Displaying items by tag: Court Theatre

Even 40 years later, the AIDS crisis continues to shape American life. Long before Hollywood brought AIDS stories to the cultural mainstream, the theatre was a safe place for actors and writers to explore their fears and sense of injustice for a mass audience.

‘Falsettos’ playwright William Finn began working on what would become the now classic musical in the 1970s, as a response to the gay liberation movement. The play started as a series of one-acts concerning Marvin, the show’s protagonist as he navigates leaving his family for his male lover. Initially the first installment, ‘In Trousers’ was a critical and commercial failure. Finn considered abandoning theatre entirely, but instead collaborated with lyricist James Lapine to create ‘Falsettos’. A musical that would explore both gay liberation and the early years of the AIDS epidemic through the vantage point of Finn’s character Marvin.

Court Theatre and TimeLine Theatre team up for a joint revival of ‘Falsettos’ at the Hyde Park theater. With a 70s-themed set, audiences are transported back to 1979 where they meet Marvin, the play’s central character played by Steven Schellhardt. Not only is this a play about gay culture, but it’s also a celebration of the Jewish-American experience. The show begins with a song ‘Four Jews in a Room Bitching’ that introduces the sing-songy musical style that permeates throughout.

Marvin is leaving his wife Trina (Sarah Bockel) for his new lover Whizzer (Jack Ball). Trina is taking up with the family psychiatrist Mendel (Jackson Evans). Their son Jason (Charlie Long) is caught in the middle as his parents duke it over his approaching bar mitzvah. Marvin wants it all, his perfect nuclear family and his new lover, at whatever emotional cost that comes to his son, his lover and Trina. What’s so striking about the first act is how modern the themes are. Perhaps in a world without the specter of AIDS hanging over it, this odd family arrangement would have eventually worked itself out. Act I essentially lives in a vacuum uninfluenced by the coming epidemic. Act II catches up with the characters two years later. Things have slightly improved for Marvin and his family but another grim reality emerges. Whizzer becomes one of the AIDS epidemic’s first victims. This 11’o clock tone shift admittedly feels jarring especially against the chipper upbeat music. Though, it makes this musical feel unique as far as AIDS literature goes. It’s not the AIDS musical per se, but rather a musical about the gay experience that features AIDS. In this story, the virus is so new it doesn’t even have a name or a course of treatment.

Lyricist James Lapine crafted words for Sondheim classics like ‘Sunday in the Park with George’ and ‘Into the Woods’. His signature rhyming scheme are both a blessing and a curse for ‘Falsettos’. Sarah Bockel is undeniably this production’s strongest asset, especially during  numbers like ‘Trina’s Song’ showcase her talent as a singer and physical performer. However, the lyrics feel outdated as any sort of feminist anthem.

The play is aptly titled ‘Falsettos’ as the characters are often singing in a much more upbeat style than the content of the lyrics. Sometimes it works, and sometimes the rhyming feels like a reach. The musical style works well in big cast numbers like ‘Falsettoland/It’s About Time’, but when the play takes on a more serious tone the format feels contradictory to the plot.

Director Nick Bowling and music director Otto Vogel present a faithful, high-end revival that will delight fans of the musical. The cast rises to the occasion wonderfully, especially child actor Charlie Long as the hopelessly awkward teen caught in the middle of his parents’ drama. Putting ‘Falsettos’ into the context of today’s more accepting world, it feels like a victory lap, a reminder of how far society has come. It’s a celebration of love in all its forms. 

Through December 8 at Court Theatre. 5535 S Ellis Ave. 773-753-4472.

I was skeptical when I learned that Court Theatre was staging "East Texas Hot Links." The Pulitzer prize nominated play first debuted in Chicago at Onyx Theatre Company in 1995, with subsequent productions in 1998 and a recent one at Writers Theatre in 2019. Although it’s not rare for a play to receive so many renditions, interestingly enough, each production has been directed by Ron O.J. Parsons, who has kept basically the same cast since its premiere. This piqued my curiosity enough that I felt compelled to see the show for myself. After the performance, fellow theatergoers shared this was the finest version of the play they had seen. I would have to agree. This production had me tingling from start to finish.

Court Theatre's production of Eugene Lee's East Texas Hot Links, directed by Ron O.J. Parsons, is an electrifying, poignant reminder of the harsh realities of life for Black communities in the segregated South, in this case East Texas, during the 1950s. Under Parsons' skillful direction, this production transforms Lee's taut, suspenseful character study into a deeply immersive experience that brims with tension, emotion, and tragedy.

Set in a small, rural Texas café, East Texas Hot Links offers a snapshot of a Black community's attempt to survive in a world where racial violence and oppression are omnipresent threats. The café, owned by the strong-willed Charlesetta (played by AnJi White), serves as a sanctuary for the local Black men—blue-collar workers who gather to talk, joke, and seek refuge from the dangers outside. However, as the play progresses, the audience senses the mounting tension, and it becomes clear that this safe space is not immune to the violence brewing in the surrounding white community.

AnJi White's portrayal of Charlesetta is  beautifully compelling. White brings strength, warmth, and an underlying vulnerability to the role, making Charlesetta the emotional core of the community. She commands the café with authority, yet her fear for the safety of her patrons is palpable. White’s performance is a delicate balance of resilience and fear, making her final moments on stage all the more heartbreaking.

Juwan Lockett imbues XL Dancer with an air of mystery, leaving the audience constantly questioning his motives. Lockett masterfully conveys a sense of an underlying threat simmering beneath XL’s surface, keeping the audience on edge. The other characters' scrutiny of XL only adds to the intrigue, with Lockett's performance subtly hinting at hidden depths and secrets the character may possess.

