Items filtered by date: November 2007

Las Vegas - Dazzling light displays, glitzy hotels with themes ranging from some of the planet’s most desired locations such as Paris, Venice and Egypt, exciting casinos filled with the sounds of cheering and the cha-chings of slot machines, energetic clubs with sexy dancers and, maybe best of all, some of the most colorful and original shows one could hope to see. When going to Vegas, it’s easy to check the show sites only to be barraged with so many options the task can become a bit frustrating. Well, the good news is the Buzz News Chicago staff makes a point to visit Las Vegas on an annual basis to keep our readers informed on some of the best shows the Strip has to offer. If we don’t like it, we won’t write about. Rather than tell you what not to see, we’d prefer to make recommendations on shows that deserve your attention.  

This year, there were a few shows stood out as “must sees”, one of my personal favorites being Jabbawockeez, currently being performed at MGM Grand Hotel and Casino inside the Jabbawockeez Theater. The latest of the Jabbawockeez adventures “JREAMZ” is an amazing blend of hip-hop, break dance and dreamlike theatrics that is thrilling, interactive and best of all, completely original from any other production show. The show, voted three years running for “Best Family Show” and “Best All Ages Show” Jabbawockeez is not just a modern workshop of hypnotic dance moves and brilliant choreography, it is a throwback to mime to which a large amount of humor is injected into its dream sequenced series of events. Despite the lack of any dialogue, the Jabbawockeez dancers, faces hidden in white masks of varying degrees, have no problem communicating their point with their fellow performers and audience members. Considering the vast amount of people who travel to Vegas from around the world, this show gets extra points as a production everyone can follow.

Walking Dead fans will enjoy the show’s beginning that takes its audience through a full on zombie apocalypse, before gradually shifting to rotating successions of dreams that could either fall on the nightmare side, be a joyous, blissful experience or can be an adventure in itself. No matter the scenario of the moment, we always receive a heavy dose of stunning dance moves where you can only shake your head in disbelief or think, “What the…?”   

Adding to the comedy of the show, members of the audience are sometimes plucked by the dancers and guided to the stage for some good old fashioned embarrassment that create big laughs. Performed in a somewhat intimate venue for Vegas standards where every seat is a good seat, the audience gets slammed with an up close, in-the-face experience that is sure to be remembered. Jabbawockeez is a unique production that can be enjoyed over and over and suits just about any audience. 

The dance troupe is not just recognized in Las Vegas, they have made a splash nationally appearing on “The Ellen DeGeneres Show”, “Dancing with the Stars”. “So You Think You Can Dance” and “I Can Do That”. One of the most original dance productions recognized across the country, Jabbawockeez is a Vegas experience like no other - an experience that will inspire, make you laugh and leave you amazed.

Like most every show in Vegas you can purchase souvenirs of the performance, the main difference being that Jabbawockeez offers products from its own clothes line – and they’re cool!

Tickets for this fantastically entertaining production are very reasonable and in line with many of the other shows on The Strip. Performed at 7p.m. each night except Tuesday and Wednesday, prices range from $49.99-$82.99. For an additional $55 a VIP Package can be purchased which includes a photo op with the Jabbawockeez dancers, an after show meet and greet and a bag of goodies.    

I still remember dancing with my brother in front of a wall of mirrors on our shag carpeted living room in the 1970's and thinking we were going to be the next Donny and Marie. Posters of the two famous Osmond’s sprouted up on most teenage walls and “Puppy Love” was all the rage until “I’m A Little Bit Country, I’m A Little Bit Rock N’ Roll” themed the Donny and Marie show, airing from 1976-1979. Charismatic, funny and vocally skilled, the gifted siblings left their mark on the 1970’s launching each into successful solo careers before reuniting once again years later in perhaps one of the most unlikely places – The Las Vegas Strip.    

