“Great theatre training programs have always grown up around great theatres,” says Joel Fink, director of the theatre conservatory at Roosevelt University. “Chicago is a great town for young artists finding their own voice.”

At any given time, more than 200 theatres are operating in the Chicago area. The opportunities for actors, designers and other theatre professionals are unmatched in any U.S. city except maybe New York. “But Chicago has more work per actor than in Los Angeles or New York,” says Sheldon Patinkin, long-time chair of the theatre department at Columbia College.

Sarah Gabel, chair of Loyola University’s theatre department, notes the importance of Loyola being in Chicago. “We are a small liberal arts program, but because it’s in a professional theatre city, it enhances the students’ experience. Being in Chicago makes [theatre study] more 'real world’ than other liberal arts programs not in this city.”

Working professionals also agree that Chicago is a great city in which to hone your craft. Damon Kiely, artistic director of American Theatre Company, says there are three top places to go to school for theatre: “New York if you want a career in off-Broadway or regional theatres, Yale if you want to work in regional theatres, and Chicago if you want a life in the arts. This is where art gets made.”

PJ Powers, DePaul alum and artistic director of TimeLine Theatre concurs: “Sixty percent of my education was based on the fact that the theatre school was based in the heart of the city. I could see alumni and faculty working in every capacity, and make a connection between what I learned in the classroom and what I saw on stage.”

Students that go to school in Chicago can experience theatre in context with the cultural aspects of Chicago. “If you’re going to be an artist it never happens in a vacuum. It happens in relation to what artists are doing,” says John Culbert, dean of the Theatre School at DePaul University.

Theatre schools in Chicago take advantage of their proximity to professional theatre in several ways. From adjunct professorships to internships for students, theatre schools are woven into the fabric of Chicago’s theatre community. For example, the pool of resources to supplement full-time faculty is unmatched.

“It’s a win-win situation,” says Virgil Johnson, Northwestern University’s theatre department chair. “You may never hear the same things from outsiders as you do from faculty. And even if you do, it has a different resonance.”

While many full-time theatre professionals teach part-time, many full-time faculty are also directly involved in the profession. As a designer, Culbert likes the proximity of working in Chicago. “Since we’re all here, I can be teaching and designing. I can 'dean’ in the morning and tech in the afternoon.” Theatre professionals in other towns often find themselves having to travel to work.

Gabel notes that, “For most of us, when we work in theatre, part of our contract is to include our students so that they can come to the final dress rehearsal or tech.” Patinkin says that being in Chicago and learning from working theatre professionals also “allows students to be known before they try to enter the job market.”

Balancing the appeal and excitement of being in the theatre community with the need for day-to-day classwork is a challenge for many schools. Culbert says that DePaul handles this by drawing “boundaries around certain aspects of the program.” For example, while actors are in school they are not to be cast in productions outside the school. “We have a commitment to our third and fourth year students to cast them in a show every quarter.” This doesn’t leave significant time for additional work.

Powers says it didn’t bother him that he couldn’t take on theatre work outside the school. “I was excited and energized by the work I was doing in the school.” He also jokes, “Probably no one would’ve hired me anyway.”

DePaul design students are allowed to take on outside projects during the school year, as long as their commitments to the school come first. The school views learning to balance design projects as part of the training.

Other programs are not as strict about extracurricular activities. At Northwestern, it is left to the student to maintain their grade point average. So far, this has not been a problem. “I have not met a student who was cavalier about going off and neglecting their class work,” says Johnson.

Roosevelt also encourages students to get out and work in Chicago theatre while they are in school. “We are enthusiastic about partnering with theatres. While classes are primary, we need to offer flexibility to allow for their work with professionals.”

Patinkin says the same goes for Columbia. “Our students audition and get work on the outside while still students.” They’re a very product oriented department.

“It boils down to this,” says Kiely. “Theatres need to defray costs. Schools want students to have meaningful experiences in a professional atmosphere.”

For example, the last show of ATC’s season would not have been possible without four student performers that Kiely hired from Roosevelt University. “These were not spear carriers,” says Kiely. “They had lines and sizeable parts.” The theatre had good performers, and the students had a good acting experience.

“It’s really important to us at TimeLine to maintain connections with current students,” says Powers. He feels it’s his obligation to share his knowledge “because so many have done it for me and continue to do it for me.”

Examples of informal relationships can be found at every school with theatres of varying levels of prominence. At Northwestern, Johnson invites colleagues from one of a dozen theatres with which he has a relationship to each of their mainstage productions. After the show, they have a private session with cast, directors and designers.

Loyola connects plays in the city with a class assignment or lecture and also offers a class (though mainly for non-majors) on theatre in Chicago. Columbia trades credits with The Second City. Roosevelt provides interns to Chicago Shakespeare. The examples are endless.

As with any experience, what a person puts into it is what they’ll get out of it. Chicago offers opportunities not found in other cities with smaller overall theatre communities. Fink sums it up best: “Having a theatre program in this city means you can prepare students for the reality, and you can nurture a dream of an artistic life.”

