Edward Albee’s “The Zoo Story”/Photo: Jon Marie Johnson

It was in high school, dim centuries ago, that I was introduced to the Theatre of the Absurd. An ambitious English teacher of mine included Eugène Ionesco’s play “The Chairs” in her syllabus, thus introducing the passel of suburban, TV-bred kids in her class to the radical notion that seeming nonsense, wielded with wit and skill, could be a powerful form of cultural commentary and protest—and to the even more subversive implication that the grownup world itself wasn’t necessarily built on a rock-solid foundation of reason and sanity. Absurdity, Ionesco made clear, was always there, crouching in the shadows, flashing an impish, dopey, Alfred E. Neuman-style grin at the rules and institutions that defined us—even art, even school.

From that moment, I was hooked. How could I not be?

Thus, it was a real pleasure to learn that the young—and ambitious—Gwydion Theatre Company, in concert with Wicker Park’s Chopin Theatre, is presenting Chicago’s very first “Theatre of the Absurd Festival” this May. The program of “Eight Darkly Comedic Tales” ranges from plays by Samuel Beckett and Harold Pinter to Edward Albee and Sam Shepard, with excursions into lesser-known work by Israel Horovitz, Vaclav Havel, Reza Shirmarz and Slawomir Mrozek. (Alas, no Ionesco.) Consisting of shorter plays grouped together, combined with Sunday lectures by notable theater makers and scholars (plus complimentary food), the festival promises to be as thorough and wide-ranging an introduction to absurdism as local audiences are apt to experience.

Defined by writer Martin Esslin (who coined the term “Theatre of the Absurd” in the early 1960s) as both an expression of the “tragic sense of loss at the disappearance of ultimate certainties” and an attempt to startle viewers out of an “existence that has become trite, mechanical, complacent and deprived of the dignity that comes of awareness,” absurdism flourished in mid-twentieth-century Europe and, to a lesser extent, the United States. While Theatre of the Absurd is no longer the cutting-edge form it once was, the work of Beckett, Ionesco, Pinter, Jean Genet, Joe Orton, Max Frisch and others is still very much in the repertoire, and the movement’s influence endures. As culture and politics become stranger and more threatening, and as human intelligence increasingly gives way to the mutant offspring known as AI, absurdity becomes ever more visible, and surrealism and absurdism are the natural dramatic response.

Via email, I talked about the meaning and relevance of the Theatre of the Absurd and what theatergoers can expect from this new festival with Grayson Kennedy and Tommy Thams, artistic and managing director, respectively, of Gwydion Theatre, as well as Lela Headd, managing director of the Chopin Theatre. Responses have been edited for length and clarity.

Let’s start with the most basic question: What is Theatre of the Absurd?

Grayson Kennedy: Theatre of the Absurd is a form of theater that emerged in Europe following the Second World War. It’s based to some extent on Antonin Artaud’s “Theatre of Cruelty,” but has more emphasis on nonsensical, absurd dialogue, which evokes Existentialist themes of alienation and isolation.

Lela Headd: Originally, the phrase was used to describe mid-twentieth-century European playwrights who saw the universe as being without clear meaning. Over time the ideas of Theatre of the Absurd grew and influenced new writers from around the world. The style evolves, but the core question remains: How do we make sense of a world that refuses to make sense? In short, “Theatre of the Absurd” addresses the meaning of life.

Sam Shepard’s “Action”/Photo: Jon Marie Johnson

Why a Theatre of the Absurd Festival now? What attracts you to this sort of theater?

GK: We noticed that identity-based drama has become the dominant form of theater in Chicago: that is, plays that focus more on who is on stage rather than what is on stage. Theatre of the Absurd isn’t really about individual identity so much as a certain philosophy, which is communicated to a wider audience. We’ve always been attracted to absurdism because of the freedom it gives performers. Depicting absurdity allows us to step outside of social decorum and explore what makes humans tick from a more visceral perspective.

It’s sad that these plays, which were written in direct response to the rise of fascism in Central and Eastern Europe in the mid-twentieth century, have become topical again. At Gwydion Theatre, we feel it’s the duty of the artist to combat social injustice. Producing this festival has become a sort of call to arms for our ensemble.

LH: I see many plays now as social interventions, rarely drawing upon the rich tradition of two-thousand years of theater. So perhaps a little dose of what some think of as “non-pragmatic nonsense” will make us wonder more about our lives and produce more diversity of ideas.

How did you choose these particular plays?

GK: We chose plays from different eras of Theatre of the Absurd, ranging from early, experimental works to the American take on Theatre of the Absurd, which was popular in the eighties and nineties. We did this to showcase the range of the absurdist canon and to highlight the lesser-known works of playwrights like Sam Shepard or Horovitz, who are not typically associated with the movement. We’ve chosen to make class disparity the central theme of the festival. But the plays differ greatly in form. For example, Albee’s “The Zoo Story” is an incredibly lyrical piece of absurdism, with lengthy poetic monologues and rhythmic dialogue. Shepard’s “Action,” on the other hand, as the title suggests, is a story driven primarily by physical action, with the text serving more as a kind of score accompanying the physical storytelling.

