Forever Young with Eric and Andy!

It's one of those years. Everybody has a lot going on, and it's hard to get excited about the new seasons of our beloved theatre companies. Maybe we are jaded. We decided to take it to the street and meet up at a Quizno's with a couple youngsters who are the bright future of the scene.

Amber Robinson, the young and plucky Artistic Director of Grey Ghost Theatre has a sparkle in her eyes that is hard to resist. A boyish smile and hair of the finest quality.

Patrick Belics stands proud. The Artistic Director of Spartan Theatre Company speaks clearly and with purpose. It's easy to see why young performers would follow him into battle.

Here's a piece of our discussion over a few regular sized Prime Rib Bullets.

Hey guys! Thanks for joining us here at this Quizno's! We just love Quizno's and we were discussing our younger days in theatre and how we would eat at Quizno's all the time so we thought it would be good to meet you at one!

AR: You're right Andy, Quizno's tastes like youthful artistic ambitions. At reasonable prices!

So, let's get started by you telling us about your theatre company and how you started and what you are working on now and all that junk. Patrick?

PB: Well, our theatre company is called Spartan Theatre Company. It was recently formed by myself and Andy Monson in order to start writing and performing the theater that we've always wanted to see on stage. Something I'm sure is the catalyst for most theatre companies. Our intention is to deliver theatre at any lengths. To stop at nothing to bring you badass theatre.

Like... the Spartans did?

PB: Yes. That was the thought process behind the name. It's about willpower and drive.

Do you guys leave your weaker members for dead on the side of a mountain?

PB: The weaker members are used as decoys for our plans. So yes. Inevitably, that will happen.

Amber? What about your group? You are called Grey Ghost Theatre Company and would you like anything from the Pickle Bar here at this Quizno's?

AR: I could use some more mustard packets, thank you. We are Grey Ghost Theatre, and I would say my reasons for founding this group sound similar to what Patrick mentioned, and probably along the same lines of most theatre groups founded in Chicago. We are all young professionals who have been working for several years on projects for other organizations. Inevitably some are rewarding, and some are painful. I was at a point where I felt I wouldn't be satisfied unless I generated my own work, and chose my collaborators and material on my own terms. So this is our means to make that happen.

PB: Lorne Michaels, the producer of SNL, once said "If you're the smartest person in the room. Then you're in the wrong room." With starting our own theatre company we've been able to choose our collaborators and our own projects. We get to surround ourselves with people we know, work well with, and trust. It has been very rewarding so far.

Well, I have never heard of this Lorne Michaels character, but it sounds like he has a lot to say about rooms. So, what does it entail to start a new theatre company nowadays? I mean, you have to get a 501c3 (not for profit status) and you need some friends, right? But what other sort of work does it take?

AR: Actually, we found an organization called Fractured Atlas, which is a great resource for early career artists. Fractured Atlas is a 501c3 organization which fiscally sponsors individual artists and groups, and once you've been accepted as a sponsored organization, you can essentially use their non-profit status. So we can accept tax-deductible donations without going through the legal and financial hoops of setting up our own non-profit status. They also provide advice for fundraising, accounting, etc. It's been an invaluable resource for us.

How do you see that affecting you in the future? I mean, you can't survive off a sponsored website forever can you? Has anyone ever tried the Prime Rib Sandwich here?

AR: Though I don't know about the prime rib, we are thinking of Fractured Atlas like a springboard as we get started. Assuming our first season is successful (by that I mean financially sustainable), and that we feel strongly enough about the work we've produced to continue the collaboration, we hope to go through the process of getting our own non-profit status, incorporating as an LLC, etc.

How do you feel about the sheer number of new theatre companies that start and shutdown within their first year? What do you think you can do to avoid this issue? It is a pretty large issue in the community. We've seen many companies come and go.

PB: As with anything in the arts, there is an assumption that you are different. You are a cut above the rest. And you will make it where others haven't. That can be taken as a narcissistic thing to say. But it is essential to survival in the arts. The assumption you are good enough and that people will be interested in you and what you are portraying. The theatre companies that start and shutdown are as prevalent as actors who begin their career and then end it. We have to believe in ourselves that we will work through the struggles and come out the other side.

AR: Patrick - I think that's a good point about the number of failed companies and artists, that, to be honest, there are plenty of artists and companies that don't produce lasting quality work. But realistically, there are also many factors beyond the artists control, and sometimes the sustainability of a company can be determined by non-artistic factors. I try to just keep my intention focused on the project at hand, and do everything in my power to make that successful. We will allow the mission and scope of the company to go change over time, as necessary. I think that flexibility will be key to continuing our work together and not setting up future expectations based on our current ideas of how we define the company's success.

