Items filtered by date: November 2007

The live sounds of 30’s and 40’s jazz transform Court Theatre into a music venue in this production of Five Guys Named Moe. Written by Clarke Peters and directed by Resident Artist Ron OJ Parson, with Music Director Abdul Hamid Royal and Associate Director Felica P. Fields, this lively musical is a tribute to the great songwriter and saxophonist Louis Jordan (1908-1975), who went down in history as an innovator and popularizer of “jump blues,” a dance forward mix of jazz, blues and boogie-woogie, that paved the way for rock’n’roll in the 1950’s.

The uncomplicated plot provides the perfect canvas for Louis Jordan’s greatest hits and goes something like this: Nomax (Stephen ‘Blu’ Allen) is a clueless but perfectly lovable young lad who is broke and heartbroken because his girlfriend left him. Drinking at home one night and listening to Louis Jordan’s hits on the radio, depressed Nomax is whining about his life, when out of the blue (no pun intended) his radio erupts with five guys, who climb out one by one, introduce themselves as Big Moe (Lorenzo Rush Jr), Eat Moe (James Earl Jones II) , No Moe (Eric A. Lewis), Four-Eyed Moe (Kelvin Roston Jr), and Little Moe (Darrian Ford), and get the party started with ‘Five Guys Named Moe.’ Because five heads are better than one, The Five Moes are very helpful in trying to solve Nomax’s lady problem; the dynamic and superbly fun hits “I Like ‘Em Fat Like That” and “Messy Bessy” are prove of that. Not to mention “I know What I’ve Got” and “Safe, Sane and Single,” which were outstanding. Louis Jordan’s use of comedy in his songwriting had become one of the most prominent elements in his music, for he “laughed to keep from crying”. Besides, having been married five times, he most certainly contemplated the relations between the opposite sexes in his own life.

There was some great talent on that cleverly designed stage made to look like inside of an old radio (scenic design by Courtney O’Neill). Powerful voices, the most remarkable of them Darrian Ford’s [whose new original vocal jazz album, The New Standard, is set to release later this year], impressive dancing with occasional somersaults thrown in for a good measure (by James Earl Jones II), Lorenzo Rush, Jr’s commanding presence and hilarious relic, always on.

The band is no slouch either: led by the pianist/Music Director, winner of the NAACP Image Award for Broadway’s Five Guys Named Moe composer/arranger Abdul Hamid Royal, who had worked with many recording artists, such as Liza Minelli, Stevie Wonder, Natalie Cole, and Christina Aguilera, to name just a few; it produces a tight sound.

By the end of the First Act, the audience is playfully forced to sing the silly lyrics to “Push Ka Pi Shi Pie,” and some fortunate first row attendees are dragged onto stage to dance with the cast and then led to the lobby bar. Hey, “What’s the Use Of Getting Sober?”, right?

Second Act takes us to The Funky Butt Club, where the Five Moes have a gig to do. The sounds of old jazz are like an anti-anxiety remedy, taking us to a different time far, far in the past, it seems. What great 63rd Season opener for Court Theatre! “Five Guys Named Moe” is being performed at Court Theatre through October 8th. For more show information visit www.courttheatre.org.

*Now extended through October 15th

There has never been a better Broadway marriage of story and storyteller – until Lin Manuel Miranda’s Hamilton, three decades later, anyway – than Mark Twain’s The Adventures of Huckleberry Finn and songsmith Roger Miller. Floating between aching country ballads, soulful slave spirituals, and the side-splitting novelty tunes that made Miller famous, Big River brought an American classic about century-old America into the 20th century, earning seven Tony Awards in the process. And now through October 15, Theatre at the Center in Munster, Indiana, ferries Huck, Jim, and their story of friendship and freedom to today’s audiences, showing that the stories and the struggles of America haven’t changed all that much.

While Twain’s tale is titled for its teller – the author’s most famous creation – Huck Finn was the original Nick Carraway, in that he is best when playing narrator for the other characters and their quandaries. And in TATC’s production of Big River, James Romney’s Huck is just such a narrator. Romney’s work is fine – his voice is strong, his acting is as well, and he’s got boyish charm galore – but it’s when he allows the rest of the cast to shine that he’s at his best, supporting each of the people we meet along the Mississippi as they spin their yarns, share their pain, and make us chuckle.

