As part of our decade retrospective, we surveyed more than forty theater companies for their observations to a couple of questions. What follows are their formatted but unedited responses.

Deb Clapp
Executive Director, League of Chicago Theatres (founded 1979)

Any observations or thoughts about Chicago theater in the last decade?
Over the last decade, Chicago has seen the downtown theater district grow and thrive, Goodman moved downtown and several theaters were re-furbished. Lookingglass moved into their new digs on Michigan Avenue and theater has flourished. Several exciting new companies have been established including The House Theatre of Chicago, Silk Road Theatre Project, New Leaf Theatre and Rasaka, among many others.

Is there a “Chicago style” anymore (if there ever was) and has it changed? What, today, distinguishes Chicago theater from anywhere else?
A number of unique characteristics distinguish Chicago theater. We have a unique ecology encompassing a wide range of theater artistry, from spectacle to culturally specific, horror to improv, houses with thousands of seats to houses with 18 seats. Our community is very collegial and collaborative, sharing ideas and resources. When one theater has a hit show, its not just a hit for that show, it’s a hit for Chicago. Our directors, authors, actors, stagehands, producers, all are Chicagoans and all create for a Chicago audience.

Outside of your own company, who or what excites you most about local theater right now?
Chicago is the best place to see and to make theater in the world. A lot of attention from other parts of the country and the world is being paid to Chicago theater right now and while that is wonderful and will inevitably lead us to greater things, what continues to happen every night in Chicago theater brings me joy. Telling our stories and the stories of others, bringing the world on stage every night, that’s what excites me most. Read the rest of this entry »

RECOMMENDED

Sixty years after its premiere, Arthur Miller’s “Death of a Salesman” continues to echo as a powerful reminder of the dark side of the American Dream. The two paths it represents—getting by on peer approval and likeability or on studying and hard work—remain permanent options. The bitterness and confusion that Willy Loman experiences when confronted with the truth that both he and his onetime star-high-school-athlete son who his future hopes become pinned on after his own fall apart are failures is something we have all witnessed to one degree or another, whether up close or from a distance. How many of us have headed to a high-school reunion only to find out that the most popular folks of yesteryear are today’s lost souls, but that the nerds that were constantly picked on are now CEOs?

Decades before American capitalism came to the brink of the cliff last year, Miller raised fundamental questions in this play that seem more relevant today than ever before. Read the rest of this entry »

Here’s the press release from Eclipse:

Eclipse Theatre Company Leads Year-Long Exploration of Arthur Miller
in 2009 / 2010 Chicago Theatre Season

(CHICAGO, August 5, 2009) – Classic American theatre fans are in for a treat this upcoming season with several new productions exploring the works one of the 20th century’s greatest American playwrights – some might argue the greatest – Arthur Miller.

Currently, there are four local theatre companies with Arthur Miller productions slated, including Chicago’s Eclipse Theatre Company, which is unique in the Midwest in its mission to focus on a single playwright each season. After a critically acclaimed and commercially successful two-year Celebration Series, in which Eclipse featured the work of the first 10 playwrights produced since the company adopted its mission of “one season, one playwright,” the 2010 Arthur Miller Season is a welcome return to the company’s seasonal format. Read the rest of this entry »

Here’s the press release from Raven:

RAVEN THEATRE ANNOUNCES THEIR 27th SEASON
Family. Justice. Laughter

CHICAGO – Producing Artistic Director Michael Menendian and Co-Artistic Director JoAnn Montemurro announce Raven Theatre’s 2009/2010 Season, which includes Arthur Miller’s timeless Death of a Salesman, Reginald Rose’s thrilling Twelve Angry Men, and Neil Simon’s classic comedy The Odd Couple. This season follows the rise of the baby boomer generation, moving from issues of morality and success through class and ethnic divisions, ending in the middle of a social and cultural revolution. Raven kicks off the season with its 27th annual benefit gala, Back Stage at Raven, Saturday, August 1, 2009. Season subscriptions are available for $35-72. Visit www.raventheatre.com or call 773-338-2177. Read the rest of this entry »

RECOMMENDED

Ibsen’s “Hedda Gabler” is either a modern woman acting out against an oppressive society or a shrew who needs a hobby that doesn’t involve guns. Either way, the Raven Theatre’s new production of the 1890 classic is a well-portrayed, smartly executed chess game played by a woman who wants more.

