Items filtered by date: November 2007

Inspired by the Newsboy Strike of 1899, “Newsies” uses the power of dance and song to tell the story of a group of teenagers and children who stand up to the powerful men running the newspapers of New York City, defending the rights of children workers everywhere. Jack Kelly is the leader of the “Newsies” gang, but dreams of a life out west far away from the mean streets of New York where he can focus on his true passion, art. When Pulitzer raises the price of newspapers, Jack rallies the rest of the “Newsies” across the city and fights back. With the help of an up and coming reporter, with an interesting heritage, the “Newsies” become front page news and fight for justice growing new friendships, strengthening old ones and also sparking a romance along the way.

From the opening number, through to the end of the show, “Newsies” is non-stop dancing and singing sensation. With a large ensemble cast and powerful choreography by Christopher Gattelli it creates a high energy atmosphere that sticks with you long after the curtain falls and the show is over. The dancing is continually moving across, up and over the entire stage, with dancers jumping, turning, flipping and of course tapping. Music, by Alan Menken, and lyrics, by Jack Feldman, capture the emotions and tensions of the “Newsies” echoing to the last row of the balcony, giving the audience chills. To top it all off, the set design, by Tobin Ost, is simple, but creatively flexible. Comprised of a few metal structures that stand 3 stories tall and can be moved and rotated, it created scenes that filled the stage and took the choreography to a whole new level. 

While this show is predominantly an ensemble show, there were some strong main character performances starting with Joey Barreiro as Jack Kelly. He captured the smooth charm of the character and followed it up with a strong singing voice and amazing dancing. Stephen Michael Langton as Davey is the perfect complement to Jack. And because no show is complete without a good love story, Morgan Keene as Katherine has great chemistry with Jack and brings some great girl power to a cast that is predominantly male. Steve Blanchard, as Joseph Pulitzer, plays a great bad guy, one you love to hate.

Overall, “Newsies” delivers a thrilling and adrenaline charged performance from the opening minute to the closing note. It never relies on sparkling costumes, fancy lighting but lets the singing and dancing speak for itself. And speak it does! The audience will fall in love with the characters, be wowed by the dramatic flips and perfectly precise choreography, and share in the emotional battle of the “Newsies”.

“Newsies” is playing at the Cadillac Palace Theater in Chicago, but be sure to get your tickets soon because it is only here for a limited time!

Douglass is striking from the moment the stage lights go on at Theater Wit. De’Lon Grant commands the stage as the escaped slave, Frederick Douglass – who in his time was a towering intellect among abolitionists, and who remains a powerful influence on public discourse even today.

Playwright Thomas Klingenstein begins the action in 1841, when Douglass, 23, began publicly speaking out against slavery to sympathetic abolitionist audiences around Boston. Anyone who has read even a bit of Frederick Douglass' writing knows the power of his language. Excerpts of his speeches in this production – and there could be more, to my mind - display his strength as a communicator, and inspirational force.

In short order, Frederick Douglass outstripped his patron, publisher William Lloyd Garrison (convincingly portrayed by Mark Ulrich), who comes across here as self-satisfied in his public position as a firebrand abolitionist newspaperman. Differing in anti-slavery strategies, Garrison gets a court to interdict Douglass' printing press. The script plays up Garrison's loss of stature as Douglass' star rises.

Douglass has a different agenda than Garrison. He soon gains his own following and financial means to pursue it. Klingenstein clearly portrays the differences between Douglass’s more gradualist approach to ending slavery, and Garrison’s belief in “Dis-Union,” the belief that because the U.S. Constitution enshrines slavery, the Union must be abolished. Douglass says the slave-related clauses in the Constitution are “scaffolding,” meant to be dismantled once the nation was established.

The script also accomplishes something very difficult: revealing the unconscious racism among liberal whites. Because Douglass disagrees with him, Garrison - a white man who thought his anti-slavery credentials were unimpeachable - decides that blacks are incapable of comprehending the circumstance of, and solution for, their own slavery. Garrison's self-evidently racist position, part of the historical record, is amply presented. Contemporary parallels can be readily drawn - which is one reason Douglass is such a valuable production. It also introduces an important historic figure to a new generation. The production is built and billed as a multi-media performance in part to pull in the younger crowd.

