Items filtered by date: November 2007

Russian Transport, currently running at Steppenwolf through May 11^th, is, in playwright Erika Sheffer’s words, a story of “good people in bad circumstances doing terrible things.”  Inspired by her own family of first and second-generation Soviet immigrants, and directed by fellow Eastern-European immigrant Yasen Peyankov, Sheffer’s story is an extremely personal portrayal of our common struggle to define success and happiness.

Staged at Steppenwolf’s upstairs theater (four flights of stairs, if you’re walking), the personal touch of the writer/director duo is immediately apparent, as the audience must use the set’s foyer entryway to reach their seats (vodka and cognac set out, but unfortunately not served).  The cultural details of the performance are extremely accurate and well-thought: indoor slippers are always worn, vodka is served casually to minors, and the mother, Diana (understudy Loretta Rezos filled in for Mariann Mayberry), ensures food is always present.

The most obvious cultural aspect of the performance is the dialogue, as the three adult cast-members put on thick Russian accents for the duration of the show.  English-speakers should know that much of the dialogue is actually in Russian, as writer Sheffer admits she intended to show the audience that, “you can follow the action without literally understanding the words.” The approving laughter of the many Russian-speakers in the audience is a testament to Peyankov’s direction and the cast’s preparation, and actor Tim Hopper’s accurate command of the mannerisms and intonations of recently-immigrated Uncle Boris is one of the stand-out performances of the show.

Hopper’s performance is trumped only by that of Aaron Himelstein as Alex, the Russian-born but American raised son caught between his father Misha’s (Alan Wilder) flailing-but-legitimate car service business and Uncle Boris’ more illicit business dealings as a means of providing a living.  The story’s transformative character, Alex’s inner turmoil must be thoroughly convincing in order to convey Sheffer’s message, and Himelstein’s performance is raw, real, and entirely believable.

Through each family member’s influence on Alex, Sheffer challenges the audience to find a personal definition of success and happiness. Misha stands for family pride and honesty even as his business fails, while Boris succeeds despite his illicit dealings with young women.  Diana supports her brother Boris, maintaining that his terrible actions are justified by his ability to provide for the family, ignoring the age and naivety of her own daughter Mira (Melanie Neilan) in relation to the girls that Boris traffics.

In fact, Sheffer’s script dictates that the actress portraying Mira must double as the Russian “models” that Alex transports for Boris, putting the story’s competing perspectives in plain view for the audience.  If the double-role metaphor is not plain enough, the connection is made absolutely clear during Neilan’s final costume change from Mira to Russian girl, conducted in front of the audience at center stage under a single spotlight. 

While mostly maintaining a narrow focus on the unique struggles of her characters, Sheffer does step into a more general commentary on the “American dream” for a very brief moment.  As Alex transports his first girl for Boris, he tells a story of a school trip to the Statue of Liberty, where the class waited all day to climb the statue, only to find that the view from the top was just a short glimpse through a dirty window.  This statement, which is left open for interpretation, is as profound as Sheffer attempts to dive in an otherwise direct and entertaining narrative.

“Russian Transport” perfectly embodies Steppenwolf’s theme for the 2013/2014 season, “Getting Ahead,” which explores “our hunger to come out on top, and the discoveries we make along the way.”  In her interview with Dramaturge Dassia Posner, Sheffer notes that, “I want to see characters who, even if they might be doing things that are awful, have love in them and are capable of goodness.”  With Peyankov’s direction and the cast’s commitment to their characters, Sheffer succeeds in reminding us that we all have the capacity for the terrible when survival becomes a struggle.

What an honor and delight to see Alvin Ailey’s American Dance Theater return to the historic Auditorium Theater during its 125 Anniversary year with our First Lady, Mrs. Michelle Obama serving as Honorary Chair for the 2014-2015 season!

Chicago is not only the groundbreaking company’s home; the Auditorium Theater is host to the longest run of domestic performances by Alvin Ailey’s American Dance Theater outside of New York city.

The program changes each night of the run except for the performance of Ailey’s seminal work “Revelations”. I have seen “Revelations” in the past and it never fails to deeply move me and inspire great hope.

“Revelations” truly does “explore the emotions of deepest grief and holiest joy in the soul”. Ailey uses classic songs like “Didn’t My Lord Deliver Daniel” and “Sinner Man” to paint with his superbly trained dancers many expressive and poignant pictures of hopelessness leading to deliverance in the African American tradition.

