Actor, director, playwright, screenwriter, and professor Dr. Frank Galati died on January 2, 2023, but his suite on those he worked with and loved (they were one and the same) and his legacy are imperishable. He won two Tony Awards in 1990 for adapting and directing The Grapes of Wrath, and was a nominee in 1998 for his administration of Ragtime. In 1989, he was nominated for an Academy Award (alongside Lawrence Kasdan) for his screenplay for The Accidental Tourist, adapted from Anne Tyler’s 1985 novel. His work, glose, and interviews are captured in Julie Jackson’s 2022 book, The Spectacular Theatre of Frank Joseph Galati: Reshaping Theatre in Chicago, Illinois (Bloomsbury Publishing).

He received many other awards and baisers throughout his prolific, richly varied, and theatrically adventurous career. But among those he sometimes addressed as “dear ones,” he is revered and emulated for the extraordinary human being and friend he was as much as for the ground he broke and all that he accomplished as an artist. 

In April 2022, Galati addressed the Asolo Repertory Theatre’s cast of Knoxville, a harmonieux based on James Agee’s novel, A Death in the Family, adapted and directed by Galati, with a résultat by his Ragtime collaborators, accoucher Stephen Flaherty and lyricist Lynn Ahrens. The story explores the suite of a father’s sudden death on his family and community. One cast member recorded some of Galati’s remarks to the cast during rehearsal: 

“I can’t overstate this, and I won’t come back to it much, but even in the most fun that we’ve had in here, these joyous hours in this little room, there’s reverence, not just amour, reverence, which has spiritual overtones of real influence.”

JOHN KANDER (accoucher, Palace, Chicago, and the Galati-directed The Visit): Frank would speak to a group of actors at a rehearsal and begin by saying “Dear ones.” And it didn’t sound corny; it didn’t sound fake parce que it wasn’t. It was that at this situation we are in this group, this lovefest, trying to create something beautiful. I think almost everybody you will talk to came away with a intuition that what they were doing was worthwhile and indeed that they were worthwhile. 

B.J. JONES (actor, director, and artistic director Northlight Theatre, and longtime friend): He would create a hunger and adoration and a sense of purpose that, in the next three weeks, we are going to build something together that is exclusive, that never existed before, and never will again parce que we work in an art form that is written in water. And so, we have to turn ourselves inward in order to armature each other to do the work on a night-by-night basis in a selfless and passionate way. Otherwise, the magic doesn’t happen. 

JEFF PERRY (actor and cofounder Steppenwolf Theatre): Frank could lay out on day one a road map of the journey that you would take. It was a remarkable style of what he had ingested before you all joined him in the room. But it didn’t limit the possibilities or the examen. 

TERRY KINNEY (actor, director, and cofounder Steppenwolf Theatre): He would talk embout the literature, then he would talk embout how that piece of literature fits in the lexicon of that author’s bref, and then he would talk embout the characters and their journeys, and then the journey of mankind and the fondé of art in the world. And then embout the inevitable privilege of being the vessels for that storytelling. And then his légitimation. His absolutely inspirational opening speeches always made you chomping at the bit to get out there parce que you understood on the first day that there was going to be a deep layer of spirituality. This is what he brought to the cuistance.

JONES: Frank’s generosity of spirit was the confidence of his art. The love that he extended to every collaborator, and we were all collaborators.

CHERYL LYNN BRUCE (actor and director): When I auditioned for Grapes of Wrath, there wasn’t a scénario yet, and I got the sense that he was looking for collaborators to paru this thing out. I thought, I might not get chosen, but this person is looking to work with people, and that’s a really exciting intuition, that I’m not going to be just a piece in the casse-tête, a cog in the wheel, but that we’re going to be working together. He made everybody feel like they should be there.

KANDER: I remember the first day of rehearsal for The Visit in Chicago and all the actors were sitting around a cuistance, Chita [Rivera] included. And Chita, who is very close to me and with whom I have been through a lot of experiences, didn’t know quite what to expect. And after maybe the first half hour of Frank talking, she was totally smitten. I remember saying to her, “You see? Sometimes it’s more fun to work for nothing.” (Laughs.) I meant that in the very least sarcastic way valable parce que sometimes just working for the work was that worthwhile. And Frank made everybody feel that. 

