Items filtered by date: November 2007

It’s always nice to watch a legend perform, especially when that legend is considered a revolutionary force in the music industry as we now know it. This was the case last evening when Brian Wilson, co-founder of the surf rock band, The Beach Boys, took the stage at Ravinia. Complimented by original Beach Boys’ member Al Jardine and a large band that included more recent writing partner Scott Bennett on keyboards and even Blondie Chaplin on a handful of songs, Wilson’s sound was full and the peachy keen harmonies ever so familiar done to perfection.  

Planted behind a large white grand piano, Wilson and friends immediately kicked it into high gear with “Heroes and Villains”. Though Wilson has long since abandoned the high voice synonymous with The Beach Boys sound, he was still able to carry a tune and did get a lot of help from band members when it came to harmonies and surrendered a handful of leads throughout the evening.

One brilliant piece of music history was performed after another. “California Girls”, “Little Deuce Coupe”, “I Get Around”, “In My Room” – so simplistic, yet so genius. In all, over thirty songs were played, mostly Beach Boys’ songs but also a couple Wilson had comprised for his own solo career, including “One Kind of Love”. Wilson also admirably handled leads on a few songs done by former Beach Boys Carl Wilson and Mike Love. 

Interestingly enough, just before playing “Surf’s Up”, a classic ballad about guess what – surfing, Wilson stated to the crowd that the song was his least favorite to play live, leaving us fans thinking, “Well, why are you playing the song then? You have a million to choose from.” Kind of a weird moment, but what would a Brian Wilson show be without one. Nonetheless, each song was played inspired and with vigor and that’s all you can really ask for when someone has been performing the same songs for nearly fifty years.

The set continued with greats like “Darlin’” (dedicated to the late Carl Wilson), “Sloop John B”, “Don’t Worry Baby” and a beautiful version of “God Only Knows”. “Since you loved that song so much, we’re going to give you some “Good Vibrations”, Wilson declared as they went into the song.  

After a brief departure from the stage, the band returned to knock out five hits without pause – “All Summer Long”, Help Me, Rhonda”, “Barbara Ann”, Surfin’ U.S.A.” and “Fun, Fun, Fun”. The energy on stage was at its highest during the multitude of encore numbers, as Wilson raised his hands to simulate surfing and band members ran back and forth from one end to the other. It was certainly a high note to end the show with when Wilson opted to rather end the night with the much lower-keyed “Love and Mercy” in promotion of the latest film on Brian Wilson – Love and Mercy.         

All in all, Brian Wilson and band played an enthusiastic set, each song as polished and youthful as ever. What is better than sitting back on a balmy summer night and listening to Beach Boys classics sung by Brian Wilson himself?

Even the opening act was inspiring as the night began with Rodriguez, the musician featured in the documentary Searching for Sugar Man. Rodriguez is an amazing musician who became huge in other parts of the country, particularly South Africa, and never even knew he had achieved any fame at all. In fact, most presumed he was dead. Rodriguez, aided by just his trusty guitar, warmed the crowd nicely, tapping into “Sugar Man”, “I Just Want to Make Love to You” and a peppy cover of “Fever”. With little words Rodriguez preached against violence towards women and reminded us that hate is too much of a powerful emotion to be wasted on those we do not like.

For upcoming events at Ravinia, visit www.Ravinia.org.

With Jaws having just swam back into theaters for its fortieth anniversary and recent shark attacks in North Carolina, The Ruckus' world premiere of 'Matawan' comes at a perfect time. Playwright Dan Caffrey set out to write a play that captures the time period of the early 1900s, an era he always felt was glossed over in school. This new work tells the story of a small New England town dealing with a killer shark. Sound familiar? The 1916 great white shark attacks off the coast of New Jersey were the basis for Peter Benchly's novel Jaws. Until 1916 very little was known about sharks and most people believed they did not attack bathers.

