Items filtered by date: November 2007

One of the millennium's most influential independent music groups have launched a series of uncompromising hits that bring music back to where it always tries to be.

Conceived in early 2000, and opening for U2 nearly 5 years later, Arcade Fire has ignited something very important in the music scene.

It's a feeling music has been missing for nearly two decades on so many levels. They make music the way they want to, even more so than the idols who have influenced them so much. Their major breakthrough album 'The Suburbs' , with the stand-out track "Ready To Start", a follow-up to Neon Bible and Funeral, landed them all over the media. It also reflected a serious side to their expressionism that shows how driven by emotion their songs are.

Both Neon Bible and Funeral carry darker tones influenced by several family member deaths during writing, as well as bigger world topics hanging over them.

Regine Chassagne, multi-instrumentalist, wrote a song ( title 'Haiti' ) influenced by events

in Haiti. Her parents lived there

until political atmosphere drove them to sanctuary in Canada, where Regine joined Arcade Fire.

Arcade Fire would eventually raise relief money for Haitians, something close to U2

and other celebrities.

They would ultimately open for U2 on tour, and their current album is successively full of, and influenced by, Haitian percussives.

The Suburbs was conceived when lead singer Win Butler received a photo of his friend holding his daughter. The image made Win start thinking about what happened to where he grew up, which lead to a reflective pursuit of growth and maturity as well as revisiting the places that resided inside.

The first release of their most recent album, Reflektor, can be seen below.

Click the album  for their site to download and purchase:

After watching the video below ( in the media portion ) come back up and click Downtown,  enter your childhood address, and press play.

REFLEKTOR

By the 1970's Carol Burnett was such a beloved entertainment spirit that when she shared her seasoned range of expression she landed a historic place in the homes and families of millions of fans who saw her as another part of the family, likely one they wish they could be.

She was born in 1933, a time where the Depression era was not only affecting those old enough to feel the pressures of the times but it created a darker heavier atmosphere for some of the children. There's a reason it was called " The Depression" after all.

Befor the 1930's were over Carol's parents were already divorcing. Her mother was a publicist and her father a movie theater manager. Their alcoholism as media patrons of that time forced Carol into the custody of her grandmother Mabel. Although Carol had a half sister, who also went to live with Mabel in an impoverished Hollywood boarding house, she started inventing her first character. By dressing in different outfits and entering her room at different intervals she entertained herself by creating an imaginary "twin". Although she became tired of running in and out of rooms changing clothes to play both herself and her imaginary twin, this early spiritual exercise would ultimately be the axis of her career.

Apparently, at some point in Carol's early infinity for acting, her mother insinuated that writing was more stable a choice because looks we not a factor.

Yet Ms. Burnett's interest in theater only became stronger. Having both parents in the industry and a grandmother living in Hollywood, in addition to being excluded by the theoretics of glamor and Hollywood perceptions at the time, Carol started getting her "foot in the theater door" so to speak by becoming an usherette at one. Despite her parents alcoholism Carol showed signs of survival, taking all of the components of her life circumstances and place and pedalling them even stronger up hill.

The impression that Carol Burnett was an exceptionally sanguine, optimistic, and high spirited child who's wide-eyed hunger took both good and bad equitably in stride is unquestionable. That her parents were overly influenced by fashionable Hollywood dogma, tailing out of the depression, is testament to some of the gravities that bounced off of her brimming determination to stay young at heart even if she likely had her lonely moments as any depressed childhood ego would be.

A higher power of human continuity mused Carol as a channel of free spirited expressionism in a time where rigid social structures forced many people to lock up depressed emotions. Her drive is a testament to this; her performance career a lucky look into what is really important overall.

The video below shows some of what makes Carol Burnett a real star by all definitions of the heavenly term. Stay tuned for a follow up on more of the Carol Burnett story, as well as unique insight into the work and life of this amazing entertainment icon.

Until then, enjoy the video below.

As the snow starts to fall, Chicago audiences take refuge in heated theatres and family-friendly performances that warm them with holiday cheer. But if someone stumbled upon Victory Gardens this winter, perhaps expecting "It's a Wonderful Life," they'd quickly realize they were taking in something very different: a close examination of a family that is definitively unfriendly.

Victory Garden's "Appropriate," a world premier from young African-American playwright Branden Jacobs-Jenkins, follows the Lafayette family as three children return to their deceased father's estate to settle his affairs and their life-long feuds. These adult children - who often act more like children than adults – are played by the powerhouse Kristen Fitzgerald, the comedic Keith Kupferer and the looney Stef Tovar. Along with their "chosen" family – a son, a wife and two children, and a new finance named River, respectively – the three treat each other as only family can: cruelly, hurtfully, and painfully.