Picture perfect smiles still as visible as ever, Donny and Marie have now become one of the most sought after attractions in Las Vegas, finding an on stage home in the Flamingo Las Vegas. Star presence and charming good looks have not eluded the two, who perform a high energy set full of classics and standards sure to please die-hard and casual fans alike with favorites like "A Beautiful Life", “It Takes Two”, “These Boots Were Made for Walking”, "I'm Leaving it (All) Up To You" and Marie’s “Paper Roses” highlighting the evening along with their still funny banter that injects the perfect dose of comedy into their act. Amidst their song and dance numbers the two still exhibited a great sense of humor that made them even more adorable. The lighthearted teasing and playful ribbing between them, like about which one of them won the Dancing with the Stars trophy and which one ONLY made it to the finals, seems genuine, fresh and unrehearsed.

Watching their show was a delightful surprise that made me feel really young to see that after all these years this dynamic, talent-packed brother and sister team are still going strong in every way!  

There is wonderful slideshow and several video clips that run in various places throughout the show, some that brought tears to my eyes of performers who have passed though most brought back happy memories of a time when these two adorable and handsome siblings took the world by storm. 

Both Donny and Marie are talented dancers and singers and have a really fresh team of dancers behind them to fill out the show. I'm not sure if most remember her true vocal talent, but Marie blew audience members away when she sang, especially on an operatic piece, which was perfect and showed not only the versatility of her voice but the amazing strength of her range as well.

Projecting a strong sparkle in his voice and step, Donny, an ageless wonder, still looks like he is in his early forties. His dancing really showcases the fantastic shape he is in and his face appears as young as ever. Marie simply looks stunning. 

The songs were varied, enthusiastic and upbeat and there are a handful of occasions where Donny runs through the crowd and connects directly with the audience in this lovely, intimate, yet still glamorous venue. Seeing them at The Flamingo Las Vegas was actually perfect. Every seat provides a great view. It had the flavor of old time Flamingo glamour along with the fun, casual feeling that you could just wander in off The Strip and totally enjoy a trip back in time to the happy part of the 70's many of us grew up in or raised kids or grand kids.

After the show be sure to take a walk in the beautiful, sweet smelling night air of the Flamingo Sanctuary and you will have just about as much fun and lighthearted an evening in Vegas one can enjoy. 

Highly Recommended.   

My guests and I were seated directly in front of the center stage - I could touch it.  I had not taken a ‘sneak peak’ of the acts as to what we might expect. So, with only the anticipation of the unknown, V - The Ultimate Variety Show was completely surprising and entertaining from beginning to end.  The variety of acts went from unusual to jaw dropping.  

The host was Russ Millin, who apart from doing a wonderful job introducing the acts, had one of his own.  I’ll get back to that later!  

With so many acts to digest, I’ll just quickly run down the list of a few that stood out most to me, though there was not a single act that disappointed.

“Turf”, a young male contortionist awed (and shocked us a little) with what seemed like impossible moves, like the illusion of his head not being attached.  You can’t go to dance school to learn this style! 

Iouri and Gabor acrobatic act of strength and balance was totally Las Vegas worthy.  I would venture to say that if you don’t see this act up close and personal, you would not be able to appreciate the extreme talent and precision it takes to present what they did for us.

The Quiddlers had the audience roaring with laughter!  It was a trio of ‘little people’, or rather the illusion of it…. hard to tell.  The coordination that consumed the entire stage with song, dance and comic jesters was a commitment of hard work that really paid off.

Tamara Yerofeeva, Anna is a petite beauty who amazed us with her handling of up to 5 or 6 rings.  She made the impossible happen in more ways than could be expected and was absolutely hypnotic.

The Robot Boys from Denmark were just wonderful to watch.  Their two characters were fluid in robotic movement and acted out a number of scenarios to background rhythms.  

Recycled Percussion who actually have their own Las Vegas act consisted of two very gifted performers.   Starting out with what almost looked like ‘homemade drums’, their act began with low key sounds, escalating to competitive drum fun, and complicated duos.   Don’t want to spoil it for you, so check it out!

The husband and wife team, “The Skating Aratas” presented themselves in what I would have to describe as a thrilling and frightening routine.  Skating on a small, round platform above my own head, I could hardly watch!  With much needed perfection together the husband secured his wife in ways that seemed so daring that it seemed she would go flying into the audience at any moment.

