Items filtered by date: November 2007

Some people may jokingly say Riverdance is just a batch of lads and lasses looking like they have ants in their pants. But, such lips should be zipped, considering it takes a lot of heart, soul and skill for individuals to be able to master the obviously complex forms of dance, showcased in The Broadway smash, Riverdance.

Yes, the extensive success of  the production, whose tour of the planet earth has taken the same amount of miles as it does to travel to the moon and back, have some Irish Dancers of their Troupe who had sprung into training at the age of 4. The specified youngsters were given unique tap shoes, in that they were very heavy. Therefore, dancing in these hefty “claude hoppers” required the children’s ankles to be exceptionally agile and legs outstandingly strong.

With that said, can you imagine competing with those highly talented legs and “footsies” in a game of Double Dutch Jump Rope? Or, having one of the Irish lasses, wearing her loaded tap shoes, kick you in the gonads?

Moving right along, weighty tap shoes are also worn by the Riverdance Irish Dance Troupe to this day on stage. When I saw them, at one of their last shows at the Oriental Theatre, flash fascinatingly fast and fancy footwork, and slam down their feet with extreme might, it was greatly admirable all right!

Also, although the Irish Dance Troupe dances ever-so-vigorously for a breathtaking spell, deep pride and strength are shown in their stance and written all over their face. Further, none of the Riverdance Dance Troupes get their wondrous abundance of energy because they are “Meth or Crack-heads”—the Riverdance performers in general are simply heavy drinkers—of water and Gatorade, that is!

In fact, from the spring of Riverdance in 1995 to the present, riveting Riverdance’s performers (musicians, singers and dancers) reportedly have “chugged” 200,000 gallons of water, 60,000 gallons of Gatorade and have pleasured themselves with 60,000 pounds of chocolate!

Sadly, every dance troupe of Riverdance will be hanging their soaked shoes to dry, as far as the production’s tour in the U.S. is concerned, on the 17^th of June this year. Riverdance has definitely made a jumbo splash during its 15 year run, with its’ final blast offs that’ll knock your socks off, in Chicago from the 13^th to 18^th of this month.

The powerful sights and sounds of Riverdance performers (musicians, singers and dancers) were supremely intense, at times heavenly humorous, and through and through addictive! Astronomically critically acclaimed Riverdance is not only a show of Irish music and dance, either—it unveils styles of additional cultures music and dance, as well. Plus, I think Riverdance’s themes, including Ireland’s History, religion and politics, are such that probably all cultures can relate to. Also, in my humble opinion, experiencing the Journey of Riverdance will have Irish Eyes a Smilin’ and those of others.

Composed by Bill Whelan

Produced by Mora Doherty

Directed by John McColgan

The 2000 teen comedy "Bring It On" is a cult classic.  The 2012 musical of the same name likely won't be.  Borrowing the title and not much else, "Bring It On"  relies on a formulaic, fairly conventional plot peppered with high-flying acrobatic cheerleading routines. It's entertaining enough, especially for the mostly younger tween audience in attendance, but when you put "the musical" in your title, you promise that story and song will be central.

The musical creates a wholly new plot from the film, although it is still a well-worn one.  White head cheerleader Campbell is redistricted during her senior year to a mostly black and hispanic high school.  Cue the lessons about race, identity, and being yourself.  Bridget, a slightly chubby girl who provides most of the comedy in the show, excels in the new school since she's always been an outsider.  Eventually, everyone learns something about themselves and a happily ever after ensues.

Throughout, the high-flying acrobatic work of the ensemble dazzles, as performers in red skirts are launched into the air almost as high as the mezzanine.  A series of shifting digital screens add to the theatricality, transporting the action to different settings, whether a bedroom or basketball court, in a rather innovative way.  The altogether aesthetic is a bit cartoonish, but when your subject matter is competitive cheerleading, it's hard not to venture into Looney Tune territory.

With a writing team that combines talent from Avenue Q, In the Heights, and Next to Normal, one might expect "Bring It On" to be fresh, subversive, and full of catchy, diverse, and memorable songs.  Instead it is rather mainstream musical comedy, which sadly lacks any songs that stand out.  When the lyrics disappoint, the choreography dazzles almost as if to distract rather than enhance the plot.  What's most surprising about the book is a commendable move to feature a transgendered character in a strong supporting role.  While many of the character's laughs come from just being trans, a solo power ballad reveals a the obstacles she has overcome.  "Is that a boy, Mommy?" the young boy in front of me asked mid-show.  I didn't catch his mother's response, but the inclusion of a trans character in an otherwise dated musical comedy certainly opened the door for a teachable car-ride conversation on the way home.