Their mutual distaste is heightened when the threesome uncover a secret about their absent father. How Jacobs-Jenkins reveals the secret, though, is a delicate moment that could be improved – we see the characters in shock, repeatedly, before we are let in on what it is. When our imaginations are left to run wild, it can hurt the gravity of the actual secret and make it seem smaller to what is collectively imagine.

Critical reception to the play has been overwhelmingly positive, with many comparing the work to the similarly Chicago-bred dysfunctional family drama "August: Osage County." Workshopped and developed in 2012 at Victory Gardens, "Appropriate" is now officially premiering, though I can't help but feel like it is on the cusp of greatness and not-yet-great. My suggestion would be for the playwright and director Gary Griffin to seek out and nurture moments of compassion and comedy in the play. In such a dark, realistic slice of an American family, we need a balm to go along with the wounds we are watching. Jacobs-Jenkins has a biting wit and command of dramatic tension, and hints of nourishment are present. But without some substantial "holiday cheer" (for lack of a better term), we are far less likely to eat the brilliant medicine he wants to feed us.

"Appropriate" is tearing down the house at Victory Gardens through December 14. More information and tickets at  http://victorygardens.org 

Currently playing at Northlight Theatre, here is a powerful play directed by Ron OJ Parson and written by Dominique Morisseau. Though the play starts on a lighter note and can be quite humorous at times, a feeling of impending heaviness grows as we get deeper into the story. Focusing on a brother (“Lank”) and his sister (“Chelle”) that live together in their late parents’ home, we get a glimpse of an era that is both riddled with ignorant hatred but also flows with a hope for a better future.  

Set in the titled year of 1967, Detroit ’67 gives us an in depth look at a family in the midst of the race riots that ran rampant in the streets of Detroit. The play argues that racist cops were mostly to blame for the riots pointing out the fact that white law enforcement took advantage of their position, making it a living hell in black communities where they inflicted their hate crimes.  

Chelle and Lank run an afterhours club in their basement and though they often clash about how to invest the family money left to them, it is apparent that nothing can truly get between them, as we can see a strong bond throughout the play. Their daily existence is uprooted when Lank brings in a white girl (“Caroline”) home that was beaten and left for dead. With nowhere else to go, Chelle and Lank offer her temporary residence so long as she helps around the house. As time goes on, Lank and Caroline develop a connection and realize that they are very similar despite the color of their skin. At the same time, Lank and his best friend, “Sly”, who has a genuine interest in Chelle, are making plans to open a bar using the family money. The story unfolds nicely and gives the audience a true feeling of family and friendship.

Tyla Abercrombie and Kamal Angelo Bolden are both sensational in their roles as brother and sister really projecting the closeness of their relationship, making their characters immensely believable. It should also be noted that Kelvin Roston Jr. also delivers an ignited performance as “Sly”. The entire show takes place in a basement setting that becomes comfortable within its first few minutes.

“Detroit ’67” is both thought provoking and humorous but it’s the show’s overall message of hope and change that dominates as it should. Playing at Northlight Theatre through December 15^th, “Detroit ‘67” is a well written, well-acted play that is thoroughly entertaining.

For more information on “Detroit ’67 visit www.Northlight.org.  

*Above photo by Michael Brosilow

The much beloved Chicago tradition of the presentation of THE CHRISTMAS SCHOONER returns to Mercury Theater Chicago, 3745 N. Southport, previewing November 27, opening Wednesday, December 4 at 7:30 p.m., and running through December 29, 2013.  The whole family will enjoy this heart-warming musical story of the first Christmas tree ship and the family who risked their lives to fill Chicago with the Christmas spirit. Hailed as “A sacred part of a Chicago Christmas!” by The Chicago Tribune, the production features a powerful, moving story, an exquisite score of original music and traditional holiday favorites, and a company of 25 actors and musicians.  The production is helmed by the Jeff-award winning team of L. Walter Stearns (Director), Eugene Dizon (Musical Director) and Brenda Didier (Choreographer). 

The shipwreck of the Rouse Simmons, known as ‘The Christmas Tree Ship,’ served as inspiration for THE CHRISTMAS SCHOONER.  Her captain and crew risked the notoriously violent winter lake to bring Christmas trees from Michigan's Upper Peninsula to Chicago’s German immigrants. Each year, Captain Herman Schuenemann would sell trees right off of the ship at the Clark Street Docks, and was known to give free trees to the needy. On November 23 1912, the ship was swept up in a terrible storm. It was not until 59 years later that she was discovered, lying in 170 feet of water. Today the Rouse Simmons and her cargo of 5,500 well stacked trees remain preserved in the cold, fresh waters of Lake Michigan and her legend has grown to mythical proportions. The Blaine Nickelodeon - the silent film theater that now houses the Mercury - opened that very same year.

