“In some ways it's a well-kept secret. People on the coasts don't seem to know that such a vibrant theater and arts scene exists in the Midwest.”
This is how an anonymous survey participant described the unique quality of theatre in the Midwest, which illustrates the essence of this thesis paper. While the following work is focusing primarily on professional theatre in the Midwest, it also catches a glimpse on community theatre, especially in Montana, as their major form of theatre.
In general, American theatre is often equated and centered with theatre that is produced and staged on Broadway in New York City. Yet, the American theatre scene is much more diverse and widespread than commonly believed.
The common misconception about American theatre outside of New York is supported by the lack of literature about Midwest theatre. Information on Midwest theatre for instance is mostly covered in American theatre biographies, however, current studies on the variety and structure of contemporary Midwest theatre are rather rare to non-existent. Therefore, empirical and statistical research for this paper in form of field and Internet studies were essential.
The structure of the paper in some way reflects the diversity of Midwest theatre and landscape, starting by defining the Midwest as a region, followed by a brief history of American theatre in general and its basic current structure. A description of all established theatre branches in the Midwest, case studies of exemplary theatre companies in Chicago, Minneapolis, Iowa, South Dakota and Montana, are preceded by individual perception on Midwest theatre by performing artists as well as audience members.
“ I was surprised by the professionalism and wide variety of theatre opportunities for people in the Midwest region (Chicago areas especially) after being raised in New York, where "everyone who is anyone" should flock to for theatre experience. The Midwest and others regions offer a wide span of experience and opportunity for many aspiring talented theatre professionals and amateurs alike.”
This exploration proves there is indeed a wide variety of theatre in the Midwest, ranging from highly professional companies, to highly motivated, quality amateur theatre, and that there is much more potential in creative energy and ambition than commonly believed.
Table of Contents
INTRODUCTION
CHAPTER 1: The Heartland – Great Lakes and Great Plains
1.1. The Appalachians, the Rockies and the Ohio River –The Embedded Midwest
1.1.1. Finding A Definition
1.1.2. Frontier, Lewis & Clark and American-Indians – History of the Midwest
1.1.3. Pioneers, Farmers and Johnny Carson – Socio-cultural Development of Midwestern Communities
1.2. US State Repertory – Brief Introduction to the Sampled Regions
1.2.1. Illinois – Prairie State and Windy Cities
1.2.2. Minnesota – The Land Of 10,000 Lakes
1.2.3. Iowa – The Hawkeye State
1.2.4. South Dakota – Great Places. Great Faces
1.2.5. Montana – Big Sky Country
CHAPTER 2: Theatre in the United States – The Review
2.1. From Ban to Broadway - History of American Theatre
2.1.1. Hallam and Dunlap – The Colonial Years
2.1.2. Beginning Star-system, Melodrama and Frontier
2.1.3. Vaudeville and American Realism
2.1.4. The Rise of Commercial Broadway
2.1.5. Avant-garde vs. Big Business – Ascending Off-Broadway And Regional Theatre
2.2. Equity and LORT – Contemporary United States Theatre System
2.2.1. Money, Money, Money or Zero Balance – Commercial vs. Non-Profit Theatre
2.2.2. The Geographical Clash - Broadway vs. Regional
2.2.3. US and European Style - Repertory vs. Repertoire
2.2.4. Actors Unified and Unionized – The Actors’ Equity Association
2.2.5. Broadway, what? – The League of Resident Theatres
CHAPTER 3: Broadway. Regional. Community. Professional Theatre in the Midwest
3.1. Midwest Theatre – A Statement for Progress
3.2. Touring Companies and Regional Gemstones – The Different Kinds of Theatres in the Midwest
3.2.1. Make A Living From Performing - Professional Theatres
