Items filtered by date: November 2007

David Cerda and Scott Lamberty, the creators of “Sexy Baby”,  have once again taken a  touchy subject, child beauty pageants, which are already riddled with parody and camp, and unleashed a veritable whirlwind of funny on Chicago audiences.

I fall in comedy love with pretty much every show David Cerda's Hell in a Handbag Productions puts out and “Sexy Baby” doesn't disappoint. I asked David after the show if he realizes what an incredible feminist he is, because the way he views the glamour of women and the unique predicaments in their life is always so dead on funny and supportive at the same time. “Sexy Baby” should be adapted for school age children because it hits on every single thing that little girls and boys are subjected to by their stage-momsters on the way to what they hope is pageant and Hollywood fame - without losing heart or one beat of funny.

Cerda's casting is always spot on as well and he never fails to attract some of the funniest and most talented singer/dancers in Chicago. The entire cast of “Sexy Baby” blew me away but stand-outs this time were Alex Grelle as “Beyansay Riddle” and Edlyn Griffin as “Epiphany Jones” who both absolutely had me screaming with laughter every time they came on stage. Grelle and Griffin's  faces reflected the exact wide eyed, sugary sweet and plastic stare and over extended posture of the five-year-old  girls you see on the TV show “Toddlers and Tiaras”. Billie Bryant as the wheelchair bound, white trash stage-momster “Cindy Jones” was also very, very funny, and Heather Currie has a wonderful singing voice.

Run, don't walk to see “Sexy Baby” at Mary's Attic in Andersonville, and don't forget your sash and tiara!!

“Sexy Baby” has 7:30pm performances Thursdays-Saturdays and has just been extended to July 23^rd. Tickets are a super reasonable $15-$22 and VIP packages are also available. Mary’s Attic is located in the heart of Andersonville at 5400 W Clark Street. For more information on “Sexy Baby”, visit http://www.handbagproductions.org/. 

Sebastian was “Bach” in town Saturday May 12th at Cubby Bear North Lincolnshire where he played an up close and personal show. This was my fourth time seeing Sebastian Bach live (1989, 1991, 1992 and 2012) and, without question, the former Skid Row frontman is still on top of his game. At 44 you would think he would have lost a step but, not the case - he was just as powerful Saturday as he was in 1989. The only thing that may have changed is the size of the crowds from 20,000 to a few hundred, which allows for a much more intimate, in-your-face performance. The Cubby Bear was packed from wall to wall, filled with Sebastian Bach’s faithful. Sebastian could have easily filled a larger venue, but chose a club tour to keep it on the most personal level possible with his fans. The show went very smoothly, and he kept it that way by cracking jokes or telling stories between songs. Sebastian kicked off the night  strong with a wall-shaking version of  “Slave to the Grind”. After “Slave to the Grind” Sebastian gave two of his four band members a hard time for wearing GnR t-shirts and not wearing SB attire. He wanted to know if Axel was paying them for promoting GnR.

His current show is a good mix of nine Sebastian Bach songs and nine from Skid Row, giving fans the best of both worlds.

Kicking and Screaming is by far Sebastian’s best solo work and it showed. I would have expected the crowd to respond louder to the Skid Row songs but solo tracks “Kicking and Screaming” (title track) and “I'm Alive” had the crowd roaring more than “Youth Gone Wild” and “I Remember You”.

I have read many times that Sebastian just wants to play and make more music, which is very apparent when watching him perform live. Still, Kicking and Screaming will tough to beat.

Set list- Slave to the Grind, Kicking and Screaming, Dirty Power, Here I Am, Big Guns, Love is a Bitchslap, Stuck Inside, Piece of Me, 18 and Life, American Metalhead, Darkened Room, As Long As I got The Music, Monkey Business, My Own Worst Enemy, I'm Alive, I Remember You, Tunnelvision, Youth Gone Wild.

For more tour and album information, visit www.sebastianbach.com.

