Items filtered by date: November 2007

I never got hooked on Lost, it was too confusing after a while. I am not a fan of The Walking Dead or Fear of the Walking Dead. Both are filled with too much gross, face eating bloody gore for my taste. I disliked Twin Peaks which was creepily sexist and unsettling to me. 

My theory for the reason this generation of young people are especially intrigued with increasingly more scary and realistic looking horror films, video games and TV shows is because the world around them is filled with the news of real human against human atrocities every day and these films make them feel safe. As if saying to themselves when they turn off the TV, "Hey my life is difficult, there are innocent people and animals suffering all around the world but at least I’m not being chased every day by flesh eating zombies! 

I probably would not have even watched "Wayward Pines" in its entirety, but after interviewing the extremely nice and forthcoming show's star Matt Dillon and Wayward Pines' executive producer/director, M Night Shyamalan, at Chicago's most popular TV and fiction fan nerd fest, C2E2, I became intrigued. 

First of all, the entire cast was extremely impressive with amazing Oscar nominated supporting cast members like Melissa Leo, Juliette Lewis ,Toby Jones, Carla Gugino, Terrence Howard and of course the show's star, the still handsome and fit Matt Dillon. Dillon, nominated himself for an Oscar for his work in the 2004 film "Crash", is known primarily as a film actor who had not really been seen much on the big screen since his explosively funny portrayal as a blundering private eye in the hit "Something About Mary”. Putting all this great, mature, experienced talent together along with the involvement of wunderkind M Night Shyamalan and I figured there wasn't a way this show could flop unless there was something seriously wrong with the plot. 

The series was adapted for television and written by Chad Hodge. Now, I haven't read the successful series of books by Blake Crouch it was adapted from, which is apparently okay, as Matt mentioned in our interview that the cast was also instructed they need not read the books in order to experience the story fresh as written. 

Hodge did a fantastic job on the script, especially given that he was limited in certain elements by the ten episode series being picked up by FOX instead of a more freewheeling, R rated cable channel like Showtime, HBO or AMC. I asked M Night about this choice of networks and he felt that the limitations of prime time television actually helped the story immensely as it required the writers to infuse the script with sensuality where possible, not nudity and intelligent suspense, not constant gore, which made the show palatable for a huge mainstream audience. After seeing all ten episodes I completely agree.

Of course,  because of M Night's groundbreaking twist in his hit film the "Sixth Sense" I feared that "Wayward Pines" might try and pull off an easy and unsatisfying "this was all a dream" or "everyone is really dead" type of plot curve.  I really enjoyed that the major "secret" underlying Wayward Pines existence (which was revealed around episode five) that the entire town was actually still on earth far into the future ala "Planet of the Apes". 

There were and still are some major holes in the story, like how did Dr. Jenkins, played with mind bending creepiness by veteran actor Toby Jones keep going back and forth in time to get more groups of people?

Also, if someone told you that you and your family had been spared an end of civilization death (albeit without your permission) and forced to live in a nice little town where all the money is fake and you only need to eat, drink and show up for your fake job then enjoy your brand new house and be merry - why would so many go nuts and kill themselves? 

And the biggest hole that many Matt Dillon fans have pointed out online was that with all that super advanced scientific technology and Dillon's character's exceptional defense and fighting skills, why he wasn't able to figure out a way to detonate the bombs remotely that saved the rest of the town without blowing himself up in the process?

I don't want to dwell on those minor plot glitches because Hodge includes many very interesting and relevant ideas about the problems the human race faces right now including how these problems are affecting the minds and actions of today's youth and future generations. 

The Wayward Pines website sets the scene with this quote about the mysterious town and the "Rules" which must be followed by its citizens under threat of execution;

“Imagine the perfect American town, beautiful homes, manicured lawns, children playing safely in the streets... Now imagine never being able to leave. You have no communication with the outside world. You think you’re going insane. You must be in Wayward Pines."

"Do Not Try to Leave. Do Not Discuss the Past. Do Not Discuss Your Life Before. Always Answer the Phone if it Rings. Work Hard. Be Happy. And Enjoy Your Life in Wayward Pines."

