As part of our decade retrospective, we surveyed more than forty theater companies for their observations to a couple of questions. What follows are their formatted but unedited responses.

Deb Clapp
Executive Director, League of Chicago Theatres (founded 1979)

Any observations or thoughts about Chicago theater in the last decade?
Over the last decade, Chicago has seen the downtown theater district grow and thrive, Goodman moved downtown and several theaters were re-furbished. Lookingglass moved into their new digs on Michigan Avenue and theater has flourished. Several exciting new companies have been established including The House Theatre of Chicago, Silk Road Theatre Project, New Leaf Theatre and Rasaka, among many others.

Is there a “Chicago style” anymore (if there ever was) and has it changed? What, today, distinguishes Chicago theater from anywhere else?
A number of unique characteristics distinguish Chicago theater. We have a unique ecology encompassing a wide range of theater artistry, from spectacle to culturally specific, horror to improv, houses with thousands of seats to houses with 18 seats. Our community is very collegial and collaborative, sharing ideas and resources. When one theater has a hit show, its not just a hit for that show, it’s a hit for Chicago. Our directors, authors, actors, stagehands, producers, all are Chicagoans and all create for a Chicago audience.

Outside of your own company, who or what excites you most about local theater right now?
Chicago is the best place to see and to make theater in the world. A lot of attention from other parts of the country and the world is being paid to Chicago theater right now and while that is wonderful and will inevitably lead us to greater things, what continues to happen every night in Chicago theater brings me joy. Telling our stories and the stories of others, bringing the world on stage every night, that’s what excites me most.

Kathy Scambiatterra
Artistic Director, The Artistic Home (founded 1998)

Any observations or thoughts about Chicago theater in the last decade?
Creatively, it seemed to begin with the dramatic rise of some of Chicago’s most visual and imaginative directors – (e.g. Mary Zimmerman, Sean Graney) – and then saw the re-emergence and flourishing of the tiny storefronts mainly dedicated to either the actor (The Artistic Home, The Gift.) or the playwright (Profiles, Eclipse).

The decade also seemed to bring a more organized structure to the always-lively Improv scene with groups like The Playground and Chemically Imbalanced (who took over our old space on Irving) creating homes for improv troupes.

Financially, it ended in a spiral that saw several fine companies close their doors.

One of the biggest events that affected Chicago Theater happened on November 21st, 2003, when six small theaters were shuttered in one night by Chicago revenue officials, citing improper permitting, spurring a hard fought battle between Chicago’s theaters and theater lovers, and the city of Chicago. It eventually resulted in a hard won victory for all theaters through the new PAV license, relaxed licensing requirements and a less costly and soul-crushing process. Much thanks to Marj Halpern.

Is there a “Chicago style” anymore (if there ever was) and has it changed? What, today, distinguishes Chicago theater from anywhere else?
Yes, there is a Chicago style of theater, particularly in reference to the acting. It’s always been cited at “raw, emotional, in your face” and I think that is still true. However, I also think a different style has emerged- one that is driven by highly imaginative directorial vision., definitely thinking “outside the box” . But it still is the storytelling driven by highly emotionally connected acting that,when you get outside the city, Chicago theater is known for- the experience of an audience to be breaths away from the actor’s journey whether in our bigger houses or our storefronts.

Outside of your own company, who or what excites you most about local theater right now?
The fact that we’re still here, producing, driven to tell our stories that we believe make a difference. It’s hard to produce at any time but particularly hard right now. The theater is always challenged by economic concerns but funding is dwindling and patron dollars are stretched. And yet, we continue to build community by sometimes taking us away from our problems through entertainment or by examining our problems through challenging tough moments. We produce tons of new work , giving playwrights opportunities to be produced, giving voice to our times.

Kevin Mayes
Executive Director, Bailiwick Chicago (founded 2009)

Is there a “Chicago style” anymore (if there ever was) and has it changed? What, today, distinguishes Chicago theater from anywhere else?
The magic combination of the wide range of styles & voices AND affordability.

Outside of your own company, who or what excites you most about local theater right now?
I love the shake-ups that are happening as a result of management changes, economic pressures, and influx of new artists. It’s exciting to see the landscape shifting so dramatically, the new work that is being created as a result, and the new artists and management teams that are getting a chance at bat.

Russ Tutterow (RT), Artistic Director
Brian Loevner (BL), Managing Director
Chicago Dramatists (founded 1979)

Any observations or thoughts about Chicago theater in the last decade?
RT: The ‘00s has been the decade of the playwright. In the year Chicago Dramatists was founded, 1979, nobody was doing new works. Today, Chicago theaters have all discovered the importance, ultimate challenge, and fun of developing and producing world premieres. We are proud of the role Chicago Dramatists has played in making this happen.

BL: The “Naughty Aughties” were a huge growth spurt for the Chicago Theater Scene. I think what has stood out has been the growth in number of theaters and the wider and wider range of styles of work. Having multiple companies in the city that focus on Commedia, physical theater, puppetry, solo performance, and culturally specific work is unheard of in most cities.

Is there a “Chicago style” anymore (if there ever was) and has it changed?
RT: In the ‘80s, the Chicago Style consisted of a play about two men intensely tormenting a third man. (Storefront version, the man is beaten to death at the end.) Sometimes there would be a naked woman who either didn’t speak or swore a lot. This would have been a semi-obscure play from off-Broadway by a New York playwright.

In the ‘90s, the Chicago Style was typified by adaptations of novels by once-celebrated but now obscure European novelists, epic in scope, with dozens of characters all performed by three actors. (Storefront version, a cast of twenty.) The adapters were directors.

Today, the Chicago Style is exemplified by original world premieres, developed through hundreds of readings around the country and written by actual playwrights, many of whom are Chicagoans.

BL: To me, Chicago Style is about community. In no other major city in the world is thier the level of respect and community that exists in Chicago. Theaters of all sizes can and do collaborate and assist each other in a multitude of different ways. The number of programs that exist to help connect theaters (large and small, culturally specific and not, etc.) is awesome. Another element of Chicago Style is the accessibility of artists and space for those that want to create their own work. For a minimal investment, you can actually produce your own work in Chicago, that is fantastic!

What, today, distinguishes Chicago theater from anywhere else?
RT: The intense work ethic of Chicago theater artists.

BL: Quality, Quantity and Risk. These are what separates us from other communities around the world. We have high quality theaters that are not afraid to take risks. And there is a lot of work!

Outside of your own company, who or what excites you most about local theater right now?
BL: Timeline Theatre has always been exciting to me. Their quality work, steady growth and ability to capture audiences is the envy of most small and mid size theaters. They will soon become a very important and large organization in Chicago.

Also, the rise of technology and the internet in the work we do each day. It has been a game changer for small companies that used to have such difficult times getting the word out about their work. Also, the technological advances are working their way into our art each day, I am excited to see what the future holds.