Opening the show for Sebastian Bach was a local band called Hessler. Hessler is a local Chicago band that formed in June of 2011. The band members are Lariyah Daniels (lead vocals), Igz Kincaid (lead/rhythm guitar and vocals), Frankie Sripada (lead/rhythm guitar and vocals), Marcus Lee Cox (drums), Erik Michael (bass). The opening act opened the show with "Come On" and ended it with "Windy City Wild Child", both off their seven song Bad Blood EP. By the time the band got halfway into "Come On", the crowd was warmed up and ready to rock.

Hessler's next show is May 23rd at the Double Door 1572 N. Milwaukee. On May 25th they will be playing at Rocklahoma featuring Slash, Rob Zombie, Megadeath, and Queensryche.

Metal pioneers KORN have just announced a string of June dates that will take them through the Northeast, Midwest, and even Canada. Openers on the tour include frontman JONATHAN DAVIS DJing as his alter ego J Devil, as well as dubstep talent Sluggo.  Ticket information and special VIP packages can found at korn.com.  

This comes on the heels of Korn’s brand new video for “WAY TOO FAR.”  The comically surreal video, directed by Joshua Allen and produced by Sebastien Paquet, debuted at Noisey.com this week.  Preceding the debut, several bizarre photos of the band surfaced on their Facebook page- one featuring bassist Fieldy getting a face tattoo and one showing front man Jonathan Davis holding a rifle, and then bloodied on the ground.  After watching the video, it’s apparent these were screenshots taken from specific scenes. WATCH THE VIDEO HERE.

KORN released their new album THE PATH OF TOTALITY this past December, where it debuted in the Top Ten on Billboard.  The album has also been a fixture onBillboard’s Dance Electronic Albums chart, and has sold over 500,000 digital singles from the album—a staggering amount for a rock band, featuring the brand new single, “WAY TOO FAR” as well as “GET UP!” and “NARCISSISSTIC CANNIBAL,” the later two of which were Top Ten hits at Active Rock Radio.

Korn made waves this weekend when founding member Brian “Head” Welch joined his former bandmates onstage for the first time in 9 years on Saturday night in front of 30,000 amazed fans at this year’s Carolina Rebellion Festival.  Check out Revolver.com’s exclusive coverage HERE.

Speaking of Revolver, last month KORN took home the REVOLVER Golden God Award for “Album of the Year,” presented by Marshall Amplification, for THE PATH OF TOTALITY (Roadrunner). 

Current KORN TOUR DATES w/ SLUGGO, J DEVIL:

MAY 2012

TUE      8             Huntington, NY                The Paramount

THU     10           Sayreville, NJ                    Starland Ballroom

JUST ANNOUNCED:

JUNE 2012

FRI        15           Quebec, CANADA                         Montebello Festival *

SAT       16           Hampton Beach, NH                  Hampton Beach Casino Ballroom

SUN      17            Wallingford, CT                            The Dome at Oakdale Theatre                             

TUE      19           Pittsburgh, PA                               Stage AE

WED    20          Fort Wayne, IN                              Piere’s

SUN      24           Minneapolis, MN                         Myth

MON    25           Fargo, ND                                         Concert Hall @ The Venue                     

WED    27           Missoula, MT                                  Big Sky Brewery

FRI        29           Dawson Creek, BC                        EnCana Events Center

SAT       30          Gibbons, AB                                    Boonstock Festival *

*Festival Date

Steppenwolf's season of “Dispatches from the Homefront” has travelled from Greek legend to contemporary Iraq. Now, it splits the difference and hones in on a time in America when the battlefield and homefront collided. Countless historians have told the tale of the War between the States; from analysis of military strategy to reporting of death tolls, our collective fascination with American-American bloodshed has never been satiated. But what these numerical overviews devalue is the story of the mundane individual: the nobody father weeping over his dead son, the forgotten lover sending notes to her husband-to-be, and, of course, the horny detractors who took self-serving advantage of a young nation being pre-occupied with survival.