David Dowd's depiction of Delmus Green vividly captures the essence of youthful optimism amidst severe societal challenges. His naivety and idealism are clearly evident in his expressions, bringing a tangible sense of hope to his character. When faced with the reality of his situation, his body and expressions change and it’s a beautiful arc.

Geno Walker's portrays Buckshot as a formidable intimidating character who both commands respect and instills fear within the community. Beneath his tough exterior, however, lies a deep loyalty to his friends and family, as well as a profound concern for the well-being of his fellow community members.

Veteran actor Alfred Wilson excels in the role of Columbus Frye, portraying him as the entrepreneurial spirit of the group. A.C. Smith also delivers a standout performance as Boochie Reed, the town's soothsayer, infusing the character with a mystical, almost prophetic presence that lends an air of foreboding. Wille B shines as Adolph, the blind man whose insight seems boundless, and Kelvin Roston captivates as Roy Moore, adding further depth to this talented ensemble.

The technical elements of the production further heighten the atmosphere of dread and tension. Jack Magaw’s scenic design transforms the stage into an authentic, intimate Texas café, with every detail—from the worn wooden floors to the shabby advertisements on the wall —helping to create a lived-in, familiar environment. The set is both a haven and a trap, capturing a sense of characters hemmed in by the world outside.

Christine Pascual and Janice Pytel’s costume design provides a vivid glimpse into the characters' personalities and statuses, grounding the story in its 1950s setting with period-appropriate clothing that feels organic to each character. Jason Lynch’s lighting design works in tandem with the narrative’s rising tension, using flashing lights and stark contrasts to build suspense to signal the looming danger.

Special effects consultant Jim Guy’s work, especially as firearms coordinator, is crucial in creating the shocking, violent moments that punctuate the play’s climax. The sound of gunshots and the chaos they cause feel visceral, jolting the audience and underscoring the immediacy of the threat.

Ron O.J. Parsons’ direction weaves all of these elements together into a cohesive, gripping production that pulses with energy and urgency. His direction is meticulous, allowing the audience to feel the characters’ emotional and physical entrapment while slowly ratcheting up the tension until it reaches a boiling point. The sense of dread that builds throughout the play culminates in a devastating and powerful finale that leaves the audience shaken.

Court Theatre’s East Texas Hot Links is a searing and unforgettable production that captures the complex dynamics of community, race, and survival. The combination of outstanding performances, atmospheric design, and Parsons’ expert direction makes this a must-see theatrical experience. Regardless of how many times you’ve seen it before…see this now!

Highly recommended

When: Through Sept. 29

Where: Court Theatre, 5535 S. Ellis Avenue

Running time: 90 minutes

Tickets: $58 - $90.00 Student, Group and military discounts available

773-753-4472

www.Courttheatre.org

"Stokely: The Unfinished Revolution" a world premiere written by Nambi E. Kelley and directed by Tasia A. Jones, ambitiously attempts to capture the essence of civil rights icon Stokely Carmichael in a mere 90-minute play. The title, hinting at a deep dive into Carmichael's revolutionary ideologies, might mislead audiences expecting a detailed exploration of his political maneuvers. Instead, the play serves more as a biographical sketch, intricately weaving his personal and public life, spotlighting his relationships and the internal and external battles he faced.

The enormity of condensing Carmichael's life into such a brief performance is a challenge that Nambi E. Kelley undertakes with both reverence and creativity. Kelley is no stranger to tackling monumental projects; her play "Native Son," based on Richard Wright's 400+ page book, is currently receiving a formidable production at Lifeline Theatre. In "Stokely: The Unfinished Revolution," the narrative framework is structured around Carmichael's awareness of his impending death, prompting him to reflect on his life and legacy. This introspective journey provides a poignant lens through which the audience views Carmichael not just as a historical figure but as a man grappling with his mortality and the weight of his contributions to the civil rights movement.

While Tasia A. Jones has made quite a name for herself in Chicago theaters, this production marks her directorial debut at Court Theatre. Jones's direction shines with emotional depth, sharp focus, and a remarkable ability to elicit compelling performances from her actors. She adeptly handles a challenging script, showcasing her exceptional directorial skills. The ensemble's stellar performance is a testament to her distinct and impactful style.

Anthony Irons delivers a compelling performance as Stokely Carmichael. His portrayal captures the charismatic and fiery spirit of Carmichael, while also delving into his vulnerabilities and moments of introspection. Irons manages to convey the depth of Carmichael's character, balancing his revolutionary zeal with the emotional complexities of his personal relationships.

Melanie Brezill stands out with her portrayal of Tante Elaine, Stokely’s aunt, as well as Miriam Makeba and other influential women from the civil rights era. Brezill's performance is marked by a powerful presence and a keen sense of empathy, bringing to life the experiences and struggles of these women. Her versatility and emotional range make her scenes particularly memorable, adding depth and resonance to the play.

Dee Dee Batteast is versatile in her roles, including Cecilia Carmichael, Stokely’s grandmother, and other characters. She adds layers of historical and emotional context to the narrative, seamlessly transitioning between different personas. Her ability to inhabit multiple characters with distinct voices and mannerisms enriches the storytelling and provides a broader perspective on Carmichael's life.

Kelvin Roston Jr. is reliably excellent in his multiple roles, including Adolphus Carmichael, Stokely’s father, and significant figures like Martin Luther King Jr and James Baldwin. Rolston’s ability to embody such diverse and iconic characters with authenticity and gravitas anchors the play, providing continuity and a sense of historical significance.

