Friday, April 30, 2010
But this was merely the first act. I was fortunate enough to attend on one of the two nights which also featured a round-table discussion with members of the Chicago theatre community, including Roche Schulfer, executive director of the Goodman; Amy Morton from Steppenwolf; Michael Halberstam, artistic director of Writers’ Theater; and Ann Joseph, Artistic Director of Congo Square. This hour-long back-and-forth exchange between the panelists and eventually the audience became at times passionate and heated, but it was never dull. In all, the evening was an almost three-and-a-half hour celebration of and exchange of ideas about art. In short, it was what I'm looking for every time I go to the theatre.
I bring up this Mike Daisey experience for two reasons. The first concerns community and art spaces. There was much debate over Daisey's claim that the decline of much regional theatre in this country is due to the exultation of decadent theatrical spaces rather than of the art form itself. The panelists pushed back against this idea, citing Chicago as being different because Chicago theatre is very community-centered. Now, as the new Media Director for BoHo Theatre, I am very excited about our upcoming residency in the new Theatre Wit space (formerly the old Baliwick space). This new venue will include three working theatres as well as a coffee and wine bar. I find these kinds of arts spaces very exciting and the antithesis of the problem Daisey is talking about. I find having several theatre companies working side-by-side under one roof to be an inspiring experience and a fantastic opportunity for cross-germination among different types of audiences. These are the spaces where you can be exposed to something you might never have sought out. I have worked at the Greenhouse Theater Center and the Center on Halsted (which is especially cool for having the Whole Foods ajacent and the community area on the ground floor). With this in mind, I can see nothing but good things and opportunity on the horizon for BoHo in the coming season.
My second point coming away from the show last night was one of funding, and this is where I'd like to hear anyone else's ideas. Most of the panelists and audience at How Theatre Failed America lamented the paltry wages that actors in general receive (if they are paid at all). Full-time actors who work exclusively in acting and artistic pusuits are refered to as "the lucky few," and even the most talented and successful artists still live a life of day-jobs, temping, and cobbling together a mosaic of different odd jobs.
At the same time, there was grumbling over ticket prices to the theatre. Roch Schulfer admitted that no non-profit theatre can survive competely on ticket sales, which for the big theatres can run $30-60 per performance easy. Other cultural institutions, such as museums, are not expected to do so, he pointed out. One audience member later commented that even though we may seek to inspire children to love the theatre and thereby cultivate a renewable patron base, it won't matter if they can't afford to attend! So the question becomes: if artists deserve fair pay and stability for their hard work, and a theatre cannot sustain itself on its tickets sales alone, no matter how popular they are, then where does the money come from? Must American non-profit theatre always be on the look-out for wealthy donors and benefactors, always applying for endless grants, and always cutting corners? Is it a fact of life that there will just never be enough money to go around when it comes to the arts, especially in Chicago, which is packed with more theatre per square inch than another other American city?
These are my thoughts. Do you have answers, or questions of your own? Have you seen Mike Daisey's show and want to comment on it? (And if you haven't, why not? All self-respecting theatre artists owe it to themselves to do so.) Drop us a comments below and let us know what's on your mind!
BoHo Theatre Media Director
Thursday, April 8, 2010
"A spicy revival ... Directors Michael Ryczek and Stephen Rader team with excellent music director Nick Sula and clever set designer Stephen M. Genovese for this adults-only show."
-Hedy Weiss, Chicago Sun-Times - RECOMMENDED
"Ryczek and Rader use Stephen M. Genovese’s clever backdrop as a kind of parabolic dish, focusing their performers’ intensity both musically (under the fine direction and accompaniment of Nick Sula) and emotionally... The talented, mostly very young cast finds plenty of humor in the material but also aptly conveys the aching behind connections that are missed in every sense but the physical."
- Kris Vire , Time Out Chicago- 4 STARS
"Will make you blush while you are laughing your head off."
-Alan Bresloff, Steadstyle Chicago
Boho’s “Hello Again” revives my love of the [musical theatre] genre. Michael John LaChiusa’s song cycle about love and sex across the ages has a heartfelt sweetness that doesn’t leave a bad aftertaste... The sex is steamy, the passion palpable."
-Lisa Buscani, Newcity Stage - RECOMMENDED
Directors Michael Ryczek and Stephen Rader utilize the intimate space exquisitely ... a series of erotic encounters that run the gamut of the sexual spectrum while retaining emotional intensity ... The dedication of the actors to the material translates to raw excitement on the stage, and when the company says goodbye, get ready to reach for the nightstand because you’re gonna want a cigarette."
-Oliver Sava, Chicago Theater Blog - 3½ (out of 4) STARS