Bring It On: The Musical is at its best when the cheerleaders are flipping and twirling across the stage.  The final climax of the show is truly breath-taking, and is a marvelous convergence of poppy song with powerful dance that furthers the plot.  Overall, the show is an entertaining night out, but don't expect any emotional resonance to lift you off your feet.

Bring It On is bringing it at the Cadillac Palace through March 25. More information at BroadwayinChicago.com

In almost every bar you can see a cover of the song “Born to be Wild” (Steppenwolf). “I Want You to Want Me” (Cheap Trick) is another example of a song that is covered by everyone. Occasionally a band will be seen that is just doing original songs. Creative ability and talent hit the concert goers dead in their soul with these original songs. Saturday night’s performance by Space Giant was a show that really grabbed you.

Ye Olde Town Inn (18 W. Busse Avenue ~ Mount Prospect, IL 60056) was the place to be for this show. Space Giant was the band to see and they just rocked. The entire performance was flawless and they were on fire. This high energy music was a pleasant change from hearing “Simple Man” (Lynyrd Skynyrd) for the three millionth time.

Vince Falcone is a slamming, hard hitting drummer that drives each song. The hand and feet work were reminiscent of one of the masters, Abe Laboriel Jr. from Paul McCartney’s band. Very similar techniques and mannerisms are found in Vince. His snare rolls push songs in such a great way that not every guy who owns a drum kit can do. He has dynamics behind the kit that holds the show together.    

Lead vocalist Jamie Richards was a joy to watch as he never stopped moving. He did his job to entertain the crowd and has a strong voice to keep everyone interested. He tore up every note like it was meant to be. His vocal range and tone fit the band like a glove. He blended well with the music that was created. In between songs there wasn’t any dead time as he kept it going creating not just music, but creating a show.   

Dave Yates filled the role of the bottom end with ease locking his bass with the clockwork of the drummer. Playing solid bass lines for each song done is what this guy does and realizes in bass lines sometimes less is more. Holding out one note is in most cases better than playing a hundred. One of the best features in a bass player is his amp and this guy has an SWR bass rig that makes it all the better. The man would sound good through anything, but through this amp he gets nothing but sweet tones.  

Fired through a Marshall half stack Mike Parker played some unique guitar leads similar to stuff played by The Edge from U2, except he has taken it into a different form. His guitar won’t just be distorted, it will be glazed with effects at times giving them another sound completely. He has a way of playing that sounds as if he was trying to imitate a keyboard. The man has skills.

Space Giant has an EP out now and the songs on it are very well done. One that really sticks out is “Talks to Angels.” They played it live which the song is a powerful modern rock song, with a good guitar riff driving it, and primal drums rolling into the song. The guitar, bass, and drums chugs its way through this kick ass original song. 

 “Beautiful World” is a radio friendly song that shouldn’t be overlooked. The upbeat rock anthem could easily be played on any rock station and fit right in with any classic to a modern rock genre. These boys should really be proud of the work they have created as it does rock.

The next time you are looking for a new band to see, don’t go see a cover band. Search out an original band and support them in their quest. Go see songs that you have never heard before. Seek out an original band like Space Giant. Their music is rockin’ and a rollin’. From a musician’s perspective, “Seeing Space Giant is like being body slammed by Hulk Hogan. It hurts so much it makes me wanna quit playing. They are good.” Space Giant is a great band.

What price would you put on family? On every single object your family owned? What price would you put on memories? On jealousy, envy, bitterness? These are only some of the questions an audience will reflect on about after they see The Price at Raven Theater. The Price, a play written by Arthur Miller, set in 1966, in an old attic piled high with antique furniture, stored away mementos, and buried memories. Two brothers, played by Chuck Spencer and Jon Steinhagen, meet in the attic to sort through their deceased parents’ belongings. Decades of sacrifice, resentment, bitterness and jealousy ignite when the fraternal debate moves beyond the costs and values of the items to the price and successes of their own lives.

