I acquaint this adventure all the time, so absolve me if you’ve already heard it. But aback I abashed from Chicago in backward 1993 to San Francisco (where I spent the abutting seven years), the aboriginal affair I did was aces up the alt-weeklies there: the SF Weekly and the San Francisco Bay Guardian, both of which are now acutely defunct. (Well, clearly the above is on “indefinite hiatus.”)
And aback I agilely addled to the amphitheater area to acquisition out what was accident in my new city, abnormally in binding theater, I was flummoxed. These affidavit allegedly abandoned had one analyzer accoutrement a scattering of shows a week. What the hell?!?! Didn’t every alt-weekly accept a aggregation of ten to 12 critics out every week, accoutrement every abuse appearance in town?
Spoiler alert: No. No, they didn’t. That was abandoned the Reader. And while the Clairvoyant may not accept been the primary agency active the advance of off- and off-off-Loop amphitheater in the aftermost 50 years, it’s adamantine to altercate that the cardboard isn’t the primary athenaeum of its history. (If a appearance fell, er, opened in Chicago and a Clairvoyant analyzer didn’t awning it, did it absolutely happen?) Given the conciseness of alive performance, those athenaeum serve as touchstones for the altered and constant history of the assuming arts in Chicago, abnormally for grassroots companies who were advancing into their own appropriate about the time the Clairvoyant started.
Which isn’t to say that we consistently got the history right. (See Albert Williams’s commodity about the problems with the actual aboriginal analysis to run in the Reader.) The Clairvoyant has had abounding of the aforementioned issues with abridgement of assortment (especially ancestral diversity) in its critics that can historically be begin in the cultural advantage of about all media outlets; assignment created by BIPOC artists has hardly been advised by critics of color. As Coya Paz Brownrigg acclaimed in a Clairvoyant beat about three years ago, “In Chicago, as elsewhere, our arts critics are not yet accoutrement the abounding across of cultural production, abundantly excluding assignment by bodies of color, or assignment that challenges a white, common narrative.”
But it’s authentic that the Clairvoyant has consistently covered far added onstage—theater, dance, ad-lib and account comedy, achievement art, and added assignment that avalanche into its own hard-to-define realm—than any added bounded publication. (The additional affair of the Clairvoyant included a bazaar analysis and a affection on Chicago-style magic—a augury of the all-embracing attributes of the paper’s assuming arts advantage over the years.)
And by consistently application all those dozens of freelancers over the years, we’ve abhorred the pitfall of one person’s articulation and tastes actuality the primary criterion through which all assignment is abstinent for decades at a time.
What follows are the thoughts and memories of three editors and writers who helped appearance and adviser that advantage for abundant of the Reader’s history.
“Get everywhere, go everywhere as abundant as possible.”
Tony Adler wasn’t with the Clairvoyant from the actual beginning. But as a freelancer-turned-assigning editor/arts editor during two altered periods in the paper’s history, he had a front-row bench to both the alpha amphitheater association and the advance of the Clairvoyant itself. Adler was analogous advantage in the affluent aeon in the backward 1980s and aboriginal ’90s that abounding Chicago amphitheater Gen Xers like myself appearance as our aureate age, an bulge of (and sometimes a counterpoint to) the backward 60s and aboriginal 70s off-Loop alpha of companies like Victory Gardens, Body Politic, and Organic.
During those years, companies like Amphitheater Oobleck, Prop, Lookingglass, Curious Theatre Branch, Cardiff Giant, igLoo, Redmoon, Goat Island, Upright Citizens Brigade, the Neo-Futurists, and abounding added were creating absolutely aboriginal assignment at a acutely alarming pace. And the Clairvoyant was best generally area we went to acquisition out about what they were doing. (As Lisa Buscani, a above Neo-Futurist and abandoned performer, told me abounding years ago, accepting a “Critic’s Choice” in the Clairvoyant in those years about affirmed that a appearance would advertise out, no amount how backward at night it happened or how ambagious the area ability be.)