In biographical plays, the dramatic action required for satisfying theater can easily seem forced – lives don’t usually have convenient plot lines. But Douglass draws in enough of the personal side of the character– Douglass’s devotion to his wife, an affair with an admirer, his conflicts with Garrison – to make them people we care about.

Director Christopher McElroen has pulled out all the stops in putting together Douglass for The American Vicarious organization. Great costumes, lighting, set, staging, music –  values that would be at home at the top theaters anywhere are meticulously woven into telling and showing the story of Douglass. The production team deserves mention: William Boles (scenic design), Mieka van der Ploeg (costume design), Becca Jeffords (lighting design), Liviu Pasare (projection design), Jamie Abelson (casting director), Cara Parrish (stage manager) and Will Bishop (production manager).

 Should you see Douglass? It is so well produced, how can you not? It runs through August 14, at Theater Wit.

Earlier this year, The New Colony in collaboration with Definition Theatre, produced a smash hit called 'Byhalia, Mississippi.' The New Colony has done a great deal to insert themselves into the Chicago theater landscape over the past few years. Some of their work has even appeared off-Broadway, as was the case with their acclaimed show 'Five Lesbians Eating a Quiche.' What the New Colony is perhaps best known for is their commitment to taking chances on quirky new work from emerging playwrights. 

'Byhalia, Mississippi' is about one of the most 'Jerry Springer' scenarios you can imagine. A married white woman, Laurel (Liz Sharpe), gives birth to a black baby in the rural deep south. What could easily descend into a hillbilly soap opera is heightened by a strong theme on the way seemingly decent people handle race. Performances run strong in 'Byhalia, Mississippi' in particular Celeste Wingate as Laurel's mother and Kiki Layne as her childhood best friend. It has a sharp sense of humor when it needs to, but also enough structure in place to carry its complex ideas. 

This new play by New Colony artistic director Evan Linder has some serious legs. After a sold-out run at The Den, 'Byhalia, Mississippi' is now being put up at one of Chicago's most esteemed and visible houses. It will certainly be noticed. While a certain degree of cheekiness runs throughout, the playwright is careful not to make his characters cartoonish. There are a few juvenile moments that tend to stick out like a sore thumb, but in time, some of that roughness will surely be smoothed out. This is not a play about infidelity. This is a play about the way people in some parts of America handle race and gender. To that end, this play couldn’t be more relevant. It wouldn’t be a surprise to see 'Byhalia, Mississippi' mounted in New York some time soon. 

Through August 21st at Steppenwolf Theater, 1650 N Halsted St. 312-335-1650

On a night that threatened heavy rains, the weather ultimately cooperated instead delivering a dreamy summer night for Kenny Rogers to the Ravinia Festival one last time as the seventy-seven-old legendary singer is calling it quits after a musical career that has lasted well over half a century. The pavilion was filled and picnickers were spread out all along the Ravinia grounds.

The tour, appropriately titled “The Gambler’s Last Deal”, is a timeline through Rogers celebrated run that starts off with his music from the 1960’s with The First Edition (later named Kenny Rogers and the First Edition as his popularity grew). Throughout the show Rogers takes on the role of a storyteller providing details about each decade’s musical transitions, adding little known tidbits of fun facts and plenty of humor. Throughout each story and song, jumbo screens project performance videos from each era (including an Ed Sullivan appearance) along with a slew of personal footage of his life. 

Country star Linda Davis assists Rogers on this farewell tour, taking on a couple songs on her own and filling in on duet parts by such as Dottie West. Davis was able to add a bit of mobility to the show as Rogers was mostly confined to sitting on a stool due to recent knee surgery. “Sorry folks. I need to apologize. I just had a knee replacement and I think they replaced the wrong knee,” Rogers joked as he slowly walked onto the stage.

