Items filtered by date: November 2007

"Anybody got a pick?" asked Cat Power, after losing hers in the Ravinia Pavilion on Wednesday night. She was halfway through her set, which started a bit late, and would go until a stagehand cut her audio when she tried to do a 20-song medley as her last song.

The 42-year-old is a rare talent, with a career spanning nine albums of varying and blurring genres. Armed with only a piano, two guitars, and her raspy, weathered voice, she entertained with popular songs like "Colors and the Kids" to "The Greatest." Her characteristic unpolished performance was peppered with apologies, twitches, and self-reassuring head nods. If she were an actress playing a role, she was captivating; but she is a person, so my captivation was colored with concern. Her set felt plagued by her crippling stage fright and echoed a past of alcohol abuse – despite her announcement of sobriety in 2006.

The audience was supportive throughout her set, filled with fans and leftovers from Rufus Wainwright's flawless opening set which included two cameos – his sister and his sister as Liza Minnelli. But Cat's support, at times, felt like helping a stumbling friend home after a hard night, rather than the usual support of applause, attention, and album-buying. Wainwright, a remarkable talent and gay icon, served as a perfect pairing, and the mash-up heightened what is unique about each artist: a polished, soaring tenor with a rougher, earthy alto.

Ravinia's star-studded, eclectic season continues through September 20. Info and tickets @ https://www.ravinia.org/

In reference to (www.guitarsite.com), the lead singer and guitarist of The Trews revealed where the groups’ name came from in one of his interviews. He said the mom of the bands’ bassist suggested we call ourselves trews. Scottish trousers are known as trews, and the thought of the men wearing them makes for numerous woo-hoos! The front man adds “Given our Scottish heritage the name would be a fitting one to choose.”

The first photo I saw of the Hard rock/Alternative rock band, The Trews, made me wonder if I may have a few loose screws. Was I seeing double views? Are there two sets of male twins in The Trews?

Before you get a Double Mint Gum commercial stuck in your noggin, I should unveil I soon discovered there are not any twins in The Trews. The born and raised Canadian artists, Colin MacDonald (lead singer and guitarist), his brother, John-Angus MacDonald (guitarist), and their cousin, Sean Dalton (drums) along with their childhood bud, Jack Syperek (bassist), have all been playing together since ten plus years ago. The Trews’ hometown is Antigonish, Nova Scotia, and their present cribs are in Toronto. Also, The Trews have won a lot of prestigious awards, some include two #1 singles and 13 Top Ten from Canadian radio.

Yes, The Trews are not just some Joe Schmos. Bruce Springsteen asked The Trews to play on stage with him while he performed (kudos!) In addition, Robert Plant, The Rolling Stones, the new Guns n’ Roses, Kid Rock, KISS and others invited them to open for their shows.

The Trews graced the stage on Tuesday evening at Chicago’s Double Door, where The Rolling Stones have played before. Promoting their new album, The Trews, is the main reason for their current tour. And for the record, I did not witness anybody bored out of their gourde.

There was a very close to even amount of men and women, as far as The Trews’ fans go. A fraction of the hot ladies wore super tight jeans, but thankfully I did not see any camel toe. (Although, that is not the nastiest of things, and does not make one a straight-up ho.)

Most of The Trews’ tunes they played had hooks that wheeled me, and the rest of the audience in and really feelin’ it. The Trews were the s***! They also had me and the crowd singing, dancing and head banging—I loved every bit!

And let me tell ya, The Trews left us wanting more, more, more! Indeed, their show was absolutely not a bore. You have to see The Trews on tour.

www.facebook.com/thetrewsmusic

www.guitarsite.com

www.thetrewsmusic.com

www.twitter.com/thetrews

www.youtube.com/thetrews

*All photos by Tracy Walsh Fun Photography – This email address is being protected from spambots. You need JavaScript enabled to view it.

