BY LUCIA MAURO
In
the summer of 1997, I met with Defiant Theatre ensemble members in an
Uptown apartment, where they were gearing up for their violent and orgiastic
production of Albert Camus' Caligula. Jeff Arena, the company's then-executive
director, boasted how 'Defiant will never be a real pleasing sell to a
board of directors' and pointed out that 'the priority is getting provocative
material out there without compromising our standards.'
Fast-forward
to the summer of 2003, where I'm meeting with a restructured Defiant Theatre
at an Andersonville cafe. The mood is more reflective and not so blisteringly
defiant. As the groundbreaking troupe known for its physical and hyper-theatrical
style celebrates its 10th anniversary, it is now facing the inevitable
reality of continuing to create high-powered theatre against the need
for a more solid and financially stable administrative structure.
Artistic
director Lisa Rothschiller and managing director Kara Loquist are currently
reassessing the viability of a three-season subscription series and putting
together a five- and 10-year business plan. 'We need to develop the business
end and a strong board of directors,' says Loquist. 'In two years, I'd
like to see us have a paid staff and an infrastructure in place for the
younger group to work in.'
Rothschiller
acknowledges the benefits of having 'to take a step back in order to move
forward,' especially considering the overall drop in theatre attendance,
as well as funding, since 9/11. She's confident that the next generation,
together with long-time Defiant ensemble members, will continue to bring
fresh ideas to the table that carry out the theatre's hardcore mission
'to defy fear'[and] strive to subvert social, moral and aesthetic expectations
of mainstream artistic expression.'
However,
can Defiant maintain its radical edge as its original artists get older
and their priorities begin to shift? 'I think the edginess is at our very
core,' insists actor-director Linda Gillum. 'That's what attracts us to
each other. We've always held onto that. I don't think Defiant will ever
not be defiant. The style remains the same; our energy changes.'
Loquist
contends that, because the company has always been comprised of 'strong
individuals,' it will continue to thrive. She also believes that the artists'
staunch dedication to ingenuity and perfection, without getting paid,
underscores a 'core intensity' with great potential for growth.
For
Rothschiller, the earlier years marked a time when the artists had no
fear. 'It was do art or die,' she says. 'We would do stunts that were
really dangerous'for no money. When you're older, you realize that you
don't want to die. Now I think we have a much more mature attitude toward
creating theatre.'
'But,'
she adds, 'you hold onto your curiosity and keep asking questions. That's
what keeps you edgy.'
Instead
of a new show, Defiant will celebrate its first decade with an extravaganza
that honors its circus-sideshow sensibility. A carnival atmosphere will
engulf The Viaduct Aug. 8-10 with a breakneck retrospective, Fabulon Historifarcicon,
of the nearly 30 works produced by the troupe. It wouldn't be Defiant
without a ladies' 'Jell-O Wrestling Tournament,' 'Caligula Twister,' Tarot
readings, puppet displays and a well-stocked bar.
The
gala anniversary party also condenses Defiant's trademark Kabuki, circus
acts, clowning, fight choreography, sarcastic and witty writing, and cartoonish
amalgamations. After all, this is the company that debuted in 1993 with
production of Hamlet that featured a coked-up Danish prince and a shoot-out
finale.
Defiant
Theatre traces its true beginnings to the ensemble's theatre studies years
at the University of Illinois at Urbana-Champaign. While their training
was admittedly 'pretty' and 'traditional,' the aspiring artists were able
to twist and stretch their more radical muscles at the campus theatre,
which they ran and where they were free to develop their combined brainy-silly-gross
out aesthetic.
Hamlet
and Quarantine got their start at the University of Illinois. Gillum reiterates
that, since its beginnings, Defiant was 'not just splatter theatre.' It
could be both eviscerating and erudite. U of I, they say, provided them
with 'an incredible work ethic and discipline''and an uncanny ability
to be resourceful with little to no funds.
They've
steadily chosen works that amuse them. And, as actor-director Jim Slonina
notes, 'It seemed like we were always wonderfully horrified by the same
things.'
Defiant
Theatre'an itinerant company that chooses spaces (like American Theatre
Company and The Viaduct) which conform to its often sprawling style'has
produced 29 shows, including seven world premieres, two American premieres
and seven Midwest or Chicago premieres. Works include Ugly Man, Red Dragon,
Dracula, Skriker, Cleansed and original plays by ensemble member Christopher
Johnson (Dope and Godbaby),
The
company regards its operatically vulgar 1996 production of Alfred Jarry's
Ubu Roi (adapted by Joe Foust and Richard Ragsdale and renamed Ubu Raw)
as a key benchmark production. It brilliantly united grisly political
satire with large-scale puppetry and a host of living cartoons'a precursor
to Foust's acclaimed Action Movie series. Loquist describes Ubu Raw as
'intelligent and low-brow,' and a fine example of Defiant's drive to produce
intensely 'theatrical' works.
At
this crucial milestone, Defiant finds the increasing costs and limited
availability of spaces to be one of its greatest challenges. And, in this
reorganization process, it's building a board and working closely with
new and emeritus ensemble members. 'This year,' says Rothschiller,' there's
an emphasis on leadership. We want people with new ideas, people who are
going to be resourceful and can do more than one thing'like act and build
sets, or direct and be part of the administrative staff.'
Despite
the economic challenges, Defiant remains tenacious. It has not given up
its goal of having its own large space. On that note, Rothschiller shares
a vision: 'I had a dream that our space was an old mental asylum. But
it wasn't scary or depressing. It was very happy and hopeful.'
Her
unconscious encounter is a bold analogy for Defiant's ability to transform
nightmares into things of great beauty and emotional power.
Defiant
Theatre: 312/409-0585; www.defianttheatre.org.