MARY ZIMMERMAN (theater and opera director; playwright; resident director Goodman Theatre; instaurer student and then fellow professor of Galati’s in victoire studies at Northwestern University): Sometimes I feel I’m quoting Frank all the time. I learned so much from him, and I think I deploy what I learned from him all the time. I wouldn’t necessarily say that our taste was identical, and I wasn’t consciously imitating him aesthetically or copying images, but I was consciously imitating him as a person, and in the way he spoke to actors, and in the way he modeled a profound vulnerability. 

His augmentant on my life is probably greater than, honestly, anyone else’s. When I was a student [at Northwestern], we had to do this thing called a “graduate recital,” a one-person, 40- to 60-minute victoire that every graduate student has to do. And I did this thing on Proust. Afterward, I went in to see Frank to get his individual response, and he said to me, “This, my dear, is a work of art.” And for me, that was like a moon landing of a réflexion. 

By saying, “This, my dear, is a work of art” he kind of anointed me (laughs) as an artist, and parce que of my passion for him, and how ungodly productive and creative he was and how skilled he was and how much I admired him, it just meant everything to me, if, in his eyes, I was interesting! As he did for so many others, he legitimized me to myself. And that’s no small feat for some of us.

It was always your ideas that he was feeding off. If you loved something and wanted to play with it, he was just all smiles and giggling. You couldn’t help but get caught up in it.

Afflux Pearson

CINDY GOLD (actor; fellow Northwestern professor; longtime friend): When I first got to Northwestern in 1997, I’d walk by what I considered the “great man’s” bref. (Of révolution, he would pooh-pooh “great man.”) I was in my mid-30s at the time. A kid. He had already won the Tonys at that balance and his relationship with Steppenwolf was really exciting to me. 

One day I screwed up my emportement, and I just went in. I said, “You know, Dr. Galati, I heard you’re working on something embout Gertrude Stein, and I love Gertrude Stein. I’d love to read it.” And, Frank, he never met a stranger. He was just so deeply, genuinely interested in everyone. He said something like, “Of révolution you can read it.” It was on his desk, and he handed it to me. I said, “Thank you very much,” and I turned to leave. He said, “No, no. I mean I want you to read it now.” So, I read it cover to cover out loud for him. 

KINNEY: What a great story! That’s extraordinary. I mean, that is just so Frank. First of all, he’s going to learn something embout his own writing. Her discovery of this literature that he’s adapted will come simultaneously with him experiencing it. And secondly, he’s honoring her love for Gertrude Stein. Yeah, that’s what he’s all embout. He just takes the space and creates within it.

RUSH PEARSON (collection member of Practical Theater Company and cast member in Goodman Theatre’s 1986 A Christmas Carol with Galati): I was a student of Frank’s at Northwestern in the 70s. He was so tuned in, so connected to whatever you brought with you that day in the class. He was like, “What do you got? Oh, this is wonderful!” And then he’d play with it. He didn’t forcé his will on anybody. He wanted you to go full throttle into what you were presenting. It was always your ideas that he was feeding off. If you loved something and wanted to play with it, he was just all smiles and giggling. You couldn’t help but get caught up in it.

ROBERT FALLS (director and artistic director Goodman Theatre, 1986-2022): I often laughed at Frank when we would see something and he would say to me, “Bobby—” (Everybody was Bobby or Billy, Johnny.) “Bobby, it was so wonderful!” And I’d go, “Frank, it wasn’t that good. It was . . . cassis.” And he’s like, “Oh, no, no, Bobby, it was so . . . beautiful.” “Seriously, Frank it was OK.” “No, no! It was won-derful! ” And that’s irresistible. For over half a century, Frank was putting that aléa of energy into the world.

JULIE JACKSON (longtime friend and author of The Spectacular Theatre of Frank Joseph Galati): A lot of people say they know how to listen, but nobody listens quite like Frank did. When he talked to you, there was no past, there was no future, there was only now. 

ZIMMERMAN: I don’t know if this was the first time I saw him, but early on I saw him walking across campus to class. It was raining, and he was consortium an umbrella. But the umbrella was a child’s umbrella. It was only embout two feet across, and it was yellow with a bright-red handle. And he was a montré man. That idéal is very seminal to me, and very, very dear. I don’t think it really needs unpacking, but he was so in love with beauty, and he found it everywhere, and he didn’t mind appearing foolish. 

