As the logistical and technical teams work on completing the Odysseo Village at Soldier Field South Lot for the highly-anticipated Midwest debut of Odysseo by Cavalia on April 1, its 65 magnificent horses have arrived in Chicago and are enjoying a relaxing 14-day stay at a nearby farm.
Following sold-out performances in Vancouver, BC, the four-legged stars flew into Chicago O’Hare International airport aboard a charted 747 aircraft equipped with air stalls. They were then transported to a lavish and spacious farm in Bristol, Wisconsin, in specially equipped trailers alongside Odysseo’s equine specialists. The Odysseo herd, consisting of nine breeds including Appaloosa, Arabian, Quarter Horse, Holsteiner, Lusitano, Paint Horse, Percheron Hanoverian Cross, Selle Français and Spanish Purebred (P.R.E.), is under the care of a 20-person team.
At their Wisconsin retreat, expansive paddocks welcome the four-legged stars of Odysseo where they are able to play, bathe in the sun or roll in the snow. This interlude between shows is part of Cavalia’s horse care and training philosophy, which is based on understanding the needs, preferences, and emotions of the animals, and on mutual respect, kindness, patience, and trust.
The world’s largest touring show, Odysseo is a show unlike any other on the planet, an immersive theatrical experience in which horses are front and center. Imagined by Normand Latourelle - creator of Cavalia and renowned for combining different forms of artistic expression and reinventing the scenic space - Odysseo is a veritable revolution in live performance that makes hearts race. Audiences of all ages will be transported on an epic journey to some of nature’s greatest wonders by this breathtaking production that features the 65 horses plus 48 talented riders, acrobats, aerialists, dancers and musicians.
TICKETS – Adult tickets are priced from $34.50 to $144.50 (no service charge). Special pricing and packages also available for groups, children (2-12), juniors (13-17) and seniors (65+). For an extra special outing, the Rendez-Vous VIP package offers the best seats in the house, full meal buffet dining before the show, open bar, desserts during intermission and an exclusive visit to the stables after the show. This unique VIP experience takes place in a tent alongside the White Big Top. The Rendez-Vous VIP package prices range from $144.50 to $269.50 (no service charge).
Odysseo will be performed at Soldier Field's South Lot April 1-April 23 Photo by Jak Wonderly
ABOUT CAVALIA INC. - Cavalia Inc. is an entertainment company that specializes in the creation, production and touring of innovative shows. Founded by Normand Latourelle, the company reimagines the equestrian and theatrical arts. With its headquarters in Montreal, Cavalia Inc. is an integral part of Canada’s cultural heritage, and the largest Canadian-owned cultural enterprise. Its expertise in high technology, multimedia and special effects creates magical, unique, never-before-seen experiences. Its first show, Cavalia, has been seen by more than 4 million people across North America, Europe, Australia, the Middle East and Asia since its 2003 debut. Odysseo, the company’s second show, has toured to rave reviews and public acclaim since its 2011 premiere. Follow Cavalia’s latest developments at www.twitter.com/cavalia or www.facebook.com/cavalia. #OdysseoCHI
WHAT: Odysseo by Cavalia
WHEN: Shows begin April 1
Official Opening Night Premiere – Tuesday, April 4
Matinee and evening performances scheduled through April 23
WHERE: Under the White Big Top at Soldier Field South Lot
South Lot, 1410 Museum Campus Drive, Chicago
**Entrance at parking gates on East 18th Drive**
TICKETS: Available at www.cavalia.comand by calling 1-866-999-8111
Adult tickets are priced from $34.50 to $269.50 (no service charge)
Special pricing & packages available for groups, children (2-12), juniors (13-17) and seniors (65+).
Producer Jeffrey Seller is thrilled to announce Tony Award® nominee DANIEL BREAKER will join the Chicago company of HAMILTON as Aaron Burr. He will begin performances on Tuesday, April 11 at The PrivateBank Theatre in Chicago.
Mr. Breaker received a Tony Award® nomination for his role as “Youth” in Passing Strange and was most recently seen on Broadway as “Mafala Hatimbi” in The Book of Mormon.
Mr. Breaker will join ARI AFSAR as Eliza Hamilton; MIGUEL CERVANTES as Alexander Hamilton; ALEXANDER GEMIGNANI as King George III, JONATHAN KIRKLAND as George Washington, CHRIS DE’SEAN LEE as Marquis de Lafayette/Thomas Jefferson; JOSEPH MORALES as Mr. Cervantes’ alternate; KAREN OLIVO as Angelica Schuyler, JOSÉ RAMOS as John Laurens/Phillip Hamilton; WALLACE SMITH as Hercules Mulligan/James Madison, and SAMANTHA MARIE WARE as Peggy Schuyler/Maria Reynolds.
The Chicago company also includes SAM ABERMAN, JOSÈ AMOR, AMBER ARDOLINO, REMMIE BOURGEOIS, CHLOË CAMPBELL, YOSSI CHAIKIN, CARL CLEMONS-HOPKINS, JOHN MICHAEL FIUMARA, JEAN GODSEND FLORADIN, AARON GORDON, JIN HA, HOLLY JAMES, MALIK SHABAZZ KITCHEN, COLBY LEWIS, DASHÌ MITCHELL, JUSTICE MOORE, SAMANTHA POLLINO, CANDACE QUARRELS, GABRIELLA SORRENTINO, ROBERT WALTERS and AUBIN WISE.
