Choose Your Own Collision Center Case Study

Saturday, November 27, 2021 2:39:01 AM

Choose Your Own Collision Center Case Study



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The three of us are approaching the road ahead with reckless abandon, and fierce commitment to being in that room again, with an audience hush, and the lights coming up, and that suspension of disbelief in unity. There is a sacredness to that, and everything that we encounter is unexpected. Everything is this constant uphill slog, for all of us in the world. And throughout times there have been other pandemics, and every time, we have come back on the other side, united and together and telling our stories again. I think it does give me comfort, and Glenn and Audrey talk a lot about being two, and having support there.

I think that there is a magic in three. So, I am really thrilled to be partnering with Audrey and Glenn who are so fiercely intelligent, like brilliant entrepreneurs willing to take risks, and they love this place like nothing else, and understand its importance to Chicago and to the American theater as a whole. Brooke, Can you talk about your specific transition into the role last year? You came in at a volatile time in America and in the culture, beyond the pandemic, in the wake of the George Floyd murder. Did you know at that point that this artistic leadership change was in the offing, as well? And given my recent history with Chicago Shakespeare and my knowledge of Steppenwolf, it felt like it was a match that could ensure that we could make it through the next series of months to the other side.

Her contract was up in August, and so the group started those discussions then. Our board and donors have been extraordinary, Brian. They have stepped up in ways that we never imagined. Before the pandemic, we were producing seven shows, plus two for young adults. You know, if there is one thing that you could do as a Chicagoan to show your civic pride, it would be to go see a play.

We need people now, more than ever, to come and see our work. Given your background in fundraising, is that going to continue to be a big priority for you moving forward? Making sure that we are staying true to our mission in creating a season of work that is of caliber and engagement of our ensemble as we have done for the past forty-five years. The second piece, as you mentioned, is getting back to campus and rebuilding our teams. And doing it in a way that also builds our culture in a different way.

And the third piece, as you mentioned, the priority will be the campaign. And we now are seventy-seven percent of the way there. Audrey and Glenn, talk a little bit about the process of you becoming co-artistic directors. Let me start at the beginning. We went through a few ideas about what leadership should look like, and ultimately, we decided that as it has been in the past, the leadership should remain on the artistic side, an ensemble member.

Once that was decided, we all went into having a vote. It was a very democratic process, Brian. You would have been very proud of us. We held a vote, and coincidentally, Audrey and I got the most votes. We would often talk about what this would look like and so, when we raised our hands together to do it, it very much felt like a no-brainer, at that point. Brooke often talks about this notion of ensemble leadership has always been there, just waiting for the two of us to take up the mantle.

Someone will always be there. And it also allows for the two ensemble members to still maintain a career outside of Steppenwolf itself, which I think is also very important to the overall health of the institution. Were those all Zoom meetings with fifty little squares? Or did you guys do some in-person stuff? Glenn: No, no. All Zoom. Everything since March of Since March of has been via Zoom, which has been very helpful, I might add, because getting all, you know, forty-nine members of the company in the room together to vote is virtually impossible, because we all live in different places around the country, if not the world.

But, we can all find time to jump on Zoom for an hour or two hours to discuss the machinations of the institution, so, no, it was all done via Zoom. This decision to let the ensemble choose its own artistic director, was that something that you guys decided? Did the board have to approve? Glenn: And I just want to take this moment to give a special shoutout to Jeff Perry, because he was very instrumental in this democratic process. He calls it the most democratic process the ensemble has ever undertaken.

He was very much involved, as one of the founders, and his deep love for Steppenwolf, itself, but he very much led that process. So, he was fantastic in that. When I interviewed Martha Lavey ten years ago, we talked about how, once the decision was made to add ensemble members, she would then run the slate by the three founders, Gary Sinise, Jeff Perry and Terry Kinney. Can you talk about the role of the founders today? Or are there ways that we can innovate now that Steppenwolf has grown? Are there different ways for us to do that?

And he really did help lead us through this next chapter of, hey, how can we have the entire ensemble have a voice in who the next artistic leaders are? And I have found that incredibly comforting. How are the two of you going to divide things up? Learn the basics of programming by drawing shapes on your screen with Tracy the Turtle! Turtle Graphics or LOGO is a beginner friendly way to explore programming concepts and bring creativity into programming in a visual way.

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