Wandachristine, playing May Charles, Carmichael’s mother, offers a nuanced performance that highlights the familial tensions and deep love that defined their relationship. Her interactions with Irons are charged with emotion, revealing the often-complicated dynamics between a mother and her son, particularly when that son is a prominent figure in a tumultuous era.

The fluidity of the play’s structure is mirrored in its set design. Yeaji Kim’s creation of a massive chest of drawers, filled with books and papers, serves as a dynamic backdrop. This design not only symbolizes the vast repository of knowledge and history that Carmichael sought to preserve but also facilitates quick transitions between different times and places. The set is both functional and metaphorical, enhancing the thematic elements of legacy and memory.  The main set piece transforms in a surprising and unexpected manner I won't reveal here, preserving the thrill of discovery.

Daphne Agosin's lighting design and Willow James's sound design work in harmony to create a vivid sense of time and place. The lighting shifts subtly yet effectively, guiding the audience through various moments in Carmichael's life. Meanwhile, the sound design incorporates period-specific music and ambient sounds, grounding the narrative in its historical context and enhancing the emotional impact of the scenes.

Kelley’s script is a deft blend of personal reflection and historical narrative. The dialogue is sharp and evocative, capturing the essence of Carmichael's rhetoric while also revealing his personal struggles. The tension between Carmichael and his mother is a central theme, adding a deeply human dimension to the story. This relationship is portrayed with honesty and sensitivity, illustrating how personal bonds can influence and complicate one's public mission.

"Stokely: The Unfinished Revolution" succeeds in presenting a multifaceted portrait of Stokely Carmichael. The production humanizes him by portraying his strengths, flaws, public triumphs, and private tribulations. While the play might not satisfy those seeking an exhaustive examination of Carmichael's revolutionary strategies — I would have loved to have seen the transformation from Stokely Carmichael to Kwame Ture—it offers a rich, intimate glimpse into his life and legacy.

In capturing the essence of a man who was both a pivotal figure in the civil rights movement and a son, "Stokely: The Unfinished Revolution" provides a powerful theatrical experience. It serves as a reminder of Carmichael's enduring impact and the personal sacrifices that underpin the fight for social justice. The performances, direction, and design elements coalesce to create a compelling and thought-provoking tribute to a man whose revolution, indeed, remains unfinished.

Highly Recommended

When: Through June 16

Where: Court Theatre, 5535 S. Ellis Ave.

Tickets: $23.50 - $69.50

Info: CourtTheatre.org

Run time: 90 minutes, no intermission

The Player (Lorenze Rush Jr) has just run into Rosencrantz and Guildenstern with his troupe of players. As he explains how the players operate, he announces:

“Every exit is an entrance someplace else.”

As soon as he recites the line, his troupe jumps into action. They move with quickness as they prepare the stage to put on a show for Rosencrantz and Guildenstern – the willing audience they happened to run into on their travels. The line offers an opportunity to perform, and they are excited to take it. The ensemble is strong – particularly in their physical comedy, and they heighten the moment with ease.

On another level, The Player’s line offers the perfect backdrop for the play. Rosencrantz and Guildenstern find themselves at the top of the show unable to remember anything – including where they are or why. As the play moves forward, the anxiety only increases, and it’s clear that the Player’s line rings true. Every turn of events offers another possibility, and it’s unclear where the duo’s story will end.  

(left to right) Lorenzo Rush, Jr., Rob Lindley, Nate Burger, Erik Hellman.

Written by Tom Stoppard, the play follows Rosencrantz (Nate Burger) and Guildenstern (Erik Hellman) – the famous duo from William Shakespeare’s Hamlet. We catch a glimpse into what the two friends were navigating in the midst of Hamlet’s crisis – before, after, and during their visit with the Danish prince. As they battle questions of identity, loss, and fate, they meet the Players – the very same troupe that puts on the play in Shakespeare’s tragedy, exposing King Claudius as the murderer of Hamlet’s father. As Rosencrantz and Guildenstern struggle to put the pieces of their story together, they start to get at the root of what it even means to be alive. Burger and Hellman drive the play with spot-on comedic timing, as well as a chemistry that is exciting (and at times heartbreaking) to watch unfold.

Directed skillfully by Charles Newell, the production is fast-paced, and offers a deconstructed adaptation of Stoppard’s piece. If you are anything like this writer and familiar with Stoppard’s play, you may find the approach almost shocking at first. The adaptation is certainly different, and much is cut away to allow this more nuanced view of Rosencrantz and Guildenstern’s journey. However, upon finding your bearings, you may also discover that the approach immediately thrusts the audience into the chaos of what the duo is feeling as they navigate their story. As the piece quickly jumps through space and time, you may find that the approach almost creates an immersive experience for all witnessing.

Newell’s artistic team leans into the theatricality of the play – particularly in the scenic and lighting design. Scenic Designer John Culbert takes advantage of the vast openness of the stage itself. The furniture primarily includes benches that move about as needed, and the emptiness allows full view of the back wall that clearly states, “Court Theatre.” The story focuses heavily on the group of players, and exposing the stage in this way allows that meta story element to fully take form. Lighting Designer Keith Parham utilizes shadows, playing into the eerie, almost frightening themes of the play – especially those that offer questions around death and existence. 

