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In the Economic Maelstrom, the Gypsy is King

Written by Don Hall

Chris Jones pens a quick entry on The Theater Loop exposing the result of a downturn in our economy on local theaters that bemoans the fate of those theaters that are “being forced to shack up with someone else” in order to produce their work (Click here to read the full article).

Given the economic downturn, sharing of space may turn out to the new paradigm for Chicago cultural institutions. But even though the benefits of splitting costs, pooling resources and putting arts venues to maximum productive use are obvious, sharing performance space is a lot trickier than it seems. Especially if it takes place on less-than-equal terms.

In the article, Chris trumpets both the Harris Theater for Music and Dance and The Theatre Building Chicago as examples of possible alternatives to owning a building (he, of course, cites The House Theatre as an example of one of the downtrodden in the financial melee, a fact that I’m certain makes the scores of Off Loop theaters that don’t have a Tribune cheerleader and a healthy budget smirk). Both examples are great spaces although both are essentially egalitarian rental houses.

What Chris misses in his overview of the situation are two major points: in the world of the homeless, the Gypsy is king and that the best program IN THE NATION for this specific problem resides at the corner of Randolph and Michigan Avenue.

One of the enduring truths of the Chicago Theater Scene has been that almost anyone with the desire and a few bucks can put up a show. Granted, this means that the pool is littered with floating turds but it also means that, unlike New Yawk, you don’t have to mortgage your future to get a show up for a nominal run and get some press coverage for it. While the larger (and even mid-sized) institutions in town have flourished or fallen due to finances, there are scores of tiny, motivated theater companies that have consistently managed to travel from place to place, “shacking up” in itinerant spaces, putting up productions of both original and previously produced work without ever receiving a major grant or relying on the fat wallets of the monied class to do it.

These Gypsy theater companies and artists will feel some of the pinch of our economic malaise but will still continue to, often unheralded or championed, crank out the art.

And while renting out a space is the Go To option, Chicago is home to one of the most amazing and supportive theater and arts programs in the entire country: The Chicago Cultural Center (and specifically the DCA Theater Program.) The catchphrase used by the program is so simple it reeks of the best possible mission statement to indicate exactly what it does: Keeping Off-Loop Theater in-the-Loop.

Allow me to simply cut-and-paste some of their verbiage:

Chicago DCA Theater offers downtown audiences the best off-Loop theater experience. Each season, we accept proposals from the city’s emerging and developing theater companies who wish to bring their innovative productions downtown to the Storefront Theater. Presenting companies benefit from our space and resources, while theater-goers get an exciting glimpse into Chicago’s world-renowned theater scene.

New to our Studio Theater is the “Incubator Series,” a program designed to support the creation of new work by emerging Chicago theater companies. Utilizing our space and resources, participants explore new projects, develop and refine styles, and share their process with the public during a special showcase event.

Holy Sh*t! Did Chris not know about this? With all the ink that the downtown corporate owned theaters and the Broadway-in-Chicago behemoth, why isn’t a genuinely Chicago-centric organization devoted to presenting theater created and produced by what Richard Christensen called “the lifeblood of Chicago theater” getting some consistent love?

Admittedly, I know about the program and can recommend it to everyone within earshot because WNEP Theater has had the privilege to work with these folks for a number of years. Our annual SKALD Storytelling Competition is hosted by the DCA as have our last DADA Soireé (and our upcoming Christmas DADA show).

My experience with the DCA Program has been nothing but fantastic and I cannot rave enough anout the concept or the execution (I’ve submitted proposals to both our Mayor and recently to President-Elect Obama that reflect my belief that this is the Arts Initiative that actually means something other than Let’s Move All Arts Funding Into Arts Education.)

Here’s what you get if your proposal is accepted:

* At no cost, selected companies receive performance space, dressing rooms, lighting, sound equipment, technical support and instruction from a professional who is on-hand through the run of the show.
* Promotional support is also provided through individual show postcards, season brochures and other citywide marketing pieces. Additionally, media relations assistance is offered in an effort to seek critical reviews and other publicity through the press.
* Box office and front-of-house staff are provided and 85% of all box-office proceeds go directly the theater company (the other 15% covers DCA Theater administrative costs).

So, yes - the economy sucks and the institutions with the big bucks are starting to feel some pain but don’t ask me to feel sorry for companies that have costume budgets that could pay for eight or nine fringe productions. If a plea for more theater donations is in order have them donate to the DCA, the only major Chicago arts building with a long-term commitment to sharing space.

SOIREÉ DADA: SCHMÜCKT DER HALLEN open Friday. Click here to purchase tickets