Steppenwolf Theatre Company Blog – Chicago Theater, World-Class Ensemble

As summer seems to fly by, we approach the closing weekend of the three First Look Repertory plays, Spare Change, 100 Saints You Should Know, and The Butcher of Baraboo. The ancillary events offered to the First Look 101 participants have included table readings of the three plays, first rehearsals including designer presentations, working rehearsals, and technical rehearsals. All of these events provided insight into what it takes for a play to reach production and performance.

Throughout this process, along with Director of New Play Development, Ed Sobel, and First Look Assistant, Meghan McCarthy, I have a had the great pleasure of leading discussions with our First Look 101 participants. These discussions at times have included designers, directors, and actors. They have been engaging, smart, and provocative. And now, so quickly it seems, we approach the closing weekend. (more…)

I’m thinking a lot about actors at the moment. Two reasons: yesterday, I attended and participated in something called the Actors’ Congress; and today, I watched two groups of scenes by actors in the School at Steppenwolf.

The Actors’ Congress was a day-long seminar organized by Michael Miller, the director of the Actors’ Center in New York and Chicago actors Carmen Roman and Kate Buddeke of the American Theatre Company. The day consisted of a series of panels featuring: Chicago drama critics; long-time Chicago actors; early-career Chicago actors; and artistic directors of Chicago theaters who are also actors. The audience was comprised of Chicago actors and much discussion was encouraged of topics important to actors in the conduct of their careers. (more…)

I wonder if any of you who have seen The Unmentionables noticed the “Questions For” feature in the New York Times Magazine of July 23, 2006. The “Questions For” is a weekly feature of the Magazine. In it, Deborah Solomon, a writer for the Times, interviews a public figure. Her subjects include politicians, artists, academics, media and sports figures – interesting people doing interesting things. One of the virtues of the “Questions For” format is its brevity: the interview occupies one page and the back-and-forth between Solomon and her subject is vigorous. She cuts to the chase.

In the July 23rd issue, Solomon interviews John Wood, a former Microsoft executive, who has parlayed his Microsoft earnings into a philanthropic foundation called Room to Read. Room to Read defines its mission as “to educate the world’s children.” As Wood states, “We’re trying to open libraries and schools, mostly for kids K to 5, in the developing world at a pace that emulates Starbucks‘.” (more…)

We practitioners in the theater often bear an uneasy relationship with one of the other members of our community: the arts media – a.k.a. critics. Our First Look Rep presents particular challenges. On the one hand, we certainly want the city of Chicago, and the theater community nationally, to be aware of the work we are doing. That is part of the point of the program – to bring these plays and writers to general attention and foster productions of their work. On the other hand, First Look Rep is a process, rather than product, oriented program. The plays are presented in an advanced stage of development, but not necessarily in their final version. On the other hand, (at Steppenwolf we always juggle with three hands - it is a job requirement) we are presenting the work publicly and charging admission. Critics may feel a responsibility to “review” them.

This conundrum led me to some provocative questions, which I will share in a later posting, but for the moment, I’d like to ask your opinion. To what extent, if any, do critics matter to you? Do they help you interpret a work you see? Do you go to see a play based upon what critics say? If so, do you follow or trust one particular critic, or is it more when opinion reaches, if you will forgive the pun, critical mass? Are there factors that are more important, both in your transactional decision (buying a ticket) and artistic one (your opinion or interpretation of the work)?

I’d be grateful for any thoughts you care to share.