Columbia College Chicago
Theatre Department
Sheldon Patinkin, Chair
72 E. 11th Street
Chicago, IL 60605
312/344-6000
E-Mail: spatinkin@popmail.colum.edu
Web: www.colum.edu
Semester System
Degrees: BA (Acting, Directing, Playwrighting, Design), BFA (Acting, Design, Directing)
Short List of Who’s on Staff: Sheldon Patinkin, David Wooley (stage combat, Xena! Episode II), Tom Mula (actor), Harisse Davidson (agent), David Cromer (director), Brian Shaw (Plasticene), etc.
College of Performing Arts Tuition & General Fee: Full-time Undergrad, $13,914. *Does not include books, fees or living expenses.
Application/Audition: No special requirements for theatre program. Applications available online.

DePaul University
The Theatre School
John Culbert, Dean
2135 N. Kenmore Avenue
Chicago, IL 60614
773/325-7999
E-Mail: theatreadmissions@wppost.depaul.edu
Web: www.depaul.edu
Quarter System
Degrees: BFA (Acting, Costume, Lighting, Scenic Design, Stage Management, Theatre Technology, Theatre Studies, Dramaturgy/Criticism, General Theatre Studies, Playwrighting, Theatre Management); MFA (Acting, Directing)
Short List of Who’s on Staff: Dexter Bullard (Plasticene/artistic director), Henry Godinez (Goodman/artistic associate), Chris Jones (Chicago Tribune/theatre critic), Lou Contey (freelance director), Janet Louer (casting director),  etc.
College of Performing Arts Tuition & General Fee: Full-time Undergrad, $22,300; Grad, $22,500.
Application/Audition: To make an audition appointment, or to find out the audition dates, call our office directly at 773/325-7999 or 1-800-4DEPAUL, ext. 7999 (outside Illinois). Audition guidelines are available online. Videotaped auditions are not accepted. The GRE is not required for admission to the Theatre School.

Loyola University Chicago
Department of Theatre
Sarah Gabel PhD, Chair
6525 N. Sheridan Road
Chicago, IL 60626
773/508-3830
E-Mail: loyolanow@luc.edu
Web: www.luc.edu/depts/theatre/
Semester System
Degrees: BA (Theatre)
Short List of Who’s on Staff: Dan Ostling (set designer/Goodman, Steppenwolf), Nan Withers-Wilson (voice/Goodman, Steppenwolf), Jonathan Wilson (director/affiliated with Organic), etc.
College of Performing Arts Tuition & General Fee: $18,000
Application/Audition: ACT, SAT, GPA required. Scholarships given based on auditions held annually.

Northwestern University
School of Speech
Barbara O’Keefe, Dean
1979 S. Campus Drive
Evanston, IL 60208
847/491-3170
E-Mail: N/A
Web: www.speech.northwestern.edu/
departments/theatre
Quarter System
Degrees: BA, MA, PhD (Theatre), MFA (Design), MFA (Directing), BS, MA, PhD (Performance Studies)
Short List of Who’s on Staff: Frank Galati (Tony Award winner, Steppenwolf ensemble member, highly acclaimed director/adaptor), Mary Zimmerman (Tony Award winner, associated with Lookingglass and Goodman), etc.
College of Performing Arts Tuition & General Fee: $24,648
Application/Audition: Interview, portfolio required for graduate admission.

Roosevelt University
Chicago College of Performing Arts
James Gandre, Dean
430 S. Michigan Ave.
Chicago, IL 60605
312/341-3789
E-Mail: theatre@roosevelt.edu
Web: www.roosevelt.edu
Semester System
Degrees: BFA (Acting, Musical Theatre); BA (General Theatre Studies); MA (General Theatre Studies, Directing); MFA (Acting)
Short List of Who’s on Staff: Jane Alderman (casting director), Chuck Coyl (stage combat), Adrian Danzig (500 Clown, Redmoon), Ted Hoerl (director, casting director), Steve Scott (Goodman Associate), etc
College of Performing Arts Tuition & General Fee: Full-time Undergrad, $17,000; Full-time Grad, $15,000
Application/Audition: To apply to The Theatre Conservatory, an audition and interview are required. In addition, three letters of recommendation and a picture/resume must also be submitted. Students applying to The Theatre Conservatory at Roosevelt University must apply to both the Theatre Program and to Roosevelt University.

University of Illinois at Chicago
Dept. of Performing Arts
Michael J. Anderson, Chair
1040 W. Harrison St.
Chicago, IL 60607
312/996-2977
E-Mail: dpa@uic.edu
Web: www.uic.edu/depts/adpa
Semester System
Degrees: BA (Theatre); BFA (Theatre in 2004)
Short List of Who’s on Staff (& their local connections): Bryn Magnus (Curious Theatre Branch), Yasen Peyankov (European Rep), Sharon Gopfert (Plasticene), Bernie Shalins (Second City), Jessica Thebus (Guest Director), etc.
College of Performing Arts Tuition & General Fee: $3,221 (IL resident); $6,885 (non-resident)
Application/Audition: Interview and portfolio required for designers. UIC offers 16 tuition waivers each fall.

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2003 Yearbook: What did college teach you?