Studebaker Theater presents Manual Cinema's Christmas Carol, December 13-29, 2024

ChiIL Live Shows On Our Radar

Chicago’s historic Fine Arts Building and Studebaker Theater co-produce 

Manual Cinema’s Christmas Carol 

this holiday season

December 13–29, 2024

Tickets now on sale for the beloved one-of-a-kind rendition of the Charles Dickens classic at the historic Studebaker Theater

Featuring hundreds of handmade puppets, immersive sound design and live music, Manual Cinema’s Christmas Carol is a holiday show unlike anything you’ve ever seen.

*Rated PG due to themes of loss and death*

Chicago’s historic Fine Arts Building and Studebaker Theater are proud to continue their partnership with Manual Cinema this year with their co-production of Manual Cinema’s Christmas Carol. The beloved, one-of-a-kind rendition of Charles Dickens’ classic story returns for the holiday season at the Studebaker Theater, December 13–29, 2024. I'll be out for the press opening December 17th, so check back shortly after for my full review. Tickets are now on sale for $45-$65. For more information and to purchase tickets, visit fineartsbuilding.com/christmascarol.

“We are thrilled to continue our partnership with Manual Cinema this year as we co-produce Manual Cinema’s Christmas Carol at the Studebaker Theater this holiday season,” says Jacob Harvey, Managing Artistic Director of the Fine Arts Building and Studebaker Theater. “The Fine Arts Building is Chicago’s home for art in all forms. Manual Cinema’s innovative work incorporating theater, film, puppetry and music is a perfect fit for the Studebaker, which has hosted multidisciplinary artists for more than 125 years. We’re excited to invite audiences to experience the wonder and heart of their one-of-a-kind rendition of A Christmas Carol.”

Manual Cinema’s Christmas Carol runs December 13–29, 2024, at the Studebaker Theater (410 S. Michigan Avenue, Chicago). Tickets are now on sale for $45-$65, with student tickets available for $20 with proof of ID. Performances are Tuesdays through Sundays at 7:30 p.m., with matinees Saturdays at 3 p.m. and Sundays at 2 p.m. There are no performances on December 19 or 25. To purchase tickets and for more information, visit fineartsbuilding.com/christmascarol.

In Manual Cinema’s Christmas Carol, avowed holiday skeptic Aunt Trudy has been recruited to channel her late husband Joe’s famous Christmas cheer. From the isolation of her Chicago home, she reconstructs his annual Christmas Carol puppet show—over a Zoom call while the family celebrates Christmas Eve under lockdown. But as Trudy becomes more absorbed in her own version of the story, the puppets take on a life of their own, and the family’s call transforms into a stunning cinematic adaptation of Dickens’s classic ghost story. Featuring hundreds of handmade puppets, immersive sound design and live music, Manual Cinema's Christmas Carol is a holiday show unlike anything you've ever seen.

“Manual Cinema's Christmas Carol is an unconventional take on the Charles Dickens classic inspired by—and created during—the pandemic. It's also a production full of emotion that is very near and dear to our hearts. After two successful years at Writers Theatre, we're so thrilled that it has found a new home this holiday season at the beautiful Studebaker Theater in downtown Chicago!” says Drew Dir, Manual Cinema Co-Artistic Director, Storyboards and Puppet Design.

Manual Cinema’s Christmas Carol is adapted from the novel by Charles Dickens and devised by Manual Cinema, with additional writing by Nate Marshall. Storyboards and puppet design are by Drew Dir, with original score and sound design by Ben Kauffman and Kyle Vegter, and lighting design by Trey Brazeal.

The premiere of Manual Cinema’s Christmas Carol took place virtually on December 3, 2020, and was streamed live from Manual Cinema’s Chicago studio to viewers across the globe.