The first people we meet are the orchestra, led by pianist and musical director, Bill Underwood. Part of the simple but gorgeous set, the group fits right into the rural riverside, playing guitars, mandolins, accordion, harmonica, and even the jaw harp. Their accompaniment throughout is just the right balance of polished and down home; they’re part of the set and part of the spectacle, bringing the surroundings to life without stealing the show.

Huck’s fellow townsfolk enter as the opening overture plays, each dancing and playing percussion – washboard, shakers, the tambourine. Liz Chidester’s stern Miss Watson is a favorite, a spinsterly hoot. And Kyle Quinlivan’s Tom Sawyer, who will reappear throughout, starts us off expecting a comical adventure, more puckish even than Huck as he leads the local lads in the energetic “We Are the Boys.”

Another member of Huck’s St. Petersburg is town drunkard and the boy’s old man, Pap Finn, played by Bret Tuomi. His swaggering, staggering rendition of the bluesy “Guv’ment” is the first real showstopper. Tuomi later retakes the stage as the King, a conman whose partner in crime, the Duke played by Jason Richards, struts and preens and malaprops his way into the townspeople’s pockets and the audience’s hearts, a highlight being a ludicrous Shakespearean soliloquy. Seeing grifters hoodwink the general populace for their own gain has never been so much fun – or, sadly, so timely.

But even as the cast entertains, the darkest side of humanity is always present. The ensemble cast playing slaves – slaves in Huck’s hometown, and those enslaved on down the river – give the show gravitas not just with their singing, but by their mere presence. Adhana Reid delivers a lovely hymn, “How Blest We Are,” while Camille Robinson provides a highlight in the reprise of “Waitin’ for the Light to Shine.” But early on, as Jim and Huck hear voices from the other bank sing the lament, “The Crossing,” Jim knows these are escaped slaves who’ve been recaptured simply from the sound of their voices. And because Jim tells us, we know this, too. And we hurt right along with him.

Blessed with a big, beautiful voice, and an even bigger and more beautiful presence, Jonathan Butler-Duplessis, as Jim, is the heart of this production, just as Jim is the heart of the book and the musical. Whether cleaning a catfish or chained to a cabin, whether telling of his daughter’s scarlet fever or telling tall tales to Huck aboard their raft, we feel for and with and through Butler-Duplessis’ Jim. This culminates in his rendition of Roger Miller’s finest gospel tune – and perhaps the finest tune Miller ever wrote – “Free at Last.” Shackled there on center stage, Butler-Duplessis shows us the sorrow this man has seen and hints at the hope that freedom may bring.

But perhaps for this writer, the most powerful moment comes at the end of the first act. As Huck joins the shysters in plotting their latest scheme in “When the Sun Goes Down in the South,” Jim returns to the show’s main theme, the yearning, churning “Muddy Water.” Jonathan Butler-Deplessis’ solo soars over his raftmates’ shenanigans, in a plea for freedom, for justice, for life. In 1800's Missouri or in modern times, there is injustice and there are those who stand against it. Yesterday and today, there is good and there is evil. And in that moment, I sure got the shivers as TATC’s Big River allows the good to rise above.

Big River is being performed at Theatre at the Center in Munster, IN through October 15th. For more show information visit www.theatreatthecenter.com. A Wonderful Life: The Musical begins November 16th.

Minita Gandhi’s autobiographical one-woman show is making its official world premiere as the final production of the 16^th Street Theater’s tenth anniversary season, but it’s already been subject to a huge number of raves. Developed at Silk Road Rising and Victory Gardens, earlier versions of Muthaland were performed at everything from the Raven Theatre and Lifeline on Chicago’s north side to the Oregon Shakespeare Festival, and more. It’s making was the subject of a feature in The Atlantic and a documentary called My Muthaland which won a regional Emmy. The play is about reconciling pride in one’s heritage with being subjected to the very worst aspects in that culture, and after receiving so much attention, the show absolutely lives up to its expectations.