As for the hits, Rogers played most including “Something’s Burning”, “Love Lifted Me”, “Lady”, “Heroes” and the one that he explained really propelled his career, “Lucille”. Rogers even threw in a couple verses of “We Are the World” of which he participated in the 1980’s along with such stars as Paul McCartney, Michael Jackson, Rick Springfield and so many others.  

A portion of the show went into Rogers’ days as an actor. Besides several television appearances as a guest host, including spots on The Tonight Show Starring Johnny Carson and The Muppets, Rogers starred in more than a handful of films, probably most notably The Gambler of which the title song was one of the show’s highlights. 

“Not long ago a fan approached me after a show and said ‘I didn’t know you were an actor’. I told him, ‘I’ve got fourteen films that prove I wasn’t an actor’”, Rogers laughed. 

“The Gamblers Last Deal” is a fantastic look into the history of Kenny Rogers music and leaves little doubt the effect he has had on the country music scene. Expectedly so, Rogers’ voice wasn’t as strong as it was in his earlier days, but his unique sound was. And for the Kenny Rogers fans in attendance, that was more than enough, several standing ovations throughout to prove it.

Kenny Rogers followed opening act The Nitty Gritty Dirt Band, who also delivered an inspired set to the packed venue, providing the perfect musical complement to the famous singer. The Nitty Gritty Dirt Band effectively set the mood for a night of fun music dishing out their own favorites, including “Mr. Bojangles” then Rogers put the exclamation point on the evening’s entertainment with an entertaining show of his own. After a well-rounded set of music and storytelling, Linda Davis and Kenny Rogers finally ended the show with an energy packed version of “Blaze of Glory”, leaving the legend’s followers with a night to remember.

There is nothing better than seeing a concert driven with high energy. The audience waits with excitement for the concert to start. The introduction takes place and the band walks out onto the stage. The first notes on the electric guitar come through the monitors while everyone cheers and shouts the name of the man leading the show. A power chord drives the adrenaline up and is followed by fast paced minor riffs. Martin Barre has come to entertain you and the entire performance will be nothing less than spectacular. He’s is just amazing!

Martin had gone his own way in 2011 after Jethro Tull finally dissolved. Several years of performing within one of the toughest groups to ever exist had come to an end and left this six string master without a band. Mr. Barre had decided to start a new group. His current concert experience is fresh with a straight up rock and blues feel. The band is made up of some really great players that are having a good time playing some incredibly intricate music. The overall skill level is just off the charts!

Blues, rock, folk, and much more are the genres that make them up, but they don’t fit into any one category. This group is a four piece that is ready to blow anyone away who comes to see them. It’s a show that is a must see it to believe it. Do you like rock, blues, soulful guitars, and a super band? The Martin Barre Band is the band to see.  

George Lindsay is filling the role of drums and percussion with style that can mimic men who have been in Tull. His skill with sticks and mallets grace his kit with every beat. The foot work on the double bass pedals sounds like machine guns rapidly firing. This young man is big in every way. The percussive sound is huge and fills up any room he is playing in, but he is not lacking in the height category either. Standing six foot eight in height, he is quite an intimidating guy and appears taller than he admits. Don’t let his size spook you because he is a gentle giant and an awesome drummer. After a show, a concert attendee yelled up to him on stage, “George!” to get his attention. He responded back quickly, “That’s Big George!” Then he smiles.

It’s always great when a singer can belt out a song and push it over the top to excellence. Taking the role of singer can be difficult, but Dan Crisp has done an outstanding job. He is not attempting to fill the shoes of a one legged flute player, but rather he stands solidly on the ground as his own man. He has a voice that is very pleasant to listen to. Dan also plays guitar leads and solos that are quite difficult to undertake, but he does songs justice in everything he plays. He has a mad scientist, comical way about him as he moves around on stage. Mr. Crisp has been with this band for quite a while and with a little luck, he doesn’t leave anytime soon.

