Court skylight by Footlights.com

2012/2013 the 58th season Dear Court family, More than a year ago, we chose to produce David Hare’s Skylight. At that time, the Occupy Wall Street movement was fully engaged in an effort to create a deeper awareness of how wealth is distributed in our country. Their efforts made this play seem particularly relevant. At that time, we didn’t know that the presidential campaign would include comments about the “47 percent,” and that after the election pundits would declare that our nation had witnessed class warfare. We had no idea that two days after the play opened at Court, our neighbor would be taking the oath of office for another four years. The aftermath of the election has generated a wealth of analysis about the changing demographics of our population and the distinct and ongoing clash of values within our society, as well as further defined the gulf that exists between the members and followers of different political parties. David Hare’s drama captures these issues by examining how bridgeable or unbridgeable that gulf can be between two people. The characters are real and their stories are compelling as they recall their initial attraction and survey where their values and lives have led them. From our view through their skylight, the play allows us to witness their attempts to find common ground and explore new possibilities. Given the beginning of the second term after the election, it seems apropos to our political moment. We hope that you will find this work timely and engrossing. We are pleased to welcome Bill Brown back to our theatre. He is one of Chicago’s most talented directors, and we look forward to his Court Theatre directorial debut. We remain grateful to you, our audience, and the collection of patrons who value our work and make it possible to have a professional theatre in our community.

Charles Newell, Artistic Director

Stephen J. Albert, Executive Director

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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

SKYLIGHT by David Hare directed by William Brown | Jan 10 - Feb 10, 2013

Scenic Design by Todd Rosenthal* Costume Design by Rachel Anne Healy* Lighting Design by Jesse Klug* Sound Design by Andrew Hansen Casting by Cree Rankin

Eva Breneman Dialect Coach Maren Robinson Production Dramaturg Sara Gammage Production Stage Manager Amber Johnson Stage Manager

Skylight is presented by special arrangement with SAMUEL FRENCH, INC. The Director is a member 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 Actorsâ&#x20AC;&#x2122; Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Sponsored by

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CAST Kyra Hollis........................................................................................ Laura Rook Edward Sergeant...........................................................................Matt Farabee Tom Sergeant..................................................................... Philip Earl Johnson* *Denotes a member of Actorsâ&#x20AC;&#x2122; Equity Association, the Union of Professional Actors and Stage Managers in the United States.

SETTING A flat in north-west London. There will be one 15-minute intermission.

PRODUCTION STAFF Scenic Assistants.....................................................................................Henry Behel, Scott Davis Costume Assistant.......................................................................................................Yonit Olshan Lighting Assistant.......................................................................................................Mac Vaughey Assistant Director..........................................................................................John Michael DiResta Assistant Master Electrician................................................................................... Nicholas Carroll Electricians.................................. Liz Boros-Kazai, Marc Chevalier, Tamar Daski, Jared Gooding, Greg Hofmann, Ellie Humphrys, Tristan Meredith, Cassie Mings, Erik Parsons, Kim Schechter, Elizabeth Smith, Ted Smith, Jacob Snodgrass, Megan Snowder, Megan Turnquist, Christopher Wilham Sound Board Operator.............................................................................................Amanda Sager Floor Manager.........................................................................Sarah Ramos, Heather Timmerman Costume Shop Assistant......................................................................................................Alexia Rutherford Wardrobe Supervisor.........................................................................................Savannah Peregoy Scenic Artists..................................................................................... Scott Gerwitz*, Julie Ruscitti* Carpenters..................... Kevin Decker, Jared Gooding, Dylan Jost, Josh Lambert, Erik Tylkowski *Denotes a member of the United Scenic Artists, I.A.T.S.E. Local USA829, AFL-CIO, CLC.

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 Actorsâ&#x20AC;&#x2122; 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 Director

