I have always been interested in history. Richard Christiansen's book " A Theater of Our Own, A
History and a Memoir of 1,001 Nights in Chicago" gives a very intriguing view and wealth of theater history
in Chicago. From architecture to the people who birthed Chicago's theater sine "1837" as stated in
Christiansen's book. The growth of Vaudeville, plays, and Opera only adds to the texture of the
architecture that stills remains a part of the rich history in the building facades of Chicago.
Christiansen notes, towards the turn of the century, buildings such as the Garrick, borne in 1892, was
torn down in 1961. But the pleasure of knowing I still have a chance to see the preserved facades on the
front of the Second City Theater excites the very being of any historian who appreciates beautiful
architecture. As a theater patron, and a spectator of the arts I can participate in keeping an open
contribution to preserving the memory of creative minds like George M. Cohan's view of Chicago's Theater
in his "alphabet poem"on pages 23 and 24 of Christiansen's book,
" C for Chicago, big money, no yaps." I would like to read the the rest of the alphabet Cohan created for
all the cities he played. Moreover, I enjoy knowing that Cohan's vaudeville and songs like "Over There"
during the second world war still brings pride to the theater goer who can continue to enjoy new actors and
actresses create and perform their craft.
Overall, I am enthused to continue reading Christiansen's book and explore theater through his eyes.
The glorious pride of knowing that theater has been preserved through participants, and spectators alike,
lends a hand in preserving the historical fact-odes of the buildings raised. The wealth and the rich history in
Chicago Theater and the talented people who bring life to the theater I hold a deep appreciation for their
continued contributions.
By Lois Nemeth
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ReplyDeleteRichard Christiansen explores the many aspects of not only the history of Chicago Theater, but the people, the times, and much more.
ReplyDeleteThe roaring twenties and into the depression.Steps taken by the many organizations to help keep theater alive.
The Chicago Repertory Group (CRG) and Federal Theater Program (FTP) are just two programs that lasted. Through World War 2 (WWII) and beyond we still remember and learn from the experiences.
My mother speaks of the Rialto and Lincoln Theaters that once existed in Chicago Heights, which housed moving pictures. Something that cost 15 cents to see on Saturdays. But going downtown to the BIG CITY of Chicago was expensive for people who lived in the suburbs. Not everyone could afford to go to the theater. However, papers like the Tribune and Stage Magazine continued to comment on the performances still being held. The depression only left a path laid and still remembered only through the eyes of people who lived through them.
Amateurs and seasoned actors alike were being used and were still somehow able to work. Thinking twice how to spend a "dime" as in Christiansen's book. But, actors like, Nathan Davis (on page 84)traveled from the West side of Chicago and played in many theaters. From the Jewish Peoples Institute, to the University of Illinois in Champaign, and back to The Court Theater at the University in Chicago, Illinois, said, "I Had nothing To Lose."
From experience, standing on a stage is like that. Putting everything you have out there, portray a character who can take you into something appreciated. Repertoire containing works of political, contemporary, and social dramas.
In the Chicago Workers Theater(CWT,) Christiansen quotes theirs goals, "To crystallize in drama the informed but pressing problems of our times." Furthermore stating, "informed with the vitality and power of this historic movement of the masses."
So, theater goers, as well as the artists who portray the characters, continue to learn from the past give that "vitality." Moving onward, I look forward to the continuing experience of the ARTS through Christiansen's book. Now On to the "50's" See the next post coming soon to a blog near you.
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ReplyDeleteLois Nemeth February 27, 2013 at 12:30 PM
ReplyDeleteI must say the more I am diving into Christiansen's book, the better it gets.
The stories of actors like John Bulshi and Gilda Radner get my blood pumping. Considering the Second City Theater was the second theater we saw "We're All in This Room Together." A hilarious play that was not only engaging and hilarious, but thought provoking with outstanding and promising performers.
First, an experience to be in the same theaters where many great actors and actresses first learned and expanded their craft is inspiring. Then many performers moved up and on to other avenues like TV, movies, Stand Up Comedy. "Saturday Night Live" was a favorite show I tuned into every week. Then remembering how I saw "Saturday Night Live" comedian Gilda Radner in her last stand up performance in Chicago. I couldn't tell you the theater, but I felt privileged to see her as many of you may have seen her, with a last performance that was as incredible as she was.