Daniel Breaker’s Broadway credits include The Book of Mormon, The Performers, Shrek: The Musical (Drama Desk Nomination), Passing Strange (Tony Award nomination, Drama Desk Nomination, Theatre World Award, Audelco Award)Cymbeline and Well. His Off-Broadway credits include Loves Labour’s Lost, (Shakespeare in the Park) By The Way, Meet Vera Stark (Second Stage), Passing Strange (The Public Theater), Fabulation (Playwrights Horizons) and Pericles (Red Bull, Culture Project). London credits include How to Act Around Cops (SoHo Theatre). Film & TV credits include “Sisters” (with Tina Fey and Amy Poehler), “Limitless” (with Bradley Cooper & Robert De Niro), “He’s Way More Famous Than You,” “Redhook Summer” (dir. Spike Lee), “Passing Strange” (Spike Lee), “Unbreakable Kimmy Schmidt,” “Mozart in the Jungle,” “Unforgettable” and “Law & Order: Criminal Intent.”
HAMILTON is the story of America's Founding Father Alexander Hamilton, an immigrant from the West Indies who became George Washington's right-hand man during the Revolutionary War and was the new nation’s first Treasury Secretary. Featuring a score that blends hip-hop, jazz, blues, rap, R&B, and Broadway, HAMILTON is the story of America then, as told by America now.
With book, music and lyrics by Lin-Manuel Miranda, direction by Thomas Kail, choreography by Andy Blankenbuehler and musical supervision and orchestrations by Alex Lacamoire, HAMILTON is based on Ron Chernow’s biography of Founding Father Alexander Hamilton.
HAMILTON’s creative team previously collaborated on the 2008 Tony Award ® Winning Best Musical IN THE HEIGHTS.
HAMILTON features scenic design by David Korins, costume design by Paul Tazewell, lighting design by Howell Binkley, sound design by Nevin Steinberg, hair and wig design by Charles G. LaPointe, and casting by Telsey + Company, Bethany Knox, CSA.
The musical is produced by Jeffrey Seller, Sander Jacobs, Jill Furman and The Public Theater.
The HAMILTON Original Broadway Cast Recording – recipient of the 2016 Grammy for Best Musical Theatre Album and a regular on numerous Billboard top 10 lists – is available everywhere nationwide.
HAMILTON: The Revolution, Lin-Manuel Miranda and Jeremy McCarter’s book about the making of the musical, is on sale and has been a selection on The New York Times Best Seller List.
ABOUT BROADWAY IN CHICAGO
Broadway In Chicago was created in July 2000 and over the past 17 years has grown to be one of the largest commercial touring homes in the country. A Nederlander Presentation, Broadway In Chicago lights up the Chicago Theater District entertaining well up to 1.7 million people annually in five theatres. Broadway In Chicago presents a full range of entertainment, including musicals and plays, on the stages of five of the finest theatres in Chicago’s Loop including The PrivateBank Theatre, Oriental Theatre, Cadillac Palace Theatre, and just off the Magnificent Mile, the Broadway Playhouse at Water Tower Place and presenting Broadway shows at The Auditorium Theatre of Roosevelt University.
For more information and performance schedule, visit www.BroadwayInChicago.com.
Facebook@BroadwayInChicago ● Twitter@broadwaychicago ● Instagram@broadwayinchicago ● #broadwayinchicago
I thoroughly enjoyed the world premiere of Jesus the Jew: As Told by His Brother James. The play is the seventeenth work produced by Forum Productions. The one-man show by playwright William Spatz is very well-written and in my opinion contains some of the answers of the most important issues facing our society today with regards to antisemitism and the violence propagated against Christians and or Jewish Christians in this country and others around the world.
Actor, Steven Strafford plays a modern-day professor of religious history who has just found out his brother John has been tortured and killed in an attack in Syria. He then travels back and forth in time to portray James, the brother of Jesus, one of the mainstays of his research. Strafford's performance is compelling and rich.
Jeremy, as James thanks the audience for coming whether they are Jews, Christians or Jewish Christians. This designation is very important especially in the political climate currently where all three groups are regularly singled out in some countries and sentenced to death by beheading if they do not renounce their Christian and/or Jewish ties.
This play is of particular interest to me because I am a Jewish Christian or Messianic Jew. That is a person who is Jewish by birth who continues to believe that Jesus was Jewish and was the Messiah sent to save the Jewish people and later the non-Jews from the belief that we are just helpless animal-like human beings in bodies which have no actual active spiritual life that continues after death of the human body. We also believe that God is a loving forgiving being that abhors killing of humans and animals, indeed cruelty to women and all living things.
I was given a very complete three-year education in Jewish history and religious practices before completing my bat mitzvah and the only mention of Jesus, if any that I recall, was that Jesus was to be looked at as a Rabbi gone mad - a religious traitor to the Jewish people whose new ideas threatened to destroy Judaism rather than elevate it to new levels of generosity and higher spiritual intelligence. I have often wondered how the separation of Jesus' Jewish birth and the statement he made regarding incarnating in a human body specifically for the Jewish people turned into an entirely new religion called Christianity – a religion that proceeded to make a scapegoat of the Jews when Roman occupation and laws actually caused the killing of Jesus. I've also wondered how Christians and especially Catholics who - on the one hand - give great honor to Mary, Jesus' mother, seem to have completely forgotten the fact that Mary the Mother of God was a JEWISH woman named Miriam. And how can modern Christians continue to refer with reverence to the Gospels written by Jesus' disciples as inspired by God without recalling that ALL the disciples of Jesus were JEWISH?