Hedda (Mackenzie Kyle) is a brittle beauty who has married beneath her to affable, naïve George (Ian Novak).  Bored, she wreaks havoc on her brilliant ex Eilert (Ian Paul Custer) and her former schoolmate Thea (Symphony Sanders). Kyle deftly walks a razor-thin line of control, keeping Hedda’s frustration-fueled bitchiness in check until her second act spin-out; even then she makes the character’s insane personal agenda plausible. Novak tugs at the heartstrings as George, desperate to find the love in a woman can’t love him. Andrei Onegin’s lovely set is beautiful valise one should open with care. (Lisa Buscani)

“Hedda Gabler” at the Raven Theatre, 6157 N. Clark Street. Through June 27.

It’s tough to tackle Steinbeck’s “The Grapes of Wrath.” The classic has often been successfully produced on stage and screen; it’s difficult to forget Henry Fonda staring into a bleak future. But Infamous Commonwealth Theatre gamely remounts the piece as their “nature” season finale—unfortunately, with mixed results.

The Joad family’s flight from Dust Bowl Oklahoma to California lacks the urgency of a family on the brink of extinction. Jennifer Mathews captures the steel of the indomitable Ma Joad, but the rest of the ensemble greets each new tragedy as if they’ve just been told they’ve run out of pie at the local road house. Genevieve Thompson’s direction undersells the Joads’ California crossing, as well as the desperate tenderness of the climax.

Alan Donahue’s dusty, gauze-wrapped set beautifully suggests drought conditions without reenacting them. However, dragging the Joad jalopy across the stage during scene changes diminishes the show’s energy, an energy it sorely needs. (Lisa Buscani)

Infamous Commonwealth Theatre at the Raven Theatre Complex, 6157 N. Clark Street, (312)458-9780. Through May 24.

Here’s the press release from the Jeff Awards:

The Jeff Awards
Announces 2009 Non-Equity Nominations

Lifeline (14) and Theo Ubique (13) Are Top-Nominated Companies;
“Evita,” “Mariette in Ecstasy,” and “Rose and the Rime”
Garner 7 Nominations Each

Chicago, IL.  The Jeff Awards today announced 114 nominations in 24 categories for Non-Equity Jeff Awards, which honor excellence in Chicago theatres not under a union contract, for productions that opened between April 1, 2008, and March 31, 2009.  The Jeff Awards judged the opening nights of 130 productions offered by 57 non-Equity producing organizations and recommended 54 of them for further judging, making those 54 eligible for Non-Equity Jeff Award nominations in all categories. Read the rest of this entry »

RECOMMENDED

Raven Theatre’s “Misamerica,” explores American business’ efforts to exploit the chaos in the Middle East. Even in hell, there’s a buck to be made.

Gina (Kimberly Logan) lands a sandal manufacturer’s (Steve Ratcliffe) Middle Eastern product launch. Culturally inappropriate decisions and poor judgment mount, as a “market research” tour dissolves into a riot and Gina’s concern for the welfare of the local liaison grows.

The occasionally simplistic script (stupid, venal people trying to exploit overly naïve people) can grow tiresome, but the cast’s screwball energy saves the day: Greg Hardin scores as a smarmy boss and Lindley Wisnewski brings the funny as a wacky relief supervisor.

Toward the end, Gina and a government representative assess the complexities of the conflict. More of that tone would have provided a great counterpoint. Instead, the audience is left with the madness of our actions, which are funny and not funny at all. (Lisa Buscani)

At The Raven Theatre, 6157 N. Clark, 773 338-2177. Through March 28.

Top 5 Shows

“Caroline, or Change,” Court Theatre

“A House with No Walls,” Timeline Theatre

“The Glass Menagerie,” Steppenwolf Theatre

“No Darkness Round My Stone,” Trap Door Theatre

“The Birthday Party,” Signal Theater

—Monica Westin

Top 5 Shows

“Jon,” Collaboraction

“A Very Merry Unauthorized Children’s Scientology Pageant,” A Red Orchid

“Be More Chill,” Griffin Theatre

“Men of Tortuga,” Profiles

“Picked Up,” Neo-Futurists

—Nina Metz

Top 5 Theatrical Experiences

“Caroline, or Change,” Court Theatre

“Columnibus,” Raven Theatre

“As You Like It,” Writers’ Theatre

“The Comedy of Errors,” Chicago Shakespeare Theater

“Romeo y Julieta” (Staged Reading), Chicago Shakespeare Theater/Shakespeare in Español

