ORIGINALLY PUBLISHED IN CENTRAL STANDARD TIME
“Ensemble” by Mark Larson presents ‘An Oral History of Chicago Theater’. I opened the almost 700-page book one evening in December thinking this will take all month to read, and I completed it in four days. It is that compelling.
It didn’t hurt that within the first paragraph one of my theater mentors, Bob Sickinger, was quoted, and that many other collaborators, colleagues and friends of mine are profiled throughout the book. What a hoot to go back in time and hear their stories at a time when I was a very young observer, and minor participant in the burgeoning theater scene in Chicago. I knew I was lucky to even be in the room with these immensely talented people. You could feel the energy that was charged with visions crazy and brilliant.
The book begins in the early 50’s. A time when now famous cultural icons were haphazardly finding each other through the University of Chicago. Together, they created small, scrappy productions that featured the likes of Ed Asner, Elaine May, Mike Nichols and many more creative giants. The real gem was Paul Sills. Still not a household name outside of Chicago, in 1959 he, along with Bernie Sahlins, and Howard Alk created The Second City which defined improvisational theater and nurtured the talents that’s like a Who’s Who of comedy-John Belushi, Alan Arkin, Bill Murray and the list goes on and on.
But there’s more to “Ensemble” that keeps impressing, such as the voluminous grassroots creativity and originality transforming chaos into theater art in Chicago. In the 60’s-70’s, this includes how the musical Grease bumbled onto the stage, how giants like Steppenwolf and Chicago Shakespeare Theatre grew from church basements and bar rooftops to massive, established powerhouses and how local geniuses like Stuart Gordon and Byrne Piven were cementing the grit and realism that defines the style of Chicago acting. It’s riveting to read “Ensemble” and experience how raw energy, naivety and pure guts combined to make Chicago the most important theater city in the country; with more than 250+ theaters producing groundbreaking plays and new musicals today.
I was interested in theater since the age of 12 and found acting classes at Hull House Theater on Broadway Avenue where Bob Sickinger directed and controlled the artistic direction. I can only say that the atmosphere was electric. I would catch glimpses of him in the hallway and study how he operated and guided people so fluidly. One day he came into our class looking for a replacement for his production of Sophocles “Electra”. After conferring with the teacher, Kathy Kreidler, he pointed to me and I bounded up and followed him into the theater. The Greek play had a Chorus of Mourners onstage. They emoted and vocalized in reaction to the story. I had never even seen the play, but he said, “just do what the others do.” And I was summarily outfitted with a long, black robe and went on that night. It was terrifying, but I just did what the others did. He came backstage after the show and exclaimed “we have a new chorus member, our baby mourner!”
As the book explains, Bob was a genius at recognizing potential and pulling people into his theater. I knew I had a lot to learn, and wanted access to him and his great command of the stage. I became his coffee fetcher, script girl, and helped with whatever he needed. I worked in the chorus of many of his musicals…Flora the Red Menace, The Desert Song and was going to be a part of the Three Penny Opera when it all came crashing down.
Years later, I wanted to work with Stuart Gordon of The Organic Theatre, a visionary and mad man by reputation earned. One of his projects was an episodic theater experience called, “Warp”. This was a show with untamed zealousness-there were outrageous, near naked actors engaging in high stakes combat onstage in this comic book action play. Everyone was fearless, and flinging themselves into harm’s way for art. As William Leonard of the Chicago Tribune critiqued, “(Warp) is a wildly imaginative, colorful and violent melodrama…”
I set up an audition for a new show he was producing. Because he pushed boundaries, I knew I should demonstrate my own ability to be fearless. I went to the audition in a nude tone bodysuit with sequins and sang an aria from “La Boheme.” I was hired on the spot. But when the script was sent to me, I declined. It was a play called “Foruncopia” and the sexuality wasn’t edgy to me, it was gross.
You don’t have to be in the theater to appreciate “Ensemble”. You will recognize the names of some of the trailblazers-Gary Sinise, William H. Macy, David Schwimmer and Michael Shannon (it’s fun to learn that his theater company, A Red Orchid, is only in existence because its other founder, Guy van Sweringen, was a Chicago firefighter and couldn’t make any rehearsal schedules elsewhere, so they started their own theater company.)
There’s so much to learn about the freeform, non-linear constructs that allowed outrageous theater to be created, and come to define Chicago Theater. I have no moral comment on it because it was what was happening at the time. But did rebellion and unchaperoned behavior lead to problems? Certainly. You only have to Google “Profiles Theater Company” to learn the hurtful lessons that hopefully end there.
Every young theater artist should read this book to understand the history you’re furthering in your work, and why it’s so important to honor creative expression and push boundaries. It’s Chicago’s theater legacy, and yours.
One of my frustrations with theater is that it’s rarely recorded. It’s a shame we can’t go back and see The Compass Players, original Grease, or the Warp episodes. But theater is truly in the present moment. Eternally. Reading “Ensemble” is as close as you can get to being there when the greatest events in Chicago Theater happened.
As W.A. Mathieu* says in the book, “it’s funny, often when you’re making history, you don’t know you’re making history.”
Thank you, Mark Larson, for “Ensemble.” It’s also making theater history.
Order your copy at: https://www.ensemblechicago.com
*the original musical director of Second City.
AUTHOR - RAINEE DENHAM