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

Whenever Steppenwolf jumps onto the national radar as it has, most recently, with the success of August: Osage County, journalists from the national press ask to speak to various of us at Steppenwolf about the company and its history. Inevitably, arises the question, “what is the ‘Steppenwolf style’?” They trying to get a handle on what it is that characterizes a Steppenwolf production and what produces it. Is it a characteristic acting style? Is there a method to the madness? How are ensemble members chosen? What does being an ensemble member entail?

I find myself rehearsing the history of the company, the personalities that created it, the early productions that went on to national prominence and cemented an image of Steppenwolf as a fearless, virtuostic ensemble acting.

The other day, Ed Sobel, our Director of New Play Development, Tracy Letts and I were talking to a journalist from Playbill. He was asking all of the questions about the company and its style that we have come to expect and that are almost impossible to answer in any formulaic way (because there is no formula, there was no syllabus). Tracy, Ed and I talked about Steppenwolf’s history but immediately found ourselves talking about the whole of the Chicago theater scene–the storefront theaters that harbored the companies and actors so germane to the “Chicago style.” We talked about ensemble, we talked about intimate theaters, we talked about actors and directors working for each others’ approval (instead of for the approval of some great, career-determining outside eye).

Thinking about it this morning, I realized that as true as all of those forces are in the shaping of a Chicago theater aesthetic, there is another great force at work: our audiences. Chicago audiences are a game lot. They follow us into big theaters (and we are blessed with some wonderful ones–the Goodman, Chicago Shakespeare, Lookingglass, Victory Gardens, Northlight) and they follow us into our storefronts and converted spaces. To the Historic Chicago Temple to see Silk Road, to the Greenhouse to see Remy Bumppo, to the church on Wellington to see Timeline, to the Center on Halsted to see About Face, to the Chicago Center for the Performing Arts to see Congo Square, to the Theater Building to see a host of companies, up to Lincoln Avenue to see the American Theatre Company, over to Wells Street to see A Red Orchid, to Belmont Avenue to see Bailiwick, to Truman College to see Pegasus, to Beacon Street to see the Black Ensemble, to the moving targets of the Chicago Children’s Theatre, the House Theatre, Shattered Globe, Dog and Pony. And on. And on. Chicago audiences are intrepid, willing, discerning, various, and, finally, supportive. They seem to know that they’re in a good theater town. They like to discover artists and plays and they like to make up their own minds. It’s a refreshing, unpretentious approach to theater, and this clear-eyed and open-minded attitude is a huge component in whatever it is that characterizes the “Chicago style” of theater. We’re lucky to have have such responsive conversation partners.

Finally, a big shout-out to our friends at Chicago Shakespeare Theatre, winners of the 2008 Tony Award for Best Regional Theatre. Chicago Shakes and its leadership team, Barbara Gaines and Criss Henderson, are a GIFT to this town. Go visit their beautiful theater on Navy Pier. See their mainstage work, see their work for children, see the international companies they bring to Chicago. Have a blast. And feel proud that Chicago Shakespeare is the fourth Chicago theater to be recognized with a Tony as one of the best theaters in America.

This entry was posted by Martha Lavey on Monday, May 19th, 2008 at 12:06 pm and is filed under General, August: Osage County. You can follow any responses to this entry through the RSS 2.0 feed. You can skip to the end and leave a response. Pinging is currently not allowed.