James’ finally answers this question in the last hours of his life in the play when he is about to be put to death (after 30 years of leading Jewish Christians) for not renouncing his brother's and his own Jewish faith.
The apostle Paul is well known among feminists for his damning letters stating that women should have no place in the new Church and should be subject to all the discrimination that Jesus himself stressed many times should end by interacting with women, healing them and insisting that they receive the same education his male apostles were receiving. During this council, the apostle Paul effectively overthrew James’ leadership by declaring a new law that if a Jewish person believed in Jesus they must stop all Jewish religious practices and laws or be sentenced to death.
Jeremy as James also made it clear that Mary was from a wealthy family and financially supported Jesus and, by extension, financially supported many of the apostles that followed Jesus. Mary Magdalene was NOT by any stretch of the sexist imagination a "prostitute" as many since have claimed.
James states that Jesus and Mary were indeed married per the Jewish tradition and although it was not brought up in this play, their marriage gives some credence to the theory that Mary Magdalene, Jesus' legal wife, gave birth to a daughter after his death, directly continuing the spiritually royal bloodline of Jesus himself. It’s been said that she and her daughter were escorted to safety by her father and sailed to France to raise her daughter.
There is some humor in the play when James says, “Lots of Jewish mothers think their sons can walk on water, but in this case…”
The production team includes: Milo Blue (scenic design), Hailey Rakowiecki (costume design), David Trudeau (lighting design), Alex Kleiner (sound design), Ron Rude (production manager) and Sarah Knoke (stage manager). This team does a great job decorating the set with objects of art from both modern and ancient times. The interesting props keep one’s eyes busy looking at the beautiful colorful aspects of that historic period while keeping the audience firmly in the present with offstage interruptions by reporters seeking interviews with him and friends or family who are trying to help Jeremy stay calm and sane in the face of the news that his brother has been tortured first then killed.
Jesus The Jew delivers the most important message of our time, that the division of Jews from Christians and the division of Jesus from his own Jewish followers and people came from a political move - a political document written to serve the Romans and the ambitions of one aggressive sect of new Christians/Jews led by the apostle Paul.
My only complaint about the well-written and well-documented play is that it does not delve deep enough into the horrors and centuries of suffering that this rift initiated by the apostle Paul caused. Actually using the word “horror” is inadequate to describe the current situation for both Christians and Jewish Christians - the Holocaust or recent be-headings of Christians and Jewish Christians around the world and the suffering of women subject to the new rules of Bible thumping-Jew hating Christians who have been forced to follow their husband’s commands even under extreme abuse.
James even acknowledges that as he gives his last sermon before he is put to death that there may not be any Jewish Christians left to hear his final pleas for a meaningful, literal and political reunion of the Jewish and Christian people. That strongly resonated with me because I am the ONLY Jewish Christian that I have ever met (other than my mother who had a similar late life realization) who sees Jesus as a Jewish Rabbi and miracle maker of the highest order, the human incarnation of God on earth.
I highly recommend this compelling, well-paced and delicately handled theater piece for anyone who is interested in a more realistic view of daily life during Jesus' time, or is seeking similar comfort that Jewish Christians still actually exist.
Jesus the Jew: As Told by his Brother James is being performed at Greenhouse Theater Center through March 26th. For more information on this show, click here.
With a title like "Straight White Men" there's a lot to unpack. Asian American playwright Young Jean Lee directs her 2014 play at The Steppenwolf. "Straight White Men" ran Off-Broadway at the Public Theater to critical acclaim. It helped establish the career of up-and-comer Young Jean Lee. This production is a Midwestern debut.
The Steppenwolf's production is well cast. "Straight White Men" tells the story of a family of three brothers assembling with their aging father for Christmas. Hence the title. Madison Dirks plays the oldest brother Jake with a commanding intensity that serves to propel Lee's script. So much of Lee's play relies on an almost impossible sense of chemistry between the brothers. Ryan Hallahan plays youngest brother Drew with a contrasting sincerity that puts Brian Slaten (Matt) in the center of the 90-minute play. Ensemble member Alan Wilder as the dad is maybe the only one whose performance is not in on Lee's comic pattern.
"Straight White Men" does touch on many issues regarding race, gender and class in America. That said, perhaps not enough to warrant such a heavy title. There is a lot of humor and physical comedy between the brother characters, but so often the content of the dialogue doesn't reach further than the three walls of the set. The conclusion of the play is thought provoking and addresses the issue of socioeconomic privilege.
The problem with titling a play "Straight White Men" is that it raises the stakes for the playwright to deliver a work that makes a bold statement. Lee certainly does make a bold statement, it just may not live up to the title. Lee's script takes a while getting to the center of the matter. It's really a play about depression. In that regard, Lee really says something about the way student loans and societal expectations are stunting an entire generation. "Straight White Men" is a play to see as it will warrant a thoughtful post show discussion.