Providing the bottom end for the band is an extremely talented musician, Alan Thomson. His playing style is filled with dynamics as no notes better be played that don’t belong. It’s not possible for Martin to have picked up a better all around musician for bass. Alan sings backup and also plays slide guitar on the song “Bad Man.” His expertise shines with every swell during his mournful lead. Alan is so into the music that he appears as if he is not having a good time at all. “I may look like I’m not having a good time on the outside, but on the inside, I’m having the time of my life.” This low end master is fantastic to see live and a true gentleman to his fans. All bass players who have played with Martin in the previous years have been incredible and Alan Thomson is no exception. He can’t be compared to anyone else.

Martin Barre is just an amazing guitar player and he won’t let you forget it during any song that he performs live these days. He has taken Jethro Tull songs, ripped them apart, and put together arrangements that just impress the ears. Smiling from ear to ear, this man appears to be enjoying himself. He is actually quite funny too as he converses with the fans between songs. He talks about being a “bad guitar player” and hanging out with the Queen. You don’t have to be a fan of his previous band to enjoy his new show.

Some Jethro Tull fans seem to be divided into two separate camps, but still with respect for each other. Some are diehard Ian Anderson followers and others have preferred to watch the new and improved Martin Barre. Both are performing great shows solo, but most would just like to see them together again. Dave Pincus who has seen Jethro Tull over 150 times said, “Martin’s new band has a freshness and energy level that makes the show two hours of awesome entertainment.”

Martin being the band leader he has formed this concoction of musicians and blended these guys into awesomeness. The crisp sound of the guitars, the bass tone, and an excellent mix on drums helps capture their stage sound for the audience. The man behind the mixing board helps out a bit as well.  

New Day Yesterday, Teacher, and Fat Man are usual Jethro Tull songs that you will hear at a Martin show. In addition, other songs like Crossroads by Robert Johnson will feature Martin on mandolin and for a while it becomes a heavy metal mandolin. The arrangement is nothing like the Cream version at all. Having the mandolin lead the song was a good choice as it gave the song a sharpness that it never had before.

In late August, Martin kicks off his Fall US tour in Iowa. He will be touring the Midwest and upper East coast. He has over 30 shows scheduled and is already posting new shows for 2017! There seems to be no stopping this man. Complete show listing can be seen atwww.martinbarre.com

Martin Barre has come to entertain you and it will be nothing less than spectacular. The towns and cities wait with excitement for Martin Barre to come to the stage. Seeing him and his band is something that will make you happy and feel at home. The show is mostly musical, but he does make you feel like you’re the only person sitting in the audience. It’s just amazing!

Right out of the gate CHOPS is a winner – in performances, production and script. Playwright Michael Rychlewski captures that ineffable quintessence of Chicago-ese as his three remnants of the 1950s and ‘60s glory days of Rush Street wash ashore at Vince’s bar.

Let’s hear it for the casting, too – director Richard Shavzin has corralled an exceptionally well-matched brace of players here, strong character actors from our city’s bountiful supply. As Walt (Randy Steinmeyer) launches full throttle into his opening monologue, the audience knows it is in on something big tonight.

On Walt's arm is a dame, Kaki (Clare Cooney), claiming to be older than she is, and unnaturally well schooled in the music and dance from the waning days of 1950s and 1960s big band jazz. Tending bar, the world-weary Vince (Larry Neumann Jr.) is a perfect counterpoint to Walt’s bravado, as he eyes with suspicion this young lady’s game.

The story line is straightforward. Three late middle aged men – the third, Philly (Danny Sullivan) makes a backdoor entrance along the way – are competing for the attention of the comely young lass. They dance, talk big, and tell tales of their past. Chicagoans of a certain age will glow at references to now-vanished Rush St. locales like Mr. Kelley’s and the Gaslight Club.

Then the big talk turns competitive, and a storytelling contest ensues – shades of August Wilson here. A contrivance? Perhaps, but it arrives naturally and these guys are so compelling, the audience doesn’t begrudge a minute of it.

