Theatre Design & Technology - Spring 2008 - 11

salvaged fenders we found on an abandoned Volkswagen Beetle-OK, we
assumed that it was abandoned. We had black leather motorcycle jackets
that Gary Sinise somehow begged from Harley Davidson for each of us,
and a hubcap was passed at intermission for donations.
After this roaring start, it was off to college for some of us. I found
my way to Drake University my drama teacher's alma matter, while Jeff
Perry went to Illinois Sate. I took my first and only theatre classes that
semester, built every set, performed for the first and last time-ever, and
participated in a master class taught by Jim Bakkom, prop master at the
Guthrie who gave me my first big break. I was in the right place at the
right time.
After working with Jim for several days, he reviewed my "portfolio"
consisting of a few water-color renderings for class projects and he urged
me to move on. He recommended me to the Guthrie for an internship.
This brought an abrupt end my college education. I packed my bags,
folded up my drafting table, and boarded a Greyhound for Minneapolis.
Upon arrival in Minneapolis, I learned that Bakkom was no longer with
the Guthrie but that I was welcome to stay. I remained for the season
working with scenic designers Robert Ellsworth, Jack Barkla, John Jenson, and Desmond Healy.
In addition to building props for the season, I had the opportunity to
assist Robert Ellsworth on Under Milkwood. I also finally worked for Jim
Bakkom who was then doing freelance work on several projects and spent
some time at the Children's Theatre building props for several shows.
That year spent as an intern was an incredible educational opportunity and working alongside these masters opened my eyes to what good
design was. Theatre became sculptural. I learned how to use new materials, to explore and discover new techniques, and most importantly how to
work in the professional world.
I had attended several productions at the Guthrie as a teenager, many
with my friends Gary and Jeff. Now, things that I had created were on that
stage. Not a bad start for a nineteen-year-old kid with almost no training.
In 1976, I returned to Chicago to rejoin my friends at Steppenwolf
and begin my next phase of theatre education. Jeff brought back to Highland Park actors he met while at Illinois State-John Malkovich, Terry
Kinney, and Laurie Metcalf, among others. Together we dedicated ourselves to the ensemble approach to theatre inspired by the work we had
seen at the Guthrie and read about at the Moscow Art Theatre.
Our first challenge was to convert the basement of Immaculate Conception Church and School into an eighty-eight-seat shallow semi-thrust
stage theatre. I designed the space, and the actors pitched in erecting walls,
installing toilets, building dressing rooms, hanging lighting pipes, and
slapping gallons of black paint on everything in sight. A tiny combination
box office, general office and light booth was tucked under the stairs.
For some reason we wisely hired real carpenters to build the seating
risers and the City of Highland Park donated eighty-eight like new theatre
seats salvaged from Chicago's Arie Crown Theatre when it was destroyed
by fire. It was a cozy little place-more or less in compliance with the fire
codes, but most importantly ours-built by us.
That August we presented our first professional season-four
one acts. I think that it was our production of The Indian Wants the
Bronx that put us on the map. The actors burst into the theatre-
literally. They started outside in the playground, ran down the hill,
crashed through the back door, music roaring, lights snapping on,

10

theatre

design

&

technology

S P R I N G

2008

Edmond * Lighting Design * Goodman Theatre * Off-Broadway, 1982

switchblades flashing, and the play was underway. The audience was
sitting on the edge of their seats, fearful for what might happen to the
characters but probably more fearful for what might happen to them.
Welcome to the visceral rock and roll style of Steppenwolf Theatre. For
the record, I now had twelve real dimmers, eighteen 6-inch fresnels
and twenty 4-inch ellipsoidal fixtures-all hung at the grand height of
nine feet.
It was rough, small, in a basement, but it was ours. You don't
need perfect spaces with lots of cutting edge equipment to create
magic in the theatre-it takes the company of like minded individuals directors, designers, actors, artisans, and technicians who are
creative, believe in themselves, and are willing to work hard -even
when that work doesn't make them rich or famous. The actors drove
school buses during the day for the opportunity to act at night. My
days were spent designing and specifying stage lighting systems for
Major, a now defunct stage-lighting and dimming manufacturer. We
survived those first few years, patrons came to see our work, we grew
tighter as a group, and continued working toward the day when the
actors could park the buses for the last time and I could concentrate
on designing plays instead of lighting systems.
When you get the beginning right you can begin to move forward.
Three years later the day finally came and Steppenwolf moved from the
suburban North Shore location into Chicago. The move to the Jane Addams Hull House not only doubled our seating, but gave us a deep thrust
stage with backstage space, a decent grid with height (fourteen feet!), real
front of house facilities, and even a small shop area.
The improved stage facilities served both to expand our production
capabilities and to challenge me as a designer. I now had depth and height
to work with. The choice of plays also changed becoming harder to do as



Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 2008

Contents
Theatre Design & Technology - Spring 2008 - 1
Theatre Design & Technology - Spring 2008 - 2
Theatre Design & Technology - Spring 2008 - 3
Theatre Design & Technology - Spring 2008 - Contents
Theatre Design & Technology - Spring 2008 - 5
Theatre Design & Technology - Spring 2008 - 6
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