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BY LUCIA MAURO
Roadworks Productions is so committed to cultivating the next generation of theatre goers, it spells that goal out in its mission statement. And while 75 percent of its patrons fall into that coveted age range of 18 to 40, the ensemble-driven company is aware that the "next generation" is not age inclusive. A Roadworks show might mark someone’s first experience in a theatre, and that person could easily fall in the upper timeline registers.
"We want to make theatre a viable social option," says managing director Jennifer Avery.
So rather than merely bridging the generation gap, Roadworks encourages a mutually beneficial intersecting of artists and audiences across the decades–with one finger always firmly planted on the pulse of future artistic demands and possibilities. Just look at the troupe’s history to find a structural pattern that mirrors this generational focus.
Roadworks was formed in 1992 by 15 Northwestern University theatre graduates. Because it teamed up with Prop Thtr for its debut production of Jim Cartwright’s Road (directed by Abby Epstein), the company was eligible for Jeff recognition. The show eventually received a Jeff nomination. Current artistic director Shade Murray, who joined Roadworks in 1994, explains that it was initially modeled after Steppenwolf’s ensemble sensibility. Within two years, however, several company members began pursuing graduate school, Equity work or film opportunities in Los Angeles.
So, in 1994, Roadworks expanded to another 15 artists whom Murray calls "the second generation." They began presenting plays that were never seen in Chicago before–like Charles L. Mee’s Orestes: An Alternative Rock Musical, Mike Leigh’s ecstasy and Patrick Marber’s Dealer’s Choice. Then another shift took place in 1998, with a "third generation" of artists from various disciplines (especially design) creating more collaborative stagings of new plays that challenged the way they approached the theatre’s space–very evident in Phyllis Nagy’s Disappeared at Steppenwolf Studio and Melissa James Gibson’s [sic] at Live Bait. They also chose writers from other media–like humorist David Sedaris (The Santaland Diaries) and screenwriter Kenneth Lonergan (This Is Our Youth) to foster a dialogue that crosses the boundaries of theatre.
By 1999, Roadworks moved into a permanent office, storage and rehearsal facility in Fulton Market. Although they do not have their own performance space, the troupe considers Steppenwolf Studio/Garage and Victory Gardens its main artistic homes.
"The space gave us a wonderful sense of identity to the organization," says Murray of their Fulton Market headquarters. "Since our offices are at the same place as our rehearsals, it gives everyone a close involvement with the artistic process."
Over the years, Roadworks has put in place a solid administrative structure. In 1998, it completed its first five-year strategic business plan and increased its operating budget 140 percent. Early on, former artistic director Debbie Bisno happened to meet Richard Driehaus while waiting tables. She asked if she could submit a proposal on Roadworks. He said yes. The Richard Driehaus Foundation gave the company a $40,000 matching grant during the first three years of its existence.
Not surprisingly, Murray and Avery (who joined Roadworks in 1999) fervently encourage other companies to "not be scared about calling funders." Both of them also have substantial experience in the development arena. Avery spent five years in the development department of the Music and Dance Theatre Chicago.
Roadworks has grown into more than a company that mounts hot shows about characters on the fringes of society. In fact, I’ve found some of the scripts they’ve selected problematic; but the productions have featured some of the most multifaceted talents in Chicago theatre. Roadworks–contrary to a name that conjures images of road construction projects–sets out to clear many paths to education, audience development and the ways in which theatre needs to evolve to serve a technologically sophisticated audience interested in challenging shows that speak to the modern state of humanity.
"We hold a close mirror up to our audience," says Murray. "And the quality of our product, to our audiences, is universally expected. That has allowed us to explore riskier things. We can explore the human condition in an unconventional way. It may not be the most comforting vision, but there still is a sense of transcendence and hope."
Now Roadworks is attracting established actors–like Linda Kimbrough, Scott Parkinson and Troy West–to its company. David Cromer (who seems to be everywhere these days) directs Roadworks’ midwest premiere of Betty’s Summer Vacation, Christopher Durang’s skewering of reality-based TV shows. It runs Jan. 28-March 3 at Victory Gardens.
In addition, the troupe has established a partnership with the City of Chicago, presenting its holiday staple–Sedaris’ The Santaland Diaries–with different featured essays and actors at the Chicago Cultural Center. With the exception of Abigail Deser, who brings in her own directing projects, Murray and Avery collaborate to craft Roadworks’ five-play season, which opened with Mark Ravenhill’s disturbing time-warp black comedy, Some Explicit Polaroids. It continues with Life Under 30, a collection of new works by young American playwrights.
The 2000-01 season zeroes in on the group’s most recognizable stamps: intimate human drama, pop culture influences, a rock 'n’ roll flair, and successful transfers of off-Broadway shows.
The company’s latest outreach project truly gives younger audiences a say in the creative process. This past summer, Avery teamed up with Kimberly Senior, Arts Exchange associate artist at Steppenwolf Theatre, to form the Open Road Program.
Ten teens meet bi-monthly to discuss productions, create pre-show materials and devise strategies for getting more young people interested in theatre. They write a backstage newsletter and, by sharing comments during previews, help shape how a Roadworks’ show most effectively speaks to them.
"A lot of kids look to Britney Spears and the Backstreet Boys as role models," says Margie Sprehe, a 17-year-old member of Roadworks’ Teen Advisory Panel. "So we’re not taken seriously. But I believe we can have a voice and be ourselves."
Open Road exemplifies how, according to Avery, "Roadworks has a specific aesthetic that’s larger than any person."
Continues Murray, "At our last crossroads, we realized that the life of an artist and the life of a theatre company are indeed separate. We’re not trying to make the company support one person’s artistic vision. We feel we are custodians and, someday, we can pass on this aesthetic to other visionaries."