This description of their "government" enforced lifestyle along with these eerily intrusive and nonsensical rules for living are in and of themselves a marvelous description of how many Americans and especially young people feel every day. People look at their mindless jobs, their endless struggle to make ends meet, to take care of ailing family members etc., while feeling very alone and almost as if they are going insane in a mad world they did not willingly "choose" to live in. The modern world seems - to young and old alike - to be full of rules written by privileged white men, some of which are highly intrusive, threatening, useless and even deadly.

In "Wayward Pines" Abbies (short for "aberrations") is the nickname for the creatures, once "normal" humans, who have somehow deteriorated into cannibalistic, mindless yet somewhat clever and predatory monsters.

I also enjoyed Hodges' choice that the "aberrations" were once human, not some made up aliens or animals that have suddenly become violently carnivorous, because that is exactly what is happening now all around the globe.

On an international level the Isis members who attacked all those innocent citizens in Paris which would normally be the Wayward Pines or civilized "safe place" while the Isis members are the aberrations.

In India where a woman or female child is raped every 22 minutes, the village center or city is thought to be the "Wayward Pines" (safe place) while men, rapists from these same towns who recently gang raped and in the process murdered two three year old toddlers would be considered the Abbies of that area.

In America, on a community level, the young man who walked into the Sandy Hook day school and killed 26 women and children would be the Abbie. On a family level, in any country, the family home or unit seems to be the "safe place" our youth can grow and  blossom in - but the incestuous relative or stranger rapist/serial killer who attacks and "consumes" children or kills other family members would be the Abbie, etc., etc. 

At the very end of the final episode we find out that even though the children, or "First Generation” as they are proudly called, know the truth about their imprisonment, they continue to idolize the now dead Dr. Jenkins and his methods of watching everyone on hidden cameras and publicly killing those that even speak of resisting. It was a surprising if depressing plot twist but probably realistic that vulnerable, prideful young minds once programmed for violence will continue to practice and propagate this type of behavior rather than try to revolt and create their own peaceful utopia.

Matt Dillon was a brilliant casting choice for the lead in this new type of TV mini-series, partly because of his physical ability at the age of 51, to still realistically play an action character. Dillon has proven in the past that he is both a fine dramatic and comedic actor and also because he has wisely chosen interesting roles here and there that have kept him from becoming over exposed or identified with a lot of B quality projects. Dillon had a fiercely protective and intense presence throughout that kept the show from becoming stagnant or boring. 

In this case, from a talent agent's point of view, not a critic, I think Dillon wisely agreed or even suggested to be killed off at the end of the show, that way if Wayward Pines was a flop, he would be instantly onto the next project, no harm no foul. If Wayward Pines turned out to be a huge success, the writers could easily dream up some way to revive his character from the past, perhaps even through flashbacks alone, which would put Dillon in an excellent bargaining position for future episode rates. 

The final episode seemed to imply that the actor Charlie Tahan who played Matt Dillon's son was going to follow in Dillon's footsteps as the lead actor of the second season. However, Tahan, as good as he is as a sensitive young actor, is just not appealing, sexy or strong enough to carry this show. But who knows? Hot, new, young characters may be introduced that will effectively preserve the show's adult "sexy" factor. 

If the writing and major adult, character actor involvement in the plot lines continues, I am convinced that a second season of Wayward Pines will be a hit even without Matt Dillon's presence. However I agree with many other viewers who have expressed their opinions through social media that they will have little or no interest in the show if Dillon's character is actually finished. Matt Dillon's sexy, strong and urgently heartfelt portrayal as the rescuer in Wayward Pines will not be easy to replace, especially if he and others are replaced by less mature actors in their 20's to just satisfy a younger audience. 

Dillon's next project is Zach Braff’s remake of “Going In Style”. Matt Dillon will costar alongside Michael Caine, Alan Arkin, Morgan Freeman and the ageless Ann-Margaret due out in May of 2016. 

Also, after our interview Dillon expressed a strong desire to direct again as he did quite well critically by writing, directing and starring in his directorial debut "City of Ghosts" which also starred James Caan and Gerard Depardieu. Dillon has also been working on a documentary about Afro-Cuban musician El Gran Love.  

Wayward Pines is a production of FX Productions. The series was developed for television by Chad Hodge and executive-produced by Donald De Line, Ashwin Rajan Hodge and Shyamalan. Hodge wrote and Shyamalan directed the premiere episode and the second season is set to debut in the summer of 2016.

