Items filtered by date: November 2007

When first looking at the Ravinia double bill of Blondie and Melissa Ethridge, one might have asked, “What are they thinking?” “How can those two so very different genres of music be paired together?” Well, they were - and it was somehow perfect. Each playing somewhere in the neighborhood of a ninety-minute set, the two bands each provided their own energetic performance not to be soon forgotten.

Melissa Ethridge took to the stage first with her raspy vocals and guitar driven rock to the tune of “If I Wanted To” followed without pause into “No Souvenirs”. Ethridge’s energy matched her immense talent leaving little doubt her place in the world of pop-based folk-rock. The two-time Grammy Award winner (she received fifteen nominations) worked the crowd with a band behind her that was nothing short of amazing. Never a dull moment, Ethridge made her way from one end of the stage to the other with much charisma and command, effortlessly strumming her guitar and being the consummate professional she always has been. Nearing her set's end’ Ethridge dove into to “I’m the Only One”, a fan favorite and staple anthem in her career before “ending” with “Bring Some Water” and then coming back for an encore with “Like the Way I Do”. Ethridge is a hard working performer who certainly gains a lot more respect after seeing her live.

After a thirty or so minute intermission, a drastic stage transformation had taken place. Whereas Melissa Ethridge relied solely on her band, house lighting and a large dark curtain as a backdrop, the stage had soon become equipped with a large projection screen as a background, futuristic props scattered about and rotating laser lights. Soon after, the lights drop and Blondie confidently walks from side stage to their marked positions. Debbie Harry, wearing dark wayfarer sunglasses and a hot pink ensemble nods to the screaming crowd and just like that the new wave punkers kick into “One Way of Another”. Harry, now seventy-years-old, is as cool as ever, still wielding the voice that made the band an influential giant in the music industry.

Harry joined by original members Chris Stein, Clem Burke, Blondie went on to knock out one hit after another including “Atomic”, “Heart of Glass” “Maria”, “Call Me”, “Dreaming”, “Hanging on the Telephone” and threw in a few more recent songs, “Euphoria”, for one. Projections in the background displayed classic Blondie videos and swirling imagery that seemed to go perfectly with each song. Tapping into their reggae side, the band played an inspired version of “The Tide is High” before igniting into one of the first ever songs featuring rapping,  “Rapture”. Blondie also threw the crowd a curveball with a raging rendition of The Beastie Boys “(You Gotta) Fight for Your Right (to Party!)”.

Harry and company performed brilliantly, proving Blondie still can put on one hell of a show. There is little doubt that Blondie would be highly entertaining no matter where the venue, but watching them play at Ravinia surrounded by the stars accompanied by a gentle outdoor breeze (even if it was 63 degrees on a July evening) was simply magical. Here’s hoping they make their way back to the Chicagoland area very soon.

Be sure to visit www.ravinia.org for upcoming summer events.

Underscore Theatre Company is in the midst of their second annual Chicago Musical Theatre Festival at The Den Theatre where it is host to thirteen brand new musicals submitted by a slew of local theatre companies. Though some musicals presented come from theatre companies more polished than others, the event is a fantastic passage for the development of new, creative theatre productions in the Chicago area. A handful of submitted plays are production-ready while some are completed works. Some of the theatre companies involved include the New American Folk Theatre (“Dirty Girl”), American Demigods (“Fanatical”), Duplicity Ensemble (“Marble, GA”).

Day two of the Chicago Musical Theatre Festival introduced “One Thousand Words”, a musical with the book and lyrics by Michael Braud and music by Curran Latas. When a reporter, Richard Hanks, is assigned to write a thousand words about two men in love during World War II, he is at first disappointed because he’d rather be in Pakistan covering the current tension in the area. After his editor dangles a carrot in front of the horse-drawn carriage by semi-promising she would send him on the overseas assignment once he successfully handles the task at hand, Hanks decides to write the story of the year and delves into the lives of these two men whose story comes from an intimate photo of the two while in World War II. After tracking down Warren, now eighty-years-old, he is taken back to the 1940s where he hears the story of two men who hid their love for each other before, during and after wartime and the circumstances and obstacles that they had to face. Hanks becomes transfixed by Warren’s story and possibly affected much more than he expected.