In 2009, Gandhi received word that her younger brother had agreed to an arranged marriage while visiting India. This befuddled her since they are first-generation Americans and had always rebuffed their parents’ efforts to get them to embrace that custom. Gandhi is a faithful Jain who speaks Gujarati and had enjoyed family trips to India before, but she found traditional attitudes toward sex and romance to be the most problematic aspect of her upbringing. Nonetheless, after learning her brother was okay with the match, and facing this reminder that she was nearly at the end of her fertile years with no prospective husband in sight, she decided to go to India in search of her own spiritual awakening. She brought along with her a copy of Eat, Pray, Love and yoga instructions, eagerly anticipating meeting her destiny in Bollywood rom-com style.

What ended up happening was something very different and horrible. But while the sexual assault Gandhi suffered naturally has a very prominent place in the show, her message is that it exists alongside other aspects of her life and heritage. Over the course of ninety minutes, Gandhi deftly mixes horror with levity and beauty, creating a rich portrait of herself as teenager, a theatre student, and a growing young actress. Director Heidi Stillman worked closely with her for years to craft a piece which is emotionally authentic throughout as Gandhi switches characters between herself and others. By the end, it is easy to feel like we know not only her, but also her parents, and how their lives in each country are intertwined.

Pulling off any one-person show, let alone one which requires such honesty about things that are deeply personal, requires an incredible amount of technical and physical finesse. Gandhi had Lanise Antione Shelly as her voice and movement coach, as well as Anu Bhatt as a co-choreographer. With just an accent and some gestures with her left hand, she embodies each of her parents as fully-formed and separate personalities. From their first appearance, we understand them to be deeply loving, albeit somewhat overbearing, and her relationship with them winds up being the heart of the play. Her description of an incident involving a vibrator is as hilarious as it is cringe-inducing and their acceptance of her acting career, to name just one thing they unexpectedly had to adjust to, is heart-warming. It is fitting that a play about heritage should so strongly foreground the parent-child relationship, especially when the relationship is one between responsible adults who are still learning from each other. Muthaland is a story that everybody in America who is aware of what they’ve chosen to keep from their ancestors’ culture can identify with in some way, and in refreshing contrast to a lot of other plays which make up the American theatre scene, it shows us what happens when a family we can admire encounters a crisis.

Highly Recommended

Muthaland is performed at the 16^th Street Theater in the basement of the Berwyn Cultural Center, 6420 16^th St, Berwyn, Illinois. Performances are Thursdays and Fridays at 7:30 pm and Saturdays at 5:00 pm and 8:00 pm through October 7. Tickets are $18-22, free parking is available in the lot at 16^th St and Gunderson. Visit 16thstreettheater.org.

For Chicagoans that grew up in the 1980’s music scene, we remember favorite rock clubs such as The Thirsty Whale, Chances R and Dirty Nellies where spandex and rayon were the materials of choice and eye-liner on Aqua-net sprayed, long-haired guys was all the rage. For the glam rock scene, Chicago was always the minor league affiliate (Single A) to its Los Angeles big brother, where new bands seemingly broke out nearly every week. Almost grinding hair bands out akin to a factory assembly line, Los Angeles set the bar for rock bands all across the world, its clubs The Whiskey a Go Go, Troubadour and The Roxy stepping stones for the next big thing. In “Rock of Ages” the hilarious 1980's musical, we are taken to Los Angeles where the fictional Bourbon Room, one of the last rock hold outs, is under the threat of eminent domain as big money developers have other plans for the property.

Club owner Dennis (riotously played by Chicago favorite Gene Weygandt) runs The Bourbon Room with his sidekick and fellow rocker Lonny (Nick Druzbanski), who also serves as the play’s narrator. Realizing the club’s days are numbered, the two decide to go all out by bringing back Arsenal, a major band that got the start from The Bourbon Room, to play their final show with lead singer and egomaniac, Stacee Jaxx, who is off to pursue a solo career.

