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Chicago's Goodman Theatres the Transition from a Division of the Art Institute of Chicago to an Independent Regional Theatre

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Chicago's Goodman Theatres the Transition from a Division of the Art Institute of Chicago to an Independent Regional Theatre INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. If copyrighted materials were deleted you will find a target note listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in "sectioning” the material. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy. Requests can be made to our Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases we have filmed the best available copy. UniversiW Micrcxilms International 300 N. ZEEB RD,, ANN ARBOR. Ml 48106 1317367 MEDGYESY, LAURA LOUISE CHICAGO'S GOODMAN THEATRES THE TRANSITION FROM A DIVISION OF THE ART INSTITUTE OF CHICAGO TO AN INDEPENDENT REGIONAL THEATRE THE AMERICAN UNIVERSITY, M.A., 1981 University Microfilms International 300 N. ZEEB RD.. ANN ARBOR, Ml 48106 PLEASE NOTE: In all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a check mark■ £ _ 1. Glossy photographs or pages. 2. Colored illustrations, paper or print _ 3. Photographs with dark background 4. Illustrations are poor copy ______ 5. Pages with black marks, not original copy. 6. Print shows through as there is text on both sides of page. 7. Indistinct, broken or small print on several pages. 8. Print exceeds margin requirements______ 9. Tightly bound copy with print lost in spine ______ 10. Computer printout pages with indistinct print. 11. Page(s) ____________lacking when material received, and not available from school or author. 12. Pagefs) ____________seem to be missing in numbering only as text follows. 13. Two pages numtaered_____________. Text follows. 14. Curling and wrinkled pages ______ 15. Other__________________________________________________________________________ University Microfilms International CHICAGO'S GOODMAN THEATRE; THE TRANSITION FROM A DIVISION OF THE ART INSTITUTE OF CHICAGO TO AN INDEPENDENT REGIONAL THEATRE by Laura Louise Medgyesy submitted to the Faculty of the College of Arts and Sciences of The American University in Partial Fulfillment of the Requirements for the Degree of Master of Arts i n Performing Arts Signatures of Committee: Member [ember Dean of the College fat 1981 The American University Washington, D.C. 20016 tHE IM ^IC A N U N IlC îlS ifï £IBHABY CHICAGO'S GOODMAN 'CHEATRE: THE 1EANBITI0N FROM A DIVISION OF THE ART INSTITUTE OF CHICAGO TO AN INDEPENDENT REGIONAL THEATRE ty Laura Louise Medgyesy ABSTRACT This thesis will consider the issue of new directions for the Goodman Theatre of Chicago, The history of the metamorphoses, from 1925 through today, will be examined from a management standpoint. This work will focus on the transition to independence, tracing the series of events and people involved in the separation from the Art Institute of Chicago in 1977# The ramifications of these actions for the present producing organization, the Chicago Theatre Group, and for the community will also be investigated. Source material was gathered from personal interviews, legal and financial documents, scholarly works, and management files. This thesis presents a contrasting example in the history of regional theatres, as well as a chronicle of organizational evolution. The research indicates that the changes during the 1970s have generated the revitalization of the Goodman, enabling it to become a significant theatrical institution for Chicago and for the nation. ACKNOWLEDGMENTS I would like to acknowledge my indebtedness to the many people who encouraged me in my studies and in the development of this work. Special thanks are accorded to my advisor, Valerie Morris, who nudged me toward completion of the Arts Management program. I am especially grateful to the people of the Goodman Theatre, who became invaluable resources with their openness, involvement and patience. My gratitude extends particularly to Stanley Ereehling, whose vision provided the topic for this work. I would like to thank my typist, Islay Laing, for her assistance. Finally, I am forever indebted to my family, whose guidance, good humor, support, and belief in my abilities have sustained me throughout this endeavor. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS............................................. 11 Chapter I. A LOOK AT THEATRE TODAY: THE GOODMAN THEATRE AND REGIONAL THEATRES..................................... 1 An Overview of the Goodman Theatre................... 1 An Introduction to Regional Theatre.................. 10 II. METAMORPHOSES: A HISTORY OF THE GOODMAN THEATRE.......... 15 Beginnings: 1925-31................................. 15 A Closed Enclave: 1932-57............. .. ........... 22 Reich's Reign: 1957-72.............................. 25 Changes: 1972-81.................................... 33 III. THE IDEA OF CHANGE.................................... 52 Origins and Supporters: 1966-76...................... 54 Discussions...... 69 Matters for an Agreement............................ 71 Other Considerations................................ 75 IV. A NEW BEGINNING: 1977-81............................... 78 The Structure of the Chicago Theatre Group............ 78 The Finances of the Chicago Theatre Group............. 86 Relationships of the Goodman "Clan".................. 93 Community Relations................................. 96 V. CONJECTURES AND REMARKS: TODAY AND TOMORROW FOR THE GOODMAN THEATRE....................................... 103 A New Agreement..................................... 103 Potential Changes................................... 105 Growing Pains....................................... 108 Conclusions......................................... 113 APPENDIX 1. PRODUCTIONS AT THE GOODMAN THEATRE.............. 117 Narrative: 1972-73 through 1980-81 Seasons 117 Table of Flays and Artists: 1971-72 through 1980-81 Seasons............................ 131 iix APPENDIX 2. ANNUAL REPORTS OF THE GOODMAN THEATRE/ CHICAGO THEATRE GROUP, INC...................... 137 1977-7 8.......... 137 1978-7 9...................................... 144 1979-8 0...................................... 151 APPENDIX 3. FINANCIAL STATEMENTS OF THE CHICAGO THEATRE GROUP.. 158 30 June 1979 and 1978......................... 158 30 June 1980 and 1979......................... 167 APPENDIX 4. LETTERS AND REPORTS REGARDING "THE IDEAOF CHANGE". 177 Percy B. Eckhart Letter, 21 October 1958....... 177 Oliver Rea Report, 20 June 1966................ 179 John Reich Letter, 16 January 1970............. 182 APPENDIX 5. CHICAGO THEATRE GROUP STAFF MEETING, 13DECEMBER 1980— DISCUSSION QUESTIONS...................... 186 SOURCES CONSULTED............................................ 189 IV CHAPTER I A LOOK AT THEATRE TODAY: THE GOODMAN THEATRE AND REGIONAL THEATRES The Goodman Theatre, now in its fifty-sixth season, is the oldest producing theatre in Chicago and the second oldest continuing resident theatre in the nation. Since its founding in 1925 the character of the Goodman has often been recast, thus in its history many facets of American theatre can be discerned. It was part of the "Little Theatre" movement with a permanent acting company at first, then a school of drama with a professional slant, next host to professionals as guests in student productions, and most recently, a "regional" theatre. These changing labels apply only to levels of productions at the Goodman; however, for in its long existence there has been only one significant shift in governance. In 1977 the Goodman Theatre changed from museum division to independent producing organization, from part of the Art Institute of Chicago [AIC] to outlet of the Chicago Theatre Group [CTG]. This was a new beginning for an old theatre— innovation and tradition intermingling— effecting a transition in thought and action for the people of the Goodman Theatre. The Goodman today is a vital theatre, making the most of its dynamic youth and its rich heritage. Its existence is validated through its activities, ranging from the MainStage season to workshops for young people to staged readings of
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