Steppenwolf Theater will be the testing ground for Kenneth Lonergan’s “This Is Our Youth” before the play goes to Broadway for its launch in September. Powered with young, talented actors Micheal Cera, Kieran Culkin and 18-year-old fashion blogger turned actress, Tavi Gevinson, we are taken to a lived-in Manhattan apartment in 1982 during the Reagan era. Archetypal slackers, “Dennis”, “Warren” and “Jennifer” are rich kids with all the drugs and self-indulgent worries a group of college-aged kids can ask for.

It all starts when Warren (Cera) intrudes on his self-absorbed pal, Dennis (Culkin) with fifteen thousand dollars that he had swiped from his father after the two had a major argument. Having spent some of the money already, Warren recruits Dennis’ help in trying to replace it before he returns the cash back to his father – hopefully undetected. Dennis, not at all cool with the fact that Warren has now made him accomplice, devises a hair-brained scheme where they would buy some coke, keep some for themselves, cut it and then resell it for a profit exceeding the amount needed to replace the full fifteen thousand dollars. Of course, nothing goes as planned.

In the meantime, throughout constant belittling of Warren by Dennis, Jennifer comes into play, a girl that awkward and nerdy Warren has had a crush on for some time. Plenty of clumsiness takes place between the two before common ground and mutual interests are observed. As the story develops we see plenty of layers shed from each character exposing various vulnerabilities.

The plot is not rocket science – simple and to the point, but the dialogue is plenty and engaging enough to capture one’s attention all the way through to where interest is never lost for a moment. For those whose youth enveloped those early 1980s years, plenty of references are made that will make you think, “Oh, yeah. I remember those – or that.” “This Is Our Youth” is a witty comedy that is refreshingly not overly dark, heavy and depressing. It’s a classic story of a bad situation that gets worse in a very realistic way. Cera and Culkin are a wonderful team and their chemistry is through the roof whether they are bickering or horsing around.

“This Is Our Youth” is a modern day classic that has been performed around the world and has had a revolving door of talent taking on its roles, most notably Jake Gyllenhaal and Anna Paquin during a West End run over a decade ago. Anna D. Shapiro directs this production to perfection, brilliantly capturing all the character nuances and bringing this story to life in a theatre-in-the-round setting, creating an atmosphere to which one feels a part of the play.

Funny, charming and sharp, “This Is Our Youth” is pure theatre bliss. Cera, Culkin and Gevinson are electric.

“This Is Our Youth” is playing at Steppenwolf Theater in the upstairs theatre through July 27^th. For tickets and/or show information, visit www.steppenwolf.org or call 312-335-1650.      Captivate

I was eager to see the show but felt really bad as I settled into my seat for the opening night of GODSPELL at The Marriott Theatre in Lincolnshire. Pain was shooting through my legs, and my mind was overwhelmed after yet another day of wrangling with difficult business decisions. But by the time I left the theatre I genuinely felt uplifted and renewed by the youthful and fresh energy and the heartfelt message of hope in Jesus that poured out of this production.

The cast could have, and maybe should have, been cast older; except for two token adults most of the cast seemed straight out of high school or college. Their voices were fantastic in the way singers on American Idol are, but as soon as they formed the Tower of Babel as 9 to 5 city workers dressed in black and grey, I thought what do these kids know about how hard the workplace is?  Later during the heavier scenes regarding Jesus’ scourging and crucifixion I thought, what do these kids know about loss? Though one thing this young cast did have was talent – and plenty of it.

Brian Bohr played the role of Jesus.  I was at first shocked and taken aback by a Jesus who resembled a 22 year old, baby-faced, California surfer kid wearing a sky blue preppy polo shirt. But Bohr’s rich, smooth voice and determined lightheartedness eventually won me over. Although I was surprised by Bohr's youthful appearance and super clean cut costume and looks, I grew to enjoy his interpretation of the role because it reflected on just how very strong and happy Jesus must have been during his early ministry before he was attacked and weighed down with betrayal.

Samantha Pauly had the most dynamic voice of the women and did a great job with the humor and tone of “Turn Back O Man”. At the same time, Devin DeSantis who had more of the hippy, wildman look I would have expected from Jesus, also had a great rich voice and made a very sympathetic Judas. The numbers were exciting and colorful, especially “O Bless the Lord My Soul” where golden hula hoops were incorporated into the dance choreography and “Light of the World” that really had the audience toe tapping and nodding their heads to the beat.  