The story is simple enough. It flows well without confusion and the dialogue is fairly engaging. Its songs are not likely to be remembered afterwards for their melody though they did strengthen certain points in the show by capturing the appropriate tone of the moment despite singing that is best described as hit or miss. The set is as minimalistic as they come furnished with only a couple crates, leaving much to the imagination, as the space it used for each and every production in the festival and requires a quick turnaround.  

Joe Hornberger does give a strong performance as “Warren” and is one of the better singers in the cast, while Justin Stevens pairs up with him nicely as “Daniel”, his lover. At first one might think the two a bit miscast and unlikely as lovers, but the pair begins to make more and more sense as the story progresses and become quite believable. One needs to keep in mind that thirteen musicals are sharing the same space for multiple performances in a few weeks’ time, so there might be missed spotlight marks, minor production tweaking per show and somewhat barren sets. The main purpose is for Chicagoans to experience and support local theatre in development and hopefully be entertained while doing so. One Thousand Words contains enough positives to keep it interesting.   

One Thousand Words can be seen at The Den Theatre:                                    

Tuesday, July 07, 2015 9:30 PM
Saturday, July 11, 2015 2:00 PM
Thursday, July 16, 2015 8:00 PM
Saturday, July 18, 2015 5:30 PM

For more information on the Chicago Musical Theatre Festival, visit www.cmtf.org. 

There’s something magical about Ravinia. It’s a sprawling open-air venue with lush green lawn nestled amidst tall shady trees. As the sun goes down, dozens of candles flicker to life as the audience members settle into their blankets and lawn chairs to be serenaded by their favorite musical artists under a (sometimes) starry Chicagoland sky.

To North Shore folks, Ravinia is synonymous with summertime. It is the oldest outdoor music festival in the US holding concerts from June to September. For traditional concert goers there are pavilion seats with rows of covered seats sloping back from the main stage. The preferred seats are the lawn seats that allow you to sit anywhere you can see grass. The most experienced Ravinia patron will lay out dozens of blankets, or create a lawn-chair circle, break out picnic baskets filled with three course meals and plenty of wine (not the mention their own wine glasses). The venue is indeed a BYOB and you’re allowed to bring your own food, but this is not a concert venue to get drunk and rage. This is a recline-sip-your-drink-enjoy-the-music kind of venue. Because no matter where you sit on the lawn you are treated to amazing sound quality of the band or concert you are seeing.

Ravinia offers some of the best line ups over the course of each summer and this year is no different. This past week brought the iconic 1970’s band The Doobie Brothers back to Chicago. The band brought baby boomers, Gen Xers, and aspiring teenage hipsters to the venue, it was a multi-generation engagement. But truthfully, none of those guests seemed overly impressed with the performance. The opening set, performed by Lara Johnston, was lackluster. Her voice hardly carried across the lawn despite the speakers. Now perhaps it was the chilly June weather, or perhaps people didn’t need a relatively unknown opener to open for one of their favorite bands, but there was some heat missing from this summer show. Johnston did nothing to warm up the crowd. It took her entire set and nearly four songs into the headliner’s set for the crowd to show any sign of life. It wasn’t until “Black Water” that people finally got up to dance, sing along, and really start to enjoy the show. The Doobie Brothers played all of their classics “Listen to the Music,” “What a Fool Believes,” “Black Water,” “Give Me the Beat Boys,” and “China Grove,” but the night was a far cry from the carefree summer days of their youth.

The Doobie Brothers provide the ideal soundtrack for long road trips and summer nights and on most occasions Ravinia would be the perfect venue for them to perform. This time around, however, the audience was asking the band to give them a beat but unfortunately it didn’t free our souls, just our nostalgia. For Ravinia tickets, remaining summer schedule, and more information visit: www.ravinia.org

Not too long ago, Rahm Emanuel and Jesús "Chuy" Garcia were running head to head in the 2015 Chicago Mayoral election. Many thought this was the opportunity to get someone new into the office that actually related to the quintessential Chicagoan who cared about our public schools, opposed red light cameras, and had a new perspective on things. Well, the people spoke and reelected Mayor Emanuel into office for another four years. 