3.2.1.1. Avant-garde and Popular - The Regional Theatre
3.2.1.2. Musicals and Hit Plays – The Big Commercial Theatre
3.2.1.3. How I Learned To…Act - The Small Non-Profit Theatre Company
3.2.1.4. Broadway Road Trip – The Touring Company
3.2.1.5. Suddenly, Last … Summer Stock Theatre
3.2.1.6. Theatre Non-Stop – Theatre Festivals (Fringe)
3.2.1.7. Off The Top One’s Head – Improvisational Theatre
3.2.1.8. Eating And Enjoying – Professional Dinner Theatre
3.2.2. After Work Yet Passionate – Non-professional Theatre
3.2.2.1. Community Theatre. From People for the People
3.2.2.2. Development of Community Theatre in the United States
3.2.3. Somewhere In Between – Educational Theatre
CHAPTER 4: Our Town – Case Studies
4.1. Performing The Loop. Theatre in the Windy City, Chicago, Illinois
4.1.1. House of Directors – The Goodman Theatre
4.1.2. House of Actors – The Steppenwolf Theatre
4.1.3. House of Improvisation – The Second City
4.1.4. Theatre in the Water Tower Water Works – The Lookingglass Theatre
4.1.5. “Dramatically Different” – About Face Theatre Company
4.1.6. “Theatre so close, it touches you” – Victory Gardens Theatre
4.1.7. Broadway in Chicago
4.2. Thank You, Mr. Guthrie. Performing Arts in the Twin Cities, Minnesota
4.2.1. And so it begins… - The Guthrie Theatre
4.2.2. “Time for Something New” – Theatre de la Jeune Lune
4.2.3. Ethnical Theatre – Mixed Blood, Penumbra, Theatre MU
4.2.4. “Fresh Art Delivered Daily” – The Minnesota Fringe Festival
4.2.5. Fitzgerald Theatre – Residence of the Prairie Home Companion
4.2.6. Orpheum, Pantages, State Theatre - Broadway in Minneapolis
4.2.7. “Love. Listen, Wonder, Excite” – Children’s Theatre Company
4.2.8. The Oldest and Largest of its Kind - Chanhassen Dinner Theatre
4.2.9. “Experience the Unforgettable” – History Theatre
4.3. Theatre in Iowa
4.3.1. Two Equity Houses – Both Alike in Dignity
4.3.2. New Ground, Repertory Theatre of Iowa, Theatre for a Change and Stage West
4.3.3. The Commercial One – Lamb Theatre
4.3.4. Festivals – Iowa Fringe and Pella Shakespeare
4.3.5. Quality in Community – Des Moines Playhouse and Actors Inc.
4.4. Theatre in South Dakota
4.4.1. Waterfalls and Prairie. Theatre in Sioux Falls, SD
4.4.1.1. The Washington Pavilion
4.4.1.2. Theatre For and By Strong Women – Ephemeral Productions
4.4.1.3. Shakespeare At the Falls – Bare Bodkins Theatre
4.4.1.4. “Pros Not Only for Kids” – The Children’s Theatre Company of Sioux Falls
4.4.2. Ah, Wilderness. Summer Stock Theatre in Custer, South Dakota
4.5. True West. Community Theatre in Montana
4.5.1. The Roots of Community Theatre in Western Montana
4.5.2. The Current State of Community Theatre in Butte
4.5.3. In Search of Issue-Oriented Community Theatre: Expedition to Helena
CHAPTER 5: The Lewis & Clarks Of The Performing Arts. A Survey on Theatre Artists in the Midwest
CHAPTER 6: The Midwest Audience. An Impact Survey
CHAPTER 7: Conclusion - You Can Take It With You.
Research Objectives and Focus Areas
This thesis examines the contemporary structure and landscape of professional theatre within the United States Midwest. Through a combination of academic research, field observations, and empirical data collected from online surveys of artists and audiences in states like Illinois, Minnesota, Iowa, South Dakota, and Montana, the study aims to move beyond the narrow focus on Broadway to highlight the diverse, vibrant, and under-represented theatrical culture of the heartland, providing a foundational guide to this region's evolving performing arts.
- The history and development of American theatre and its modern commercial/non-profit structure.
- The specific characteristics and challenges of theatre in the diverse states of the Midwest.
- A detailed analysis of professional, community, and educational theatre models operating within the region.
- An impact survey evaluating how Midwestern audiences perceive and engage with local theatre.
- Institutional roles, such as the Actors' Equity Association and the League of Resident Theatres, in shaping regional professional theatre.
