BY LUCIA MAURO
Like its logo–a familiar optical illusion of ever-changing perspectives–Profiles Theatre has managed to shift its own profile over the years without losing sight of its original commitment to solid, topical storytelling.
When I first encountered the company in 1995, with its urgently contained production of Glengarry Glen Ross, Profiles was making the transition from established contemporary plays to Chicago or U.S. premieres of new American and international works–the latter an objective it has stuck to since 1996. Its bitterly funny staging of David Marshall Grant’s Snakebit (a Chicago premiere) has been extended to April 27.
Profiles has a fascinating ability to get ongoing critical attention and consistently produce unembellished but provocative plays in its 55-seat storefront space at 4147 N. Broadway (formerly Red Bones Theatre)–yet the artists don’t brag about any fancy long-term business plans and get little to no funding.
"It all comes down to the work," says founder-artistic director Joe Jahraus, "because we’re not spending all this time on strategy."
Adds associate artistic director Darrell W. Cox, "We’re aware that we’re only as good as our last show. And, when you are relying on box office–not grants–you make sure you do really good work."
Now other theatre artists might take issue with that statement–arguing that funding allows for more creative resources and a higher quality product. But Profiles is the sort of troupe that could present a play on a bare stage–all that’s needed are actors committed to their craft and a timely script (preferably a linear one) with a powerful point of view. A great deal of time is devoted to selecting scripts "that combine integrity with risk."
But how can a not-for-profit, non-Equity theatre survive based on what amounts to a modern-day version of two planks and a passion?
According to Jahraus, growing a theatre company is tied directly to the ensemble members’ growth as individuals. He started Profiles Theatre in 1988 with four other Eastern Illinois University theatre graduates. Originally in residence at Wright Junior College on the northwest side, Profiles debuted with Larry Shue’s The Foreigner, but soon plunged into a Chicago premiere of Don DeLillo’s The Day Room one year later. The 500-seat auditorium at Wright College, however, was not an ideal space–and it did not attract large audiences.
Profiles moved to its current space (for which it has a long-term lease) in 1990 and received critical acclaim for its staging of David Mamet’s Sexual Perversity in Chicago. "You start with certain ideals," says Jahraus. "And, when you’re younger, you’re drawn to Mamet and Shepard–plays actors can sink their teeth into. For a while, it worked well for us."
Then, Jahraus points out, original ensemble members moved on to other things; the local theatre landscape became a frenzied magnet for Mamet and Shepard plays; and Profiles needed to grow artistically. In 1990, Cox–a theatre graduate of Sam Houston State University in Texas–teamed up with Jahraus in a hit production of Shepard’s True West.
Today, Cox, together with Jahraus (who also designs sets) and actor-company member Sara Maddox, form the most visible core acting ensemble. All three perform together regularly on stage. But Profiles’ ensemble totals nine, including resident sound designer Scott Ian Lefton, actors Greg Yaeger and Eric Burgher, and technical staff Sal V. Armano, Wayne Karl and Cynthia Jahraus (Joe’s wife). Profiles draws from a large pool of local guest directors.
Maddox was attracted to Profiles’ "welcoming and professional" atmosphere and the opportunity to do solid new work. Premieres will continue to drive the aesthetic.
"The early years were the genesis of the kinds of stories we were interested in," says Cox. "But we got tired of telling stories people already knew. We wanted to tell stories that were fresh–stories we could put our own stamp on."
And how would Profiles define its stamp (even though they insist that "style does not stand above the work")?
"Something dark and edgy underneath," responds Cox, "whether it’s a comedy or a drama." Jahraus notes, "It’s important that you can hear the author’s voice. Narrative style and language are very important."
A key turning point occurred in 1992 when–alongside Lyle Kessler’s Orphans and Joe Orton’s The Ruffian on the Stair–Profiles presented the Chicago premiere of Jules Feiffer’s Carnal Knowledge (another hit). Then, four years later, it landed another critical success with the Chicago premiere of Jane Anderson’s The Baby Dance. Since then, Profiles has made its mark with a combination of gritty small-town America dramas and working class British plays.
Yet Jahraus argues against being a theatre that does only blue-collar plays: "It’s coincidental that we had a few small-town plays in a row. We just happened to like the stories, and these were good character-driven plays."
Profiles broke all records with the U.S. premiere of Ben Elton’s Popcorn (a Quentin Tarantino-style spoof of media-hungry criminals), which ran from October 1999 to June 2001 (prompting them to almost rename the company Popcorn Theatre). More recent premieres include Richard Zajdlic’s Dogs Barking and Joe Penhall’s Some Voices.
For Jahraus, a focus on bringing in contemporary plays from off-Broadway, regional theatres and other countries is gratifying: "When we do a premiere, it feels uniquely ours." Cox shares this sentiment: "We’re presenting these characters for the first time. Audiences like it. That’s exciting for us."
From a business survival standpoint, Jahraus had a solid financial base. He owned City Lights Video in Wrigleyville until last November. But he continues to work in the video sales and rental business. Cox, who quit his job in real estate to devote more time to the theatre, does commercial work on the side and, most recently, inaugurated classes at Profiles.
His six-week advanced scene study class is intended for theatre professionals, and an audition is required. It takes a concentrated approach to contemporary scene work that mirrors the rehearsal-to-performance process. Each student works with another actor on one scene for the duration of the course. The last class is taught by guest instructor Erica Daniels, casting director at Steppenwolf Theatre, who views and critiques all the scenes.
"Darrell takes students through the artistic side and gives really good notes," says Daniels (who used to be Cox’s agent at Shirley Hamilton). "I take them through the industry side–I look at their headshots and get a sense of where they are at in their careers so I can honestly let them know what’s a good next step for them."
Cox–a two-time Best Actor Jeff Citation winner (for Profiles’ Eye of God and Some Voices)–plans to offer a monologue class in late spring. The next advanced scene study class begins April 8.
For more information, visit www.ProfilesTheatre.org.