So, Chritiansen'e book is definitely a look into the past at great theaters and performers who first got their big breaks in Chicago. Alan Alda was another performer who I didn't realize he played in Chicago. Second City was known to be "an asset" to not only theaters growing in Chicago, but the budding artists who were able to get their first start in Chicago.
But, the experience of being in the very building that started out in 1959, as Christiansen speaks of Second City, brings great pride to theater goers like me. Learning furthermore about Hull House and connecting immigrants new to America where able to express themselves in the theater. Another actress, Rita Moreno, playing a "new breed of Chicago commercial theaters: the Ivanhoe and Harper theaters and Candlelight Playhouse" I also remember Rita Moreno as the sister of Tony in "West Side Story." Inspirational!
BUT I DIGRESS>>>
Whew, I could go on and on and will share more thoughts on my next blog and how theater is "IMPROVISED. See you on the next post.
New Blog Richard Christiansen(ATOOO)
ReplyDeleteMarch 7, 2013 "The 60's"
Woah! Hold on there! The readings from the and 60's Richard Christiansen's book, "A Theater of our Own" in
chapters 10-13, is filled with many plays and performers who played at "Second City" and Hull House. The Kingston Mines, and Body Politics theaters also housed progressive theater performances that surrounded the changing times of "War and Peace." Not the book, but the tumult of politics and keeping the peace.
First, seeing Bill Murray's, photo on page 107, when he "joined The Second City" in "about 1973" thrilled me. Remembering experiencing and having the opportunity to be in the very same building makes me sound "Star Struck." But theaters like Second City known as "A Comedy School" puts a sense of realism to where the performers came from and a connection to where they went afterward. As in Bill Murray's case, he went on to television shows such as
"Saturday Night Live" like performers Gilda Radner and John Bulushi. They all moved onto movies, comedy clubs, and became very popular for their craft.
Secondly, Hull House Theater housed Samuel Beckett's "Happy Days" and which later, as we know, became a movie and television sitcom. So, as in my previous writing Hull House was a school of arts to aspiring immigrants. Chicago performers had attended, performed, grew, and went on to become well versed in their craft afterward. Workshops, writers guilds followed throughout the city and eventually became noticed on a national scale, as Chritsiansen notes. Playwright, Harold Pinter works included. "The "Caretaker" with performers, Lou Gilbert and Thomas Erhart, which are photoed on page 121 of Christiansen's book. The connection with The play performed at "Second City, 1961" brings his work into focus. Other works from Pinter, such as "The Birthday Party" my class mates and myself recently viewed at the Steppenwolf Theater in Chicago, February 14, 2013.
Overall, the point I am making is this. Chicago performers lived, worked, and learned at the theaters here in Chicago. Theaters in Chicago are quoted as "It was an Honor to Work There", per Chritsiansen. So, historically Chicago was one of the stepping stones for the performers, playwrights, and stay alive with extensive playwrights, writers guild's, performers, and "regional theaters" to continue the works we see today.
See you on the next post...........
New Post March 14, 2013 By Lois Nemeth
ReplyDeleteRichard Chritiansen "A Theater Of Our Own, Memoir and History, 1,001 Nights in Chicago Theater"
Chapter 11 is the focus in today's blog.
"It was an honor to work there."
Chicago theater was the place to work and get the experience that many actors consider Chicago, "Training Grounds." "Even if they made a mistake, and actor wasn't kicked out." Chicago performers, playwrights, producers, and directors were able to have a chance to do some pretty provocative and contemporary theate.
We have learned so far, from Vaudeville, musicals, and dramas I enjoy learning the history of people like Stewart Gordon who came down from Madison, Wisconsin. After Christiansen mentioned that Gordon had left Madison, after the James A. Burries Adaptation of "Peter Pan." The "offensive theater" that included "Nudity" and an "Acid Trip" left him with a stained reputation. So, Gordon came to Chicago's Body Politic and talked to director, Paul Sills" after a show and as Christiansen states he told him of his problem. Sills said "Come on down." The Kingston Mines and Organic Theater during the 1970' were progressive theaters will social, political plays of the times. Socialistic works were everywhere with the memories of social up-rise from the war.