As always I thoroughly enjoyed the use of the intimate space at The Marriott Theatre and all of the colorful ways the entire theatre was decorated with multicolored plastic drinking cups sticking out of fence walls like a rainbow. I noticed that most of the audience seemed to feel the same way, as more people were laughing and chatting after the show rather than stretching and yawning on a weeknight and rushing to get home.

Overall this is a great production that is perfectly suited for everyone. Even the crucifixion scene was exceptionally light and non-violent as Jesus is tied up and crucified with blue and white silks suspended from the ceiling.  I especially recommend this as a children’s theatre production for parents who want to take their children to an adult theatre piece with a great message about Jesus and the Gospel of John and Luke that will be very clean and cheerful all the way through.

GODSPELL is playing at The Marriott Theatre in Lincolnshire though August 10^th. For tickets and/or more information, visit www.marriotttheatre.com. 

Hell in a Handbag Productions has done it again, bringing yet another hilarious musical to the Chicago theatre scene, this time to Theater Wit. Caged Dames is one bad ass campy ride behind bars at a women’s correctional facility where “shocking” is just another day in the life. Writer and Artistic Director, David Cerda, brilliantly lampoons the old 1950s prison flicks, particularly “Caged” starring Eleanor Parker who lead character “Mary Anderson” is clearly created after.

Caged Dames, first produced in 2006, tells the story of innocent-natured Mary Anderson who, by a series of unfortunate events, winds up in the Calumet City Women’s Penitentiary. While in prison she comes across plenty of tough cookies while contending with a shady and sadistic prison matron and a warden who believes she can reach out to the inmates with psychiatric treatment and other unconventional methods. Matron Emerson and Warden Hope do not see eye to eye.

AJ Wright fantastically directs this Jeff Recommended production while each of the main characters bring something thoroughly entertaining to the table. Ed Jones is amazingly funny (as always) as the hard hitting “Matron Emerson” while Sydney Genco as “Big Lorraine” and Elizabeth Lesinski as “Myrtle Price” get constant laughs throughout along with the rest of this talentedly funny cast including lead Elizabeth Morgan as “Mary Anderson”. The show also comes with a live band and a larger than life set that takes its audience inside Calumet’s murky and dank prison walls.

Caged Dames is a fun take on film noir and then some, literally delivering laugh out loud moments nearly nonstop from beginning to end. We are treated to witty song and dance numbers with bite, Cerda’s delightfully genius humor and a smash performance by a very entertaining acting troupe that is considered among the funniest in Chicago. Cerda’s knack for parodying film classics is unbeatable. He has a keen ability to know when to push forward and when to hold back to perfectly capture, in some cases, the tiny nuances of a character while in other cases letting bold personality exaggerations fly to the extreme without going so far over the top the humor is lost.

Tickets are very reasonably priced at just $18-$37 leaving little reason not to see this greatly amusing production. Caged Dames – now Ken Recommended, as well – is running through July 13^th at Theater Wit located at 1229 W. Belmont. For more information visit www.theaerwit.org or call 773-975-8150.

Engaging and uproariously funny, Caged Dames is also plenty affordable, making it a show to enjoy on more than one occasion.   

In what could be the sleeper theatre smash of the summer, One Hit Wonders has just about all the ingredients a show would need to have the staying power for an extended run. And Chicago theatre fans should hope that to be the case, as this is a production that can be enjoyed over and over again. Finely directed by Daryl D. Brooks, the audience is thrust into the middle of a hilarious play, a live concert and even a dance party that spreads like wildfire from stage to seats close up through farther back. Sitting high above the set, a rockin’ live band that is often incorporated into the show’s storyline, is led by musical director and drummer, Robert Reddrick. It’s only a matter of moments that one realizes this band can play with the best of them.

