INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are m typewriter frc^ while others may be from any type o f computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adverse^ afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e g., nuq>s, drawings, charts) are reproduced by sectioning the original, b%inning at the upper left-hand comer and continuing from left to right in equal sections with small overiaps. Each original is also photographed in one exposure and is included in reduced form at the back o f the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Hgher quality 6” x 9” black and white photographic prints are available for any photogr^hs or illustrations appearing in this copy fr)r an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road, Ann Aibor MI 48106-1346 USA 313/761-4700 800/521-0600 A HISTORY OF THE CHICAGO OFF-LOOP THEATRE EXPLOSION: 1969 to 1989 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Stephen C. Gray, M.A. The Ohio State University 1997 Dissertation Committee: Approved by Professor Alan Woods. Adviser Professor Rex McGraw __________ A dviser Professor Joy Reilly Theatre Department UM I Number: 9801698 Copyright 1998 by Gray, Stephen C. All rights reserved. UMI Microform 9801698 Copyright 1997, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 ABSTRACT This study is an historical overview of the explosion of Chicago’s Off-Loop theatre scene from 1969 to 1989. During these two decades, resident theatre grew in Chicago at an amazing pace. Blazingly talented ensembles of actors and directors renovated storefronts, warehouses, lofts, and basements and created over 100 small theatres where none had been before. This vibrant, mutually supportive theatre community is as rich and varied as any in the United States. Prior to this, Chicago was often described as a ‘theatrical wasteland.” How and why did this explosion of theatre happen in Chicago? The roots of indigenous Chicago theatre can be traced back to the early theatre activities of the Jane Addams Hull House, the Compass Players, and Robert Sickinger’s neighborhood theatres. The sense of community and the spirit of ensemble that developed from these theatre traditions combined with factors in the city of Chicago and its nascent theatre community to make a concentrated creative environment for the proliferation of new theatre com panies. 11 Eight theatres have been chosen to represent the development of Chicago’s Off-Loop movement: the Body Politic, Organic, St. Nicholas, Goodman, Wisdom Bridge, Victory Gardens, Steppenwolf, and Remains theatres. A close look at the histories of these theatres prompts further questions. How did they develop from "gypsy" troupes to storefront theatres to permanent artistic institutions? How did each theatre's identity and artistic mission change as it grew? How did the theatre community and the city of Chicago contribute to the growth of these theatres? How did the sense of community and the spirit of ensemble help define the Off-Loop theatre movement? Is there a "Chicago style” of theatre? What were the stages of institutionalization that Off-Loop theatres went through? Did this maturation and survival process damage their artistic vitality? And, finally, what is the future of this unique theatre community? 111 ACKNOWLEDGEMENTS I would like to thank all the members of the Chicago theatre community who opened up their theatre's archives and pointed me in the direction of the photocopier. Many thanks to all the actors, directors, and theatre staffers who were willing to speak to me about their Chicago theatre experiences. Special thanks to the staff of the Chicago Theater Collection in the Special Collections Division at Chicago’s Harold Washington Library; Lauren Bufferd, Andrea Telli, Constance J. Gordon, Morag Walsh, Beverly Cook, and Elizabeth Holland. This is one of the few special collections in the country devoted to the preservation of American regional theatre history and is a tremendous source of information on Chicago theatre. I would like to express my appreciation to John Ransford Watts, Dean of the Theatre School at DePaul University for providing office space and support during the writing process. I am extremely grateful for the insight and patience of my dissertation advisor. Professor Alan Woods, and the support of all the members of my committee. IV I would like to thank my parents, J. Justin and Patricia Gray, for giving me the love, self-discipline and joy in learning that enabled me to complete this project. Most importantly, I want to thank my wonderful wife, Susan, and our two astonishing children, Killian and Caitlyn, who have taught me how important it is to have a family. VITA October 3,1951 ....................................Born - Missoula, Montana 1973 ...................................................... A.B. Theatre, University of California, Santa Cruz 1979 ...................................................... Certificate, Advanced Actor Training Program, American Conservatory Theatre 1989 ...................................................... M.A. Drama, San Diego State U niversity 1996-present ..................................... Adjunct professor. University of Illinois, Chicago 1993-present ....................................... Adjunct professor, DePaul University, Chicago VI PUBLICATIONS 1. Stephen Gray and Francis Gillen. *The Hothouse: A Dialogue between Director and Critic.” The Pinter Review: Annual Essays. Tampa: U of Tampa, 1992. FIELDS OF STUDY Major Field: Theatre History v t i TABLE OF CONTENTS Abstract .................................................................................................................ü Acknowledgments ............................................................................................... iv V ita ................................................................................................................... vi C hapters 1. Introduction ........................................................................................... 1 2. Community and Ensemble R oots ....................................................... 60 3. Body Politic Theatre ...............................................................................116 4. Organic Theater ...................................................................................... 144 5. St. Nicholas Theater .............................................................................. 186 6. Goodman Theater .................................................................................. 209 7. Wisdom Bridge Theatre ..........................................................................238 8. Victory Gardens Theatre ....................................................................... 257 9. Steppenwolf Theatre ..............................................................................274 10. Remains Theatre ....................................................................................322 11. Conclusion ..............................................................................................3 4 2 VIII Appendices A. Production History - Body Politic T h eatre ....................................... 3 5 5 B. Production History - Organic T heater................................................3 7 7 C. Production History - St. Nicholas T heater ....................................... 381 D. Production History - Goodman T heater ............................................ 3 9 7 E Production History - Wisdom Bridge T h eatre .................................4 3 2 F. Production History - Victory Gardens T h eater .............................. 4 4 5 G Production History - Steppenwolf Theatre ......................................4 6 3 H. Production History - Remains T heatre ............................................. 4 7 7 Bibliography I. Books and General Chicago Theatre ..................................................482 2. Body Politic T heatre ............................................................................. 5 0 0 3. OrganiaTheater .................................................................................... 5 0 3 4. St. Nicholas Theater ............................................................................. 508 5. Goodman Theater ................................................................................. 511 6. Wisdom Bridge Theatre ....................................................................... 5 1 6 7. Victory Gardens Theater ......................................................................5 1 9 8. Steppenwolf Theatre ............................................................................ 5 2 2 9. Remains Theatre