When Charles Newell transitions
out of his role as Court Theatre鈥檚
artistic director in July, the
classics-focused theatre-in-residence at the University of Chicago will become the latest
of Chicago鈥檚 major theatres to undergo a
leadership change in recent years鈥攁 list that
includes Steppenwolf, Goodman, Writers, and
Chicago Shakespeare Theater.
Since he took the reins from founding artistic director, Nicholas Rudall, in 1994, Newell鈥檚 tenure has been marked by an ongoing commitment to reimagining classic theare for contemporary audiences, an expanded repertoire that includes musicals and new works, stronger relationships with the Black community on Chicago鈥檚 South Side, and extensive collaborations with University of Chicago faculty.
Founded in 1955 as an amateur outdoor summer theatre at the university, Court became an Equity theatre in 1975 and incorporated as an independent nonprofit organization in 1983. In 2022, Court won the Tony Award for excellence in regional theatre, becoming the sixth Chicago company to receive this honor. Newell, who spent his early career learning the craft of directing classic texts at regional theatres around the United States, made his Court debut as a director in 1993 and was appointed artistic director the following year.
One of the most common questions Newell has fielded throughout his time at Court is: How do you define classic theatre? 鈥淎nd in that 30-year journey,鈥� he says, 鈥淚 would always have another way of answering that question.鈥� The theatre鈥檚 current mission statement 鈥� developed with the co-leadership of Angel Ysaguirre, who has been executive director since 2018 鈥� defines classic theatre as 鈥渢exts from any culture, tradition, or era that resonate throughout time and speak to our present moment.鈥�
Ysaguirre describes Newell as a 鈥渧ery text based鈥� director who does a lot of research for
his productions, seeking out effective ways to
communicate the heart of classic plays to modern
audiences. 鈥淐harlie really trusts audiences to be
smart and emotionally sophisticated,鈥� Ysaguirre
adds. 鈥淎nd so, his approach, both as a director
and as an artistic director, is to try to offer
audiences something really meaningful in the
work itself, rather than trying to lure them with
something shiny.鈥�
From the ancient Greeks, Shakespeare, and Molie虁re, to Miller and Albee, Newell has directed both well-trod and rarely produced works from the European and American canons, while expanding Court鈥檚 interpretation of classic theatre to include a diverse range of playwrights and artists. Ron OJ Parson, who joined the theatre as resident artist nearly two decades ago, has played an important role in these efforts. His directorial credits at Court include nearly all of August Wilson鈥檚 10-play Century Cycle and works by Pearl Cleage.
Kelvin Roston Jr., an actor who moved from
St. Louis to Chicago in 2008, has observed this
evolution of Court鈥檚 programming firsthand. He made his Court debut in Parson鈥檚 rendition
of Ma Rainey鈥檚 Black Bottom and has starred
in several productions directed by Newell,
including Porgy and Bess, Oedipus Rex, and The
Gospel at Colonus. 鈥淢oving to a bigger city, you
wonder if you鈥檙e going to be embraced. Court
embraced me,鈥� says Roston. 鈥淚 love that Court
is about the classics, and I鈥檝e watched Court
grow to include more plays into the heading of
classics. Court Theatre being on the South Side
and giving this community a place to come and
experience some elevated theatre, that鈥檚 super
important to me.鈥�
Under Newell鈥檚 leadership, Court has premiered adaptations of classic novels, such as Ralph Ellison鈥檚 Invisible Man, Richard Wright鈥檚 Native Son, and Saul Bellow鈥檚 The Adventures of Augie March. 鈥淪ome of the early commissions that we did, or produced with others, were because we realized we had not only an opportunity, but an obligation to bring those stories forward in a theatrical expression,鈥� shares Newell.
Another hallmark of Newell鈥檚 tenure is a deepened relationship with the University of Chicago through interdisciplinary collaborations with faculty, partnerships, Newell asserts, that have brought 鈥渁 whole other level of dramaturgical and historical鈥� richness to the theatre鈥檚 productions. Especially important to the theatre鈥檚 identity under Newell鈥檚 aegis is its engagement with community leaders on the South Side through the Civic Actor Studio, founded in 2019 by Newell, Joanie Friedman, Harry Davis, and Gabrielle Randle-Bent. The program offers four-day retreats for nonprofit leaders in education, social service, philanthropy, and the arts. Participants engage in theatre-based techniques and discussions to explore their personal goals and approaches to leadership. Newell hopes to continue his involvement with the Civic Actor Studio as he moves on. 鈥淚t鈥檚 an expression of important core values for me, personally.鈥�
In the meantime, there is plenty of work ahead for Newell before he goes. Following his recent production of Tom Stoppard鈥檚 Rosencrantz and Guildenstern are Dead, which was extended by popular demand, he will direct the world premiere of Berlin in spring of 2025 鈥� Mickle Maher鈥檚 adaptation of Jason Lutes鈥檚 graphic novel, set in Weimar Germany. Newell also will stay on as senior artistic consultant through June 2025. After that, he plans not to retire, but to pursue new artistic and civic engagement opportunities on a more freelance basis.
鈥淐ourt Theatre has given so much to me and my family,鈥� says Newell. 鈥淚鈥檓 super excited about my remaining time as artistic director and consultant, because I want Court to thrive in all the best possible ways.鈥�
