Items filtered by date: November 2007

“Still Alice” tells the story of a highly intelligent, respected Northwestern professor of linguistics and cognitive psychology who begins having the symptoms of early onset Alzheimer’s at the age of 49. At first, she has small problems of forgetfulness, and attributes them to menopause but after getting lost on a morning run and then going to work at 4AM in her pajamas, Alice realizes that she is losing all of the memories that make her who she is as a person.

The play directed by Christine Mary Dunford, which was adapted from the bestselling book by a Harvard trained neuroscientist, Lisa Genova, seems light and humorous at the start but effectively brings the audience directly into the center of Alice’s own family life and experiences as she begins the long, dark journey not into madness but into something that feels much worse, the absence of self, almost an animal like existence of childlike dependence on those around her.

Dunford introduces a very effective character called “Herself” who is dressed like Alice and represents her inner monologue. At one point  Alice and “herself” sit center stage like two ragdolls with their arms wrapped around each other and Alice asks if “herself” will remember her when all of her memories are gone, Herself hugs Alice and says, “I will always remember you, I LIKE you!” 

I was also impressed with the way the play dealt with the idea of suicide in the face of this monstrous disease. After progressing in a relatively short time to a point where Alice can not remember her own daughter right after seeing her perform onstage Alice writes a computer note to herself named “ butterfly”. The file instructs Alice that if she can no longer answer four simple questions like where do you live, and how many children do you have, she is to go to a drawer in the living room and swallow of the pills she finds in there and go to sleep without telling anyone. But by the time she finds the “butterfly” file Alice and “herself” have digressed so badly that they cannot follow the simple instructions.

This play really shows the impact and horror of this type of “forgetting” on the family as they struggle to spend meaningful time with their still young and otherwise healthy mother who is quickly becoming lost and frustrated in a world with no meaning like a child. A poignant and striking example of this is when Alice runs back into her house to use the bathroom before jogging with her husband but ends up wetting herself because she can not remember where the bathroom is in her own house.

Eva Barr who plays Alice does a wonderful job of playing the athletic, super intelligent “everywoman” who is totally caught unaware by the devastating progression of her disease.  Maryann Mayberry who plays “Herself” does so with a great sense of humor and wonder as the young healthy mind inside of us all that rails against the odd behaviors as they begin to occur with greater frequency. Christopher Donahue who plays Alice’s husband gives us a wonderful, compassionate and subtle performance as the beleaguered husband whose wife he adores is slipping into full-blown senility before his very eyes.

I highly recommend this sparing, tight and effective production for audiences young and old who will most likely be dealing with Alzheimer’s care giving or treatment for some family member at some point in their lives. “Still Alice” doesn’t just set out the tragedy of early onset Alzheimer’s, it inspires one to truly appreciate and deeply consider the essential value of our memories and most simple cognitive abilities for quality of life  at every age in our lives regardless of career success or financial wellbeing.

+Still Alice” is playing at Lookingglass Theatre through May 19^th. For more information, visit www.lookingglasstheatre.org.

Steppenwolf Theatre is currently presenting the world-premiere production of “Head of Passes”. A story that takes place in the marshlands of Louisiana, “Head of Passes” is a story about tested convictions and soul searching.

What begins as a family gathering for a birthday party, turns into a tragic tale that would test the spirit of those with the greatest resolve. In this case, though many would curse the name of God after such endured misfortune and heartbreak, we see such a trust in one’s faith actually strengthened. It is a story that points to the question that everything happens for a reason and suggests everything is part of a greater plan. It is a story of belief and touches on the existence of angels.

“Head of Passes” features a bright and talented cast. Cheryl Lynn Bruce shines and delivers a masterful performance as “Shelah”, the family’s mother. Glenn Davis and Steppenwolf favorite, Alana Arenas, also bring out their A-game, as both are dynamic n their support roles.