WILLIAM BROWN

Director William Brown made his first appearance at Court Theatre in 1982 as an actor in George Bernard Shaw’s You Never Can Tell. Having established himself as a beloved Chicago actor, in 1998 he made his directorial debut at Writers’ Theatre with The Glass Menagerie. Now returning to Court as a formidable director, William Brown sat down with Court’s Resident Dramaturg Drew Dir to talk about David Hare’s Skylight. The last time you worked here at Court Theatre, you were playing the role of Falstaff in Henry IV: The Shadow of Succession. That was seventeen years ago. What are your memories of that production? That production is one of my fondest memories in the theatre, actually. I was a last-minute replacement, and I remember it being five days before that production went into tech. The reason he [Artistic Director Charles Newell] called me was Court Theatre had done something at Symphony Center—monologues and scenes that were related to musical overtures—and he had asked me to play Falstaff along with a bunch of other stuff. And I thought—that’s not a role for me, I’ll never get into it. Well, I got into it! Then I was kinda like—oh, I really want to play this some day! So Charlie calls me, I say yes, and because you’re just thrown in and all you have are your instincts, you can’t over-think anything. It was that way ‘til closing night. I looked forward to going to the theatre every single night, because I kept thinking, ‘I will never get this right.’ But it was something to work on, something to attack and chew up and try and understand, and so it was such a happy experience from beginning to end for me, even though it was scary. It was really scary. What initially drew you to David Hare’s play Skylight? I work almost every summer up at American Players Theatre in Spring Green, Wisconsin, and recently they were doing Skylight. I had never read it, so I called them and said, ‘Hey, can you lend me a copy?’ and I read it that night and I was so deeply moved by it. I thought it was funny, I thought it was sexy, I thought it was a mystery, I thought it was powerful. It’s a three-person play but every scene is a two-person scene, and at the heart of it are two people: an older man, a younger woman, who had an affair—that doesn’t even do justice Court Theatre 4

William Brown (left) in 1996 playing Falstaff in King Henry IV: Shadow of Succession, directed by Charles Newell at Court Theatre. Also pictured: Raymond Fox (center) and John Reeger. Photo by Michael Gibson.

to it—who fell deeply in love and haven’t seen each other for three years, and they meet on this cold wintry night, and there’s three years worth of ‘Who are you? Where are you? What are you?’ And to complicate it, the older man’s son has come just before the dad arrived to ask the woman to help his father deal with the loss of his mother. Every layer is powerful in that synopsis. At the heart of it is the loss of this woman that we never meet, Alice—the boy’s mother, Tom’s wife, and one of the dearest friends that Kyra’s ever had. It is David Hare; there’s always going to be a socio-political context. But what I love about it and what I think is truthful about it is that the politics are personal. You believe in what you believe in because of who you are. Tom and Kyra are both right, they both make really good arguments. And this kid who just walks in, who doesn’t even know what the argument is, it turns out he knows something, too. I’m very touched by that. You’ve worked with actors Laura Rook and Philip Earl Johnson previously. What do they bring to the roles of Tom and Kyra that’s unique and exciting to you? Well, in those callbacks they had an incredible chemistry, which can never be denied. This is the fourth play I’ve done with Laura; she’s played Juliet for me, Celia in As You Like It, and she just played Cressida up at APT for me in Troilus and Cressida. I think she is such CONTINUED ON P 6 Court Theatre 5

PLAY NOTES a powerful actor—so beautifully poised in her own self. What she and Phil have deeply in common is, they only know the truth. They can’t do it unless it’s true. I’ve known Phil for years; we first worked together a couple years ago on a Brett Neveu play called Old Glory, and it’s the same thing, he only knows how to speak the truth. They’re both visceral, exciting, human actors. They’re both terribly human. And let’s throw young Matt [Farabee] into this too—I think it’s the same thing, and I barely know him at all. This is a fabulous character, a fascinating character, the rich man’s son who is embarrassed about being rich… but there’s more to him than that, it turns out. I just think that this extraordinary play is in good hands with all three of those guys. In addition to your work as a director, you’re also an accomplished actor. How does that experience inform your approach to scene work, particularly in a play that demands so much from two actors? I think it gives me an advantage. There are no tricks [in Skylight], there’s not much we could accomplish with sleight-of-hand, with stagecraft. Really, we sit in this room with three people all night. I think because I speak a certain language—and every actor does speak a different language, so it’s not like we necessarily speak the same language—but by virtue of having an acting language that I’ve lived with, learned, and made up on my own, I can usually find something that translates for any actor. Because I know what has to happen inside of them before they say a word. I understand that process because I’ve lived in it, so I don’t get nervous. It gives me a kind of confidence. I like nothing better than a big twoperson scene. And I know plenty of directors who are terrified of that, but I love it. Because I know we’ll find what makes it dynamic, where are the highs and the lows and the pain and the glory and the love and the hate. I feel very comfortable with that kind of play. Between Tom and Kyra, which is the character you identify with most? Do your own political views affect your approach to the play? I go back and forth, even in rehearsals—‘you’re absolutely right,’ ‘no you’re absolutely right.’ And I have to; I want the audience to do that too, and the director is a stand-in for the audience. I suppose my worldview is closer to Kyra’s. I think we have a responsibility to our fellow man and I sometimes mistrust a worldview that is so focused on making money. On the other hand, what I love about Tom is his generosity, his availability. He’s an older man and I’m an older man, so I empathize with him age-wise. Kyra’s still deciding who she’s going to be; I understand what it’s like to be at a certain point in your life where you go, ‘this is what I’ve done,’ and you begin to question that, or you have to justify that. I understand that. Court Theatre 6