You might find that the striking design allows for the surprises of the script to hit even harder – starting with the entrance of the players. At the beginning of the play, we meet Rosencrantz and Guildenstern almost at the foot of the stage – with a big red curtain draped behind them. As they start to hear whispers of others in the space, we see large shadows take form on the curtain. The darkness aids in this moment, and we can feel the duo’s fear as they search around, wondering what might attack them. Then, all of a sudden, the red curtain drops to the ground with a bang – shocking the audience with the reveal of the Players backlit in silhouettes. The gesture at this particular performance was met with a mix of gasps and applause as folks overcame the shock and absorbed the staging before them.

Stoppard’s play has been around since 1966, but you might find that Charles Newell brings a fresh take that even leaves long-time fans wondering what twist or turn may happen next. Along with a standout cast and stunning design, Court Theatre’s Rosencrantz and Guildenstern are Dead is one to remember.

RECOMMENDED

Running through April 28, 2024 at Court Theatre – 5535 S. Ellis Avenue.

Court Theatre, under the leadership of Marilyn F. Vitale Artistic Director Charles Newell and Executive Director Angel Ysaguirre, is proud to announce its 70th season. The 2024/25 season will feature Eugene Lee's searing and rhythmic East Texas Hot Links, directed by Resident Artist Ron OJ Parson; the groundbreaking musical Falsettos, with music and lyrics by William Finn, book by William Finn and James Lapine, produced in partnership with TimeLine Theatre Company, and directed by Nick Bowling, TimeLine Theatre Associate Artistic Director; A Raisin in the Sun, Lorraine Hansberry's tale of class and aspiration, directed by Associate Artistic Director Gabrielle Randle-Bent; and finally, Berlin, the exhilarating world premiere by Mickle Maher based on Jason Lutes's graphic novel of the same name, directed by Marilyn F. Vitale Artistic Director Charles Newell.

Court's 2024/25 season spans genre and form, with productions that speak to our current moment with clarity and heft. The season begins with a skillful work of lyricism, simultaneously a love story and a thriller; it continues with a shimmering musical about family, followed by a South Side classic rooted in lived history and liberation; and it concludes with a fast-paced world premiere.

The landmark 70th season is a celebration of milestones. This season is the year in which Charles Newell will transition from Marilyn F. Vitale Artistic Director to Senior Artistic Consultant and the year in which Court will welcome its new Artistic Director. Furthermore, each production in the season is representative of a milestone of its own and is imbued with a keen sense of foresight; staging these plays at this moment instigates a fascinating exploration of what it means to live in a present that was imagined by works of the past. The 2024/25 season is here, and the time is now.

"The lineup for the 2024/25 season is jaw-droppingly good," shares Marilyn F. Vitale Artistic Director Charles Newell. "These productions interrogate community; the cost of striving for a better life; and the very ways we tell stories, all of which are themes that feel particularly resonant. The timeliness of this season speaks to the enduring power of classic theatre and the continued need to revisit these stories. We can't wait to share this season with our audiences."

"Court continues to push the boundaries of what classic theatre can be, and that is clearly reflected in the 2024/25 season," says Executive Director Angel Ysaguirre. "Each of these plays has an acute sense of relevance and urgency; now is the time to tell these stories with these artists. The work that we're doing offstage to complement and support the art – our engagement programming, our education initiatives, collaborations with the University of Chicago, a producing partnership with TimeLine Theatre, and deepening our relationships across the South Side – will only enhance these creative endeavors."

The 2024/25 Court Theatre Season Up Close:

EAST TEXAS HOT LINKS

By Eugene Lee

Directed by Resident Artist Ron OJ Parson

September 6 – September 29, 2024

Nominated for a Pulitzer Prize, East Texas Hot Links is a gripping character study, a lyrical masterpiece, and portrait of community. It is 1955 in the piney woods of East Texas and racial tensions are high, yet the Top O' the Hill Café remains a haven. There, regulars share stories, joke, unwind, and trade friendly barbs. The café is a refuge that keeps the outside world at bay, until a mysterious omen forces the outside in.

Court's 2024/25 season opener is a tribute to Resident Artist and Director Ron OJ Parson's (Two Trains Running) first production in Chicago, his deep collaboration with playwright Eugene Lee, and the founding of Onyx Theatre Ensemble, the storied theatre company that first produced East Texas Hot Links in Chicago thirty years ago.

By returning to Top O' the Hill Café decades later, Parson asserts East Texas's place in the modern theatrical canon, honors the legacy of Onyx, and obliterates the line between America's fraught past and its charged present.

FALSETTOS

Music and Lyrics by William Finn

Book by William Finn and James Lapine

Co-produced with TimeLine Theatre Company

Directed by Nick Bowling, TimeLine Theatre Associate Artistic Director

November 8 – December 8, 2024

Tony Award-winning Falsettos is a tribute to family and its many forms; a playful interrogation of faith and identity; and a celebration of the beauty, complexity, and necessity of love.

Marvin has left his wife, Trina, for his male lover; Trina has married Marvin's therapist; and their son, Jason, is grappling with his parents' divorce and his looming Bar Mitzvah. Everyone's world has been upended and now they must explore what their new lives may hold. Featuring a sung-through score and set against the backdrop of the AIDS epidemic, Falsettos is a humorous and heartbreaking web of ex-spouses, co-parents, new lovers, and the lesbians next door.

TimeLine Theatre Associate Artistic Director Nick Bowling (The Lehman Trilogy) returns to Court Theatre – where he began his career almost thirty years ago alongside Charles Newell – to make his Court directorial debut with this celebratory co-production with TimeLine Theatre Company. Groundbreaking in its depiction of queerness, Falsettos shines with ingenuity and contemporary relevance.