Through March 19 at Steppenwolf Theatre. 1650 N Halsted St. 312-335-1650 www.Steppenwolf.org
*Update - Extended through March 26th
The Joffrey Academy of Dance, Official School of The Joffrey Ballet in collaboration with Chicago Public Library present four world premieres in the seventh annual Winning Works program, the culmination of Joffrey’s national call for ALAANA (African, Latino(a), Asian, Arab and Native American) artists to submit applications for the Joffrey Academy’s Seventh Annual Winning Works Choreographic Competition. This year’s Competition winners – Shannon Alvis, Sean Aaron Carmon, Karen Gabay and Jimmy Orrante each have choreographed an original work created on the Joffrey Academy Trainees and Studio Company. The Joffrey Academy of Dance’s Winning Works program is presented at the Cindy Pritzker Theater, Chicago Public Library Harold Washington Center, 400 South State Street, over three performances only: Saturday, March 11, at 2:00 PM and 7:00 PM and Sunday, March 12 at 2:00 PM.
“The artistry and diversity of the Winning Works choreographers provide an inspiring look at the world in which we live allowing us to deepen our understanding of the art form”, said Ashley Wheater, Artistic Director of The Joffrey Ballet. “The Winning Works program is an invaluable experience for our Joffrey Trainees and Studio Company providing them the opportunity to grow artistically and perform works created by important voices of dance today.”
“Winning Works empowered me as a female choreographer”, said Mariana Oliveira, 2016 Winning Works Choreographer. “Being a part of this program has opened many other doors for my career. It was a pleasure to work with fearless young talent. I will always hold this experience close to my heart.”
Shannon Alvis is originally from Greenwood, Indiana and received her training at Butler University and the University of Utah. She began her career with the second company of Hubbard Street Dance Chicago (HSDC), then went on to dance and perform professionally with HSDC for nine years. In 2009, Ms. Alvis went on to further her growth as a dancer at Nederlands Dans Theater under the direction of Jim Vincent and Paul Lightfoot.
Her world premiere for the Joffrey Academy of Dance - Moonlight - is a contemporary piece with 5 men and 5 women featuring solo and partner work set to music by Debussy's Clair de Lune. Moonlight is inspired by the poem Clair de Lune by Paul Verlaine, and the beautiful potential that lies within each of the dancers.
Sean Aaron Carmon is originally from Texas and joined Alvin Ailey American Dance Theater in 2011 and has performed major solos and featured roles in ballets by many notable choreographers. His choreography has been performed all across the U.S. and internationally and is lauded as "everything and then some...", "powerful," and "seriously flawless" by major national print and online publications such as The New York Times, Newsweek, JET Magazine, BroadwayBlack, Dance Spirit, and
His world premiere for the Joffrey Academy of Dance - Suite Hearts explores young love in all its varieties — romantic, friendly, playful, emotional, heartbreak, resilience, and the interconnectivity between each. This piece will be performed by 6 men and 10 women.
Karen Gabay grew up in San Diego and has had a career as a ballerina that spans over 35 years. Ms. Gabay made her professional debut at the age of 18 as a principal dancer with Ballet San Jose (BSJ). Her repertoire includes Odette/Odile in Swan Lake, Giselle in the title role and her most favorite role of Juliet in Romeo and Juliet. As a choreographer, she created numerous ballets for the company including the 2012 production of BSJ’s annual production of The Nutcracker which led to her first children’s book, The Nutcracker: A Story in Verse. Gabay is the co-founding Artistic Director of her own ballet troupe, Pointe of Departure, which performs in the bay area and in Northeast Ohio.
Her world premiere for the Joffrey Academy features 10-15 dancers with the women dancing en pointe. The concept of the piece explores the lives of coming-of-age teenagers and will feature a combination of classical and neo classical ballet, acting, and theatrics.
Jimmy Orrante is a native of Los Angeles andhas danced with Nevada Ballet Theatre, Memphis Ballet, and 20 years with BalletMet where he had the opportunity to choreograph 15 premieres for the company. In addition to BalletMet, he has created ballets for Ballet Austin, Motion Dance Theatre, Rochester City Ballet, Ballet Arkansas, Atlanta Ballet’s Wabi Sabi, and UC Irvine’s National Choreographers Initiative. Mr. Orrante’s repertoire includes two full-length ballets, The Great Gatsby, which premiered with BalletMet in 2009 and was reprised in 2015, and the children’s ballet The Ugly Duckling for Rochester City Ballet.
His world premiere for the Joffrey Academy features 6 men and 6 women with the women dancing en pointe. The movement is inspired by the energy within the music, a combination of cascading momentum and a more formal, processional quality.
“The Joffrey is honored to collaborate with the Chicago Public Library Harold Washington Library Center for the first time to present this meaningful and innovative program”, said Greg Cameron, Executive Director of The Joffrey Ballet. “We are grateful for the support of Brian Bannon, Chicago Public Library Commissioner and Mayor Rahm Emanuel as we embark on fulfilling our shared mission and commitment to empowering the community through dance and storytelling.”
"By co-hosting these ambitious programs with The Joffrey Ballet, we are remaining dedicated to supporting lifelong learning for patrons of all ages, in this case, through performing arts”, said Brian Bannon, Chicago Public Library Commissioner. “We hope to inspire people of all backgrounds and ages to engage with both the Joffrey and the library in new and exciting ways.”
Tickets for “Winning Works” at the Chicago Public Library Harold Washington Library Center are FREE. Tickets can be reserved at WinningWorks2017.Eventbrite.com.
The Joffrey Ballet is grateful for the support of its Winning Works Sponsor, The Edward and Lucy R. Minor Family Foundation, Video Production Sponsor Big Foot Media and to its Official Provider of Physical Therapy, Athletico.