Set on the porch of a large southern house, we are taken as an audience to the swampy backwoods at the mouth of the Mississippi River where the shifting grounds and rain are taking a toll on the family’s home. When the house and family are simultaneously destroyed, Shelah is left dependant on her own inner strength and faith.

Big time performances and an elaborate set that comes with its own surprise make this an thoroughly entertaining production.

“Head of Passes” is playing at Steppenwolf through June 9^th. For show and ticket information, visit www.steppenwolf.org or call Audience Services at  312-335-1650.

Mercury Theater has your springtime fun all ready and waiting for you. “Barnum” is not just an enjoyable musical, but it is also an amazing spectacle complete with aerial artistry, gymnastics, unicycles, clowns and juggling. Donned in colorful costumes, each performer/actor helps in succeeding to creating the illusion that we, the audience, are actually present at a mid-1800s circus. A creative set brings us inside a circus tent where the story of Phineas Taylor (P.T.) Barnum fluidly unfolds – the story of “The Greatest Show on Earth”.

Veteran Broadway actor Gene Weygandt is nothing short of fantastic as P.T. Barnum, radiating a childlike energy that is joyous to watch throughout, creating a character to cheer for from the show’s opening number “There Is A Sucker Born Every Minute”. Weygandt exudes charisma and is sure to sing and dance his way into your heart as the man who dreams big and stops at nothing to make them happen.

“Barnum” is a story of vision, trial and error and overcoming obstacles with true love and support. It is the story of how one of the greatest entertainment staples over the past century and a half began – The Barnum and Bailey Circus. Cory Goodrich also shines in this production as Chairy Barnum, the loyal and reassuring wife of P.T.  Plenty of the show’s numbers are attention grabbing, though Goodrich and Weygandt are simply adorable during “The Colors of My Life”. Full of ballads and toe-tappers by Michael Stewart and Cy Coleman, “Barnum” finds its footing quickly and keeps going forward.

With an ensemble made up of acrobatic cast members who can all sing as well as dance, the show really pulls off a circus-like excitement. It is a well-rounded pool of talent that helps in drawing the constant awe and anticipation from the audience. Taylor Krasne-Wilton performs outstanding gymnastics while both Donica Lynn and Summer Naomi Smart display their own unique and powerful vocals. Before the show even begins, a couple clowns take to the main floor to have fun with the crowd.

For adults seeing this show, “Barnum” will make you a kid again – back to the days when a circus could bring out that youthful exhilaration that many of us have long since forgotten. That said, “Barnum” is also great time for children, too. There is nothing offensive or off-color in this show that parents would need to be worried about.   

“Barnum” is playing at Mercury Theater (3745 N. Southport, Chicago) thru June 16^th so there is plenty of time to get your tickets. For tickets or more show information call 773-325-1700 or visit www.mercurytheater.com.     

The circus is in town!

I’ve never been to Havana, Cuba. I never even saw Dirty Dancing: Havana Nights. But after seeing the world premiere of River North Dance Chicago and the Chicago Jazz Philharmonic’s performance of “Havana Blue,” Havana is definitely a place that I would hop on a plane and visit in a heartbeat. I am of course basing this decision entirely upon the hope that everyone breaks out into expertly choreographed dances to express emotions and feelings for the city they reside in. Regardless, the premiere of “Havana Blue” was a wonderful and entertaining surprise.

“Havana Blue” was created and collaborated on by choreographer Frank Chaves and jazz trumpeter Orbert Davis. They traveled the streets of Cuba, immersing themselves into the culture, the nightlife, exploring the country’s musical routes. What they came back with was a beautiful ensemble that celebrates the life and exuberance that is Havana.

Entering the theater and the show, I was far from the most knowledgeable about Jazz or Cuban life and culture. Jazz lovers and dance lovers alike flocked to see “Havana Blue” to make it a nearly sold-out performance, a feat I had never seen at the Auditorium Theater. The crowd was energetic and lively, freely swaying back and forth to the music and even jumping up in the aisles to dance. Everyone in the audience, including my friend who accompanied me, knew when Orbert Davis said ‘Dizzy,’ knew to respond with ‘Gillespie.’ But I soon discovered, when the curtain went up and the music started to play, I didn’t need to know a great deal about the show, or jazz history, to appreciate the art forms performing in front of me.