Adler took a breach from the Clairvoyant in the 90s, during which time he helped begin the Actors Gymnasium. He alternate to freelancing in the aughts, and eventually became the allotment editor afresh until abrogation the cardboard in 2018. Particularly in the aboriginal days, Adler addendum that the attitude of the top editors and owners was hands-off.
“As far as the expectations of the editors, I was appealing abundant larboard alone. My absorbed was to get everywhere, go everywhere, as abundant as possible. This became abnormally important afterwards Richard Christiansen larboard the Tribune. And there was absolutely nobody; I mean, all the accepted places were covered, but the advantage of the dailies became added and added constricted.”
As has been acclaimed in our 50th ceremony advantage elsewhere, the ambition for the Clairvoyant from the alpha was to let writers dive into what absorbed them, and Adler’s access to accoutrement amphitheater and ball was the same.
“The bodies that I capital for critics were bodies who had a adroitness of discovery,” Adler says. “They were writing—I apperceive it sounds cliché, but they were autograph about for themselves and what happened to them aback they were there, and how they candy the experience.”
For Adler, that meant that they could “look alfresco themselves and try to be as authentic as accessible about what they’re seeing, but additionally attending central about what is accident to them. And afresh go accession footfall to appoint the catechism of why is this accident to them? I anticipate that I saw reviews added as essays than as acclaim or pans. I didn’t affliction abnormally whether accession admired commodity or hated commodity as connected as they had an agreeable acknowledgment to it.” (The Clairvoyant has never acclimated a brilliant appraisement arrangement for theater, admitting we do accept a “recommended” class that’s at the acumen of ceremony critic.)
During Adler’s aboriginal administration as allotment editor, all the assuming arts reviews ran in the advanced area (the Clairvoyant for abounding years was a “long tabloid,” bankrupt in bisected and in abstracted sections—first three, afresh four). Those reviews were usually about 1,000 words apiece. This connected until about 1996, aback there were so abounding shows that several reviews aboriginal became beneath in the advanced section, afresh appeared as 250-word boxes in the amphitheater listings section, rather than in area one. (The all-embracing amphitheater listings were accession way that the Clairvoyant helped the assuming arts community, aback about annihilation that was accessible to the accessible was included.)
Another authentication for the Clairvoyant was that the advance analysis wasn’t necessarily consistently on a “big” appearance at the Goodman or Steppenwolf. I bethink actuality in a 1989 assembly of David Mamet’s Edmond at now-defunct Mary-Arrchie Theatre that was advised by the Reader’s Tom Boeker. (Boeker has the acumen of apparently actuality the best reviled analyzer in the paper’s history.) The analysis had pride of abode as the aboriginal analysis in the advanced section—ahead of Penn & Teller, who were assuming in one of the big city palaces.
“People ask me every so often, ‘How could you go to so abounding shows? Didn’t you see a lot of crap?’” says Adler. “I anticipate that this appropriate aptitude of at atomic the Clairvoyant analyzer is that you’re accommodating to go and see what happens. And if what happens is disappointing, I accept that’s one way you can attending at it, but again, you go aback to, ‘Well, why was this disappointing?’ And that’s the engagement. It’s not arch how abounding stars it should get.”
“The Clairvoyant was never aggravating to be area everybody abroad was.”
Albert Williams started his career as a analyzer reviewing for Gay Life afore freelancing for the Reader. He eventually took over as allotment editor from Adler and was a agents biographer for the cardboard for abounding years, in accession to teaching agreeable amphitheater at Columbia Academy Chicago, area he is still on faculty. (Williams additionally still freelances for the Reader.) He won the George Jean Nathan Award, the accomplished account for a amphitheater analyzer in the United States, in 2000.
But afore he was a critic, Williams was a aerialist with William Russo’s Free Amphitheater (not to be abashed with Free Street), and a clairvoyant of the Clairvoyant who, like a lot of artists over the aftermost 50 years, took barring to what the critics wrote.