This scene also paints an even richer portrait of Chicago’s bygone era, captured in the color of its speech. While David Mamet has abstracted this linguistic naturalism into a generalized form, Rychlewski gives it the specificity of its locale – all the more enjoyable. Chops is a must-see just for this scene.

As the story continues, the plotting became harder to follow. But given the caliber of the performances, it seems that the director and author may need to coax a bit more from this section to get across the nature of the con that is being set up. Past that scene, the power struggle among the characters continues to a satisfying dramatic conclusion.  

There is one point in CHOPS that gave me pause: the character Kaki takes restroom breaks for the convenience of the dramatic trajectory, but at some point these become too many, and one runs unnaturally long (is she doing cocaine in there?).

The set is very good; Grant Sabin has done an impressive job with set design while Chris Neville handled the props. As CHOPS reveals itself to be a cut above the ordinary, I felt myself wishing even more resources were given so that Sabin and Neville could take their artistry further.  

In addition to the choreography and music that spice this play, there is also a compelling story behind its authorship, a first work, 25 years in the making by Rychlewski, a Schurz High School English teacher. He brought a 120- page script to director Shavzin, who cut it back to 74 pages – another factor in its excellence.

Dashnight Productions’ CHOPS runs through August 14 at Theatre Wit. May that run be extended.  

Pinterest fails are an internet sensation, with recognizable side by side pictures illustrating the difference between expectations and reality for the everyday crafter, baker, photographer, etc. It seems that no matter how many of these memes we see, it is still commonplace to set high expectations which risk being let down.

“WOZ: A Rock Cabaret” was unfortunately a case of missed expectations. The concept is a cabaret show which tells the familiar story of The Wizard of Oz through the iconic music of the 80’s and 90’s, including hits from Whitesnake, Blondie, Foreigner, Queen and Michael Jackson. Sounds awesome, right!? While the show had its moments and some strong singers, the reality was a production that felt flat, with big moments that lost their steam and performances that lacked the luster and pizzazz expected from a cabaret.

One of the main issues with the show was the venue. Performed on stage at Victory Gardens Theater, this cabaret style show felt out of place. The performers attempted to interact with the audience but it required them to come down off the stage where they easily got lost in this stadium style seating. Had this been set in a truer cabaret setting, where the audience could sit at tables enjoying their cocktails, it could have allowed the performance to work the space both on the stage and on the floor and perhaps made the show more engaging.

The creativity behind the song selection was awesome and very often the start of a new song brought smiles, laughs and a palpable energy to the audience. As the performers sang the full songs however, it often felt like things started to drag and there was not enough happening to hold attention through to the end of the song.

The performers themselves were mostly strong overall. The standouts of the show were the journeying buddies of the Scarecrow (Kevin Webb), the Tinman (James Nedrud) and the Cowardly Lion (Edward Fraim). All three brought different unique but powerful voices to their songs and added some great humor to the show. Heather Currie was a powerhouse and had an odd but quite funny style in how she played the Wicked Witch. The performances of Clara D’Onofrio and Kimberly Lawson, as Glinda and Dorothy respectively, left something to be desired. Both have strong voices but tend more toward the musical theater style which did not always vibe with the other performers. Andre De Shields was the special guest star of the show, bringing star power to the role of the Wizard and he certainly stole the show with his numbers.

While there are some high moments and tons of creativity that clearly went into this show, the performance lacks the excitement that could have turned this somewhat lackluster show into an all-out engaging and exciting cabaret performance.

With only 5 performances, the run of this show is already nearing completion but this was its second run in Chicago, so if you really wish you could have seen it, try clicking your heels three times and say to yourself “there’s no place like WOZ” – maybe it will be back someday, bigger and better.

It is with a heavy heart I confess that I cannot recommend the play Eroica.  David Alex’s melodrama is not without merit or redeeming character – but for most people it will probably not be worth spending 70 minutes to extract them.  

The story is compelling and worth telling: during the height of the Vietnam War, college was a refuge for young men wanting to avoid being drafted. A nascent war resistance movement was not widely embraced, and the “average American” at the time viewed “draft dodgers” with suspicion. 