The curtains rose to reveal a brass jazz band, the brass twinkling under the bright stage lights, set against a dark brick wall. It was an impressive sight, and just as visually stunning as the gorgeous dance pairs of River North Dance Chicago that opened the show, the women in flowing blue dresses, the men in sexy-tight pants and open shirts, muy caliente.

“Havana Blue” is comprised of a several sultry and powerful dance segments, each representing a mood that you could find in the life-pulse of the Cuban city. One of the more notable dances was “Solteras" ("Single Ladies"), which many found to be a sad(ish) dance in which one woman was not being coupled up to dance with male partners. But the solo woman did not dance with a dejected rhythm but a “que sera sera” style, retaining a sexiness and comfortableness with dancing alone. Indeed, the women shifted partners, each woman getting a chance to dance solo while the couples danced around them. As the “Solteras” danced, there were smiles on their faces, not longing. I viewed the dance as empowerment for women, not romantic yearning because they weren’t coupled up. The women danced in spite of not having a partner and danced beautifully and strong, not slumped and saddened. (Cue female empowerment music: 'All the solteras, all the solteras,' kidding). Shortly after that performance was another notable dance segment "Lo Masculino" ("The Masculine"). To sum up the performance in one word: steamy. The males of River North Dance Chicago performed shirtless to a powerhouse number filled with masculinity, sweaty six-pack abs, and moves that would have made Baryshnikov proud. It was the perfect blend of power and rhythm that really made "Havana Blue" pop and sizzle.

“Havana Blue” completely embodied the sensual, powerful, and allure of the Havana culture. The artistic direction of Frank Chaves with River North Dance Chicago and the artistic direction of Orbert Davis was a match made in the streets of Havana. These two men created a show that will surely be enjoyed for years to come. Should you see “Havana Blue” coming to a city near you, or to our very own Chicago again, be sure to samba your way to see this show, you will not be decepcionado.

Based on the Charles Dickens’ 1838 classic Oliver Twist, OLIVER! has further immortalized this ageless story of a young orphan who finds himself living in the slums of London. Winner of multiple Tony Awards, this fiery musical has all the elements needed to cast a lasting impression on its audience.

OLIVER! follows the story of Oliver Twist, a kind, goodhearted kid who is brought to an orphanage after his mother dies while giving birth to him. He is mistreated and eventually sold to a family run funeral parlor by Mr. Bumble, the orphanage’s chief authority. Realizing he is damned to a life of further abuse, Oliver makes a break for it, running away to take his chances on the seedy streets of London. It is on these streets where he quickly makes friends with “The Artful Dodger”, a street smart pickpocket who brings Oliver back to his hideout to join a band of child criminals run by “Fagin”, an older man who makes his money by instructing and teaching these children grifting and petty street crime.  Oliver, not cut out for this kind of life, is then forced to make some tough decisions.

OLIVER!, Drury Lane’s big musical, is filled with unforgettable show tunes including, “Consider Yourself”, “As Long As He Needs Me’ and “I’d Do Anything”. Heidi Kettenring leads the large cast of 35 as “Nancy” in this large scale production that is captivating from its opening scene where the “Workhouse Boys” set the tone with the big dance and singing number, “Food Glorious Food”.

Though there are many fantastic performances worth noting including Brady Tutton as “Oliver Twist”, it is the “Workhouse Boys” who double as “Fagin’s Gang” that really steal the show. This talented group comprised of children did everything asked of them and more, displaying strong and polished vocals and executing complicated dance sequences to perfection.

OLIVER! is a total package that has everything, including fun song and dance numbers, a well-designed set that takes the audience to mid-19^th century London and a compelling story that is fun to follow. OLIVER! is playing Drury Lane in Oakbrook (100 Drury Lane) through June 2^nd. For tickets and/or other show information call 630-530-0111 or visit www.drurylane.com.          

There is nothing better than a good chase. Based on the remarkable, almost too far-fetched true story, “Catch Me If You Can” is a whirlwind of exciting scenes and show stopping numbers. The story follows the exploits of Frank Abagnale Jr., a con artist in a league of his own, who successfully passes as a doctor, an airline pilot and a lawyer – all before hitting the age of 21 years old. I should also mention that he stole nearly two million dollars by passing bad checks. While Frank lives the playboy life from one city to the next, the F.B.I. is hot on his trail but by-the-book agent Carl Hanratty always a step behind.

It’s the early 1960’s and the jazzy, jet-setting era is tremendously brought to life with memorable, well-timed songs and dance numbers that swing and sway with an unadulterated youthfulness, such as the opening “Live in Living Color”, “Jet Set”, “Someone Else’s Skin” and the sexy “Doctors Orders”.

A well-rounded and talented cast put this show on the must-see-while-in-town list. The charismatic Stephen Anthony as “Frank Jr.” puts on one of the best stage performances I have seen in the last few years delivering spot on timing and on-a-dime expression while also providing breathtaking vocal prowess, most notably in his big finale “Good-bye”. Dominic Fortuna also demonstrates his pitch-perfect, lounge club voice as “Frank Abagnale Sr”, while Merritt David Janes (“Carl Hanratty”) does a great job as the likeable agent who gradually befriends Frank Jr. as the chase ensues. Caitlin Maloney as Frank Jr.’s mother “Paula” and Aubrey Mae Davis (“Brenda”) also deserve great praise for their wonderful performances.

This wonderfully directed show by Jack O’Brien really has it all. The stage adaptation of Steven Spielberg’s 2002 hit of the same name brings out everything desired in a fun, stimulating and visual Broadway musical.   

“Catch Me if You Can” is playing at Cadillac Palace (151 W Randolph) through April 14^th. Ticket information can be found at www.BroadwayInChicago.com, www.CatchMeOnTour.com or by calling (800) 775-2000.

Just sit back, fasten your seat belts and enjoy the chase!

Hearing some people say “Yo momma's so ugly, her mom had to tie a steak around her neck to get the dog to play with her. And, “Yo momma's so ugly, she made an onion cry. Yo momma's so ugly, even Rice Krispy’s won't talk to her,” make me hungry for such a captivatingly creative mind like theirs (www.comedy-zone.net.) I would also dig to have the greatly enthralling imagination of Robert Alaniz! He has made six feature-length films (“Timesaver,” “Barrymore’s Dream,” “Bitterblue,” “The Vision,” “D.I.N.K.S.” (Double Income No Kids”)and “You Don’t Say!”

Another reason I crave to trade brains with Robert Alaniz is because, the man has won a “Best Comedy Film” award for “D.I.N.K.S.” And he won “Best Feature Film” for his “Barrymore’s Dream,” both from The Route 66 Film Festival in Springfield Illinois. Plus, Robert Alaniz and his organization “Sole productions” have been featured in some nationwide magazines, and on FOX NEWS, ABC Morning News with Linda Yu and Sylvia Perez, and WGN Radio with Andrea Darlas.

BUZZ:  I would love to write a screenplay, but I know I don’t have a good enough imagination to do it.

ROBERT: “Imagination, well that’s important, but I think you also have to be very disciplined. I’ve heard a lot of people say I started writing a script, but didn’t finish it. ”

BUZZ: What were you like in high school?

ROBERT: “I was an artist in high school, winning awards for my artwork, which is what I thought I'd be doing when I got older. Until I found out there wasn't any money in it. I then got involved with theater and acted in many plays in high school and college. I loved it so much, I began writing and directing my own plays. It was when I was in college when I discovered filmmaking. I then switched from theater to film and never looked back. In my 20's, I got an internship at WGN-TV where I worked for a few years where I learned a lot about the TV industry. Hope this is what you wanted.”