A RAISIN IN THE SUN

By Lorraine Hansberry

Directed by Associate Artistic Director Gabrielle Randle-Bent

February 7 – March 9, 2025

Winner of the Tony Award for Best Play, a Pulitzer Prize, and the first play written by a Black woman to be produced on Broadway, Lorraine Hansberry's A Raisin in the Sun is a stunning portrayal of a family's fight for dignity and the right to dream.

As the Youngers await their recently deceased patriarch's life insurance check, they allow themselves to imagine a bigger life – a life with room to breathe – until those plans are thrown into jeopardy. Hansberry's language rings as wise and prescient as ever in her moving answer to Langston Hughes's question, What happens to a dream deferred?

Staged sixty years after Lorraine Hansberry's passing, Associate Artistic Director Gabrielle Randle-Bent (Antigone) brings Hansberry's masterpiece home to Chicago's vibrant South Side and Court's stage for the very first time.

BERLIN

WORLD PREMIERE

By Mickle Maher

Based on the graphic novel by Jason Lutes

Directed by Marilyn F. Vitale Artistic Director Charles Newell

April 25 – May 18, 2025

Berlin is an unforgettable mosaic of intersecting narratives set amidst the decline of Weimar Germany. This original commission brings Jason Lutes's exhilarating and acclaimed graphic novel to life.

Fascism is taking hold; revolutionaries are organizing; creatives are trying to capture the ineffable nature of their changing city; and – as everything falls apart – everyone is faced with a choice: abandon Berlin or fight to survive.

Marilyn F. Vitale Artistic Director Charles Newell (The Gospel at Colonus) directs Mickle Maher's propulsive adaptation, an ever-shifting kaleidoscope of everyday people trying to survive one of the most remarkable moments in history. Set almost one hundred years ago, Berlin speaks to our current moment, and our future, with undeniable urgency.

Subscription Information

Three and four-play subscriptions to Court's 2024/25 season range from $114 to $280 and are on sale now. To purchase a subscription or to receive more information, call the Court Theatre Box Office at (773) 753-4472, or visit Court's website at CourtTheatre.org. Individual tickets for all productions will be available in summer 2024.

Court Theatre reimagines classic theatre to illuminate our current times. In residence at the University of Chicago and on Chicago's historic South Side, we engage our audiences with intimate and provocative experiences that inspire deeper exploration of the enduring questions that confront humanity and connect us as people.

Recipient of the prestigious MacArthur Award for Creative and Effective Institutions in 2016, TimeLine Theatre was founded in 1997 with a mission to present stories inspired by history that connect with today's social and political issues. TimeLine Theatre Company is currently helmed by Artistic Director PJ Powers and Executive Director Mica Cole. For more information about TimeLine, visit timelinetheatre.com.

Court Theatre culminates its "Oedipus Trilogy" with a captivating production of "Antigone," marking an exhilarating conclusion. For those who witnessed the illuminating "Oedipus Rex" and the soulfully performed "Gospel at Colonus," the profound experience of "Antigone" brings a bittersweet moment of reflection. A fitting finale to the house of Oedipus.

Director Gabrielle Randle-Bent brilliantly implores us to consider another woman who defied unjust authority despite the potential consequences. The action starts with a recording of women discussing someone (Rosa Parks?) who refused to give up her seat on public transportation in the south. It sets the mood for the arguments we will hear.

The action starts after the death of Eteocles and Polyneices. Their uncle, now King, Creon (stoically played by Timothy Edward Kane) has decreed while Eteocles shall be buried a hero, anyone who buries Polyneices’s body will be put to death. He feels to bury Polyneices, a traitor, would be an afront to the Gods, Creon wants to solidify his power and assert his absolute authority and demonstrate his unwavering rule.

Antigone (the wonderful Aeriel Williams) feels it is her duty to her family and to the Gods to give her brother a proper burial regardless of what he may have done. This is the classic argument of divine authority over earthly jurisdiction, separation of church and state. Creon's decree forbidding Polyneices' burial directly contradicts divine laws. By burying him, Antigone asserts religious obligations over human-made laws, challenging Creon's authority and upholding the divine order.

Antigone shares her grief and her plans to bury her brother with her sister Ismene (Ariana Burks is sublime). Sharing her burden with her sister allows Antigone to express her grief, anger, and determination. Ismene's understanding and possible support could validate her decision and provide emotional strength.

The two-person chorus of Demophilos (Danielle David) and Euboule (Cage Sebastian Pierre) serves as the pulse of the community. They provide essential background information; they offer social and moral commentary. Speaking directly into microphones, they created a charged atmosphere that amplified the power of their voices. They used facial expressions, call and response and movement to bring their words to life, connecting, us, the audience, to the text on an emotional level unheard of in classical Greek plays.

Haimon's (Matthew C. Yee) tragic suicide serves as an indictment of Creon's relentless inflexibility, highlighting the devastating consequences of his flawed choices.

Julian Parker provided important information as well as lighthearted laughs as the Watchmen who becomes Messenger. I’ve been following his career for some time, and he’s only gotten better.

Cheryl Lynn Bruce as the Blind Prophetess, Tiresias was the embodiment of truth and wisdom. Warning of the potential dangers of pride and hubris, she gave an air of unquestioned authority.

The costume design by Raquel Adorno ran the gamut from Creon’s money green suit to the mud-cloth inspired ensemble worn by The Watchmen who becomes messenger. Antigone silver studded blouse was in stark contrast to Ismene muted soft colors. The costumes were a feast for the eyes.

