I was able to conjecture what I thought the eleventh perfect number ought to be. And I didn’t know where to look to prove it—these were the days before the Internet was publically accessible—nevertheless we did have computers and so, well, I wrote a little bit of code in Basic, and checked that in fact this number was the next perfect number. Now, that’s not the same at all as what Catherine is doing in her proof or what Robert did in his work or Hal is doing in his PhD. It’s not anything close to that. But as you can imagine for a seventh grader it was pretty amazing to have my little result confirmed. DD: When you see fictional mathematicians in TV and film, they’re always describing math as “beautiful.” Is that the word you’d use? JB: Well, no. There is a scale of beauty that applies to mathematics, and the best and most exciting results are the ones that could be possibly described as more beautiful than others. Usually there’s more than one way to solve a problem; some of those solutions are kind of nose-to-the-grindstone, get-the-job-done methods, but some of them are really inspired bits of creativity. Absolutely there are theorems that are more or less beautiful than others, there are proofs that are more or less beautiful than others. We lack enough vocabulary to distinguish beauty in math from beauty in other things, but I think it’s absolutely appropriate to borrow that term. Court Theatre 8

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PLAY NOTES Up Next:

DOUBLE THE MOLIÈRE By Drew Dir, Resident Dramaturg With the next two productions at Court Theatre, The Misanthrope and Tartuffe, Court returns to its time-honored tradition of staging Molière. Although the last decade has represented the longest span of time in Court’s history without a Molière play, Artistic Director Charles Newell intends to bring back the seventeenth-century French master of comedy with an ambitious Molière Festival that looks forward to new ways of encountering Molière in the twenty-first century. Molière (né Jean-Baptiste Poquelin) has played a significant role in Court’s history. In 1955, Molière dominated Court Theatre’s inaugural season. Originally conceived as an outdoor summer drama festival, Court staged three plays by Molière that season: The Doctor in Spite of Himself, The Affected Young Ladies, and The Forced Marriage (the latter was directed by the late Paul Sills, a comic master in his own right, and one of the founding members of the Compass Players and The Second City). The actors, a mix of students and community members, performed on a temporary stage erected on top of a fountain in Hutchinson Courtyard (hence the name “Court”). Marvin Phillips, the original founder of Court Theatre (and director of University Theater), wrote to the President of the University in 1955: “We feel that Hutchinson Court is a beautiful and natural location for summer drama. Our choice of a playwright is Molière, one of the world’s greatest and most suitable to outdoor theatre.” Unfortunately, the outdoor theatre wasn’t always suitable Court Theatre 10

to Molière: the first season was plagued by many consecutive days of rain. Nevertheless, a tradition was established, and Molière would become a fixture of Court’s stage, rivaled in popularity only by Shakespeare. In 1994, Charles Newell became Artistic Director and brought with him a passion for the plays of Molière, along with a vital set of new ideas about how Molière was to be staged. As Newell saw it, too many American productions of Molière reduced the plays’ characters to one-dimensional stock types at the expense of the deeper, more complex emotional stakes of the plays’ characters. Newell was particularly inspired by his mentor Garland Wright’s 1987 production of Molière’s The Misanthrope at the Guthrie Theatre, a bold production that transposed the events of the play to the eve of the French Revolution. Balancing the comic squabbling of an

Festival reminiscent of Court’s very first summer season. Critically-acclaimed Court Theatre favorites including A.C. Smith, Allen Gilmore, Erik Hellman, Kamal Bolden, Patrese McClain, and Philip Earl Johnson will lead a twelve-member company that will perform in both The Misanthrope and Tartuffe. While Misanthrope will be staged as a blending of seventeenth-century and modern fashion, Tartuffe will be explicitly set in an affluent home in the nearby neighborhood of Kenwood. Says Newell: “I believe we will be serving the playwright’s intention if we can bring these classics into the midst of some really challenging contemporary issues.” array of aristocratic flatterers with the impending revolt of the peasant class, Wright tapped into a dark and ironic mood at the heart of Molière’s drama. As the new Artistic Director of Court Theatre, Newell applied a similar gravity in his approach to Molière’s comedies. “Molière’s world is a dangerous place where style is everything—if you don’t have style, you’re cut out,” says Newell. “It’s devastatingly funny to us, but for the characters, it’s a violent world, and the stakes couldn’t be higher.” Newell’s production of The Misanthope (1994), starring Kevin Gudahl, was an instant hit; the Chicago Reader wrote that the production embraced “the dark psychological implications of Molière’s text.” Newell’s production of The Learned Ladies (2000) followed suit, along with like-minded productions of Tartuffe (1997) by director Daniel Fish and The School for Wives (1998) by director László Marton. Now, in 2013, Court Theatre turns again to Molière to reinvent his plays for a new era, mounting new productions of The Misanthrope and Tartuffe back-to-back in a Molière