THE CHRISTMAS SCHOONER has entertained audiences in hundreds of productions including a twelve year run at Chicago’s Bailiwick Repertory Theatre. A timely and uplifting tale of love, THE CHRISTMAS SCHOONER is a poignant ode to the rich legacy of Chicago and a reminder of our responsibility to celebrate the living while honoring our heritage.  In 2011, Mercury Theater Chicago revived THE CHRISTMAS SCHOONER with a full orchestra and an all-star cast, garnering a “Best Production” nomination for the 2012 Jeff Awards. The production has been called  “A grand family tradition!” by The Chicago Tribune and “An inheritance to be treasured…Highly recommended!” by the Chicago Sun-Times. Time Out Chicago Kids says that “A slice of Chicago history and an emotion-packed, Christmas-themed tale of redemption give the Mercury Theater’s production ofTHE CHRISTMAS SCHOONERall the trappings of a family holiday tradition in the making!”

THE CHRISTMAS SCHOONER is written by John Reeger (book) and Julie Shannon (music and lyrics) and stars returning cast members Karl Hamilton as “Peter Stossel,” Jeff Award winner Cory Goodrich as “Alma Stossel,” and James Wilson Sherman as “Gustav Stossel.” Rounding out the crew on this year’s schooner voyage are Kelly Anne Clark, Brennan Dougherty, Jaclyn Dougherty, Elizabeth Haley, Sage Harper, Christian Libonati, Leah Morrow, Michael Pacas, Eric Parker, Thom Shea, Travis Taylor and Sean Thomas.

The scenic design is by Jacqueline and Richard Penrod, with costume design by Carol Blanchard and lighting design by Jason Epperson.

Mercury Theater Chicago is an intimate jewel-box in the heart of a sophisticated neighborhood of restaurants and shopping just steps from Wrigley Field.  It adjoins two restaurants; Cullen’s Bar and Grill and Deleece, who offer dining and libations before and after the show.

Performances are from November 27 to December 29, 2013.  The schedule is: Wednesdays at 7:30 p.m., Thursdays at 2 p.m. and 7:30 p.m., Fridays at 8 p.m., Saturdays at 2 p.m. and 8 p.m. and Sundays at 2pm.  There are additional performances on November 29 at 2pm, December 23 at 7:30 p.m. and December 24 at 2 p.m.  Tickets range from $20 to $55. For group discounts, tickets and information contact the Mercury Theater at 773-325-1700 or www.mercurytheaterchicago.com.

With the recent influx of K-Pop entering the US in the past few years (Gangnam Style anyone?), it's critical to remember that other music does in fact come out of South Korea. One band in particular is currently on their US tour and should they swing back through Chicago, they are definitely worth seeing live.

Love X Stereo performed at the Elbo Room on November 3rd to a shockingly small crowd that didn't appreciate them as they should. Love X Stereo is an electronic rock band based in Seoul, Korea. Love X Stereo’s music is electronic music based in alternative and punk rock from the 90s, think Alanis Morissette with a Ratatat-esque synthesized beat. The lead singer of the band, Annie Ko, has a soft and easy voice that could rival any 90's and 80's female powerhouse. Their song "Soul City (Soeul City)" sounds like it could soundtrack any modern day "Dawson's Creek," while "Lose to Win" and "Fly Over" highlights Ko's vocal talents.

Electronic rock is definitely coming into popularity and hearing a band from South Korea take the genre and make it entirely their own is an experience you won't find equal to. Not surprisingly, Love X Stereo's music often confuses Korean audiences, though they have a strong expat (foreigners living in Korea) community following, and some of those fans adoringly came to the Elbo Room to see Love X Stereo perform live.

Like any new band, exposure is key. Love X Stereo has a unique sound, an album you can put on and cruise to. If they chance to swing back through Chicago, grab some friends and head to see them. Not every day you get to see a South Korean band playing electronic rock in the Windy City. Check out their website here:

 http://lovexstereo.com/

So many great bands emerged in the 1960’s and you couldn’t make a list of honorees without including The Rascals. In Steven and Maureen Van Zandt’s presentation of “Once Upon A Dream” we not only learn about one of the most influential bands of that era, we also get to see the New Jersey legends perform. “Once Upon A Dream” starring The Rascals made its way to Chicago stopping off at the Cadillac Palace for a five show stint.  

