from BJ Jones, Artistic Director
As the summer draws to a close, I have been lucky enough to travel a bit to see some wonderful theatre. The question that has arisen about theatre since the nadir of the recession in February and March has been, “why theatre, why now?” My evenings in the cooled air of these summer evenings have provided me the answer. Theatre is inevitable, indomitable, and a collective comfort through communal celebration of our humanity.
A wonderful weekend at American Players Theatre (in Spring Green, Wisconsin) went from a production of Comedy of Errors which was not only funny but surprisingly touching, to a terrific ensemble all pulling double and triple duty in a lean and efficient Henry V. I was taken by the sense of propriety their audience has for their beautiful theatre. Climbing the hill, they know the plays, they treasure the players, they cherish the ritual of the journey to this charming theatre in the woods.
At the Guthrie (in Minneapolis), an ensemble of veterans who worked with the great Tyrone Guthrie when he began the theatre expertly and effortlessly refreshed a near forgotten JB Priestly play, When We Are Married, and connected with a full house of Guthrie regulars. The Guthrie has, for decades, re-awakened work that, through rich language and stunning imagery reminds us of our resiliency as a people and our common journey. Those actors, whose careers have been fostered by and intertwined with the Guthrie, have built a relationship with that audience that makes the evening more profound and powerful by the accumulation of time.
At Writers’ Theatre back here on the North Shore, a charming chamber musical, The Minister’s Wife, intimate and shining, like a rare jewel, enthralled an audience of a hundred or so. That singular experience makes the evening precious for the audience that treasures their theatre and is so fiercely loyal.
First Look at Steppenwolf provides a rare opportunity to see the inner workings of new play development. Brian Dennehy says that “if you like sausage, don’t come into the kitchen,” but these intrepid and passionate theatre-goers brave the grueling and sometimes tedious rehearsal periods for the express purpose of seeing the hard fought growth of a new work, first hand. Northlight’s commission Auctioning the Ainsleys was read at both First Look and at the Cherubs‘ high school program at Northwestern University. Ainsleys received a delighted response with seasoned theatre-goers, and more importantly, the next generation of theatre-makers, giving me hope for their future as artists.
And of course our trip Nantucket to put Judith Ivey and The Lady With All The Answers up for a one night benefit. With scavenged furniture and the costumes from Northlight’s production the season before, Judy, in 48 hours, resurrected her transformative performance as Ann Landers for 200 people in a hot church hall, and tore the house down. They were there to support an island charity, and to celebrate one of their own, Judy, who has a house on the island. At one time Nantucket had an acting community on the island. In the days when Broadway closed down in the summer because they had no air conditioning, actors lived and put on plays in the Casino in Sconset where Judy has her house. Again the connection with the audience, reflecting their sense of community is what answers the question “why theatre, why now?”
These theatres, these communities, exemplify what we have here at Northlight. Our roughly 8000 committed subscribers make us one of the largest not-for-profit theatres in Chicago. Northlight’s audience has its own personality, and its own discriminating taste. The Jeff nomination for our production of The Lieutenant of Inishmore validates our institutional courage and many of our subscribers’ faith in us. Our most recent ticket buyers seem to be coming to us in greater numbers from the city, joining our North Shore audiences in appreciating our work. And over half of our first-year subscribers return to join us for subsequent seasons, which is the highest retention rate in the country.
“Why theatre, why now” we wonder? Perhaps because as a people, we need, in times of stress, to remind ourselves of the stories that inspire us to go on. We want to gather together for strength and courage. We need to lighten our hearts by sharing our stories, adding joy to our journey. You cannot find that comfort in front of a TV or computer screen whose isolating experience is souless and sterile.
This summer’s sojourns answered that question for me. In the theatres across the country, audiences are still sharing stories, shedding a tear, relishing a laugh, and finding inspiration. The theatre endures, because you demand it. And we here at Northlight are so grateful to answer that challenge.