The story revolves around a show that is being put together based on popular R&B songs by artists that have, after releasing a successful hit, for the most part, vanished from the music scene never to recapture such fame and popularity again. In fact, though the songs played in One Hit Wonders were recognized immediately, it would be a challenge to know who the artist that created it. We are taken from the ground floor of this production (also called One Hit Wonders) to, as expected, a big finale full of flash and fervent celebration. In between there are many bumps in the road and several rotating mini plots that keep the story flowing ever so smoothly. There are plenty of laugh out loud moments and an arsenal of great R&B music delivered to the audience in rapid succession.  

Each of the cast members are very accomplished singers and get their chance to show it in their own solo numbers and even in the beautiful harmonies heard in the background. Songs such as “I Will Survive”, “Ring My Bell”, “It’s Raining Men” and even a lively version of “Da Butt” by Mark J.P. Hood incite spontaneous cheers from the crowd throughout, and deservedly so considering their polished and wholehearted performances.

One Hit Wonders is a feel good story that is power-packed and bursting with a bevy of enjoyable performances. Perhaps R&B’s answer to Million Dollar Quartet, this is a show that truly delivers in every facet and will have the toes tapping and the hands involuntarily slapping the thighs to the beat.

One Hit Wonders is playing at Black Ensemble Theater through June 29^th. Black Ensemble Theater is located at 4450 N Clark and tickets are just $55-$65 depending on the show date. For more show information visit www.blackensemble.org or call 773-769-4451.

*photo - (from left) Ta-Tynisa Wilson and Kelvin Roston Jr.

The New Colony has staked a claim in the Chicago and U.S. theatre scene. Creating original, devised, ensemble-based productions, the nomadic storefront theatre has made a splash on the local and national scene. In just sixth short years, their productions have appeared across the country - in Steppenwolf's Garage, the New York International Fringe Festival, and Off-Broadway. The secret ingredient? Lesbians. Five of them. And a quiche.

Originally part of their 2011 season, "5 Lesbians Eating a Quiche" is a clever romp set in 1956 exploring the hysteria of the Cold War, American feminism, and the delicate art of making a quiche. It also put The New Colony on the national map. For those who missed it, a second, reheated version is occurring in Wicker Park's Chopin Theatre. The ladies of the Susan B. Anthony Society for the Sisters of Gertrude Stein incite you to their annual quiche breakfast. When you enter, you'll get a nametag – my male date was "Patty," I was "Bernice" - and the 75-minute presentation with a plot twist commences. The women recount the history of their society, the importance of the egg – both for quiche and biology – and tap into their inner desires when the stakes are raised to nuclear proportions.

The talented ensemble - Caitlin Chuckta, Megan Johns, Thea Lux, Rachel Farmer, Kate Carson-Groner (the final two, full disclosure, are improv friends of mine) – is mostly the original cast who developed the characters, penned into an official script on sale in the lobby. The polished comedic romp through gender stereotypes, the politics of friendship and romance, and the absurdity of quiche-love is heightened to farcical extremes, making it a perfect post-brunch outing. Whether you're out or not, you should come out to "5 Lesbians Eating a Quiche." 

If you have any fondness for tales of the golden era of Hollywood, and in particular the work of  the beloved movie star comedian, Jack Lemmon, you will thoroughly enjoy this moving and entertaining one man show starring Jack’s son, Chris Lemmon.

Writer and director, Hershey Felder had a similar solid hit  last year with "The Pianist of Willesden Lane” in which a daughter tells the story of her mother surviving the Holocaust.  Jack Lemmon Returns script was originally based on a memoir by Chris Lemmon titled, A Twist of Lemmon. Felder took the book, added some wonderful music and had Chris do the entire piece, not as himself- but as Jack, which makes this piece especially unique and enjoyable. All of the monologues flow beautifully into each other along with the music and never before seen photographs projected above the stage to create a touching, and funny progression that is very polished and theatrically satisfying.

There is no hash slinging ala “Mommie Dearest”, but Chris acknowledges Jack’s two decade long struggle with alcohol addiction. A telling moment about Jack’s narcissism is when “Jack” describes the thrill of winning his first Oscar for Mister Roberts and realizing after a few hours of celebration that he had literally left his wife behind, sitting all alone in the auditorium, which signaled the end of his marriage to Chris’s mother and actress, Cynthia Stone.

