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

I awoke the other morning to the sounds of NPR and an interview with Chicago’s own Sones de Mexico Ensemble. I was thrilled to think that this group is on the cusp of greater recognition as evidenced by their nomination for a Latin Grammy!

What do Mexican Folk artists Sones de Mexico Ensemble have in common with, oh let’s see…how about The PocketBook Monologues straight talk about women’s sexual health? Both reflect the deep pool of talent in Chicago and both will be on the Steppenwolf stage in 2008 as acts in our Traffic arts series.

For years, the Steppenwolf’s Traffic has been known for a certain aesthetic. Traffic is a place where some people learn about new acts, and others say “thank goodness my favorite performer is finally getting their due.” I wanted to be true to that sensibility with performers like Maggie Brown, while adding a new layer of multicultural and multigenerational meaning to these shows. This means that we’ll see jazz veterans and young taiko drummers onstage with Tatsu Aoiki and his Miyumi Project. This also means the same stage that will host David Sedaris, can make room for Chicago sketch comedy from Schadenfreude and KevINda, and hip-hop theater from the young people of the Kuumba Lynx Ensemble. I hope that all of these acts reflect the rich tapestry that makes up the fabric of life in Chicago and that our planning ahead will let you plan to join us for a show or two in 2008.

Crazy talk? Maybe. Our efforts can be a grand success or, let’s say a “learning opportunity.” Everyone tells me I have the best job in the world and I agree, but living up to the Steppenwolf rep is also daunting. Whatever happens, it’s the kind of risk taking that is a hallmark of Steppenwolf and part of the birthright of Chicago! Let me know what you think as the season unfolds.

So, we opened Wedding Play last night.

After 3 years of writing and workshops…

…and 5 weeks of rehearsal…

…and 2 LONG weeks of tech and previews…

And then. One night only. A world premiere happens.

Wow.

Opening nights are always weird, because no matter how good the play is or isn’t, it always feels like a huge hit. I mean, everyone and your mother is there, literally, and you get a couple of free glasses of wine in you, and everybody tells you how wonderful you are, and how much they loved the play. On a side note - if you are into hugging, you should get into the theatre, because there is a RIDICULOUS amount of hugging, and on opening night, it is off the charts! (more…)

They’re here.

Steppenwolf concludes the national phenomenon 365 Plays/365 Days this week with seven digital plays. Though over 700 companies have participated in the festival, only a handful has produced artistic output that exists solely in the digital world.

About nine months ago, when Steppenwolf charged me with finding six other artists to create digital plays from Suzan-Lori Parks‘ scripts, I sought a collective from wide variety of disciplines. I already had two ringers: actor, improviser, and Steppenwolf web guru Dave Urlakis and aesthetic maven Jay Geneske were ready to jump on board. I then enlisted Steppenwolf Associate Artist Jessica Thebus, who in turn solicited the help of video designer Stephan Mazurek and Steppenwolf lighting designer JR Lederle. Finally, I recruited photographer Saverio Truglia, digital artist Galina Shevchekno, and actor and filmmaker Sam Porretta. When you watch our seven pieces, you will see the work of more than 25 artists.

These plays will probably be unlike any other theater pieces you’ve seen. But presenting these works in this digital format begs the question: are they actually plays? (more…)