The beauty of the play is that is doesn’t require a lot of deep thought and analysis to see what Miller was really trying to get across. As Director Michael Menendian states, “[the play] deals with universal issues of family loyalty, sibling rivalry and commitment to a certain code of conduct. I want the audience to question what they would do in the shoes of the characters.” So what would you do if you were the aging Victor on the brink of retirement, forced to go into active police duty to help support your sick, out-of-work father and ultimately sell away his possessions in order to put the money towards your future? What would you do if you were Walter, the successful brother whose familial loathing caused a chasm between you and your only sibling, a sibling who resents your choices and wants nothing to do with you no matter how many olive branches you extend? All very tough questions for someone to face.

While this play still translates well into our  modern day, ultimately what holds this back is how drastically different of a time this play was set in. As twenty and thirty-somethings, we’ve all read or heard stories from our parents and grandparents of the difficult times the depression and WWII caused. And we know that in the 60’s, most people were able to retire at the age of fifty with a modest retirement fund. But what is hard to gauge from the play are the cultural and socioeconomic pressures that were being placed on the characters of the time. It’s all understated throughout the play, only glimpses through stories and memories of the characters. But it obviously is necessary to truly grasp the weight of the decisions the characters are making, particularly when the appraiser in the play offers Victor $1150 for all his father’s furniture and possessions. That is a small sum by today’s standards, but in the 1960’s that was a huge chunk of change, or as my fiancé said, a new car. It’s the only thing that would come between an understanding of the play and an empathy for the play’s theme. While I can empathize with Victor and Walter’s sibling tension and fighting, I cannot wholly understand the impact of the value they place on the furniture for that time.

The Price really is a multifaceted play. On the one hand, the actual price in the play is focused around the possessions in the brownstone which is about to get demolished. The price being offered for Walter and Victor’s childhood toys, furniture, and the like by the eighty-nine year-old appraiser. On the other hand, and the real deep meaning within the play is the price one has to pay to get to where they end up in life. Walter ends up a wealthy and successful doctor, but his success came with an alienated brother, a wife who divorced him, and an emotional and mental breakdown. Victor ends up a police officer, walking the same beat for twenty eight years, afraid to move on with his life, afraid of ending up like his father, and regretting that he was never able to continue his education. The price they paid for their decisions, and the price we all pay for our decisions, is something no one wants to think about. Arthur Miller brings to light a painful and deeply personal subject in this play. Between the estranged brothers, the disappointed wife, and the philosophical appraiser, the themes of life, loss, and the choices we make are thrust to the forefronts of the audience’s minds. 

What I can say is this very worth the price to see The Price at Raven Theater. That is, if you value my opinion.

In the tradition of the great voices that have given Chicago its musical backbone such as Mel Torme, Nat King Cole, Koko Taylor, Steve Allen and so many more, Mayne Stage Theater served as home for an incredible night of song and tribute that will not soon be forgotten. From March 2^nd through March 3^rd, audience members were treated to three nights of Chicago’s best vocal talents, as they performed songs referencing their hometown. Daryl Nitz hosted and performed in the thoroughly enjoyable three-hour event that featured Chicago’s top nightclub vocalists and touched on the many great music genres we have come to love from lounge to jazz to blues to soul.

What took place on these three nights was nothing short of tremendous with each talented performer making the most of their slot. On favorite, Mark Madsen, a Gale Street Inn resident performer, displayed his signature pipes to the tune of the sweetest jazz guitar I have heard in recent years. And there was plenty more… Denise Tomasello, looking dazzling in her long blue dress and diamond-studded shoes, floored guests with her rendition of “My Kind of Town” while, not so long after, Isiah Mitchell was a ball of energy while showing off his vocal range with flattering renditions of Lou Rawls “You'll Never Find Another Love Like Mine” and Stevie Wonder’s “For Once in My Life”.

Daryl Nitz, who also performed beautifully, did a fantastic job in putting such a memorable evening together by arranging such top caliber talent to appear under one roof and making it flow so well together. The list of talent was as rich as banana cream pie with appearances also by Liz Mandeville, Kimberly Gordon, Lynne Jordan, Jeff Hedberg, Skip Griparis and Beckie Menzie, who also played piano for most performers. 

Still, as amazing as the night would have been with each of the above-mentioned performers alone, it was the appearance of legendary singer Audrey Morris that really put the stamp on the evening. With the poise, grace and beauty that holds true to her celebrated 50-plus year run, the 83-year-old recording artist manned the piano to play charming interpretations of “Chicago” and “Lush Life”. Gentle and precise were each key struck and velvety and timeless each note sung.