The latter characters, Arly (the impecccable Ian Barford) and Will (the shapeshifting Stephen Louis Grush) are the comedic relief and driving force in Frank Galati's adaptation of D.H.Lawrence's “The March.” A piece of historical fiction which weaves invented characters into the preserved war record, “The March” follows a handful of personal narratives forged in a time when life and death were separated by thin lines, like stripes on a flag. Arly and Will, the dynamic duo whose bravado is only surpassed by their libido, fight on both sides of the conflict and push us forward through the plot of the war. Neither man actually existed, but by blurring fact and fiction, Lawrence offers up a sort of “People's History of America.” Fictional nobodies coexist with historical behemoths, most notably the general Ulysses S. Grant, boomibly embodied by Harry Groener.

Grant's writings are staged as soliloquies directed to the brooding mass of the audience. The tensions he faces of ordering a group of men to their death is similar to the task Frank Galati has undertaken, as he “orders” a large cast to translate an enormous war into a finite stage. The soldiers rise to their general's challenge, and “The March” is able to represent the Civil War not only in content, but form: like the war that spanned across five Aprils, the two-act epic spans almost three hours; like the bloodshed that affected millions of Americans, the play enlists an ensemble of over thirty. The piece is a strong representation of the war, but that doesn't save it from – like war – occasionally being boring. While the mundane can be imbued with profound significance, it can still come off as siply mundane. On the whole, “The March” will not keep you on the edge of your seat; it's a story that has been well-worn, but that doesn't keep it from being exceptionally well-told.

The March is stomping at the Steppenwolf through June 10, 2012. Tickets at www.steppenwolf.org.

Directed by Roger Smart, “Her Naked Skin” takes an in-depth look at the Suffragette Movement in London throughout the year 1913. It’s a time when women were imprisoned during their struggle to obtain the rights that men held. “Her Naked Skin” takes the audience to a gritty period when women were still held down by men and expressing the desire for a voice was nothing short of dangerous.    

The play is not only a glimpse of such an important movement, but also follows the love story of women’s leading advocate Lady Celia Cain and seamstress, Eve Douglas. The two meet while in prison, finding not only a bond by common ground, but also a true appreciation for each other both emotionally and physically. Lady Celia, imprisoned in her own marriage as the perpetual subservient to her husband, William Cain, finds new life and meaning in her relationship with Eve, who is much younger.

The story is gripping in itself, but gets an additional boost from its excellent cast. Superb acting from head to toe are present from beginning to end, including standout performances from Linda Reiter (Lady Celia Cain), Tim Newell (William Cain), Drew Schad (Dr. Vale, Edward Grey) and Melissa Riemer (Florence Boorman).

The set is simple but seems to make sense in every scene thanks to creative vision, smart lighting and subtle sound effects. That, combined with excellent costume design, makes the year 1913 come alive. 

Rebecca Lenkiewicz “Her Naked Skin” is important, entertaining and well crafted. This show should be on every theatre-goer’s radar.

”Her Naked Skin” is being performed at Stage 773 (1225 W Belmont) through June 3^rd. For tickets and more information, visit www.stage773.com, www.shatteredglobe.org or call (773) 327-5252.         

I thoroughly enjoyed Spider Saloff's performance at Victory Gardens Theater. Spider has a wonderful, smooth, rich tone to her voice and impeccable phrasing.  Although there were serious technical difficulties

with her microphone that continued throughout her performance, she unflinchingly “drove right through it”

and maintained her focus on the eight characters she has so lovingly handcrafted.

 Spider has a great sense of humor and her Marlene Dietrich inspired character and dance number,

“Falling for Everyone” was absolutely spot on and completely adorable.

I highly recommend seeing “Roar Of the Butterfly” for appreciators of fine Jazz vocals who are looking for a delightful evening of light yet poignant and meaningful entertainment.

Spider Saloff on the creation of her one woman show;

"This performance is in the tradition of Lily Tomlin and Tracey Ullman, so I portray eight different characters in what's best described as a musical comedy," Saloff said.