Whether you like Rahm or not, you must check out the musical “How to Run for Mayor”, which is part of the Chicago Musical Theatre Festival running until July 19th. The musical is about a recent college graduate, Kim, who looks high and low for a job. Her solution: become a viral sensation by running for mayor. 

Of course her promises of what she would accomplish as mayor are unrealistic but is something that millennials are drawn to. She quickly gets thousands of views and hits the 12,500 signatures needed to be on the ballot due to her trusty campaign manager.

The play has an actor that looks eerily similar to Emanuel, just taller but does a great job at showing his arrogance. 

As a political junkie, I appreciate that the play touched on our government system that is totally broken, the lack of interest in voting, and problems with candidates that have so much money and power that they are tough to push out of the office. 

“How to Run for Mayor” features fine acting performances by Trent Eisfeller as Rahm, Steve Lords as Chief of Staff, Grace Palmer as Kim Capello and Ryan Semmelmayer as Charlie Martin.

This musical is a funny and cheeky perspective on elections today. Hurry and purchase tickets to the show playing at The Den Theatre at www.cmtf.org. Upcoming shows of “How to Run for Mayor” are held on July 10, 12, 15, and 18th and runs approximately 60 minutes. The Chicago Musical Theatre Festival features thirteen brand new plays and is sure to have something for everyone.

Underscore Theatre Company proudly presents the second annual Chicago Musical Theatre Festival, featuring 13 world-premiere musicals by local artists. These musicals showcase Chicago’s emerging musical theatre artists. Chicago is home to musical theatre creators, giving the artists a safety net to fall back into when they make risky decisions and experiment with the performing arts. There was a disclaimer in the program. It stated that if theatregoers were to see a musical, it may not be any good. After all, musicals are risky business and very challenging.

Brian is an IT technician at the corporate headquarters of American Smoothie. He feels like his coworkers do not appreciate him and all the work he does for them. Poor Brian arrives to work every morning with demands such as, “Help me open this document!” or “Fix my computer!” He looks forward to speaking with Brie, his coworker, because he has eyes for her. Speaking to Brie is easier said than done and there are too many obstacles in the way. First, Brian’s inability to make a situation light and not-awkward, and second, Chad. Chad is Brian’s worst nightmare. Chad has loads of personality, always bright, and is a charitable human. Everyone at work has a large personality. Brian’s boss, Jerry, is very eccentric. Coworker, Samantha, has a bird fetish. Coal, Brian’s roommate and best friend, is a dedicated puppet game show host. Throw all these characters together in a play, things are bound to go wrong.

That was the shortest summary I could muster, skipping all the ridiculous details, without straying too far. This script went in so many directions, I could barely keep up. Although it was very creative and somewhat comical, the holes in the plot and the weak presence on stage was more apparent. It seems as if the cast missed out on bonding experiences and went straight into rehearsing. It made for rigid and timid presences on stage.  

However, some characters are worth noting. Brian (Brian Elliot) and Samantha (Cami Rene Philgreen) possess very strong voices. Chad (Jonathan Wilson) and Jerry (Michael Palmenderi) provide comic relief from a very confusing script. The ideas were great, but they didn’t blend and left me very confused.

The Chicago Musical Theatre Festival will be presented June 30 - July 19, 2015 at The Den Theatre, 1333 N. Milwaukee Ave. in Chicago’s Wicker Park neighborhood. Tickets are available at www.cmtf.org

A line up of multi-talented artists made their Ravinia debut this past Sunday for a night of music for the romantics, the lovers and even the unloved.  “Thank you for letting me break your hearts for a little while,” introduced us to Rachel Yamagata who took to the stage as the show opener. She is currently working on a new album, continuing her tour and now celebrating the ten-year anniversary of her first release “Happenstance.” Playing the piano, a guitar and plucking on a kalimba, she showed intriguing talent.  Although new to the Ravinia stage, it was nice to hear music from so many TV hit series soundtracks (E.R., The O.C, One Tree Hill, Brothers & Sisters, and How I Met Your Mother) come to life on stage in the sultry and soothing voice of Yamagata.