Manual Cinema is an Emmy Award-winning performance collective, design studio, and film/video production company founded in 2010 by Drew Dir, Sarah Fornace, Ben Kauffman, Julia Miller and Kyle Vegter. Manual Cinema combines handmade shadow puppetry, cinematic techniques, and innovative sound and music to create immersive stories for stage and screen. Using vintage overhead projectors, multiple screens, puppets, actors, live feed cameras, multi-channel sound design, and a live music ensemble, Manual Cinema transforms the experience of attending the cinema and imbues it with liveness, ingenuity, and theatricality. The company was awarded an Emmy in 2017 for “The Forger,” a video created for The New York Times, and named Chicago Artists of the Year in 2018 by the Chicago Tribune. In 2020 they were included in 50 of Chicago theater’s "Rising Stars and Storefront Stalwarts" (Newcity). Their shadow puppet animations were featured in the 2021 film remake of Candyman, directed by Nia DaCosta and produced by Jordan Peele’s Monkeypaw Productions. In 2022 they premiered Leonardo! A Wonderful Show About A Terrible Monster, an adaptation of two books by celebrated children’s author Mo Willems, and a live adaptation of their 2020 streaming hit A Christmas Carol. In 2023 Manual Cinema completed production on their first self-produced short film, Future Feeling, and is currently touring with folk rock band Iron & Wine in 2024 creating live visuals on stage. For more information, visit manualcinema.com,

The Fine Arts Building is a home for art in all forms: from pioneers like Poetry magazine’s founding publisher Harriet Monroe, architect Frank Lloyd Wright, The Wonderful Wizard of Oz illustrator W. W. Denslow, sculptor Lorado Taft and the Chicago Little Theatre, to the ongoing legacies of painters, musicians, booksellers, puppeteers, dancers, photographers and craftspeople who inhabit the building today, the Fine Arts Building is buzzing with more than a century of Chicago creativity and innovation. A Chicago Landmark since 1978, the building features original manually-operated elevators, Art Nouveau murals from the late 19th century and the recently renovated Studebaker Theater, one of the city’s oldest and most significant live theatrical venues. For more information, visit fineartsbuilding.com.

The beloved, one-of-a-kind rendition of Charles Dickens’ classic story runs December 13–29, 2024 at the Studebaker Theater (410 S. Michigan Avenue, Chicago). Tickets are now on sale for $45-$65, with student tickets available for $20 with proof of ID. Performances are Tuesdays through Sundays at 7:30 p.m., with matinees Saturdays at 3 p.m. and Sundays at 2 p.m. There are no performances on December 19 or 25. To purchase tickets and for more information, visit fineartsbuilding.com/christmascarol.

FREE 125th Anniversary Celebration at Chicago’s Fine Arts Building Friday, October 13 from 5-9 p.m.

ChiIL Mama’s ChiIL Picks List: Free Family Friendly Fun 

Chicago’s Fine Arts Building hosts 125th Anniversary Celebration

including a free concert in the renovated Studebaker Theater

Friday, October 13 from 5-9 p.m.

Photo credit for all, Bonnie Kenaz-Mara unless otherwise noted

Mayor Brandon Johnson declares 

Fine Arts Building Day on Oct. 13th

Spend your Friday the 13th this year with a bit of history, a dash of mystery, and rides in some of the last manually operated elevators in Chicago. Within the next two years, modern elevators will replace the ornate Otis cars and another slice of history will disappear from the public eye. 

Photo credit for all, Bonnie Kenaz-Mara unless otherwise noted

Here at ChiIL Mama and ChiIL Live Shows, we've seen so many fabulous shows and events at Chicago’s historic Fine Arts Building and we still notice artistic flourishes in the architecture that we've never seen before. Check it out. 

Come explore this art immersions event featuring dozens of artistic tenants, including Chicago Human Rhythm Project, Chicago International Puppet Theater Festival, Chicago Opera Theater, Exile in Bookville, Jazz Institute of Chicago, Liederstube, Monsieur Pamplemousse, Natya Dance Theatre, Press Here Studio and the Second Floor Art Gallery exhibiting Don Yang

Chicago’s historic Fine Arts Building (410 S. Michigan Avenue) marks its 125th anniversary with a major public celebration on Friday, October 13 from 5-9 p.m. that activates all ten floors of this Chicago Landmark, an artist haven since its founding in October 1898. Mayor Brandon Johnson has declared Oct. 13 Fine Arts Building Day in Chicago “in recognition of [this] milestone 125th anniversary” and to “encourage all residents to support this historic landmark.”