People like, Jim Shifflet, ( known as a "social activist) was a minister running a theater. Considering the 60's and 70's filled with the Rock and Roll, Vietnam War,student rebellion, and social up-rise, good provocative theater brought those subjects into the open minds of the public. So while addressing Social/Political subjects plays like "Grease" have stood the test of time. We can still go back to the days of rough and tumble youth of the 50's and enjoy singing songs Like "Beauty School Drop Out" and watch the individual story of "Tony" over an over again. Not much different than "West Side Story." Both performances of "Tony" stood the test of time.
Do these plays change the views of society? I would hope and think they would, because the subject matter is either put in a new light, songs written, movements repeated, and history is known to repeat itself. Whether joked about or seriously taken in to ourselves to the extent that we can learn from those eras.
Invoke thought. Movers and Shakers of Chicago. Theater has the ability to bring out some pretty sensitive subjects. Allowing people to deal with the outlandish and the social expectations we put on ourselves.
Lastly, noteworthy people like Gary Senise, worked his way up from "dockworker" and "groundskeeper" just to make ends meat. Now, he is a successful actor and on the Board at Steppenwolf Theater. Just another proof that Chicago Theater is the a place that can be, "an honor to work there."
Thanks for the stomping grounds!! See you on the next post.
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ReplyDeleteLois NemethMarch 26, 2013 at 2:01 PM
ReplyDeleteMarch 25, 2013 ENTRY
Richard Christiansen (ATOOO) Pages 161-193 Chapter 14-16
Whoo, whoo!
Interesting, outlandish theater throughout Chicago theaters was never more thought provoking than these. Choices, preferences, and options of many types of theater came out of Chicago.
Chicago's Stuart Gordon's Organic Theater produced, "Warp!" Cartoon character brought to real life type of plays. Bruce A. Young, an actor chosen "because he looked better with their shirt off." Really! Beings from outer space! Heroes fighting off the evil villains? The "trilogy" as quoted by Christiansen, in plain language, seems pretty strange. I'm not so inspired by this type of theater with the costumes made out of rags.
A photo on page 166 of Christiansen's book, shows two dirty intergalactic villains, Tom Towles and William J. Norris, flying in the air doing battle. I would prefer not to see such a sight. But, to each his own in the world of theater. The creative minds who came up with the play "Warp" was just another example of the type of theater that Organic Theater brought to the public. Thought provoking and very creative, putting it all out there for the viewer to decide if they liked what they saw.
Other plays conducted like the "Bleacher Bums" even brought out a comment from John Belushi, telling Gordon "If the Cubs lose, I'll kill you." That proved notice to Chicago-ins the play surrounding the Chicago CUBS was getting to the heart of the city. Chicago Baseball. That is a credit Joe Mantega along with many others who even created "E'R:Eemergency Room" which is still very popular today. There are shows like "House" to top off the credit to the original writers to plays such as these to become very successful in movie and primarily television.
However, actor and actress, John Reeger and Paula Scrofano spoke of proving themselves in theater. Chicago was the place they met at Northwestern University, got married, had two children, and continued to work proving that they could worked "all over the city. They were able to make ends meat, as it were. This inspires me the most in Christiansen's book so far. Not just the historical facts, architecture, but the people that put themselves out there and helped make Chicago Theater what it is today.
The Organic Theater, Second City, Hull House and so many others not previously mentioned should not be forgotten. They housed many artists who survived through the good and bad times.
So, the old adage of starving artists comes to mind, when I think of an actors and actresses who made it in Chicago. Those who wanted to work and eat, usually had jobs in a diner, the docks, or some other form of work. But to either make it, or break into theater one way or another was just the stepping stones we walk on today.
More to come on my next post........
Lois
Richard Christiansen "A Theater of Our Own 1,001 Nights in Chicago Theater"(ATOOO Chapter 17)GSU COMS 4090-05 Chicagoland Theater
ReplyDeleteBy Lois Nemeth
Following up in Christiansen's Book, Chapter 17 of ATOOO speaks of theaters and actors who started out poor and went out in search of success. While keeping this post simple, the interest lies within the struggles actors faced and survived working in Chicago theater. According to Christiansen; William L. Peterson has an interesting story and survived turbulent times.
The images of actors in Christiansen's book give a meaningful interpretation Chicago's struggle and proof of what it took to continue to be successful theater. In my previous post, and with photos in Christiansen's book adds descriptive views of the struggles and common threads between actors.