And what would an 80’s musical be without a cheesy love story? Bar back and aspiring musician, Drew, is instantly love struck when Dennis hires Sherrie (of course a hopeful actress) to be the club’s new waitress. From there we root for The Bourbon club, along with those protesting the new corporate development, and also for Drew and Sherrie to find love.

“Rock of Ages” is a fun time capsule filled with 80’s rock classics that includes Warrant’s “Heaven”, Journey’s “Don’t stop Believin’”, Twisted Sister’s “We’re Not Gonna Take It”, “Extreme’s “More than Words” and many, many more. Though a parody of the era, “Rock of Ages” is an entertaining tribute to an age in music that, though considered kitschy by some, left a major impact in the world of music. The musical makes several 80’s refences that can’t help but make us forty-to-fifty-somethings laugh, such as Drew’s date with Sherrie where he tries to romance her with a four-pack of Bartles & James wine coolers.

The show boasts as good of a cast as one could ask for. Adam Michaels as self-aggrandizer and vulgar lead singer, Stacee Jaxx, is absolutely hysterical in the role. His moments are plenty as he puts on full display his great knack for physical comedy along with some pretty raging vocals. And as one who has seen this production more times than I remember, I can say quite confidently that Nick Druzbanski may just be the best Lonny I have seen yet. Druzbanski really fires on all cylinders and is a comedic whirlwind, also contributing nicely with strong vocals, certainly deserving a Fogmaster 5000 for a performance nothing short of outstanding.

Notable vocal performances are aplenty in this production with both Cherry Torres as Sherrie and Russell Mernaugh as Drew impressing with their singing prowess in number after number. Both skilled singers as they are actors, Torres and Mernaugh also spark a wonderful chemistry and are able to deliver plenty of funny moments. Though many, other performances of note are Donica Lynn, who sings beautifully when called upon and Nick Cosgrove who nails the role of Franz, the flamboyant German son of developer Hertz, who draws a laugh in just about every scene he occupies.

“Rock of Ages” is silly fun. It’s a campy drive down memory lane. It’s highly recommended. It’s also part concert, as a live band plays from a stage upon the stage throughout the show, tasty guitar licks and all. For some, they will relive the highly memorable era, for others they will receive a tongue-in-cheek glimpse of a time when the Los Angeles rock scene churned out hair bands like Motley Crue, Poison and Ratt.

With Falls theatrical productions in full bloom, this is a must see.

“Rock of Ages” is being performed at Drury Lane Theatre in Oakbrook through October 15th. For tickets and/or more show information, visit www.DruryLaneTheatre.com.

The historic Gunder Mansion in Edgewater opens its doors for a unique theatre experience: a fifty-minute event consisting of five distinct plays, each unfolding in a separate room of the mansion and designed for an audience of one. The entire audience consists of only ten members; there are two tracks to choose from: “Personal” and “Up Close”, and there are two shows per night (7:30 PM and 8:30 PM).

The ten members of the audience are divided into two groups; each member will then follow a journey (either “Personal” or “Up Close”). Upon entering each room, a ten-minute play unfolds where the audience member becomes an active participant. So, what’s in the room?

It could be a fun TV show (“Iconic”, created and directed by Julian Stroop), a gothic fortune teller parlor (“The Guest”, written by Kaitlin Gilgenbach, directed by Molly Donahue), or just an ordinary room with an extra-ordinary person in it. Prepare to be surprised and amused, and throw caution out the door: this interactive play, as the show’s Experience Director Janet Howe put it, is the opposite of watching Netflix at home. It’s kind of like an amusement park where some rides are more fun than others, but, overall, the entire experience is highly enjoyable. You’ll even go home with a souvenir [of your own making].

The creative team behind “For One” (experience director Janet Howe, production manager Claire Chrzan) designed each play to revolve around the audience, so each room feels like a special customizable adventure. Dream-like, each play has no beginning and no end; once you’re in the room, you’re immediately drawn into the midst of action, so you might as well assume your designated role. The outcome is somewhat unpredictable, since actors play off the audience member’s words and actions. At the end, you’re often admired for your wonderful qualities and talents, and then politely kicked out. What a great chance to feel like a star, or at least like the most important person in the room. Lucky you.