BUZZ: Yes, thank you, Robert.

BUZZ: How did “You Don’t Say!” manifest?

ROBERT: “Well, here’s something interesting. When I finished my first film ‘D.I.N.K.S,’

BUZZ: (Accidently interrupted poor Robert!) Oh, yeah, ‘D.I.N.K.S’ won an award!

ROBERT: “Actually, it won two awards.”

BUZZ: (Embarrassed--want to curl up in fetal position and suck thumb!) “Oh, I’m sorry!”

ROBERT: (Gently and Kindly) “That’s alright…that’s alright. You know when you win awards you have to make sure you put them in there (chuckles). I also have to get used to saying I’m an Award-winning filmmaker, too. I know that sounds a little vein, but that’s the truth.”

BUZZ: Yes, you’re just stating the truth, and are supposed to tell people you’ve won awards. I’m sorry; please get back to what you were saying about “D.I.N.K.S.”

ROBERT: “‘D.I.N.K.S’ was my first comedy. I was always afraid of comedy because I didn’t think I was a funny person. And, I was always told comedy is the hardest thing to write. And, it wasn’t hard to write, so then I thought, uh oh! If it’s not hard to write, it’s not funny. But, ‘D.I.N.K.S.’ went over really well—people loved it—it got a lot of laughs. So after ‘D.I.N.K.S,’ I wanted to write another comedy.”

“I had three scripts in mind, and one was about a woman who finds a magical necklace that makes her say what she really feels. I started writing [the] scripts as an experiment because sooner or later one of the three was going to be more interesting to me. So I was writing, and I was watching all these TV broadcasts of people getting attacked by organizations, because they said something they shouldn’t have said. Like, Meg Ryan was on ‘Oprah,’ and she said something that was unacceptable. I don’t know what she said, but as soon as that happened, “Oprah” got hit with a gazillion letters, and this organization came out of nowhere and attacked Meg Ryan.”

“Once I saw that, I said I gotta find more [such stories.] So I started searching the internet, and I found all these crazy things where these groups were attacking people for saying things--for saying something simple, that may have not meant anything. And the more I saw that, the more interested I got in the story ‘You Don’t Say!’ So, that’s the one [script] we did.” The one about a woman who finds a magical necklace that makes her say what she really feels.

BUZZ: While working on “You Don’t Say,” what was the thing that tickled your funny bone the most?

ROBERT: “Getting it done (LAUGHS.) I never thought that was gonna happen!” (Chuckles, chuckles, laughs, laughs!)

BUZZ: What’s the hardest part about being a filmmaker?

ROBERT: “When you’re making an Independent film, like I do, on such a small budget, it’s trying to get everybody to take it serious, and to realize that you’re trying to make a Hollywood-type movie—a movie of that magnitude. I’m this guy from Frankfort [Illinois] who makes movies. And a lot of people make movies now, you know on YouTube…and you want to shoot for Hollywood, you want someone to go ‘Wow, how much did this cost?’ ‘Who is this guy?’ You want that kind of attention—somebody at the right place, and the right time to maybe further your career, or give you more money to give you bigger and better projects. And, that’s kind of where I’m at now.”

“‘You Don’t Say!’ is my sixth film, and I’ve premiered all my films, and they all had good runs. I’ve done local runs, but with ‘D.I.N.K.S,’ I was contacted by a distributing company in L.A. Because they saw the trailer online, and they loved the idea. And I sat down with several distributers, and everybody loved it. But nobody picked it up--they all said the problem is you don’t have someone everybody knows. So the first goal for ‘You Don’t Say,!’ was to get someone everybody knows. And everybody knows ‘The Soup Nazi.’ People wanna see what else ‘The Soup Nazi,’ [Larry Thomas, from ‘Seinfeld’] does.”