Just before Audrey took her place at the piano onstage, Daryl mentioned to the audience how influential her music had been in his life, giving due thanks to such a special performer. Daryl mentioned his favorite Audrey Morris recordings, “Film Noir” and “The Voice of Audrey Morris” as two albums that shaped not only his own musical path, but also plenty other of today’s marquis singers.

After Audrey’s performance the capacity crowd rose to their feet in standing ovation – a sign of true respect for someone so deserving.        

As the show came to an end, each performer took their place onstage joining together for a big-ending rendition of the blues classic “Sweet Home Chicago”, capping off what was already a perfect evening.  

It’s not surprising that Canadian dream-pop duo Memoryhouse started as a multimedia project. The first flawless notes delivered by composer and guitarist Evan Abeele and photographer and multi-instrumentalist Denise Nouvion firmly solidified them as a band rooted in aesthetics. Those shimmering guitar chords and throbbing synths, accompanied by the skilled beats of a guest drummer, filled Schubas’ cozy space last week with the type of thoughtful prettiness normally reserved for more visual media.

Fortunately, what might be mistaken for empty artiness was saved by the pair’s warm sound. Abeele’s lush guitar riffs lent each verse a breathless, swoony atmosphere, inspiring the crowd to sway like teenagers at prom. The vocals were equally remarkable – Nouvion’s clear tones evoked singers like Kathryn Calder and Victoria Legrand while still remaining distinct. While her singing was sometimes overshadowed by fuzzy reverb, the overall tightness of the harmonies gave ample oompf to set highlights “Quiet America” and “The Kids Were Wrong.”

Perhaps nodding to their photographic roots, Memoryhouse performed in front of projected black and white videos depicting crashing waves, backstroking swimmers, and one hopelessly lost seal. The overall effect was striking, but clashed with the music at times - for a band with such incandescent ambiance, the images seemed awfully monochromatic. Nouvion freely acknowledged that this was their first time playing with the video, which could account for some of the disconnect.

A similar “first night of the tour” vibe was present during some portions of the set; besides some minor flubs at the start of songs, Abeele and Nouvion seemed slightly nervous bantering between numbers, and kept most talk to a minimum. When called back for an encore, they admitted that they didn’t have much prepared. After a quirkily sultrified rendition of The Police’s “Every Little Thing She Does Is Magic,” they quickly exited to a self-deprecating, "That really is all we know."

In spite of the band's apparent newness to this type of gig, they turned in an evening full of charm. The set was short, sweet, and left onlookers wanting more. Gaining buzz and confidence is easy when you have talent, and Memoryhouse has it in spades.

Memoryhouse's debut album "The Slideshow Effect" is out now on Sub Pop

Moving is an emotional experience, especially for a 10-year old. Thin and petite Laure and her mischievous 6-year-old sister are packed up by their parents over the summer and moved to a new neighborhood.  In addition to all the stress and fears associated with new friends and a new school, Laure is mistaken for a boy.  Thing is, she doesn’t deny it.  “Michael,” she responds when asked her name.  And so begins a summer of fantasy for the pre-pubescent, swimming without a shirt, playing basketball with the boys, and kissing a young, long-haired girl.

French auteur-director Céline Sciamma sophomore feature “Tomboy” is a soft, beautiful coming-of-age film that follows this fantastical summer and the aftermath when Michael’s mother discovers it.  Overall, the family is loving -- soft shots of shared baths and tickling sessions reveal that -- but the mother’s response is heart-breaking.  She forces Laure to don a dress and parades her around the neighborhood to apologize.  The tour of humiliation comes to a climax when the young person is taken to the home of the young girl she has fallen for.

Tomboy follows this transformation and the consequences of a society unable to understand or support a child who is questioning their gender.  The young Zoé Héran gives a phenomenal, muted performance as the young person who slips into a new identity so easily, it should be questioned whether it was a deception at all.  From nail polish to G.I. Joes, gender norms are inscribed upon children before they even know how to do long division.  So were Laure’s actions a lie, or was she telling the truth for the first time?  Identity, whether it’s constructed or discovered, is a lifelong task.  It’s messy and only becomes all the more complicated when others have a stake in yours: parents, friends, teachers, businesses.  In this tug-of-war for your identity, it’s hard to find a moment when you’re truly who you are.  “Tomboy” celebrates a summer apart from that harsh, cruel reality, capturing a rare moment of truth as fleeting as childhood.

