No stopping playwright's 'Rain'

The cardinal rule of theater is that you should always leave them wanting more. Chicago Dramatists followed that maxim when it closed its popular and critically acclaimed production of Keith Huff's cop drama "A Steady Rain" last fall, leaving nearly 200 people on the waiting list for tickets.

Scheduling conflicts forced the closure of director Russ Tutterow's riveting production about Chicago police officers Denny (Randy Steinmeyer) and Joey (Peter DeFaria), whose lives spiral out of control in the wake of a botched domestic disturbance call.

More Coverage Video 'A Steady Rain'

There had been talk of taking the show to New York or London until Huff suggested remounting it in Chicago. New York producers Frank Gero, Ray Gaspard and Jono Gero stepped in to secure "A Steady Rain's" commercial transfer to the Royal George Theatre, where it re-opens today for an eight-week (and possibly longer) run.

We caught up with the award-winning Huff, an Arlington Heights native and Chicago Dramatists resident playwright, last week to talk about his play -- his first to move from a nonprofit to a for-profit theater.

Here is an edited transcript:

Q. Where did the story come from?

A. I saw an article in the New York Times about the policemen in Milwaukee involved in the Jeffrey Dahmer incident (in which two cops unwittingly returned the teenage victim to the serial killer) who had lost their jobs and were fighting to get them back.

I took that germ of an idea and transposed everything to Chicago.

Also, my wife and I lived in the apartments near Cumberland Avenue off the Kennedy Expressway four blocks from John Wayne Gacy's house. I thought that was something worth exploring. I was completely oblivious while that uncivilized undercurrent was in full force and the police were standing between that element and me.

Q. There's such an air of authenticity to "A Steady Rain." It seems to reflect an intimate knowledge of Chicago cops on your part.

A. I married into a police family. My wife's father was a police commander and he was one of the most ethical people I've ever met.

For a man who always sought to do the right thing, to rise through the ranks to become a commander during (a series of police scandals), how did he remain so ethical, with such a clear sense of right and wrong?

Q. How have Chicago's finest responded?

A. It's been hugely positive. One commander ordered everyone in his district to see the play. Policemen have told me that what they've found appealing is that the policemen in the play aren't romanticized and they're not stereotyped. They're fully human and (the officers) appreciate that.

Q. Have you changed anything about the play ?

A. We got our marching orders from Frank Gero who said, "You got 11 reviews and they're all raves. Don't change anything."

If anything, it's improved because the guys have lived with it for so long. Every time, they get more comfortable and their performances get more nuanced.

Q. What about the production surprised you?

A. Every night I was there, there was a standing ovation.Ãcirc;macr;Ã#130;circ;iquest;Ã#130;circ;frac12; I kept going back night after night, thinking it was a fluke.

It was truly remarkable. (The audience) wasn't seeing it as a downer, but as somewhat purging or cleansing.

Q. What would you like people to take from the show?

A. When I saw "Balm in Gilead" at Steppenwolf Theatre, it seemed like a slice of humanity on stage. Theater was teaching us how to feel, how to be better human beings. It almost invited us to be more compassionate #8230; I hope this play can convey a little of that experience.