Ever since Raven Theatre got word in spring of 1999 that the Chicago Board of Education was planning to raze the 6900 block of Clark St.—including its performing space—to make way for a new elementary school, the company has been immersed in numbers and building permits. After giving its final performance of Arthur Miller’s A View from the Bridge in May 2000 at 6931 N. Clark, Raven spent the next six months negotiating with the Board of Education to settle on compensation for its impending move (resulting in a $43,000 settlement) from Rogers Park to nearby Edgewater.

By November 2000, Raven’s co-founder/executive director Michael Menendian purchased the old Granville grocery store at 6157 N. Clark, with the assistance of 40th Ward Alderman Patrick O’Connor and a strong board of directors. The goal was to convert this L-shaped, 10,000-square-foot building with on-site parking into a two-theatre complex, with ample lobby and support space. Originally budgeted at $1.3 million for acquisition and construction, the new theatre’s budget has jumped to $2 million—and an anticipated spring 2001 opening has been pushed to June 2002 when Raven plans to inaugurate its new space with a production of Scott McPherson’s Marvin’s Room.

Menendian takes us through this frustrating but ultimately rewarding saga and shares ways Raven Theatre has been able to cultivate key community relationships while keeping its name active in the midst of this crucial transition from a small storefront to a medium-sized theatre complex.

"Our biggest challenges were the permit process and construction delays," says Menendian, who established Raven with his wife JoAnn Montemurro in 1983 as a grassroots, non-Equity theatre focusing on classic American plays. "But we were very fortunate to have the support of the City and Alderman Patrick O’Connor. He was impressed with our track record and longevity and helped us secure state and city funding."

Located in Rogers Park since 1985, Raven has received numerous Jeff Citations and is known for its long-running productions of Glengarry Glen Ross, Six Degrees of Separation and A View from the Bridge at its former 70-seat storefront theatre. In addition to professional mainstage shows, the troupe has featured experimental "Shorties" (short plays) over the summer; hosts free workshop productions; conducts one-on-one coaching for beginning and experienced acting students; and boasts a viable children’s theatre. In 1997, Raven began touring its children’s theatre productions to schools and libraries. Shows, which encourage audience interaction, include Aesop’s Fables; The Duck, The Bird and the Pea! and Sophie’s Stories.

During its move, the theatre worked closely with the Edgewater Development Corporation and Edgewater Chamber of Commerce, and partnered with Business Volunteers for the Arts. The cost of the project has been funded by a combination of public and private donors. Board member Mark Yates, a real-estate attorney, was instrumental in guiding the company through the travails of converting a grocery store into a performing space. Yates is now Raven’s managing director.

The company initially needed a zoning variance in order to convert the new space from a grocery store to a public assembly hall. Raven was not approved for the zoning variance until July 2001—and the zoning variance was needed to begin the permit process. Fortunately, Raven had acquired a demolition permit, which allowed them to gut the building in March 2001.

Earlier, in January 2001, Raven engaged the services of architect John Morris (Steppenwolf, Old Town School of Music, Lookingglass) to begin design plans for the new theatre complex.

One year after acquiring the new building, Raven signed a contract with the Dobbins Group to be the general contractors for the major construction of the new complex. Work began shortly after in preparation of the permit for full construction. After many delays and revisions, City of Chicago Department of Buildings issued in February the building permit required to complete the construction.

Barring any further delays, notes Menendian, construction of the mainstage should be complete by the end of May and the finishing touches put on the lobby by June. Meanwhile, the company has been in rehearsal for Marvin’s Room.

"It’s one thing to start from scratch," comments Menendian. "But it’s the hardest thing to go from a small to medium space. You need a lot of luck and perseverance.

"The one thing that I kept underestimating was the total cost of such a project. No matter how well prepared I thought I was to meet all the anticipated expenses, something else would come up that would drive up the final number. Initially I felt comfortable with a total budget of about $1.3 million. Now I’ll be happy if it can be completed for $2 million."

Menendian continues, "Yet I am often reminded by others who have experienced similar challenges that real number budgets always run considerably higher than originally expected. So my advice [to theatres embarking on a similar project] is: Do the best you can to fully budget the expected expenses and, after you have done so, take a deep breath and double that amount—and hope you can meet that newly inflated budget."

Raven has kept in touch with its loyal audience base via its Web site (www.raventheatre.com) and through direct mailing. Montemurro, who heads the children’s theatre program, has been consistently booking shows in the area. Two years ago, Raven began a partnership with Hayt Elementary School across from the new theatre. The company brings its kids’ shows there and encourages students to create their own plays. Once the new space opens, these students will be able to see productions there and participate in workshops.

The move just one mile south serves the theatre well. It’s less congested and closer to both Lake Shore Drive and the Edens Expressway. Raven can now offer free parking in its own lot, and the family-oriented residential community is ideal for its kids’ programs.

According to Menendian, the 160-seat mainstage will be the setting for productions of plays highlighting "the American experience" (Night of the Iguana and Golden Boy are under consideration), as well as ventures into world drama, such as Brian Friel’s Dancing at Lughnasa. The 70-seat studio theatre will host its children’s series, "Shorties" (including Chicago playwright Mitch Coleman’s Talkin’ Baseball this summer) and workshops. A newly appointed literary manager is now accepting new scripts.