LH: Directing for Chopin Theatre, Michael Brown of Columbia College chose a very interesting compilation of plays by Beckett, Havel and Shirmarz, which reflect on one another. And the new translation of Mrozek’s “The Police” will be directed by Northern Illinois University’s Kay Martinovich. The selections were based on the personal affinity with the plays felt by directors from different generations.

I see that it’s not just plays you’re offering, but also speakers—it’s almost like a seminar on absurdism. Who will present?

GK: Our first guest speaker is Steppenwolf ensemble member and UIC professor Yasen Peyankov, who will discuss his upcoming production of Samuel Beckett’s “Endgame” at Facility Theatre. Also, two of our guest directors, Michael Brown and Kay Martinovich, will provide some context about Theatre of the Absurd and its history both in America and in Europe. Finally, we’re excited to announce that director Mary Zimmerman, who is associated with both the Goodman and Lookingglass Theatres and teaches at Northwestern University, will be sharing her insights on the subject on May 11.

How did the collaboration between Gwydion and Chopin Theatres come about?

GK: It was something of a felicitous accident. We had initially arranged to do another play at Chopin, but rights were rescinded at the last minute and the project fell through. In coming up with a plan B, we discovered a unique artistic compatibility with Lela and Zygmunt Dyrkacz at Chopin. The idea for the festival arose through discussions with them about what’s missing from our theatrical ecosystem. The Chopin Theatre has had a rich history of mounting absurdist theater and we all felt this serendipitous artistic partnership could result in something special for our theater community.

LH: Zygmunt saw similarities between today’s lack of logic and disillusionment and his own youth in Cold War Europe. He approached Gwydion with the idea for the festival, and we became enthusiastic partners. The Gwydion people very quickly chose their favorite projects, and Chopin added the second half.

Edward Albee’s “The Zoo Story”/Photo: Jon Marie Johnson

How would you convince a theatergoer unfamiliar with Theatre of the Absurd to give it a try? How should people approach this style of theater, and what sort of pleasure does it offer?

GK: If you’re unfamiliar with Theatre of the Absurd, this is the perfect time to get acquainted with it. Today, as people become more and more fixated on our differences, Theatre of the Absurd invites audiences to examine themselves as human beings on planet Earth. For those searching for answers to our profound problems, absurdism is an alternative to dogmatism and anger.

LH: I would tell theatergoers, if life doesn’t make sense to you, we are the place to go. Even if you see a one-day collection of our plays, you’ll see that you’re not alone in your doubts.

As a director, what’s the secret ingredient in making an absurdist play work on stage? How do you involve an audience in a play that literally doesn’t make (conventional) sense and proffers only questions, not answers?

GK: I’m directing Shepard’s “Action,” a play I’ve dreamed of directing since founding the company. The key to directing this and other absurdist plays is movement. With a text that does not provide any sort of cohesive story, you have to rely on movement and behavior.

Tommy Thams: I’m directing Albee’s “The Zoo Story.” This play was our first ever produced in the city of Chicago, when we had a much smaller audience than we do now. It’s a show that needs to be seen by more people as it cuts to the core of what we believe as a company. When people come to see “Zoo Story,” I encourage them to let the text wash over them. Its lyrical nature creates what actor and drama teacher Michael Chekhov describes as an “atmosphere.” From this atmosphere, you can try to figure out the true nature of the relationship between Jerry and Peter and the struggle for understanding that exists between them.

Absurdist theater requires viewers to sit with the play for a while in order to derive their own meaning and context, while still being steered by the work’s underlying themes. These plays offer only questions; the audience is meant to create the answers. To do this the director must implicate the audience. It’s not about explicating the subject matter, but rather helping the audience participate in the play and see how it pertains to their own life.

Gwydion moved as an ensemble from Los Angeles to Chicago two years ago—something that a lot of people who have survived Chicago winters would consider a bit odd. Has the move been a positive experience? Have you been able to find an audience and grow here?

TT: Before incorporating as a full-fledged nonprofit organization, Grayson and I sat down and read a bunch of books about how to start and run a theater company. One of those books was “Steppenwolf Theatre Company of Chicago: In Their Own Words,” by John Mayer. We instantly fell in love with the Chicago he described. This was a place where artists could be gritty and experimental and people would actually come and see it. We felt that audiences in Los Angeles went to the theater to see actors, while Chicago audiences come to the theater to watch plays.

The identity of Gwydion hinges on artistic versatility—our ensemble has never consisted solely of actors. Since our inception, we have taken pride in surrounding ourselves with multifaceted theater artists who can contribute in multiple ways. We have actor/set designers, director/sound designers, costumers who also do lighting—everyone here does a little bit of everything. That’s the sort of artist that is unique to this city.

We’ve noticed that many of our returning audience members or season-ticket holders have enjoyed seeing that the lead actor in one show is the stage manager for the next. Gwydion Theatre has found a family here in Chicago, in terms of both ensemble and audience. As for the winters… well, what doesn’t kill you makes you stronger. A small price to pay for the beautiful community we have found ourselves in.

The first annual Theatre of the Absurd Festival runs May 2-25 at the Chopin Theatre, 1543 West Division. Tickets are $25 per play, $45 for a full day. For more information, call (773)278-1500 or visit chopintheatre.com.