About the venue: Gunder Mansion was built in 1910 for pharmaceutical company executive Samuel Gunder. It later was used by the Viatorian religious order. After many years of residing there, they sold the property in 1981 to the Chicago Park District for half the market value hoping to see it restored and used for the community. The Mansion was acquired by Edgewater Community Council; it was subsequently rehabbed and transformed into Cultural Center.

“For One”, the latest production by (re)discover theatre company is being performed through September 30th. For more show information visit http://www.rediscovertheatre.com/for-one/.

“This world will remember me,” Bonnie and Clyde sing to each other in Kokandy Productions’ presentation of “Bonnie & Clyde” – a musical. Directed by Spencer Neiman, this odd-ball musical makes its area premiere after an unsuccessful Broadway run in 2011. This production also marks the fifth anniversary of Kokandy Productions, now a regular staple of Chicago’s storefront theater scene.

“Bonnie & Clyde” was developed in 2009 by La Jolla Playhouse in California, a frequent incubator for new Broadway work. The show opened officially on Broadway in 2011, but closed after 36 performances. Critics were not especially kind.

Even though it’s not a direct adaptation, it’s nearly impossible not to compare this musical to Arthur Penn’s stylish 1967 film. It’s an American film classic with iconic performances by Faye Dunaway and Warren Beatty. It’s widely considered a turning point in American cinema. The film was focused less on historical accuracy and more on drawing comparisons between the young outlaws and the political awakening of the late 60s. The musical tends to tread on the same territory as Penn’s film but in a less dynamic way.

The issue is camp. Penn’s film is mostly devoid of camp even some fifty years later. “Bonnie & Clyde” the musical feels like two hours of pure kitsch. There’s no discernable reason this story needed to be told to music and unfortunately the empty songs prove that. Neiman’s cast seems to forget that these characters were indeed real people and not cartoon characters to be parodied. The nature of the material isn’t especially satirical, but this cast has decided it is.

Missy Wise as Blanche Barrow pretty much steals the show with her number ‘You’re Goin’ Back to Jail’, but the whole thing feels a bit Disney-fied, considering that the real Blanche Barrow served time for armed robbery.

The two leads Desiree Gonzales and Max Detogne are both incredible performers. Detogne’s voice is perfectly suited for the country-tinged folk rock of Frank Wildhorn’s music. Gonzalas also has a strong voice and makes some genuine choices for Bonnie Parker, adding a real dimension to her that isn’t otherwise in the script. The generic “I-wish” song feels sincere with Gonzalas singing. You will remember her, just like Clara Bow. Detogne also makes it his own. There’s a chemistry between the two that really translates.

If you were just dying to see “Bonnie & Clyde” during its Broadway run in 2011, Kokandy offers up a serviceable production. If you were hoping to gain more knowledge about the infamous star-crossed outlaws, you may be impressed at what playwright Ivan Menchel spins into his version of “Bonnie & Clyde.”

Through October 15 at Kokandy Productions. Theatre Wit 1229 West Belmont Ave.

After cancelling her performance earlier this season due to health concerns, the Queen of Soul, the great Aretha Franklin, tabbed as the greatest vocalist of all time by Rolling Stone Magazine, made her triumphant return to Ravinia. Dressed in a sparkling silver dress and donning a wig giving the seventy-five-year-old living legend long straight hair, the superstar made an immediate impact as she walked onto the stage after the band’s opening medley.

The soulful 1986 hit “I knew You Were Waiting (For Me)” was the first song the of many that Franklin delved into, her voice perhaps not as powerful as it once was, but every bit as finessed, unique and velvety. Franklin’s set was wide-ranging and included classics “Chain of Fools” and “(You Make Me Feel) Like A Natural Woman” along with Stevie Wonder written “Until You Come Back to Me” and B.B. King’s “Don’t Play that Song (You Lied)”.

Accompanied by a twenty-five-piece-plus gifted ensemble that included everything from a horn section to dancers, Franklin’s sound was big, filling the outdoor venue with the sweet sound of nostalgia. The excitement never let up, Franklin often getting well-deserved standing ovations. After all, she is one of the most influential artists of our time.