The program I viewed also featured the refreshingly modern “Chroma” and “Four Corners” which stunningly portrayed the four Archangels guarding the four corners of the earth, holding in their angelic hands the four winds.  It was breathtaking and beautifully performed.

I highly recommend seeing as many of the different nights of dance Alvin Ailey’s American Dance Theater bestows upon its beloved Chicago audiences. The spectacular strength and beauty of Ailey’s dancers as directed by Robert Battle since 2011 will be a great source of inspiration and joy to all the members of your family, especially little girls and boys who dream of dancing with this exceptional troupe one day.

Alvin Ailey’s American Dance Theater will be performing at the Auditorium Theater (50 East Congress Way, Chicago) through March 9^th. For tickets and/or more information, visit http://www.alvinailey.org.  

For Johnny Cash fans, Ring of Fire – The Music of Johnny Cash is a must.  But even if you are not the biggest Johnny cash fan in the world, Ring of Fire is still a rockin’ good time. Currently playing at Theatre at the Center in Muster Indiana (a quick 35-40 minute drive from downtown Chicago), Ring of Fire brings the life of Johnny Cash alive through his music and narration. All songs are performed on a train station set by a live band, two Johnny Cash’s - a younger and more matured version and June Carter. The story begins with stories about Cash’s childhood and continues with his journey though legendary stardom.

From the show’s early goings, you will find your toes tapping and your hand slapping the side of your leg. Both the young and older Johnny Cash’s nail the voice and are simply fantastic, taking turns singing leads on various songs and even sharing vocal duties on some. Michael Monroe Goodman plays the youthful Cash and riffs some very impressive guitar leads while Kent M. Lewis takes on the later Cash and narrates the show. Both Goodman and Lewis impress with their Cash-like vocals and charismatic charm. While the two Cash’s are each thoroughly enjoyable to watch in their own right, Cory Goodrich takes on the role of the spunky and spirited June Carter. One gets the feeling that Goodrich is having as much fun playing the role of June as the audience has watching her perform. Goodrich exudes the innocent joy and bliss June was known for and tackles each song with just the right fervor each commands.  And if that’s not enough, just watching the rest of the band is thoroughly entertaining – Malcolm Ruhl rocks the standup bass!

As the story itself goes, we get a good taste of Cash’s life though a bit more explanation on certain subjects would have gone a long way.  For instance, Cash is introduced to “white pills” that help him endure the long touring schedule, but we are never really taken back to find out if it became a problem, if he overcame an addiction, etc. It also seems that Cash and June instantly fell in love and married, which wouldn’t be exactly accurate. Nit picking aside, the story told through music and narration still does a nice job in capturing many of the pivotal trials and successes of Johnny Cash’s life.

Ring of Fire – The Music of Johnny Cash is a fun time from its opening song “Let the Train Blow the Whistle” to its lively finale number “A Boy Named Sue”. The show includes a bevy of hits played with their deserved passion and spunk including “I Walk the Line”, “Ring of Fire”, “Jackson”, “Folsom Prison Blues”, “I’ve Been Everywhere” and so many more.

Ring of Fire is playing at Theatre at the Center (1040 Ridge Road, Munster, Indiana) through March 30th. For tickets and/or more information visit www.TheatreAtTheCenter.com or call 219-8363255.           

Contemporary dance is an art form like any other. As a style of dance it is much more of a philosophy than a strict technique like, say, traditional ballet or modern. Rather, it draws inspiration from both techniques and creates an entirely different experience for the audience. Much like art, the beauty is in the eye of the beholder. Whether you are a fan of contemporary dance or not, you should take the time away from the bitter winter cold and venture into the Auditorium Theatre to experience The Joffrey Ballet’s presentation of Contemporary Choreographers.

Like many of the contemporary showcases performed by The Joffrey, Contemporary Choreographers is split into three productions: Crossing Ashland, Continuum, and Episode 31. Let’s quickly cover off on some highlights; Episode 31, the final performance in the series choreographed by Alexander Ekman, is actually quite fun. It can adequately be described as a dramatic playground, bringing a youthful approach to dance with a touch of humor; no seriously, people were laughing along to the performances.

The second performance in the series is Continuum, choreographed by Christopher Wheeldon. This was the least entertaining performance for me; I would equate the performance as a whole as looking a blank white canvas in an art museum with a title like “Block 39.” To many, they would draw a profound and ethereal message from the blank white canvas, while others might see just a white canvas, blank and without meaning. Many of those in the audience gave Continuum a standing ovation, but to me the performance lacked a story and with it a reason to enjoy and watch it. Then again, it followed one of the best contemporary pieces I would safely say is the most enjoyable contemporary performance I’ve ever seen, so I am slightest biased.

Throughout the opening piece called Crossing Ashland, choreographed by Brock Clawson, dancers in streets clothes created the vision of pedestrians passing each other on the street, walking briskly back and forth across the stage. These stoics in street clothes turned expressive when they stripped away their outer layers of clothing and exposed the vulnerability of their inner selves. Crossing, the dancers showed us what we look like; dancing, they showed us the enormity of what we feel. The performances’ emotions were palpable to the audience and after each dancer took the stage you begged them to say longer. The dancers themselves were drop-dead, makes-you-want-to-go-workout, idol-worthy specimens, each and every muscle working to show their emotions. In lament terms, they were hot.

So what makes Crossing Ashland special? It’s the fact that the dance is so relatable, so understandable to the audience; two people pass on the street, their hands touching slightly, longingly, but then they part. So much is said in those moments without saying a word, and when two dancers portraying their emotions take the stage and perform a deeply passionate interpretation of breaking-up and making-up, you are captivated. Crossing Ashland could easily be made into a full length production and take the stage for a full two hours and no one would be bored. And more importantly, it could introduce an entirely new generation to contemporary choreography that isn’t limited to what one sees on televised dance shows or in the movies.

So cross Wabash Avenue and make your way to the Auditorium Theatre to see Contemporary Choreographers. The show runs through February 23^rd. It is a breath of fresh air to a modern style of dance that will hopefully leave you breathless.

Deemed by the American Film Institute as “one of the funniest movies of all time”, Young Frankenstein was bound to hit the live stage at some point. Finally, in 2007, creator Mel Brooks adapted his 1974 film for stage where, after a premier run in Seattle, the show hit Broadway where Young Frankenstein: The Musical got mixed results. Now, after a couple national tours, the show has found a new temporary home at the Drury Lane Theatre in Oakbrook. Drury Lane’s artistic director, William Osetek, took on the tough task of taking a show that didn’t exactly set the world on fire for most critics and making it his own in the hopes of making it more entertaining and relatable for the audience. Well, he did exactly that. Emphasizing on family and inner kindness and love, a perfect balance is created that makes the slapstick and silly humor work like a well-oiled machine without ever becoming overbearing. Mel Brooks should be very happy with this production.

Young Frankenstein: The Musical is the latest Drury Lane success story. The show has a slew of funny characters, songs that have plenty of laugh-out-loud moments, creative dance numbers, a stunning set with plenty of sound and visual effects and of course – a monster.

Ashamed of his family business that has gone on for many generations, Frederick “Fronkensteen” has tried very hard to remove himself from anything that has to do with life-giving experiments and his true Frankenstein name, and flees to New York where he becomes a Dean of Anatomy and enjoys lecturing his students on the brain. Shortly thereafter, he learns he has inherited his grandfather Victor Frankenstein’s castle and heads back to Transylvania. He is immediately met by Igor, who comes from generations of castle henchmen and urges Frederick to continue in his grandfather’s footsteps. Frederick picks up Inga, his new bombshell assistant and quickly realizes he is cut from the same cloth as his grandfather. But bringing back the dead is far from a perfect science as he finds out when his monster wakes with the IQ of a grape and shows bits of uncontrolled anger. Hijinks and hilarity ensues as Frederick scrambles to make things right while the townspeople want the monster destroyed.

There are just so many fantastic performances in this show across the board, but Devin DeSantis absolutely hits on all cylinders as “Dr. Frederick Frankenstein”. His comic timing is flawless and he simply takes charge of his role – and has fun with it. Jeff Dumas as “Igor” gets a ton of laughs because – well, the guy is just plain funny, and Allison Still as “Inga” is dynamite, especially when she gets to show off her vast vocal range in “Roll in the Hay”. But you can’t have a worthy production of Young Frankenstein: The Musical without a strong portrayal of the monster and Travis Taylor hit this challenge out of the park. Complete with 4-inch platform shoes, heavy makeup and plenty of bulky padding, Taylor is still able to gracefully dance to perfection in some pretty complicated choreographed routines. Taylor also adds the humor and charm needed to make the role effective.      

Young Frankenstein: The Musical is quick witted with plenty of one-liners and silly songs somewhat reminiscent to Spamalot. The humor from the classic film translates well to the live stage because it is performed well and it is ageless. It’s the perfect show to take one’s mind off our record breaking cold winter.