Court Theatre’s Love Affair with Molière The Affected Young Ladies (1955) The Forced Marriage (1955) The Doctor in Spite of Himself (1955) The Imaginary Invalid (1958) Scapin, The Scoundrel (1960) The Confounded Husband (1963) The Miser (1967) Tartuffe (1972) The Doctor in Spite of Himself (1975) The Miser (1980) The Misanthrope (1984) Tartuffe (1986) The Misanthrope (1994) Tartuffe (1996) The School for Wives (1997) The Learned Ladies (2000) Scapin (2002) Court Theatre 11

PLAY NOTES Up Close with

CHAON CROSSby Erin Kelsey

Chaon Cross first worked with Court and Charles Newell ten years ago, appearing in three different plays in her first season and establishing herself as a familiar face on our stage. After several years away, Ms. Cross has returned to Court to tackle the role of Catherine in Proof. She spoke with Court’s Development Assistant, Erin Kelsey, about Court, the life of a professional actor, and getting to work with Charlie. How is it working on such an unusual production of Proof? CC: That’s why I like Court Theatre and Charlie ... they’re interested in telling stories again, but from a different viewpoint, sometimes a drastically different viewpoint. They’re not changing the story or changing the basic emotional events, but it’s almost like changing the gel on a light or the lens of a camera, you know? You’ve worked with Charlie a fair amount before. CC: I have. I’d say this is probably the fifth time, and that spans back to 2002/03. The Romance Cycle was my first show with Charlie. That was some of the first work you did in Chicago? CC: It really was. I got here in 2001, and I worked for about a year doing day jobs and non-Equity theater. My first Equity contract was just offered. The show was Scapin; they offered me that and an Equity card in the same swoop. I remember hearing a lot of people in the community saying, “Careful there, you just got here, nobody knows who you are, you’re a little blonde ingénue type among a million others, and there aren’t that many big Equity houses.” So that was hard. I thought, I want this job and want to ultimately go Equity. I want to get paid for my work, to make a living and do it professionally. So I decided to just go for it. That’s one way to find out if you’ll sink or swim. That same season I got Phèdre and The Romance Cycle. All the shows were drastically different and huge learning experiences for me.

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PLAY NOTES And for that to be your introduction to Chicago—that’s a pretty good way to start. CC: It is. And this theatre remains one of my favorites. It’s small enough to keep its focus on the work and the actors, but it’s big enough to produce quality, professional work. I love the size of Court. And I love that it’s on the University campus. It gives it this academic feel. Do you find UChicago as quirky and weird as its reputation? CC: It just feels like a campus. People are allowed to be eccentric. I haven’t ever seen the professors we’re talking about in rehearsals, the ones who have gone off the rails a bit. David Auburn based Robert on some professor who used to march around on the Lake Shore, but I haven’t seen any of that. It’s a play set at the University of Chicago actually being produced on campus, but does it feel that way? CC: It does. It’s cool that it’s not this far-fetched idea. It’s not like we’re constantly talking about it, that it’s Hyde Park and the U of C, but you don’t have to go very far to get a real sense of what the world would have been like. If Catherine only lived in that house with her father—there’s already that sort of insular feel on the campus. It gives me a better sense of what that really closed-in world might have felt like. It’s helpful that way. And it’s super cool, because it’s never been done here, which is kind of surprising. And David [Auburn] said he’s really proud. Was it time to come back, or was it Proof that was particularly interesting? CC: I didn’t exactly pinpoint Proof and go after it. But yes, it was time to come back to Court. I think a misconception a lot of people have about actors is we get to choose our work. As you go along, as you get more familiar with the people you work with, it does get to be more of a give-and-take relationship. But with auditions—yeah, you can go in and audition for things that you want, but there’s no guarantee you’re what they want. Then there are scheduling problems … for a lot of different reasons, you don’t get to choose what you do. But I am always game for working at Court. Why is that? Charlie especially—one of the first things I did with him was a workshop about the actor’s process. He’s so interested in that because he’s separate from it. He always wants to know more about it and he’s great at incorporating it in with his own gifts. He’s always saying, ‘Ask for what you need,’ so you get what you need and you do your work well and he can take what he wants and add himself into that mix. I love that about the way he works, because he has such a unique lens or gel that he sees the human experience through. Those are the kinds of artists that you want to work with—you can both look at the same play and have a completely different sense of it, then you get to collaborate on something even bigger than either of your two experiences. Photo of Chaon Cross by joe mazza/brave lux inc. Court Theatre 15