Lemmon has wonderful stage presence, as himself and as his dad, Jack. I was unaware that both he and his father were such gifted pianists. Jack introduced Chris to music, who later earned a degree in classical piano and composition. Chris recalls how after his parents divorced, while he was only two, Jack would make time to visit him almost everyday at his beach side home to play piano together. Chris says that although his new stepmother did not really welcome his presence, Jack was still  “a little bit in love with his mother” and he remained his father’s beloved “hotshot” son without interruption.

The one piece of video in the show was of French Actor/Director and Mime Jean-Louis Barrault's performance in the silent film Children of Paradise, which Jack Lemmon studied intensively. It shows how ahead of his time Jean-Louis Barrault’s expressive hand gestures were - like a series of poetically powerful  hand mudras, which were able to make people laugh and cry at the same time.

Chris does an amazing job of recreating young Jack’s many complicated trademark mannerisms, comical stuttering and gracefully manic hand gestures. He also does some fantastic impersonations of the friends in Jack’s start studded life like James Cagney, Billy Wilder, Jerry Lewis, Gregory Peck and even Marilyn Monroe.

Chris Lemmon grew up near Marilyn Monroe and relates a great story of how he snuck into her yard once while she was surrounded by secret servicemen during a tryst with JFK.  The armed men tried to remove him but Marilyn stopped them and said “No! That’s Jack Lemmon’s son! “

The ninety minutes flowed so quickly and intensely that I wanted it to go on longer and pack in even more star recollections. Chris said afterwards that he and Felder had a rough time cutting the piece down to this exact running time especially when it came to cutting a section about Jack’s great friendship with actress Shirley Maclaine. He further explained that an intermission or even three extra minutes could stop the pace of this one man show in its tracks.

There is a real market for this special piece. After the show I felt like I had experienced a visit with real Hollywood royalty in both Jack and Chris and wanted to see Jack Lemmon’s movies again, and read Chris Lemmon’s biography with this new perspective.

At 59 Chris Lemmon is the perfect age to play his father as a young man and into old age when Jack died of cancer at the age of 76.

 Chris’s stage version of his beloved father is more than an impersonation. Because of Chris’s skill and because Chris Lemmon is “blood”, his remarkable performance borders on actually “channeling” his late father’s huge spirit.  It is truly exciting and haunting to watch. At times I felt I was actually witnessing Jack Lemmon joyfully “stepping into” his son’s face and body.  After congratulating Chris and meeting his lovely wife and daughters at the end of the night, we hugged goodbye and I told him how much I loved his dad. I could have sworn I saw Jack Lemmon himself with his broad smile winking at me over Chris’s shoulder.

Hershey Felder said after the show that they brought “ Jack Lemmon Returns” to Chicago first because of all the cities in the U.S., Chicago is the only city that truly welcomes new theatre and longs for it’s success, instead of sitting arms crossed in judgment.

Do not miss your chance to see this remarkable and beautifully written and directed piece of theatre while it is running here at The Royal George Theatre, which is being performed through June 8^th. Visit http://www.theroyalgeorgetheatre.com/ for more info.

It is always a pleasure to see a play by Neil Simon and Lost in Yonkers is always near the top of the list. Now playing at Northlight Theatre in Skokie, artistic director BJ Jones and Executive Director Timothy J. Evans bring this classic to the stage under the direction of Devon de Mayo, who is able to bring out all the nuances that have made this Pulitzer Prize play the success that it has been for so many years.

We are taken to a hot and humid New York summer in 1942 where Eddie falls on hard times due to surmounting medicals bills for the care of his late wife. Without much choice he has borrowed nine thousand dollars from local loan sharks and now has one year to pay it back – or else. The only way for Eddie to earn such a sum of money is to take on a traveling sales job, the only problem is that he needs to find a place for his two teenage sons to stay in the meantime. After some convincing, he arranges for the two boys to stay with their tough as nails grandmother, who is as strict as they come. Bella, his lovable, but somewhat broken sister also lives with them and the dynamic becomes even more off kilter when his brother, Louie, a small-time gangster also lives with them from time to time. What we get is a mish-mash of personalities who are thrown together and though nerves are often tested, valuable lessons are also learned.

