Jonathan Abarbanel Unscripted

Chicago theater fixture Jonathan Abarbanel is a very busy guy these days. Edgechicago had to lurk in the shadows, waiting for a chance to talk about his life and times. Finally our Blythe Landry snagged him.

Catching up with Jonathan Abarbanel was as much fun as cinnamon and sugar. Okay, and a pumpkin latte to top it off. Not only is Mr. Abarbanel the out-and-about, premier Chicago theater critic, he is also great at a little banter and an all around nice guy.

After reviewing many interviews and articles about Jonathan Abarbanel, it became clear that many, many writers have explored this Chicago icon's work and performance history. He has been the theater editor, as well as a critic for Windy City Times, a dramaturg, teaches at UIC to wide-eyed freshman, contributes weekly theater talk to the WBEZ radio program Eight Forty-Eight, and is a contributor to the new book put out in collaboration with Channel 11 called Out and Proud in Chicago.

What isn't as apparent in interviews past is Abarbanel's candor, wit and growing wisdom as he boasts a 13-year relationship and, of course that "I'm handsome, funny and great in bed!"

While this comment was all in good fun for Mr. Abarbanel, it became quickly apparent in our 45 minutes via a "phone date" together that these declarations may not be so far off the mark (although this writer can only speak to the first two).

What can you tell us about yourself that is new? What have you learned with age?

At the point of life where I finally understand that wisdom comes with experience, that is an interesting question. Well, you, of course, always want people to know you for your work and your accomplishments. I'd rather have people respect me than like me. I know my limits as a person, a writer, a careerist. I've also learned the limits to ambition. It is kind of like a twelve-step program, you know. You learn what is true and you accept it.

That's interesting. Any emotional differences?

I know over the last decade a major change is my reaction to life. Things that 20 years ago would put me in a screaming rage just don't anymore. It isn't that important.

What about lessons career wise?

I've learned that people associate your experience and prestige with the name of the publication for which you are writing. You can't let that bother you.The name of the publication has far less to do with the writer's talent and experience than does the actual person delivering the critique. I've had to learn that as long as I know how long I've been around and how hard I've worked to gain such crucial experience in the Chicago (or what we now refer to as "off loop" theater scene that I can be happy with my accomplishments.

I also feel really good about my choices. I have had opportunities to work for larger publications in smaller cities. I have chosen to stay in a city whose theater I've been integral in developing, as well as for which I have a great respect and passion. I'd rather be a smaller fish in a wonderful pond than a big fish in a very small, mediocre pond.

What brought you to an interest in theater in the first place? Was it an escape?

Theater didn't "save" me in the emotional way that it saved many other individuals. I wasn't an only child, my life wasn't particularly damaging. From my earliest exposure to theater I was attracted to it, however.

I have a sense that that led to my interest.

How did you learn about theater?

My parents didn't push me or my older sister to get involved, but I do remember going downtown to see shows, childrens' theater was once or twice a year. Exposure was limited in terms of my immediate family, but I did have several family friends whose parents were passionate about Broadway Theater. Theater was only Broadway back then. Through these relationships. I got to hear original cast recordings that I enjoyed.

Many times theater lovers have a stark memory of their first theatrical experience. Do you share such a memory?

The earliest play I can remember seeing was at about four years old, I think. I was old enough to walk for sure.
My aunt Ann took my sister and me to the original Goodman Theater, which had and still has a famous Saturday morning's children's theater program. We went to Mrs. Snyder's candy shop and bought some chocolate, because this is when the theater was still attached to the Art Institute on Monroe Street. We saw "Peter Peter Pumpkin Eater."

It must be very interesting to still experience live theater in the same city as an adult.

I remember the first time as a very young adult, before I was 25. I returned to that same theater as a critic and there was a press ticket waiting for me, and I can tell you that was very, very special for me to do that. Yes,

What was your journey into theater criticism like?

To make my way as a theater critic was not all that easy. The world of theater critics in 1970 and after was still those four major papers. Those Underground papers, like the very early Reader had to fight for their credentials. And the loop theater district was not all that much larger than it is now, but press from New York came to review shows, and nobody cared that you wrote for a small, underground paper.

Nowadways, most of the big press agents in New York know my name, as I've written for Variety and Backstage. That feels good. It is a long road. Most people don't become part of "the" establishment by planning, it just kind of happens.

You mentioned that this is your first shot at teaching on the university level.How is that going for you?

Great...and an adjustment. I am teaching the "survey of theater" course, which is a challenge in some ways. I get a whole two weeks to cover Shakespeare. You get the idea. I am always interested in new opportunities and new challenges. Reread plays I haven't read in thirty years. I may have seen them...

Interesting. How do you see working for a GLBT publication as having an affect on your career or being reflective of choices.

I think it is great. I am out everywhere, so that is no secret. I think that working such a publication that is reflective of quality work and writing and theater coverage that is endorsed by the GLBT community is important.

Also, viewing Chicago theater through the years, there has always been a high percentage of gay/lesbian artists, actors, critics, managers, designers, etc., and, now more queer-identified managers that are in non-queer companies exist, as well as many more community members that are open about who and what they are.

The dividing line is Stonewall, as it is with everything in queer history. Before that you had to read the hidden aspects of the LGBT, even in an LGBT play. After Stonewall, you could see it.

Okay, just for fun, I have to ask. What is the secret of staying in a committed, thirteen-year relationship?

After four years you stop having sex. After six years you stop speaking...no, seriously though, I think it has more to do with being mature and ready to have a relationship. When you have wrinkles around your eyes, and you realize you just aren't as thin as you used to be.

You can read Jonathan Abarbanel's reviews at www.windycitymediagroup.com

Or hear him on WBEZ, 91.5 FM each Friday as part of the "Dueling Critics" segment of Eight Forty-Eight, which airs from 9 to 10 a.m.