Tomboy was just playing ball at the Music Box Theatre. More information at www.musicboxtheatre.com

True music fans go out to local venues to see a good band. They will trudge through snow, cold, wind, and rain to make it out to see a few musical moments that touch their inner soul. Saturday nights are a great time to see a band and dance the night away. This past Saturday an awesome show was provided by Jacked Up at Eskape in Buffalo Grove.

The amount of music provided by Jacked up was amazing. This four piece band just nailed every song they did and tore the roof off the place with their flashy ability. They aren’t a bunch of guys who know a few chords and finally decided to climb out of the cellar. These guys can actually play.

Doing a good selection of classic rock songs is a great way to design your set list if you are a cover band. Jacked Up jammed out songs like “Long Train Running” (Doobie Brothers), “Summer of 69” Bryan Adams, and “Locomotive Breath” (Jethro Tull). The list of great songs was long and they all were done to perfection.

Drummer Ken Kreis played his ass off on drums. The amazing ability provided by this man was something to watch. He holds the timing together and has incredible hand work as he does runs around the kit coming back to the clock within synchronization with the band. He is nothing short of fantastic and a hard hitter. He also provides some sweet backing vocals.

Bass player and a master of the bottom end is the man at stage left, Jeff Barker. This guy has amazing fingers and is the cream of the crop for bass players in the Chicago area. His bass rig speaks for itself. A nice SWR amp with an Alembic bass provides a sweet feeling within the room anywhere. The lightning fast fingers and creative ability within this guy is a show all by itself. Wow!

The man in the middle is Dave Nickrand on lead vocals. He pulls off vocals and gets the crowd into it. He has a solid vocal range and gets the crowd pumped. He looks the part of the classic rockstar with the headband and scarf coming off of the microphone stand. It’s clear he was influenced by so many of the great singers that came before him.

New comer to the band is Michael Alan Krajewski on guitar. There is no other guitarist within the band because another one isn’t needed. It would only get in the way. The six string slinger is a veteran to the lead guitar role and masters the guitar riffs of all the virtuosos that came before him. As he plays through the night he claims the title of king of the hill on his ax. Phenomenal guitar player.

This band just continued to rock one great song after another. “Kryptonite” (3 Doors Down), “Pride and Joy” (Stevie Ray Vaughn), and “Breakdown” (Tom Petty) were some of the highlights of the evening. “Hey Jealousy” (Gin Blossoms) was a great song to hear live and it was flawless. “Saturday Night's Alright for Fighting” (Elton John) showed the vocal capabilities of the guys in the band. The bass player, singer, and guitarist all took a verse of the song going across the stage. They really have their show together.

“Radar Love” (Golden Earring) was the song to see. The thunderous bass, sweet guitar licks, and drums fills made the night worth the trip all by itself. The nearly forty year old hit was done to perfection as good if not better than the original song. The feeling of seeing it live was nothing less than euphoric.

At all local shows someone always has to yell out “Freebird” in honor of the Southern boys Lynyrd Skynyrd hit. Jacked Up didn’t let the crowd down by not playing the ten minute song, but they did a unique version of the masterpiece with the piano intro being done on bass guitar. The version of this song was one of a kind and they ended their show with this rock anthem. Talent is found within all the members of this band. Jacked up rocks!

If you need a band to see at a local bar, look up Jacked Up. These guys know how to blow the roof off the place and they will take most of the walls with them. After seeing them live, you know you have just seen a kick ass rock show. You leave the venue singing most of the songs that they did. Simply put, Jacked Up rocks.  

In a hip, New York City loft (the kind where a bike hangs from the ceiling, a French press sits in the kitchen, and Mac laptops are scattered everywhere), Sarah hobbles in.  Her left leg is wrapped in a brace, she uses a crutch to get around, and when the lights turn on, we see the horrifying scars on her face. She’s returning from Iraq, not where she served in combat, but as a photojournalist when a roadside bomb launched her and her cameras into the sky.  The terror of war is behind her, but the emotional drama that unfolds is almost as terrifying, as her adjustment to “normal” life makes her question meaning, love, and happiness.