I loved how this production mixed it up with the type of acts we saw, keeping true to its name, V-The Ultimate Variety Show.  With its great combination of humor and a unique blend of talented, sometimes seemingly death-defying acts, this is one of the most entertaining shows I’ve seen in some time. Funniest of all, or at least comparable to the Quiddlers, Russ surprised us with an audience participation routine.  Picking four men (my ‘lucky’ husband was one of them), the followed Russ’ lead on stage, acting out a skit of sorts, creating sidesplitting laughter throughout the audience.   

V-The Ultimate Variety Show is a great night out for those searching for entertainment on The Strip.  The show is reasonably priced and entertains in more ways than one could imagine.  The above mentioned are not just the acts scheduled for the show we attended, many of them have performed in other parts of the world and states, leading them to the ‘center of entertainment’ right here in Las Vegas!

V-The Ultimate Variety Show is being performed twice nightly at The V Theater in Planet Hollywood Hotel and Casino. Tickets are general admission at $69.99. 

"It's a wicked book," Steinbeck once said of his Pulitzer Prize winning novel "The Grapes of Wrath". The seminole book about the Great Depression appeared in early 1939, just as the U.S. was clawing its way out of the trenches of poverty and into the boon of WWII. It tells the story of the Joads, an average American family pushed off their land, who seek migrant labor in the mythical Eden of California. 

In 1988, a still fledgling Steppenwolf Theatre Company adapted the epic novel for the stage. The play was a huge hit and soon transferred to Broadway where it went on to win the Tony award for Best Play. The adapter, Frank Galati has since adapted a few other novels for Steppenwolf, including "East of Eden" in 2015. 

Under the direction of Erica Weiss, The Gift Theatre revives this now classic play. Weiss' production is about big choices. Color-blind casting of the play's lead, Tom Joad, makes for dynamic monologues that dig a little deeper than perhaps what even Steinbeck had in mind. Other choices, like adding in a homoerotic plotline, seem a bit more random.

That said, performances among this giant cast are strong. When fully assembled, there are about as many people on stage as in the audience. In the role of disgraced Reverend Jim Casy is Jerre Dye. His performance as a man struggling with faith in godless times is one of the show's greatest revelations. Other standout performances include Kona N. Burks as Ma Joad and Alexandra Main portraying a sundry of characters.  

"The Grapes of Wrath" is one of those stories that's just downright unpleasant. The novel is structured in a way that sheds light on the Great Depression in a general sense and then doubles back to show the Joad's individual struggle. You find yourself hoping that this family will avoid the pitfalls set before them. You almost wish nothing good would ever happen to the Joads because a few scenes later, it'll be ripped away from them. It remains relevant some 75 years later because what Steinbeck (and Galati) are presenting is a damning indictment of American ideals that have yet to change. 

Through August 14th at The Gift Theatre. 4802 N Milwaukee Ave. 773-283-7071

I love flamenco for its sensual power and the amazing way both female and male dancers, whether solo or couples, locked in passionate embrace are able to make the human body dance with such precision and emotional fury. Is there any other dance form where the men are so manly and sexily dressed in their boots and waist coats and the women in their flowing dresses so, well, womanly?

Currently performed at North Shore Center for the Performing Arts, "Flamenco Passion" as a rich production covers the whole range of human experience; dancing for your life, dancing for your love and dancing for the death of those you've loved deeply. The group numbers are stunningly modern like the world premiere of “Iroko”, while remaining true to the art form and "Alegrias y Jaleos", which make you feel you are in the countryside of Spain witnessing a turn of the century town dancing their way through life in a wonderful celebration of spring.  

“Bolero”, the acclaimed masterwork by Dame Libby Komaiko was a true stunner! I didn't realize it myself until this performance that you haven't even heard the full potential of the music in Ravel's “Bolero" until you've seen a stage full of the greatest forty flamenco dancers in the world bring it to a smoldering and exploding catharsis. 

