End of the Zeroes: Chicago Theaters on Chicago Theater

Kristin Larsen
Executive Director, Remy Bumppo Theatre Company (founded 1996)

Any observations or thoughts about Chicago theater in the last decade?
There are well over 300 companies producing theater in any year! majority of them “emerging” and doing brilliant work.

Is there a “Chicago style” anymore (if there ever was) and has it changed? What, today, distinguishes Chicago theater from anywhere else?
Good will and knowledge/ resource sharing

Outside of your own company, who or what excites you most about local theater right now?
That few of our local companies were fatally impacted by recent economic turmoil. see above; strength in numbers and support.

Amanda Delheimer
Artistic Director, Serendipity Theatre Collective and 2nd Story (founded 1999)

Any observations or thoughts about Chicago theater in the last decade?
I believe that Chicago continues to set the bar higher than other theater centers in the world in terms of creativity and ingenuity. I’ve worked in a number of other places, and the sheer generosity of this community is staggering. Can’t do a play at your own theater? We don’t buy up the rights and refuse to let anyone else produce it, we send it along to wherever we think it will get the best treatment. Need a specific type of actor? Sure, we’ll send you their information! Have a great idea? We’d LOVE to produce it with you! Folks from other places have pointed this out to me again and again, that the spirit of collaboration and generosity seems to rule this community, especially at the storefront level.

Is there a “Chicago style” anymore (if there ever was) and has it changed? What, today, distinguishes Chicago theater from anywhere else?
To me, the “Chicago Style” that currently exists is still strongly based in the ensemble tradition—in my mind, the thing that sets us apart is that Chicago theater makers believe in collaboration above all other things, it is the heart of our profession, pulling together a multiplicity of influences and inspirations into each project that we do. To me, some of the most interesting work is happening because of the confluence of methodologies—think Red Moon, or 500 Clown, or what 2nd Story is doing—our work is rooted in the hybrid influences of the theatrical and the literary traditions, and I think that it is this type of creativity, this type of ingenuity, this type of innovative artistry that is what sets Chicago theater apart from anywhere else.

Outside of your own company, who or what excites you most about local theater right now?
I’m the most excited by folks who are doing work that pushes me to interact with it in a way that I’m not accustomed to. Two companies I’ve already mentioned fall into that category (Red Moon and 500 Clown) but I also feel like Strawdog is continually doing really exciting, meaty work that requires the audience to engage with it in a compelling way. I’ve seen great stuff at Steep recently, as well as Lifeline, Adventure Stage Chicago, Theatre Oobleck, Barrel of Monkeys—that’s a small selection of companies that I’m always interested in.

Adam Webster
Artistic Director, the side project (founded 2000)

Any observations or thoughts about Chicago theater in the last decade?
It seems to be that over the past few years more companies that have been able to get a foothold are making a longer go of it, which is exciting to see. While we have lost a handful of important groundbreaking companies in the last decade, I think the number that we have been able to sustain and initiate has been an amazing contribution to theater in the city, and proliferate through the country.

Is there a “Chicago style” anymore (if there ever was) and has it changed? What, today, distinguishes Chicago theater from anywhere else?
Since my time in Chicago only encompasses the decade, I have no reference-point as to what truly occurred before other than from literature and lore, but it seems to me that the “Chicago style” of raw language and visceral acting has been augmented with a cerebral quotient as well, in terms of both of those components (words and actions). So, it is an exciting blend of the two.

Outside of your own company, who or what excites you most about local theater right now?
The extent to which there is a reawakening of the community spirit and, aided by social media and Web 2.0, the likelihood that this latest iteration will stick. While there have always been small enclaves of companies that share members and resources, there seems to be a real renaissance of Chicago theater in an infrastructure sense as well (the League, the TCG conference, the Storefront Summit, etc) with the goal of making something lasting out of it. And the fact that it is coinciding with the city’s nationwide recognition (which happens every five or so years: “Oh, hey, what’s happening in Chicago” — this time it is the NY exports from Steppenwolf, Dramatists, Hypocrites and others) gives me hope that we can capitalize on the momentum and continue creating something amazing and unique to Chicago: not only what we do, but how we do it.

Ronan Marra
Co-Artistic Director, Signal Ensemble Theatre (founded 2003)

Any observations or thoughts about Chicago theater in the last decade?
Before I moved here in 2001, I was told the scene was very “cliquey.” And while it’s true that most storefront theaters are built on a foundation of friends, I’ve noticed that many theaters, including ourselves, have kept their doors wide open for guest artists. There is a much greater sense of community here than I was originally led to believe.

Is there a “Chicago style” anymore (if there ever was) and has it changed? What, today, distinguishes Chicago theater from anywhere else?
Absolutely. To me, it’s fifty seats, tiny budgets and boundless passion. Simple answer, I know, but it’s the truth. Certainly this exists elsewhere, but we revel in it here. And I don’t know if there is another theater city in the country where the ensemble system rules like it does here. From a storefront perspective, theaters in Chicago tend to be very loyal to their members, and I think audiences get that and support it. They associate individual artists to their home theaters, and recognize them wherever they go.

Outside of your own company, who or what excites you most about local theater right now?
I’ve always been a big fan of The Hypocrites and Lifeline, and have recently had great experiences at New Leaf and BackStage. The Right Brain Project is a company that deserves more attention. I’m excited by many theaters in Chicago, and that’s why I work here.