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PLAY NOTES

LOVE and HIATUS By John Wilkinson

Reflections on Skylight

John Wilkinson is an English poet living in Chicago, where he is professor of practice in the arts at the University of Chicago. He has published ten major collections of poetry, including Down to Earth, and a volume of criticism entitled The Lyric Touch. Prior to his academic career, Wilkinson spent over twenty years in mental health services in England, latterly with responsibility for planning and performance managing services in the East End of London. Skylight plays out in a hiatus. Skylight’s hiatus, governed by a dead woman named Alice, is both temporal and spatial. David Hare’s play debuted in London in 1995 in the hiatus between the premierships of Margaret Thatcher and Tony Blair. The country and its public discourses were exhausted. The discourse of municipal socialism had been gutted during the Winter of Discontent where Trades Union leaders vied in an unfraternal competition, exploiting the leverage of a freezing public stuck between train stations. Piously they regretted there was no alternative. In Skylight the teacher Kyra’s flat with its pervasive cold and damp serves as a synecdoche for this anachronistic politics. Soon—right out of the blocks—Thatcher’s discourse of freedom was punctured by the profiteering of the finance industry. Her talent for riding the tides of international capitalism while feigning to command their course deserted the Iron Lady. To her fiats, there was no alternative. Tom in Skylight scorns Kyra’s refusal to read the newspapers or watch the news, but the detachment his wealth affords him is betrayed in his vagueness about the rates (property tax) or Poll Tax. Thatcher’s stubbornly enacted Poll Tax failed ignominiously after mass riots. Skylight’s spatial hiatus is North West London. And if Kyra lives in Nowhere North West, she teaches in Nowhere East End – not edgy Hackney, not West Ham with its football team, but dreary East Ham. Her flat’s location is a recurrent joke in the first act, with its distance from her work later implying a penitential way. It would be five years before Nowhere North West became a fully-imagined somewhere, after the publication of Zadie Smith’s novel White Teeth. Smith started writing White Teeth in 1997, the first year of Tony Blair’s government, when history promised to resume. In Skylight the chief shaping forces of London in the late twentieth century, immigration and deregulation, are registered only as problems. Kyra struggles to teach troubled and violent children whose first language is not English. Tom is enraged by the predatory behavior of banks. In the pages of White Teeth the hiatus of North West London would be occupied by joyous hybridity, and deregulation would be sexual and educational, a liberation from every laid-down course, whether class Court Theatre 8

or religious. This was a briefly shared delirium of hope, but the hiatus of Skylight fast recurred and now stretches flat, blank and interminable, as every viewer of this production will realize. Periodically Tom suffers from the male panic marked in other British art of the period—in Elvis Costello’s songs, in Barry MacSweeney’s poetry, in Martin Amis’ novels. The deregulation of women’s sexuality was often felt as a threat by men who thought of themselves as liberal or progressive. As for Kyra, she suffers from a determination to not endure others’ care, and can sound unendurably priggish. Meanwhile Tom’s son Edward suffers the sense of relative deprivation peculiar to the highly-privileged, dreaming of The Street as the place of authentic post-punk experience. Tom and Kyra both strive to reanimate vacant space and time when it threatens to numb them, using the discourses they have available. Tom reaches for the discourse of managerialism and Kyra for the discourse of moral conviction. These would combine in the Blair years in a toxic combination still polluting the ground-water in both the US and UK. What makes Skylight so devastating is the presence of a third language, the language that commands hiatus, the language of absence. Alice intervenes through silences, through the break-downs in the two languages of mastery, through the misprisions she contrives and which destroy the heart’s desire of both Tom and Kyra. Alice is the most powerful character in the play; when alive she was passive-aggressive, to use the cant of the time, and when dead she uses her passivity yet more effectively. The skylight might be thought of as her baleful surveillance. Maybe also it is a disabused version, visible from the beautiful room where Alice awaited death, of Philip Larkin’s “High Windows” with its “deep blue air, that shows | Nothing, and is nowhere, and is endless.” What makes Skylight a transformative play is that this hiatus can be filled by love, and Alice’s interference in love elicits the evidence of love’s power even as it expels it from the nowhere Alice regulates. The short final scene between Kyra and Edward is devastatingly poignant, with Edward representing the young Tom in his full imaginative generosity, and Kyra coming to full life in allowing herself to be cared for. It is possible to care for others without expecting a return, and it is possible to care for others undutifully. Tom knows the first and Kyra the second, but each burrows back into threadbare discourses when the surveillance that their guilt sustains, or the guilt that surveillance sustains, interrupts the language of feeling that each can recognize when it shapes on the other’s tongue. Several reviews of this play have congratulated David Hare on rising above politics for once, which goes to show the deafness and historical ignorance blighting our present hiatus. Skylight is at the heart of David Hare’s socialism, for love cannot occur between two people isolated in the world. There must be a third, a third representing all others and a trustworthy language where love can be professed. In Tom and Alice’s marriage the third was Kyra. Although both Kyra and Tom prate of collectivities, whether business or community, it is the pressing absence of a third that brings their love stuttering to its impasse. Two can never fill a hiatus. Court Theatre 9