In the second act an onstage singer, Cajon player and two guitarists accompanied all five dances, which really showcases that flamenco is a uniquely human and difficult dance to master. More passionate than tap yet just as exacting, more sensual than ballet yet just as demanding,  

We as Chicagoans should be so proud that Dame Libby Komaiko founded Ensemble Espanol at Northeastern Illinois University in 1975, and that her worldwide acclaimed dances and company are still going strong. 

Longtime Ensemble dancer Irma Suarez Ruiz, who'll begin taking over the role of artistic director from Dame Libby in the coming year and Carmela Greco with her long mane of silver hair both blew the entire sold out audience away. The two proved that dance is the way to stay young with 2010 solo "Duende Gitana" which intermingled "Palmas" (hand-clapping), percussion, stamping and song. It really was a masterwork of everlasting love expressed with furious passion (there's that word again) between her and the live musicians. The live music accompaniment dance numbers were heartfelt, raw with almost ragged singing and mind-bogglingly complex percussion from the guitarists and Cajon player that expressed the ageless beauty of both the performers themselves and this wonderful dance form. The subject of no less than two documentaries Dame Komaiko has almost single-handedly kept the art form of Flamenco not only alive but growing and flourishing. She is modest when speaking of her success and acknowledges that in some troupes the art form has become too mechanical. 

I could see this show again and again and each time notice brilliant new details from this large and gifted cast each time. 

Highly recommended. 

When it comes to an engaging mystery thriller, the need for finely-written, well-executed twists, turns and the unexpected are imperative. Afterall, a good suspense story on stage that has the ability to genuinely captivate its audience members can be one of the most enjoyable theatrical experiences we can have. In Drury Lane’s current production Deathtrap, we get just that. Deathtrap, written by Ira Levin in 1978 and later becoming a film starring Michael Caine and Christopher Reeve, is a whodunnit that pulls you in keeps you guessing so that just when you think you’ve figured it out, another curveball is thrown.

Upon entering the theatre, we are met with the interior of a Victorian house with a rustic interior. Swords, poster tins of plays and antiques such as Houdini’s handcuffs and collectible pistols decorate the walls and shelves. When looking closely, it appears the way the rafters are cut suggest we could be looking into a massive trap. 

It all starts when a theatre professor, a former flourishing playwright, Sidney Bruhl, takes notice of a play written by one of his students, Cliff Anderson. It’s brilliant - a sure fire hit. It’s been a looooong time since Bruhl has had a successful play and there is no reason to think he is on the brink of anything else that could make waves in the theatre world. When Bruhl promptly invites Anderson - along with his single transcript - to his country home where he lives alone with his wife, Myra, the suspense begins and only thickens as we wonder if Sydney is capable of murdering for a hit show. The well-written dialogue keeps one on edge, moving back and forth from friendly banter to that of a suspicious nature. Adding to the intrigue are Myra’s suspicions and the interactions of Helga, the Bruhl’s neighbor who possesses psychic abilities. 

Daniel Cantor as Sydney Bruhl and Aaron Latterall as Cliff Anderson are brilliant together as they lock horns in their highly engaging cat and mouse exchanges, each performing magnificently while McKinley Carter as Myra offers strong support and is able to cement the growing tension to enhance the audience’s intrigue even further. Though plenty of witty dialogue between players to incite a good share of laughs, Cindy Gold as Helga den Dorp is absolutely hysterical as the psychic neighbor, causing quite a stir with her “visions” that often includes exaggerated body language and heavy moaning. 

We are constantly asked the question on what we would actually do to gain success, no matter what has shown up in our past nature or not, should the opportune moment take place. Should the temptation be great enough, should we know we would get away with, let’s say a crime of significance, we generally rely on the thing deep inside ourselves that would not allow us to go to such extreme measures - to take such action - most people anyway. But what happens when one’s morale compass fails us them - is absent? What is one’s breaking point?

Deathtrap is a nearly perfect psychological thriller. Add that to the fact that this particular production boasts exceptional acting performances, a detailed set that draws one in before the show even begins and a healthy diet of humor, and it would be impossible not to recommend this fantastic play.