BUZZ: So what do you want awesome readers of Buzz Magazine to know about “You Don’t Say?”

ROBERT: “My first reaction to this movie was I had a big smile on my face when the credits were running. And, a lot of it has to do with Alan O’Day’s great song he wrote for the movie. And in the seventies, he wrote ‘Undercover Angel’…he was a big songwriter in the 70s and 80s, and they still use his music today, like in the movie ‘Super 8.’  But getting back to what I was saying, I really thought the movie was fun, because his song is very fun and it’s very uplifting, and the movie—it’s a feel good movie. You see ‘You Don’t Say!’ and you’re gonna laugh and feel good.”

BUZZ: (Smiling while having “Brian Fart,” as to what to ask next. Need brain transplant fast! ) Okay, well I guess that’s about it. Thank you so much for doing this interview, terrifically talented, Robert Alaniz!

THE END

“You Don’t Say” Guest Star, Larry Thomas a.k.a. The Soup Nazi, will be signing autographs with other actors from the film at the premiere on April 6^th.

For tickets for the April 6^th Chicago premiere of “You Don’t Say!” at The Patio Theatre, or additional information on the film, and all who worked on it, please visit: www.idontsaythemovie.com https://www.facebook.,com/pages/You-Dont-Say-A-Robert-Alaniz-Film/292368020819913 www.facebook.com/robert.alaniz.98

“You Don’t Say!” was produced by David Branigan, Robert Alaniz and Max Nayden. Other actors in the film include: Toni Pieper, Rebecca O’Connell, Mikhailia Scoville, Andy Clifton, Caitlin Costello, Alison Barnes, Isabella DeCeault, Jayson Bernard, Brandon Galatz, Hayley Camire, Brian Hoolihan, Jeanette DiGiovine, Shavar D. Clark, Matthew Montalvo, and Melodye Lorrayne. Larry Thomas Guest Stars!

Sources: www.comedy-zone.net as well as people’s mouths.

Chicago, IL—On Friday, May 3rd at Elbo Room (2871 N. Lincoln Ave.,  Chicago, IL 60657),Sonic Palace recording studio will celebrate 10 years of recording and promoting music. For one decade now, Matt Mercado (with the help of engineer Kyle Reese) has been producing up-and-coming rap and rock artists with his affordable, full-service recording facilities. Mercado knows a thing or two about the music business. As a musician and major label recording artist himself (Daisy Chain, Mindbomb, Pivot Man, Supermercado), Mercado has seen the industry from all sides. His mission with Sonic Palace? To not just record artists and send them on their way, but to nurture and promote these artists outside the studio walls. This role, which once fell to record labels, is embraced by Sonic Palace. To back up this supportive philosophy, Mercado has organized an event to showcase the studio’s efforts.

Read the Illinois Entertainer interview with Matt Mercado:

http://illinoisentertainer.com/2013/03/studiophile-march-2013/

Helping to celebrate this milestone are a host of Sonic Palace clients including Cosmic Fury, False Hope Fades, Bolo Marchay, Matthew Farris, CEO, Moses Valdez, Some Years Later, KSK, Sapa Inca and others.

The highlight of the evening will be a performance by Famme Frasier.Famme is a rising rap artist from Ardmore, OK who will be making his Chicago debut at the Elbo Room.

Listen to Famme Frasier's Mixtape, D.O.P.E. on Indy Live Mix Tapes:

http://indy.livemixtapes.com/mixtapes/20531/famme-frasier-dope.html

Also scheduled is Mercado’s own project Cosmic Fury, featuring Danny Vega, Frank Iffland, and Michael Ray Garrett, who will perform songs from their debut 6 song EP.

Tickets are $10 and are available online at www.elboroomlive.com and at the Elbo Room door the day of the event. Doors open at 7pm with performances starting at 8pm and go until 1:30am.