At it's core 'Matawan' is less a play about a man-eating shark and more about fear. Even the shark has a fear-soaked narrative throughout the show. The large cast of characters and well-written vignettes all deal with anxieties concerning war, globalization, disease and life happiness. For the first time in history, Americans were economically comfortable enough to have the luxury to look outside themselves and Caffrey captures this ever-relevant sense of impending doom that seems to consume most people today too.

One might wonder how it's possible to depict a shark attack on stage. Director Allison Shoemaker makes really bold choices with her production. Instead of gruesome displays of blood and guts, Shoemaker's attacks are almost sexual in nature. In fact, the entire production is so very craftily done. Actors play instruments to simulate sound effects and the result is genuinly creepy.

Caffrey delivers a truly unique script. The subject matter poses some obvious logistical problems but the creative team at The Ruckus show they're more than capable of taking on this challenge. Not only was the production insightful but also exceedingly well acted. How often can a shark make you misty? (John J Accrocco)

Through July 26th at The Athenaeum Theatre. 2963 N Southport Ave. 773-935-6860

When first looking at the Ravinia double bill of Blondie and Melissa Ethridge, one might have asked, “What are they thinking?” “How can those two so very different genres of music be paired together?” Well, they were - and it was somehow perfect. Each playing somewhere in the neighborhood of a ninety-minute set, the two bands each provided their own energetic performance not to be soon forgotten.

Melissa Ethridge took to the stage first with her raspy vocals and guitar driven rock to the tune of “If I Wanted To” followed without pause into “No Souvenirs”. Ethridge’s energy matched her immense talent leaving little doubt her place in the world of pop-based folk-rock. The two-time Grammy Award winner (she received fifteen nominations) worked the crowd with a band behind her that was nothing short of amazing. Never a dull moment, Ethridge made her way from one end of the stage to the other with much charisma and command, effortlessly strumming her guitar and being the consummate professional she always has been. Nearing her set's end’ Ethridge dove into to “I’m the Only One”, a fan favorite and staple anthem in her career before “ending” with “Bring Some Water” and then coming back for an encore with “Like the Way I Do”. Ethridge is a hard working performer who certainly gains a lot more respect after seeing her live.

After a thirty or so minute intermission, a drastic stage transformation had taken place. Whereas Melissa Ethridge relied solely on her band, house lighting and a large dark curtain as a backdrop, the stage had soon become equipped with a large projection screen as a background, futuristic props scattered about and rotating laser lights. Soon after, the lights drop and Blondie confidently walks from side stage to their marked positions. Debbie Harry, wearing dark wayfarer sunglasses and a hot pink ensemble nods to the screaming crowd and just like that the new wave punkers kick into “One Way of Another”. Harry, now seventy-years-old, is as cool as ever, still wielding the voice that made the band an influential giant in the music industry.

Harry joined by original members Chris Stein, Clem Burke, Blondie went on to knock out one hit after another including “Atomic”, “Heart of Glass” “Maria”, “Call Me”, “Dreaming”, “Hanging on the Telephone” and threw in a few more recent songs, “Euphoria”, for one. Projections in the background displayed classic Blondie videos and swirling imagery that seemed to go perfectly with each song. Tapping into their reggae side, the band played an inspired version of “The Tide is High” before igniting into one of the first ever songs featuring rapping,  “Rapture”. Blondie also threw the crowd a curveball with a raging rendition of The Beastie Boys “(You Gotta) Fight for Your Right (to Party!)”.

Harry and company performed brilliantly, proving Blondie still can put on one hell of a show. There is little doubt that Blondie would be highly entertaining no matter where the venue, but watching them play at Ravinia surrounded by the stars accompanied by a gentle outdoor breeze (even if it was 63 degrees on a July evening) was simply magical. Here’s hoping they make their way back to the Chicagoland area very soon.

Be sure to visit www.ravinia.org for upcoming summer events.