PROFILES CHAON CROSS (Catherine) returns to Court Theatre, where her credits include: Yelena in Uncle Vanya, Laura in The Glass Menagerie, Hyacinte in Scapin, Caius Lucius and Marina in The Romance Cycle, and Aricia in Phèdre; she also played Roxane in Cyrano (Court Theatre and Redmoon Theater). Other Chicago credits include Celia in As You Like It, Sybil in Private Lives, Imogen in Cymbeline, Cressida in Troilus and Cressida, Emilia in The Two Noble Kinsmen, and Bianca in The Taming of the Shrew (Chicago Shakespeare); Macbeth (Lyric Opera of Chicago); Grushenka in Brothers Karamazov (Lookingglass Theatre); Sarah in Grace (Northlight Theatre); and Anya in The Cherry Orchard (Steppenwolf Theatre). In regional theatres, Chaon has played Lady Windermere in Lady Windermere’s Fan (Milwaukee Repertory Theater), and Elizabeth Bennett in Pride and Prejudice (The Cleveland Playhouse). She has also appeared in productions with Frump Tucker, Shattered Globe Theatre, TimeLine Theatre Company, Theatre at the Center, First Folio Shakespeare Festival, and TheatreHikes. On TV and in film, Chaon’s credits include Detroit 187 (ABC), Boss (Starz), Chicago Fire (NBC), and My Dog Skip (Warner Bros). Before moving to Chicago, Chaon toured the US and Canada for two years with the American Shakespeare Center. KEVIN GUDAHL (Robert) returns to Court Theatre, where he has previously appeared in The Illusion, The Wild Duck, Titus Andronicus, Uncle Vanya, Who’s Afraid of Virginia Woolf, My Fair Lady, School for Wives, Putting It Together, The Misanthrope, Travesties, and Celimene and the Cardinal. Other Chicago credits include appearances in shows such as Richard III, Comedy of Errors, A Little Night Music, and Julius Ceasar, and the title roles in Antony and Cleopatra, and Macbeth (Chicago Shakespeare Theatre); roles in The House of Martin Guerre, King Lear, and Turn of the Century (Goodman Theatre); and the musicals 1776 and The King And I (Marriott Theatre). Kevin has also previously performed at the Writer’s Theatre, Drury Lane, Remy Bumppo, Northlight, and Victory Gardens. Internationally, he has had stage appearances in London in Pacific Overtures (DonMar Warehouse), and Henry IV Parts 1 & 2 (Royal Shakespeare Company’s Swan Theatre); and in Canada, spending five seasons with the Stratford Shakespeare Festival in plays such as Twelfth Night, Little Green, and Three Sisters. In film and on TV, Kevin has appeared in While You Were Sleeping, Home Alone III, Poker House, Boss, Chicago Code, and Early Edition. Kevin is a proud member of Actor’s Equity and a recipient of Chicago’s Joseph Jefferson Award. ERIK HELLMAN (Hal) happily returns to Court after previously appearing in Comedy of Errors, The Mystery of Irma Vep (for which he received a Joseph Jefferson Award nomination for lead actor), Titus Andronicus, and Arcadia. His recent Chicago credits include Eastland (Lookingglass Theatre); Hesperia (Writers’ Theatre); Madness of King George III, Taming of the Shrew, Macbeth, and Edward II (Chicago Shakespeare Theatre); Honest, Elephant Man, and Huck Finn (Steppenwolf Theatre); All My Sons (Timeline); The Busy World is Hushed (Next Theatre); Tartuffe (Remy Bumppo); Hatfield, and McCoy (The House Theatre of Chicago); and multiple performances as an ensemble member of Strawdog Theatre Company. Outside of Chicago, Erik has appeared at the Milwaukee Repertory Theatre, Geva Theatre, Syracuse Stage, Indianapolis Repertory Theatre, Shakespeare Santa Cruz, Houston’s Stages Repertory Theatre and Off-Broadway at The Mirror Repertory Theatre. In film and on TV, he has appeared in The Dark Knight, The Chicago Code, and Boss. Court Theatre 16

GET TALKING. (Just not during the performance)

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UP NEXT: COURT THEATRE’S MOLIÈRE FESTIVAL

ARTUFFE

the

MISANTHROPE May 9 – June 9, 2013

June 20 – July 14, 2013

By Molière Translated by Richard Wilbur

Directed by Charles Newell

In a society where social graces reign supreme, the cynical Alceste causes a scandal when he refuses to play his part in the charade. Torn between his love for the coquettish Célimène and the pretenses he so despises, Alceste finds himself alone in a world where words are brandished like weapons and status is defined by style. Unwilling to play the hypocrite any longer, Alceste must decide his destiny. Artistic Director Charles Newell returns to his roots in the French Baroque to give this wickedly funny and deliciously droll comedy of manners new life.

A devilish comedy about the art of deception and the price of misplaced faith, Moliere’s Tartuffe reveals a tale as outrageous as it is insightful. When the cunning imposter Tartuffe wields a pretense of piety to capture the imagination of Orgon, the scoundrel succeeds in insinuating himself into the patriarch’s home, throwing Orgon’s family into chaos. As Orgon’s infatuation with Tartuffe’s fraudulent religious fervor grows, the depth of Tartuffe’s deception turns dangerous. Charles Newell directs the French classic with a provocative approach that will illicit deep laughter of recognition.