About halfway into the concert, the fabulous singer went into a powerful medley that began with Adelle’s “Rolling in the Deep” merging into The Supremes’ “Ain’t no Mountain High Enough”. A highlight moment without question. At one point the crowd was moved when the band played a soulful jam while Aretha fervently sang over the music telling her story of a serious illness that had miraculously vanished, thanking a team of skilled physicians and above all, God. Afterward, she immediately introduced longtime friend Reverend Jesse Jackson, who was seated in the first few rows.

Franklin rolled on with a beautiful array of material, wrapping up her set with “Freeway of Love”, which segued into a ten-minute high-spirited gospel revival, praising Jesus as the King of Kings, practically every audience member on their feet clapping along, many hands in the air, as the stage became a platform for an impromptu and very enthusiastic Baptist church service.

After a brief absence from the stage, Aretha Franklin return to perform possibly her largest hit, “Respect” - just the right number to end a tremendous set of music on a picture-perfect night. At seventy-five-years-young, the Queen of Soul is still making fans sing and dance as much as she ever has.

If you like Vegas like I like Vegas, you will love Marriott Theatre’s energetic and top notch, romantic musical comedy production of "Honeymoon in Vegas"!

Jack Singer (Michael Mahler) is in love with his girlfriend of five years Betsy Nolan (played with terrific spunk and formidable singing chops by Samantha Pauly), but was traumatized by the deathbed wish his mother imposed on him never to marry, because no one can love him like she did.  Bea (Marya Grandy) plays his mother with great physical comedy skills and her hospital deathbed scene where she strikes down a passing nurse in order to show jack what she can do to his future brides to be, gets some of the biggest laughs in the show. 

Jack and Betsy get through this flashback scene and resulting panic attack while shopping at Tiffany's for her ring and head straight to Vegas to tie the knot - before he loses his nerve for the umpteenth time. 

Upon arriving in Vegas, Betsy is instantly spotted by Tommy Korman, a rich, handsome but slightly shady businessman played to perfection by Chicago born actor Sean Allan Krill. Betsy reminds Korman of his past wife and then he goes all out to steal her from tentative Singer. His pursuit really begins when he invites Singer to a “low stakes” poker game, letting him win a few hands – a total set up. Singer has a hand next to impossible to beat and the pot becomes so large there is no way he can pay up if he loses. That’s when the fun really begins. Sean Allen Krill was the standby in this role for Tony Danza on Broadway. Krill was just fantastic and I'm not the only critic in Chicago to say Sean Allen Krill should be a huge Broadway star right now. Krill is so smooth in the role of Tommy Korman, so fluid and graceful in his immediate desire for, and courtship of, Betsy that women and men throughout the theater were so wowed by Krill's amazing singing voice and comedic acting chops that they actually wished Betsy would stay with him in Hawaii and not marry the non-committal, bumbling, but kind, Jack Singer. 

Another character actress deserving of special notice is Christine Bunuan, as the funny and fabulous Hawaiian tour guide who helps Jack find Betsy and Korman (yes, the story moves to Hawaii), but not without first trying desperately to make “Friki-Friki with Jack before delivering him to his destination. 

While talented Alex Goodrich is very funny to watch in multiple roles, Steven Strafford also shows off his comedic talent as Korman's sidekick, Johnny Sandwich.  

Several of the leading creators of its 2015 Broadway production were brought in by the Marriott Theater including director Gary Griffin, choreographer Denis Jones, and costume designer Brian Hemesath. The effect of all these highly skilled players coming together is a full-service production that grabs you right from the start with well-paced scenes and challenging, yet humorous, dance numbers that dazzle the audience with beautiful, leggy showgirls - Vegas style. 

I highly recommend this adorably sexy and funny, Elvis-filled production for young and old alike. This production is so well-played and fun to watch that you will feel you have had a honeymoon in Vegas - with a stop-over in beautiful Hawaii to boot!  

Honeymoon in Vegas is being performed at Marriott Theatre through October 15th. For more show information visit www.marriotttheatre.com.

You don’t need to be an Anglophile to love The Audience.

