After consistent successes over the decades, the Gardens' 12-member Playwrights Ensemble was formed in 1996, including Charles Smith (whose "Free Man of Color" just opened), Steve Carter, Jeffrey Sweet, Nicholas Patricca, Dean Corrin, Lonnie Carter, James Sherman, Claudia Allen, John Logan, Kristine Thatcher, Douglas Post, and Gloria Bond Clunie. While the theatre primarily features works by these 12, many other playwrights have seen their visions come alive on the Victory Gardens Stage. Along with Smith's "Free Man of Color" in the current season are plays by Joanna McClelland Glass and Stuart Flack, as well as works by Ensemble members Lonnie Carter and James Sherman.

Sandy Shinner, a director with Victory Gardens since 1979, says that the theater prides itself in providing whatever resources it can to make a play work. In fact, the 2003-04 season began in September with the Pulitzer Prize winning "Anna In The Tropics" by Florida based writer Nilo Cruz. The play followed an atypical path to recognition, having received its maiden production at the New Theatre in Florida, after which that company contacted Victory Gardens about running it in Chicago. Since the Victory Gardens Playwrights Ensemble does not include any Hispanic playwrights, the theatre jumped at the chance to give "Anna" its midwest premiere. As luck would have it, the play opened in January and "Anna In The Tropics" won its Pulitzer in March. Thus, the play has enjoyed a longer run than most Victory Gardens productions, even moving to the Goodman Theatre last November to continue playing.

Shinner says that in Chicago, the Goodman is the director’s theatre, the Steppenwolf is the actor’s theatre, and the Victory Gardens is the playwright’s theatre. Staged readings of new plays are common and the company is committed to twice-monthly reader’s theatre settings of new work. The Lincoln Avenue building itself houses four separate theatres, so that plays with various staging demands and in various phases of development can be produced and seen by what Zacek calls "impassioned theatergoers who have supported more Mainstage world premieres than any other Chicago theater audience."

Local playwrights know that Victory Gardens will read open submissions, where writers from outside Chicago have to follow a more formal process. One benefit this process affords local playwrights is that they can see their show many times over an initial run. The Victory Gardens process typically follows these basic steps:
The staff reads the play with the playwright, with or without an audience.
If the decision is made to produce, parties commit to a two-week developmental workshop.
The rehearsal process lasts for three and a half weeks, followed by a tech week.
Nine previews allow the playwright to rewrite based on audience response.

The show then enjoys a five-week run, with a possible extension.

The hope is to connect with another theatre for a second production.

Shinner admits the last step can be the most challenging, but Victory Gardens’ reputation has reached all over the globe. Stuart Flack’s "Homeland Security" is already slated for a second production in Washington, D.C. James Sherman’s plays have been produced in many countries, especially the international hit "Beau Jest," which has been translated into nine languages. Claudia Allen’s "Hanna Free" has been seen in many places and her most recent play, "Fossils" played in Sacramento after opening in Chicago. Charles Smith’s work has been produced coast-to-coast and even off-Broadway, including The Acting Company's 22-city tour of his play, "Pudd'nhead Wilson." Victory Gardens is not without its star power, either. Original Ensemble writer John Logan’s writing has been seen more recently on the big screen ("Gladiator," "The Last Samurai."), and nationally known actors Julie Harris, Fritz Weaver, and Sharon Gless have recently graced its stage.

Victory Gardens was founded in 1974 by eight Chicago artists. The mission was to keep talent in Chicago, rather than losing it to either coast. The theatre’s success has come from remaining true to that original vision. Not only has Zacek been on board since the beginning, but Marci McVay, currently the Managing Director, has consistently served the company since ‘74, too. The mission hasn’t changed, although the years have seen the company become more and more focused on the playwright. In the mid-80s, the theatre partnered with the Body Politic (the company that once shared the building at 2257 North Lincoln) on the Great Chicago Playwrights’ Expo. A massive undertaking at the time, the festival presented a vast array of 1-acts and workshops and, although the press did not greet it enthusiastically, most of the 12 came from it. While some of these playwrights no longer live in Chicago, all still have connections, especially through university teaching positions.

In the future, Victory Gardens plan to continue supporting its ensemble while developing other new work, too, and trying to offer more developmental opportunities for playwrights. Shinner adds that the company also "hopes at some point to be able to do shows on a little bit larger scale, either by expanding or remodeling its current space or by moving to a larger one." Until such changes, though, Chicago audiences can continue to enjoy what has been called "the nation's most important incubator of new playwrights," "a proud garden where a dozen playwrights grow," and a theatre that "knows how to do a new script justice."

Photos courtesy of Victory Gardens Theatre

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