Amos Lee then strode onto the stage in a black velvet jacket, vest, worn jeans, scruffy beard and black sunglasses, picked up his guitar and drove us into summer with “Windows are Rolled Down.” Surrounded by his very talented band, Zach Djanikian (guitar), Andy Keenan (Guitar), Jaron Olevsky (Keyboard), Annie Clements (Bass) and Fred Berman (Drums), Lee showcased his range, tone and powerful singing voice. Many of the numbers showcased the talents of his band. Original songs like “Rainbow”, “Jesus” and “Flower” were peppered with covers of “No Woman No Cry” and interpretations of well-known favorites like the Cranberries’ “Zombie” and a shout-out for Pride Week (both of which received a standing ovation). Lee got the crowd dancing with “Jump On It.”  Suffice it to say, Amos Lee brought the house down during his Ravinia debut.

With some technical difficulties and a louder, more anticipated second entrance David Gray finally took his seat at the piano and his very polished band took to the stage.  The crowds drew closer together and couples started swaying among the gates and the picnic tables as he began his set with “Birds in the High Arctic.”  Keeping the crowd entranced and romanced amidst the stars and candlelit tables, Gray performed “Back in the World,” “My Oh My”, “Nemesis” and even a song dedication to Joni Mitchell (“Alibi”).  Even as the rain started to drizzle, steadfast Gray fans, sang along.  It is hard to believe that with the music career he has had in the UK, and the cascade of feeling from his song “Babylon”, that this was also his first appearance at Ravinia.

Debuts, standing ovations, romance and emotion, it was a night to remember at Ravinia. If you missed it, it will be a show worth dancing in the rain to the next time these unbelievable artists are back in town.  Keep an eye on upcoming shows and acts at Ravinia, you never know who might surprise you.

Lasting imagery, profound acting and exciting characters set the stage for Lookingglass Theatre Company’s latest production, Moby Dick, the classic tale of the monomaniacal plight of Caption Ahab who is hell bent on destroying a fierce sperm whale who cost him his leg, even at the expense of his own crew. As the story goes, a crew is assembled for a whaling expedition only to find out their captain has another agenda – revenge. Though the play successfully conveys a sense of unity we also feel a dark loneliness that feels foreboding from the story’s beginning.

Lookingglass Theatre is brilliantly transformed to effectively capture the essence of the ocean with the use of flowing fabrics and strategic lighting and uses more than a touch of creative genius in order to pull off a believable whale. As the story unfolds, three stoic red-headed women become part of the set sometimes enhancing the dialogue with their ghostly words of warning and at other times representing the stormy waters or the whale itself. The three are as haunting as they are graceful, dreamily heightening the story’s focus at just the right moments.

Still, it would be difficult to present a plausible production of Moby Dick without a fiery Captain Ahab, but, thankfully, Lookingglass has found their man in Christopher Donahue. Donahue, seemingly born for the role, is as blistering as they come and brings the doomed captain to life with the vigor and fervor deserved for such a classic character.  

Jamie Abelson excels as character/narrator Ishmael. A seasoned sailor who has served on a number of merchant ships, Ishmael finds himself aboard a whaling ship for the first time and plunged in the midst of Ahab’s quest.  Also, outstanding is Anthony Fleming III as Ishmael’s faithful companion, Queequeg, a South Pacific Ocean native whose loyalty is to truly be admired.

Along with the tremendous acting performances and scenic bliss that thrusts us into an imaginative world of high seas adventure, several acrobatics feats also play large in creating such a high level of excitement in this play. Actors are able to utilize the large stage area as they scurry up the walls, balancing high above the crowd, or performs stunts on the enormous whale skeleton that envelops the theatre’s interior.

Splendidly adapted and directed by ensemble member David Caitlin, Moby Dick is a true homage to the classic tale of revenge written by Herman Melville in 1851. A production for the entire family to enjoy, Moby Dick is being performed at Lookingglass Theatre through August 28^th. For tickets and/or more show information, visit www.LookingglassTheatre.org.