For more information or interview requests, please contact This email address is being protected from spambots. You need JavaScript enabled to view it.

773-295-8330

www.sonicpalacemusic.com

There are few musical artists that have managed to stay in the mind of popular culture like Tom Jones. Some of this has to do with his timeless hits such as "She's a Lady". Other reasons that Tom Jones has managed to be so popular is that he constantly reinvents his sound. Finally, there is no doubt that his frequent live performances in the US and of course his famous UK concerts have also helped maintain his profile in the public mind. It can be said that there are some artists who are better well known than Tom Jones, but very few can claim to be as popular and enduring as this singer. 

Early Life 

Tom Jones was born in South Wales and was challenged early in life by a case of tuberculosis. According to his own statement, his time fighting tuberculosis was the worst two years of his life and he was unable to do little but listen to music and draw. Tom Jones Married soon after high school to Melinda Trenchard and a month later his first child was born. 

Early Career 

Tom Jones began his performing career with a beat group called Tommy Scott and the Senators which became a well known local group. As he began to become more popular, Tom Jones recorded several early singles which led to him becoming well known not only in the UK, but also in the US where he enjoyed several top forty hits in both countries. After some initial success the young singers popularity began to decline and he switched his style to more of a country sound which revitalized his career. 

The Las Vegas Years 

In the late sixties Tom Jones became one of several stars to begin headlining in Las Vegas. His shows became known for their sexual tension and raw energy. During his time in Vegas, Tom Jones befriended Elvis Presley and the two became close friends. At this time Tom Jones decided that he preferred the more lucrative club acts to cutting new records and it would be quite some time before he released a new album. 

Coming back 

For a long time Tom Jones seemed destined to be a footnote in music history, however he enjoyed a rather sudden and strong resurgence in the late 80s and early nineties and has since remained at the forefront of the world wide music scene. While Tome Jones has not released an album in a while he still performs live very often and these UK concerts are well known for carrying the same energy as they did when he was a much younger man. 

In the end, Tom Jones is sure to remain part of the music world for years to come and even when he dies there is little doubt many people will remember what he offered. His combination of crooning lyrics, sexually charged performances, and memorable tunes is sure to last for years and years to come.

THEATRE-ON-THE-HILL proudly presents Peter Barnes' scathingly brilliant satire, THE RULING CLASS performed indoors April 12-28, 2013. A profoundly witty, oddly dark comedy that has everything: clever dialogue, musical numbers, fabulous sets, serial killers, madrigals and burlesque striptease, opera and aristocracy, romance and insanity, jealousy and drama and theology and much more. Peter O'Toole, star of the 1972 cult film adaptation called it, "A grand comedy with tragic relief."

Produced & Directed by Michael Fudala

Starring
Victor Rachal
Bill Smith
Laurel Kotz
Lorrisa Julianus
Dan Jagodzinski
Kayaun Pierce
Jim Dougherty
Mike Brown
Marcus Gentry
Ruth Bardy
Marie Salvaggione
Matthew Bockus
Gary Patterson
Scott Bovaird
Don Reutzel
Jeff Gamlin

with the additional vocal talents of Caleb Hand, Sharon Hand, Bonnie Bovaird, Campbell Bovaird, Spencer Bovaird

PERFORMED INDOORS

April 12-28, 2013

The Bolingbrook Performing Arts Center (at Bolingbrook Town Center)
375 West Briarcliff - behind Bolingbrook’s Police Station
FRI & SAT: 8pm, SUN: 3pm
TICKETS: $15

Further info at www.tothbolingbrook.com or 630-908-2538

You can purchase your tickets at the box office immediately before the show, or you can reserve your tickets in advance and pay for them when you arrive at the show. We accept cash or personal checks. To reserve tickets, e-mail us at This email address is being protected from spambots. You need JavaScript enabled to view it..
Whether you write or call, please tell us:
· The name you wish to reserve tickets under
· The show date(s) you wish to attend
· How many tickets you wish to reserve