Excerpt from the Book
2.1. From Ban to Broadway - History of American Theatre
“The history of theatre gives us a new perspective on the growth and development of the nation. We are accustomed to think of the history of the United States in terms of political events, economic crises, and social changes. As we follow the theatrical history of the country, we view the same developments from a sharply different angle - from a position inside the stage door. We begin to realize that political, economical, and social events all influence the theatre, in turn, influence the complex social structure around it. Now and then, theatre history and political history join in a moment of shattering crisis, as they did on the evening of April 14, 1865, when a demented actor assassinated Abraham Lincoln while Lincoln was sitting in a box at Ford’s Theatre in Washington, D.C.”
Summary of Chapters
CHAPTER 1: The Heartland – Great Lakes and Great Plains: This chapter defines the Midwest region, exploring its socio-cultural history, industrial evolution, and diverse state-by-state demographics.
CHAPTER 2: Theatre in the United States – The Review: This section provides a historical overview of the American theatre, tracing its roots from the colonial period to the rise of commercial Broadway and contemporary labor organizations.
CHAPTER 3: Broadway. Regional. Community. Professional Theatre in the Midwest: This chapter analyzes the various types of theatre production models in the Midwest, including professional, non-profit, touring, and amateur community theatre.
CHAPTER 4: Our Town – Case Studies: Detailed case studies of specific theatre companies in Chicago, Minneapolis, Iowa, South Dakota, and Montana illustrate the diversity and local impact of Midwestern performance arts.
CHAPTER 5: The Lewis & Clarks Of The Performing Arts. A Survey on Theatre Artists in the Midwest: This survey reports on the working conditions, demographics, and motivations of theatre artists actively participating in the Midwestern theatre scene.
CHAPTER 6: The Midwest Audience. An Impact Survey: An analysis of the audience perspective, examining how local residents interact with, value, and suggest improvements for their respective theatrical communities.
CHAPTER 7: Conclusion - You Can Take It With You.: The concluding chapter synthesizes the study, reinforcing the potential for continued theatrical growth and geographical expansion in the Midwest.
Keywords
Midwest Theatre, Professional Theatre, Community Theatre, Broadway, Regional Theatre, Performing Arts, Actors' Equity Association, LORT, Case Studies, Audience Analysis, Theatre History, Arts Education, Minnesota, Illinois, Montana
Frequently Asked Questions
What is the primary scope of this thesis?
This thesis focuses on the current structure, development, and landscape of professional theatre within the United States Midwest, challenging the common misconception that quality theatre is exclusive to the coasts.
What are the central themes discussed in the work?
The work explores the historical development of American theatre, the differentiation between commercial and non-profit models, the importance of regional and community theatres, and the socio-economic factors influencing artists in the Midwest.
What is the core research question or objective?
The objective is to provide a comprehensive guide and an academic analysis of the Midwest theatre scene, identifying how it operates, its potential for growth, and its unique cultural significance beyond Broadway.
Which scientific methods were employed for this study?
The research utilizes empirical and statistical methods, including online surveys conducted among theatre artists and audience members, as well as qualitative interviews with theatre professionals in various Midwestern states.
What content is addressed in the main body?
The main body moves from a regional definition and historical review of U.S. theatre to a categorized breakdown of theatre types (professional, community, educational), followed by specific case studies of notable companies and comprehensive survey reports on both artists and audiences.
How would you characterize this work using keywords?
The work is best characterized by terms such as Midwest Theatre, Regional Theatre, Performing Arts, Theatre History, and Audience Analysis.
What role does the Actor's Equity Association play in the thesis?
Equity is presented as a primary regulatory and professional body, essential for understanding the standards and jurisdictional requirements that define what constitutes a "professional" theatre in the United States.
How does the thesis define the uniqueness of Midwest theatre?
The thesis identifies uniqueness through the region's resourceful adaptation to limited budgets, its strong community-oriented focus, and the way professional and educational theatres often serve as the primary cultural hubs in smaller, more remote cities.
- Quote paper
- Janek Liebetruth (Author), Marco König (Author), 2007, A Prairie Stage Companion - Current Structure And Development of Professional Theatre in the United States, Munich, GRIN Verlag, https://www.hausarbeiten.de/document/120206