"Gotta Dance" is a partly fictional partly true story based on the 2008 documentary film by Dori Bernestein about the New Jersey Nets and the basketball team’s efforts to boost flagging attendance by creating the first-ever hip-hop halftime dance team comprised only of those 60 and older. 

Georgia Engel, best known for her role on the Mary Tyler Moore Show, plays a school teacher who secretly loves, listens and dances to Tupac in her spare time. Engel steals the show with practically every line of hers getting huge laughs, showing that not only can she still sing and dance at the age of 67, Engle has lost NONE of her terrific comedic timing. 

Also, Stefanie Powers most famous for her role on TV's "Hart to Hart" looks, dances and sounds absolutely beautiful in her role as the slightly bitter divorcee. Once crowned Miss NY Subway, she refuses to let go of her youthful image holding on any way she can, including Botox and still taking three dance classes a week at the age of 73.

Two of the best songs in the show “Dorothy/Dottie” and “The Prince of Swing” are the work of Marvin Hamlisch (“A Chorus Line”), who worked on the show just before his death in 2012.

Dance team member Camilla is played by a tall, thin, gorgeous Broadway singer and dancer, Nancy Ticotin, who at age 58 engaged in a HOT, sexy affair with her 25-year-old salsa partner (Alexander Aguilar). Ticotin's excellent dancing and voice are really standouts in this show and her affair with a younger man is entirely believable as she looks and dances with the grace of a woman half her age. 

Mae, who is an adorable, well-meaning but slightly confused and off balance dancer is played by Lori Tan Chinn. Chinn gives heart wrenching but casually delivered rendering of “The Waters Rise”, a moving song about her husband’s deterioration from Alzheimer’s disease. 

The sole man in the dance group is Ron played adorably by Andre De Shields, a still mourning widower who has a fantastic mellowed out yet modern feel to his Jazzy dancing and delivery of straight forward encouragement to the ladies around him in the show. 

Like many of the characters in the show, I "used to be a dancer" until I was disabled in an accident so I really loved the fact that they showed that practically everyone has some of the ability to keep dancing at an advanced age, whether it's hip hop, swing, or tap if you like!

"Gotta Dance" also showed the ageism young dancers face when being "retired" forcibly from their dance squads at the ripe old age of 27. 

I highly recommend "Gotta Dance". This is a funny, fast paced, heartwarming and inspiring show every single person should see at some time in their life.

"Gotta Dance" reminds us all we are spirits living in bodies that may be slowly deteriorating, but we need never give up the JOY of DANCING our young or old bodies - in our living rooms at least! Playing at Bank of America Theatre through January 17th, tickets and more show info can be found at www.BroadwayInChicago.com. 

Here is a theater event that is so rich you cannot be disappointed. Anyone who attends Dynamite Divas: A Tribute to Women in Soul will be richly rewarded by the experience. In fact, it is so good, I would say run, don't walk, to the Black Ensemble theater to see it. (It runs through January 24.)

The premise of the play is self-admittedly thin: African-American multi-billionaire Mr. Maurice (Rueben D. Echoles, who directs, choreographs and designed costumes) has paid $2.5 million to each of four grande dames of soul - Nancy Wilson (Rhonda Preston), Gladys Knight (Rashada Dawan), Roberta Flack (Melanie McCullough), and Aretha Franklin (Shari Addison, a real show-stealer) - who are to spend the day preparing for and then performing in a television special. 

Why just these four? Well, Dionne Warwick, Diana Ross, and Tina Turner were considered - but schedule conflicts kept them away. Besides, these four personalities are probably the only compatible mix, as we discover in the course of the show.

Why put on such a show? Mr. Maurice, who claims to have earned his wealth through his inventions  (e-mail, texting, touch-screens, and Botox!), wants to celebrate the musical accomplishment of these remarkable singers.

These actresses' divas, as personified by these exceptional performers, capture not just the singing style, but also the personalities of their real-life counterparts. And they, too, are mystified by Mr. Maurice's circumstances and motive.  "A black billionaire we've never heard of?"

While the set-up is ridiculous, the music, and the performers, are anything but. In his performance as Mr. Maurice, Rueben Echoles sets the stage with such an abundance of energy, that he truly casts a spell across the audience, forcing the room into a complete suspension of disbelief. That is theater! (And I don't say that lightly, after four decades in the audience.)