"When my husband died, the play took a complete turnaround, and I eventually decided to write myself out of it and turn it into the story of Butterfly," says Saloff, whose show launches its Chicago premiere engagement Thursday night at Victory Gardens' Richard Christiansen Theater.

Saloff plays multiple characters who gather for Butterfly's memorial service, all soliloquizing and singing about how the late drag queen changed them.

"It's about an individual who touched so many lives in so many different ways,"says Natalija Nogulich, who's directing the show. "But it's not like he got up and sang a song to a bunch of schoolchildren and they were wowed. He had an alternative lifestyle. He seemed to touch everyone: a hairdresser, the waitress, the man who drove his limo.”

"Not only do they remember him, but he did something significant in their eyes. He sparked someone to follow a dream for dancing. He sparked someone (else) not to give up on his daughter's addiction. But I also made the decision that I was going to talk about loss, and not have it just be a crazy comedy. I mean, it is a silly comedy, it has wild characters, it's based on weird people … but it does talk about loss and death."

"The whole story has a kind of leavening feeling. Even though it's a memorial, like many memorials, it's a celebration."

Spider Saloff’s ‘The Roar of the Butterfly” is playing through May 20^th. For ticket information, visit www.victorygardens.org.

CATS made a short lived return to the stage with its only North American production that played from from May 1st-6^th at Chicago's Cadillac Palace Theater.  For what became the longest running musical in theater history, CATS return was not a very long one.  For those of you that can remember, CATS was huge in the ‘90s and it spread quicker than Cabbage Patch Kids.  Everyone wanted to see it from children to elderly couples in retirement homes.  CATS was in the news, the papers and was even featured TV shows. Who hadn't heard of CATS in the ‘80s?  For its remarkable popularity, I would of thought that the show would have ran for a lot longer than it's 6 day return! 

I do remember the buzz and all the hype, and for the most part I remember loving CATS as a kid - a kid.  Maybe it was the high expectations previously instilled in me from its past success, but unfortunately, I did not enjoy this show as much as I thought I would have.  This was very disappointing to me since I was nothing but excited ever since I heard CATS would be coming back for a short time to Chicago.  Though there were certainly some enjoyable highlights over all; I liked CATS a lot more before I actually saw CATS.  After seeing it as an adult, I've come to a conclusion that this is definitely a show more for kids than for adults.  Good thing there was a bar with cold beer and a television that showed all the action when I needed a break from the show.

Try as I might; the problem I had with this show, was the storyline.  I just could not follow it for the life of me.  Though I am familiar with the story, as I've seen the performance on TV as a child, what I saw seemed to lack substance.  I had expected more of a story than a song and dance show.  That's not to say that CATS was at all boring.  The performers gave life to the show as they really fell into their roles as cats and the musical numbers were simply wonderful. Still, this was a musical that is (to me) for children...and possibly cat crazy people.  With a group of cats called the “Jellicle Cats” and characters named “The Rum Tum Tugger,” “Bustopher Jones,” “Mungojerrie,” and “Rumpelteazer,” it was hard for me to follow what the hell was going on.  I'm more used to characters named John, Michael, Jessica, etc.

Over all, the show was great and I was entertained most of the time.  The scenery, costumes and enthusiasm of the performers were fantastic.  It takes talent to stay in the character of a cat and I have a lot of respect for anyone that was involved with this particular production.  CATS is a significant musical that literally changed the scene of theater and it has continued to dazzle audiences and fans since its opening day.  Though I may not have enjoyed the musical personally, I couldn’t help but be entertained.  They are obviously doing something right, or it never would have gained such popularity.

If I were, say a kid again, I think I would have been smiling, giggling and loving every second of the performance.  Just scanning the crowd you could see all the little ones on the edge of their seats chuckling and kicking their feet through every song and dance.  That part, I enjoyed the most.  As I sat there watching the performance, I thought about how awesome the parents were that brought their kids. In the end isn't all for the kids anyways?  It’s all about creating an exciting, wonderful memory for their children.  That was a beautiful thought to me.  So though people like me may not have loved the show wholeheartedly, it was obvious the entire time how a show like CATS came to be such a momentous production in theater.

