About Us

Contemporary Classics Theatre exists to challenge and transform classic Western theater traditions by creating an inclusive community of diverse people, ideas, and cultures.

image from CCT's production of "Macbeth"

Our Story

We strive to connect contemporary artists and audiences to classical plays with profound themes, reclaiming the stories of the past to inform the present and shape the future. We are committed to diversifying the classic theatre repertoire by re-imagining classic plays—and contemporary plays based on classics—through a diverse, contemporary lens. There are very few opportunities for women and people of color in traditionally-cast classic theatre. Contemporary Classics grew out of that need.

Contemporary Classics Theatre

Contemporary Classics emerged from Gwinnett Classic Theatre in early 2022.

The Triumvirate

A new leadership structure, The Triumvirate, was established to ensure equitable practices, with a focus on inclusive programming. This three-person, non-hierarchical team works through consensus to finalize programming and to ensure implementation of the organization's season selection, casting, development, and community engagement initiatives.

Cait Cortelyou

Artistic Director

Allen Cox

Managing Director

Lisa Pham

Community Director

Cait directed CCT’s most recent Shakespeare in the Park production of Twelfth Night, and she looks forward to collaborating with this talented team to create thought-provoking and inspiring productions that celebrate the timeless power of classic theatre. Cait has been seen on HBO, CBS, and Amazon Prime, but her roots are in classical theatre. By the age of 16, Cait had already performed in eight full-length Shakespeare plays, and went on to earn her BA in Theater from Barnard College of Columbia University in partnership with the Juilliard School. She is an alum of The O’Neill’s conservatory program, with training from Colman Domingo and the Royal Shakespeare Company. Cait is the founder and facilitator of The Collective at the Tony Award-winning Alliance Theatre.

Allen is delighted to continue his journey with Contemporary Classics as Managing Director. He has been working as an actor, singer, dancer, guitar player, fight choreographer and whatever else is needed for over 25 years. Allen earned his BA in Theatre from Harding University and has spent time on stages in Nashville, TN; Seattle, WA and Atlanta, GA. He has been very active with CCT being seen in Macbeth, A Midsummer Night’s Dream, A Karaoke Riot, Mae West’s The Drag, Much Ado About Nothing and most recently in Twelfth Night. Allen has also been involved with Lionheart Theatre, Merely Players and Horizon Theatre to name a few. The mission of CCT is close to his heart and he hopes to continue providing inspiring and challenging theatre for years to come.

Lisa is a dynamic arts leader, marketing strategist, and lifelong musician dedicated to building vibrant creative communities. With over a decade of experience spanning digital marketing, nonprofit leadership, and music education, she brings a unique blend of strategic vision and artistry to her work. She is the Board Chair of Catching Mangoes Dance, and a Board Member of Orvieto Musica, supporting mission-driven organizations at the intersection of innovation, education, and the arts. A classically trained cellist, Lisa holds degrees in Music from Augusta University and the University of North Georgia. Her background includes leadership roles at Augusta Ballet and teaching faculty at Augusta University, Imagine Arts, and The Studios Brookhaven.

A Crew of Patches

Because we do not have a permanent theatre home, Contemporary Classics actively partners with other groups for performance space, reaching new audiences and increasing the community impact for each organization. This “homeless” state is one of the reasons we call ourselves “A Crew of Patches” – we travel from “patch” to “patch” with our performances.

We believe that classic work is made even greater when performed by a larger variety of artists, especially those who have been marginalized by Western theatre traditions.The name also reflects the motley coat of a Shakespearean Clown (or Fool), created by sewing patches of old or discarded clothing together in a mishmash of textures and colors, like a patchwork quilt. In fact, the word “patch” itself came to mean “Fool” because of this form of dress, also called “motley.” Interestingly, the word “motley” is not limited to fool’s clothing, but also represents the contrasting characteristics of a Fool’s personality. Simultaneously free and subservient, divine and devilish, honest and deceptive, wise and foolish, fools do not truly fit into any of the deeply hierarchical positions of Shakespeare’s (or our) time. Instead, Fools, or “Patches,” transcend societal norms by being simultaneously a part of society and outside of it, giving them the ability to examine and comment on it.