Lookingglass Theatre has new leaders, including David Schwimmer as producing director

CHICAGO — Lookingglass Theatre has appointed David Catlin, a longtime ensemble member and a Northwestern University faculty member, and Ericka Ratcliff, most recently the literary manager at Chicago Shakespeare Theater, as its new co-artistic directors. They replace Kasey Foster, who has completed a three-year term.

Meanwhile, Philip R. Smith, a longtime Lookingglass ensemble member and leader with decades of commitment to the company, is leaving his development role at Writers Theatre in Glencoe to become executive director of what always has been his true professional home.

David Schwimmer, who told the Tribune in February that he intends to “double down” on his commitment to Lookingglass, is fulfilling his promise by taking on a new role as producing director, a job he said Monday would involve fundraising, marketing, board development and finding new partners interested in co-producing at Lookingglass’s home on Michigan Avenue. He has also previously expressed a wish to act or direct in another Lookingglass show.

Catlin described these major changes as reflecting “an exciting new infusion of leadership” for a theater company hit harder than most during the pandemic, and that has struggled to produce full seasons of shows in the years that have followed.

Catlin, Smith and Schwimmer all emphasized a newly focused commitment to finding a sustainable model for a theater that has focused on original work for decades with all of the associated risks. “We have to adapt to survive,” Schwimmer said.

Ratcliff and other new leaders, along with new board president Marci Masur, said the intent going forward was to get back to a four-show season, the nonprofit Lookingglass model for many years. That likely will mean one of those shows being a partnership akin to the successful co-production of “Kowalski” with a star name in Johnny Galecki and a group of New York producers. Schwimmer, of course, has an enviable metaphorical Rolodex when it comes to New York and London entities; he said he sees such partnerships as a way to “spread the risk of original work.”

“I think Lookingglass always thrives from collaborations,” Ratcliff said.

Lookingglass already beefed up its board of directors with Deann Bayless becoming board chair; Lookingglass has enjoyed a long creative relationship with Deann’s husband, chef Rick Bayless.

Smith, a former artistic director (among other things) and whose work at Lookingglass goes back more than 40 years, said that a palpable resurgence had precipitated his return. “I have realized,” he said, “how important this theater is to Chicago.”

Masur described the new leadership team as a “one of the best investments anyone could make in arts and culture” and said that “Chicago has told us the city really has our backs.”

With the creed of building a sustainable return and with an assist from a completed $2.5 million grant from the State of Illinois to improve its lobby, the original Lookingglass crew clearly intends to reclaim the company’s place as one of Chicago and America’s most innovative resident companies. Lookingglass became famous for its high visual style and for having helped make the formidable careers of early ensemble members like Joy Gregory, Mary Zimmerman, Laura Eason and Schwimmer. As well as some younger artists who followed.

The last named celebrity currently is spending a lot of time fundraising for something Lookingglass has needed ever since it moved into the enviable Magnificent Mile location of the Water Tower Pumping Station — a new marquee, for which Schwimmer said Chicago finally has granted approval.

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