—Fabrizio O. Almeida

Top 5 Guilty Pleasures

“Jarred: A Hoodoo Comedy” by Tanya Saracho, Teatro Luna

“Speech and Debate” by Stephen Karam, ATC

“Dead Man’s Cell Phone” by Sarah Ruhl, Steppenwolf

“The Little Dog Laughed” by Douglas Carter Beane, About Face Theatre

“After Ashley” by Gina Gionfriddo, Stage Left Theatre

—Fabrizio O. Almeida

Top 5 New Plays

“Kita y Fernanda” by Tanya Saracho, 16^th Street Theater

“The U.N. Inspector” by David Farr and James Sherman, Next Theatre

“Dead Man’s Cell Phone” by Sarah Ruhl, Steppenwolf Theatre

“Our Enemies: Lively Scenes of Love and Combat” by Yussef El Guindi, Silk Road Theatre Project

“Superior Donuts” by Tracy Letts, Steppenwolf Theatre

—Fabrizio O. Almeida

Top 5 Revivals

“The Maids,” Writers’ Theatre

“The Lion in Winter,” Writers’ Theatre

“Requiem for a Heavyweight,” Shattered Globe

“Plaza Suite,” Eclipse Theatre Company

“The Birthday Party,” Signal Ensemble Theatre

—Fabrizio O. Almeida

Top 5 Play Revivals

“Our Town,” Hypocrites

“The Lion in Winter,” Writers Theatre

“Requiem for a Heavyweight,” Shattered Globe

“Journey’s End,” Griffin

“M Butterfly,” BoHo

—Dennis Polkow

Top 5 Memorable Productions by a Smaller Theatre Troupe

“Multi-Purpose Doom,” Sandbox Theatre Project

“The Further Adventures of Hedda Gabler,” Dog & Pony

“Termen Vox Machina,” Oracle Productions

“On My Parents’ 100^th Wedding Anniversary,” Side Project

“The Last Days of Judas Iscariot” (original mounting), Gift Theatre

—Fabrizio O. Almeida

Top 5 Directors

Ann Filmer for “Kita y Fernanda,” 16^th Street Theater

Charles Newell for “Caroline, or Change,” Court Theatre

Sean Graney for “Edward II,” Chicago Shakespeare Theater

William Brown for “As You Like It,” Writers’ Theatre

Greg Kolack for “Columbinus,” Raven Theatre

—Fabrizio O. Almeida

Top 5 Musicals

“Caroline, or Change,” Court Theatre

“Grey Gardens,” Northlight Theatre

“Tell Me On A Sunday,” Bailiwick Theater

“The Full Monty,” Marriott Lincolnshire Theatre

“All Shook Up,” Marriott Lincolnshire Theatre

—Fabrizio O. Almeida

Top 5 New Musicals

“Caroline, or Change,” Court Theatre

“Grey Gardens,” Northlight Theatre

“Songs for a New World,” Porchlight

“The Ballad of Emmett Till,” Goodman Theatre

“I Am Who I Am: The Story of Teddy Pendergrass,” Black Ensemble Theater

—Dennis Polkow

Top 5 Musical Revivals

“Tell Me on a Sunday,” Bailiwick Theater

“Sweet Charity,” Drury Lane Oakbrook

“1776,” Signal Ensemble

“Jacques Brel’s Lonesome Lovers of the Night,” Theo Ubique

“Gentlemen Prefer Blondes,” Circle Theatre

—Dennis Polkow

Top 5 Worst Musicals

“Shout! The Mod Musical,” Drury Lane Water Tower

“Avenue Q,” Broadway in Chicago

“Dirty Dancing,” Broadway in Chicago

“Russian on the Side,” Royal George Theater

“Gutenberg! The Musical,” Royal George Theater

—Dennis Polkow

Top 5 Worst Musicals

“Dirty Dancing,” Broadway in Chicago

“The Kid from Brooklyn,” Mercury Theater

“Gutenberg! The Musical!,” Royal George Theatre

“Jekyll & Hyde—The Musical,” Bohemian Theatre Ensemble

“Sweeney Todd,” Broadway in Chicago

—Fabrizio O. Almeida

Top 5 Operas

“Manon,” Lyric Opera

“The Abduction From the Seraglio,” Chicago Symphony Orchestra, Ravinia

“Lulu,” Lyric Opera

“Porgy and Bess,” Lyric Opera (second cast)