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PROFILES MEGAN KOHL (Claire) is making her Court Theatre debut. Her Chicago credits include Miss Julie in Miss Julie (Vintage Theater Collective); Aphra Behn in Or (Caffeine Theatre); Woman 1 in Wild Women XXX (Vox Theatre, produced as part of the 2011 Chicago Fringe Festival); Mistress Ford in The Merry Wives of Windsor (Arc Theatre); Dian Black in Beautiful City (Theatre Mir); and Mom/Judy Morgan in Frindle (Griffin Theatre). She has also worked with Remy Bumppo Theatre Company and American Theatre Company. Megan holds an MFA from DePaul University and is represented by Paonessa Talent. DAVID AUBURN (Playwright) Plays include Proof (Pulitzer Prize, Tony Award, New York Drama Critics Circle Award), An Upset and Amateurs (EST Marathons), and Skyscraper. Films include The Girl in the Park (writer/director) and The Lake House. Recent directing credits include A Delicate Balance for BTF. His short plays have been collected in the volume Fifth Planet and Other Plays (DPS). His work has been published in Harper’s, New England Review, and Guilt and Pleasure; and he was a contributing editor to the Oxford American Writers Thesaurus. A former Guggenheim Fellow, he lives in New York City. 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, The Year of Magical Thinking, The Wild Duck, Caroline, Or Change, Titus Andronicus, Travesties, and Hamlet. 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 nominee and recipient. MARTIN ANDREW (Scenic Designer) has recently worked on Gypsy (Drury Lane Theatre); The Norman Conquests and AFTERLIFE (Southern Rep); The Glass Menagerie (Steppenwolf Theatre Co.); Celebrity Charades & Sweet Storm (Public Theatre/LAByrinth Theatre Co.); and The Wedding, Uncle Vanya, and Romeo & Juliet (TUTA Theatre Chicago). On TV, Martin has worked on the Super Bowl for CBS, the News & Weather Studio for KTMD Houston, and Silent Library for MTV Networks. He is also involved in assisting on a variety of Broadway and Off-Broadway productions, as well as film, television, and live event projects. These include Timon of Athens (Chicago Shakespeare Theatre), the Mythbusters exhibit (Museum of Science and Industry), CBS Upfront, August: Osage County (Broadway), Maybelline/Essie at Fashion Week, Coke Live at the Vancouver Winter Olympics, ESPN: MNF Studio and, ABC/NASCAR Broadcast Studio. RACHEL LARITZ (Costume Designer) is happy to be joining Court for the third time after designing Home and Wait Until Dark. She has worked with the Pearl Theatre Company Off-Broadway, and with the following regional theatres: Utah Shakespeare Festival, Actors Theatre Louisville, Milwaukee Repertory Theatre, Northlight Theatre, Illinois Shakespeare Festival, Remy Bumppo, Peninsula Players, Timeline, Route 66, Next Act, Chamber Theatre, Renaissance Theaterworks, Skylight Opera, Children’s Theatre Madison, and the University of Michigan. Other credits include work with NBC’s Law & Order, American Players Theatre, Chicago Opera Theatre, Garsington Opera (London), and the Spoleto Festival USA. Rachel is a recipient of a 2011 Emerging Artist Alumni Award from the University of Michigan and a 2009 Jeff Award for Voysey Inheritance. She is also currently an adjunct instructor at DePaul University. Court Theatre 19