The government is feeding you lies. The Numberless are here to bring you the truth of what really happened. No, this isn’t a story ripped from conspiracy theorist’s website; this is RISE OF THE NUMBERLESS, a new glam rock production playing at the Flat Iron Arts Building in Wicker Park. So don those four cornered glasses, skinny jeans, and scarves and get ready to rebel – hipster style.

From the moment you arrive at the Flat Iron you are brought into a rebellious movement that has been going on for generations. You are greeted by ‘the Numberless,’ (the cast already in character) and offered cans of PBR and ear plugs (both of which I highly recommend you take). I thankfully had a seat in front of a speaker, but much of the audience was left standing in true underground-fight-the-power rally fashion. Throughout the 90 minute show (without intermission), the ensemble cast tell their story of a futuristic/historic/quasi realistic/science fiction world where a group of underground throwaway Americans rebel against their government for acknowledgement and equality.

The basic story :: in the future Congress passes a law mandating that each family is only allowed to have one child who is then encoded with a number on their wrist. Any additional child a family produces is illegal, given no number (hence the ‘numberless’) and sent to live in secrecy in pods across the country, their very existence denied by the government. This all occurred 25 years ago according to the play, making this an interesting past/future timeline. The Numberless are now fighting back and we learn the history of the each member, tragic events that lead to the downfall of their first rebellion, and their resurgence into normal society.

The interesting story and history of the Numberless are told by the ensemble cast of ‘RISE OF THE NUMBERLESS’ through monologues, reenactments and of course glam rock. Some of the pieces are better than others and some cast members shine much more brightly in this loud, foot stomping performance and as an audience member, you must have a willing suspension of disbelief and an uncanny ability to follow the storyline. It is a little jumpy in parts, but the cast does a fairly good job at distinguishing past events from present events through their eyes. As you are brought into the numberless world of rebellion and rock, try not to dissect the story too much (even the Hunger Games left the reader with a lot questions about the context and environment). The play is not about the finite details, it’s about escapism, and ‘RISE OF THE NUMBERLESS’ is a departure into another world (be it historic or futuristic) for 90 minutes of your life. Enjoy the ride, but be warned if you are not a fan of dark crowded spaces, standing for a 90 minute show, or are simply don’t like loud eardrum-erupting music,  ‘NUMBERLESS’ might not be for you. But the music is actually very good and the songs and lyrics are all original. Audiences looking for a departure, or a little bit of fight-the-power energy, head to Wicker Park and see ‘NUMBERLESS,’ you won’t be disappointed. Careful though, you could be found to be a Numberless sympathizer and be jailed, banished into exile, or killed. Totally worth the risk to see it.

When I saw the title The March my mind envisioned Chippendale-Dancer looking studs marching while wearing Drummer Boy pants that had been ironed with starch. Shortly thereafter, someone corrected me and said The March is an adaptation of a novel bearing the same name, written by the great author, E.L. Doctorow. In fact, E.L. Doctorow'sThe March was so adored that it was a freakin' Pulitzer Prize Finalist!
 
E.L. Doctorow is noted for creating historical narratives that tell the truth, but not the whole truth. For instance, Doctorow is known to put characters of his imagination into his works, as he also does in The March. The tactic seems to serve as a means to be the intimate voice of many people affected similarly and differently by a historical event(s), making his stories that much more universal, moving, interesting and thought-provoking.
 
The March is a depiction of General William Tecumseh Sherman and his 60,000 Union Solders' march, killing machine and subsequent massacre and conquer of the Confederate Army, as well as how they and other northerners' and southerners' were hit by it.
 
The March was adapted for the stage, not by some Schmuck or loser, but by majorly talented Frank Galati. Galati is a member of the prominent Steppenwolf Theatre Company ensemble in Chicago, and has been the winner of Tony Awards. Galati also directed the big ticket-seller, Ragtime, which is another reason why his talent is nothing to sneeze at.
 
