David Rice Executive Director, First Folio Theatre (founded 1997)
Any observations or thoughts about Chicago theater in the last decade? Just when you think Chicago theater can’t get any bigger or better, new theaters pop up doing outstanding works and old theaters break out in new directions. Despite the recession, Chicago theater just keeps moving ahead like nowhere else in the country.
Is there a “Chicago style” anymore (if there ever was) and has it changed? What, today, distinguishes Chicago theater from anywhere else? If there’s anything that can be considered a “Chicago style” it’s characterized by the willingness to take risks. Those risks might be devoting an entire theater to Shakespeare, when the pundits tell you that there aren’t enough Shakespeare fans to support one, to opening a theater devoted to the classics, when the pundits tell you that classic theater can’t survive outside the City, to opening a theater devoted to giant puppets or focusing on the Silk Road or opening a theater in a converted water tower pumping station or… It’s not just about the shows that are done, it’s about the theaters that produce them.
Outside of your own company, who or what excites you most about local theater right now? What excites me is the fact that there are always exciting, young theater companies jumping into the water. Companies like Point of Contention, Rasaka, Babes with Blades, Teatro Luna and so many more are the reason Chicago theater keeps on surprising us.
David Cerda Artistic Director, Hell in a Handbag Productions
Any observations or thoughts about Chicago theater in the last decade? There seem to be so many more companies that have sprung up it’s hard to keep track of them all and the coverage by qualified theater critics is sorely lacking. We are now in a position where anyone with a website who decides they want to be a theater critic can post horribly written, under-researched reviews and some companies feel compelled treat them like real press because they are not going to get a big paper like the Sun Times to come and see their show.
Is there a “Chicago style” anymore (if there ever was) and has it changed? What, today, distinguishes Chicago theater from anywhere else? I haven’t been around ling enough to notice any changes. I think you can take more risks in Chicago then in say, New York. It’s cheaper to produce theater and there is a greater talent pool. As far as a Chicago ‘style’, it’s anything evrything from horrid to brilliant.
Outside of your own company, who or what excites you most about local theater right now? I like the fact that cross-gender casting and camp is coming into it’s own now. When I started 15 years ago it was still a late night concept bit now there a lot of little companies doing some great and clever things on a shoestring budget that are attracting mainstream audiences like Scooty and Jojo and Mid-Tangent Productions. I’m also a fan of Chicago Vanguard Opera because nobody is doing what Eric Reda does there. Unfortunately I don’t get a chance to see much theater because I’m always either rehearsing or in a show!
Any observations or thoughts about Chicago theater in the last decade? It is in a great period of growth right now. Yes we are losing some groups but the ones we are keeping are pushing farther out of the underground. We’re reaching a wider audience base, advertising more on the internet, becoming openly more mainstream to the public especially in terms of public awareness. I can’t express enough to you how nice it is to hear people who are not involved in the arts wanting to go to a play (and I’m NOT talking WICKED) rather than a film in this town.
Is there a “Chicago style” anymore (if there ever was) and has it changed? What, today, distinguishes Chicago theater from anywhere else? I think The Chicago-style has been mis-represented. It has been distinguished by Sketch and Improv and American Theater but really Chicago theater, I believe, is “Theater of the People”. This town has created it’s own entertainment base outside of the New York and LA average. The people of this city should be noted for starting their own art houses and communities that challenge what the majority of the art world perceives as “theater”. That’s the style here, “homemade”.
Outside of your own company, who or what excites you most about local theater right now? I am very excited about the first Chicago Fringe Festival that’s coming in 2010. This is going to be a wonderful way to unite more of the new community, show what we are doing and make a bigger stamp on the the new scene. The times are changing, the scene is shifting and there are great things to come.
Sea Graney Artistic Director, The Hypocrites (founded 1997)
Any observations or thoughts about Chicago theater in the last decade? I think that the major change Chicago has undergone in this decade is the cost to make theater has grown incredibly. There are very few cheap spaces, performance and rehearsal. I think this price increase has created a sincere barrier to many talented young artists that come from low or middle income backgrounds. They graduate from college with insane student loans, and they can’t afford to drop $10,000 for a show, as opposed to $750 that it cost The Hypocrites to produce their first show. It makes me sad because this cripples the spectrum of Chicago theater tremendously.
Is there a “Chicago style” anymore (if there ever was) and has it changed? What, today, distinguishes Chicago theater from anywhere else? I think the idea of “Chicago style” theater has always been misleading. I think stereotypically Chicago was known for intense gritty realism based on the idea of creating roles that fit an ensemble. But truthfully, I can’t think of a time, when that was the only theater Chicago offered. There are great stalwart companies that do that, and there are great new companies that do that. But I think there have always been companies that stray. That being said I think the rest of the country is starting to realize Chicago offers a lot more.
Outside of your own company, who or what excites you most about local theater right now? So much excites me and so much bores me and so much frustrates me. Let’s stick to the exiting: some great newer companies, The Plagiarists, The Right-Brain Project, New Colony. Some great not so new companies the side project, New Leaf and The Neo-Futurists (can’t really beat these guys). Bigger companies that inspire me: I think Timeline is one of the most solid theaters in the city, Lookingglass continues to create interesting experiences, I always like the way Court engages with some dusty classics, and Goodman continues reaching out to newer generation playwrights. Also, The World Stage series at Chicago Shakespeare brings some of the more adventurous and inspiring pieces Chicago has seen for quite some time.
But overall no one is doing anything really revolutionary. I would love a young company just to come out and knock audiences on their asses, and not worry about longevity, financial success, or getting good reviews. But that’s not going to happen.
Fields of Love: A Review of "As You Like It" at Chicago Shakespeare Theater A pastoral comedy is just what the doctor ordered to ease our way out of our recent confinement. Chicago Shakespeare Theater obliges with its bright, energetic tale of souls fleeing death and duplicity and finding peace and love in the woods.
Sea Graney
Sea Graney