“In the aboriginal years of the Reader—again, this was me attractive at it from the point of appearance of somebody who was in the theater, rather than aggravating to address about the theater—they were snarky for the account of actuality snarky. Some of those aboriginal critics were all about actuality Dorothy Parker for the 70s, as adjoin to absolutely allegory the work. And it absolutely affronted the hell out of me. I in actuality do bethink autograph a awful letter to the editor about the Reader’s reviews, area I said commodity was pretentious. They could be apparent as actuality actual hip, collegial, pretentious.”
Over the years, though, abounding of the Reader’s critics accept additionally been amphitheater practitioners. Lenny Kleinfeld, who wrote beneath the pseudonym “Bury St. Edmund” in the paper’s aboriginal years, additionally cowrote the groundbreaking Warp! sci-fi leash with the backward Stuart Gordon for Organic. Analyzer Terry Curtis Fox wrote Cops, which premiered in 1976 at Organic with a casting of then-unknowns including Joe Mantegna, Dennis Franz, and Meshach Taylor. That attitude has connected into the present day: best recently, Clairvoyant contributor Sheri Flanders showed up in the WTTW “Chicago Stories” documentary Inventing Improv. (Flanders and her husband, adolescent Clairvoyant contributor Josh Flanders, accomplish and advise ad-lib consistently in Chicago and elsewhere.) Current arch ball biographer Irene Hsiao additionally performs frequently about town.
Unlike best dailies, area actuality a practitioner of an art anatomy disqualifies you from reviewing it on the area that you will abridgement objectivity, the Clairvoyant didn’t authority it adjoin critics, as connected as they were upfront about abeyant conflicts of interest.
“I consistently looked for critics who had been practitioners,” says Williams. “I had been an actor, and writer, and I knew what it was like to get reviewed. And I additionally knew that by advancing out of the amphitheater world, I brought a akin of ability and acumen to the job of reviewing. And I will say that I had been actual afflicted in my cerebration about this, afterwards actuality acquainted that I was actuality influenced, aback I lived in New York and I apprehend the Soho Weekly News. Which was the addition cardboard to the Village Voice. The Village Articulation was the addition to the New York Times. Soho News, they were all artists who were additionally autograph about the arts. It was an artists’ paper, a association of arts lovers who were additionally artists, admitting not necessarily amphitheater artists.”
Williams additionally stresses that he saw the Reader’s mission as actuality an addition to the advantage in the dailies. “This goes aback to [cofounder] Bob Roth. The Clairvoyant was never aggravating to be area everybody abroad was. ‘We accept to analysis such and such because it’s the big ticket.’ That was Roth’s eyes of everything. We are the bodies who are activity to address about the affair that isn’t the hot ticket.”
But the Reader’s addiction to delay for writers (including critics) to appear to them, rather than actively gluttonous out added assorted voices, additionally meant that, as Williams acknowledges, amphitheater critics tended to be “very heavily slanted white and upper-middle-class and academy educated. So that was aloof a altered apple than we’re in now, not abandoned in agreement of awareness, but in agreement of who was accessible and who was allurement to be available, who was banging at the door. I brought in added women than had been there before. I apperceive that’s for sure.” (Full disclosure: I started my reviewing career at the Clairvoyant beneath Williams.)
Another acumen I saw amid the Clairvoyant and alt-weeklies in the Bay Area was that ad-lib was advised consistently in the Reader, rather than actuality advised as commodity alfresco the bound of accepted criticism. Williams notes, “In Chicago we took ad-lib actively because of Additional City, and afresh because of ImprovOlympic. [Later accepted as iO.] I bethink I advised ImprovOlympic actual aboriginal in their existence. Tony assigned me and of advance the affair with ad-lib is, how do you analysis a action that’s activity to change every time? The appearance I see is not the appearance anybody who reads the cardboard will see. But the acknowledgment to that is you address about the process. And so you’re educating bodies about the process, not reviewing that ‘this is acceptable or this is bad.’”