Underscore Theatre Company is in the midst of their second annual Chicago Musical Theatre Festival at The Den Theatre where it is host to thirteen brand new musicals submitted by a slew of local theatre companies. Though some musicals presented come from theatre companies more polished than others, the event is a fantastic passage for the development of new, creative theatre productions in the Chicago area. A handful of submitted plays are production-ready while some are completed works. Some of the theatre companies involved include the New American Folk Theatre (“Dirty Girl”), American Demigods (“Fanatical”), Duplicity Ensemble (“Marble, GA”).

Day two of the Chicago Musical Theatre Festival introduced “One Thousand Words”, a musical with the book and lyrics by Michael Braud and music by Curran Latas. When a reporter, Richard Hanks, is assigned to write a thousand words about two men in love during World War II, he is at first disappointed because he’d rather be in Pakistan covering the current tension in the area. After his editor dangles a carrot in front of the horse-drawn carriage by semi-promising she would send him on the overseas assignment once he successfully handles the task at hand, Hanks decides to write the story of the year and delves into the lives of these two men whose story comes from an intimate photo of the two while in World War II. After tracking down Warren, now eighty-years-old, he is taken back to the 1940s where he hears the story of two men who hid their love for each other before, during and after wartime and the circumstances and obstacles that they had to face. Hanks becomes transfixed by Warren’s story and possibly affected much more than he expected.

The story is simple enough. It flows well without confusion and the dialogue is fairly engaging. Its songs are not likely to be remembered afterwards for their melody though they did strengthen certain points in the show by capturing the appropriate tone of the moment despite singing that is best described as hit or miss. The set is as minimalistic as they come furnished with only a couple crates, leaving much to the imagination, as the space it used for each and every production in the festival and requires a quick turnaround.  

Joe Hornberger does give a strong performance as “Warren” and is one of the better singers in the cast, while Justin Stevens pairs up with him nicely as “Daniel”, his lover. At first one might think the two a bit miscast and unlikely as lovers, but the pair begins to make more and more sense as the story progresses and become quite believable. One needs to keep in mind that thirteen musicals are sharing the same space for multiple performances in a few weeks’ time, so there might be missed spotlight marks, minor production tweaking per show and somewhat barren sets. The main purpose is for Chicagoans to experience and support local theatre in development and hopefully be entertained while doing so. One Thousand Words contains enough positives to keep it interesting.   

One Thousand Words can be seen at The Den Theatre:                                    

Tuesday, July 07, 2015 9:30 PM
Saturday, July 11, 2015 2:00 PM
Thursday, July 16, 2015 8:00 PM
Saturday, July 18, 2015 5:30 PM

For more information on the Chicago Musical Theatre Festival, visit www.cmtf.org. 

There’s something magical about Ravinia. It’s a sprawling open-air venue with lush green lawn nestled amidst tall shady trees. As the sun goes down, dozens of candles flicker to life as the audience members settle into their blankets and lawn chairs to be serenaded by their favorite musical artists under a (sometimes) starry Chicagoland sky.

To North Shore folks, Ravinia is synonymous with summertime. It is the oldest outdoor music festival in the US holding concerts from June to September. For traditional concert goers there are pavilion seats with rows of covered seats sloping back from the main stage. The preferred seats are the lawn seats that allow you to sit anywhere you can see grass. The most experienced Ravinia patron will lay out dozens of blankets, or create a lawn-chair circle, break out picnic baskets filled with three course meals and plenty of wine (not the mention their own wine glasses). The venue is indeed a BYOB and you’re allowed to bring your own food, but this is not a concert venue to get drunk and rage. This is a recline-sip-your-drink-enjoy-the-music kind of venue. Because no matter where you sit on the lawn you are treated to amazing sound quality of the band or concert you are seeing.