In “Once Upon A Dream”, The Rascals, formerly known as The Young Rascals, intertwine live song performances with storytelling that explains how the band formed, their survival throughout the British Invasion, their support for Civil Rights as well as many funny anecdotes that took place during their years as a band. Told either by live band members on stage or via recorded images on a giant screen, each story is nicely complemented by The Rascals performing a song that relates.

An inspiring set of classics by The Rascals is played throughout the show including such greats as “Groovin’”, “Good Lovin’”, “Beautiful Morning”, “I’ve Been Away Too Long” and their highly charged, Civil Rights anthem “People Got To Be Free”. Feel like taking a few pictures? Well, that’s just fine by The Rascals who, at the show’s beginning, invite the audience to take out their cameras and shoot away then suggest posting pictures on Twitter and Facebook.     

What you get here is an entertaining story and a live concert rolled into one. The Rascals also show that they are as musically sharp as they were back in their heyday. It’s nearly impossible not to be entertained by this show Rascals fan or not. As the show goes on, audience members let loose to the music more and more, perhaps timid at first since they are at the “theatre”. That said, by the end of the show people are standing and clapping along with each song, crowding the aisles and shouting out to the stage. My hope is that we may see other bands from the past doing show similar to this one in the future. Perhaps The Rascals will prove to be pioneers in such a field.

“Once Upon A Dream” is a truly unique theatre experience. For more information on this wonderfully refreshing show, visit  http://rascalsdream.com/.

The award winning Natya Dance Theater, performed The Seventh Love at the Harris Theater.  The Seventh Love is an appealing show for all ages, spanning different continents of culture, through Bharata Natyam dance from one of the most established traditional Indian dance companies in the United States.  The style originating in Southern India, the Bhrata Natyam, is a graceful and subtle dance, expressing the dancers’ emotions and surroundings through the expression of their hands, of their faces and the timing of the bells chiming to the stamps of their feet. 

The Seventh Love, explores some of the deeds of Krishna and his belief in the different loves.  Embedded within the traditional Indian stories of Krishna, we are also able to apply these lessons through the eyes of the King (David Kersnar, also the writer and director) requesting the wisdom of his wise and knowing Sage.  The Sage, Krithika Rajagopalan (Natya Associate Artistic Director & Principal Dancer) works with the King on how to fill the void in his heart since he has lost a recent love.  The two make a compelling and dynamic pair, effortlessly flowing from current difficulties in finding love, to keeping love, earning love and at most accepting oneself in order to be able to love.

The hour and a half show moves quickly, with bright and bold colors, heart beating music and beautifully times dancers intricately weaving patterns of movement telling stories within their tableaus and with each hand gesture and heeled ring of a bell.

The Seventh Love is a show that leaves you appreciating the beauty of love, culture and how we can all speak the same language, no matter the age, or cultural heritage.  This is an experience not to be missed, but absorbed.

 The award winning Natya Dance Theater, performed The Seventh Love at the Harris Theater.  The Seventh Love is an appealing show for all ages, spanning different continents of culture, through Bharata Natyam dance from one of the most established traditional Indian dance companies in the United States.  The style originating in Southern India, the Bhrata Natyam, is a graceful and subtle dance, expressing the dancers’ emotions and surroundings through the expression of their hands, of their faces and the timing of the bells chiming to the stamps of their feet. 

The Seventh Love, explores some of the deeds of Krishna and his belief in the different loves.  Embedded within the traditional Indian stories of Krishna, we are also able to apply these lessons through the eyes of the King (David Kersnar, also the writer and director) requesting the wisdom of his wise and knowing Sage.  The Sage, Krithika Rajagopalan (Natya Associate Artistic Director & Principal Dancer) works with the King on how to fill the void in his heart since he has lost a recent love.  The two make a compelling and dynamic pair, effortlessly flowing from current difficulties in finding love, to keeping love, earning love and at most accepting oneself in order to be able to love.

The hour and a half show moves quickly, with bright and bold colors, heart beating music and beautifully times dancers intricately weaving patterns of movement telling stories within their tableaus and with each hand gesture and heeled ring of a bell.

The Seventh Love is a show that leaves you appreciating the beauty of love, culture and how we can all speak the same language, no matter the age, or cultural heritage.  This is an experience not to be missed, but absorbed.

For more information on this wonderful dance company, Visit  http://www.natya.com/.