Peterson was one of Christiansen's actor profiles included in his book on page 208. He speaks of his leaving Evanston and returning to Chicago theater several times during his career. While his initial college career wasn't focused on theater, he took a few courses in theater to add what Peterson called "easy credits." After traveling abroad, continuing to pursue an acting career, Peterson went on to become a successful actor, later staring in CSI: Crime Scene Investigation.
Christainsen's quotes Peterson in his profile as a natural actor, who in turn states that "You have to earn your right to call yourself a Chicago actor. It's something to be proud of."
March 25, 2013 Blog entry includes a brief observation about John Reeger and Paula Scrofano profile which speaks of proving themselves in theater. Like Peterson, they worked their way into becoming successful Chicago actors. Peterson, John Reege, and Paula Scrofano share a common thread in Chicago theaters. They earned the right to be called Chicago actors. Christiansen introduces chapter 17 as "The Field Is Littered with Bodies."
Maybe the field is littered with bodies from the theaters and actors within Chicago who did not succeed in Chicago. The photo on page 207 includes Sonja Lanzener straining to pull a wagon in Berlolt Brecht's Mother of Courage at Wisdom Bridge theater in 1981. The image is a great interpretation of the struggle in the theater.
Overall, William Peterson, John Reeger, Paula Scrofano,and Sonja Lanzener all survived struggles and share a common bond. Chicago actors share the rights and earned their way in Chicago theater. The profiles and images in Christiansen's book prove the struggles they went through to call Chicago theater a place to be proud of.
Chapter 18 Richard Christiansen A Theatre of Our Own (ATOO
ReplyDelete"It’s All About Steppenwolf Theatre Group and Gary Sinise" By Lois Nemeth
Gary Sinise, Terry Kinney, Jeff Perry, Laurie Metcalf, Moria Harris, John Mahoney, and John Malkovich all worked, competed, and refined the theory of their acting in a place called Steppenwolf. A basement theatre named after a novel read by Rick Argosh. Richard Christiansen describes the theatre Company growing out of the hand of Highland Park to Chicago with gusty performances worth seeing. The 70's turbulant times of politics, drugs, and rock-n-roll grew into all types of theater. Musicals, drama, thought provoking Alfred Hitchcock type of Mystery Theater by a group of gusty actors. Gusty performances in the Orphans (with Terry Kinney, Kevin Anderson, and John Mahoney ; photo on page 230 ATOOO), or The Grapes of Wrath ( with Gary Sinise and Terry Kinney; photo on page 231), drew Chicago audiences to return for more.
Gary Sinise and Jeff Perry, highschool buddies, showed support for each other in Christiansen's book, pushing the limits to get their own theatre. Senise and Terry Kinney, acting buddies, were noted as running around the theater building up energy, like two thugs to prepare for their performances every night. Whatever the actions to prepare for a performance, Laurie Metcalf studied her line on a road trip to Steppenwolf to substitute for the ill Moria Harris's role in The Sea Horse. Metcalf states in Christiansen's book that Senise "threw her all over the place." Sounds pretty rough and tumble, but competitive actor, John Malkovich, states in his profile on page 222, "You'll have to hold your own." So then, suppose theatre isn't for babies, gutless drones whimpering on stage. The previous blogs posted speaks of what it takes to earn your way in Chicago Theatre. These actors at Steppenwolf portrayed to have earned their keep.
Gary Sinise and Moria Harris are two actors still at the Steppenwolf along with many other talented actors who call Chicago their home. Among them are John Mahoney and Laurie Metcalf who joined the theatre group in 1977. These actors went on to movies, television and still return to perform today. Chicago based Television sitcoms including, Laurie Metcalf, recognized as Rosanne’s sister, and John Mahoney in Fraiser. Moria Harris who played in Steppenwolf’s 2013 performance, The Birthday Party, what did Harris do to prepare for her performance? After meeting her and learning of her personal demeanor, which was as sweet as molasses gave her a soft exterior. This was unlike John Malkovich’s rough exterior as portrayed in his profile in Christiansen’s book on page 222. So all performers are rough and tumble rock-n-roll madmen on the inside out. These are Chicago actors who have earned their keep in the Steppenwolf Theatre Company.
Overall, from the beginning, actor, Gary Sinise proudly owns the rights to say he started the Steppenwolf Theatre Company with highschool and acting buddies Terry Kinney and, Jeff Perry. They helped make a basement Highland Park theatre which grew into a Chicago theatre by using gusty performances worth seeing for over 30 years.
See you in the next post.