The Fine Arts Building is a home for art in all forms: from pioneers like Poetry magazine’s founding publisher Harriet Monroe, architect Frank Lloyd Wright, sculptor Lorado Taft and the Chicago Little Theatre, to the ongoing legacies of painters, musicians, booksellers, puppeteers, dancers, photographers and craftspeople who inhabit the building today, the Fine Arts Building is buzzing with more than a century of Chicago creativity and innovation.

The 125th Anniversary Celebration on October 13 will include a free concert at 7:30 p.m. in the newly renovated Studebaker Theater from Dr. Yulia Lipmanovich, a distinguished concert pianist and piano teacher based in the Fine Arts Building. The Studebaker originally opened with a piano recital by Fannie Bloomfield Zeisler in 1898, and Dr. Lipmanovich will be recreating some of Zeisler’s original setlist to commemorate the theater’s 125th anniversary. Advance registration for the concert program is free and recommended at fineartsbuilding.com/events/125.

An expanded version of the building’s monthly Second Fridays open studios events, the 125th Anniversary Celebration highlights artistic tenants throughout the building, ranging from music, dance and puppetry to literature, fine art and jewelry—illustrating the full range of art forms that fill the halls of the Fine Arts Building today.

Photo credit for all, Bonnie Kenaz-Mara unless otherwise noted

Programming highlights of the October 13 celebration include (with event locations):

Chicago Human Rhythm Project (Studio 300) will present a “Taste O’Tap” with opportunities for visitors to learn the first steps of the Shim Sham (national tap dance anthem) as well as demonstrations of lesser-seen tap choreographies to classical music, swing and old standards such as “I've Got You Under My Skin.”

Chicago International Puppet Theater Festival (Studio 433) will present an overflowing display of handmade puppets and flowers, created for a special public spectacle in Maggie Daley Park to welcome Little Amal to Chicago.

Chicago Opera Theater (Studio 404) will present a series of live musical performances in celebration of its 50th anniversary.

Exile in Bookville (Studio 210) will highlight an all-star group of authors as guest booksellers throughout the evening.

Jazz Institute of Chicago (lobby) will present performances from a jazz combo 5-7 p.m.

Liederstube (Studio 721), which presents classical music in intimate and informal settings, is celebrating its 10th anniversary. They will perform selections of their greatest hits, inviting visitors to gather around the piano and sing art songs.

Monsieur Pamplemousse custom jewelry by Alex Agudo (Studio 702) will walk guests through the making of a bracelet or key chain pendant with a special 125th anniversary message. Limited edition for the first 100 guests.

Natya Dance Theatre (Curtiss Hall) will perform the dance theater of India known as Bharatanatyam, which combines percussive footwork, geometrical body movements, hand gestures and facial expressions to convey profound messages.

Press Here Studio (Studio 419) will present the Center for Mad Culture’s interactive exhibition “It’s Not Art Therapy” by Sandie Yi and Katie O’Neill, as well as a reading and book signing with MV Perry, who will read from his new novel A Revolution of the Mind.

The Second Floor Art Gallery (2nd Floor), curated by Stanley Smith of Oak Street Design, will open a new show featuring the plein air paintings of fellow Fine Arts Building tenant and artist Don Yang, showcasing the architectural icons of Chicago and the surrounding areas.

New historic exhibits Art Alone Endures and Staging Ground (5th Floor) offer “windows into history,” sharing stories of the artists and companies that have called the Fine Arts Building home over the past 125 years. The exhibits are free and open to the public daily during normal business hours. A self-guided walking tour of historic sites and artists’ studios throughout the building is available online at fineartsbuilding.com/map. 

Additional tenants participating in the 125th Anniversary Celebration include: Ann Pickett Studio and Gallery; portrait artist Lou Ann Burkhardt; Chicago Youth Symphony Orchestras; painter, illustrator and editorial cartoonist Richard Laurent; Patrice Olsen Fine Art, presenting drawing, painting and photography for social justice; Ossia Musical Forum, a musical academy and chamber music concert booking specialist; and abstract artist James Tansley.

Second Fridays open studios are free to attend at the Fine Arts Building on the second Friday of every month from 5-9 p.m., and include gallery openings, special performances and artistic demonstrations. For more information, visit fineartsbuilding.com/second-fridays.