Sunday’s show at Ravinia in Highland Park was a triple bill. First up was Doyle Bramhall II. Bramhall’s father is known for his association with Stevie Ray Vaughan. That said, his music is very much in the vein of Vaughan and Hendrix. His outfit was a hot four piece band - two guitars, bass and drums with Bramhall handling the vocals. The set was short and sweet - about 30 minutes - though they we’re the perfect warm up for the acts to follow.

Next up was Sharon Jones and the Dap Kings. We’re talking old school R&B at its finest with two guitars, three horns, drums, bass, percussion and the amazing voice of Sharon Jones. To say Jones was “amazing” doesn’t even do her justice. She is truly an astounding performer. A 59-year-old cancer survivor, she displayed the energy of a hyperactive child. The band also shared this energy. Jones’ voice was still very strong and I simply cannot believe she is not more well-known than she is.

Headlining the show was the Tedeschi Trucks Band. The band is led by husband and wife team Derek Trucks and Susan Tedeschi. Trucks is possibly one of the finest slide guitar players on the planet. Derek started playing at a very young age. This 36-year-old already has quite a resume. In his years as a musician, this young man has shared the stage with many music legends. His tenure with the Allman Brothers Band alone commands respect.

Susan Tedeschi is a well-respected blue guitar player and singer. Her speaking voice is no comparison to the power that comes out when she sings. Tedeschi and Trucks perform as a twelve piece band, including two drummers, bass, three horns, three backup vocals, and keys/flute.

Their set was a bit too short for my taste so I guess they do their job in leaving the fans wanting more. For the encore, Bramhall and a few members of the Dap Kings joined in. The band’s closing number for the night was Sly Stone’s “I Wanna Take You Higher”. It was almost like a religious experience with Susan and Sharon Jones preaching the gospel of funk.

“Boom Shakka Lakka Lakka”

“Boom Shakka Lakka Lakka”

Truly spiritual in the purest sense of the word. To me, Sharon Jones stole the show. One of the best concerts I have ever attended and the prefect venue for such a show at Ravinia. If the Wheels of Soul Tour passes by in your area, get yourself a ticket. You might want to pack your dancing shoes.

“City of Angels”, which won several Tony awards back in 1990 is really two stories in one. One is the black and white sexy film noir plot that author Stine (played sympathetically by actor Rob Thomas) is writing about private dick Stone for a sleazy Hollywood producer and the other story revolves around his real life. Stone is played with nice masculine swagger by Kevin Earley. Director Nick Bowling has done a great job of bringing this very complex and sometimes confusing musical to life in the round space at Marriott Lincolnshire.

The women in this show really took the reins and each had some dynamite moments. Summer Naomi Smart is lovely to look at as the classic film noir femme fatale and has her best number dressed in tennis whites as she wittily seduces her newly hired detective into her employ. 

Erin McGrath as her missing step daughter Mallory has a very sexy number wrapped only in a bed sheet also trying to seduce the detective into taking her side in the romantic number "Lost and Found".

I just adored Megan Murphy's entire dual performance. She plays both Stone’s secretary, Oolie, and Stine’s mistress, Donna. Murphy had the entire audience laughing with her number "You Can Always Count on Me". 

I've been "the other woman" since my puberty began
I crashed the junior prom
And met the only married man
One joe who swore he's single
Got me sorta crocked, the beast
I woke up only slightly shocked that I’d defrocked a priest
Or else I attract 
The guys who are longing to do my hair
You can always count on me

Murphy has a really solid, terrific singing voice and her whole character really resonated with a sense of grounded humorous reality in both worlds of this show. Buddy Fidler, the sleazy yet success making producer was adorably played by the talented Gene Weygandt.

The quartet of singers playing the 'Greek chorus" that move the story along were reminiscent of group The Manhattan Transfer and their marvelous harmonies were a delight to listen to in each scene. 

Gabriel Ruiz shows a real star turn in his smaller role as Officer Munoz his number was sung with perfect comic timing in “All You Have to Do is Wait,” referring to what he thinks is  Stone’s upcoming  gas chamber execution.

