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

We opened Sonia Flew, a new play by Melinda Lopez, last Sunday. I’ve had the pleasure of leading several of the post-show conversations through the preview process and look forward to conducting more of them throughout the run. David New, our Associate Artistic Director, who leads the majority of the post-show conversations, and I have discussed the responses of our audiences to the play. I can’t tell you what a privilege it is to have these conversations about the work with you. The intelligence, the candor, the emotional vigor of the conversations is so confirming–it re-alerts all of us at the theater to the privilege AND the responsibility we have at Steppenwolf to produce work that is thought-provoking and relevant. When we are able to experience, on a nightly basis, a group of people wrestling with a play in very personal terms, it encourages us to continue to seek work that is worthy of that engagement. (more…)

With the rare appearance by legendary New Orleans singer/songwriter/composer/producer Allen Toussaint at Steppenwolf’s Traffic this Monday, we complete a goal I set out for the Traffic series early last year after Hurricane Katrina. Watching on television the devastation of New Orleans and the surrounding Gulf Coast, I set a goal to bring the most influential New Orleans musicians I could get to come to Steppenwolf and have them perform and tell their stories of their beloved city. Last December, the great Dr. John shared the Steppenwolf stage with the incredible Marcia Ball for two nights during our Traffic Jam. Dr. John spoke from the stage about what he had experienced and how the city would be forever altered. Marcia told stories of survival and heartbreak and hope for the victims of the hurricane and its aftermath.

Privately, they both suggested that if I really wanted to bring in the soul of New Orleans that Allen Toussaint would be the man. (more…)

Playwrights occasionally ask us how many characters their play should have – i.e., at what point does a theatre say, “We can’t afford that many actors”? While there are always certain economic constraints when producing a play, we generally feel this isn’t the best way of approaching one’s work. If a script ignites our passions, the number of characters isn’t necessarily a deterrent.

One way in which playwrights try to lessen the cast size is to “double” roles – that is, have an actor play more than one character. In the best cases, these decisions are not solely economic (”oh, hey, the woman playing the police chief can also play the surgeon, since they’re never on stage at the same time”), but also inform and are informed by the tone, style and major themes of the play. (more…)

This weekend marks the closing of Elliot, a Soldier’s Fugue and the opening of Sonia Flew. Elliot is being presented in the Garage Theatre through Steppenwolf’s Visiting Company Initiative and the production is a partnership between Rivendell Theatre Ensemble and Teatro Vista. The show features three Teatro Vista ensemble members, Artistic Director Eddie Torres and ensemble members Juan Villa and Gustavo Mellado. Across the parking lot in our Downstairs Theatre two more Teatro Vista ensemble members, Sandra Marquez and Sandra Delgado, are appearing in Steppenwolf’s production of Sonia Flew.

These are enriching and enlivening creative relationships with members of another ensemble based company. We wish all involved with Elliot a good closing and say break a leg to all of the Sonia Flew actors.