The Fine Arts Building is a home for art in all forms: from pioneers like Poetry magazine’s founding publisher Harriet Monroe, architect Frank Lloyd Wright, sculptor Lorado Taft and the Chicago Little Theatre, to the ongoing legacies of painters, musicians, booksellers, puppeteers, dancers, photographers and craftspeople who inhabit the building today, the Fine Arts Building is buzzing with more than a century of Chicago creativity and innovation. A Chicago Landmark since 1978, the building features original manually-operated elevators, Art Nouveau murals from the late 19th century and the recently renovated Studebaker Theater, one of the city’s oldest and most significant live theatrical venues.

 

Final 2 photos by Alexander Utz and Mikel Pickett

REVIEW: Manual Cinema's Frankenstein Through January 29th, 2023

ChiIL Mama’s ChiIL Picks List

Frankenstein

Manual Cinema (U.S./Chicago)

Presented by the Chicago International Puppet Theater Festival

Studebaker Theater, 410 S. Michigan Ave., Chicago

January 27-29

Family Friendly - 12 and up

ADA accessible

66 minutes

Review by Dugan Kenaz-Mara, Guest Critic Note: This puppet show involves childbirth, violence, murder, and grief. Some parts are scary, so it may not be suitable for children. (The festival recommends 12 and up) Manual Cinema’s Frankenstein is definitely a sight to behold! The show tells a beautiful story, starting with Mary Shelley’s life and contextualizing her idea for writing the book. From there it seamlessly transitions into the monster story everyone knows so well, all while tying back to her real life through visual and auditory motifs. They are able to tell a very emotional tale, causing the audience to laugh, cry, and gasp, all without speaking a single word. You even get your pick of characters to connect to emotionally, from a mother to a child, or even the creature himself.   The puppeteers are very clearly experts in their craft, easily combining live-action performance, overhead projection, and standard puppetry to make a cohesive story that unites different styles. Mary Shelley’s life is mainly told through shadow puppetry, with the actors becoming silhouettes on a projected background. The Creature’s story is acted out with a puppet, filmed up close, and Victor’s side is performed live, shot in black and white with captions like a silent movie. And throughout all of the style-hopping, the puppeteers blend in their famous overhead projections to develop the setting and add in characters. Sometimes it’s hard to tell whether a silhouette on screen is an actor or a puppet, that’s how good it is! Like any Manual Cinema performance, it is always a joy to watch the performers as they work. Getting a glimpse into the background of the work is fascinating. For example, learning how they move the puppets or how objects that look real on camera may be 2D in real life. And watching movie-quality transitions happen in real time is crazy as well. If you see the show keep an eye out for the part where Victor shares his research paper with other scientists. While the puppetry was amazing, it is also necessary to applaud the rest of the design. The lighting, though subtle throughout the show, was incredibly impactful. The live accompaniment was also stunning, bringing the entire show to life. Overall, it is a very well-put-together performance and I would highly recommend seeing it. ★★★★ Four out of four stars.  **Every time we talk about Manual Cinema my mom loves to point out how brilliant their overhead-projected rain is. This particular show features their rain frequently, so it’s almost worth seeing just for that…** Dugan is an actor, designer, and photographer studying theatre and psychology at Northwestern University. Contrary to popular belief, he is not a time traveler. The Chicago run is sold out, but you can come down to the Studebaker Theatre at least a half hour before showtime to get on the waitlist. Three performances: Friday, January 27 at 7:30 p.m.; Saturday, January 28 at 7:30 p.m.; Sunday, January 29 at 3 p.m. Tickets: $45/$35 students and seniors Love, loss, and creation merge in unexpected ways when Manual Cinema presents its thrilling version of the classic Gothic tale, “Frankenstein.” This Chicago-based performance collective imaginatively combines shadow puppetry, cinematic techniques, sound effects, and live music in haunting shows like nothing else you’ve ever seen. With Frankenstein, Manual Cinema stitches together the original gothic novel with the biography of its author, Mary Shelley, to create an unexpected story about the beauty and horror of creation.  Manual Cinema is an Emmy award winning performance collective, design studio, and film/ video production company founded in 2010 by Drew Dir, Sarah Fornace, Ben Kauffman, Julia Miller and Kyle Vegter. Manual Cinema tours internationally, combining handmade shadow puppetry, cinematic techniques, and innovative sound and music to create immersive stories for stage and screen. Using vintage overhead projectors, multiple screens, puppets, actors, live feed cameras, multi-channel sound design, and a live music ensemble, Manual Cinema transforms the experience of attending the cinema and imbues it with liveness, ingenuity, and theatricality. Their shadow puppet animations were featured in the 2021 film remake of Candyman, directed by Nia DaCosta and produced by Jordan Peele’s Monkeypaw Productions. Recent productions include Leonardo! A Wonderful Show about a Terrible Monster, based on books by Mo Willems, and a new live version of Manual Cinema’s Christmas Carol, based on the acclaimed virtual production in 2020. manualcinema.com 