Though well paid, these divas - in their 70's - need to be coaxed to sing at first. An extra $50,000 finally breaks the ice, and Gladys Knight lets loose with "I've Got to Use My Imagination," her 1973 hit with the Pips. This offers an inkling of what is to come: Rashada Dawan captures that teary edge to Gladys Knight's voice throughout the night, and replicates the original convincingly - with the added power of being there live.

Now that the audience knows what to listen for, the next plot turn packs a punch using the Assimilator, a kind of holographic transporter used to call up greats of the past. First a phantasm of Billie Holiday alights on the stage and performs, really channels, Holiday's "God Bless the Child" - followed by almost equally powerful impersonations of Dinah Washington ("The Bitter Earth") and Nina Simone ("Mississippi Goddam.")

As Mr. Maurice convinces each Diva to sing - beginning with first hits, and other career high points - the other three sing back-up. Music fills the 299-seat stage for what turns out to be a very short 2-1/2 hour run.

While each of these leading ladies is a powerful performer, and ably capture the singing style and phrasing of their diva, it is Shari Addison who most often seizes control of the stage - befitting her role as Queen of Soul, Aretha Franklin. As the most familiar personality, Franklin gives Addison more to work with. But in McCullough's Flack singing "Killing Me Softly;" or in Preston's Wilson doing the signature "Guess Who I Saw Today," to cite two examples, the stage, and the listeners, belong to those performers.

There are also live performances or video tributes to many other notables - Chaka Khan, Mary Wells, Patti Labelle - the list goes on. Beyonce Knowles also crashes the event, in person, asking why she isn't included in the diva pack, earning a dismissive retort from Aretha: "Do you think they will be singing 'Single Ladies' in 20 years? She also tells Beyonce, "We love your music, at least some of it."

With a rich supporting cast that includes Mr. Maurice's technicians Donald Craig Manuel (as Hubert) and Kyle Smith (as Youngblood), Dynamite Divas thrives on its six-man, all-star band: music director Robert Reddrick on drums, Justin Dillard on keyboard, Mark Miller on bass, Gary Baker on guitar, Dudley Owens on woodwinds, and Bill McFarland on trombone. These guys were versatile and solid as they ran through the years and genre of the divas. Backing Rhonda Preston's Nancy Wilson on "Guess Who I Saw," the performance was "live recording" quality.

Dynamite Divas: A Tribute to Women of Soul at the Black Ensemble Theater comes very highly recommended.

The Apollo Chorus has been performing Handel's Messiah since 1879 and they have it nailed. Singing through the 53 Bible passages Handel set to a Baroque score 250 years ago, it becomes quickly clear - three numbers in - as the choir sings its first part, who owns this performance: it's the Apollo Chorus. Performing and recording steadily through the years, this volunteer singing body is professional caliber. And largely as a result, this is a very satisfying Messiah - just right to kick off the holiday season. 

By the time the Apollo Chorus goes at it, we have heard the opening Sinfonia by the 28-piece orchestra assembled for the performance. The orchestra has all the essentials required for a strong Handel's Messiah: trumpeters ("A Trumpet Shall Sound"), timpani (essential to the Hallelujah Chorus), an organist (a fundamental underlay for the majesty of Handel's masterpiece); a harpsichord (like the organ, this is the house instrument at the Harris, built for Barbara Gaine's Music of the Baroque ensemble); and 20 string players, with Jeri-Lou Zike leading as concertmaster among the five first violinists. 

At this point we have also heard from tenor, William Hite (a Senior Lecturer in Voice at U. Mass in Amherst and frequent opera performer), the first of the soloists (in the recitative, "Comfort ye my people" and the air "Every valley shall be exalted.") He knows how to sing the part. 

The 120-member chorus then rises to its feet for "And the glory of the Lord shall be revealed.") It is signature Handel, and signals to the audience these singers both know the music, and know how to they want to deliver: purposeful and strong, with tightly controlled volume, and clear expression and phrasing. They are consistent throughout 

For those who have listened often to the Messiah, there are markers for style and quality: the tempo (is the Messiah to run fast or slow); soloists: will the basic trio of bass, tenor and soprano by joined by a mezzo-soprano, contralto, alto, or the increasingly popular countertenor? Will they use 18th century period instruments?

Messiah geeks go further, for example, stressing over the expression by singers and players of the ornamental grace notes that bring the trilling associated with baroque music in general. These free-form music indicators are subject to interpretation. 