PROFILES KEITH PARHAM (Lighting Designer) joins Court Theatre once again after previously working on Angels in America and An Iliad. Keith has worked on lighting in New York, Chicago, and abroad. In New York, he worked on Hit the Wall, Tribes, Mistakes Were Made, and Red Light Winter (Barrow Street Theatre); Through the Yellow Hour (Rattlestick Theatre); Stop the Virgens (Karen O at St. Ann’s Warehouse); Ivanov and Three Sisters (Classic Stage Company); A Minister’s Wife (Lincoln Center Theatre); Hotel/ Motel and Ghosts in the Cottonwoods (The Amoralists); Adding Machine (Minetta Lane); Crime and Punishment and Sunset Limited (59E59). In Chicago, Keith has worked on The Dumb Waiter, Fulton Street Sessions, and Baal (TUTA Theatre); Teddy Ferrara, Sweet Bird of Youth, Red, Mary, and The Seagull (Goodman Theatre); The Birthday Party, Time Stands Still, Sunset Limited, and Red Light Winter (Steppenwolf). Abroad, Keith worked on Stop the Virgens (Sydney Opera House), and Homebody/ Kabul (National Theatre of Belgrade, Serbia). Other professional credits include Arena Stage, The Alley Theatre, Mark Taper Forum, Trinity Repertory, Shakespeare on the Sound, and Chicago Opera Theatre. Keith is a recipient of an Obie Award, a Lucille Lortel Award, an After Dark Award, and a Michael Maggio Emerging Designer Award. He is a member of the TUTA Theatre Company. ANDRE PLUESS (Sound Designer) returns to Court Theatre where previous credits include An Iliad, Travesties, Cyrano, The Romance Cycle, and Mary Stuart, among others. Broadway credits: Metamorphoses, I Am My Own Wife, 33 Variations, and The Clean House (Lincoln Center). Regional: Cymbeline (Shakespeare Theatre D.C.), Legacy of Light (Arena Stage), Ghostwritten (Goodman Theatre), Palomino (Center Theatre Group), Equivocation (Seattle Repertory Theatre), Merchant of Venice and Cat on a Hot Tin Roof (Oregon Shakespeare Festival), Marcus (American Conservatory Theatre), Macbeth and Much Ado About Nothing (California Shakespeare Festival). Mr. Pluess is an Artistic Associate at Lookingglass Theatre Company and the California Shakespeare Festival, resident designer at Victory Gardens Theater, and teaches Sound Design at Northwestern University. JOHN BOLLER (Production Dramaturg) previously worked as a dramaturg on Arcadia at Court Theatre and Rock ‘n’ Roll at the Goodman Theatre. Both of these productions were directed by Charlie Newell, Court’s Artistic Director. John is a Senior Lecturer in the Mathematics Department at the University of Chicago. He earned his Ph.D. from the University in 1999, writing his thesis, “Characters of Some Supercuspidal Representations of p-adic Sp4(F),” under the supervision of Professor Paul Sally. SARA GAMMAGE (Production Stage Manager) is delighted to return to Court Theatre. Credits here include Flyin’ West, What the Butler Saw, The First Breeze of Summer, Wait Until Dark, The Mystery of Irma Vep, The Illusion, Sizwe Banzi is Dead, Home, Orlando, Porgy and Bess, Spunk, An Iliad, Invisible Man, and Jitney. Other credits include productions with Goodman Theatre, Chicago Shakespeare Theater, Greenhouse Theater, Theatre at the Center, Marriot Theatre, Apple Tree Theatre, and Redmoon Theater. She spent several seasons at Peninsula Players Theatre in Door Country, WI; credits there include A Little Night Music, Comic Potential, Wait Until Dark, Is He Dead?, Rumors, and The Lady’s Not for Burning. Sara is a proud graduate of Northwestern University. BETH ELLEN SPENCER (Assistant Stage Manager) is thrilled to be making her Court Theatre debut with Proof. Beth’s other Chicago credits include: Beauty and the Beast (Chicago Shakespeare Theater),The Sound of Music and Sweeney Todd (Drury Lane Theatre), Candide (Goodman Theatre), Samuel J. and K. (Steppenwolf Theatre Company), Joseph and the Amazing Technicolor Dreamcoat (Marriott Theater), and The Music Man, Annie, and Hair (Paramount Theater). Regional credits include: Candide and Old Times (Shakespeare Theatre Company). In Kansas City Beth spent six years with Kansas City Repertory Theatre as PSM and ASM for many shows including A Christmas Story, The Musical and Venice (both world premieres), Into the Woods, Broke-ology, and many productions of A Christmas Carol. With Heart of America Shakespeare Festival Beth served as the PSM for King Richard III, The Merry Wives of Windsor, Othello, Romeo & Juliet, and King Henry V. Court Theatre 20

PROFILES 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.

A D MISSION IS A LWAYS FRE E

smartmuseum.uchicago.edu

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BOARD OF TRUSTEES Marilyn Fatt Vitale, Chair Barbara E. Franke, Vice Chair Margaret Maxwell Zagel, Vice Chair Joan Feitler, Secretary 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-Zimmer David Bevington Robert Bird James Chandler Cathy Cohen Michael Dawson Philip Gossett Tom Gunning Travis A. Jackson Heinrich Jaeger Jonathan Lear David J. Levin Patchen Markell Court Theatre 22

Margaret Mitchell Deborah Nelson David Nirenberg Sarah Nooter Larry Norman Martha Nussbaum Jessica Stockholder Kenneth Warren David Wellbery Christopher Wild David Wray Judith Zeitlin

STAFF Artistic Director Executive Director Resident Artist Resident Dramaturg Casting Director and Artists-in-the-Schools Director Teaching Artists Casting/Education Assistant Kemper Casting/Education Fellow

Cree Rankin Kamal Angelo Bolden, Tracey N. Bonner, Ashley Honore, Tony Lawry, Patrese D. McClain, Michael Pogue 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

Development Specialist Assistant Director of Development for Institutional Relations Assistant Director of Development for Special Events Development Assistant Kemper Development Fellows

Charles Newell Stephen J. Albert Ron OJ Parson Drew Dir

Elaine Wackerly 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

Audience Services Manager Box Office Manager Associate Box Office Manager and Database Admininstrator Box Office Assistants House Manager Concessionaires Volunteer Ushers Volunteer Coordinator

Matthew Sitz Diane Osolin

Kate Vangeloff Shelly Horwitz, Kristie Lai Cathy Taylor Public Relations, Inc.

