BY LUCIA MAURO
For Lifeline Theatre, the story has always been the thing. And, as basic as that may seem, the Rogers Park company has set out to consistently elevate literature to a brain-stimulating sphere without downplaying its accessible emotional core. From the beginning, an artistic-educational focus drove the company.
Lifeline, now in its 20th year, debuted with a production of Split at the Organic Greenhouse before moving into its sturdy 99-seat theatre–a former ComEd substation–along the Howard 'L’ tracks. Shortly after its inaugural production, founders Kyle Donnelley, Meryl Friedman, Suzanne Plunkett, Kathee Sills, Sandy Snyder and Steve Totland–all Northwestern University alumni–shifted the organization’s focus towards original stage adaptations of literature, as well as original works.
Their mission, which has remained virtually unchanged over the years, has served Lifeline well–even after some administrative reorganization. (Plunkett and Snyder are still active Lifeline members; Donnelley and Sills moved away from Chicago to pursue other projects; and, although Totland and former artistic director Friedman now live in Los Angeles, they continue to have ties to Lifeline.)
Almost four years ago, Dorothy Milne–a writer-actor-director and Lifeline ensemble member since 1992–was named the theatre’s new artistic director. And she’s proud of the theatre’s ongoing commitment to what it originally set out to do.
"We’re still very focused on literary adaptations," says Milne. "And I think we are including more original works. But I look back and notice that Lifeline experimented with throwing in an original play now and then. Now I think we feel braver about it because we have sustained support in the organization."
She reports that Lifeline has built a supportive board in tune with the artists’ goals. To facilitate this synergy, the theatre pairs up a board member with an ensemble member in planning events (from fundraisers to community activities). According to Milne, Lifeline is "on the precipice of a growth phase," which she attributes to "a strong mix of young blood and old wisdom."
Today, Lifeline’s annual budget is over $500,000–quite a leap from its inaugural $1,000 budget in 1983. Managing director Melissa Vickery-Bareford notes that the theatre had 825 subscribers in 2001-02, a 21 percent increase from the previous year. Its annual direct mail appeal and annual benefit raised its highest numbers ever. And, for the first time in Lifeline’s history, each of its mainstage productions sold at over 80 percent.
Milne oversees planning of the theatre’s three-play mainstage season and three-play KidSeries (now in its 16th season). Productions are marked by a multidimensional resourcefulness rooted in dramatically driven stories told through imaginative suggestion. Popular genres include romance, sci-fi, fantasy and mystery. Lifeline also has a major J.R.R. Tolkien following and has produced Fellowship of the Ring, The Two Towers and The Return of the King.
Seasons set out to balance genres and are intensely collaborative projects. Milne says that the Lifeline artists are avid readers, and ensemble members bring in their ideas. Typically, the more an artist advocates a work, the more it’s likely to be pursued. Collaborative honing continues throughout the rehearsal process and during the run of a show.
Milne points out that works like Around the World in 80 Days reside in the public domain. Therefore, the theatre does not have to deal with rights. But, because "these days," she says, "even magazine articles are turned into movies, getting the rights to a book or story can be lengthy." She warns that, although they’ve been in direct touch with authors who excitedly okay an adaptation, rights have been pulled by their agents or attorneys, who inform the theatre that the author sold the stage rights together with the film/TV rights.
"A lot of times," says Milne, "the author doesn’t realize that their new swimming pool means they no longer have the rights to any productions of their work."
Lifeline has always attracted literary-minded patrons. Its longtime outreach relationship with the nearby Kilmer Elementary School–in which artists teach students how to write literary adaptations–has helped establish community. For its anniversary, Lifeline has planned co-events with bookstores and children’s museum to help promote reading.
While a family friendly aura permeates the theatre, Lifeline’s stagings are no saccharine undertakings.
"We don’t consciously make a mainstage production family-friendly," says Milne. "A lot of our selections are for ages 10 and up, and we like having families come to see our shows together. You won’t hear obscenities in our shows, but sometimes there are scenes or subject matter that can be disturbing–Jane Eyre and Whose Body?, for instance, have unsettling themes. We are really clear in our marketing what audiences can expect from our productions."
This season, Milne’s staging of Jules Verne’s Around the World in 80 Days, adapted by John Hildreth, runs through Dec. 1 and a revival of the theatre’s popular Mike Mulligan and His Steam Shovel, Eric Lane Barnes’ musical adaptation of Virginia Lee Burton’s children’s book, runs through Jan. 15 as part of the KidSeries. Upcoming mainstage offerings are Thomas Hardy’s Far from the Madding Crowd and Donald Westlake’s Trust Me on This (both directed by Milne).
The theatre has been nominated for over 50 Jeff Awards. In 1991, it received an award from the Illinois Theatre Alliance for its "outstanding contribution to children’s theatre"; its 1998 production of Journey of the Sparrows received an award from the American Alliance for Theatre and Education for best play in the elementary category. The KidSeries shows are also gaining extended life at Metropolis Performing Arts Centre and the Storefront Theater. Last year, Lifeline was nominated for the Alford Axelson award for Excellence in Non-Profit Management.
While the Lifeline ensemble of writers, actors, directors and designers totals 19, Milne says "we have like 120 artists a year who work here." The artistic director is also conscious of not rushing into expansion. "We cannot physically add seats," she says, "but we can add extra performances. We don’t want to grow too much either; it’s important that we remain artistically fulfilled. So at this point, we’d like to grow with caution."
A wise prediction, considering Lifeline’s etymological origins. The theatre’s name, coined by co-founder Plunkett, refers to the life line of the hand in palmistry. A healthy and manageable artistic-administrative body keeps the organization’s lifeblood circulating.
Lifeline Theatre, 6912 N. Glenwood. Tel. 773/761-4477. www.lifelinetheatre.com.