OPENING: CHICAGO OPERA THEATER PRESENTS “THE SCARLET IBIS” and The Life and Death(s) of Alan Turing

ChiIL Live Shows on our radar

Adult Night Out: 

CHICAGO OPERA THEATER PRESENTS “THE SCARLET IBIS” FEBRUARY 16, 21 AND 24 AT HISTORIC STUDEBAKER THEATER

Operatic Adaptation of James Hurst’s 1960 Short Story Premieres in Chicago Having Received Rave Reviews at 2015 Prototype Festival

COT Presents First Concert Performance of “The Life and Death(s) of Alan Turing” February 15 Following a Week-Long Workshop

Next week we'll be checking out both of these operas. Check back soon for our full reviews. *Do note, The Life and Death(s) of Alan Turing is the result of a week-long workshop through COT's Vanguard Initiative. This opera is still in progress, so it will not be reviewed as a complete work.

Chicago Opera Theater (COT) continues its 2018/2019 season with the Chicago premiere of the contemporary opera “The Scarlet Ibis.” Composed by Stefan Weisman with libretto by David Cote, “The Scarlet Ibis” was declared an “outstanding new chamber opera” by David Allen of The New York Times upon its debut at the 2015 Prototype Festival. Chicago Opera Theater presents the first full production of this operatic adaptation of James Hurst’s 1960 short story (apart from its festival debut), featuring the artistry of stage director Elizabeth Margolius and conductor David Hanlon. The opera stars Annie Rosen (who also performed in COT’s season-opening production of “Iolanta”) as Brother and Jordan Rutter as Doodle. 

The opening night and press performance takes place Saturday, February 16 at 7:30 p.m. at the Studebaker Theater (410 S. Michigan Ave.) Additional performances will take place Thursday, February 21 at 7:30 p.m. and Sunday, February 24 at 3 p.m.  

That same week, COT will present a week-long workshop culminating in the first full concert performance of “The Life and Death(s) of Alan Turing” by composer Justine F. Chen and librettist David Simpatico as part of Chicago Opera Theater’s Vanguard Initiative to promote the creation of new opera.

“COT’s mission to support the creation of new operatic work is exemplified in our February programming, with the first production of ‘The Scarlet Ibis’ since its debut at the 2015 Prototype Festival, and the first concert performance of ‘The Life and Death(s) of Alan Turing’ as part of our Vanguard Initiative,” said Stefan Edlis and Gael Neeson General Director Douglas R. Clayton. “COT is proud to provide an opportunity for Chicago to see such new and exquisite operas for the first time.”

Based on James Hurst’s classic American short story, “The Scarlet Ibis” is a moving tale about brotherhood, nature and family, set in North Carolina against the backdrop of World War I. It tells the story of a young boy named Doodle and his relationship with his brother, exploring the ways people ‘other’ those who are different and questioning what it means to be ‘normal.’ The piece was commissioned and developed through the HERE Artist Residency Program (HARP) and Dream Music Puppetry Program and co-produced by Beth Morrison Projects, premiering at the Prototype Festival in January 2015 in New York City.

“It’s thrilling to see ‘The Scarlet Ibis’ picked up for a second production following its premiere at our Prototype Festival,” said co-producer Beth Morrison. “Chicago Opera Theater is a forward thinking opera company, truly embodying what a 21st century opera company should be.”

Composer Stefan Weisman spoke to the development process of the opera stating, “One element of creating this opera that felt really unique was that the two leads are a countertenor and mezzo-soprano, both high voices for male characters. And they are played by two different genders. We are playing around with traditional notions of gender and power—the weaker of the two is the male singer, and the stronger is the female singer.”