Playwright Donald Margulies admits in his playbill interview (Steppenwolf always supplements its on-stage productions with exceptional on-page content) that he is fascinated by the role of an artist in society: provocateur? reflecter? activist?  Like a well-argued essay, “Time Stands Still” confronts the dilemma a photographer faces when they are confronted with covering a war without intervening.  Sarah finds no moral qualm, but her editor’s much-younger, perhaps naiver lover is horrified.  Mandy Bloom, who we learn is about to bloom with a child, doesn’t understand how someone could snap a picture of a wounded person without snapping to action to help them.  This ethical dilemma, however, is a symptom of a much greater war between worldviews that these women represent: family versus career, surrounding yourself with happiness or devoting yourself to tragedy.  At the extremes of the spectrum are these two women: one wholeheartedly devoted to the former, one to the latter.

Austin Pendleton directs an impressive cast that bring life to the characters, while managing tension, comedic timing, and high, emotional stakes throughout.  Sally Murphy shows considerable physical range embodying the torture of a woman in recovery, and newcomer Kristina Valada-Viars is pitch-perfect as the delightfully ignorant Mandy.  Francis Guinan and Randall Newsome, the men in the drama, are only neglected here for the sake of analysis, not the quality of their performances, which are bold and richly textured.

These nuanced characters are the core of “Time Stands Still,” which is essentially a domestic drama.  Josh Schmidt’s ominous original score situates it against the backdrop of a painful, foreign war, but still the characters and their desires stand at the center.  Even while dealing with the ethics of wartime photography, “Time Stands Still” never abandons the needs and wants of these four fictional folks.  Instead, the philosophical debates grow out of human desires and conflicts.  The characters are not mouthpieces for a soapbox sermon, but rather the playwright uses the characters to play out his own struggles with the role of the artist in society.  When a play can bring to life compelling characters who embody larger themes, and when a production can bring texture and life to a text in a riveting, realistic way, the audience holds their breath and time truly stands still.

Time won't stand still -- this Steppenwolf production ends May 13, 2012. More information at www.steppenwolf.org.

Maybe I'm just a faggot, but "Hit the Wall" is damn good.

In the intimate Steppenwolf Garage with an ensemble of only 8, the chaos and havoc of the Stonewall Inn riots is powerfully recreated by Chicago storefront The Inconvenience.  At its climax, high-energy and expertly choreographed fight sequences rumble over original rock music and hushed lights to evoke the events of that night.  But what comes before are a series of beautifully written and precisely performed scenes that introduce an eclectic mix of characters with a powerful mix of heart and sass.

Playwright Ike Holter has penned a compelling piece that back on that night not with nostalgia, but with angst, regret, and wit.  Amongst the cast of characters are cat-calling stoop-sitters whose fuse is as short as their shorts, a confident transwoman who moves like water through water, and a feminist propagandist who sermonizes anyone unfortunate enough to stand in her way.  Each is archetype, if not a caricature, and they are paired together like swatches of fabric to see what clashes and what syncs up.

A police officer, who stands up for the entire force used on the night of the riots, becomes an obvious villain in this tale of sexual liberation.  There's a heart-wrenching moment about two-thirds of the way through.  Peggy, a tight-lipped stocky woman who wears a leather jacket and kisses girls, has been cornered by a police officer in the Inn.  It's June 1969, and a woman dressing like a man is a punishable crime.  In a shadowy corner, the NYPD officer frisks Peggy and finds not a gun, drugs, or other illegal merchandise, but breasts.  He grabs them hard, and then lowers his hand into her pants to confirm his suspicion.

The move is truly reprehensible.

While some scenes following this might be cut to maintain momentum, the piece is extremely well-paced and structured.  Exposition is provided by presentational, overlapping voices of the cast, reminiscent of the documentary play "The Larmamie Project."  We're told just how hot it was in New York that night, and how each character "needs a drink!" after a long and taxing day.  The piece's title is a play on "hitting the wall," a term in endurance sports like running and cycling for a sudden loss of energy.  The characters have hit the wall of persecution, but they have sparked a battle for LGBTQ rights that is an endurance sport of its own.

Early in the play, the characters talk about the street credit that comes with claiming "I was there" on the night of the riot.  I wasn't alive in 1969, so I can't say I was there when a hot night in a bar sparked a fight that still wages, but I can say I was there when a Chicago storefront debuted a powerful play that can move you to tears and laughter as it shakes its fists and its ass.

When you enter the Steppenwolf Garage through April 8, 2012, try not to Hit the Wall. More information at www.steppenwolftheatre.org.