Jessica Hutchinson
Artistic Director, New Leaf Theatre (founded 2001)
Any observations or thoughts about Chicago theater in the last decade?
I arrived in Chicago in January of 2005, so have only been part of the theater scene for half of the decade. It feels to me like a scene that’s constantly gaining inventiveness, confidence, drive, and collaboration – these elements seem to get stronger with each season. We’re a community that, for all of our strong roots in Midwestern realism and naturalism, is interested in reinventing itself. And as we gain confidence (and recognition from other markets – national and international), it seems like we’re starting to get over our “second city” complex, and take our place as a formative collective voice in the re-definition of American – and even World – theater.
Is there a “Chicago style” anymore (if there ever was) and has it changed? What, today, distinguishes Chicago theater from anywhere else?
To me, Chicago is the true home of the ensemble – and not just acting ensembles, but ensembles of all sorts of artists who work collaboratively to create an exciting breadth and depth of theatrical experiences. Because we have so many theater companies, there are artistic homes for artists of all stripes across the city – with new ones popping up all the time to fill our artists’ evolving needs.
Outside of your own company, who or what excites you most about local theater right now?
There’s a new excitement for collaboration among whole companies and individuals as representatives of companies right now that I’m hopeful will color the next decade and next wave of Chicago theater. I’m also excited to see the number of strong young women in our scene at present, and hope that that’s indicative of emerging equality of gender in positions of artistic leadership in the years to come. I think Chicago is uniquely placed to be an industry leader on that front, as well as being innovators when it comes to what makes great theater.
BJ Jones
Artistic Director, Northlight Theatre (founded 1974)
Any observations or thoughts about Chicago theater in the last decade?
Chicago theater has solidified its position as perhaps the most influential theater city outside of New York or London, and is arguably is the most fertile and exciting theater town.
Is there a “Chicago style” anymore (if there ever was) and has it changed? What, today, distinguishes Chicago theater from anywhere else?
I believe there is absolutely a Chicago style. The work here is done for its own sake, not for the sake of commercial development or for individual career advancement. Chicago Style today seems to refer to work that is connected to the audience, and to the artists’ expression of their aesthetic. The bare knuckled, stripped down, storefront quality that defined the style of the 70s, 80s and 90s has morphed a bit into a more sophisticated vision. The work is less focused on the verbal and more on the lyrical and physical. Nevertheless, we are still a storefront-theater town, which provides opportunity, hope and hungry audiences to the ambitious visionaries that find their way here every year.
Outside of your own company, who or what excites you most about local theater right now?
The next generation of theater artists. They are leading the way in the discovery of new forms, new audiences and a greater ability to engage in dialogue with them.
Michael Menendian
Producing Artistic Director, Raven Theatre Co. (founded 1983)
Any observations or thoughts about Chicago theater in the last decade?
It has grown even more diverse in the last ten years with ever more young companies establishing their own identities. Many are, as usual, so far on the fringe as to be unnoticed by all except their own families and peers. But many others who have really dug in and seem to be doing fine work.
Is there a “Chicago style” anymore (if there ever was) and has it changed?
I guess the Chicago style alwasys referred to the rough and tumble method of acting and stagin, and the honesty of the hard work and dedication to the art. I don’t know if outsiders would still refer to Chicago theater as having that distinct characteristic anymore, but overall I think that image is stil valid.
What, today, distinguishes Chicago theater from anywhere else?
This is difficult for me to answer as I do not see theater in other parts of the country that I can equate to the Off-Loop fringe/storefront theater that I often see here. When I travel I tend to see larger productions that are more in line with Broadway In Chicago, which is so much different than the true Chicago theater I am used to here.
Outside of your own company, who or what excites you most about local theater right now?
I very much like the fact that there are several theaters out there that are still remaining true to their artistic vision and have not compromised that even though they have been around for over 15 years. This includes such theaters as Strawdog, Factory and Mary-Arrchie, to name just a few.
Kirsten Fitzgerald
Artistic Director, A Red Orchid Theatre (founded 1992)
Is there a “Chicago style” anymore (if there ever was) and has it changed?
There is that “in your face” thing that for so long was associated with Chicago… I think of Chicago theater as intensely intimate, honest, personally & publicly cathartic and raw, no matter what the genre or style of presentation.
What, today, distinguishes Chicago theater from anywhere else?
Ensemble-based theater & the theater community as a whole…
Outside of your own company, who or what excites you most about local theater right now?
Anyone or anything that is fostering the development of new plays, new artists & new audiences. In recent years I have been inspired by shows I have seen at Rivendell, Writers, Hypocrites, The Gift, Steppenwolf, MaryArrchie, Lookingglass and more, but there are so many I have not seen. I have been most challenged, inspired and renewed by work I have had the good fortune to do at my A Red Orchid home. I am inspired every day by the spirit of collaboration amongst Chicago Theaters in general.
