James Bohnen, co-founder and artistic director of Remy Bumppo Theatre Company (based at Victory Gardens Theater), shares a charmingly upfront anecdote about the troupe's decision to create a core ensemble. Since establishing the company'rooted in classic yet topical dramas that are given astute productions'he would choose plays with specific actors in mind. The goal was to best serve the playwright's intentions and challenge actors to 'develop more muscle in their work.' Close to three years ago, he had lunch with Dennis Zacek, Victory Garden's artistic director, who told Bohnen the only complaint he's heard about Remy Bumppo is that it uses some of the same actors over and over again.

'Dennis told me, 'You need to make that a plus,'' relates Bohnen with a chuckle. ''Create an ensemble'then no one can complain.''

After a brief pause, the artistic director comments, 'It dove-tailed really nicely.'

But Remy Bumppo'now in its seventh season'was not solely interested in crafty re-positioning. The formation of a group of actors (with diverse personalities, skills and interests), who are artistic associates, has anchored the company and enabled it to grow and become better known. In addition to Bohnen and managing director Kristin Larsen, Remy Bumppo (partially named after Bohnen's late black labrador Natty Bumppo) consists of Annabel Armour, David Darlow, Shawn Douglass, Linda Gillum and Nick Sandys, who make up the five artistic associates body.

While technically a gypsy company (although it has maintained a steady location at Victory Gardens), Remy Bumppo has recently been able to produce a solid, three-show season over specific timeframes. In 2001, Bohnen moved his office out of his home and into a spacious warehouse facility in Ravenswood, where the administrative and artistic staffs work together.

The space's greatest asset is a rehearsal room, which the troupe regularly rents out to other theatre companies, as well as corporate trainers and for benefits, readings and other functions. The extra income supplements expenses, most of which are paid for through the board's fundraising efforts, which include individual donations. The company is also into its second subscription season. And, although they did not attract huge numbers, ensemble member Linda Gillum reports that subscriptions doubled this year.

'Our ensemble,' notes Bohnen, 'was a logical progression in our goal of creating a community of artists.'

Bohnen, the primary director of Remy Bumppo's stagings, now collaborates with his artistic associates in shaping a relevant season of plays that complement each other, speak to our times and are unobtrusively linked by a unifying idea. For example, the 2003-04 season opens with George Bernard Shaw's Major Barbara (Dec. 7-Jan. 25). It continues with an encore presentation of a staged reading of A Child's Christmas in Wales and other holiday-themed short stories (Dec. 6, 13 and 2); Richard Nelson's Some Americans Abroad (February); and Simon Gray's Hidden Laughter (April).

According to Bohnen, the world situation seemed to guide the play selections into the realm of personal responsibility. Last year, examinations of money drove the season. The artists are voracious script readers, who spend time reading the text aloud. They gravitate toward great wordsmiths'from Chekhov to Stoppard'whose commentaries on society and social justice issues are endlessly in vogue. Shaw is a popular choice for Remy Bumppo. And Bohnen quips, 'It's always time for Shaw because we're [the human race in general] always behaving badly.'

Ensemble member Shawn Douglass (who is directing A Child's Christmas in Wales) finds the upstairs Victory Garden space ideal for 'speaking [these playwrights'] rich, luxurious language honestly to each other.' The intimacy of the theatre prevents overblown performances.

'You can't work on plays by Shakespeare or Shaw without being in love with the words,' stresses Bohnen, a very process-oriented director. 'There is music in the language. You try to listen so intently to find where the real music is.'

Gillum (also a member of Defiant Theatre) first discovered Remy Bumppo about five years ago when she auditioned for Road To Mecca. She ultimately did not get cast but remembers how pleasantly different Bohnen's audition was: 'I felt like James was directing me in my audition. He was very respectful and, after I left, it was like I had a free coaching session.'

For Gillum (who later landed a role in Man and Superman and other plays, including Holiday), Remy Bumppo became more than a place to be in a show. It was a training ground for actors to keep polishing their craft and unearthing new discoveries from the script.

'James respects every word of the text,' says Gillum, 'and he doesn't have a huge concept for productions. It's not, 'Let's put Major Barbara on a spaceship.''

Bohnen responds in a self-effacing manner: 'We're not necessarily special in this way'we have a real rigorous examination of the text.'

Such linguistic diligence is evident in Remy Bumppo's consistently well-received stagings (including The Seagull, Heartbreak House, Waiting for Godot, No Man's Land and Hapgood). Yet, despite rave reviews, the company has struggled with low audience attendance.

'We remain stubbornly foolish about not attracting audiences,' remarks Bohnen. 'We're desperate for 10,000 more people.'

With a growing board, a permanent office/rehearsal facility and a core ensemble, Remy Bumppo has gained greater visibility. The artistic associates act as 'goodwill ambassadors,' and more focused research is being conducted. The troupe's direct mailing campaign targets audiences who typically attend classical theatre events, as well as the opera and symphony.

'We've made a huge growth spurt,' says Gillum. 'We're doing three plays now, we've added board members, and we're looking to collaborate with other arts groups.'

For A Child's Christmas in Wales, Remy Bumppo has teamed up with Chicago modern dance company Melissa Thodos & Dancers, who will create a movement segment for a reading of e.e. cummings' 'little tree.' This program will no doubt attract crossover dance audiences.

Bohnen, who has directed plays across the country, is steadfast in his commitment to language: 'Even if audiences don't like the play, at least they will get a production of a high-quality that cares about the words. They know they'll get the 'music' played correctly.'

Remy Bumppo Theatre Company, 3717 N. Ravenswood, Suite 245, Chicago, IL 60613. 773/244-8119.

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