Heather Dumdei Matt Hiller, Ariel Mellinger, Kareem Mohammad, Alice Tsao Jason McCreery, Bart Williams Alex Colborn, Jason McCreery, Bobby Morales, Mallory VanMeeter 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 Allstate Insurance Co. Abbott Laboratories Fund The Elizabeth F. Cheney Foundation The Chicago Community Trust Grant Thornton LLP Hyde Park Bank Kirkland & Ellis LLP National Endowment for the Arts Sidley Austin LLP The University of Chicago Women’s Board Winston & Strawn LLP

Student Education Program Sponsors 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 Illinois Arts Council The Irving Harris Foundation The Julius Frankel Foundation John D. and Catherine T. MacArthur Foundation Nuveen Investments Prince Charitable Trusts The Rhoades Foundation The Shubert Foundation University of Chicago

Special Initiatives Sponsors Boeing Company Harper Court Arts Council The Joyce Foundation Southwest Airlines

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, rsilverman@uchicago.edu or (773) 834-5293.

PRODUCERS CIRCLE

The following individuals and institutions have made major gifts to the Producers Circle, Courtâ&#x20AC;&#x2122;s premier giving society, and we are deeply grateful for the generosity of these donors. The list reflects gifts received through February 4, 2013. 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

Royal Court ($50,000-$99,999)

Mr. Fred Eychaner, in support of Angels in America Joan and Bob Feitler Lorna Ferguson and Terry Clark

Virginia and Gary Gerst Mr. and Mrs. James S. Frank Linda and Stephen Patton Marilyn Fatt Vitale and David Vitale

Distinguished Patrons ($25,000-$49,999) Helen N. and Roland C. Baker Robert and Joan Rechnitz Karla Scherer

Lawrence E. Strickling and Sydney L. Hans Ms. Margaret Maxwell Zagel and the Honorable James Zagel

Grand Patrons ($15,000-$24,999)

Martha and Bruce Clinton Kevin Hochberg and James McDaniel Sarita I. Warshawsky

Mr. and Mrs. Timothy Bryant Mr. and Mrs. Jonathan Bunge

Directors ($10,000-$14,999)

Tom and Esta Kallen Earl and Brenda Shapiro Foundation

Benefactors ($5,000-$9,999)

Mr. and Mrs. Robert Helman Gayle H. Jensen Anne Kutak James Noonan and Dana Levinson William and Kate Morrison Dr. Larry Norman Susan H. and Robert E. Shapiro Mr. and Mrs. Francis Straus Anne and William Tobey Mr. and Mrs. Stuart Townsend Ms. Judith Wright Paul and Mary Yovovich

Patrons ($2,500-$4,999)

Mr. and Mrs. Mark Koulogeorge Mr. and Mrs. Robert Lewis Mr. Michael C. Litt Michael Lowenthal and Amy Osler Margaret McCormick Robert Moyer and Anita Nagler Thomas Rosenbaum and Katherine Faber Ms. Martha Roth and Mr. Bryon Rosner Diane Saltoun and Bruce Braun Lynne F. and Ralph A. Schatz Joan and James Shapiro Elaine and Richard Tinberg Dr. and Mrs. James Tonsgard Fidelis and Bonnie Umeh Thomas and Barbara Weil

Mary Anton and Paul Barron

Stephen and Terri Albert Judith Barnard and Michael Fain Jonathan and Gertude Bunge Richard and Ann Carr Joyce Chelberg James E. Clark and Christina Labate Joan and Warwick Coppleson Ginger L. Petroff and Kenneth R. Cunningham Shawn M. Donnelley and Christopher M. Kelley David B. Fithian and Michael R. Rodriguez Mary Louise Gorno Mary Jo and Doug Basler Leigh S. Breslau and Irene J. Sherr Stan and Elin Christianson Mr. Kirby Cunningham Sylvia Fergus and David Cooper Mr. Harve Ferrill Sonja and Conrad Fischer Foundation 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 Mr. and Mrs. Jack Karp, in honor of Karen Frank

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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 February 4, 2013. If you have a correction or would prefer to remain anonymous, please call (773) 834-0941. (* indicates deceased.)

