Debra Hatchett was recently appointed the Managing Director of the Bailiwick Arts Center, replacing Patrizia Acerra, after her departure a few months ago. I took the opportunity to ask Debra a few questions about her work in the theater and the visual arts, as well as the way she combines both with her traveling concept gallery, "Anatomically Correct."
EFFIE MIHOPOULOS: How did you first get involved with theater?
DEBRA HATCHETT: I have performed since I was very young doing children's theater and studied theater and performing arts in college. I also studied acting with private instructors in Chicago and Los Angeles. I have acted in numerous plays. Some of my favorite roles include the young woman in Machinal and of the snake handler in Talking With. I am also a member of the Screen Actor's Guild and have worked on several different films and commercials.
EM: What companies have you worked with besides Transient and now Bailiwick?
DH: I have worked with many different theater companies over the years, both behind the scenes and on stage. I have directed, acted, stage managed and also designed sound, costumes and props for different production companies, including Transient Theater, Bailiwick Repertory, Heroes Inc. Ensemble, Igloo Theater, Mary Arrchie Theater, National Pastime Theater and Clock Productions and with the Irish-American Theater Co. in Los Angeles. In addition, many years ago, I worked for a time at Victory Gardens Theater in the box office and also sold season subscriptions over the phone. Most recently, I directed a production of The Visit by Friedrich Durrenmatt at National Pastime Theater last fall.
EM: Can you talk about the Transient & what it was like seeing it fold after so much work, especially in view of the neighborhood improvement grant that various other people got, what was it, six months after the theater closed -- so close, but not quick enough to save it?
DH: I'm not sure if the neighborhood improvement grant would have helped us, even if we had known about it. We did not own the building, and the improvement grants went to building owners. I doubt the owner of the building would have shared it with us.
EM: Talk about some of the shows they did in general, and all the ones you worked on/with specifically.
DH: I joined Transient rather late in its life-span. I came on board during its fifth year, and we lost our space in the sixth. Transient was a true ensemble company in every sense of the word. We all shared equal responsibilities. We took turns running just about every aspect of a production. It was not long before I began assistant directing several productions, in addition to sharing other responsibilities, from building and painting sets to running the box office, sewing costumes and even cleaning toilets. We had to do it all. We had no money to pay anyone else to do it. We taught ourselves and each other and did everything ourselves. Shortly thereafter, I directed Riders to the Sea by John Millington Synge. (I had already some directing experience with some children's shows and with the Irish Theater Company in LA.) I also organized Transient's first Irish Play Festival which included readings by Irish poets, in addition to performances by a variety of Irish musicians and performances by Irish stepdancers.
EM: What is your theater background?
DH: I studied theater at Lewis University in Romeoville, IL and then moved to Chicago to study at Columbia College.
EM: What about your art background?
DH: I am a self-taught artist and opened my storefront gallery ("Anatomically Correct") in 1991.
EM: How did you come up with the "Anatomically Correct" idea?
DH: I opened the gallery for many reasons. In 1991, I had been performing with various theater companies and decided to take a break from theater for awhile. I actually wanted to concentrate on developing my film career. Since the film projects in Chicago were few and far between, I continued to work as a secretary, waitress and hand model in between film auditions and student films. One day, I decided I was tired of working for other people and thought very hard about what I could do with my life -- and still afford to eat and pay rent. Besides my love for theater, which I could not support myself in -- the film projects paid well but were not consistent enough. I began by making an honest list of my outstanding qualities and tasks I thought I was good at -- anything from managing people to throwing parties. Anything that might relate to a possible business and yet provide an outlet for my creativity.
It was around this same time that several of my friends who were also artists began complaining about the dreadful experiences they had had with galleries and gallery owners. I sympathized because I, too, was an artist and thought I might be able to help them while at the same time throw myself into a business that might be both economical and creative. After talking things over with a friend of mine, we decided to open a gallery together. I leaped in -- very naively - with my eyes closed. Once I signed a lease on the space, she bailed. So I borrowed money from my Visa (bad idea) and opened a storefront gallery in Chicago's Bucktown neighborhood in 1991. It was a very tough neighborhood, not at all the community it is today. There were only a handful of galleries in the Wicker Park/Bucktown area and the area was run by gangs. I managed to last two years, and then I gave up. I closed the gallery and thought I was much better off, mentally and financially, doing theater.
EM: What theater did you approach first? Was it Bailiwick, with the chair show?
