The allure of Chicago as a cultural hub is undeniable, drawing millions of visitors each year. While the city is renowned for its architectural marvels and culinary delights, its vibrant theater scene holds a special place in the hearts of many. For enthusiasts and newcomers alike, understanding the lineage of its iconic productions offers a deeper appreciation for the city’s artistic evolution. This exploration delves into the historical context of prominent Chicago shows, tracing their origins and impact, and helping to answer the perennial question: which of the Chicago shows came first?
The Dawn of Chicago Theatre
The roots of Chicago’s theatrical tradition stretch back to its early days. Before the glitz and glamour of Broadway, Chicago was already cultivating a unique performance landscape. This era laid the groundwork for the diverse and dynamic theatre community that thrives today.
Early Vaudeville and Burlesque
In the late 19th and early 20th centuries, vaudeville and burlesque were the dominant forms of popular entertainment across the United States, and Chicago was no exception. Large vaudeville houses, such as the Orpheum Theatre, attracted top talent and drew massive crowds. These venues showcased a wide array of acts, from singers and dancers to comedians and acrobats, fostering a taste for live performance among Chicagoans. Burlesque, with its more risqué humor and song-and-dance routines, also found a significant audience, contributing to the city’s reputation as a lively entertainment center. While these were not narrative plays in the modern sense, they were foundational in establishing an audience and infrastructure for live performance, indirectly paving the way for more structured theatrical productions.
The Rise of Independent Theatre
As the 20th century progressed, a desire for more experimental and locally relevant theatre began to emerge. This led to the establishment of smaller, independent theatre companies that offered alternatives to the mainstream fare. These groups often focused on new works, social commentary, and more intimate performance styles. They were crucial in developing a generation of actors, directors, and writers who would go on to shape Chicago’s theatrical identity. These early independent ventures, though perhaps lacking the immediate name recognition of later productions, were instrumental in fostering an environment where groundbreaking theatre could take root.
Iconic Shows and Their Genesis
When considering “Chicago shows,” certain productions immediately come to mind. Pinpointing the “first” among these requires an understanding of their individual histories, their premiere dates, and their initial impact on the city’s cultural landscape.
Early Musical Theatre Productions
The concept of a “Chicago show” as a long-running, widely recognized production often points to musicals. While Broadway has historically been the epicenter for the debut of many iconic musicals, Chicago has developed its own rich tradition of staging and, in some cases, originating significant musical works. However, the question of “which came first” is complex because many famous musicals that are associated with Chicago actually premiered elsewhere and were later produced in the city. The iconic musical Chicago, for instance, did not originate in Chicago but rather premiered on Broadway in 1975. Its subsequent enduring popularity and connection to the city’s jazz age history have cemented its association with Chicago, but it was not the first musical to be produced in the city.
To find earlier musical theatre examples, one must look at productions that were either conceived in Chicago or were among the earliest successful large-scale musical productions to grace its stages. This requires delving into the history of venues like the Chicago Theatre and the various opera houses that existed prior to the mid-20th century. Many early touring productions of popular operettas and musicals from New York and Europe would have made their way to Chicago, establishing a theatrical rhythm. Identifying the absolute “first” musical is challenging due to incomplete records of every performance, but it’s clear that the city was engaging with musical theatre forms from at least the early 1900s.
The Legacy of Steppenwolf Theatre Company
A pivotal institution in the modern history of Chicago theatre is the Steppenwolf Theatre Company. Founded in 1976 by a group of young actors, including John Malkovich, Gary Sinise, and Lauri Metcalf, Steppenwolf quickly became synonymous with gritty, actor-driven drama. While not a single “show” in the sense of a long-running musical, Steppenwolf has produced a vast repertoire of plays, many of which have gone on to national and international acclaim. Productions like Balm in Gilead, Of Mice and Men, and August: Osage County are deeply intertwined with the company’s history and the city’s theatre narrative. The establishment of Steppenwolf in 1976 places its origins firmly in the latter half of the 20th century, long after musical theatre and early forms of drama had already established a presence in Chicago.