This production definitely had more seductive bite than others I have seen at Marriott Theatre and I always enjoy the way the intimate theater in the round is used to keep the audience alert and involved as actors are constantly making their entrances and exits seamlessly right through the crowd without mishap. 

Though their productions are always top notch, the only bug that regularly occurs at The Marriott Theatre is that there are not enough service areas during intermission so you have to chug whatever you do get to purchase before returning to your seat. Also drinks, even bottled water, are not allowed in the theater. This is a real problem given that if you have a cough attack or other emergency during the show because you really cannot leave the theater discretely without literally running into characters in the show. This minor discomfort could easily be solved with a few more bartenders and a water allowed policy. 

I highly recommend this lively, seductive and funny production of the Tony Award winning “City of Angels" for young and old alike. It has the sexy humor adults will appreciate and the great music and action young people will be entertained by. “City of Angels” is being performed at The Marriott Theatre through August 2^nd. For more information about the show, visit www.marriotttheatre.com. 

When guests visit Chicago we want to show them the best of our city. But sometimes it's our guests that bring the best to us. That is the case for The Royal Ballet as they return to the Windy City to perform their critically acclaimed "Don Quixote" at Chicago's Auditorium Theatre. 

Chicagoans donned their best for the ballet's premiere night as though they were in the presence of royalty. There was not a single pair of jeans or flip flops present (thank you, Chicago). Perhaps it was because The Royal Ballet is Great Britain's most prestigious ballet company performing for kings and queens, as well as mere commoners, since 1931. The company has produced some of the greatest figures in ballet history to include the incredible Margot Fonteyn and Antoinette Sibley. Led by its director, Kevin O'Hare, The Royal Ballet is currently on a three city tour of the US with "Don Quixote," making stops in Chicago, New York, and Washington D.C."The Royal Ballet hasn't visited Chicago since 1978 so with this ballet, we plan to showcase the depth of the dancers' talent led by our world-class roster of principals," said O'Hare. And what a showcase it was.

Royal Ballet Prinipal Guest Artist Carlos Acosta's production of "Don Quixote" was created especially for The Royal Ballet, filled with flirtation, fun, humor, and love. The story follows the adventures of a bumbling knight Don Quixote, accompanied by his ever-faithful squire Sancho Panza, as he embarks on a quest for his dream woman. Along the way, he stumbles upon the lovers Kitri and Basilio. Kitri's father wants her to marry the wealthy Gamache, a rich, foppish nobleman. A journey ensues as the lovers try to escape those plans while Don Quixote tries to right the wrongs in the world on his quest.

The story of Don Quixote is a difficult one to bring to the stage. The Don himself is the focus of the story, but the smaller characters' stories and lives are at center stage for the majority of the ballet. The Royal Ballet's principal leads with Acosta as Basilio and Marianela Nunez as Kitri were spectacular. They were flirty and coy with one another but epitomized a ballet's pas de deux. They had grace, strength, beauty, and unity. The same could not be said for some of the other soloists and leads. Many of Kitri's friends were out of sync with one another, as well as some of the matadors. The Royal Ballet is a large company, and many acts often had thirty or more dancers on stage. When someone was slightly off or behind the music your eyes were drawn in a negative way to those people, detering from the incredible duets and soloists. Regardless of any small timing issues, Acosta, both in the production and the leading artist role, put on an impressive and magnificent ballet. From flirting flamengo dancers and dashing matadors to gypsies and dryads, "Don Quixote" is a beautiful and epic journey.

Having never seen "Don Quixote" nor read the story (forgive me literature gods), I can say that the ballet was a beautiful ballet. The sets provided the perfect backdrop to the dancers accompanied by a live orchestra. The gorgeous theatre provided the perfect stage for a magical evening. For those still not convinced that ballet can be enjoyable should make it their mission to see "Don Quixote" and right the wrongs of not experiencing this amazing art. Have the best adventure at the ballet tonight.

The Royal Ballet is concluding the Auditorium Theatre's 125th Anniversary International Dance Series performing "Don Quixote" through Sunday June 21st. Tickets ($32-$137) are on sale now and available online at AuditoriumTheatre.org or at the Auditorium Theatre Box Office (50 E Congress Pkwy).