Leaders ($1,000-$2,499)

Dr. and Mrs. Peter T. Heydemann Mr. and Mrs. Arnold Hirsch Doris B. Holleb Jean A. Klingenstein Nancy Lauter McDougal and Alfred L. McDougal Charitable Fund Bernard and Averill Leviton Phoebe R. and John D. Lewis Family Foundation Mrs. Merle Litt* Michael Lowenthal and Amy Osler Charlene and Gary MacDougal Robert McDermott and Sarah Jaicks McDermott Mr. and Mrs. Michael McGarry Dr. and Mrs. Robert McMillan Brooks and Howard Morgan Irma Parker Kathleen Picken Mr. and Mrs. James M. Ratcliffe Dr. Salvador J. Sedita and Ms. Pamela L. Owens Mr. and Mrs. Richard Seid David and Judith L. Sensibar Tim Burroughs and Barbara Smith Nikki and Fred Stein James Stone Kathy and Robert Sullivan Otto and Elsbeth Thilenius Anne and John Tuohy, in honor of Virginia Gerst Mr. and Mrs. R. Todd Vieregg Joan E. Neal and David Weisbach Charles and Sallie Wolf

Supporters ($500-$999)

Kent S. Dymak and Theodore N. Foss Mr. Stephen Fedo Mr. Bill Fraumann Mr. and Mrs. Paul E. Freehling Mrs. Delphine Geannopulos Joan M. Giardina Jacqueline and Howard Gilbert Philip and Suzanne Gossett Beth and Howard Helsinger Douglas and Lola Hotchkis Ms. Linda Hutson Ms. Deone Jackman Koldyke Family Fund Barry Lesht and Kay Schichtel, in memory of Jack Shannon John and Jill Levi Dr. and Mrs. Joel Levinson

Anonymous Mr. and Mrs. Paul F. Anderson Mr. Ed Bachrach Jay R. Franke and Pamela Baker Mrs. Edwin A. Bergman David and Peggy Bevington Henry and Leigh Bienen 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 Ms. Patricia Hunckler Barbara Flynn Currie Mr. Charles F. Custer Paula and Oscar Dâ&#x20AC;&#x2122;Angelo Nancie and Bruce Dunn Paul Dykstra and Spark Cremin Philip and Phyllis Eaton Eileen and Richard Epstein Mr. and Mrs. Wolfgang Epstein Ms. Sara Stern and Mr. Ted Fishman Mrs. Zollie S. Frank Ms. Ethel Gofen Ms. Patti Grimm Mrs. Betty Guttman Ms. Deborah Hagman-Shannon and Dean Daniel Shannon

Anonymous, in honor of Oren Jacoby Drs. Andrew J. and Iris K. Aronson Brett and Carey August Ms. Catherine Bannister Sharon and Robert Barton Catharine Bell and Robert Weiglein Joan and Julian Berman Mr. and Mrs. Andrew Block Phyllis Booth Mary and Carl Boyer Douglas Bragan Mr. John Cook Nancy and Eugene De Sombre Mr. Lawrence D. DelPilar Daisy A. Driss Court Theatre 26

ANNUAL SUPPORT Ms. Nancy Levner Mr. and Mrs. Michael B. Lowe Mr. Ernest Mahaffey and Mrs. Sheila Penrose, in honor of Marilyn Fatt Vitale Mr. and Mrs. John W. McCarter, Jr. David E. McNeel Doris and Glenn E. Merritt Mr. and Mrs. Robert Moeller Mr. and Mrs. Phil C. Neal Ms. Grayce Papp Mr. Robert Patterson Ms. Yolanda Saul Mr. Craig Savage and Dusan Stefoski

Roche Schulfer and Mary Beth Fisher Ilene W. Shaw Mr. and Mrs. Charles Shea Louise K. Smith Elizabeth and Hugo Sonnenschein Mr. Carl Stern and Mrs. Holly Hayes, in honor of Marilyn Fatt Vitale Dorie Sternberg Stewart Family Fund Ms. Cheryl Sturm Ruth Ultmann Ms. Martha Van Haitsma

Contributors ($250-$499)

Ms. Kineret Jaffe Mr. James Jolley and R. Kyle Lammlein Dorthea Juul Ms. Anne Van Wart and Mr. Michael Keable Nancy and Richard Kosobud Larry and Carole Krucoff David and Sandy Lentz Ms. Carolyn S. Levin Steven and Barbara Lewis Mr. and Mrs. Joe Madden William Mason and Diana Davis Michelle Maton and Mike Schaeffer Mr. Daniel McShane Mr. Ernst Melchior Greg and Alice Melchor Renee M. Menegaz and Prof. R. D. Bock Dr. and Mrs. Ernest Mhoon Joanne Michalski and Mike Weeda Lisa Kohn and Harvey Nathan Drs. Donald E. and Mary Ellen Newsom Mr. and Mrs. Harvey Plotnick Mr. and Mrs. Norman Raidl Nuna and Ennio Rossi Cecilia and Joel Roth Ms. Ann M. Rothschild Martha Sabransky Sharon Salveter and Stephan Meyer Mr. and Mrs. Thomas Scott Mr. and Mrs. David Stalle Judith E. Stein 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 Mrs. Iris Witkowsky Joseph Wolnski and Jane Christino