*Above photo by Amitava Sarkar

If you’re looking for a way to add some life to your Monday nights, Barrel of Monkeys is currently providing a very entertaining option – and it’s for a worthwhile effort. Chicago’s Weird, Grandma is a wonderful production that takes the stories from third to fifth graders in the Chicago Public School system and transforms them into very funny plays acted out by their ensemble. The plays are performed verbatim of the received scripts, causing one hilarious – and warm – moment after another.  Barrel of Monkeys, an arts education theatre ensemble, has been working with under-served students in the CPS since 1997 and has since teamed up with many performing arts companies such as The Neo-Futurists, Baliwick Chicago, The Hypocrites and more. Directed by Artistic Director Molly Brennan, Chicago’s Weird Grandma is now playing each Monday night at the Neo-Futurist Theater (5153 N. Ashland) through December 2^nd.

Chicago’s Weird Grandma’s highly comedic cast makes this already great idea work to perfection. The audience is treated to a series of skits throughout the one-hour performance, a different actor announcing the student writer’s name and school before each sketch. The sketches can be inspired by anything from each child’s imagination resulting in such sketches such as LEARN Campbell Academy student Camron F’s “Old Tommy and Brownie the Lost Cat”, Henry Suder School student Chris J’s “The Ant That Bully” and Dewey School of Excellence students Sarronda L, Jaleesa W and Anaya G’s “Bubble Gum Party”.

No two shows can be alike since audience members vote by ballot afterwards to both retain two sketches and remove two sketches, making this a production to take in more than once.

The terrific Barrel of Monkeys program teaches fundamental writing skills while helping in building self-esteem and confidence to low-income third to fifth graders who are predominantly African-American and Latino. The organization especially reaches out where most needed to serve children who battle the challenges academic skills, emotional difficulties and tough living environments. Such a notable cause coupled with a very funny theatre experience make Chicago’s Weird, Grandma a show entirely worth seeing. I should also add that this is a show that can be thoroughly enjoyed by both children and adults.

Tickets are more than reasonable at just $12 for adults and $6 for children. For more information visit  http://www.barrelofmonkeys.org/performances/chicagos-weird-grandma/.   

*Above photo - The cast of Barrel of Monkeys’ revue CHICAGO’S WEIRD, GRANDMA.  Photo by Beth Bullock.

Hello Dolly, the definitive, feel good play with the theme song that will certainly be stuck in your head, is now playing at Drury Lane Theatre through January 5^th. If you are looking for a show to take in over the holiday season, then Drury Lane’s production of Hello Dolly should be on your radar.

Bringing in Broadway heavyweight Karen Ziemba for the classic role of Dolly Gallagher Levi is all the more reason to put Hello Dolly on your holiday wish list. Winner of a Tony Award in 2000 for her performance in the Broadway musical Contact, Ziemba is nothing short of sensational, brimming with charm and exuding loads of confidence while also captivating the house with her prized singing voice.

We go back to America’s “gilded age” in Yonkers, New York where a scheming, but enchanting, Dolly Levi makes her living Meddling”, or more simply put, matchmaking. Though hired to find a wife for Horace Vandergelder, a grumpy but wealthy business owner, it soon becomes apparent that she plans to marry him herself. Horace wants a wife because “It Takes a Woman” to happily do all the chores around the house. Dolly pretends that she will be setting Horace up with a hat shop owner in New York City, Molly. But Horace’s overworked store clerks, Barnaby Tucker and Cornelius Hackl, also decide to spend a night in New York City where they can have a good meal, spend all their money, almost get arrested and maybe even kiss a girl. Dolly is quick to recommend Molly to Cornelius and recommends the boys visit her hat shop. From that point on it becomes a madcap adventure as the clerks run into their boss and try to avoid him since they were not supposed to leave the store.

The show’s biggest highlight takes place in a New York City restaurant, Harmonia Gardens, where the waiters perform a stunning dance number (“The Waiters’ Gallop”) before going into the classic song, “Hello Dolly”. It is a show of highly produced song and dance numbers with showtune standards such as “Before the Parade Passes By”, “Put on Your Sunday Clothes”, “Elegance” and the aforementioned “It Takes A Woman” and “Hello Dolly”.

Hello Dolly is a fun show that’s all about understanding and the coming together of people from different walks of life, taming the hard-hearted and seizing opportunity. The story is timeless and it sends a message of simple love. Karen Ziemba is undoubtedly fantastic as Dolly Levi, and her supporting cast is good and strong, with a special hat off to Jeff Diebold as “Cornelius” and Lee Slobotkin as “Barnaby”, who are both not only funny, but also get to show off their own dancing. 

Drury Lane Theatre is one of Chicagoland’s best places to see professional theatre productions that are wholesome, ageless and always quality. Hello Dolly is no exception. Tickets starts at $44. For more information visit  http://www.drurylaneoakbrook.com/.