Wonderfully directed by William Osetek Deathtrap is being performed at Drury Lane Theatre in Oakbrook through August 14th. For tickets and/or show information, visit www.drurylanetheatre.com. 

When I say the name Ben Hecht most of you will look at me with confusion not knowing who I am talking about. That is understandable, given that most people don’t seem to care about anything before 1990. I myself did not have the strongest handle of who the man was prior to seeing “The Ben Hecht Show” at the Piven theatre. 

Ben Hecht was a newspaper reporter for the Chicago Journal and Chicago Daily News during the 20s. He parlayed his success in the newspaper world into a successful stage-writing career along with a very successful career as a screenwriter. He wrote some great films during what is considered the “Golden Age” of Hollywood. He wrote The Scoundrel, Nothing Sacred, Wuthering Heights, Scarface (not the Al Pacino one), and was uncredited for working on Gone with the Wind. He won an Oscar for best original story for Underworld and best writing (along with partner Charles McArthur) for The Scoundrel. 

James Sherman wrote, as well as stars in, the one man “Ben Hecht Show” that is based on Ben Hecht’s books A Guide for the Bedevilled and A Child of the Century in which Mr. Hecht struggles to confront his identity as an American Jew. 

Mr. Sherman has found a sweet spot in writing and adapting the works of Mr. Hecht as the audience is treated stories from Mr. Hecht’s past as if you were the only person that he is talking to. There is a feeling of intimacy to it all. You are able to understand how and why this man is grappling with the notion of being Jewish and what it truly means to be Jewish.  When he figures it all out he is only back at the beginning as various leaders of different Jewish organizations condemn his words to the point of calling him Goebbels puppet. The internal struggle is real. The writing of Mr. Sherman and stage direction of Dennis Zacek are able to capture all of Mr. Hecht’s inner conflict. The performance by Mr. Sherman as Ben Hecht leaves something to be desired. 

The entire show takes place in what would be the imagined study of Ben Hecht. Mr. Sherman wanders across the stage playing the conflicted writer as if he is just moving from one thought to another. One moment we are treated to stories, with a slideshow presentation, about him working with Alfred Hitchcock, John Ford, and David O Selznick. The next moment we are shown a stack of books of Jewish literature. All of this plays out in a monotone one-note performance. While the words tell us that this is a man struggling with his own identity we are not shown this. Mr. Sherman gives no range of emotion and barely registers a slight chuckle when delivering sharp quips that he himself penned. 

Mr. Sherman must be congratulated on his efforts in accomplishing a one-man performance, as this is no small feat. The performance can be sculpted and formed to where a stronger connection with the audience can be made as it is playing through July 17th. This is a show that offers nothing but the promise of an enlightening 90 minutes of self-reflection and self-discovery, a self-discovery that anyone who attends the performance would be happy to have seen. 

The Ben Hecht Show

Where: Piven Theatre, Noyes Cultural Arts Center, 927 Noyes St., Evanston 

When: Now through July 17th 

Tickets: $35

Info: grippostagecompany.com 

In the early 90’s, the now defunct supermarket tabloid Weekly World News, published a story about a creature - half boy half bat - found in a West Virginia cave. That story became the inspiration for Bat Boy: The Musical written by Keythe Farley and Brian Flemming with music and lyrics by Laurence O’Keefe.  The first production opened in 1997 and the show made its off-Broadway premier in 2001 quickly becoming a cult hit.

The show opens as a few residents of Hope Falls happen upon the Bat Boy while spelunking. Surprised by the visitors to his cave, Bat Boy attacks Ruthie and is then captured by her brothers Ron and Rick. They turn him over to the local sheriff, who drops him off at the home of the town veterinarian, Dr. Parker, hoping he will be able to put him down humanely. The vet’s wife and teenage daughter Shelley have different plans however, somewhat to the chagrin of Dr. Parker. They feed him, get to know him and eventually come to care for him, teaching him and helping him grow into a “normal” member of society. The folks of Hope Falls however, are scared of Bat Boy but Mrs. Parker and Shelley work hard to win them over, until things start to fall apart and truths start to be revealed that shed a whole new light on Bat Boy and his family.

