BY LUCIA MAURO
It takes its name from the mythical bird that rose from its ashes to begin
a new life. But Indianapolis-based Phoenix Theatre is embarking on a different
kind of fresh beginning. Now in its 19th season, the company is spreading
its wings to Chicago, where it plans to maintain stronger ties with the
local theatre community.
And if its current staging of Toni Press-Coffman’s exquisite and profoundly layered play, Touch—receiving its Chicago premiere through Dec. 30 at Victory Gardens—is any indication of the troupe’s commitment to honestly engaging audiences in the edifying power of theatre, Phoenix Theatre’s more frequent presence here is sure to enhance an already fertile dramatic landscape.
"We’re going to step up our involvement with Chicago," says founding artistic director Bryan Fonseca. "It serves our long-range goal of having more of a regional presence. It’s great for our artists to be exposed to the rich theatre offerings of Chicago; and it helps Chicago artists who can check out our work when we’re performing here."
Phoenix Theatre does not plan on relocating to the Windy City. But the presentation of at least one production here per season is feasible, and Fonseca expressed his interest in developing a relationship with Victory Gardens Theater which, like Phoenix, is dedicated to developing playwrights.
"Sharing resources" is a phrase Fonseca emphasizes during our conversation. He believes theatres should be collaborators, not competitors, and finds the Chicago theatre community exceptional in its willingness to assist its artists. Another ongoing mission is to get a play beyond its original production and into other markets.
Phoenix began branching out to Chicago in 1992, with its staging of Steve Tesich’s Square One at The Theatre Building. In addition, Tony McDonald’s Latitude was presented in 1998 as part of Bailiwick’s Pride Series. Phoenix’s first commissioned play, Jeffrey Hatcher’s Mother Russia, was co-produced by Dayton, Ohio’s Human Race Theatre Company and performed in Indianapolis and Dayton before traveling to Chicago for a four-week run in 1999 at The Theatre Building. This year, Luther Goins, managing director of Chicago Theatre Company, directed Seven Guitars for Phoenix.
Touch had a fascinating evolution. Actor Tim Grimm—who lives in Indiana and recently starred in Immoral Imperatives at Victory Gardens—brought Press-Coffman’s play to Phoenix Theatre. The possibility existed for Victory Gardens’ associate artistic director Sandy Shinner to direct. But, over time, it was decided that Fonseca would bring his Phoenix production of Touch to Victory Gardens’ upstairs studio space.
One of six plays chosen for full-length productions at this year’s annual Humana Festival of New American Plays at the Actors Theatre of Louisville, Touch was initially developed with an artist’s grant from the Arizona Commission on the Arts and given staged readings at new play festivals in Arizona and Minneapolis. The play received a full production in 1999 at Phoenix Theatre, where it was selected from 325 entries as the winner of the 16th annual Festival of Emerging American Theatre, sponsored by Phoenix and underwritten by Frank Basile. Touch also was the recipient of the 1998 South Carolina Playwrights Festival/Trespass Theatre Award.
Fonseca, a director and co-founder of Phoenix Theatre, moved from his native Gary, Indiana to Indianapolis in 1978. He frequently came to Chicago to see shows and took classes at the famed St. Nicholas Theatre.
The Phoenix Theatre was founded in 1983 "to fill a void in the local community for a theatre dedicated to contemporary plays addressing current issues with professional production values." Since a number of the founders were playwrights, the company is rooted in new-play development.
"We all had a common goal of developing new work," Fonseca reiterates. "It’s great to find your community—to make the commitment and to share scripts.
"The value of our art is that we want to hear our stories; we want to learn about ourselves. It’s exciting to be part of the genesis of a new play. We feel like something’s missing when we’re not interacting with the playwright."
The Phoenix was part of Indianapolis’ downtown revitalization and, in 1988, moved into its current facility: a renovated turn-of-the-20th-century church in the city center. The building was donated by J. Scott Keller and received an Historic Preservation Award for Adaptive Use from the Historic Landmarks Foundation of Indiana. Phoenix owns the building, which has two performance spaces: the 130-seat Mainstage Theatre and the 84-seat Underground Stage. Both spaces were refurbished in the summer of 2000 to make the facility more comfortable for the audience.
"We’ve spent 19 years mastering the smaller space," notes Fonseca of the troupe’s dedication to intimate theatre experiences. "We’ve embraced the minimalism."
In 1993, the Phoenix achieved full professional status by signing a Small Professional Theatre (SPT) contract with Actors’ Equity. The Phoenix is one of only three Equity theatres in Indianapolis. Throughout its history, its goal has been to present city, state, Midwest and world premieres of issue-oriented contemporary plays. Of the 196 plays produced during its first 18 seasons, 191 have been Indianapolis premieres, and 56 have been world premieres. All 2001-02 shows are first-time productions for the community; five are regional premieres, and two are world premieres.
The Phoenix is now embarking on a new phase. Fonseca announced a $1.5 million campaign toward an endowment to ensure the theatre’s future.
"This is a pivotal time for us," he says. "All those things we dreamed about in 1984 are now a reality: We’re an Equity company; we’re expanding our goal of producing original plays and how we develop them; we’re producing in Chicago; and we’re establishing an endowment."
Following are descriptions of the Phoenix Theatre’s programs:
The 2001-2002 Subscription Series: Performed on both stages and includes 11 productions, all of which are first-time productions for the community.
Frank Basile Festival of Emerging American Theatre (FEAT): A year-round program which nurtures new playwriting talent. The festival includes a New Play Competition, with three scripts receiving fully staged productions as part of the Subscription Series.
Playwright-in-Residence: A new residency program funded by a grant from the Theatre Communications Group/National Endowment for the Arts. The theatre’s Playwright-in-Residence coordinates the Phoenix’s new play development programs. New activities funded by the grant include a Writers’ Roundtable, a workshop for Indiana playwrights; and a Teen Theatre Workshop with in-school and in-theatre programs, including the production of a world premiere play written, acted, and directed by workshop participants.
Outside Performers: As part of its effort to introduce Indiana audiences to new works and artists, Phoenix presents productions by independent companies, performance artists and musicians. In addition to providing a venue, the theatre provides artistic, technical and administrative support.