Ravinia offers some of the best line ups over the course of each summer and this year is no different. This past week brought the iconic 1970’s band The Doobie Brothers back to Chicago. The band brought baby boomers, Gen Xers, and aspiring teenage hipsters to the venue, it was a multi-generation engagement. But truthfully, none of those guests seemed overly impressed with the performance. The opening set, performed by Lara Johnston, was lackluster. Her voice hardly carried across the lawn despite the speakers. Now perhaps it was the chilly June weather, or perhaps people didn’t need a relatively unknown opener to open for one of their favorite bands, but there was some heat missing from this summer show. Johnston did nothing to warm up the crowd. It took her entire set and nearly four songs into the headliner’s set for the crowd to show any sign of life. It wasn’t until “Black Water” that people finally got up to dance, sing along, and really start to enjoy the show. The Doobie Brothers played all of their classics “Listen to the Music,” “What a Fool Believes,” “Black Water,” “Give Me the Beat Boys,” and “China Grove,” but the night was a far cry from the carefree summer days of their youth.

The Doobie Brothers provide the ideal soundtrack for long road trips and summer nights and on most occasions Ravinia would be the perfect venue for them to perform. This time around, however, the audience was asking the band to give them a beat but unfortunately it didn’t free our souls, just our nostalgia. For Ravinia tickets, remaining summer schedule, and more information visit: www.ravinia.org

Not too long ago, Rahm Emanuel and Jesús "Chuy" Garcia were running head to head in the 2015 Chicago Mayoral election. Many thought this was the opportunity to get someone new into the office that actually related to the quintessential Chicagoan who cared about our public schools, opposed red light cameras, and had a new perspective on things. Well, the people spoke and reelected Mayor Emanuel into office for another four years. 

Whether you like Rahm or not, you must check out the musical “How to Run for Mayor”, which is part of the Chicago Musical Theatre Festival running until July 19th. The musical is about a recent college graduate, Kim, who looks high and low for a job. Her solution: become a viral sensation by running for mayor. 

Of course her promises of what she would accomplish as mayor are unrealistic but is something that millennials are drawn to. She quickly gets thousands of views and hits the 12,500 signatures needed to be on the ballot due to her trusty campaign manager.

The play has an actor that looks eerily similar to Emanuel, just taller but does a great job at showing his arrogance. 

As a political junkie, I appreciate that the play touched on our government system that is totally broken, the lack of interest in voting, and problems with candidates that have so much money and power that they are tough to push out of the office. 

“How to Run for Mayor” features fine acting performances by Trent Eisfeller as Rahm, Steve Lords as Chief of Staff, Grace Palmer as Kim Capello and Ryan Semmelmayer as Charlie Martin.

This musical is a funny and cheeky perspective on elections today. Hurry and purchase tickets to the show playing at The Den Theatre at www.cmtf.org. Upcoming shows of “How to Run for Mayor” are held on July 10, 12, 15, and 18th and runs approximately 60 minutes. The Chicago Musical Theatre Festival features thirteen brand new plays and is sure to have something for everyone.

Underscore Theatre Company proudly presents the second annual Chicago Musical Theatre Festival, featuring 13 world-premiere musicals by local artists. These musicals showcase Chicago’s emerging musical theatre artists. Chicago is home to musical theatre creators, giving the artists a safety net to fall back into when they make risky decisions and experiment with the performing arts. There was a disclaimer in the program. It stated that if theatregoers were to see a musical, it may not be any good. After all, musicals are risky business and very challenging.

Brian is an IT technician at the corporate headquarters of American Smoothie. He feels like his coworkers do not appreciate him and all the work he does for them. Poor Brian arrives to work every morning with demands such as, “Help me open this document!” or “Fix my computer!” He looks forward to speaking with Brie, his coworker, because he has eyes for her. Speaking to Brie is easier said than done and there are too many obstacles in the way. First, Brian’s inability to make a situation light and not-awkward, and second, Chad. Chad is Brian’s worst nightmare. Chad has loads of personality, always bright, and is a charitable human. Everyone at work has a large personality. Brian’s boss, Jerry, is very eccentric. Coworker, Samantha, has a bird fetish. Coal, Brian’s roommate and best friend, is a dedicated puppet game show host. Throw all these characters together in a play, things are bound to go wrong.