Young Frankenstein: The Musical is playing at Drury Lane Theatre in Oakbrook through March 16th. Depending on the seat and show, tickets range at a very reasonable $35-$49. For tickets and/or more show information, visit www.DruryLane.com or call 630-530-0111.              

Taking yet another beloved movie of yesterday and transforming it into a big stage production, Ghost the Musical is certainly different than most. Though the storyline is captivating, as most know, it’s the show’s jaw-dropping special effects that really grab one’s attention. Plenty of illusions and jumbo screen visuals are certain to mesmerize keeping the focus from the production’s on and off song numbers.

The story really begins after Sam Wheat is unexpectedly killed during a mugging after an evening of theatre. Sam’s spirit – or ghost – is caught between worlds where he finds himself living amongst the life he knew. It soon becomes apparent that Sam’s purpose is to bring his killer to justice and with the help of psychic Oda Mae Brown, who is able to actually hear him, he puts his plan into action.

There are plenty of great performances in this show and Steven Grant Douglas as Sam Wheat tops the list with both powerful acting and his ability to carry a tune. Katie Postotnik also turns it up a notch playing Sam’s heartbroken lover, Molly Jensen. And though plenty of kudos could be thrown around for more strong performances, one of the most entertaining to watch was that of Brandon Curry who played the angry and paranoid Subway Ghost.

Ghost the Musical has plenty of song and dance numbers, but as mentioned earlier, some hit and some miss. There are a couple of variations of the film’s classic theme song “Unchained Melody” that are thoroughly enjoyable and are among the few better numbers, but as pleasurable as this show is, you’re probably not going to see it for its music.

But make no mistake about it, this is a show that will truly captivate. 

Ghost the Musical is playing at the Oriental Theater located at 24 W Randolph in downtown Chicago through January 19^th. For tickets and more information, visit www.BroadwayInChicago.com.   

Of the many Christmas shows I have seen over the years, Mary Wilson of The Supremes and The Four Tops may have collaborated for one of the best I have seen with their Holiday Spectacular. Amazing vocals, flashy costumes, classic band hits and a bevy of holiday song favorites made this night at Harris Theater one to remember.

The Four Tops, led by founding member Abdul “Duke” Fakir, kicked off the show with a handful of their own hits including “Reach Out”, “Bernadette”, “I Can’t Help Myself (Sugar Pie Honey Bunch)” and “Baby, I Need Your Loving”. Spin moves and choreographed  routines that help made them famous in the late 1950s and early 1960s were still highly present as the band motored its way through the night. Beautiful harmonies swept across the auditorium while The Four Tops tackled Christmas favorites “Silent Night” and “White Christmas” before Mary Wilson joined them on other beloved melodies like “My Favorite Things”. Wilson and Fakir also collaborated on one of the highlight moments of the evening when the two teamed up for a duet for an amazing rendition of “Baby It’s Cold Outside”.

Mary Wilson was simply astounding. Looking fantastic and sounding silky smooth she plunged into many of The Supremes most notable songs “Baby Love”, “Can’t Hurry Love” and “Stop In the Name of Love”. Wilson had the help of a 15-plus piece band, backup singers and dancers, making each number larger than life. Another show stopping moment was when Wilson sang a breathtaking version of “Have Yourself A Very Merry Christmas”.

The mood was certainly merry throughout the crowd during this festive and most memorable event. Audience members rose to their feet with regularity. Toes were tapping and hands were clapping. It was certainly a treat to see these performing legends work together and we can only hope that Mary Wilson’s Holiday Spectacular Featuring Special Guest The Four Tops will return next year. 

Twas a cold winter evening,

In Chicagoland,

On the way to the Auditorium theatre,

For a performance quite grand.

The guests took their seats,

The stage decked in splendor,

Anxiously awaiting their journey,

Expecting ballerinas so tender.

Then up went the music,

And down went the lights,

As we were whisked away

To the Nutcracker that night.

All know the story,

The Nutcracker’s tale,

From the grand ball to the Sugar Plum Fairy,

Danced by a young Mikhail (Barishnikov ;-) )

The Joffrey performed the ballet,

With intricate care,

To keep with traditions,

So all ages could share.

Spanish Chocolate, Arabian Coffee,

Chinese Tea and Russian Candy,

Danish Marzipan, Mother Ginger,

It was all just dandy!

But the waltz of the snowflakes

And the waltz of the flowers,

Is where this ballet

Holds all of its power.

The dancers on pointe,

In their tutus and tights,

Twirling and leaping,

Twas a majestic sight.

The Joffrey Ballet is performing,

A holiday tale to remember,

For all to enjoy,

While it runs through December.