Even in the face of dire consequences. Antigone's willingness to sacrifice her life underscores the importance of honoring family and divine obligations above all else. Her death serves as a powerful testament to the strength of individual conviction and the consequences of challenging authority. Additionally, Antigone's martyrdom solidifies her legacy as a symbol of resistance against tyranny and a defender of moral righteousness.

No, I’m not giving up this seat! No, My brother will not rot in the sun!

When: To March 2
Where: Court Theatre, 5535 S. Ellis Ave.
Tickets: $40-$70
Info: courtheatre.org
Running time: 1 hours and 35 minutes with no intermission

It’s Christmas 1183, and King Henry II has gathered his family together at his court in Chinon, France, with hopes of settling once and for all the future legacy of the House of Plantagenets by naming one of his sons as successor to the throne.

So, Henry’s three sons, who are all vying to be named king, Richard Lionheart, his eldest surviving son, Geoffrey, his middle son, John, his youngest son (and Henry’s favorite), along with Henry’s mistress, Alais, who is also betrothed to his son Richard, and his estranged wife, Queen Eleanor of Aquitaine, who has been released from prison for the occasion, gather together for a family reunion of sorts. Add in an appearance from the King of France, Philip, whose sister just happens to be the king’s aforementioned mistress, and you have the makings for a truly volatile get-together.

As Eleanor quipped, “Are we hanging the holly, or hanging each other?” And you thought your family holiday gatherings were fraught with tension!

It is against this backdrop of family intrigue, scheming, and naked hostility that “The Lion in Winter,” a fictionalized account of these historic events, is set. The play, written by Highland Park’s own James Goldman, debuted on Broadway in 1966, earning Rosemary Harris a Tony Award for her depiction of Eleanor, and later inspired the Oscar-winning film, starring Peter O’Toole as Henry, and Katherine Hepburn as Eleanor.

I came expecting a serious melodrama centered on the complex interpersonal relationships of Henry’s tattered family, and so was pleasantly surprised to find myself laughing along with the rest of the audience at the sarcastic jabs, verbal taunting, and what in the skilled hands of Director and Resident Artist Ron OJ Parson, was the almost comically inept plotting by the three sons. Despite a play whose main source of action is based on dialogue, I found the performance fast paced and was completely drawn into what was happening on the stage. You didn’t want to miss a word of the verbal potshots being landed right and left between those on stage.

It was the opening night for the Court Theatre’s 2023-2024 season, which now in its 69^th season, has built a firm foundation on reimagining the classics for a modern audience. It was my first time visiting the Tony-award winning theatre, and I will return. What struck my husband and I was the sense of community and camaraderie among the theatergoers. Clearly, the audience was filled with many of the cast’s family members and well-wishers, but the buzz of anticipation among the audience before the curtain came up reminded me of attending my daughter’s high school musical performances, where everyone knew each other. That certainly seemed to be the case here, as greetings were exchanged between rows and sections. We were even greeted warmly by our row-mates, something I have not experienced at other theatres, and it made for a family-like atmosphere in this intimate setting.

From start to finish, the performance was captivating; each aspect working in harmony toward the end goal. The set design, under the direction of Linda Buchanan, was sparse, but effective. The play moved seamlessly from banquet hall to bedroom to dungeon with the mere addition of a chair, a table, a bed. There was little to distract us from the main focus of the drama – the verbal fireworks and emotional interplay between Henry and Eleanor.

Both actors bring a clear understanding of their characters to the performance. John Hoogenakker, a veteran of the Court Theatre, brings Henry’s very personal struggle to remain relevant and stay in control of his kingdom to life through his understated, yet powerful performance. At one point, we witness Henry’s rage and absolute desire to win at all costs against his wife, Eleanor, yet we also are privy to the tender moments as he swears his love and allegiance to Alais, his mistress. There’s also a beautiful scene between Henry and Eleanor toward the end of the second act, where they recall their first meeting and the strong bond of love that once existed between them that was truly moving in its tenderness and depth of emotions.

Rebecca Spence, in her debut performance at the Court, plays Eleanor as a strong, confidant woman, with an intelligent and acerbic wit, who is as determined as Henry to win the day and anoint her own favorite, Richard, to the throne. Yet, Spence also allows us to see Eleanor’s true inner desire, which is to be loved -- by her son, Richard, by Alais, who she had helped raise in the English court, but most of all, by Henry, for whom she has never stopped loving. It’s a masterful performance by Spence, and while her Eleanor made me squirm at her decidedly unmotherly moments, I also felt empathy for her as the spurned, older woman whose time has passed by and who no longer can command Henry’s love.

The three sons are skillfully played as well with Shane Kenyon as the warrior, Richard Lionheart, Brandon Miller as Geoffrey, the quintessential middle child, who continually asks, “And what about Geoffrey?”  and Kenneth La’Ron Hamilton, as the dim-witted inept younger son, John, whose has only one card to play – his father’s affection. The three scheme and change alliances so quickly that it’s hard to keep track of the changing teams. At one point, in a hilarious scene, all three end up hiding in Philip’s bedroom, listening as the King of France betrays them all – including Richard’s love for him.

The ensemble is rounded out with a solid performance from Netta Walker as Henry’s mistress, Alais, who brings to the role a tenderness and devotion to Henry that serves to counterbalance the relentless infighting and backbiting among her lover’s family.  I admit I was puzzled at first by the portrayal of Philip, King of France, by Anthony Baldasare, because his character seemed weak and inconsequential against the stronger more dominant characters onstage, but the scene in which he outmaneuvers Henry’s three sons and Henry himself displayed a strength of character and that Philip is as accomplished a schemer as the others.  