The Impact of The Second City
The Second City is another cornerstone of Chicago’s comedy and improvisational theatre scene. Founded in 1959, it is widely recognized as one of the most influential improvisational theatres in the world. Its impact lies not in a single, fixed show, but in its ongoing creation of revues and its development of improvisational techniques. Many legendary comedians and actors, including Bill Murray, Tina Fey, and Stephen Colbert, honed their craft on its stages. The opening of The Second City in 1959 predates the premiere of the musical Chicago on Broadway by over 15 years. This makes The Second City a significantly earlier contributor to the distinct theatrical identity of Chicago than the iconic musical bearing the city’s name.
Decoding “The Chicago Show”
The phrase “the Chicago show” can be interpreted in several ways, leading to different answers regarding which production holds the title of “first.” It can refer to the famous musical, or it can allude to the broader theatrical output originating from or strongly associated with the city.
The Musical Chicago versus Local Productions
The musical Chicago, with its book by Fred Ebb and music by John Kander, premiered on Broadway in 1975. While its setting and thematic elements are deeply rooted in Chicago during the 1920s, it was not conceived or premiered in the city. Its massive success, however, has led to many subsequent productions in Chicago, making it a beloved and widely recognized theatrical entity associated with the city.
However, long before 1975, Chicago was a major stop for touring theatrical productions. The city’s grand theaters, such as the Auditorium Theatre and the Shubert Theatre, hosted performances of operettas, musicals, and dramas from as early as the late 19th and early 20th centuries. These touring shows were the primary form of large-scale musical theatre experienced by Chicago audiences for decades. Therefore, in the context of “shows performed in Chicago,” musical productions have a history far preceding the 1975 Chicago musical.
Groundbreaking Local Institutions
Institutions like The Second City, established in 1959, represent a form of “Chicago show” that is inherently local in its creation and ethos. Its unique brand of improvisational comedy and sketch revues has been a continuous fixture of the city’s cultural scene for over six decades. This makes its origins significantly earlier than the musical Chicago. Similarly, regional theatres and avant-garde companies have been producing original works in Chicago for many years, contributing to a rich tapestry of performance that predates many well-known titles.
Tracing the Chronology
To definitively answer “which came first,” we must consider the earliest forms of formalized theatrical entertainment that became characteristic of Chicago.
Vaudeville and Early Touring Musicals
As discussed, vaudeville and burlesque were prevalent in the late 19th and early 20th centuries. Simultaneously, major touring companies brought popular Broadway and European musicals and plays to Chicago. For instance, productions of Gilbert and Sullivan operettas, and later works like The Wizard of Oz (which had an early life on stage before the famous film), were performed in Chicago theaters. These were not “Chicago shows” in the sense of originating there, but they were the primary form of large-scale musical entertainment available to its citizens.
The Emergence of Local Comedy and Drama
The mid-20th century saw the rise of more distinctly “Chicago” theatrical movements. The Compass Players, a precursor to The Second City, began performing in the mid-1950s, pioneering improvisational comedy. The Second City itself opened in 1959, launching a legacy of satirical revues and improvisational performances that are quintessentially Chicago. Following this, the late 1970s saw the rise of prominent acting ensembles like Steppenwolf Theatre Company, which focused on new American plays and intense dramatic performances.
Conclusion: A Multifaceted History
The question of “which of the Chicago shows came first” does not have a single, simple answer. If referring to the iconic musical Chicago, its Broadway premiere was in 1975. However, if the question encompasses any theatrical production that significantly defined Chicago’s entertainment landscape, then the answer lies much earlier. The city’s embrace of touring musicals and operettas in the late 19th and early 20th centuries, followed by the foundational innovations of The Second City in 1959 and the subsequent development of world-class drama companies, paints a picture of a long and continuously evolving theatrical history. The earliest roots of what we might recognize as “Chicago shows” are found not in a single hit musical, but in the city’s sustained engagement with performance, from early vaudeville and touring productions to the groundbreaking local institutions that continue to shape its vibrant cultural identity.
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