So off to The Joffrey!

Don’t miss it this year,

Fill up your holiday,

With Nutcracker cheer!

It’s the holiday season once again and that means an abundance of Christmas themed shows have once again sprouted throughout the Chicago area. With plenty of quality shows to choose from “The People’s A Christmas Wish” at Quest Theatre should not be overlooked – and it is completely free! Donations towards the theatre company are requested upon entry and while exiting to which no amount is too small or large.

“A Christmas Wish” is a charming story that takes place in a taxidermy shop where all the stuffed animals come alive on Christmas Eve. But this year a new arrival is present as Dasher’s head is mounted on the wall. Each animal tells their story, some of love that has sadly passed them by. Dasher tells his new group of friends about his time with Santa and of his true love Jane Doe and how he ended up on the wall of a taxidermy shop.

The story is uniquely different from traditional Christmas stories and also includes tons of fun puppetry. Each animal in the taxidermy shop is also cleverly represented by a human to enhance its story telling through flashbacks and song and dance numbers. When in human form, characteristics of the animal are still applied such as “Goat’s” goatee or “Beaver’s” beaver teeth, adding a needed reference.

The show is filled with songs accompanied with a live band. Though some songs fall short of being very memorable, there are enough numbers that are humorous and catchy to actually consider “A Christmas Wish” a decent holiday musical.  A few standouts include “Not Again”, “The Most Annoying Song”, “Every Magic Cent” and “Feel Good Tonight”. “A Christmas Wish” is also a clean show that parents along with their children can wholeheartedly enjoy.  

Though not a homerun, “A Christmas Wish” is still a solid collection of base hits, making it a worthwhile show to take in over the holidays. The show is filled with plenty of moments that will make you laugh, some upbeat music to tap your toes to and puppetry that will make you feel a couple decades younger. The story has a nice flow, fun characters, and is visually amusing, but also has an ending that will have you asking yourself, “Uh…Was that a good thing?”     

“The People’s A Christmas Wish” is playing at Quest Theatre through December 22^nd. Quest Theatre is located at 1609 W Gregory. For more show information visit www.questensemble.org. Though the shows are free, Quest Theatre also asks that reservations are made online ahead of time to best accommodate everyone.   

In fine holiday tradition The Christmas Schooner has once again set sail, this time for its third year at Mercury Theater after a twelve year run at Baliwick. Inspired by the 1912 shipwreck of “The Christmas Tree ship” in Lake Michigan, manned by Captain Rouse Simmons, The Christmas Schooner is a heartwarming story catapulted by strong family bonds and Christmas spirit.

Written by John Reeger and composer Julie Shannon, The Christmas Schooner is the tale of a brave sea captain of German decent who decides to ship Christmas trees from Michigan to Chicago through the treacherous winter storms. He is prompted to do so after receiving a letter from his cousin who tells him Christmas is not the same without a Christmas tree.  Tannebaums (fir trees) have always been a tradition in Germany and the many Germans in Chicago have not had access to them since leaving their homeland. There are plenty of trees in Michigan, so Captain Peter Stossel, along with his father Gustav, set sail to Chicago in the hopes that they will find buyers for the many trees they have bundled aboard. To the crew’s surprise, hundreds of Chicagoans are waiting for them, having already dubbed their schooner as “The Christmas Tree Ship”.

Karl Hamilton is just wonderful as “Captain Peter Stossel” generating a true genuineness in his role as a family man, a beloved sea captain and as the man who will sacrifice in order to make a difference. At the same time, Cory Goodrich (“Alma Stossel”) and James Wilson Sherman (“Gustav Stossel”) are also superb all the way around. Sherman exudes charm and kindness becoming the grandfather every child would be lucky to have. A very strong supporting cast is also key in making this such a delightful production with great performances by Travis Taylor as “Steve”, the Captain’s best friend and right hand man, Elizabeth Haley and Brennan Dougherty who plays “Karl Stossel”.

The Christmas Schooner blends classic Christmas songs with original numbers. In this lively production, we are treated to an intriguing story, polished vocal performances, big choruses and a handful of well-choreographed dance routines. Like it or not, audience members cannot help but be injected with a massive dose of Christmas spirit. This is a show that anyone of any age can thoroughly enjoy.

Performances are running at Mercury Theater (3745 N. Southport Ave) through December 29^th. If it isn’t already, make The Christmas Schooner your new holiday tradition. For tickets and/or more information visit www.mercurytheaterchicago.com or call 773-325-1700.