The Goodman Theatre has been Chicago’s premiere nonprofit theater for the past 100 years. Started with a gift to the Art Institute in memory of Kenneth Sawyer Goodman, a promising young playwright lost to the influenza epidemic of 1918-1919, the Goodman has been dedicated “To restore the old visions and win the new.”
Old Goodman Theatre Facade, 159 E. Monroe Street, undatedSource: Chicago Public Library, Special Collections, Goodman Theatre Archive Administrative Records, Box 7, Folder 6.
Old Goodman Theatre Auditorium, 159 E. Monroe Street, undatedSource: Chicago Public Library, Special Collections, Goodman Theatre Archive, Administrative Records, Box 7, Folder 7.
Alice in Wonderland, 1948-1949Source: Chicago Public Library, Special Collections, Goodman Theatre Archive, Production History Files, Box 194, Folder 6.
The original building was located where the Art Institute’s Modern Wing now stands. According to City ordinance, the building could only be 15 feet tall, so most of the theater was underground. Because of the high water table, the foundation was built on a concrete saucer. The auditorium was designed in the “continental” style, with aisles on each side of the seating area. The lobby was originally decorated with items from the Art Institute and busts of Kenneth Sawyer Goodman’s favorite playwrights, including Euripides, Moliere, and Shakespeare lined the auditorium.
The first artistic director was Thomas Woods Stevens, who organized the resident acting company and the Goodman School of Drama. He also set the Goodman’s agenda, mixing classics, new and experimental works, and contemporary hits.
While the resident, professional, acting company soon had to be disbanded due to expense, The Goodman School of Drama developed a good reputation with alumni including Karl Malden, Geraldine Page, and Joe Mantegna. From the 1930s to the 1950s, Charlotte Chorpenning adapted and frequently directed children’s stories and folktales for the children’s theater program, produced by the school, making her the Goodman’s most produced playwright.
Joe Turner’s Come and Gone, 1991Johnny Lee Davenport, Susan Diane Payne, and Jene Marie Culp. Source: Chicago Public Library, Special Collections, Goodman Theatre Archive, Production History Files, Box 188, Folder 22.
Current Goodman Theatre, 170 N. Dearborn Street, 2025Source: Beth Bruins, Chicago Public Library
Current Goodman Theatre, 170 N. Dearborn Street, 2025Source: Beth Bruins, Chicago Public Library
Viennese native and Max Reinhardt protégé John Reich arrived in 1957 as Artistic Director to revitalize the Goodman. He rebuilt the subscription base and re-established the resident, acting company. Unfortunately, the cost of maintaining a professional company erased the financial gains Reich made and in 1971 the Goodman started its current practice of hiring actors on a show-by-show basis.
1973 saw the appointment of William Woodson, a force in regional theater, as Artistic Director. He oversaw the separation of the Goodman from its long-time parent organization, the Art Institute and formation of the umbrella Chicago Theater Group for the theater. Woodson also oversaw the acquisition of the Goodman School of Drama by DePaul University in 1976. Gregory Mosher, originally Woodman’s assistant, was put in charge of Stage 2, a venue for new work. Stage 2 ignited the careers of many theater professionals, including playwrights David Mamet and Scott MacPherson. Mosher succeeded Woodson as Artistic Director, and focused on new work, including that of Nobel Laureate Wole Soyinka.
Robert Falls, wunderkind of Off-Loop Chicago theater, took over the Goodman's Artistic Director role in 1985 and oversaw an incredible period of growth. He brought in directors Michael Maggio, David Petrarca, Frank Galati and Chuck Smith. Playwrights Dael Orlandersmith, Regina Taylor and Rebecca Gilman also associated themselves with the Goodman. The Goodman was the first theater to produce all ten plays in August Wilson’s Century Cycle, documenting the American Black experience in the 20th century, debuting two of them. Mary Zimmerman both adapts and directs plays, winning a MacArthur "Genius" Fellowship for her success with non-theater-friendly material. Falls cultivated a relationship with actor Brian Dennehy, starting with Galileo by Bertolt Brecht and featuring plays by Eugene O’Neill, some of which went on to Broadway, winning Tonys.
Designers have also been attracted to the Goodman. Virgil Johnson is best known for his costume designs and worked extensively with the theater. Joseph Nieminski had a long career designing sets and scenic elements, including the Goodman Theatre's A Christmas Carol.
By the 1980s, it was clear that the Goodman needed a new space. Partnering with the City of Chicago as part of its Loop revitalization plan, The Goodman purchased and renovated the Selwyn and Harris theaters, creating the Albert (mainstage) and Owen (studio) theaters. The architect was Thomas Payne, who designed a "concrete cocoon" to insulate the Owen Theater from the noise and vibration of the nearby State and Lake El station. The new theater opened in December 2000 with a performance of August Wilson's King Hedley II.
Susan V. Booth took over in 2022 from Robert Falls' long tenure as Artistic Director and continues the Goodman tradition. Notable productions include The Cherry Orchard, Clyde's, The Matchbox Magic Flute, The Color Purple and The Penelopiad.
If you're interested in learning more about the Goodman Theatre's history and productions, please visit the Goodman archives, opens a new window in Archives and Special Collections at Harold Washington Library Center.
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