Falling into the genre of horror/comedy musical, this show is unique from the start. It touches on some heavier themes such as racism, bias, revenge, understanding and forgiveness but with well-timed comedic moments and campy songs it keeps things from getting too dark. The story continues to throw curveballs right up until the end, keeping the audience entertained, surprised and even touched. It challenges the audience to think about their own biases while making light of some very heavy topics with some hilarious moments that have everyone laughing out loud.

The performance was polished and well put together under the direction of Scott Weinstein. The cast of 10 actors, representing twenty-two different roles, were spectacular. They shifted from character to character perfectly, often portraying female characters in drag which felt like a perfect fit for this show.  Everyone played a huge role in the show and brought both strong acting, good timing and strong vocal performances together to create an overall excellent show.

Staged in The Den Theatre, it made the most of an intimate space. The set was well designed by Jeff Kmiec and Greg Pinsoneault and the set transitions appeared seamless. With some of the seating practically on stage, and set pieces allowing for lots of movement and levels on the stage it created a very unique experience. In some scenes, the entire audience seemed to become part of the show, as the actors broke the 4th wall and interacted directly with them.

Bat Boy: The Musical is certainly a one of a kind musical. It may not be for everyone’s taste as it does include some rude humor and pretty twisted storylines but it is a hilarious and excellently executed show so if you are looking for something a bit unique to break up the monotony of cookie cutter musicals, this is it! Get your tickets and check it out before the run ends on July 24th!

Charles Busch, creator of the camp classics, Die, Mommie, Die!, Psycho Beach Party and Vampire Lesbians of Sodom seems to have written The Divine Sister just for David Cerda and his fabulous cast of rotating members in Hell in a Handbag Productions.

Affectionately making fun of films like The Song of Bernadette, The Bells of St. Mary's, The Singing Nun and Agnes of God, and a strong dose of The Davinci Code, The Divine Sister actually pulls some great ideals out of each and makes some wonderful points during all the fun and mayhem about what it means to "believe" in God and miracles within a religion that doesn't believe in you - if you are female or gay. 

David Cerda as Mother Superior rules the roost as always with a performance combining the essences of Joan Crawford and Rosalind Russell with both sparkling humor and unexpected tenderness. While trying to raise money to rebuild her crumbling church Mother Superior is confronted with all sorts of "obstacles", which really turn out to be miracles in disguise. 

The young postulant, Agnes, played by Charlotte Mae Ellison, who is seeing visions and “experiencing” the signs of stigmata also turns out to be Mother Superiors long lost daughter. While one hilarious twist occurs after the next, the object of a Davinci Code type search also reveals Agnes to be the reincarnation of "Joyce" the long forgotten older sister of Jesus Christ himself whose body was entombed beneath this very church.  Joyce is the actual doer of the miracles attributed to Jesus. I thought this was a marvelous feminist plot twist that could have been explored even further. Ellison is beautiful and perky in the role, epitomizing the young nun image of early 1960s TV, but I felt she needed to add a few subtler layers to her physical comedy and vocal levels in order to compete with the more mature comedic players surrounding her. 

Levi Holloway deserves special kudos, both as sinister albino Brother Venerius searching for Joyce's incarnation and particularly as film producer Jeremy who is still wholly devoted or should I say HOLY devoted to his long lost love of Cerda's Mother Superior from her pre-nunnery days as a brilliant news reporter Susan. Levi Holloway really DELIVERS the comedy, especially in the extremely rapid fire monologues and fast talking flashbacks to their exciting early reporter days of flirtation and falling in love with each other through words, glorious words. 

Performed at Ebenezer Lutheran Church in Andersonville, the setting couldn’t be more appropriate. John Holt has transformed this actual church into a fully functioning and beautifully lit theater "church" with stained glass and special effects that heighten the drama perfectly from scene to scene. At the same time, Keith Ryan and Kate Setzer Kamphausen’s wig and costume designs are absolutely essential for each character and mind-blowingly funny. 

