Natasha Lowe, Matt Hawkins and Stacy Stoltz/Photo: Michael Brosilow

RECOMMENDED

Even though director David Cromer is taking New York by storm, he has thankfully not forgotten his way home.  His Writers’ Theatre production of Tennessee Williams’ “A Streetcar Named Desire” is one of the most anticipated shows of the season. As we have come to expect with a Cromer play in his native Chicago, the theater space itself has been torn up and transformed in such a radical way that you completely enter into the cramped space of the Kowalski New Orleans flat before one line of dialogue is uttered.

Cromer’s symbol for the play is the bed, and is the first thing that you see as you enter the space, and you practically have to walk over it to get to the section of seats running parallel to it. (There are also seats surrounding both sides of the kitchen and a “neutral” block of seats straggling both.) The audience is configured in such a way that no matter where you are, there are moments in the play where the characters will be virtually right in your face, or in another part of the house where they may be almost unseen. Thus, if you are sitting in the bedroom, for instance, you sometimes miss some of what is going on in the kitchen, and vice-versa. This could be perceived as a weakness, and yet it proves quite effective in demanding closer audience attention, of having to listen more carefully one moment, and cover your ears the next, just as in real life. Read the rest of this entry »

Photo: Eleanor Berman

By Fabrizio O. Almeida

“Angels in America, Part I”: An angel appears accompanied by a flash of light so bright you have to block your eyes. An aural cluster of classical compositions (Stravinsky, Verdi) blasts while the incessant sound of fluttering wings catches up to your heartbeat, an experience akin to the THX Dolby Digital surround sound in a movie theater that vibrates from up and under your chair and into your body.

“Adding Machine”: A visual journey into an expressionistic world of chiaroscuro lighting effects and dark sensibilities.

“Picnic”: You enter the theater and are enveloped in a world of live tree branches and gorgeous green grass.

“Our Town”: A fugue of smells—the aroma of coffee percolating and bacon sizzling—from a kitchen so real you could move in yesterday.

These are David Cromer moments. Read the rest of this entry »

Here’s the press release from Writers’:

Writers’ Theatre announces 2010-11 Season

Season to feature world premieres by Keith Huff and Brett Neveu,
Shaw’s Heartbreak House and Masteroff,
Bock and Harnick’s She Loves Me

Artistic Director Michael Halberstam,
William Brown and Gary Griffin slated to direct

Glencoe, IL—Writers’ Theatre Artistic Director Michael Halberstam and Executive Director Kathryn M. Lipuma announce the company’s 19th season, which includes Joe Masteroff, Jerry Bock and Sheldon Harnick’s She Loves Me, directed by Michael Halberstam with an all-star Chicago cast; the world premiere of Brett Neveu’s Do The Hustle, directed by William Brown; and George Bernard Shaw’s Heartbreak House, directed by William Brown.  As a limited engagement, currently available only to Writers’ Theatre Subscribers and Members, Gary Griffin will direct the world premiere of Keith Huff’s The Detective’s Wife. Read the rest of this entry »

Tara DeFrancisco, No. 36

In this town of performers—theater makers, dancers, comedy creators—you’d think it’d be pretty easy to assemble a list of artistic influencers and innovators. And it is. The challenge is paring that list down to a mere fifty. It’s a testament to the wonders of the performing-arts culture in Chicago that we easily came up with about 200 names when we set out to create this year’s version of The Players. Unfortunately, we’re only listing a fraction of those worthy of your attention, but that’s the problem with an abundance of riches. Hopefully you’ll see a handful of recognizable names and a whole lot more you’ll start noticing from this point on. We’ve retooled the criteria for this year, focusing on onstage artistic achievement, rather than the backstage influence of artistic directors, executive directors and the like—who will get their day again next year. Let the arguments begin. Read the rest of this entry »

Top 5 Shows
“Desire Under the Elms,” Goodman
“Blackbird,” Victory Gardens
“South Pacific,” Lincoln Center Theater
“The Tempest,” Steppenwolf
“Spring Awakening,” Broadway In Chicago 
—Brian Hieggelke

Top 5 Shows
“The Elaborate Entrance of Chad Deity,” Victory Gardens/Teatro Vista
“An Apology For the Course and Outcome of Certain Events Delivered by Doctor John Faustus on This His Final Evening,” Theater Oobleck
“The Pillowman,” Redtwist
“Frat,” The New Colony
“Red Noses,” Strawdog
—Nina Metz Read the rest of this entry »

