Genevieve Thompson
Member of Infamous Commonwealth Theatre. Artistic Director from 2001-mid 2009 (founded 2001)
Any observations or thoughts about Chicago theater in the last decade?
I only arrived in Chicago this decade, so it’s hard for me reflect on it without the frame of reference of being here in the 90’s.
Is there a “Chicago style” anymore (if there ever was) and has it changed? What, today, distinguishes Chicago theater from anywhere else?
To me, one element that is so ingrained in Chicago theater is heart. I was actually thinking about this the other day, before receiving this survey. I was thinking how blessed I am to be in a town where the majority of the shows being produced lack that slickness that I associate with theater in New York and other regions. To me, as an audience member, that slickness often brings distance and apathy. But in Chicago, I rarely feel distanced from what I’m seeing. There are so many companies roughing it—creating these masterpieces in shoeboxes—and doing it on a dime. It’s pretty amazing, really. I love going into a theater and having to tuck my feet under my chair so the actors don’t trip in the dark. It’s rough, yes. But when I see theater in Chicago, I often feel an incomparable energy in the room. And I associate that feeling with a lot of heart.
Bridget McDonough
General Manager, Light Opera Works (founded 1980)
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 way our talent pool functions like a giant repertory company. Artists work repeatedly with each, but at different theaters. Makes for great work at a variety of theaters.
Outside of your own company, who or what excites you most about local theater right now?
New talent. Every year there is an infusion of new talent as artists from all over move to the city. It is always exciting to see these new talents in action.
John Pierson
Marketing Director/Ensemble Member, The Neo-Futurists (founded 1988)
Any observations or thoughts about Chicago theater in the last decade?
Chicago has always been, at least since the Compass Players, a city for creating your own work and creating your own ensembles. Much of this came from an interest in alternative performance styles originating with Brecht and Grotovsky. What has emerged is a mixture of Poetry, Performance Art, music, Dance, Improvisation. I think one of the major developments is the use of space and placement of an audience in relation to character and action.
Is there a “Chicago style” anymore (if there ever was) and has it changed? What, today, distinguishes Chicago theater from anywhere else?
Chicago has and will always be a city that creates ensembles. If you can’t get rich in this city as writer and/or performer, then you should damn well enjoy and respect the creative companies in which you surround yourself.
Outside of your own company, who or what excites you most about local theater right now?
Oobleck Theater has always been my most favorite group of writers and actors. I believe the rest of Chicago is still trying to catch up to their unique and intelligent writing and performing abilities.