DH: Actually, no. Everything began at Transient. I had several friends who were company members, and one day when I was hanging out in the theater, it suddenly hit me. Here was a space with bare white walls, track lighting and a captive audience. I asked them if I could hang artwork on the walls. However, being the complicated person that I am, I didn't just want to hang miscellaneous work on the walls. I thought it would be interesting to create exhibits based on what the theater was doing on stage. That's where it all started -- "Anatomically Correct," Art in Public Spaces was born! From there, members from other theater companies noticed what I was doing and invited me to organize exhibitions in their spaces.
EM: What theaters have been responsive to the Anatomically Correct idea so far? Have any been much more supportive than others?
DH: So far, besides Transient Theater, I have worked with Strawdog Theater, National Pastime Theater, Bailiwick Arts Center, The Goodman Theater, Northlight Theater, and Steppenwolf Theater. I will also be adding the Skokie Public Library to this list in the fall and most recently, I was approached by the Apollo Theater.
EM: What have audience responses to it been (entertaining comments by them, moving comments by them -- such as for the Holocaust photography show, etc.)?
DH: The audiences love the exhibits. Some even rank the quality of the art exhibitions above the play. Seriously, it's hard to determine the audience's response because I'm not often at my exhibition locations. It's hard to be five places at once. I hang the work and put out a comment book, but I'm not there to see the audiences' faces. I do, occasionally, hide out and watch people as they view the exhibits. It helps me to see what attracts people and how to draw them in.
EM: How many exhibits have you curated & approximately how many theaters have you worked with?
DH: Since 1993, I have curated over 60 exhibitions with works by over 500 artists in as many as five spaces simultaneously.
EM: Are you still doing shows for all the theaters you began working with you, or have you had a parting of the way with some of them?
DH: "Anatomically Correct" currently exhibits at Bailiwick, Northlight and Steppenwolf. The Goodman is in the process of building their new structure, and when that is complete, we will resume showing there. We have only occasional exhibitions at Strawdog Theater and National Pastime Theater, because they rent out their theaters on a regular basis, and I prefer not to work with companies that I do not know and/or trust. (I am very protective of my artists' works.) And of course, Transient lost its space in 1994 and has not resumed production.
EM: What are the responses of the artists to being exhibited in this unique way?
DH: The artists recognize that the theater audience is usually cultured, more respectful and appreciative of the visual arts. The artists are thrilled to be involved with the theaters, and it's a great way to reach their audience. However, surprisingly, some artists have never even seen a play. It's bringing these artists into the theater that I am especially proud of. It also works the other way. Believe it or not, many actors have never been to an art exhibition.
EM: What has the response of the casts of the plays been, and those of the directors?
DH: I have had great feedback from everyone. I even see some of the visual artists' influence on various set designers and have seen some shows restaged after the directors see some of the artists' works. It's fascinating to see how one affects the other and how they feed off each other.
EM: Do you have any special plans for Bailiwick as Managing Director?
DH: Since I tend to be a bit of an over-achiever, I have loads of plans for Bailiwick. My position as Managing Director of the Bailiwick Repertory, located in the Bailiwick Arts Center, began only two months ago. Besides the usual business related responsibilities, I have already begun implementing programs for acquisition of the building, obtaining a concession's license, increasing our corporate sponsorship and donations, and redecorating and improving the overall quality of the facility. In addition, I plan to develop an on-going Visual Arts Program for the Arts Center, which involves setting up studio spaces for artists and programs for teaching workshops and art classes.
EM: Other future plans/projects?
DH: I'm at a really busy time in my life managing Bailiwick and running "Anatomically Correct" take up much of my time as you can imagine. My newest venture is writing. I have several plays that I am in the process of finishing and would like to see them staged sometime in the near future. Maybe in a few years, depending on the project, I might even direct another play.
EM: Any burning last remarks about theater, art or grants & funding?
DH: I do fear for the future of the arts in the United States. We are one of the wealthiest of countries yet deprive ourselves of creative inspiration and an artistic legacy. It all starts when programming for the arts is reduced or cut in public and private schools. It will be up to the courageous and over-worked artists to step in and provide an alternative source of arts education. I believe that the only way for the arts to survive is for us, as artists, to combine our skills and talents in all aspects of the visual and performing arts and work together as a team. I think there are enough passionate educators and artists to accomplish this. Naive or not, it's certainly worth a try.
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