Librettist David Cote continued, “The story is very much in the tradition of Flannery O’Connor, Tennessee Williams, even William Faulkner. The language is lush and flowery, the emotions run high and the ending is both beautiful and tragic. I’m not a Southerner, I grew up in small-town New Hampshire, but I drew on memories of living near a lake and playing in the woods to create the sense of nature and wonder in the opera.”

In addition to Rosen and Rutter, “The Scarlet Ibis” cast includes Quinn Middleman as Mother, Sharmay Musacchio as Aunt Nicey, Bill McMurray as Father and dancer Ginny Ngo.

Creative Team for The Scarlet Ibis
Composer: Stefan Weisman
Librettist: David Cote
Conductor: David Hanlon
Stage Director: Elizabeth Margolius
Lighting Design: Charlie Cooper
Scenic Design: Jack Magaw
Costume Design: Brenda Winstead

Performance Schedule
Saturday, February 16, 7:30 p.m.
Thursday, February 21, 7:30 p.m.
Sunday, February 24, 3 p.m.

Tickets for “The Scarlet Ibis” ($45 - $145) can be purchased by calling 312.704.8414 or by visiting chicagooperatheater.org. For tickets to see “The Life and Death(s) of Alan Turing,” visit cot.org/Turing.

About Stefan Weisman
Stefan Weisman’s music has been described as "personal, moody and skillfully wrought" (The New York Times). His compositions include chamber, orchestral, theater, dance and choral pieces, and he has specialized in vocal works that explore edgy and compelling topics. His operas include “Darkling” (American Opera Projects), “Fade” (Second Movement), and “The Scarlet Ibis” (produced by HERE and Beth Morrison Projects and premiered in the 2015 PROTOTYPE opera festival). He is a graduate of Bard College (BA), Yale University (MA), and Princeton University (PhD). Presently, he is on the faculty of the Bard High School Early College in Queens, New York. 

About David Cote
David Cote is a playwright, librettist and arts journalist based in New York City. His operas include “Three Way” with composer Robert Paterson (Nashville Opera and BAM); “The Scarlet Ibis” (Prototype Festival) and “Fade” with Stefan Weisman. Other works include his plays “Otherland” and “Fear of Art;” song cycle with Paterson, “In Real Life;” choral works with Paterson, “Did You Hear?” and “Snow Day.” Cote was born and adopted in New Hampshire and is a proud alum of Bard College. His fellowships include The MacDowell Colony, and he is a member of the New York Drama Critics Circle, ASCAP and the Dramatists Guild.

About David Hanlon
David Hanlon is a composer, conductor and pianist praised by Maestro Patrick Summers as “one of the major compositional voices of the young generation.” He has often written work for Houston Grand Opera, including his chamber opera “Past the Checkpoints” about undocumented immigrants, the chamber vocal piece “The Ninth November I Was Hiding,” about his grandfather's arrest during Kristallnacht and “Power,” based on a text by a high-schooler about bullying. Hanlon was recently commissioned by the Opera For All Voices consortium to write a new chamber opera with librettist Stephanie Fleischmann, and recently conducted the premiere of his and Fleischmann's chamber opera “After the Storm” at Houston Grand Opera.

About Elizabeth Margolius
Elizabeth Margolius is a Chicago-based Joseph Jefferson Award-nominated stage and movement director with a primary focus in developing and directing new and rarely produced music theater, operetta and opera. Margolius’ Chicago and regional stage and movement directorial credits include “Miss Holmes” for Peninsula Players, “Machinal” for Greenhouse Theater, “The Bridges of Madison County” for Peninsula Players, “The Boy Who Grew Too Fast” for SUNY/Albany Opera Program and “Uncle Philip’s Coat” for Greenhouse Theater. Margolius has been a guest director, master artist and guest/adjunct lecturer at numerous colleges, universities and festivals including the University of Nebraska, DePaul University and SUNY Albany.

The Life and Death(s) of Alan Turing

February 15, 2019 @ 7:30pm

DePaul University School of Music - 

Gannon Concert Hall

2330 N Halsted St, Chicago

110 minutes; One Intermission

Performed & Discussed in English

"This opera celebrates the power of memory, creativity, and the potential within us all to live fully and truly.” 