 The play ends much as it began, with no resolution at hand. Eleanor must return to prison, and the three sons continue to bicker and fight over who will ascend to the throne.  Yet, in the closing moments, as Henry and Eleanor climb the stairs, arm-in-arm, we sense that they will live to fight for another day, motivated as much by their hate, as by their love.

The family intrigue and infighting charged by greed and ambition that underscores the storyline of “The Lion in Winter” may not be for everyone this holiday season, but its honest, sometimes tender, sometimes humorous, portrayal of life is a performance worth seeing.

“The Lion in Winter” plays at the Court Theatre from Nov. 11 through Dec. 3.

After an unexpected delay due to Covid-19, a most anticipated musical has finally opened at the Court Theatre. “The Gospel At Colonus” is the second installment of Sophocles’ Theban Trilogy. The first, “Oedipus Rex” was produced by Court Theatre during the 2019/2020 season to rave reviews. The Third, “Antigone” has a February 2024 production date. We dry our eyes and thank God this gospel is finally proclaimed. It is truly a religious experience.

Like the Black church today, the theater played a crucial role in fostering a sense of community among Athenians in 429 BC. Stories in the Old and New Testaments bear striking similarities to Greek myths. David and Achilles have very similar qualities and storylines. It’s possible that James and John of the New Testament is based on Castor and Pollux, the sons of Zeus, God of Thunder. In Mark 3:17, Jesus named James and John “Sons of Thunder” Coincidence, maybe. It is evident why Lee Breuer along with music composer Bob Telson would adapt “Oedipus At Colonus” into a Pentecostal revival meeting, Gospel and Greek myths go hand in hand, they both tell great stories

The set for “Colonus” is a work of acoustical ingenuity by Scenic Designer John Culbert and Sound Designer Sarah Ramos. The band lead by Mahmoud Khan is raised above the main action. There are no walls for sound to bounce off. You have a bare bones frame of a cathedral, or is it the groves of the Gods? You be the judge. There is a clearing center stage with multi levels, on the top level is an unshaped stone. The music from the 5 piece band is excellent and comes through loud and clear to the mic éd up cast. The costumes by Raquel Adorno gave Athenian village down to the sandals.

Directors Charles Newell and Mark J.P. Hood with Associate Director Taron Patton has curated the best voices in gospel music available in the Chicagoland area. Every single member of the cast is a strong singer. Music Director Hood has updated the feel of the music. Where Bob Telson was inspired by gospel singers of his time, Hood found inspiration in today’s gospel artist like Donald Lawrence, Ricky Dillard and Kirk Franklin. The musical arrangements were fresh and exciting. I heard the most complicated, beautiful vocalizing I have ever heard on stage. I thought my guest was going to stand up and do a holy dance.. she came close. Thanks to the movement design by Cristin Carole, the chorus was alive on stage instead of standing on risers like a choir.

It was especially uplifting to see women in this male dominant production as more than placeholders. Aeriel Williams as Antigone had a strong personality and it showed. Ariana Burks was beautiful in the role of Ismene. Shari Addison’s (who’s daughter is also in this production) sang for the heavens to open. Mark Spates Smith as the preacher/ King Theseus kept the audience involved and shouting “Amen”. Juwon Tyrel Perry and Eric A. Lewis harmonies had the crowd yelling. Timothy Edward Kane as Creon was an interesting and bold move. The male voice carrying the greatest load was Oedipus, and in the hands of Kelvin Roston Jr. we are blessed. Roston bellows one minute and the next he is sotto voce. The vocal gymnastics all these singers exhibit is truly amazing.

“The Gospel at Colonus” is filled with Christian values, as well as Christian music. Oedipus seeking refuge in his old age receives sympathy and grace for his plight. He is forgiven and absolved of his sins. Before his death, he is born anew. He is transformed from a blight on the city of Thebes to a blessing for Athens. Oedipus was taken without lamentations, suffering or pain. Let the weeping cease, he was blessed. It is our Christian hope we can all be so blessed. Bless yourself and see this show.

HIGHLY RECOMMENDED

When: Through June 18

Where: Court Theatre 5535 S. Ellis Avenue

Running time: 90 minutes

Tickets: $40. - $82.

Contact: www.courttheatre.org

Caryl Churchill’s ‘Fen’ is a tragic love story laid out against a complicated backdrop. Set in the 1980s, we meet Val (Cruz Gonzalez-Cadel), a mother of two, who wants to leave her husband because she has fallen for another man, Frank (Alex Goodrich). She planned for them to take her children and run away to London, but Frank won’t go, so she settles for moving in with him.

But Val’s husband will neither divorce her, nor surrender the children to her. She must return to him to be with them. Equally, Val cannot live without Frank. Betwixt these irreconcilable poles, Val unhappily lives, and the dismal pallor of her internal conflicts settles over the two lovers like a dark cloud.

The playwright strips the passion from this ill-fated romance, giving us a utilitarian core by which to examine the oppressive constraints, grounded in economics, Churchill seems to say, under which women labor with futility to find fulfilling lives.

Val charges through the play seeking some way to come to shed the unhappiness. She meets other women who cope or compensate by several means - religion, drink, cruelty - and none of these ways work for her. So she just suffers, and it is Frank’s unhappy lot to be her partner in it.

The love story is a bit like Lady Chatterly’s Lover, whose aristocratic heroine sacrificed all to live happily ever after with her working-class paramour. Unlike the well-heeled Lady Chatterley, Val’s attempts to find happiness in her love are thwarted by circumstances, and she can find no solace.