Alistar Sewell as “Jay” and Sebastian W. Weigman as “Arty” are full on fantastic as Eddie’s two sons, each showing a strong ability in delivering comedic lines and timely expressions. At the same time, Linsey Page Morgan displays her well-rounded talents in portraying the often neurotic and emotionally scarred “Bella”. What you get with this production of “Lost in Yonkers” is heavy-duty acting all around, a heartfelt story and a lot of laughs – not to mention a great taste of New York family life during WWII.

This recommended production of “Lost in Yonkers” is being performed at Northlight Theatre (9501 Skokie Blvd, Skokie) through June 8^th. For tickets and show information, visit www.northlight.org or call the box office at 847-673-6300. Tickets are also available at a very reasonable $25-$75 dollars with student tickets being offered at just $15.     

With so many ways to enjoy springtime in Chicago, The Sound of Music, currently being performed at Lyric Opera of Chicago, should certainly make your list of to dos. With acting heavyweight, Billy Zane, and Broadway star, Jenn Gambatese, leading the way, audience members are treated to a most memorable performance of the Rogers and Hammerstein classic that will have you singing that catchy little “Do Re Mi” days after you’ve seen the show.   

As a general rule for success with this particular musical, it’s safe to say that to truly bring "The Sound of Music" alive on stage, a strong supporting cast is utterly essential, but most important of all, the show requires a vibrant “Maria” who exudes wholesome fun and is convincing as a free spirit. Done and done. Lyric Opera of Chicago's production of “The Sound of Music” has not only put together a brilliant surrounding cast from top to bottom, but has also struck gold with leads Billy Zane as “Captain Von Trapp” and Jenn Gambatese as “Maria Rainer”. Not only are the two vocally right for the roles; their chemistry together is nothing short of magical, adding a very believable element to this timeless story of love for family and country. And, yes, to alleviate any doubt, if any at all – yes, Billy Zane can sing, and quite well at that. Zane especially makes it crystal clear that he’s not just a big Hollywood name used to sell a show during his gripping vocal performance of “Edelweiss”. I should also mention that his acting was right on the mark too, but that should have already been expected. So, in a nutshell, Zane is surprisingly perfect as “Captain Von Trapp”.      

Lyric Opera of Chicago has succeeded with this production and then some.

Gambatese grabs the audience immediately after her opening number, “The Sound of Music”. And though it is not yet clear where this “Maria” will take us, it doesn’t take long to find out. During her next song, “I Have Confidence”, her talents really stand out and her sparkling personality now officially beams throughout the house. At that point, it is apparent she has thoroughly captured the entire crowd.

The seven Von Trapp children are immediately likeable and, like the rest of the cast, more than vocally efficient. Christine Brewer adds a tasty punch as “The Mother Abbess” boasting her incredible vocal range while Edward Hibbert (of Frasier fame) is a sheer delight as “Max Detweiler”. Other standout performances would include Betsy Farrar as “Liesl” and Elizabeth Futral as “Elsa Schraeder”.

The set design is stunning as the audience is taken inside the Abbey then into different areas of the Von Trapp mansion and its courtyard. The set changes are equally impressive. One highlight has the stage seamlessly transformed from the mansion living room into the very festival in which the performing Von Trapp Singers escape from Nazi occupied Austria.

Many productions of “The Sound of Music” have come and gone and some have stood out more than others. This current production is one that stands at the top. A perfect Spring treat or a family night out, "The Sound of Music" at Lyric Opera of Chicago is an unforgettable experience that you can relish over and over again. This is a show that anyone of any age can enjoy.

"The Sound of Music" is being performed at Lyric Opera of Chicago through May 25^th. For tickets, performance times and/or more information, visit http://www.lyricopera.org/.