PLAY NOTES Building in the Empty House:

POLITICS, FAITH & DAVID HARE By Maren Robinson, Production Dramaturg The phrase political playwright is often tions.” At the same, time Hare admits he paired with David Hare. This categorization comes to a play with his own political ideas: is notoriously slippery. Labeling Hare politi- “ . . . I believe in politics. I believe in social cal is reductive, full of the implication that a change and I believe in the social view—in monolithic political agenda or critique domi- other words, that who we are is not denates his plays, perhaps at the expense of termined by what we are born with in our the work. The notion of a political playwright heads, but by the historical circumstances is made more problematic by Hare’s tenden- by which we arrive on the planet. The place, cy to both adopt and eschew the description. the time and the things we do to each other Certainly, Hare’s plays have often dealt with have a social effect.” public and very political isThe place, the time, and sues. He cut his teeth as a “It is only now . . . the things they have done playwright in the late sixties to each other are shown to and early seventies. Under that I realize, almost greatest effect in the characMargaret Thatcher in the without noticing, ters in Skylight. While critics 1980s, his plays were a often cite Skylight as one of steady critique of British so- that for some time his least political plays, in cial and political structures. my subject as a fact, Hare deftly interweaves The term political seems to the personal and the political fit best when applied to a playwright has been together so that it is difficult play such as Pravda, writ- faith.” to tell whether the characters ten with Howard Brenton, a –David Hare are arguing about a dearly broad satire based loosely held political belief or about on Rupert Murdoch’s taketheir fraught personal history. The things over of British newspapers. More subtle, but Tom and Kyra have done to each other and no less political, is his trilogy examining the to those around them together have left British institutions of the Church, Law, and them changed and have impacted Tom’s State (Racing Demon, Murmuring Judges, son Edward. and The Absence of War). Hare himself both claims and rejects the idea of his politics. In his book, Writing Left Handed, he has written, “In the theater I am saying complex and difficult things. I do not want them reduced by either my views on the world, or, more important, the audience’s ideas of my views. I want no preconcepCourt Theatre 10

Hare begins the published version of Skylight with a quote from the William Butler Yeats poem, “The Stare’s Nest”: We had fed the heart on fantasies, The heart’s grown brutal from the fare. The poem was written during the Irish Civil

War, but also speaks to the conflict between Kyra and Tom and to the empty spaces left in both their lives as a result of this conflict. Most of the poem focuses on the personal and the mundane: the starlings’ empty nest, the bees building in masonry cracks, not on the details of the war. Similarly, in Skylight the ordinary details of life take on great importance: the cold room, the left over pasta sauce, or hot toast and coffee. Life is lived in these ordinary things. In fact, Skylight never delves into the nuances of Tory education policies or the rise of New Labour. Hare seems more interested in how an individual comes to hold strong beliefs, which may divide her from others who don’t share those beliefs or hold other beliefs. He has written, “It is only now . . . that I realize, almost without noticing, that for some time my subject as a playwright has been faith.” When he was doing research for his social trilogy, Hare described his wideranging interviews with members of the clergy and civil servants: “I suddenly found myself in the company of a whole lot of wellintentioned people—sometimes ridiculous people, people who believed things I didn’t believe, but who were more or less saying, ‘The mess has been made and we’re the poor sods who are going to have to clear it up.’ And since they became my subjects I’ve been a very, very happy writer. They are my subject, these people: obviously, Kyra in Skylight is a prime example.” Ultimately, whether the dearly held belief is religious, social, or political, when it is a matter of faith even people who love each other can find it impossible to be together. Examining the cracks in the masonry and the fissures between people is more universal and more human than the phrase political playwright might suggest.