About the Joffrey Studio Company
The Joffrey Studio Company is a scholarship program of the Joffrey Academy of Dance, Official School of The Joffrey Ballet. The Joffrey Studio Company consists of 10 outstanding students selected by Joffrey Artistic Director Ashley Wheater and Head of Studio Company and Trainee Program Raymond Rodriguez. The Joffrey Studio Company and Trainees have performed on some of the most prestigious stages, including Lincoln Center in NY, the Auditorium Theatre, Harris Theater for Music and Dance, Cadillac Palace Theatre and MCA Stage in Chicago, Music Hall in LA, The Kennedy Center in Washington D.C. and more. The individualized training and performance opportunities provided by the Joffrey Studio Company offers students unique insight into the life of a professional dancer, assisting students in preparation for a professional career in dance and helping them expand their technique and artistry.
About the Joffrey Academy Trainees
The Joffrey Academy Trainee Program is a one to two-year program for students ages 17 and older who are preparing for a professional dance career. Students are selected to participate in the Trainee Program by invitation from Artistic Director Ashley Wheater and the Head of Studio Company and Trainee Program Raymond Rodriguez. This esteemed and rigorous program gives students a unique and well-rounded experience to prepare them for the next step in their careers. Trainees rehearse and perform classical and contemporary works from The Joffrey Ballet’s extensive repertoire and have the opportunity to work with guest choreographers throughout the year. Graduates of the Academy have gone on to dance professionally with companies throughout the world including The Joffrey Ballet, American Ballet Theatre, New York City Ballet, Staatsballett Berlin, Dresden Semperoper, Complexions, Milwaukee Ballet, Memphis Ballet, Kansas City Ballet, BalletMet, Polish National Ballet, Slovak National Ballet, and many more.
For more information on the Joffrey Academy of Dance, Official School of The Joffrey Ballet and its programs please visit joffrey.org/academy.
About Chicago Public Library
Since 1873, Chicago Public Library (CPL) has encouraged lifelong learning by welcoming all people and offering equal access to information, entertainment and knowledge through innovative services and programs, as well as cutting-edge technology. Through its 80 locations, the Library provides free access to a rich collection of materials, both physical and digital, and presents the highest quality author discussions, exhibits and programs for children, teens and adults. CPL received the Social Innovator Award from Chicago Innovation Awards; won a National Medal for Library Services from the Institute for Museum and Library Services; was named the first ever winner of the National Summer Learning Association’s Founder’s Award in recognition of its Summer Learning Challenge; and was ranked number one in the U.S., and third in the world by an international study of major urban libraries conducted by the Heinrich Heine University Dusseldorf in Germany. For more information, please call (312) 747-4050 or visit chipublib.org.
There’s something new going on at Briar Street Theater! The Blue Man Group has made some new and exciting additions to their already beloved and ever-changing show. The fixture of Blue Man Group in Chicago entertainment has built a twenty-plus-year tradition that has grown to include generations of families, international acclaim (with shows Berlin, Boston, New York, Las Vegas, Orlando, Amsterdam and Oberhausen) and fans all around the world. Unique to Chicago, at the intimate setting of Briar Street Theater in Lakeview, “Left”, “Middle” and “Right”, as our three Blue performers are called by their stage location, play with guests’ perceptions, develop an even closer audience relationship and bring out the little kid in everyone. You will shriek in delight (or even fear), laugh until in your sides hurt, and awe at the thrill of the Blue.
The dedication of the Blue Man Group crew guarantees that everyone has a unique experience when a participant in their show. Whether you are familiar with the tubes, massive drums and electric paint or maybe you haven’t been so up close and personal to such funky dudes of the like, no matter your Blue Man experience, veteran or newbie, this is a production that is sure to entertain any theater attendee. As always, the Blue experience is divulged to you through the sounds of music. You will remember the familiar and fall in love with the new. Have you ever used a GiPad? Among new songs, their live band and new technological additions, the Blue Man Group pulls you deeper into their own world experience and farther away from your phones.
Tom Galassi (Captain and Assistant Director), Jeff Quay (Associate Music Director) and one of the six primary Blue Men, “Boomer”, take pride in the new changes they’ve made and the show has become more encompassing of our current state of the world. A grand finale brings all people together with the love of music; standing and dancing and moving unified to the same song. The production also brings awareness to our attention to the digital world, in a comical, therapeutic way, perhaps slightly violent, but all with a Blue-branded sense of humor. The Blue Man group continues to be exciting, thrilling and always challenging to your perceptions. Locals, families, school groups and tourists all flock towards the light of the Blue. The new additions are not to be missed by anyone of any age, strengthening what was already a unique experience. Though be warned - don’t be late! You never know what they’ll do to you as you wander down that aisle.
Blue Man Group has been a staple in Chicago for over two decades and there is a reason its popularity has not slowed down. The reason is simple. Blue Man Group has been, and will continue to be, a theater event like no other. Caution should be had when choosing seats. Although ponchos are provided, the first five rows put audience members at risk with getting doused, or splattered, with wet paint depending on your location.
Blue Man Group is performed at Briar Street Theater. For tickets and/or more show information, click here.
“Circumference of a Squirrel” by John Walch finishes out The Greenhouse Theater’s inaugural Solo Celebration. This one-character play festival featured only single narrative storytelling. It’s not often you see a one-person fiction play, and while some may cringe at the concept, these short works explored highly relevant themes.