The Apollo Chorus has made the choices that provide its audience with an accessible, enjoyable and up tempo Messiah, crisply delivered in a rapid 2 hours and 50 minutes including one intermission (and a five minute delay about 20 minutes in as latecomers were seated.)

Conducted last night by Steven Alltop, this Messiah also saves the fidgety members of audience from what can seem an interminable sitting for those who aren't regular baroque listeners.) It's fitting considering Handel wrote the piece from a libretto by Charles Jennens in just 22 days. 

We'll note that once in a while the spaces between passages seemed a bit too short. At certain points the silence between airs and recitative functions like a palate cleanser for the ear.  

The chorus sings with clarity - bring to mind the 300-member Mormon Tabernacle Choir. Apollo Choristers enunciate the language.   

The prominence of the chorus contrasts with the soloists, each skillful, but not making for a natural ensemble. Bass singer Sam Handley, a graduate of Lyric Opera's school, whose background indicates he is trending as an opera performer, warmed as the evening progressed. In his opening with "Thus saith the Lord of Hosts" he seemed a bit tenative - the Harris is a space that takes some adjustment for performers -  but by the time we reached the air "The trumpet shall sound," Handley's individual sections were generating excitement for this listener. (They say he leaves audiences "panting for more.")

Amanda Majeski has the volume and baroque technique down cold, and presented the soprano role in the Messiah with great strength. (She is a frequent performer at Chicago's Lyric Opera, where Majeski's work is described as  "shattering, star-making performance."

Likewise, Elisa Sutherland sang very well, in fact, with more warmth perhaps than Amanda Majeski. But she was certainly struggling with volume - and as a consequence the audience could not hear her well. Owing to this, when concertmaster Sikes accompanied her, the violin performance was in danger of overshadowing Sutherland. Being close up I can attest that she sang wonderfully, if too quietly for the space. 

Bruce Norris, also a member of the Steppenwolf ensemble, wrote and directed this very funny, fast moving play about a gynecologist turned politician, Bill Pulver, who ends up putting a young prostitute into a coma during rough sex play. 

The play opens at a press conference as the news hits the public about the young woman struggling for life on a respirator where it is also noted  with disgust that she was wearing a child's school uniform when found - much like Pulver’s uniforms his own two young daughters wear to school.

As the play goes on, we find out this is not a one-time event, and in fact it is slowly revealed that he has been seeing various prostitutes for over a decade and has spent more than $76,000.00 of he and his wife's money on his “hobby”, or “sex addiction” which is never made clear. 

I really enjoyed that the female characters far outnumbered the male characters in this play. It gave each of the leads especially Mary Beth Fisher, who plays Pulver’s wife Judy the chance to really tear up the stage with some fantastic speeches. 

Steppenwolf favorite Tom Irwin in the lead as Pulver is perfect as the slightly charismatic, Bill Clinton-ish character who thinks he has no reason to say he's sorry to the public or anyone else. Pulver feels that cheating on his wife with a prostitute is not an ongoing affair, but rather a victim-less crime and a necessity for any man who has been married as long as he has. Pulver refuses to apologize to the public at the press conference and seems to think what he has done is as common as using porn anonymously on the internet except that the porn actually comes to you and has sex with you. 

The couple has a preteen daughter they adopted from Asia who shows a slideshow throughout the play describing how different species of animals have much more dominant females than humans do. Some that do not even require a male to reproduce. Cassidy was who was played sensitively by Emily Chang is literally sickened by the arguing going on around her, grabbing her inhaler and running offstage which neither parent seems to notice or really care about. 

For the most part, I thoroughly enjoyed this brilliantly written, witty, almost manifesto-like feminist play. Refreshing is that Norris is not afraid to bring to the surface such taboo subject matter, for instance when the older daughter brings up how upset she is and genuinely concerned with issues like female genital mutilation, a desperately important and horrific feminist and human rights desecration I did not even know existed when I was a teenager.

But then completely disappointing is when Norris writes a final scene where the victim awakens from her coma and seems to be seeking publicity for a book about her injuries. This scene seemed to turn everything around as if it was her fault or intent in some way to capitalize on his crime and shows the husband and wife on opposite sides of the stage breathing a sigh of relief, almost as if to say that if she's not “dead”, and wants some retribution, she probably is a just a whore who "asked for it”, and he is just a regular cheating husband just like any other husband except that he wanted to hold public office while continuing to cheat on his wife with prostitutes. It was almost as if Pulver should be absolved of his wrong doing and may actually even become the victim when the rest of the play, up until that point, steered us otherwise.