That was the shortest summary I could muster, skipping all the ridiculous details, without straying too far. This script went in so many directions, I could barely keep up. Although it was very creative and somewhat comical, the holes in the plot and the weak presence on stage was more apparent. It seems as if the cast missed out on bonding experiences and went straight into rehearsing. It made for rigid and timid presences on stage.  

However, some characters are worth noting. Brian (Brian Elliot) and Samantha (Cami Rene Philgreen) possess very strong voices. Chad (Jonathan Wilson) and Jerry (Michael Palmenderi) provide comic relief from a very confusing script. The ideas were great, but they didn’t blend and left me very confused.

The Chicago Musical Theatre Festival will be presented June 30 - July 19, 2015 at The Den Theatre, 1333 N. Milwaukee Ave. in Chicago’s Wicker Park neighborhood. Tickets are available at www.cmtf.org

A line up of multi-talented artists made their Ravinia debut this past Sunday for a night of music for the romantics, the lovers and even the unloved.  “Thank you for letting me break your hearts for a little while,” introduced us to Rachel Yamagata who took to the stage as the show opener. She is currently working on a new album, continuing her tour and now celebrating the ten-year anniversary of her first release “Happenstance.” Playing the piano, a guitar and plucking on a kalimba, she showed intriguing talent.  Although new to the Ravinia stage, it was nice to hear music from so many TV hit series soundtracks (E.R., The O.C, One Tree Hill, Brothers & Sisters, and How I Met Your Mother) come to life on stage in the sultry and soothing voice of Yamagata.

Amos Lee then strode onto the stage in a black velvet jacket, vest, worn jeans, scruffy beard and black sunglasses, picked up his guitar and drove us into summer with “Windows are Rolled Down.” Surrounded by his very talented band, Zach Djanikian (guitar), Andy Keenan (Guitar), Jaron Olevsky (Keyboard), Annie Clements (Bass) and Fred Berman (Drums), Lee showcased his range, tone and powerful singing voice. Many of the numbers showcased the talents of his band. Original songs like “Rainbow”, “Jesus” and “Flower” were peppered with covers of “No Woman No Cry” and interpretations of well-known favorites like the Cranberries’ “Zombie” and a shout-out for Pride Week (both of which received a standing ovation). Lee got the crowd dancing with “Jump On It.”  Suffice it to say, Amos Lee brought the house down during his Ravinia debut.

With some technical difficulties and a louder, more anticipated second entrance David Gray finally took his seat at the piano and his very polished band took to the stage.  The crowds drew closer together and couples started swaying among the gates and the picnic tables as he began his set with “Birds in the High Arctic.”  Keeping the crowd entranced and romanced amidst the stars and candlelit tables, Gray performed “Back in the World,” “My Oh My”, “Nemesis” and even a song dedication to Joni Mitchell (“Alibi”).  Even as the rain started to drizzle, steadfast Gray fans, sang along.  It is hard to believe that with the music career he has had in the UK, and the cascade of feeling from his song “Babylon”, that this was also his first appearance at Ravinia.

Debuts, standing ovations, romance and emotion, it was a night to remember at Ravinia. If you missed it, it will be a show worth dancing in the rain to the next time these unbelievable artists are back in town.  Keep an eye on upcoming shows and acts at Ravinia, you never know who might surprise you.

Lasting imagery, profound acting and exciting characters set the stage for Lookingglass Theatre Company’s latest production, Moby Dick, the classic tale of the monomaniacal plight of Caption Ahab who is hell bent on destroying a fierce sperm whale who cost him his leg, even at the expense of his own crew. As the story goes, a crew is assembled for a whaling expedition only to find out their captain has another agenda – revenge. Though the play successfully conveys a sense of unity we also feel a dark loneliness that feels foreboding from the story’s beginning.