Mr. and Mrs. Steven A. Adelman Mrs. Geraldine S. Alvarez Mr. and Mrs. John Anderson Eugene L. Balter and Judith R. Phillips Randy Barba Thomas C. and Melanie Berg Mr. and Mrs. Stephen Berry Ms. Kathleen Betterman Mr. and Mrs. David L. Blumberg Jim and Sandy Boves Janet Brookman and Friend Brady and Geraldine Brownlee Karen A. Callaway Judy Chernick Elizabeth Fama and John Cochrane Mr. and Mrs. Howard Cohn Katherine and John Culbert Frederick T. Dearborn Eloise DeYoung Lisa and Rod Dir Ms. Rita Dragonette Lynn and James Drew 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 Celia and David Gadda Dr. Thomas Gajewski and Dr. Marisa Alegre Dr. Sandra Garber Judy and Mickey Gaynor Mr. and Mrs. Robert B. Hartfield, in honor of Virginia Gerst and Marilyn Fatt Vitale Ms. Mary Harvey Mary J. Hayes, DDS Carrie L. Hedges Richard and Marilyn Helmholz Carrie and Gary Huff

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ANNUAL SUPPORT Associates ($150-$249)

Anonymous Mr. Sam Adam Sr. Mr. and Mrs. Steven A. Adelman Ms. Roula Alakiotou and Mr. Alvin Burenstine Filomena and Robert Albee Mrs. Geraldine S. Alvarez Dr. and Mrs. Thomas Anderson Ted and Barbara Asner Mr. Stephen Berry Mr. and Mrs. Adrian Beverly Helen and Charles Bidwell James Bishop Mr. and Mrs. David L. Blumberg Mr. Aldridge Bousfield Ms. Sarah Bransfield Karen A. Callaway John and Sally Carton 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 Susan and Patrick Floyd Ms. Carma Forgie Mr. and Mrs. Julian Frazin Kathleen Gallo Gerry and Stan Glass Paul B. Glickman Natalie and Howard Goldberg Mr. and Mrs. Steven Gryll Joel and Sarah Handelman Roz and Jo Hays Carrie L. Hedges 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 Sharon Manuel Mr. and Mrs. McKim Marriott Michelle Maton and Mike Schaeffer

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Mr. and Mrs. Frank D. Mayer, Jr. 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 Ms. Jane Grady and Mr. Alan J. Pulaski Mr. Michael Raftery Mr. and Mrs. Norman Raidl Mrs. Marelen F. Richman Bruce Rodman Carol Rosofsky and Robert Lifton 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 Ruth Stevig Gregory Tabaczynski Prof. and Mrs. Lester Telser Dr. Willard E. White Nancy and John Wood David and Suzanne Zesmer

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 Court Theatre’s Campaign to Create the Center for Classic Theatre

Court Theatre recognizes those individuals who are supporting the creation of The Center for Classic Theatre at the University of Chicago. Barbara and Richard Franke Virginia and Gary Gerst Marilyn Fatt Vitale and David Vitale Karen and James Frank Linda and Stephen Patton Lawrence Strickland and Sydney Haus

Helen and Roland Baker Lorna Ferguson and Terry Clark Michael Lowenthal and Amy Osler Ms. Margaret Maxwell Zagel and the Honorable James Zagel

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 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 Theatre’s endowment, please contact Erin Kelsey at (773) 834-0941 or erink@uchicago.edu.

Court Theatre Facility Support The University of Chicago

In-Kind Contributions

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 Mary Mastricola and La Petite Folie Court Theatre 30

Morning Glory Flower Shop Park 52 Piccolo Mondo Prague Studios Ritz Carlton Chicago Ritz Carlton New York The Saints Thomas Schumacher Jason Smith Photography Southwest Airlines United Airlines David Vitale

“ALL THE WORLD’S A STAGE, AND ALL THE MEN AND WOMEN MERELY PLAYERS.” Open casting call for the Lead role (full time) of

ADVERTISING SALESMAN

Supporting roles (part time) are also being cast. Show is open ended and has been running in Chicago since 1996. Male or Female actors may apply. All ages will be considered. Candidates must be comfortable in front of a live audience and be able to handle the physical demands of daily performances. Please send bio and headshot (resume and cover letter) to: SALESJOB@FOOTLIGHTS.COM

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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 E. 55th St. (773) 493-1394

Enjoy a group outing at Court! • 30% off tickets for adult groups • 60% off tickets for student groups • WAIVED handling fees • FREE parking on evenings and weekends • Discounts at local restaurants and reception venues • FREE post-play discussions with artistic staff Contact Groups Manager Kate Vangeloff directly at (773) 834-3243 or via email at katev@uchicago.edu. Court Theatre 32