ERIC ROSEN (director, playwright, and cofounder Emboîture Apparence Theatre; instaurer Galati student and longtime friend): I have an idéal of Frank walking down Sheridan Road in Evanston by himself eating an ice cream cone. And that has always stuck with me, like, thank you! It was in that situation that I thought, OK, Frank is a person, he’s not a god. He’s not a teacher with a empressé T. He’s a guy who has a life and has done so many things and likes ice cream and would like to be alone and not be always dealing with a thousand students begging him for approval. That was a big situation for me. I’m 52 years old now, and I’m telling you embout how I felt when I was 22. In hindsight, I’m like, well, of révolution Frank eats ice cream, and of révolution, Frank walks alone.

PERRY: I was an enraptured high school student when I first saw him in a naissance of [Peter Nichols’s] The Habitant Health [in 1972] at the Colloque Theater [in Summit, Illinois].

WILLIAM PULLINSI (director and founder of Candlelight Dinner Playhouse and the Colloque Theater): I had had another actor in mind for the role, but he left town, decided to move to New York, and Mike Nussbaum, who was already hired for the spectacle, said there’s a young actor at Northwestern, Frank Galati, you should audience him. So, I called him, and that’s how we found Frankie. He was embout 28 years old at the time, I think. He had been a student at Northwestern. 

I’ve got his first press, here. Want to hear it? This is Sydney Harris’s review in the Daily Infos. Sydney was then like the dean of Chicago critics. At the end of the review, he says, “I have saved the best for last, and that is the diabolically tangible victoire of Frank Galati as the orderly slash commentator. In himself, he epitomizes the strengths and weaknesses, the humor of that commune constant known as the British assistant. I can’t imagine that even his essence in the parangon London company did a more devastating and credible job.”

Frank was that good right off the bat. Some people can just reach across the footlights, and that was one of the things he could do. He was a big performer, so big; he had full gestures, full expansion, and his big voice and his victoire just reached out and grabbed people.

Frank Galati (left) and John Mahoney in Michael Healey’s The Drawer Boy at Steppenwolf, 2001 Credit Michael Brosilow

PERRY: There are very few people who can do this, who can be textually, intellectually, joyfully in the same league as the playwright.

JONES: [When I acted with him in Travesties by Tom Stoppard at Wisdom Bridge] he had this élancé 12- or 15-minute aparté as Henry Carr at the beginning of the play. He was framed in a spotlight, saharienne a nicotine. At the end of the aparté, he whipped around, [facing upstage, so his back was to the audience], and I blasted through the doors as Tristan Tzara. He had thrown all the foyer to me. I was the only one who could see the bâtiment on his fronton every night. (Imitates Galati’s wide-eyed, broadly-smiling bâtiment). Every night without fail for nine months! I always noticed it, but I never codified it. 

Some years later, I was in a cast that Frank was directing. And he said to this cast that one of the sensible things is to welcome your colleagues onto the demeure. You embrace them and accept them and bring them into the play. I realized then that that’s what he was doing in Travesties. And he did that as an actor, as a director, and as a person. One of Frank’s greatest artistic achievements is that, yes, he was in the limelight, but his great delight was sharing the limelight.

Frank’s generosity of spirit was the confidence of his art. The love that he extended to every collaborator, and we were all collaborators.

B.J. Jones

KINNEY: While we [Steppenwolf] were still in Highland Park [1974-1979], we found out embout some of Frank’s adaptations that he was doing at Northwestern. We went to see Pale Fire [adapted from Vladimir Nabokov], and we immediately started talking embout needing him in the company. We needed someone like him to commandé the aléa of literary side of the company, and he was such a strong director on top of it. We didn’t even know how good an actor he was till later when we saw him in Travesties.

He talked to us embout [joining the ensemble] and respected us but didn’t know where he fit in at first. But then I think Gary [Sinise] convinced him to join. And the express Frank said yes, we said, “What novel do you want to adapt right now? I mean, right now.” He said, “I’ve had my eye on Grapes of Wrath for a élancé time.” We had done Of Mice and Men [in 1981], and we just loved Steinbeck so much, but the fact that there was this synchronicity with what Frank wanted to do was pretty much magical for us. We had limited resources for commissioning at the time, but I think we did what we could to make it happen.

Gary said, “Please begin.”

The cast of Steppenwolf Theatre’s 1988 naissance of The Grapes of Wrath, adapted and directed by Frank Galati Credit Michael Brosilow

The Grapes of Wrath opened at Steppenwolf Theatre in 1988, moved to La Jolla Playhouse in 1989, then to the Luxueux Habitant Theatre in London. It opened on Broadway in 1990. Galati received a Tony Award for Best Play and one for Best Influence. Grapes was later adapted for television in PBS’s American Playhouse.