Will Allen stars as Chester. He begins the play telling the audience about a squirrel he saw trying to carry a bagel. Chester is in the present, and by the speech pattern adopted by Allen, we can presume something is a little off. Walch’s script seamlessly flows between Chester’s childhood memories, his relationship with his father and the divorce he’s just been through. He grapples with the knowledge that his father was an ardent anti-semite. It colors the dark, and funny memories of his father paying him in Lifesavers to kill squirrels.
Allen toggles between several characters and memories in the hour-long run time. Each character has a unique, but sincere voice and there’s an almost manic quality with which Allen can articulate them all. His performance only deepens from beginning to end, leading to a bittersweet conclusion.
Directed by Jacob Harvey, “Circumference of a Squirrel” is a well-stylized, and at times abstract look at the ways in which we love. It asks of its audience, whether unfounded racism is forgivable even in the ones we are supposed to love.
Through February 12 at The Greenhouse Theater Center. 2257 N Lincoln Ave.
CHICAGO – The watch must finally come to an end for “Thrones! The Musical Parody,” announcing today the fourth and final extension at Apollo Theater (2540 N. Lincoln Ave). The “Game of Thrones” send-up will close March 19, 2017 after an eight-month run at the Lincoln Park theater. Hailed as “a robust comical homage” (Chicago Sun-Times) and a show that has “the audience falling off their chairs” (Chicago Reader), “Thrones!” is written by the team behind “Baby Wants Candy,” “Shamilton: The Improvised Musical” and “50 Shades! The Musical Parody.” A cast of six Chicago actors recount plot highlights throughout all six seasons, complete with more than 40 characters and 21 original songs ranging in style from hip hop to traditional Broadway. Tickets ($36 - $59) for performances beginning February 16 through March 19 go on sale Monday, January 23 at 10 a.m. and can be purchased at the Apollo Theater Box Office by calling 773.935.6100 or visiting Ticketmaster.com.
A second production of “Thrones! The Musical Parody” continues its West Coast run at Hudson Theater Mainstage (6539 Santa Monica Blvd, Los Angeles), through February 26, 2017. The LA premiere has been hailed as “comic gold” (Broadway World), “witty and riotous” (Discover Hollywood) and “a parody of epic proportions” (LA Post Examiner). For more information and tickets for the West Coast run, visit ThronesMusical.com.
“After workshopping this production in July, opening in September and now playing through spring, we are thrilled that “Thrones!” continues to make our audiences laugh night after night,” said Executive Producer Rob Kolson. “While all good things must come to an end, ‘Thrones!’ has been an incredible production for the Apollo, and we are sure of its continued success around the country as the television show thrives.”
As Spencer, Brad, Hayden, Ross, Kelly and Tom gather for the season finale of “Game of Thrones,” they soon discover the ultimate travesty: that Brad does not watch the show. Over the course of 90 minutes, the group bands together to act out all six seasons (read: spoilers) for Brad, including dashing men battling White Walkers, ravishing women riding fire-breathing dragons, and the infamous “Walk of Shame.” “Thrones! The Musical Parody” debuted to completely sold-out performances at the 2015 Edinburgh Fringe Festival and was hailed as “darkly humorous and beautifully vulgar” (Edinburgh Festival Magazine) and “a resounding success!” (Sunday Times), followed by a sold-out, limited run at London’s Leicester Square Theatre. In its run in here in Chicago, “Thrones!” is a “hilarious ride that never slows down” (BuzzNews Chicago) and “unfailingly witty and deliciously irreverent” (Performink). The cast of “Thrones! The Musical Parody” includes Caitlyn Cerza, Dan Gold, Madeline Lauzon, Beau Nolen, Victoria Olivier and Christopher Ratliff.
“Thrones! The Musical Parody” is written by Chris Grace, Zach Reino, Al Samuels and Dan Wessels. The production is directed by Hannah Todd, choreographed by Tyler Sawyer Smith and produced by Emily Dorezas, Rob Kolson and Al Samuels. The creative team includes Thomas O. Mackey III (Set Designer), Eric Backus (Sound Designer), Amanda Gladu (Costume Designer), Patrick Ham (Prop Designer), Clare Sangster (Light Designer) and R&D Choreography (Violence Design). Dakota Hughes and Mike Danovich are the production understudies.
The performance schedule is as follows: Thursdays and Fridays at 7:30 p.m., Saturdays at 6 p.m. and 9:30 p.m. and Sundays at 4 p.m. For ticket inquiries for groups of 10 or more, call Group Theater Tix at 312.423.6612. To learn more about “Thrones!” visit the website, and follow along on Facebook, Twitter and Instagram.
About Baby Wants Candy
“Baby Wants Candy” has performed more than 2,000 completely improvised musicals to thousands of fans from Chicago to New York to Singapore to Scotland. Currently, “Baby Wants Candy” runs in Chicago at the Apollo Theater, in Los Angeles at UCB Sunset and tours internationally. A cutting edge theatrical experience, the performance features a revolving cast of A-list comedic performers and a full band.
“Baby Wants Candy” begins with the cast asking the audience for a suggestion of a musical that has never been performed before. Accompanied by a full band, the first title that the group hears becomes the title and theme for that evening’s 60-minute show, featuring a roller coaster ride of spontaneously choreographed dance numbers, rhyming verses and witty, jaw-dropping comedy. Each performance is its own opening and closing night, and by design every show is completely unique and a once–in a lifetime premiere.