The Stare’s Nest by My Window By William Butler Yeats

The bees build in the crevices Of loosening masonry, and there The mother birds bring grubs and flies. My wall is loosening; honey-bees, Come build in the empty house of the stare. We are closed in, and the key is turned On our uncertainty; somewhere A man is killed, or a house burned. Yet no clear fact to be discerned: Come build in the empty house of the stare. A barricade of stone or of wood; Some fourteen days of civil war: Last night they trundled down the road That dead young soldier in his blood: Come build in the empty house of the stare. We had fed the heart on fantasies, The heart’s grown brutal from the fare, More substance in our enmities Than in our love; O honey-bees, Come build in the empty house of the stare. 1922 In the notes to this poem, Yeats explains that “In the west of Ireland, we call a starling a stare, and during the Civil War, one built a nest in a hole in the masonry by my bedroom window.”

See page 16 for article source list. Court Theatre 11

PROFILES MATT FARABEE (Edward Sergeant) is thrilled to be a part of Skylight. Chicago credits include: punkplay (Steppenwolf Garage); MilkMilkLemonade (Pavement Group); Elizabeth Rex (Chicago Shakespeare Theater); Tigers Be Still (Theater Wit); The Trestle at Pope Lick Creek (Eclipse Theatre Company). Off Broadway: A Bright New Boise (Partial Comfort). Regional: Lord of the Flies, One Flew Over the Cuckoo’s Nest (Round House Theatre). He is a graduate of the University of North Carolina at Chapel Hill and is represented by Paonessa Talent. PHILIP EARL JOHNSON (Tom Sergeant) returns to Court Theatre having just played Gabriel Conroy in James Joyce’s “The Dead.” Credits include the National tour of Angels in America (Joe). Chicago: Court Theatre—The Mystery Cycle (Jesus); Goodman Theatre—Talking Pictures (Willis); Writers’ Theatre—Old Glory (Peter); American Theater Company—The Big Meal (Man #2); Steppenwolf Theatre Company—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. LAURA ROOK (Kyra Hollis) makes her Court Theatre debut. Recent credits: American Players Theater, Montana Shakespeare in the Parks, Illinois Shakespeare Festival, Writers’ Theatre, Bohemian Theatre, Silk Road Rising, and XIII Pocket. This spring you can see her as Juliet in Chicago Shakespeare Theater’s Short Shakespeare! Romeo and Juliet. Laura holds a BFA from the Chicago College of Performing Arts at Roosevelt University and is represented by Paonessa Talent. Laura would like to extend her gratitude and love to Bill, her family, and to Steve. WILLIAM BROWN (Director) most recently directed the world premiere of Wasteland at TimeLine Theatre Company where he also co-wrote and directed the world premiere of To Master the Art. For Writers’ Theatre, where he has directed twelve productions, he most recently directed A Little Night Music. At American Players Theatre he directed Troilus and Cressida as well as The Critic, Another Part of the Forest, Comedy of Errors, Hay Fever, A Midsummer Night’s Dream, The Night of the Iguana, The Matchmaker, Twelfth Night, The Cherry Orchard, and Antony and Cleopatra. He has also directed plays at Goodman Theatre, Northlight Theatre, Indiana Repertory Theatre, and Milwaukee Repertory Theatre and is the Associate Artistic Director of Montana Shakespeare in the Parks. Bill made his Chicago acting debut thirty years ago at Court Theatre as one of the twins in You Never Can Tell. He was very, very young then. TODD ROSENTHAL (Scenic Designer) designs for Steppenwolf Theatre, Goodman Theatre, Guthrie Theater, Alliance Theatre, La Jolla Playhouse, Arena Stage, Oregon Shakespeare Festival, Mark Taper Forum, Manhattan Theater Club, London’s National Theatre, Australia’s Sydney Theatre Company, and Ireland’s Theate Royal. Awards: Tony, Olivier, Jeff, Ovation, Garland, and the Michael Merritt. He designed Who’s Afraid of Virginia Woolf, currently running on Broadway, and is collaborating with Stephen King and John Mellencamp on a new musical. He was the lead designer on Mythbusters, the Explosive Exhibition. RACHEL ANNE HEALY (Costume Designer) Based in Chicago, Ms. Healy’s costume designs have been seen on numerous stages including Goodman Theatre, Steppenwolf Theatre, Chicago Shakespeare Theater, Writers’ Theatre, Chicago Children’s Theatre, Northlight Theatre, Drury Lane Theatre, American Theatre Company, Next Theatre, and Remy Bumppo Theatre. Regionally, she has designed with Alliance Theatre, Milwaukee Repertory Theatre, Arizona Theatre Company, First Stage Children’s Theatre of Court Theatre 12

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5550 South Shore Drive • Chicago, IL 60637 (773) 753-4102 • www.montgomeryplace.org