Regardless, I still questioned how a Debbie Downer's dream subject matter was going to go down onstage without the sights of audience members bolting for the exit doors, or sounds of ballistic bawling or roaring snores.
 

I saw The March at the Steppenwolf Theatre in chi-town, and I learned only 2 percent of the play's dialogue had been changed from that in the novel. I additionally found the dialogue included sentiments and information E.L. Doctorow had gotten from General Sherman's multiple self-documentations, and actual letters solders had written for their families back home.
 
The heart-strings pulling, yet witty and delightful as all heck dialogue, was the most enjoyable part of the play. To elaborate, although members of the audience body surfing during the production probably would have been heavily frowned upon, The March was uplifting enough on its' own that it did not need it.
 
Further, due to the plays good plot, themes, dialogue, acting, music and set design, it was a completely enthralling work of art done keenly by Galati. A portion of the cast is made up of: Ian Barford, Carrie Coon, Shannon Matesky, Harry Groener, Alana Arenas, James Vincent Meredith, Philip Brannon and Stephen Lois Grush. Some of the thespians have been in other plays, films and television shows you have likely seen or heard of. There are 26 actors in The March, including pretty ladies and male hotties, that one of the phrases in the play goes, could "make your hooves fly!" Yes in my book, Frank Galati's adaptation of The March ranks high.
 
For ticket information please visit: www.steppenwolf.org

Jersey Boys!  This Broadway spectacular has made a roaring return to the stage, since its original debut in 2005, and it’s better than ever!  This show has dazzled audiences in Chicago, Sydney, Philadelphia, Melbourne, Toronto, Las Vegas and even London.  After Wednesday night’s performance, it’s clearly obvious why Jersey Boys has made such a fantastic return to the stage.  But, catch it while you can however, because Jersey Boys is only playing for 9 short weeks, from April 5^th – June 3^rd at the beautiful Bank of America Theatre in Chicago.

Jersey boys, is a “documentary” style musical about the 1960s super group, The Four Seasons.   Each act is narrated by each member of the group and tells the story of how the group came to be, their careers and their eventual breakup as a group.  It is nonstop fun from beginning to end and has a heavy dose musical numbers and nostalgia throughout.  It’s no wonder why this show has attracted so many theatre goes (over 1 million) since its inception in 2005.  It’s got style, class, live music, and anyone who enjoys a good show with lively performers and live music  will be sure to add this show to their ‘favorites’ list.   The entire production is an experience and completely sets its self apart from any other production around.  In the words of Tommy DeVito, “it’s like being in a fucking time machine!”  On stage, the chemistry between the performers is simply fantastic, and as an audience member, you really feel like your back in time, seeing their story unfold live and on stage.

My favorite part of the show was looking around the audience periodically and seeing all the smiles throughout the large crowd.  Jersey Boys is a real crowd pleaser!  It was amazing to see the clear enjoyment of each and every one of the “older” audience members in the theater, as well as all the youngsters.  However, the eyes and smiles of the “older” crown seemed to say it all; eyes shining like a child on Christmas morning and grins that ran ear to ear.  As I watched the show I thought to myself how amazing the show must really be to some of the audience, reliving past memories of their youth.  As when they were young, THIS was the music of their generation.  When they turned on the radio back then, this music, these songs were on the radio.  You could really tell how much some of the audience enjoyed it, as some of the audience members loved singing along to their favorites. 

Jersey Boys does an amazing job of bringing those “old” hits back to life, and for 2.5 hours they will rock you right out of your seat and leave you wanting more!  It is an experience worth remembering for a long time to come.  If you or anyone one you know loves music, you will love this show!  Be cautious about bringing young children to this show however, as it does have its fair share of profanity here and there; and most importantly there are age requirements for many Broadway In Chicago shows.  Visit the Broadway in Chicago website below for pricing, show/ticket information and be sure to check this performance out before it’s too late!  Who knows when it will be back!

www.broadwayinchicago.com