Robert Falls celebrates 30 years as Goodman's driving artistic force
Robert Falls has no succession plan.
Not that anyone at Goodman Theatre has asked. And not that he's ready to hand over the artistic reigns.
After three decades at the helm of one of the country's best known and most acclaimed theaters, Falls is certain of one thing, however. He won't retire and spend his time rocking on a porch swing, sitting in a fishing boat or puttering around a golf course.
“I don't have a lot of hobbies outside of working in the theater and telling stories,” said Falls, 63.
Still, he acknowledged every theater has a life cycle. Goodman is no exception. And there may come a time when its leadership changes.
“If that were to happen, I hope I'd still be making theater and challenging myself in some way,” said Falls, whose revival of Anton Chekhov's “Uncle Vanya” marks his 30th anniversary as Goodman's artistic director.
Falls earned significant praise throughout his career. And he has the hardware to prove it, including Drama Desk and Tony Awards (for “Death of a Salesman”) and 11 Joseph Jefferson Awards. The first came in 1976 when he was still an undergraduate at the University of Illinois. His most recent Jeff Award came last year when he and Seth Bockley shared the prize for their adaptation of “2666.”
But audiences and award committees aren't the only people singing his praises.
Willa Taylor, Goodman's director of education and community engagement, describes Falls as a true collaborator, whose embrace of diverse views and voices is reflected in the theater's artistic collective.
“What's unique to Bob and Roche (Schulfer, Goodman's executive director) is their energy, hunger and drive to always look forward,” said Taylor.
Friend and fellow director Steve Scott hails Falls' intellect and his empathy.
“He's the smartest man in any room he enters,” said Scott.
“He understands how people work, how they think, how they feel,” added Scott, Goodman's producer and a member of the artistic collective. “More than that ... he's taught those of us who work here and those who come to see shows here the possibilities of theater.”
As a director, Falls neither rests on his laurels nor recycles ideas, said Scott, adding Falls always seeks to “excite and provoke artists and audiences.”
With bona fides like that, and with Goodman subscribers numbering 19,330 and ticket sales nearing $12 million annually, you'd think Falls would be immune to the pressure of a new production. Not so. After more than 40 years in theater, Falls still can't shake the anxiety he feels before rehearsals begin.
“Honest to God truth, I feel more nervous than I ever felt,” said Falls, who has helmed 41 productions at Goodman. “What's interesting is that with maturity, I almost feel more ignorant than ever.”
Fortunately, his confidence offsets it. Referencing Mark Twain's quote — “All you need in this life is ignorance and confidence, and then success is sure” — Falls attributes his success to a combination of both.
“I always had confidence in myself. But looking back, there were so many things I did not know,” he said.
Falls took over at Goodman in 1986 after nine years as artistic director of the now defunct Wisdom Bridge Theatre, where he swept the floors, cleaned toilets and sold tickets. He also directed such noteworthy productions as 1983's “In the Belly of the Beast” with William L. Petersen and 1985's “Hamlet” starring Aidan Quinn.
The following year marked the start of a series of storied collaborations with Brian Dennehy, which Falls counts among his proudest professional accomplishments. Among them is the Broadway transfer of “Long Day's Journey Into Night” (which earned Dennehy a 2003 Tony) and their 1999 revival of Arthur Miller's “Death of a Salesman,” which Falls called a “breakthrough production.”
Dennehy, who won his first Tony for “Salesman,” returns the compliment, describing Falls in a 2006 interview as the best director he's encountered.
Falls also points with pride to the Goodman's long association with the late playwright August Wilson and Rebecca Gilman. Goodman premiered three plays in Wilson's Century Cycle and was the first theater in the country to produce all 10 works. The theater, which received the Tony's regional award in 1992, has commissioned and produced six Gilman plays, including 2014's “Luna Gale.”
But not all of his contributions are evident on stage. In 2000, under the guidance of Falls and Schulfer, the theater relocated from its original Art Institute of Chicago home to Randolph Street. Long a champion of community outreach and education, Falls helped shepherd — along with Taylor — a $15 million expansion, which includes the Alice B. Rapoport Center for Education and Engagement, a 10,000-square-foot facility with space for performances, lectures and classrooms.
His colleagues say Falls' legacy has been his impact on fellow theater artists.
“Bob is incredibly generous,” said Scott. “It shows in the way he's structured the artistic department at Goodman. He brought in artists who are very different and gave them agency.”
Falls' commitment to collaboration and diversity is the reason Goodman has an artistic collective, said Taylor.
“We began with three white men,” said Falls, referring to fellow directors and early artistic associates Frank Galati and the late Michael Maggio. “We expanded to women, people of color, people with a diverse aesthetic.”
The artistic home Goodman provided him, Falls, in turn, shared with others.
“I enjoy the sense of home, of working with the same people,” he said, expressing gratitude for the love and support of his Goodman colleagues.
That's probably why he doesn't think about retiring. He still has a lot to do.
“I can't imagine retiring at this moment when I'm healthy, active and challenged.”
“Uncle Vanya”
<b>When:</b> 7:30 p.m. Wednesday and Thursday; 8 p.m. Friday; 2 and 8 p.m. Saturday; 2 and 7:30 p.m. Sunday through March 19
<b>Where:</b> Goodman Theatre, 170 N. Dearborn St., Chicago, (312) 443-3800 or <a href="http://goodmantheatre.org">goodmantheatre.org</a>
<b>Tickets:</b> $20-$59