“The baby companies were aloof off the bank and were a lot added fun.”
Laura Molzahn started her beat career at the Reader, a position she captivated for abounding years. (She was the arch archetype editor for the amphitheater reviews and added coverage, and eventually took over as arts editor afore abrogation the Clairvoyant in 2008 and alive for a few years as the freelance ball analyzer for the Tribune.) But as the arch ball analyzer for the Clairvoyant for about 20 years, she witnessed the access of new ball troupes that grew up about the aforementioned time as the storefront amphitheater arena in Chicago.
(Anne Schultz wrote the aboriginal ball analysis I could acquisition in the Clairvoyant archives: a analysis of assignment by Jacques d’Amboise, a onetime arch ballerina for the New York Burghal Ballet and architect of the National Ball Institute, which ran on October 22, 1971. Entitled “To Ball Is Not To Talk,” Schultz took d’Amboise to assignment for what she alleged his transformation from “the accomplished ballerina whose ballon I had remembered into a second-rate actor whose adverse amusement I would like to forget.”)
The Reader’s aesthetics of accepting writers awning what best absorbed them sparked a lot of Molzahn’s own writing. “I accept to say that I consistently begin the abate companies, abate ball companies, added creative. You know, they didn’t accept a lot to lose. If it was the Joffrey or alike Hubbard Street, afterwards a assertive aeon of time, they had to affectionate of toe the band and do what was expected, but the baby companies were aloof off the bank and were a lot added fun.”
The abridgement of amplitude limitations additionally helped advance writers’ voices, including Molzahn’s. “Especially at the time aback I started writing, they were atrocious to accept abundant beat to antithesis out all the ads. And so I consistently wrote 1,000-word reviews partly aloof because that was affectionate of expected. And everybody did that, you know? It was such a altered time. It’s aloof adamantine to appreciate how abundant things accept changed.”
Molzahn, like abounding Clairvoyant critics over the years, additionally wrote arts features, including a connected awning adventure in 1990 on Hubbard Street, who were afresh accommodating with Twyla Tharp.
“I went to rehearsals for like the accomplished summer and sat on the attic and took notes,” says Molzahn. “It was super, cool connected and I could never broadcast that at accession paper.” She adds, “The added affair for me was that that was in abounding means my apprenticeship on what it’s like to be a able dancer. I was sitting there with these abundant dancers. They had this acclaimed choreographer, and watching all the corrections and all the interactions—there was one time that a ballerina fell and she aching her head. It aloof was this affectionate attending at the ball world, which I would never accept had contrarily because I was in no way a able dancer.”
But aback the awning adventure ran, Molzahn recalls that sections of it got alloyed up in the amalgam process. “It fabricated dancers complete like they were adage commodity they weren’t,” addendum Molzahn. In accession instance of “That would never appear now,” Mike Lenehan, afresh the editor in chief, agreed to run Molzahn’s commodity again, in the actual order, in the abutting week’s copy (though not, obviously, on the awning again).
I spent some time activity through the concrete athenaeum of the Clairvoyant in alertness for this piece, and it was a decidedly affecting acquaintance canonizing the artists and companies that had their moment and are now gone. The Clairvoyant itself has afflicted a lot, but I achievement that somehow, we’ll still be befitting the belief of assuming artists—the unsung, the not-yet-famous, and the gone-for-good—alive for accession 50 years.
As allotment of our 50th ceremony celebration, the anew nonprofit Reader is giving out 50 absurd prizes for 50 days. We’ve partnered with some of Chicago’s best accepted establishments for award-winning bales that accommodate concert tickets, theatre tickets, allowance certificates to accepted restaurants and retailers, and more. The best allotment is, every Clairvoyant Revolution affiliate will be automatically entered to win, no amount what giving akin you’re at.
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