“Baby Wants Candy” has received rave reviews in The New York Times, The Huffington Post, The Onion, Chicago Sun-Times, TimeOut New York and more, and has received numerous awards including the winner of FringeNYC’s Outstanding Unique Theatrical Experience, Best Improv Ensemble by Chicago Magazine, the Best Visiting Comedy Ensemble by TimeOut New York, the recipient of the Ensemble of the Year Award at the Chicago Improv Festival, and a rare Sixth Star Award Edinburgh Fringe Festival.
“Baby Wants Candy” has included several notable performers including Peter Gwinn of “Colbert Report;” Rachel Dratch and Aidy Bryant of “Saturday Night Live;” Stephnie Weir of “MadTV;” Nicole Parker of “MadTV” and Elphaba in “Wicked” on Broadway; Jack McBrayer of “30 Rock;” Al Samuels and Kevin Fleming of “Sports Action Team;” Thomas Middleditch of “Silicon Valley;” Garry W. Tallent of Bruce Springsteen and the E Street Band; Mark Pender of The Max Weinberg 7 and Bruce Springsteen and the Seeger Sessions Band; and Johnny Pisano of the Jesse Malin Band and The Marky Ramone Band. Members of “Baby Wants Candy” have recently written the hit off-Broadway show “50 Shades! The Musical Parody” and “Shamilton: The Improvised Musical.”
About Apollo Theater
The Apollo Theater, located in the heart of Chicago’s Lincoln Park since 1978, has been home to many of the city’s biggest hits including the recent “Million Dollar Quartet,” which holds the record for the longest-running Broadway musical in Chicago history. Resident companies of the Apollo Theater include Emerald City Theatre Company and “Baby Wants Candy,” and many up-and-coming companies can be seen nightly in the theater’s 50-seat downstairs studio. Recently renovated and fully accessible, the Apollo Theater’s intimate 435-seat mainstage continues to deliver world-class theater as one of the city’s premiere off-Loop houses.
When Mitchell Fain, the star of David Sedaris's eight year long run of "Santaland Diaries" about a broke actor who lands a gig as a Macy's elf first begins his play with the opening lines of said show on a beautifully decked out and magically lit Christmas set - I thought, "Wait a minute I've seen this show already!”
Quickly, Fain drops the character of Sedaris' Crumpet and becomes the character of Mitchell Fain in one of the most personal and entertaining one man shows I've seen in a long time, “This Way Outta Santaland”, written by Fain himself.
Fain is joined at Theater Wit by his old friend and roommate from years ago, the beautiful red headed Megan Murphy whose work I have enjoyed many times in many of the Marriott and Drury Lane Musical Theater Series. Also, playing the music for his monologues and Murphy's segue way songs is Julie B. Nichols, an excellent pianist who began the show with a hearty toast to which the whole audience raised their cups!
Mitchell really interacts with the audience and brings up the houselights many times as if trying to really see and relate to each person who came out in the cold Chicago weather to see his show. Fain begins by asking how many in the audience came from Chicago from a smaller place to live, and many raised their hands, including me (Miami is smaller). Some just shouted out “Ohio!” “Arkansas!”
He asked one woman WHY she came here and her reply was "to be an actress" to which he ad-libbed "How's that working out for you?" Her reply got a big laugh, "Well I'm sitting in the audience not on the stage!"
Then he asked how many of you here are Jewish?
Only me and two others in the packed house raised our hands which surprised even me!
Fain begins his storytelling with his rocky childhood in Rhode Island as one of the only Jews in a very rough all Italian neighborhood, and a petite, 5'3" gay Jew at that!
Fain recalls that from a very young age he loved Judy Garland's music and especially memorized her version of the song “Chicago (That Toddlin’ Town)”, which allows Megan Murphy to deliver a delicious, tongue in cheek version of the song herself.
In Fain’s description of his former home base, we learn that Rhode Island is the costume jewelry capital of America and that most of its inhabitants, including his single mother, toiled their lives away in these factories. Fain's mother found a way to work at one place long enough to get unemployment payments just to put food on the table and barely eke out a living, each time succumbing to the rigors of factory's physical demands which caused illness's like carpal tunnel syndrome and swollen feet.
Mitchell then talks about his move to Chicago as being a move to the BIG CITY! Fortunately, he had a wonderful Christmas loving aunt, who was very generous with him and decorated her house magically each year. He brings up the irony that I have always felt as a Jew as well - that Jews actually appreciate Christmas and the whole glamorous lighting and decorations of Christmas because we never had them as children.
In one of the most meaningful moments for me he describes how people who gripe about having to fly home for the holidays are forgetting how LUCKY they are to have a place to go to (he had none) , how lucky they are to have people who love them enough to want them to come home and also lucky enough to have the MEANS , the money to get home, which most of the time, many actors do not.
We are introduced to the story of his mother's passing in Phoenix when he reveals that during his eight great years playing Crumpet, he only missed two performances - once when he was almost hospitalized for the flu, but that he did not miss a show when his mother died. Fain received the call that his mother was dying right after performing his Sunday show but did not have enough money for a last-minute airline ticket to Phoenix and so his kind Chicago theatre family helped him raise the money to catch a red eye. Mitchell did get to Phoenix in time to say goodbye to his mother and said as he finally arrived at her bedside, and asked how she was doing, that one single tear rolled down her cheek – a tear he recognized as “Uh oh, Mitchell’s here. This must be bad”, rather than a tear that loving Mitchell was at his dying mother’s bedside.