PB: This is true. There are factors outside of us that we can not control. This is why I to keep my eye on the prize, and remain flexible as changes arise. Since we can't assume those uncontrollable factors of misfortune will fall on us. Otherwise, we risk fear of doing.

Well, we think you guys should both get into the burlesque scene. Those shows get butts in the seats. There's one about Super Mario Brothers except the brothers strip down to nipple holders and washcloths for pants. Now that I am thinking of it, it actually may be based more on Super Mario Kart than anything. Anyway, what projects are you working on right now with your respective companies?

AR: Hurray - I get to talk about our play now! We're producing Melancholy Play, by Sarah Ruhl. It's one of her earliest full length works, not seen in Chicago since it originally premiered at Piven Theater, 10 years ago. Those who know Sarah Ruhl's work will have an idea of the tone of the play, it is both very funny and moving. It's a farce about melancholy, which is profound in a very sneaky way. I can keep going...

That's ok, I think we are all familiar with Sarah. But it brings up a question I had for both of you, but Patrick we will start with you. In this economy and in the world we live in, there is a very clear difference between art and entertainment. I think, we have seen that people are usually more interested in entertainment than art so producing a crowd-pleaser might be a make-or-break sort of thing for young companies. In our community, there seems to be a finite number of patrons for the arts, how do you think you can get a slice of that demographic away from other theatre companies they are already tuned in to?

PB: In our case, we produce theatre that we feel the audience is already invested in or has been invested in the past. We produce shows that we know you loved the first time you saw them. But what can we do with them now that is different? How can we take it further? There is a marketing aspect to bringing people to the theater. We are aware that people are more likely to go see "American Buffalo" than "Agamemnon". At the same time, this does not mean we don't try to push the boundaries. The show that premieres on Saturday, February 11 at the Greenhouse Theater, is called "Train of Thought" and is an hour-long one-man show written by and performed by Andy Monson. This is all original work, and yet is reminiscent of Joe Frank (a very popular radio show storyteller) and Spalding Gray (a well-known performance artist). We try to think about what we wish we could see on stage.

AR: I think that's true - you have to start with what you love and really want to see. In our case, Melancholy Play is something I've loved for many years, and was shocked to find it hadn't been produced in Chicago since it was first written. It has to be something that you love so sincerely that you can't wait to share with others, and people really feel that excitement from you. In my experience with this project, when you have that level of enthusiasm and love in your work, it is infectious. Of course, that is only effective to a point when it comes to butts in the seats. So once you've started with something you have that belief in, I think you just need to connect with the right marketing types to get audience numbers. However, Chicago is special. And we are now all realizing how much your reputation as an artist matters. The work I've done with other theatres and artists is coming back to help, and I have the trust of those I've worked with. Being able to have that reputation in this community is invaluable, because we're asking for a leap of faith both from the people we ask to work with us, and the people we ask to invest 90 minutes of their time to see our work.

A lot of times, we have found out in our long and storied careers, it isn't just about the 90 minutes. It is about the 4 hours involved in getting a babysitter, paying for parking, finding reservations for dinner, meeting a friend, and putting on pants. We like both of your points, and we think you both have the optimism and strength to make it through your initial year without anything going horribly wrong, but in the future where do you see your company being? Say, 4 years down the road. You still may not be Jeff Recognized, and you will have exhausted your families and friends and will need to rely on actual paying customers almost exclusively. Is that a "Let's take it as we go" sort of thing?

PB: Amber had a good point about not setting up unrealistic expectations. We've all sat down at some point and day-dreamed about what our lives will be like years from now. Jeff-Award winning Theatre Company that has it's own space in Downtown Chicago conveniently off several major lines of travel with numerous investors and the creative freedom to still do what ever we want. And that's something to hold on to. But I think what I'm more concerned about is producing the shows that I want to see. So if four years from now I've checked a bunch of those shows off the list. And I am really proud of them. That's all I can really ask for....... that being said if we got a Jeff that would be really cool too.

Well, Patrick, Amber, we think we can speak for the whole community when we say welcome and we wish you nothing but the best. Also, would you like some of this Broccoli Soup?

PB: I've never been a fan. But thank you for offering. And thank you for having me.

AR: I never say no to a Quizno's. Bring it on. And thank you for speaking to us!

Eric Roach, Anderson Lawfer