I know some men will be aggravated watching this play but intrigued while women will just love it. In fact, there was a gentleman sitting next to me who stated in the after play discussion, "His wife is such a shrew, I think he had a right to cheat on her." I quickly asked, "Even if that's true, did he have the right to lie to her for a decade? To expose her to any number of sexually transmitted diseases, including AIDS without her knowledge?" The man fell silent and could not answer me, but I suspect he and his wife had quite a rousing discussion on their ride home! 

Funny, smart and dark, running 2 hours and 15 minutes with one intermission, "Domesticated" is exciting to watch, full of great performances and highly recommended. “Domesticated” will get you and your partner  talking - and maybe in the process even fuel a few long overdue divorces of its own.

“Domesticated” is playing at Steppenwolf Theatre through February 7th. For more show information visit www.steppenwolf.org.  

Set on a simple stage with deep techno music, A Glimpse Inside a Shared Story by Yin Yue is a powerful and controlled showing from all of the dancers. The fabric that makes up the costumes is muted and fluid, only showcasing the smooth movement even more.  At times, when the group was onstage, is seemed a bit out of sync, but the solo performances left little to be desired. The ease in which the dancers made the complicated, strong and controlled movement is incredible as it is almost unnoticed.  The entire ballet felt like anticipation; like the music was building up to something more, though it never quite go to that point. 

Robyn Mineko Williams returns with 2014's Waxing Moon and the trio of Andrew Murdock, Jacqueline Burnett, and Jason Hortin prove their talent in the emotionally charged piece. A man is battling the demons within his own mind, struggling with the good and the bad, the positive and negative thoughts that we all face. At times he succumbs to the dark thoughts only to later be slowly coaxed back with hope and lights. The piece relates to anyone who has found dark corners in their mind and had to fight their way out. 

Out of Keeping by Penny Saunders is a bright and exciting ballet, reminiscent of a watercolor painting. Pairs of dancers in bright colors come to the stage, at times seemingly battling for the attention of the audience, other times reveling in their own space on the canvas. It is an uplifting and fast paced ballet that is enjoyable and well danced by all. 

By far the most moving piece of the series Solo Echo by Crystal Pite utilizes the whole stage, bringing snow indoors for the performance. The dancers don cargo pants and vests, and seem to be grieving old memories of friends or family. At times watching the memories fade away and then trying to bring them back one last time. The dancers exude energy and emotion throughout the whole piece, making it exhilarating to watch, and almost exhausting at the end. 

The Hubbard Street Winter Series is a compelling ballet from the company playing at Harris Theatre through Sunday. At times there is room for some polish, but overall the works are well rounded and compelling. 

I've seen Hell in a Handbag’s production of “Christmas Dearest” before and the dazzling funny and yet touching show has now officially become part of my true Holiday tradition. The reason being is that it takes the classic tale "A Christmas Carol" and throws some six-inch, size 11 heeled, f*ck me pumps on it, tosses back a martini, lights up an extra-long cigarette and says "We love you just the way you are”.  It is Christmas time - the time for Love and Acceptance is really here happening in Chicago! 

David Cerda wrote the script and the book for this adorable musical theater piece and I am continuously blown away by his huge amount of talent. 

Always one to give his shows 110 percent of his energy, no matter how many hats he has to wear at once, I must say Cerda was absolutely on FIRE with the spirit of Joan Crawford at the opening night performance!! Joan has been asked to play "Mary, the Mother of God” on the big screen and Cerda plays her searingly with beauty, ugliness and star charisma. 

Crawford is cheap and cruel and wants to force the entire cast to work on Christmas Day.  Soon the witchy Crawford is visited by the ghosts of Christmas Past, Present and Future. Even the actual "Mary, Queen of Heaven" comes down from her  Royal Heavenly Throne to advise Crawford that she better shape up or she'll be dead soon, along with her dying career.