The Addams Family at The Oriental/Photo: Samuel Adams

By Brian Hieggelke

As the wind blows the snow sideways this December evening, the weatherman is telling Chicagoans to stay bunkered; the deserted downtown streets reflect their obedience. All save the sidewalk near the intersection of State and Randolph, as TV crews jockey for faces on the red carpet in front of the Ford Center for the Performing Arts Oriental Theatre, where more than 2,000 patrons, including a who’s who of backstage Broadway, are gathering for the world premiere of a new musical featuring a AAA list of talent, onstage and off. “The Addams Family,” with multiple Tony winners Nathan Lane and Bebe Neuwirth in its leads, a book from the librettists of “Jersey Boys” and so on, is certainly Broadway bound, but tonight—tonight—Chicago is the center of theater in the world.

That’s the story of Chicago theater in the zeroes: the decade in which it grew up and got big. Whether it’s the launch and monumental success of Broadway In Chicago, the maturation and astonishing quality of a remarkable number of small and mid-sized companies or the increasing demand for Chicago product and Chicago talent on Broadway, Chicago theater has fully come into its own. Read the rest of this entry »

Peter DeFaria and Randy Steinmeyer in "A Steady Rain" at Chicago Dramatists

Annoyance Theatre
Coed Prison Sluts: $64,000, 5,380 people

The Artistic Home
Peer Gynt: $19,044 box office, 1,200 people

Chicago Dramatists
A Steady Rain: $21,000 box office,1,500 people at CD, 10,000 at Royal George Theatre
Cadillac: $23,000 box office,1,600 people at CD, 1,500 at Theatre on the Lake

Collaboraction
The Intelligent Design of Jenny Chow, $150,000 box office, 6,500 people Read the rest of this entry »

The 2006/07 season brought the grand opening of the new Victory Gardens Biograph Theater, following more than $11 million in renovations

Annoyance Theatre (founded 1987)
“We don’t really have a regular operating budget—just plan as we go along.”
—Jennifer Estlin, President, Annoyance Theatre

The Artistic Home (founded 1998)
End of nineties: $62,000
End of zeroes: $164,500

Bailiwick Chicago (founded 2009)
End of nineties: N/A (Bailiwick Repertory is now defunct)
End of zeroes: $120,000 projected 2010

Chicago Dramatists (founded 1979)
End of nineties: $171,000
End of zeroes: $550,000

Collaboraction (founded 1996)
End of nineties: $50,000
End of zeroes: $500,000

Court Theatre (founded 1955)
End of nineties: $2.6 million
End of zeroes: $3.2 million Read the rest of this entry »

Pizza? Theater Oobleck's "Strauss at Midnight"

As part of this story, we sent a few questions to leaders of the theater community in Chicago and received about forty written responses. Here are excerpts from some of their answers. The full text will also soon be published online.

Any observations or thoughts about Chicago theater in the last decade?

“When one theater has a hit show, its not just a hit for that show, it’s a hit for Chicago.”
—Deb Clapp, Executive Director, League of Chicago Theatres

“I love the shake-ups that are happening as a result of management changes, economic pressures, and influx of new artists. It’s exciting to see the landscape shifting so dramatically, the new work that is being created as a result, and the new artists and management teams that are getting a chance at bat.”
— Kevin Mayes, Executive Director, Bailiwick Chicago

“The first SKETCHBOOK was produced in January 2000 and has gone on to create 135 world premiere short plays with over 1000 different artists for over 30,000 audience members and launching numerous careers.”
— Anthony Moseley, Executive and Artistic Director, Collaboraction Read the rest of this entry »

2000

Milestones

500 Clown, Steep Theatre, the side project and Teatro Luna are founded

Broadway In Chicago launches as a joint venture between Live Nation and the Nederlander Organization

Goodman departs its original home in the Art Institute of Chicago and moves into $51 million new digs in the North Loop

Chicago Shakespeare moves into a $24 million theater on Navy Pier

Collaboraction produces its first Sketchbook

The City of Chicago’s Department of Cultural Affairs opens The Storefront Theater

Passings

Michael Maggio, Goodman Theatre Associate Artistic Director and Dean of The Theatre School at DePaul University Read the rest of this entry »