The neighboring atheist, a bitter Jewish woman who turns out to be Mother Superior’s long lost mother Mrs. Levinson, as well as a gender-confused Convent student named Timmy, are both wonderfully played by Chad.  Chad is on top of his game and totally hilarious in both roles, brilliantly delivering Busch' complex, fast and funny monologues without tripping once. Ed Jones as Sister Acacius also puts forth a thoroughly entertaining performance. It is always a pleasure to see Cerda and Jones in action together, as their chemistry is tough to beat. 

The Divine Sister isn't just about the miracle of three generations of women being reunited with their daughters, it also strikes a real blow at a church system which denies sexuality to its members in ANY form, gay or hetero and as a result denies each of these women and men a chance at living a full life unless they realize the folly of prolonged abstinence - a FORCED shame and despair filled type of abstinence, not voluntary, which was never prescribed by the bible anyway. 

The laughs don’t stop. There are so many funny subtleties and bits of finely aimed sardonic humor mixed in with sidesplitting over the top scenes such as Cerda and Ellison’s lip-synced duet and dance to the backing track of a number of pure cheesiness.   

Highly recommended for a night of fun-filled camp and silliness with a few heartfelt messages about the reality of miracles that come into your life whether you believe in God or not. 

The Divine Sister is being performed at Ebenezer Lutheran Church through July 10th. To find out more about this very funny show, visit www.handbagproductions.org. 

Some things were just meant to go together, even if they do sound a little odd at first. Like peanut butter and bananas, apple pie and cheddar cheese, Lady Gaga and Tony Bennet; The Art of Falling is amazing collaboration between Hubbard Street Dance Chicago and The Second City. The unexpected pairing of the extremely original and unique contemporary dance company, and a Chicago improve comedy standard, both staples of Chicago entertainment in their own right, was a match made in theater heaven!

Hubbard Street Dance has done many interesting collaborations in the past, pushing the envelope of what a dance performance is and exposing new audiences to dance in creative ways. In 2014, Hubbard Street and Second City first got together and put together the energetic, unexpected and endlessly engaging performance entitled The Art of Falling. Now back at the Harris Theater by popular demand, the show is once again bringing laughter, joy and maybe even some tears to Chicago audiences. 

This distinctive show incorporates so much more than simply dance and comedy. They leverage video - both pre-recorded and live footage, audience interaction, endless props and fantastic music – again both live and recorded. The sheer creativity of this production is mind-blowing. There are 20 pieces that make up this show, each different from the one before but just like a great comedy show, it circles around a primary story line and a few smaller secondary ones, making the whole show flow together seamlessly and move along effortlessly. 

The primary story line is a love story of course, but it challenges the traditional silver screen romance as it is rooted in real life where relationships are bumpy and have awkward edges that need smoothing and love - or rather admitting you are in love - is scary. It challenges the audience to take that leap of faith and conquer the fear of falling. After all, what is the worst that can happen?

All of the performers, under the direction of Billy Bungeroth, were pure perfection and there certainly were a lot of them! This collaboration was made up of five choreographers, three writers, six actors and two dozen dancers. At times, it was difficult to tell the comedians from the dancers as each tried on the others role with dancers delivering well timed punch lines and comedians flexing their dancing muscles. The writing was witty and fun, and the choreography was exceptional, highlighting the extreme talents of the dance company as well as their humorous side. In a piece completely improved by both the comedians and the dancers, it draws some unexpected similarities between the art of improv comedy and improv dance. 

Part of the appeal of this performance is that it continually surprises the audience with more and more creative, imaginative and inventive pieces. After the first act when you think they cannot top themselves, they prove you wrong with a second act that just keeps on impressing. All of that said, I leave this review here so as to not ruin the magic for you. You have to see this show for yourself. As it wows the audience with its cleverness, it also touches the heart and inspires the audience to take just let go, and not be afraid of falling.

Be sure to get your tickets now and catch The Art of Falling at the Harris Theater through June 19th!