Fain and his siblings had to make the terrible decision to remove life support just as their mother clung to life just a little while longer, recovering well enough to be moved to hospice. But soon the inevitable took place and she passed away.
The comedy of errors began when the three siblings rush to get her cremated as is the Jewish tradition and are faced with a crummy mortician picked out of the phone book by Fain’s oldest brother. When they opened the comically large doors, the place reeked of smoke, death and CVS perfume, Fain tells us. The funeral director was crabby, short and constantly reminding the Fain’s how backed up they were before going into a relentless pitch for the family to purchase a casket, which was not in their plans remotely. Mitchell then asked to be directed to the washroom and was told the door to find just down the hall. After passing one door after another he passed an open room where his mother was laid out on a slab fully naked. Mitchell lost it, returning the tell the director he’d like to punch him in the nose. He then demanded that she get the paperwork in order for a cremation before he finishes his cigarette, then rushes outside for a cigarette - even though he doesn't smoke.
Fain's siblings rush out to see if he was okay and, as he told the story of what had just happened, enjoyed a laugh together, the kind of laugh only those in mourning can appreciate when they all realize this crazy situation is the "most fun they have had with their mother in a long time".
As a Jew who moved to Chicago from Miami Florida in the 80's after visiting my mother's side of the family at Christmastime, longing to experience the miracles of snow and seasonal changes and well, Christmas itself, I felt many connections to Mitchell's tales about his life in the city.
The Chicago theater scene with all its faults really is wonderful and is different from any other city like Los Angeles or New York in its BIG smallness, including how the poverty of actors and artists living in cheap studios, all of us totally broke for years on end paying off student loans forever. But through it all we eventually yield lifelong friendships, friendships that have become an extended family for us that no other BIG city would have fostered. And just like we learn in the inscription in George Bailey’s book at the end of It’s A Wonderful Life – “No man is a failure who has friends.”
It seems playing the role in the award-winning writer David Sedaris's play for so long has rubbed off on Fain because in “This Way Outta Santaland (and other X Mas Miracles)”, Fain has written another play, also deserving of many awards, which for a Jew from the mean streets of Rhode Island is a Christmas miracle of its own!
Fain is a true delight! Be sure to catch “This Way Outta Santaland” during its run through December 23rd for a warm, humorous and uniquely delivered show that features tremendous storytelling and wonderful music. To find out more about performance times and show information, visit www.TheaterWit.org.
What makes theater so great is its ability to transport you to different worlds. The Curious Incident of the Dog in the Night-Time opened on Wednesday night at the Oriental Theatre in Chicago and it successfully does just that, although where it transports you is not where you may have expected. Based on the bestselling novel written by Mark Haddon in 2013, this play is told from the perspective of Christopher John Francis Boone, a 15-year-old boy who is somewhere on the autistic spectrum and his teacher, the ever-compassionate Siobhan. Christopher lives with his father Ed, who has told him his mother died of a heart condition. One night, Christopher finds a neighbor’s dog, Wellington, dead having been stabbed with a garden fork and he quickly becomes a prime suspect. Adamant of his innocence, he plays detective to find the real murderer and unexpectedly ends up on an adventure full of surprises, shocks, and challenges.
While his condition is never stated explicitly, it is implied that Christopher is somewhere on the autistic spectrum with savant qualities, especially in the areas of math and science. As the play unfolds the audience experiences the world through Christopher’s mind, realizing how his unique brain makes him an outsider in the world we so often take for granted. These differences are made, all the more evident through stunning visual effects, great use of sound and lighting and a creative approach to telling the story.
While the book is written solely in Christopher’s voice, the stage production plays with time and employs two points of view for narration, both Christopher’s and his teacher Siobhan. Christopher has been writing a story about his investigation into Wellington’s murder and that becomes a play within a play as we shift between Siobhan’s reading of the story during school time and Christopher telling it in real time. Christopher is played by Adam Langdon who provided a strong performance, although at times it felt a bit forced and ventured into overdone as he embodied a teen struggling with an exceptional brain and different take on the world. Siobhan, played by Maria Elena Ramirez, was excellent as was Gene Gillette as Ed (Christopher’s father). An ensemble cast rounds out the show playing a number of roles to bring the full story to life.
The staging of the show is quite unique, made up of a simple set with digital walls on the sides and back of the stage that boast different visual effects throughout the show, and a series of white rectangle blocks used as chairs, tables, benches, televisions and even a fish tank through creative lighting. Employing creative choreography by Scott Graham and Steven Hoggett, the actors themselves create movements on stage that transport the audience through the various scenes from outer space to a crowded London Tube station. Coupled with the lighting, sounds and an ever-evolving play train set, the simple set design feels energetic and lively throughout the show.
Overall, this play moves along well throwing in some surprises along the way and with brilliant staging it constantly amazes the audience. While there were moments that felt over acted, on the whole it was a strong all-around performance. There is some strong language used and some more mature topics so keep in mind it may not be family friendly for younger children. It is a show that while it entertains, it will also challenge you to think about those among us who experience the world so differently due to their unique brains. Get your tickets to experience the show for your self, running through December 24th at the Oriental Theater.