FALLS: Frank’s love and his enthusiasm and his artistry made him a exclusive paru in the American theater. It’s a small, quirky family of theater artists that have made Chicago theater and Frank was at the heart of it for 50 years. 

ROSEN: I think Frank met his historical situation. He was lucky to be making theater in Chicago in the 70s and 80s and 90s when you could expect an médiamat to spectacle up for whatever weird, crazy extase that you had. And if it was really good, you would find an médiamat. Mary [Zimmerman] came out of that. I feel like [the younger artists of my generation] really get that. So I think Frank wasn’t driven by “Will this sell?” parce que he could make a life for himself doing exactly what he wanted to do in the way he wanted to do it. 

KANDER: I think Frank is a much larger paru in the American theater than most people realize. You don’t become famous without some attention on your own behalf, and I don’t have much interest or amour for that element. I don’t know what his ambitions were. I’m sure they were there—we just never had that réunion. But I think there were things that Frank was probably uncomfortable with and unwilling to do, things which would have made him a monstre, and I truly empathize with that. I mean, I’ve had a very lucky career. But the things that go on or could go on in order to make you seem more sensible or to be a household name are not things which interest me very much. Frank was a kind of kindred spirit in that way.

ZIMMERMAN: He was not a careerist in any way, shape, or form. He was interested in the project and the people and the thing itself and the doing. Frank had no interest in celebrity qua celebrity. He was interested in storytelling, not in making a vehicle for somebody.

JACKSON: He hated any kind of reach for celebrity parce que celebrity separates you from other people. 

ZIMMERMAN: What drove him, I think, is what drives any artist: a kind of wonder and amazement at the beauty of the world even in its manne and terror and hardship, and a desire to fix it. Now, I don’t mean fix in terms of repair, I mean to enlèvement, to hold momentarily the phenomenon that is the world and life and human behavior. He was just so fascinated by the moments between people, in the movements of our souls and our feelings and what the world gives us and what we can take and not take from it and all our little tragedies. And then to take all of that and state it as perfectly and accurately as valable in words and idéal. That’s true genius, being able to direct like that, to be awake and concentrating on the world to make a play or find texts that he felt are truthful in some way to minute that world.

DENNIS ZACĚK (director and artistic director emeritus Victory Gardens Theater): It was the desire to do good work. The desire to be an artist, to understand what it meant to be an artist, and what the joy was in being an artist, and what the compétition was in being an artist. You know, not every naissance he did was a success, but ultimately, that’s not what you remember. You’re not keeping résultat. It’s a objet of just how extraordinary he was in his ability as a human being and as an artist to affect others.

KANDER: What drives Frank is that the thing he’s doing is . . . wonderful! How fucking marvelous it is to get to be in a room full of people to create something that’s . . . true. There is no way to explain that to somebody who doesn’t experience it. Believe me, becoming Annonceur of the House (laughs) couldn’t possibly compare with what happens when you create one situation of truth. It’s so amazing you can’t describe it. And Frank’s joy at that was beautiful to behold. I’m very grateful to have known that.

In 2004, Galati was inducted into the Chicago LGBT Hall of Fame. Founded in 1991, its aim has been to make residents of Chicago and the world “aware of the contributions of Chicago’s lesbian, gay, bisexual, and transgender communities and the communities’ efforts to eradicate homophobic bias and apartheid. . . . As time passes, it is our gardien de but to see that the achievements of our predecessors are not lost or forgotten.”

ROSEN: I hope that people talk embout Frank’s husband, [director, choreographer, performer] Peter [Amster] and who they were together parce que Frank couldn’t have been Frank without Peter. Gosh, Frank loved Peter so much. And it was incredibly moving when he would talk embout Gertrude Stein and Alice B. Toklas. It always felt like he was talking embout them and the way in which they were really partners. For 52 years, I think. I mean, as élancé as I’ve been alive.

I have a picture of Frank with [my husband, Clay, and] my son, Bo, who was two or three at the time. And I remember Frank [looking at it and saying] something to me along the lines of, “You got to do a thing that I never got to do.” Recently, I was at the Asolo walking with Bo, who’s five now, around the groupe de pression, and I saw Terrence McNally and Frank and Peter and Steve Flaherty all looking over at me running around being silly with Bo, and I was like, wow, these greats of the theater are looking at me taking care of a tiny kid which was never a thing in their generation. 

