First Look Festival, First Read

I'm in Chicago this week, observing Steppenwolf's First Look festival.

One big difference between this and other theatres I've seen is resources. People, space, money -- Steppenwolf has more of each than you see very often (okay, yes, there are plenty of theatres in its league, but not ones where I see the inner workings much). Need a costume? The talented costume designer will render it, make or buy it, and fit it to your actor. Need a rehearsal space? Would you like the Garage or Yandorf Hall? Can't find a lead actor? Ask Erica Daniels, who will find you exactly what you need.

I simplify. I know. And my point is not that this is a Goliath of a company -- it's that the people here are at the TOP OF THEIR GAME. There is a confluence of talent, brains and dedication in the Steppenwolf family, from Artistic Director Martha Lavey to the literary intern they brought on a few days ago (nice post, btw, Michael Van Ness). It's a culture of excellence fostered by the deservedly legendary ensemble, and made possible by smart people with money who recognize that IMPORTANT WORK IS HAPPENING HERE.

And what that means, that culture of excellence, is that Steppenwolf will always strain its resources. Give these guys more space, they will fill it with another show (the "garage theater," which used to be rehearsal space, is a case in point). Give them enough new scripts, and they will dream up (then figure out how to fund) an important new work festival. Steppenwolf, for all its resources, is busting at the seams. The same has been true at virtually every point in its history. It's what make Steppenwolf Steppenwolf -- but I'd argue that it's also what makes great artists great. Testing limits. Busting through ceilings. Waking up with the crazy idea, daring to speak it aloud, and asking "how can we put this into practice?"

I was reminded of that, yesterday, when The Wolf filled Yandorf Hall with actors, directors, dramaturgs, interns, funders, and the occasional fly on the wall (me :) ). To see those kinds of resources marshalled in the service of new work, especially in these dark economic times, was thrilling. And that was before we even heard the plays.