PROFILES Milwaukee, American Players Theatre, Indiana Repertory Theatre, Long Wharf Theatre, and Delaware Theatre Company. Ms. Healy’s designs can be seen in Milwaukee Repertory’s Clybourne Park and The Birthday Party at Steppenwolf Theatre. Ms. Healy is also a professor at Loyola University teaching costume design and rendering techniques to theatre designers. Please visit www.rahealy.com to view more designs. JESSE KLUG (Lighting Designer) National Tour of The Screwtape Letters. Off Broadway: The Elaborate Entrance of Chad Deity (Second Stage, Hewes Nomination), The Screwtape Letters (Westside Arts), Hunchback Variations (59E59), Romulus (Guggenheim Museum), The Hourglass (NYMTF). Regional: Chicago Shakespeare Theater, Goodman Theatre, Victory Gardens Theatre, Lookingglass Theatre Company, Steppenwolf Theatre Company, Indiana Repertory Theatre, Geffen Playhouse, Asolo Repertory Theatre, Milwaukee Repertory Theatre, Shakespeare Theatre Company, Writers’ Theatre, Drury Lane Oakbrook Terrace, Marriott Theatre in Lincolnshire, TimeLine Theatre Company, American Theatre Company, Fulton Theatre, Portland Center Stage, and Chicago Dramatists. Joseph Jefferson Award and After Dark Award winner. Visit www.jessekluglightingdesign.com. ANDREW HANSEN (Sound Designer) makes his Court Theatre debut. Andy is an Associate Artist at TimeLine Theatre Company where recent productions include Wasteland, 33 Variations, A Walk in the Woods, and To Master the Art. In Chicago he has worked with Goodman Theatre, Steppenwolf Theatre Company, Writers’ Theatre, Northlight Theatre, Remy Bumppo Theatre, and Lifeline Theatre, among others. Future productions include Stella and Lou at Northlight Theatre, The Liar at Writers’ Theatre, and All My Sons at American Player’s Theatre in Spring Green, Wisconsin. MAREN ROBINSON (Production Dramaturg) is pleased to be working with Court Theatre for the first time. She has worked with many Chicago theaters including: Lifeline Theatre, Eclipse Theatre, Strawdog Theatre Company, The Plagiarists, and Steppenwolf Theatre Company, where she was an Artistic Intern. She has been dramaturg for nineteen productions at TimeLine Theatre Company where she is a company member. She received her M.A. in Humanities from the University of Chicago, a program of which she is now associate director. She also teaches dramaturgy at DePaul University. EVA BRENEMAN (Dialect Coach) Court credits: Angels in America, The First Breeze of Summer, and Carousel. Other credits: Good People, The March (Steppenwolf Theare Company); Elizabeth Rex, The Madness Of King George (Chicago Shakespeare Theater); The Great Fire, Ethan Frome (Lookingglass Theatre Company); Considering Strange Devices from the Distant West (TimeLine Theatre Company); and The Light in the Piazza (Joseph Jefferson Award—Theo Ubique). Television: The Chicago Code (Fox); The Beast (A&E). Eva is an Associate Artist at TimeLine Theatre Company, and a Production Affiliate of Lookingglass Theatre Company. 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. AMBER JOHNSON (Stage Manager) is very excited to be back at Court Theatre this season. Court credits include Jitney, Angels in America, Spunk, Comedy of Errors, and Three Tall Women. Other Chicago stage management credits: A Girl With Sun in Her Eyes (Pine Box Theatre), The Colored Museum (Congo Square Theatre Co.), The MLK Project (Writers’ Theatre), Jersey Boys (Sub SM, Broadway in Chicago), It’s a Wonderful Life: Live at the Biograph! (American Blues Theatre), Dreamlandia, La Posada Magica Court Theatre 15

PROFILES (Teatro Vista), Three Sisters (Strawdog Theatre Co.), As Much As You Can, Clouds (Dog & Pony Theatre Company), and Orange Flower Water (Steppenwolf). Regional credits include: Williamstown Theatre Festival and Antelope Valley Ballet. Amber graduated from the University of Oklahoma with a BFA in Theatre with Stage Management emphasis. As always, Boomer Sooner! CHARLES NEWELL (Artistic Director) has been Artistic Director of Court Theatre since 1994, where he has directed over 30 productions. He made his Chicago directorial debut in 1993 with The Triumph of Love, which won the Joseph Jefferson Award for Best Production. Directorial highlights at Court include 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. 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. From pages 10-11: “Building in the Empty House: Politics, Faith & David Hare” Sources: Boon, Richard. About Hare: The Playwright and the Work, Faber and Faber, London, 2003. Boon, Richard. Ed. The Cambridge Companion to Hare, Cambridge Univ. Press, Cambridge, 2007. Hare, David. Skylight. Faber and Faber, London, 1995. Hare, David. Writing Left Handed, Faber and Faber, London 1991. Hare David. Asking Around: Background to the David Hare Trilogy. Faber and Faber, London, 1993. The Collected Works of W.B. Yeats, Vol.1, Finneran, Ed, MacMillan Publishing Company, New York 1989. Court Theatre 16