Hell in a Handbag's company of regulars are essential including the ever-reliably hysterical Ed Jones as Crawford's empathetic assistant/slave. New additions also add punch such as recent Northwestern graduate Frankie Leo Bennett as Crawford's now infamous biographer daughter, Christina, and Roosevelt University undergrad Alexa Castelvecchi who has a great voice and  lovely stage presence as a young Crawford who is shown to have once been a caring, generous young girl before "Hollywood casting couches” and politics ruined her psychologically. 

Also deserving of extra special mention is "Ghost of Christmas Yet to Come” in the form of Bette Davis, played to laughable perfection by Caitlin Jackson dressed in a fantastically dead on and literally dead "What Ever Happened to Baby Jane?" costume. 

The hysterical and perfectly tailored costumes for every single character by Kate Setzer Kamphausen, and equally indispensable wigs designed by Keith Ryan were colorful and perfectly dated in the most kitschy way possible for maximum laughs. 

Now there are some great theater companies in Chicago where the founder or artistic director would not be missed if absent from a single production but David Cerda is not one of them. Cerda displayed his complete control over the cast and audience when he reached for a martini accidentally placed a few feet too far from his chaise and got the biggest laugh from the audience when he addressed us with a droll improvised "Eight weeks of rehearsal...". 

I highly recommend this darling, genuinely laugh out loud funny and open-minded musical production to everyone ready to rock and possibly drink their way through their heartbroken holidays! Christmas Dearest is being performed at Mary’s Attic in Andersonville through December 29th. For tickets and/or more show information visit www.handbagproductions.org. 

There is no better way to get in the holiday spirit than with the classic Christmas ballet, the Nutcracker. Twenty-eight years after Robert Joffrey’s original production, this is the final year that the Joffrey Ballet will perform this Nutcracker (2016 brings us the world premier of Christopher Wheeldon’s Nutcracker!). Even decades since artistic director Ashley Wheater performed in the opening night of the production, this performance retains the timeless magic of this joyous holiday tradition.

For those unfamiliar, the show takes place on Christmas Eve in the 1850s, opening with a party at the house of the mayor, his wife and his two children, Clara and Fritz. In the midst of the lively party Drosselmeyer, the somewhat eccentric godfather to Clara and Fritz, sprinkles in some excitement to the festivities with enchanted life-size dolls that dance and entertain the guests. However, it is his gift of a nutcracker for Clara, which truly ignites the magic.

After the guests have left and the family has gone to bed, Clara sneaks downstairs to gaze upon her beloved Nutcracker. She soon finds herself in the middle of a battle between the Mouse King and his army of mice and the Nutcracker, who comes to life to fight with his band of toy soldiers.  With the toss of a shoe, Clara knocks down the Mouse King saving the Nutcrackers life and as means of a thank you, he takes her through the Land of Snow to the Kingdom of Sweets where the many toys from under Clara’s tree come to life in enjoyable and fantastic dances.

Joffrey’s Nutcracker downplays the traditional romance between Clara and the Nutcracker prince, fortifying the role of Drosselmeyer as the catalyst and guide of Clara’s journey to the Kingdom of Sweets. Performed by Michael Smith, Drosselmeyer is a technically strong role but at times, it felt overpowering for my taste, making the role of Clara more infantile and taking away from the romance between Clara and the Nutcracker Prince. 

Another split from tradition was the introduction of male dancers into the Land of Snow and Waltz of the Flowers scenes, however these deviations I found truly fantastic. The combination of beautiful partnering, endless falling snow and the graceful choreography expertly performed by the snowflakes (ladies) and snow winds (men) transports the audience on their mystical journey with Clara through the land of snow. In the Waltz of the Flowers in the second act, again the partnering added an interesting dimension, as did the constant tossing of fluttering flower petals beautifully worked into the choreography.

Overall, the dancers exhibited a wonderful balance of grace and precision creating flowing lines that perfectly complimented the Tchaikovsky score. The company members were fantastic, performing in perfect unison with a look of joy on their face making everything look effortless as a good ballet should. There were many young performers in the show as well who steal the scene with their cuteness! In the Kingdom of Sweets, each piece was accompanied by a tiny tot dressed in character sitting with Clara to watch the dance unfold. As someone who performed in the Nutcracker a number of times as a kid, I enjoyed this element of the show, as I am sure every aspiring ballerina in the audience did as well.