Chicago Opera Theater joins American Lyric Theater  to bring this new opera to life as part of the Vanguard Initiative. After a week of workshops, COT presents a full concert performance of Justine F. Chen and David Simpatico’s intense and beautiful new work.

Featuring the Bienen School of Music Contemporary and Early Vocal Ensemble of Northwestern University, tenor Jonas Hacker (Lyric Opera’s Fellow Travelers), and baritone Jonathan Michie in the title role, don’t miss your chance to see this one-of-a-kind concert.

As part of Chicago Opera Theater’s Vanguard Initiative to promote the creation of new opera, COT joins American Lyric Theater to present a full concert performance of “The Life and Death(s) of Alan Turing” by composer Justine F. Chen and librettist David Simpatico. The opera delves deep into the mind of the groundbreaking coder often credited to be the father of modern computer science. Turing’s work during World War II designing a machine to break the code utilized by the Nazi’s Enigma Machine is estimated to have saved millions of lives. A homosexual, he was charged with gross indecency in the 1950’s and is believed to have committed suicide because of his persecution. Featuring the Bienen Contemporary and Early Vocal Ensemble of Northwestern University, baritone Jonathan Michie in the title role, tenor Jonas Hacker (Lyric Opera’s “Fellow Travelers”) and conducting by COT’s Orli and Bill Staley Music Director Lidiya Yankovskaya, the performance will take place at 7:30 p.m. on February 15, 2019 at the DePaul School of Music’s Gannon Concert Hall (2330 N Halsted St.).

In addition to Michie and Hacker, the cast includes Diana Newman as Sara Turing, Vince Wallace as Fred Clayton/Judge, Elise Quagliata as Joan Clark, Arnold Geis as Steve Todd/Arnold Murray and David Salsbery Fry as Don Bailey/Bobby/Prosecutor.

About Justine Chen
Composer and violinist Justine F. Chen has been the recipient of many prestigious awards and commissions, including New York City Opera, New York City Ballet, The Juilliard School, American Composers Orchestra and New York Festival of Song. Justine has won grants from BMI, ASCAP, the Frances Goelet Charitable Lead Trust, Opera America and the American Composers Forum through their Jerome Fund for New Music. In 2010, she joined American Lyric Theater’s Composer Librettist Development Program as a resident artist. She earned her DMA, MM, and BM from Juilliard in violin and composition, and specializes in contemporary music performance.

About David Simpatico
David Simpatico’s work has been presented at major theatres around the globe, including London’s Hammersmith Apollo, Williamstown Theatre Festival and the New York Shakespeare Festival. Highlights include the stage adaptations of Disney’s “High School Musical” 1 and 2; “Whida Peru,” with a score by Josh Schmidt; and “The Screams of Kitty Genovese,” a rock-opera with a score by Will Todd. David also wrote the libretto for Pulitzer Prize-winner Aaron J. Kernis’ millennium symphony, “Garden Of Light.” David Simpatico joined American Lyric Theater’s Composer Librettist Development Program as a resident artist in 2010. David attended at Northwestern University and received his Masters of Creative Writing at Southern New Hampshire University.

About Chicago Opera Theater
Chicago Opera Theater (COT) is a nationally recognized opera company based in Chicago, now in its 45th season. COT expands the tradition of opera as a living art form, with an emphasis on Chicago premieres, including new contemporary operas for a 21st century audience.

In addition to its programmed mainstage season, COT is devoted to the development and production of new opera in the United States through the Vanguard Initiative, launched in the Spring of 2018. The Vanguard Initiative mentors emerging opera composers, invests time and talent in new opera at various stages of the creative process and presents the Living Opera Series to showcase new and developing work.

Since its founding in 1973 by Alan Stone, COT has staged more than 125 operas, including over 65 Chicago premieres and more than 35 operas by American composers.

COT is led by Stefan Edlis and Gael Neeson General Director Douglas R. Clayton and Orli and Bill Staley Music Director Lidiya Yankovskaya. As of fall 2018, Maestro Yankovskaya is the only woman with the title Music Director at any of the top 50 opera companies in the United States. COT currently performs at the Studebaker Theater (Michigan & Congress) and the Harris Theater for Music & Dance (Michigan & Randolph).


For more information on the Chicago Opera Theater and its programs please visit chicagooperatheater.org.