SKYLIGHT

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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 18

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 Charles Newell Executive Director Stephen J. Albert

Resident Artist Resident Dramaturg \ 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

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

Diane Osolin

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

Heather Dumdei Milan Pejnovich Matt Hiller, Ariel Mellinger, Kareem Mohammad, Alice Tsao Jason McCreery, Matthew Sitz Alex Colborn, Calen Cole, Jason McCreery, Bobby Morales Courtesy of The Saints Judd Rinsema Court Theatre 19

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 Prince Charitable Trusts The Rhoades Foundation The Shubert Foundation Sidley Austin LLP University of Chicago

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

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,

Travel Sponsor

rsilverman@uchicago.edu

Southwest Airlines

or (773) 834-5293.

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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 December 10, 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

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

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

Virginia and Gary Gerst Linda and Stephen Patton Lawrence E. Strickling and Sydney L. Hans Mr. and Mrs. David J. Vitale

Distinguished Patrons ($25,000-$49,999) Robert and Joan Rechnitz Karla Scherer

Margaret Maxwell Zagel

Grand Patrons ($15,000-$24,999) Mr. and Mrs. Timothy Bryant Joyce Chelberg Martha and Bruce Clinton

Directors ($10,000-$14,999) Helen N. and Roland C. Baker Linda and Stephen Patton

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

Stephen and Terri Albert Mary Anton and Paul Barron Richard and Ann Carr James E. Clark and Christina Labate Joan and Warwick Coppleson Shawn M. Donnelley and Christopher M. Kelley David B. Fithian and Michael R. Rodriguez Mary Louise Gorno

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

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 Ginger L. Petroff and Kenneth R. Cunningham 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 Mr. and Mrs. Mark Koulogeorge

Kevin Hochberg and James McDaniel Sarita I. Warshawsky

Earl and Brenda Shapiro

Mr. and Mrs. Robert Helman Gayle H. Jensen Tom and Esta Kallen Anne Kutak James Noonan and Dana Levinson William and Kate Morrison Mr. and Mrs. Francis Straus Mr. and Mrs. Stuart Townsend Mr. Michael C. Litt Ms. Nancy A. Lauter and Mr. Alfred L. McDougal Mr. and Mrs. Robert Lewis Michael Lowenthal and Amy Osler Margaret and Steven McCormick Robert Moyer and Anita Nagler Ms. Martha Roth and Mr. Bryon Rosner Diane Saltoun and Bruce Braun Lynne F. and Ralph A. Schatz David and Judith L. Sensibar Joan and James Shapiro Elaine and Richard Tinberg Anne and William Tobey Dr. and Mrs. James Tonsgard Fidelis and Bonnie Umeh Thomas and Barbara Weil Ms. Judith Wright Paul and Mary Yovovich Court Theatre 21

ANNUAL SUPPORT The following individuals and institutions have made gifts to Court Theatre, and we are deeply grateful for their generosity. This list reflects gifts received through December 20, 2012. If you have a correction or would prefer to remain anonymous, please call (773) 834-0941. (* indicates deceased.)

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

Anonymous Mr. and Mrs. Paul F. Anderson Mr. Ed Bachrach 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 Paul Dykstra and Spark Cremin Philip and Phyllis Eaton Eileen and Richard Epstein Ms. Sara Stern and Mr. Ted Fishman Mrs. Zollie S. Frank Mr. and Mrs. Paul E. Freehling Ms. Ethel Gofen Ms. Patti Grimm Mrs. Betty Guttman Ms. Deborah Hagman-Shannon and Dean Daniel Shannon

Supporters ($500-$999)

Anonymous, in honor of Oren Jacoby Brett and Carey August Ms. Catherine Bannister Sharon and Robert Barton Joan and Julian Berman Maurice J. and Lois R. Beznos Henry and Leigh Bienen Mr. and Mrs. Andrew Block Phyllis Booth Mary and Carl Boyer Douglas Bragan John and Patricia Cook Barbara Flynn Currie Nancy and Eugene DeSombre Nancie and Bruce Dunn Kent S. Dymak and Theodore N. Foss Mr. and Mrs. Wolfgang Epstein Mr. Stephen Fedo Ann and Bill Fraumann Joan M. Giardina Jacqueline and Howard Gilbert Philip and Suzanne Gossett Court Theatre 22

