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

The summer I spent doing The School at Steppenwolf in 2001 was my first time in Chicago. For the first two weeks of it I was waking up early every morning with great excitement and anticipation but would have to force myself back to sleep because it wasn’t time to go yet. I hadn’t felt that for anything since I was playing little league baseball.

Soon after I would move to Chicago to work with The Gift, whose members included some of the folks who I had gone through the school with. So, it seems only fitting to be led through the Of Mice and Men experience by Michael (Thornton) because it was at The School at Steppenwolf that we first met. (more…)

Recently, during a post show discussion for Art, a young man in his mid-20’s and his grandfather took seats in the front row. The younger man held his grandfather’s arm as they came down the steps to sit closer for the discussion, whispering to him, “Watch your step” and “Just one more stair.” I was touched.

Moments later, after a few questions, grandson and grandfather were deep in heated debate: now the young man sat leaning away from the older man as the older man stared straight ahead, muttering quietly under his breath. (more…)

Poor Ivan… You got to feel for the guy. In Art, all he wants to do is just have dinner with his friends. Is that so much to ask?

I keep bouncing between two mindsets about him:

1: He wants so badly for everybody to get along and that’s a beautiful thing. Life shouldn’t be so hard. Why go creating more problems when there are so many already? Your friends are one of the few gifts in life, so treasure them.

2: Stop being such a friggin’ doormat and stick up for yourself. You are being run roughshod over by these 2 supposed friends of yours. Stand up to them. You’re the only sane one. Smack them down!

It’s a constant battle in my life, trying to find that balance: stand up for yourself but don’t be an asshole. Be easy-going and flexible but don’t be a doormat. (more…)

The first Steppenwolf show I saw was A Clockwork Orange. I was living on Howe Street a few blocks away and reading the book at the time so I though it might be cool to saunter over and check it out. I think I was 13 or 14. I will never forget it. Apart from everything that an amazing piece of theater can bring to your life, I remember that I just suddenly felt opened up. And every time I walked by the building after that I felt like I was passing some blank shifting castle. Like maybe there was some amazing expression going on in there, or maybe just some real life torture. I always wondered if Kenny Freeman had to undergo a literal ludovico technique.

I grew up going to The Second City, but this was different, obviously, but not to me then. The stage to me then meant bent wood chairs, the smell of stale kegs, cigarettes and laughter. People changed on stage but the changes seemed finite. Now it was seemed limitless. I think I saw Death and the Maiden next. Then The Song of Jacob Zulu. I’m not sure. However, every time I left, with my buddy Jake Berlin, we’d talk for a long time. I think he’s a playwright now. Steppenwolf probably had something to do with it. It did with me. (more…)

This week ensemble member Ian Barford joined the cast of Art in the role of Marc. This is the fourth and final iteration of the cast. The former changes have included actors assuming as well as changing roles. It has been fascinating to watch the play modulate with each cast change. And that is what it feels like – a modulation.

As opposed to most plays which require certain “types” to fill the roles, the only real requirement in Art is that the three men be of an age to have been friends for fifteen years. Apart from that there are no specific requirements of age, build, race, looks, or disposition. The play absorbs and is imbued by the qualities of the three actors engaged in the playing of the story. In a way, it is like the seemingly blank canvas at the center of the play. Perhaps this explains the tremendous popularity of the play – it has been translated into more than thirty languages.

I spoke to a 72 –year old woman after the post-show discussion this past Tuesday evening. It was her third time attending the production and each time she had seen a different cast formation. She said the play remained the same but was compelling each time as it revealed its multi-faceted nature in the hands of different actors.