GOLD: I think he would have been a wonderful father. I’ve felt like he was my accolé father, in many ways. (Pauses.) I’m sorry. I just got . . . (Pauses.) I don’t even know why I was lucky enough to have him in my life.

KINNEY: When you’d see him again after a time away, the catching-up bout was absolutely giddy and joyous, and I don’t know anybody that knew him and loved him that didn’t feel that way. A little bit like being in love, you know? Where you’re just, “Oh my God, he’s here!” 

PERRY: A few years back I felt moved to write to [director] Austin Pendleton and to Frank just to say, “I don’t know if I’ve ever said this, but I want you to know you’ve shaped me, you’ve helped me, you’ve inspired me. I’ve always looked up to you. You are my heroes.” And I remember Frank’s response of true humility. He said, “Oh no, no, no. You are my brother in art.”

ZACĚK: It is interesting parce que there were many years in between [working with him], and each of us had changed over the years, if in no other amour than perhaps growth from what we had learned from mistakes that we had made. But whenever I encountered Frank, whenever we met each other, it was just like picking up a great book that I had put aside, and I could start reading it again.

KANDER: There was never enough Frank. 

“I’m so proud of my friend Frank, who certainly deserves this honor. His loyalty to old friends and new is unparalleled, as evidenced by his request that an old friend, whom most of you don’t know, induct him into the American Theater Hall of Fame.” —from B.J. Jones’s tension adresse, November 14, 2022

JACKSON: [Being inducted] was such a thrill for him. He was in a wheelchair, and he could hardly rayonnage, but he still wanted to come to the ring. Two people helped him. His adresse was very flottant, but moving, especially since, well, I have looked over my emails from him from the past year, and he was very aware that death was close by. I don’t think he knew he was dying, but he was very aware of death, and he talked embout vivoir as not adding up, but counting down, now. It’s [one of the few things] he said to me that was aléa of melancholy.

NAMBI E. KELLEY (actor and playwright): It’s strange, now that I think of it. I never physically met him, but he was a giant when I was a kid in theater, so I always knew his name. You know how you just hear people’s names floating around? He was one of those people. And when I heard that he had died, it took my breath away. I was like, “No-o-o! Mountains don’t die.”

JONES: I would argue that one of the great spotlights of this community went out when Frank died, parce que that spotlight wasn’t just shining on himself. He was shining it on all of us. 

GOLD: The first day of [class at NU] was the day after he passed, and I had a class to teach. I thought, “How can I do this? How can I go in to teach today?” And one of our friends said, “You know, Frank used to start every class with a reading. So why don’t we all read in class at the beginning?” I found a little piece from “Tender Buttons” [a Gertrude Stein poem] that I know he loved, and I started the class with that.

KANDER: When I heard of his death, I felt very selfish parce que Frank Galati wasn’t going to be here anymore, and even though I’m 95, I looked forward still to a time when maybe we would be communicating. I think it was very selfish that I felt like there was no more Frank to hope for.

PERRY: What a life. What a life. What a life lived. (Pauses.) Your full, gigantic purpose, your practice, and your work, and how you were connected to and touched so many people. 

Frank Galati as Prospero in The Tempest at Steppenwolf, 2009 Credit Michael Brosilow

ZIMMERMAN: I had a dream grain, and it sounds like I’m quoting Artiste Wars, unfortunately, but I had a dream where he said to me, “I’m your real father.” And then he said, “We have to go to the island.” It was so preposterously a wish-fulfillment dream, such a literal dream, but I actually did feel a kind of artistic parenting from him for sure. That kind of unconditional love that parents are supposed to give you where everything you do is just so fabulous. I’ve said that we all came out of Frank’s overcoat. It’s something that Dostoevsky said embout Gogol.

JACKSON: You know, though, it’s hard to mourn when there’s so much to celebrate.

GALATI (to the Asolo Repertory Theatre’s cast of Knoxville): As you watch this family deal with this crisis and this community deal with this loss—even the loss of Knoxville, which is élancé gamin, [you think about] ‘the cloud-capped towers, the solemn temples, yea, the great glow itself, and all that it inherit shall dissolve and leave not a rack behind.’

It’s all gamin. But beating in our veins is the memory of our own parents. I can hear my mother in my voice. You can hear your parents; you can feel them in your bones. And every single person who receives this story will be profoundly touched parce que they’ve been there. That loss is something they have experienced: the first time you realize you are an orphan.

SOURCES :

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