This was especially so in small towns in the Great Plains states, where Eroica is set. Playwright Alex is dead-on in rendering the details of the story of that time. America has not yet relinquished its perception of itself as an ever-righteous world savior, honed in World War II. But the war in Vietnam is not going well. Better-off young men go to college, or join the Army Reserve – as did President George W. Bush – to avoid the military. Its ranks swelled with the less affluent. Some young men fled to Canada, others ended up conscripted.

Alex’s story turns on a champion high school basketball coach, Victor (Felipe Carrasco) young enough to be in the Army, but who has somehow earned a medical deferment from the draft. The action, and plot, turns on one of his former charges, Charles (Garrett Young), a top basketball player, who was kicked off the team by the coach after he tore up a house in a rowdy party. This ended Charles's chance at college, and he has received his draft notice. He stalks the coach and his family as he exacts his revenge.

I’ll avoid revealing the spoiler, in case you want to see it. It is moderately entertaining. But the language of the characters is just a tad too formal. And there are some elements that are unexplained: why does the coach’s sister, Grace (Sarah Koerner), a major character, walk with a cane (or for that matter, why she is even in the play). Other elements get too much explanation: the play’s title, Eroica, is from Beethoven’s symphonic work (and the play is set during his 300th anniversary of his birth), which was first dedicated to Napoleon, then the dedication was scratched off when he named himself emperor. We hear even more about Beethoven, far more than we need to.

Here’s when we must ask whether director Maggie Speer might not have pushed back a bit on the author, to make the work more playable by the actors – who all did really good work, but needed to have better orchestration. One example: during the dramatic crescendo, in a battle between Victor and his wife Sally (Sara Pavlak Macquire) the stalking basketball player Charles who has sown these seeds of discord sits in the audience's focal point, center stage, munching pretzels and drinking beer. Charles also spends an inordinate amount of time rustling through documents while other characters aren't around. And the banter about basketball while technically precise is inaccessible and excessive for most ticket buyers.

While commending the effort here by the cast, this is a case where the playwright probably gains more from the production than the rest of the parties involved, including the audience. 

Eroica is being performed at Redtwist Theatre thru August 7th.

Who’s to say how we each should be identified? Whether labeled as a man, woman or even a dragon, those are in fact just that – labels. So why should others tell us how we ought to perceive ourselves? That premise is the foundation in New Colony’s latest production “Kin Folk”, currently being performed at The Den Theatre in Wicker Park. “Kin Folk” is a well-taught lesson on becoming comfortable in our own skin without being influenced towards self-doubt by those who are quick to tell us what we should be.

After losing their parents, three sisters, Lucy, Eleanor and Mary, gather at their suburban family home while waiting for it to sell. Sitting around a dining room table, each mulls about the future. Eleanor discuss her new life as a newly transitioned woman while Lucy and her husband Toby talk of plans to move to Chicago. Toby wants to move near his church where he can become more involved, often inviting Eleanor to his progressive place of worship that doesn’t care who uses what washroom. The talk is light, the banter pleasant and nothing that is really out of the ordinary.

However, the story takes a big turn when, unknown to the rest of the group, it is discovered that Lucy belongs to a community called Otherkin. Otherkin is a group that encourages people to live as their “true self”, identifying as magical creatures such as a dragon, which Lucy declares herself to be. Lucy, now known as Kreeka, befriends Atherin who leads her to meet Blubberwort, a giant gnome who helps guide her even further down her path of self-actualization. She eventually meets a werewolf named Dusk via a community chat room with whom she instantly clicks and quickly confides.

It’s not long before her family discovers her secret, leaving Lucy to make the tough decision of choosing them or her life with Otherkin. Or can she have both?

I really enjoyed the production’s overall theme and its flavor of humor. The journey is a fun one to watch, as the play is laced with the perfect measure of silliness while not going so far over the top that its message becomes diluted. In fact, it is an effective eye opener as to what people may feel inside but are afraid to state publicly. While Eleanor’s story is already compelling as she begins her new life as the woman she knows she has always been, the parallel story line of Kreeka, though a world recognizing themselves as non-human beings, only adds conviction to the fact that we are who we feel we are.  

