BY LUCIA MAURO
A quick glance at Wing & Groove Theatre Company’s production history reveals a pretty extensive line-up. Upon closer examination, it appears nothing short of a Herculean effort considering that at least half of their 13 shows were performed in 1999 alone–the same year they renovated and moved into their own space in Wicker Park’s Flat Iron Arts Building.
At a time when niche marketing reigns supreme, Wing & Groove favors unadulterated eclecticism. David Mamet’s Sexual Perversity in Chicago, Heather McCutchen’s Alabama Rain, Anton Chekhov’s Three Sisters and an original late-night production called The Skinhead Hamlet strain for a programming through-line. Yet Wing & Groove has tackled them all. More significantly, they’ve tackled these and other shows in the three years since founders Andrew Gall and Amy Tourné and a group of fellow young theatre artists decided to start a company.
"We now have 20 ensemble members," says Gall, artistic director. "At the beginning of the year, we pare down our lists [of possible plays] and try to have a concentrated discussion of what we like. It’s a chaotic, messy process and an interesting hodgepodge of things. We find plays that most of us really like and plays that emphasize the strengths of our ensemble."
According to Gall, the founding ensemble members are theatre majors from Northern Michigan University and Louisiana Tech University. Gall and Tourné went to graduate school together. The artistic director also completed an internship at Goodman Theatre. But one night over pizza and an episode of The X-Files, these ambitious thespians decided to "create opportunities for ourselves and other people" by establishing their own creative outlet.
Wing & Groove debuted with two one-acts–Alan Ball’s Power Lunch and Derek Davidson’s Jack of Dover–at Voltaire, then opened its critically lauded production of Wendy McCloud’s The House of Yes at Profiles. In early 1999, the opportunity for the Wicker Park space came up.
Managing director Rae Bucher, who was working at the League of Chicago Theatres at the time, spoke with the Flat Iron Arts Building’s landlord about moving Wing & Groove into a space formerly occupied by a visual artist collective. It made sense, considering Wicker Park’s sudden loss of theatre venues–including Urbus Orbis and the Firehouse.
"The renovations are still going on," says Bucher. "We had to remove graffiti from the walls and build the theatre. We did the platforming and installed seats that we purchased from Steppenwolf. The entire ensemble has been involved in the process."
Located at 1935 1/2 W. North Ave., Wing & Groove is still in need of prominent signage and air conditioning. Once patrons arrive, they walk up one flight of stairs into a spacious homey lobby with large windows and mismatched but comfy thrift-store furnishings.
"We’re all small-town people," says Bucher. "We pride ourselves in how we treat each other and our audiences."
The company is in the process of exploring a serious marketing plan and attracting more board members. Bucher says, to date, the marketing strategies have varied. Passing out fliers in crowded neighborhood bars has worked quite well. Their Web site offers discounted coupons that prospective audience members can print out and present at the door. Tickets can be purchased through Ticket Web and Hot Tix. They’ve attracted the attention of the press and frequently get covered.
The group has some corporate sponsorship, but most fundraising is achieved through individual donations and benefits (including one at Delilah’s on Aug. 17).
A key challenge has been the varied repertoire.
"We tend to have a different audience for every show," says Bucher. "So our promotions vary from production to production."
Gall is quick to note that, for the most part, their shows are rooted in the classics. Earlier this year, Wing & Groove drove Shakespeare’s Taming of the Shrew into a Wild West setting. An upcoming production of Moliere’s The Misanthrope will be set back stage at a rock concert.
Wing & Groove presents Alan Ball’s nuptial-themed comedy, Five Women Wearing the Same Dress, Aug. 24-Sept. 30.
The company seeks ensemble members who are committed to the overall running of the theatre. "I expect everyone to take ownership," says Gall. "I want all the artists–actors, directors, designers, dramaturg–to inform the process. We rely on ensemble members to build sets and clean the theatre. It all comes back to a synergy thing. What can these individuals bring to the ensemble?"
Future goals include more original plays, a paid staff and audience development.
Wing & Groove’s name does not mean anything in particular. Gall traces it to one of their college professors who demonstrated the Wing & Groove scenographic method (developed in Renaissance Italy) by doing a "funky chicken" type of dance. Other free-association titles tossed out were "Chariot" and "Pole"–which may or may not reveal the quirky minds behind this groovy troupe poised to soar.