My favorite pieces by far were the Coffee from Arabia pas de deux, where Dara Holmes captivated us with her flexibility and elegant lines and the Grand Pas De Deux by the Sugar Plum Fairy and the Nutcracker Prince. Instantly entranced by the sparkle of the Sugar Plum Fairy costume, I was continually captivated as Amanda Assucena and Alberto Velasquez brilliantly performed the most iconic piece from the show.  

The Nutcracker runs at the Auditorium Theater through December 27th.  Buy your tickets now! Take your children, take your parents, take your date or take them all for a magical performance that will truly put you in the holiday spirit. 

In a cramped police station in Southern France, a handful of men argue about why they were picked up for questioning. During the Nazi occupation of France in WWII, Germany left Vichy to be governed by France. This didn't exempt the zone from mass deportation of Jews living on false papers. Arthur Miller's "Incident at Vichy" explores the dark themes of a region living in fear, holding a mirror up to our own time.

With direction by Ian Frank, Redtwist gives a faithful production of Miller's under-produced 1964 one-act. Redtwist's best asset from show to show is the intimacy of their performance space. For a claustrophobic play like this, a better space couldn't be found. There are almost as many cast members as audience members and when the room is full, there's an inherent sense of panic.

White men arguing is pretty often seen in mid-century theatre. Usually it's a vehicle for expressing the playwright's world views. "Incident at Vichy" is a play of its time period. That's not to say Arthur Miller's words aren't chillingly relevant. As each character in question slowly divulges the reasons they may be sent away, they prioritize their own right to life over their neighbor's. In those passionate monologues, Miller cuts right to the heart of human nature, which is sometimes primal.

With a large cast and a short play, it's unusual to have so much character development. The ensemble distinguishes themselves well. The play hangs on a stand-out performance by Jeremy Trager as Von Berg (an Austrian nobleman). His character is the only one who seems to express empathy and guilt about what's happening to the people around him. David Giannini and Tim Parker balance out the cast as Bayard and Leduc and turn in strong performances as well.

"Incident at Vichy" is a story of people living in fear. It's a cautionary tale of what can happen when people are apathetic. With all this history, it's shocking in America that some would-be politicians are touting mass deportations of minority groups. To that end, Miller's play has never been more essential.

Through January 10th at Redtwist Theatre. 1044 W Bryn Mawr. 773-728-75329

Everyone's mom has a copy of "Tapestry," and by now the songs are almost as familiar as the Star Bangled Banner. What many may not know is that composer Carole King and lyricist Gerry Goffin literally shaped the sound of early rock 'n roll with their songs made popular by The Drifters, The Shirelles and Little Eva. 

"Beautiful" is a musical based on Carole King's incredible rise in the music business as a teenager. While the show is a fairly succinct tale, it does neglect that Miss King ran in the same circles as many other music heavy weights such as Art Garfunkel and Paul Simon. Impressive even still is that she sold her first hit song when she was sixteen years old. In an age when many careers were off limits to women. 

Douglas McGrath's book is charming and witty. It begins with Carole (Abby Mueller) playing "So Far Away," at a piano, her long frizzy hair moves along with King's signature playing mannerisms. From there it revolves back in time to a less sure of herself King, telling her story through her own songs. McGrath's book has a sincerity not often found these days in blockbuster Broadway shows. He provides heartbreaking context for all the well-known hits written by not just King and Goffin, but also their close friends and competition, Cynthia Weil and Barry Mann. 

The numbers are somewhat formulaic in their presentation, moving from real life story to full-scale performances (as they would have appeared on American Band Stand) but the songs are incredibly well sung and choreographed by the ensemble. It's nearly impossible not to sing along under your breath, or in full-voice as some audience members were. Mcgrath and director Marc Bruni have struck a perfect balance that both tickles and leaves the audience feeling an emotional attachment to the characters, so that in the end, "Beautiful" isn't just about Carole King and it's also not just about the music industry. 

Local actress Abby Mueller does an impeccable job filling the shoes of Carole King. If you close your eyes, you wouldn't know you're not actually listening to "Tapestry." Mueller's performance pushes past the gimmick of imitation. She connects to the audience and makes the familiar story of a bad marriage very real. When she turns from frumpy housewife into the bohemian California-chic (the Tapestry look) it feels very cathartic, which makes her success as a solo singer all the more triumphant. 

Through February 21st at The Oriental Theatre. Broadway in Chicago. 800-775-2000