In the elegant library atop Steppenwolf Theatre, Audrey Francis, one of the theater’s artistic directors, prepares to engage with a reporter.
As the interview is about to commence, a sharp knock on the glass door interrupts the moment.
Entering the room is Amy Morton, a longtime ensemble member and celebrated actress, who is scheduled for her own interview following Francis.
With a playful gesture, Morton flashes a middle finger at Francis, eliciting laughter from both women before Morton reclines into a high-backed royal blue leather chair.
Morton, a two-time Tony-nominated actress, has been an integral part of Steppenwolf’s identity since joining its ensemble in 1997.
Known for her versatile performances in both theater and television, Morton currently garners recognition for her role as Sgt. Trudy Platt on NBC’s Chicago P.D.
However, she is making her way back to Steppenwolf after an eight-year hiatus, eager to collaborate with Francis, her former student and friend of over two decades.
“When I read the script and I loved it, I knew I wanted to work with her,” Morton stated, expressing her excitement for the new project.
The upcoming production, titled You Will Get Sick, is set to open on Sunday and run through July 20.
The play, a Chicago premiere by Noah Diaz, explores the unexpected friendship between a terminally ill patient played by Namir Smallwood and his significantly older caretaker, portrayed by Morton.
Morton discussed the rarity of finding directors she wants to work with, stressing the challenges of directing in theater.
“It’s hard. It’s stupid hard. So when you find a good one, you want to keep working with them over and over,” she remarked.
Francis and Morton first crossed paths in 2004 during the School at Steppenwolf, a summer acting program led by ensemble members.
Recalling her time as Morton’s student, Francis shared, “I’ll never forget when I was in my 20s and Amy was my teacher.
She was an amazing teacher, and I learned so much from her, not just about acting, but about being a courageous human being.”
Their relationship blossomed deeper over the years, with Francis serving as an assistant at Steppenwolf while pursuing her own acting career, always buoyed by Morton’s support.
The two later began teaching acting classes together, showcasing their symbiotic professional relationship and friendship.
During a rehearsal later that day, their bond becomes increasingly evident.
Both show up in jean jackets, a small but telling detail that signifies their shared connection.
They work through a challenging scene between Morton and Smallwood with keen attention to the timing and dynamics required for it to resonate well.
This moment is pivotal; it depicts Smallwood’s character experiencing a surreal stroke that disconnects his mind from his body.
The staging requires precise coordination, as another actor, Jordan Arredondo, voices Smallwood’s conscience from below the stage.
Despite the complexity, Morton and Francis work seamlessly together, exchanging ideas and solutions fluently until Morton lands the perfect suggestion.
Francis humorously acknowledges Morton’s knack for problem-solving, exclaiming, “Once again, Amy solved it.
See how problematic she is?”
Namir Smallwood praised their collaborative spirit, noting the trust and warmth that exist between Morton and Francis.
“There’s a love between the two of them as people and artists that is really cool to see.
Audrey is a beast. She’s a really good director,” Smallwood said.
Morton, known for her straightforwardness and sharp wit, embraces a reputation for being tough in her directing style.
She approaches acting with the Meisner technique, which emphasizes connection and genuine interactions between actors.
“The whole point of Meisner is connection and listening,” Morton explained.
This method, although demanding, pushes actors to delve into honest exchanges without their egos overshadowing the performance.
Morton articulated that Steppenwolf’s ensemble nature fosters an atmosphere where honesty reigns.
“There are no egos. Everybody has a bulls— meter and they’re not afraid to call it out,” she asserted.
As the interview winds down, Morton reflects on her admiration for Francis’s directing style.
“She directs like I do, which is great,” she straightforwardly concludes, showcasing a mutual respect that has, over the years, only grown stronger.
This partnership not only emphasizes Steppenwolf’s commitment to collaborative artistry but also highlights its role in nurturing generational connections within the theater community.
With a rich history and a forward-looking vision, Steppenwolf Theatre continues to set the stage for impactful performances and meaningful collaborations among its talented ensemble.
image source from：https://www.wbez.org/theater-stages/2025/06/13/steppenwolf-theater-chicago-amy-morton-ensemble-audrey-francis