Directed admirably by Nick bowling, it is written by Peter Morgan, the trending screenwriter of the The Queen (Helen Mirren) and the Netflix series The Crown, developed another angle on portraying Queen Elizabeth II: recounting a number of the 20-minute political briefings delivered weekly by Britain’s Prime Minister in a private audience with her Majesty.

This engaging stroll through history will also help explain to American's the vital role the Queen still plays in British society - though whether she's too expensive isn't resolved. The Queen functions as the reflective conscience of the British people, and remains as Prime Ministers come and go. 

Even before her coronation, the young Elizabeth is carrying on the tradition, and the play soon brings us to Churchill – who refuses to sit for the conversation. Elizabeth soon puts her stamp on the matter, and he Sir Winston is soon seated and receiving a dose of scotch. She also regularly reminds all her PMs that she heads what was the British Commonwealth - 52 nations largely former colonies who have at least some fealty to British culture and the Queen. 

Janet Ulrich Brooks does a marvelous job as the Queen, and the role is demanding for any actress. The playwright avoids a rote chronological sequence by having scenes jump around in time. Brooks ages in place, and manages to convey a constancy of personality, while also evolving Elizabeth who grows up and gets old before our eyes.

Janet Ulrich Brooks  is so seriously good here, notwithstanding inevitable comparisons with Helen Mirren, who originated the role in London and brought it to Broadway. You will not think one jot about Mirren when you watch her.

Brooks is also surrounded by a remarkable cast. Along with the Queen, there is another constant figure on stage through all the political ages: the Equerry played with immeasurable aplomb by David Lively. The Equerry is to the Queen, as she is the Prime Minister. The conversations in the weekly audience  are expected to be entirely private. And while the Queen is not actually ruling, she is reflecting – and her periodic interjections certainly have influenced the government.

Playwright Morgan has distilled the essence of each of these PMs, while resisting caricature, and tapping into the memorable issues during their terms. Think of names the strongly resonate, like Margaret Thatcher, Tony Blair, John Major, David Cameron. Kudo’s to the actors and to Matt DeCaro (Winston Churchill / Harold Wilson / Tony Blair), and Mark Ulrich (John Major / Gordon Brown / Anthony Eden / David Cameron). DeCaro and Ulrich have physically taxing roles, and deliver their Prime Ministers with verve and precision. 

Carmen Roman as Margaret Thatcher was a dead ringer, and also brought frisson to the scene in which she confronts Queen Elizabeth for disparaging her Reagan-like dismantling of Britain’s social safety net and socialized marketplace.

Also notable for its timeliness – with the 20^th anniversary of her death -  is the scene in which Queen Elizabeth’s emotional struggles with Princess Diana rise to the surface – but just barely.

A cinematic trope brings a child actor onto the stage intermittently in a nod to the Queen’s childhood – I can’t say those were effective scenes, but they provided leavening for the rest of the play.   

The Audience is recommended. It plays through November 12 at TimeLine Theatre, 615 W. Wellington Ave. in Chicago

The other night I went to Ravinia Festival. I am not afraid to admit that, after all my concert going years, it was my time going to the Ravinia venue located in Highland Park, Illinois. But there must be first time for everything and a double bill with Lifehouse and Switchfoot, two of my fave bands in the past, made it all the more enticing. Simply put, if you have never gone to Ravinia before, you need to go. It is just beautiful. Well-manicured lawns surrounding the pavilion area make an inviting temporary home for its large number of picnickers. And a friendly staff member is always nearby, ready to help, adding to the venue’s pleasant ambiance. The atmosphere is quick to relax its attendees from the moment they arrive. Picnickers can bring their own food and drink though there are a handful of food choices available on the Ravinia grounds making it easy to fill a hearty appetite before or during a concert. In short, I quickly discovered Ravinia is the perfect place to have a great family or date night. Its enchantment is only heightened by beautiful trees strategically placed throughout the grounds. Though easily accessible by car, a Metra stop is just right outside the gates, offering an even easier option of transportation for many and an easy escape route after the concert. But not to worry. Even for those that choose to drive, it's still easy to leave in a timely manner.