The other dimension to ‘Fen’ is the succinct and searing portrait of a very dark world. Val and Frank are among a populace of poorly paid tenant farmers working under oppressive overseers in the Fenland, a fertile reclaimed coastal marshland in the east of England. Locals harbor resentments from generations of feeling exploited by profit-seeking landowners. 

Once a paradise where people lived off the land and fishing, the Fenland is a dismal place where dreams die, or never are born, a place of hopelessness. The play gives us a succinct portrait of the increasingly impersonal nature of the landowners, as local farms and the estates of gentry alike are snapped up by ever-larger global agri-businesses. It is in the exploration of these aspects of the Fenland that Churchill's immense skills as a wordsmith and playwright shine. It is why she is regarded as a pre-eminent English playwright - recalling 'A Number' at Writers Theatre still gives me chills -  and the chance to see a serious presentation of any of Churchill's works is not to be missed. 

Churchill’s script has been given a fully realized production, with a beautifully constructed set (Scenic Design by Collette Pollard) dominated by rows of potato fields, the stage big enough for a full-sized tractor to roll through. Director Vanessa Stalling orchestrates excellent performances from a sprawling roster of 22 characters, played by just six actors, as is the playwright's intent. Yet there is no confusion for the audience as actors reappear, playing as many as five characters, with distinctive costumes ((Izumi Inaba) and dialect (Eva Breneman). One key to understanding the action is to follow the character of Val, the only role played by Cruz Gonzalez-Cadel. Especially noteworthy are the performances of Alex Goodrich - the only male cast member - and Elizabeth Laidlaw.

Depending on your taste in theater, ‘Fen’ may seem bewildering, but it is entertaining nonetheless. While Churchill frames big ideas in the play, she is also a master at dialog, and the characters are colorful personalities engaged in intriguing repartee.'Fen' runs at Chicago’s Court Theatre through March 5.

“There’ll come a time when they will stop laughing, and that will be the time when our Antigone hits them with her words”

John- The Island

Two Black men, bound together with shackles on their feet and hands, are brought to a beach on Robben Island. The same Robben Island that housed Nelson Mandela for 26 years. For the next 15 minutes, the men are engaged in a wordless, strenuous mime of Sisyphean labor. Sisyphus was the King of Corinth. He was imprisoned for his craftiness in cheating death. His punishment, being forced to roll an enormous boulder up a hill only for it to roll down when they near the top, repeating this action for eternity. The crimes committed by our two Black men are never truly explored, but this being South Africa, under the apartheid regime of 1973, we can be sure it is something as simple as living while Black. The key word being simple. The apartheid regime was violent, and this punishment is an extension of that violence.

''The Island,'' the extraordinary protest drama created by White dissident playwright and director Athol Fugard and two Black actors, John Kani and Winston Ntshona is receiving a sharp and impressive reimaging at Court Theatre under the excellent direction of Associate Artistic Director Gabrielle Randle-Bent.

The story is built around the relationship of our two men, John, played by the talented Kai A. Ealy, and Winston, played by the equally talented Ronald L. Connor. There is a sincerity in both these men faces aiding in the interpretation of their characters. John, the more aggressive and active of the two is a relative newcomer to Robben Island, whereas Winston has been incarcerated for quite some time.  They are much more than cellmates or brothers in arms. They are each other’s lifeline. They remind each other of lost humanity in an inhumane environment. While they are physically imprisoned, their imaginations cannot be restrained. They use their imagination to remain sharp and connected to the world and life they once knew. It is in their imagination these men live their fullest lives. With the opportunity to perform for the prison guards and other inmates, John chooses to do a stripped-down version of Antigone.  Winston is uncomfortable playing the female Antigone.                    

When John’s sentence is commuted, shortening his time to three months, Winston frets about becoming a stone shell of himself.  A stone, not unlike the stones he is made to cut. Realizing why he is in this predicament and knowing he will spend the rest of his life in prison because of his stance, Winston is finally motivated to play Antigone. This play is an act of defiance against the South Africa government both literally and figuratively.

Director Randle-Bent, being true to the original intent of the writers, draws the audience into the drama, having John as Creon ask direct questions to audience members. Winston as Antigone pleads her case, not so much to Creon, but to the us, the state. It has a powerful effect on the audience.

I remember the scenic designer Yeaji Kims through her work at American Blues’ production of “Fences” as well as her work with Griffin Theatre. She once again shows her unbelievable imagination. Her set, a sunbaked stone wall with an opening for the guards to look through in the background, in the center of the stage is a slab of stone teetering on a stone mound surrounded by red sand. The slab moves like a teeter-totter, serving the action of the players at their will. This set combined with the soundscape of waves crashing against stone and other island sounds by Andre Pluess and Daniel Etti-Williams give the impression of isolation on foreign shores. The movement of the sun, the unforgiving sun, was perfected by lighting designer Jason Lynch. Michael Keith Morgan is a genius. Kai and Ronald’s South African accents were EXCELLENT!

That’s all we want them to do…listen in the end.

-John

While we laugh at these characters foibles, it is important to remember these events are reality based.

It is impossible to get an accurate number of the people that suffered and died under apartheid.

Not only must we listen, but we must also remember and never forget.

Please see “The Island” at Court Theatre, it’s as important now as it was 50 years ago.

When:    Thru December 4

Where:   Court Theatre, 5535 S. Ellis Avenue

Tickets:   $40.50 - $82.00

Info:        Courttheatre.org.