"Tonight, as we say goodbye to Hull House, let’s be assured that, though its physical space will be no more, the creative spirit that found a home here for so many years will go on. It’s an essential part of our past, and a proud part of our future."–Richard Christiansen

The Jane Addams Center’s Hattie Callner Memorial Theater (3212 N. Broadway) has housed some of Chicago’s most influential and exciting theatre since its doors opened in the 1960s. From backstage to the balcony–both terms used loosely in regards to this space–the theatre has been inhabited by such local stalwarts as Steppenwolf, Bailiwick, Black Ensemble, American Blues (now American Theatre Company), Famous Door and its current and final resident, About Face Theatre. At the end of August, the theatre closed its doors forever as the building is being razed to make room for a health club.

Very few of us will miss the cramped balcony and the closet known as backstage, but we will all miss this magical place of innovation and experimentation. On Aug. 19, several theatre companies and individuals gathered together to pay homage to Hattie in a "Living History" presentation that recounted scenes from past great shows and memories of the often-goofy times that result when a tightly-knit group of creative people share a small space. The event was hosted by Rick Kogan and Bill Williams.

The evening began with a letter from Lois Weisberg, Chicago’s cultural affairs commissioner and former acting teacher at the Jane Addams Center: "It is with deep regret that I must say farewell to Hull House in the Lakeview neighborhood…It has earned a rightful place in the history of our city for its landmark role as home, venue and incubator of a who’s who in the arts and for its significant contributions to developing Chicago’s unique off-Loop theatre movement."

Jeff Perry and Rondi Reed told stories of Steppenwolf’s scrappy years at the Hull House. Not only did the company double in size during their time at the theatre, but they presented some of their best known works, such as Lanford Wilson’s Balm in Gilead and Sam Shepard’s True West.

Mike Nussbaum and Alaric "Rokko" Jans spoke of the early years of the theatre, when director Bob Sickinger was in charge. Jans then performed "The Banana Song," which closed the bi-weekly performances of Captain Marvel, a serial play for kids. "We would pass out bananas in lieu of a real ending," he said.

Marc Grapey cleared away the quickly accumulating sap with his presentation of objects representing the Famous Door years: a six-pack of Old Style, a pack of cigarettes, and a very large bong. Bailiwick and About Face offered their tributes as well, and critics from Richard Christiansen to Hedy Weiss to Lawrence Bommer presented a critical look at the work presented at Hull House and its meaning to the off-Loop theatre community.

Overall, the night was filled with the kind of veneration usually reserved for a wake or the Kennedy Center Honors. Williams likened the space to a holy site in the Middle East where "first the pagans, then Jews, then Christians, then Muslims built their temples."

In the end, the evening petered out as so many theatre parties do. A few members of About Face sat around into the wee hours drinking, smoking, reminiscing and singing not "The Banana Song," but songs from a more recent production, Whitman, in lieu of a real ending.

Go online to performink.com to read letters from Richard Christiansen, Lois Weisberg, Eric Simonson, Christian Cartmill, Scott Lowell and Timothy Monsion presented at the Living History ceremony.

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Letters in memory of Hull House