Circle Theatre began in 1985 as an adventurous vision of Karen Skinner, Joseph Bass and Wayne Buidens. They produced first in a church hall with the aim to provide an outlet for both mainstream and risqué theatre works in the western suburbs. In 1988, Circle moved to its current Forest Park storefront location.

A scrappier but high-quality theatre at the time, Circle had a knack for making patrons feel like family'right down to the homemade baked goods. Today, the theatre'which consists of a 60-seat mainstage and 40-seat studio theatre'boasts a shiny, remodeled lobby with new doors and such rapid organizational expansion that it may very well be included in a textbook study of successful theatrical management. Always a center for provocative art, it has evolved into something of a mini corporation'albeit, a non-Equity, not-for-profit one.

While acknowledging its more rigid administrative/artistic structure, current co-artistic directors Kevin Bellie and Greg Kolack insist on preserving the family atmosphere. And while the cramped but homey bathrooms may be getting over-hauled, the homemade brownies and cookies are still on the menu'as much a recipe for success as a viable artistic product.

'It's important that we know our subscribers and make them feel valued,' says Bellie, who has been affiliated with Circle for 17 years and also co-directs its respected Emerging Young Artists Program. 'It's like a restaurant. You take notes on your customer's needs. And, when they return, you let them know that you care.'

Throughout our conversation, though, it's a bit discombobulating to hear such corporate-sounding phrases as 'we gave the company ownership in the business' or 'our logo serves as a very important branding strategy.' Top that off with the impending arrival of Hollywood actor Russell Crowe, who was going to be rehearsing his band Thirty Odd Foot of Grunts at Circle before heading to the House of Blues, and I didn't think I was in Forest Park anymore. The Crowe gig, by the way, came about through a company member who worked with him in a film and sang the praises of Circle Theatre. Crowe also wrote Circle a hefty check to pay for a new lighting system.

Bellie contends, however, that the troupe continues to balance its artistic product with forward-thinking business goals while maintaining 'a homegrown atmosphere.' Up until 1998, former artistic director Skinner ran the theatre less formally with a committed group of artists and a loyal community following. Her embracing spirit defined the neighborhood theatre, which has achieved a slew of Jeff Citations and critical accolades over its 18-year history.

When Skinner left to pursue other interests, Kolack (an actor-director who directed his first Circle show in 1994), director Tony Vezner and Skinner's actor-director daughter Alena Murguia formed an artistic triumvirate. They focused on their own areas of expertise and set into motion the clearly delineated responsibilities of the growing company.

The artistic leadership team has shifted more than once since then (Murguia left one year ago to spend more time with her young children). Kolack and Bellie are now at the helm, and they have established a multifaceted theatre organization with great support from the Forest Park community. Forest Park's Mayor Calderone attended the theatre's fundraiser last year (with Daniel J. Travanti as its celebrity guest), and that led to increased support from the mayor (who is now honorary chair of Circle's capital campaign).

The Forest Park Main Street organization also has assisted with supplying police and tents free of charge for Circle's recent outdoor summer festival. Its more structured business professional-based board (now numbering 11) made sure the theatre had the proper insurance for an off-site event and has been instrumental in fundraising and establishing relationships with area businesses. Even its landlord is on the theatre's board. Circle also has extra money to pay a cleaning service (so the artists no longer have to scrub the bathrooms).

'We had a very grassroots feeling for a really long time,' Bellie explains. 'Then we got people with diverse skills in fundraising, grant writing and other areas. Suddenly, we were able to do a yearly fundraiser and a letter-writing campaign.'

'It just sort of evolved,' adds Kolack. 'The right people seemed to find us.'

Artistic and business meetings are held separately. And Kolack stresses that Circle consists of 'company members,' not 'ensemble members,' since they offer an eclectic range of talent beyond acting. These actors, directors, writers, musicians, designers and technicians (who also work as lawyers, administrators, teachers, etc.) range in age from 20 to 70. The artists take on multiple, ongoing responsibilities. They have a large say in programming.

Circle also has a junior company. It offers a six-show season (dramas, comedies, musicals and original works); a Black Box Series (formerly Circle Underground), where emerging artists can be mentored; a profitable youth program (which presents three musicals and builds future audiences); a play reading series; and a free Sunday brunch lecture/panel series for its patrons.

More than half of its audience comes from the western suburbs but, with the theatre's proximity to two 'L' stops and the Eisenhower expressway, it attracts ticket buyers from the city and other outlying suburbs.

The 2003-04 mainstage season features Never in My Lifetime (Sept. 12-Oct. 26), She Loves Me, Fool for Love, Steel Magnolias, The Mystery of Edwin Drood and The Judas Kiss.

Circle has created a popular six-show Flex Pass, a newfangled subscription program in which audiences can buy a card for between $80 and $90'30 percent off the ticket price. This card gets punched whether it's one person attending six shows or six people attending one. Subscribers can purchase as many cards as they like, and they are eligible for discounts at nearby restaurants and stores.

The co-artistic directors are proud to report that, rather than rely on shrinking grants and corporate/foundation funding, the theatre is supported 80 percent by ticket sales. Yet Kolack assures, 'We're not rolling in money, but we're surviving.'

The resurgence of its Black Box Series and other developmental initiatives shows that Circle has always been rooted, according to Kolack, 'in the development of new talent.' 'And that's not just the future of Circle,' Bellie interjects. 'That's the future of theatre.'

Circle Theatre, 7300 W. Madison St., Forest Park, 708/771-0700, www.circle-theatre.org.

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