The night’s opening Act was Brynn Elliott, a senior college student from Boston. Ms. Elliott is a very energetic young lady whose soulful and jazzy voice is full of life. The young music artist sang eight catchy songs that got the attention of those sifting into the pavilion and having many thinking, “Have I heard that voice before?” Brynn interacted with the growing crowd well, many jumping around and dancing with her to her faster paced songs. As her set came to an end, Brynn couldn’t be more grateful to Lifehouse and Switchfoot for inviting her to open for them.

Switchfoot then hit the stage to a loud roar of cheers. The pavilion quickly filled, while no doubt a few slices of pizza were quickly scarfed down upon the band’s opening notes. Switchfoot appropriately opened their set with “Hello Hurricane” in the wake of the Harvey devastation, a stark reminder of those in need. Frontman Jon Foreman came out strong, his vocals rich, his energy at a high level matching his talent. Foreman commanded the stage, leading a band that also appeared to be in peak form. The years have been good to Switchfoot, an added maturity gracing each number played, each note struck, each address to the crowd made.  

Throughout the evening, the band, still fresh off their 2016 release Where the Light Shines Through, performed a variety of material sure to please Switchfoot fans from all eras, touching on albums from earlier in their career to current. As the set played on, Foreman walked around the pavilion, shaking hands and hugging people in the crowd, as he so often loves to get close and personal, a quality his fans don't mind one bit. He even shared a handful of interesting stories as to how and why some songs were written and the meaning behind them. Guitarist Drew Shirley was ripping through leads while Chad Butler kept a steady rhythm on drums along with bassist Tim Foreman, Jon’s brother. Jerome Fontamillas chimed in with guitar and keys to help create the band’s signature wall of sound that has so well defined the California quintet.

After seeing Switchfoot’s live show, it’s easy to believe the accomplished studio artists are happiest on stage where they can spend quality time with the fans who have supported them for so many years.

Lifehouse took the stage next. This surprised me, thinking Switchfoot would headline, but thus the double bill. Lead vocalist and guitarist Jason Wade reminded the crowd that, despite hailing from Los Angeles, they haven't toured the United States in seven years. Women in their late twenties and thirties began to flood into the pavilion, some screaming, as the band found its rhythm on stage. The band was not rusty, displaying a strong stage presence, their fans excited to see them after such a long drought.

Opening with the song “Hurricane” (obviously a theme here), the first of their fifteen-song night swiftly got their fans excited for what would be a truly rockin’ performance. The band played a good amount of material from their first two albums, songs from seventeen or so years ago, that made everyone feel a bit nostalgic, reminding us of an exciting time when a band is in its breakout stage. Fans sang along at the top of their lungs with the band’s heartfelt songs of heartache and hope. Seen around the stage were a handful of women crying and signing along with tears of emotion streaming down their faces, making the moment all the more unforgettable and powerful.

And now for the downer… Despite their powerful catalog of material and showmanship, the band truly lacked when it came to audience interaction. This was a bit disappointing. Song after song was played with little or no introductions in between and Wade did very little at all to connect with the crowd. It was almost as if they just wanted the night to end.

Switchfoot stole the night away and the reason is simple. They relate with the crowd and the crowd with them. They connect. It’s clear Foreman and company are having fun and hold a great appreciation for their fans. That’s what it’s all about, right? The venue was perfect, the staff amazing and, thanks to a fine sound system, the music performed sounded as if we were in a studio outside of the loud cheers. In all, it was a fine night of music and beautiful memories were created.

Switchfoot Setlist:

Hello Hurricane
Stars
Bull in a China Shop
Love Alone Is Worth the Fight
Your Love Is a Song
I Won't Let You Go
If the House Burns Down Tonight
Live It Well
The Sound (John M. Perkins' Blues)
Where I Belong
Meant to Live
Float
Only Hope
Dare You to Move

Lifehouse Setlist:

Hurricane
Halfway Gone
Sick Cycle Carousel
Nerve Damage
It Is What It Is
Pride (In the Name of Love)
Flight
Broken
Everything
Whatever It Takes
First Time
Spin
You and Me
Hanging by a Moment