“Don Giovanni,” Chicago Opera Theater

—Dennis Polkow

Top 5 Productions of Shakespeare

“As You Like It,” Writers Theatre

“Comedy of Errors,” Chicago Shakespeare

“Much Ado About Nothing,” First Folio

“Merchant of Venice,” Boho

“Twelfth Night,” City Lit

—Dennis Polkow

Top 5 Touring Shows

“Saint Joan,” Shaw Festival Canada, Chicago Shakespeare

“Cirque du Soleil: Kooza,” United Center

“The Drowsy Chaperone,” Broadway in Chicago

“My Fair Lady,” National Theatre London, Broadway in Chicago

“Jesus Christ Superstar,” Broadway in Chicago

—Dennis Polkow

Top 5 Holiday Shows

“The Christmas Schooner,” Bailiwick Theater

“A Dublin Carol,” Steppenwolf Theatre

“A Christmas Carol,” Writers Theatre

“Radio City Music Hall Christmas Spectacular,” Rosemont Theatre

“The Seafarer,” Steppenwolf Theatre

—Dennis Polkow

Top 5 Comedy Shows

“Impress These Apes,” Blewt!

“Shatter,” Pat O’Brien’s solo show at Second City e.t.c.

“Steve and Jordan, Respectively” i.O. Theater

“Brother, Can You Spare Some Change?” Second City e.t.c.

“PennyBear: A Collection of Miniature Plays and Curious Diversions,” Apollo Theater Studio

—Nina Metz

Top 5 Female Performances

Janet Ulrich Brooks, “Golda’s Balcony,” Pegasus Players

Christina Anthony, “Brother, Can You Spare Some Change?” Second City e.t.c.

Erin Barlow, “Red Angel,” LiveWire

Sarah Goeden, “13 Dead Husbands,” Sansculottes Theater

Rachel Quinn, “Gentlemen Prefer Blondes,” Circle Theatre

—Nina Metz

Top 5 Male Performances

David Cromer, “Our Town,” The Hypocrites

Usman Ally, “Celebrity Row,” American Theater Company

Steve Wilson, “Red Angel,” LiveWire

Edward Thomas-Herrera, “The Last Days of Beast,” Live Bait’s Fillet of Solo Festival

Daniel Behrendt, “Beggars in the House of Plenty,” Mary-Arrchie

—Nina Metz

Top 5 Out-of-the-Box Performances

“Inner Space,” Joffrey Ballet’s American Moderns

“Walking Mad,” Hubbard Street Dance Winter Series

“The Young Ladies Of…,” About Face Theatre

“Dr. Egg and the Man With No Ear,” Redmoon Theater

“One on One,” Hubbard Street Dance Winter Series

—William Rogers

Top 5 Dance Shows by Chicago Companies

“The Sky Hangs Down Too Close,” Lucky Plush Productions

“Nuevo Folk,” Luna Negra Dance Theater

“De-Evolution of Mudwoman,” Breakbone DanceCo

“Vintage Modern,” Same Planet Different World Dance

“American Moderns,” Joffrey Ballet

—Sharon Hoyer

Top 5 Overrated Productions

“Dave DaVinci Saves the Universe,” House Theatre

“Dirty Dancing,” Broadway in Chicago

“Shining City,” Goodman Theatre

“The Glass Menagerie,” Shattered Globe Theatre

“Scenes from the Big Picture,” Seanachai Theatre

—Fabrizio O. Almeida

Top 5 Theatrical Disappointments

“Dirty Dancing,” Broadway in Chicago

“Les Miserables,” Marriott Lincolnshire Theatre

“Yohen,” Silk Road Theatre Project

“Richard III,” Strawdog Theatre

“Macbeth,” Greasy Joan & Co.

—Fabrizio O. Almeida

 

Michael Menendian’s production of Neil Simon’s classic falls somewhat flat despite first-rate writing and the hard work of an earnest cast. Based on Simon’s own experiences working for Sid Caesar, the play takes on television’s response to McCarthyism in a comedy television show’s writing room. Despite explorations of censorship and the always-timely problem of being forced to dumb down writing, the show feels stale, and laughs don’t come quite frequently enough. Acting is uneven and ranges from farce to drama without much character development. More than anything else, the lines don’t seem to move quite quickly enough, given the witty ‘50s banter that provides the real meat of the play. However, overall charm outweighs the occasional tedium, and when the jokes land, they’re often hysterical. The art direction matches the rest, with a visually cluttered but appealing set that doesn’t add much to the story but gives you something to look at between funny bits. (Monica Westin) 

At Raven Theatre, 6157 N. Clark, (773)338-2177. This production is now closed.