Dr. and Mrs. Peter T. Heydemann Ms. Patricia Hunckler Bernard and Averill Leviton Mrs. Merle Litt* Michael Lowenthal and Amy Osler 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 Irma Parker Kathleen Picken Mr. and Mrs. James M. Ratcliffe Thomas Rosenbaum and Katherine Faber Dr. Salvador J. Sedita and Ms. Pamela L. Owens Nikki and Fred Stein

James Stone Mr. and Mrs. Francis Straus 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

Mr. and Mrs. Arnold Hirsch Douglas and Lola Hotchkis Ms. Linda Hutson Jean A. Klingenstein Koldyke Family Fund Mr. and Mrs. Thomas A. Lasinski Barry Lesht and Kay Schichtel, in memory of Jack Shannon John and Jill Levi Dr. and Mrs. Joel Levinson Nancy Levner Phoebe R. and John D. Lewis Family Foundation Mr. and Mrs. Michael B. Lowe Mr. Ernest Mahaffey and Mrs. Sheila Penrose, in honor of Marilyn Vitale Dr. Larry Norman Ms. Grayce Papp Mr. Robert Patterson Ms. Yolanda Saul Roche Schulfer and Mary Beth Fisher Mr. and Mrs. Thomas Scott Mr. and Mrs. Richard Seid Susan H. and Robert E. Shapiro

ANNUAL SUPPORT 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 Dorie Sternberg

Ms. Isabel Stewart Ms. Cheryl Sturm Ruth Ultmann Ms. Martha Van Haitsma Mrs. Iris Witkowsky

Contributors ($250-$499)

Ms. Kineret Jaffe Dorthea Juul Ms. Anne Van Wart and Mr. Michael Keable Nancy and Richard Kosobud Larry and Carole Krucoff David and Sandy Lentz Steven and Barbara Lewis Mr. and Mrs. Joe Madden William Mason and Diana Davis David E. McNeel Mr. Daniel McShane Mr. Ernst Melchior Greg and Alice Melchor Renee M. Menegaz and Prof. R. D. Bock Doris and Glenn E. Merritt Mr. and Mrs. Robert Moeller Drs. Donald E. and Mary Ellen Newsom Mr. and Mrs. Harvey Plotnick Elizabeth M. Postell Nuna and Ennio Rossi Ms. Ann M. Rothschild Sharon Salveter and Stephan Meyer Ilene W. Shaw Elizabeth and Hugo Sonnenschein Gary Strandlund George P. Surgeon Edward and Edith Turkington Russell and Marlene Tuttle Brady Twiggs Daina Variakojis and Ernest Frizke Thomas J. Vega-Byrnes Virginia Wright Wexman and John Huntington Howard S. White Joseph Wolnski and Jane Christino

Associates ($150-$249)

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

Anonymous Filomena and Robert Albee Mr. and Mrs. John Anderson Drs. Andrew J. and Iris K. Aronson Eugene L. Balter and Judith R. Phillips Catharine Bell and Robert Weiglein Ms. Kathleen Betterman Gregory and Rosalie Bork Jim and Sandy Boves Janet Brookman and Friend Brady and Geraldine Brownlee Judy Chernick Frederick T. Dearborn Quinn and Robert Delaney 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 Celia and David Gadda 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 Carrie and Gary Huff 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

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ANNUAL SUPPORT 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 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

A D MISSION IS A LWAYS FRE E

smartmuseum.uchicago.edu

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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 Campaign for the Center for Classic Theater at Court Theatre

Court Theatre recognizes those individuals who are supporting the creation of The Center for Classic Theater at Court Theatre and the University of Chicago. Virginia and Gary Gerst Marilyn and David Vitale Linda and Stephen Patton Helen and Roland Baker Michael Lowenthal and Amy Osler Margaret Maxwell Zagel

Barbara and Richard Franke Karen and James Frank Lawrence Strickling and Sydney Hans Lorna Ferguson and Terry Clark

Endowment Support and Planned Gifts

Court Theatre greatly acknowledges the generous individuals and institutions who have supported Courtâ&#x20AC;&#x2122;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&#x20AC;&#x2122;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 26

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

Footlights is where you are - on Facebook, Twitter, the web, the blogosphere. Keep up with whatâ&#x20AC;&#x2122;s happening in the arts and get special offers!

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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 28