Lookingglass Theatre is brilliantly transformed to effectively capture the essence of the ocean with the use of flowing fabrics and strategic lighting and uses more than a touch of creative genius in order to pull off a believable whale. As the story unfolds, three stoic red-headed women become part of the set sometimes enhancing the dialogue with their ghostly words of warning and at other times representing the stormy waters or the whale itself. The three are as haunting as they are graceful, dreamily heightening the story’s focus at just the right moments.

Still, it would be difficult to present a plausible production of Moby Dick without a fiery Captain Ahab, but, thankfully, Lookingglass has found their man in Christopher Donahue. Donahue, seemingly born for the role, is as blistering as they come and brings the doomed captain to life with the vigor and fervor deserved for such a classic character.  

Jamie Abelson excels as character/narrator Ishmael. A seasoned sailor who has served on a number of merchant ships, Ishmael finds himself aboard a whaling ship for the first time and plunged in the midst of Ahab’s quest.  Also, outstanding is Anthony Fleming III as Ishmael’s faithful companion, Queequeg, a South Pacific Ocean native whose loyalty is to truly be admired.

Along with the tremendous acting performances and scenic bliss that thrusts us into an imaginative world of high seas adventure, several acrobatics feats also play large in creating such a high level of excitement in this play. Actors are able to utilize the large stage area as they scurry up the walls, balancing high above the crowd, or performs stunts on the enormous whale skeleton that envelops the theatre’s interior.

Splendidly adapted and directed by ensemble member David Caitlin, Moby Dick is a true homage to the classic tale of revenge written by Herman Melville in 1851. A production for the entire family to enjoy, Moby Dick is being performed at Lookingglass Theatre through August 28^th. For tickets and/or more show information, visit www.LookingglassTheatre.org.

Sunday’s show at Ravinia in Highland Park was a triple bill. First up was Doyle Bramhall II. Bramhall’s father is known for his association with Stevie Ray Vaughan. That said, his music is very much in the vein of Vaughan and Hendrix. His outfit was a hot four piece band - two guitars, bass and drums with Bramhall handling the vocals. The set was short and sweet - about 30 minutes - though they we’re the perfect warm up for the acts to follow.

Next up was Sharon Jones and the Dap Kings. We’re talking old school R&B at its finest with two guitars, three horns, drums, bass, percussion and the amazing voice of Sharon Jones. To say Jones was “amazing” doesn’t even do her justice. She is truly an astounding performer. A 59-year-old cancer survivor, she displayed the energy of a hyperactive child. The band also shared this energy. Jones’ voice was still very strong and I simply cannot believe she is not more well-known than she is.

Headlining the show was the Tedeschi Trucks Band. The band is led by husband and wife team Derek Trucks and Susan Tedeschi. Trucks is possibly one of the finest slide guitar players on the planet. Derek started playing at a very young age. This 36-year-old already has quite a resume. In his years as a musician, this young man has shared the stage with many music legends. His tenure with the Allman Brothers Band alone commands respect.

Susan Tedeschi is a well-respected blue guitar player and singer. Her speaking voice is no comparison to the power that comes out when she sings. Tedeschi and Trucks perform as a twelve piece band, including two drummers, bass, three horns, three backup vocals, and keys/flute.

Their set was a bit too short for my taste so I guess they do their job in leaving the fans wanting more. For the encore, Bramhall and a few members of the Dap Kings joined in. The band’s closing number for the night was Sly Stone’s “I Wanna Take You Higher”. It was almost like a religious experience with Susan and Sharon Jones preaching the gospel of funk.

“Boom Shakka Lakka Lakka”

“Boom Shakka Lakka Lakka”

Truly spiritual in the purest sense of the word. To me, Sharon Jones stole the show. One of the best concerts I have ever attended and the prefect venue for such a show at Ravinia. If the Wheels of Soul Tour passes by in your area, get yourself a ticket. You might want to pack your dancing shoes.