“Kin Folk” offers a lively cast that provides plenty of strong acting performances. Annie Prichard is just wonderful as Lucy/Kreeka and really gets to show off her comedic talent while Chris Fowler also delivers as Toby, displaying a well-rounded performance altogether. Vital components to the success of the show’s humor, Andrew Hobgood (Blubberwort) and Steve Love (Arethin) both get a lot of well-earned laughs in their roles as Otherkin Folk. 

Evan Linder does a delightful job directing this play written by William Glick, nicely capturing the essence of each character while delivering Glick’s message with just the right mix of wit and sentiment, making this a summer event to add to your “must do” list. This is a play that is sure to bring out the genie, vampire, fairy or whatever it may be that surfaces within yourself.

“Kin Folk” is being performed at The Den Theatre through August 14th. For tickets and/or more show information visit www.thenewcolony.org. 

It is rare indeed when one goes to see a concert featuring a total of fifteen musicians, yet only one instrument is played all night.  This is what you would’ve been in for if you caught the mutualistic pairing of Sweet Honey In The Rock with Ladysmith Black Mambazo this past Monday at Ravinia.  Both a cappella groups have been around for over 40 years and show no signs of slowing down, though they have rearranged their membership occasionally.  Together on this balmy night in Highland Park, they put on a moving and impressive show...their blending voices as refreshing as the evening breeze.

Experiencing Sweet Honey In The Rock is like having four female Bobby McFerrins on stage at the same time.  Whether scatting drum beats, mimicking horn blasts, or singing soaring leads, each member contributed equally in creating a big sound full of dense gospel harmonies.  Their fifth member is longtime sign language interpreter, Shirley Childress, who signed and gyrated with gusto, even trading licks with the only instrumentalist of the night, bassist Romeir Mendez. Their original songs featured poignant tales about civil rights and injustice, honing in on recent killings in the news, then they would follow up with uplifting call-and-response chants of peace and love.  At times, it got a little awkward due to the lack of the audience’s willingness to sing out on the touchy topics, but things relaxed when they treated us to a stirring cover of jazz standard and Nina Simone hit, “Feeling Good.”  While the heavy repertoire and bass solos may have been too much for some, these “Honeys” are still a force to be reckoned with.

Ladysmith Black Mambazo’s sound is immediately recognizable and one-of-a-kind.  This nine-piece, all-male vocal group has been around since the late 60’s, making their biggest splash backing Paul Simon on his seminal Graceland album in 1986.  Featuring traditional South African Zulu lyrics, rhythms and harmonies, the depth and power of their music can make your hair stand on end, as mine did often that night.  Quaking low drones blended seamlessly with pitch-perfect falsettos, at times accented by intricate bird calls and the tell-tale clicks of the Zulu language.  Like Sweet Honey, their songs switched from serious issues such as apartheid to more joyous stories of young love and discovery.  In addition to the incredible music, I was equally impressed by their synchronized and athletic dance routines.  All the members, including one who joined back in 1969, were doing repeated head-high leg kicks that would make the Rockettes proud, singing all the while.  This was all rounded out by their charming stories and cheeky banter in between songs.  It was obvious that these men were truly enjoying themselves onstage and their enthusiasm was infectious.  As I circled the grounds numerous times trying to stroll my three-year-old to sleep, I saw nothing but smiles all around.  For those, like me, who were not familiar with their music outside of Graceland, this had no bearing once each song began.  Despite the language barrier, a short synopsis in English before each song from alternating members was enough to let your imagination fill in the blanks.  The biggest treat of the night was probably when we got to hear “Homeless” from Graceland, penned by Paul Simon and LBM’s founder, Joseph Shabalala. They ended their set with a counting of their blessings as a group and a heartfelt thank you to the audience and their supporters.  It was a fitting end to a wonderful concert.  Ladysmith Black Mambazo is a class act and international treasure that is a must for any musical bucket list.