BY LUCIA MAURO
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"Instead of rummaging through old scripts, we decided to rummage through an old theatrical form."
That’s how TriArts, Inc. ensemble member Noel Williams describes the multidisciplinary company’s growing interest in the archetypal performing style, commedia dell’arte. But TriArts–presenting Hfobble, a topical commedia work about aging, through Dec. 1 at Stage Left Theatre–has not relinquished scripts altogether. It has, however, found a consistent creative voice in the intricate masks and physical demands of the 16th century Italian art form as its ensemble expanded to include artists trained by commedia master Antonio Fava.
And it is through this all-encompassing style that TriArts is realizing its mission of bringing new ideas to the stage. The ensemble of 15 designers, writers, actors, directors, managers and technicians aims to provide "an original artistic experience" that unifies the performance, design and technical aspects of a production.
Since its debut in 1998 with Wall of Water at Chopin Theatre, TriArts has been pushing towards a more experimental performance-art realm as evident with its productions of Offending Shadows (an abstract deconstruction of Greek tragedy) and Seashore (a fable-collage of movement and choral music).
Yet, according to executive director Brian Loevner, a new creative direction began to take shape when the troupe produced Wits End, a compilation of short plays by John Guare, John Patrick Shanley and Christopher Durang. "We all worked on different aspects of the show–directing, acting, design," says Loevner. "It gave us an opportunity to challenge each other, and we were forced to work as a really tight group."
TriArts, which recently dropped its "Adult Swim Ensemble" subtitle, began when Loevner and other future members moved to Chicago from the Washington, D.C. area in 1997. They attended tons of theatre here and noticed, particularly in the smaller non-Equity realm, that the design and technical aspects were sometimes compromised due to low budgets. The TriArts ensemble wanted to find creative ways to not shortchange any one aspect of a production.
They achieved this by bringing in highly skilled artists from all disciplines. "We’re not a design company, we’re not an actor-driven company," says Loevner, who has a background in acting, tech and production management. "All is equal."
The move toward commedia began in late 1999 when Williams–who trained at the Dell’Arte International School of Physical Theatre–joined the company. Meanwhile other ensemble members, like the highly visible Allison Latta, had studied commedia and clowning and the time seemed ripe for a collective workshop in this style. The troupe worked out of a warehouse on the West Side, where they built masks and conceptualized their characters. Over the course of six months, they created Hfob-n-Ffos, which they debuted in 2000 at the Winnipeg Fringe Festival (receiving a Best in Fringe Award). A brief run in Chicago followed, and the company continued to perfect its commedia skills.
Last year, it premiered Hfob-n-Tempest, based on Shakespeare’s fantastical romance. And, this year, TriArts teamed up with the City of Chicago’s Department on Aging to conduct a series of workshops with senior citizens. Hfobble tackles seniors’ issues of feeling invisible and isolated. In a sense, the work was co-created with the seniors, and TriArts plans to take it on tour. The next commedia piece, says Loevner, is leaning in the direction of issues surrounding children.
"Through commedia," says Loevner, "we’ve realized how important communication is with the audience. You need to really engage and involve the audience. How do you do that with a script and a box set?"
In fact, TriArts’ more traditionally scripted shows have not been artistic high points for the company. A recent belabored production of Freedomland is a prime example. As Loevner insists, "We want to break ground and create a new form of theatre."
Even if that means working in a style that developed during the late Renaissance.
Considering the resurgence in commedia, especially with Court Theatre’s successful Scapin, do the TriArts folks believe such a slapstick form of theatre (rooted in highly physical improvisation) can speak to modern audiences?
"Commedia appeals to people from all walks of life," says Loevner. "It pares humanity down to its essence by blowing archetypes out of proportion. Our style of commedia is not just about physical humor. We’re really tackling social issues–like our project with the Department on Aging."
This past three-show season was titled "Ages and Stages" and explored life’s journey from childhood (Seashore) through leaving home (Freedomland) and old age (Hfobble). To get a sense of the variety of the ensemble’s backgrounds, other Hfobble cast members include clown-juggler-acrobat Anthony Coarser and Bryce Somerville of Blue Man Group. The company has been marketing the show by dressing up in their commedia costumes and hitting the streets to give unsuspecting passersby a taste of the show–the way the form was promoted 500 years ago.
Next season, TriArts is planning three original shows: one on the myth of the biblical patriarch Abraham, another on a middle-aged woman confronting her teenage self and a commedia piece on the meaning of life.
Co-artistic director Simon Lashford, who previously worked as a designer for the San Francisco Opera, brings an appropriately diversified background to TriArts. A champion of the collaborative process, Lashford aims to unify the entire organization–including the artists, designers, tech, marketing and publicity representatives.
He cites Seashore as a fine example of breaking down categories. According to Lashford, "part of the show was written in rehearsals and part of it was written in design meetings."
But the co-artistic director plans to take collaboration to a higher level.
"Every month, we do an artistic and administrative retreat," he explains. "We revisit our mission statement. Every week, we have meetings. And one member is responsible for an ensemble training exercise [e.g., creating a living sculpture based on a feeling]. Eventually, we’re hoping to take these exercises and create one to allow us to communicate better with each other.
"We want to tackle a work from the beginning as a total ensemble piece from acting and designing to marketing and grant writing. That way, everyone in the company has ownership."
TriArts, Inc. can be contacted at 773/866-8082 or www.TriArts.org.