Items filtered by date: November 2007

Hairstyles are a quick way to get a read for the age of an audience. “The Zoo Story” at Victory Gardens late last year boasted mostly grayed combovers; “God of Carnage” at the Goodman had shoulder-length cuts and shaved necklines; even “Sex with Strangers” was mostly a salt-and-pepper type of crowd. But at Monday’s opening night of Passing Strange, the 2008 Tony-Award winning rock musical-memoir conceived by musician Stew, the audience was filled with locks of a different color: died porcupine perms and spiked, jet-black up-dos. This was a young crowd.

Youth, rather appropriately, is also the name of the protagonist of Passing Strange; the Black teenage musician, raised in Los Angeles, struggles to find his creative voice and fears becoming too comfortable artistically. So the young artist trips – geographically and psychedelically – from Amsterdam to Berlin, from weed to speed. Watching over Youth’s juvenile delinquencies is the Narrator, peering down like an omniscient father, supplying exposition and exposing cracks (both logical and wise) in the boy’s life. Played on Broadway by Stew, the Narrator here is J.C. Brooks, lead singer of Chicago-based post-punk soul band The Uptown Sound, who energetically supplies all the show’s sound from upstage.

Passing Strange was a critical and commercial success on Broadway, and its Midwest reincarnation by Bailiwick Chicago demonstrates just how universal this story of a young artist is. In short, the dish works without Stew. Brooks is a commanding yet tender narrator; his voice, warm like a wool blanket, channels the pain and longing of an older, wiser artist. Despite his impeccable performance, though, he looks young for the role. A shiny, wide-shouldered black blazer ages him slightly, but weathered nostalgia does not come with only a costume. A younger Narrator does allow Brooks to be more actively engaged with the narrative than Stew was on Broadway. Perched on a stool with a wireless mic rather than cut off by a desk and micstand, Brook’s Narrator intervenes in the story, sitting on the set and occupying the same space as his younger self. He speaks swiftly and carries a wireless stick.

The show is smart, dealing with issues of class, race, gender, sexuality, art, reality, identity, and all their messy and magical intersections. Osiris Khepera stands out amongst the ensemble, embodying shameless commitment and raising all these themes in a speech as the son of a preacher man that that reaches everyone.  Beneath these intellectual themes, though, smashed PBR cans and Heinekens remind us this is a rock show. The director’s note quotes Shakespeare, while the playbill is shaped like an album track list. Through its own shifting identities, Passing Strange emerges as a complicated, emotional, and entertaining work of art. Whether it is a rock concert passing as a musical or a musical passing as a rock concert is still up for debate, but both performance forms are challenged though this blurring of the lines, like a streak of red tearing through heaven-pointed, spiked black hair.

Dangerous stunts and rubber-like contortionists are only part of the fun when it comes to the most recent version of Cirque Eloize, but as the phrase goes, "there’s so much more". And there is. Directed by Jeannot Painchaud, Cirque Eloize iD grabs artists from all over the world to bring to life a unique reality consisting of urban street dancing to electronic and hip hop music, aerial acrobatics, romantic themed choreography, stunning bicycle feats, in-line skating, stilts, juggling, hypnotic lighting effects and an exclusively designed trampoline display using their "trampowall".

There are no language barriers present at Cirque Eloize iD, as everything is carefully set to music, body language and human emotion, making words an unnecessary function – yet each message is precisely conveyed to the audience.

Cirque Eloize is energetic and youthful, and, above all, is mind-blowing. From the show’s beginning to its end, "oohs" and "aahs" are heard throughout the theatre with regularity along with the more enthusiastic outbursts of "Cmon!", "I don’t believe it!" and "Did you see that?" Still, as high energy and exciting as Cirque Eloize iD is, there is also a fair share of beautifully executed romantic acts comprised of graceful dance movements, soft lighting and other variations of skillfully dangerous stunts, giving the show a balanced flow from sequence to sequence.

Cirque Eloize iD is playing at the Cadillac Palace Theatre at 151 W. Randolph in Chicago through Sunday, May 8^{th. For tickets or more information visit www.BroadwayInChicago.com or call (312) 977-1710}

 Fans of Point Break(the movie) and oddball irreverence are being given a rare treat at New Rock Theater. I use the term 'fans' loosely, in the way that arts and entertainment can be enjoyed and respected in ways not always intended. Among other things, Point Break Live is just what it's titled – script and scenes taken from the 1991 major motion picture brought to life in front of a live audience. In case you've never seen it, (very basically)Point Break tells the tale of quarterback gone FBI agent Johnny Utah, who must go undercover to bust a gang of surfing bank robbers. Putting on a comedic focus, it turns into a zany production.

To start - arguably the best idea in the show is that Johnny Utah, the main character, is played by a different audience member each night. This idea is at the same time risky and ingenious. Despite whatever experience the Keanu participant might have in acting, he could easily be rendered inept by the cumbersome cue cards, onstage admonishments, and other abuses. Indeed, many of the memorable parts of the evening were when the actors would break character to berate or molest Johnny into an awkward stumble. Here I must add a notable mention of the hyper-impassioned cue-card girl(also playing as the Keanu stunt double) designated to help the Utah deliver, whose outrageous motivation so often provided an excellent counterpart to the superflat Johnny Utah.

The show overall was aggressively engaging, sparing no one from becoming a liquid - or verbal - target. To the relief of most, ponchos are provided from the start. Reliable for most of the show, but don't count on this plastic covering when commences the 50-year storm. The concept of a stage is also repeatedly dismissed through interactive fights, chases, and robberies.

The type of humor used in PBL is best enjoyed with a thorough knowledge(or at least a viewing) of the film beforehand. My experience would not of been nearly as enjoyable had I not watched Point Break during the week I planned on going. While that might make it sound limited to referential/inside humor, it is the loose, spirited mood that makes attendance worthwhile. Shirtless characters doused in bro-love take on a bizarro likability from what they were in the movie. Favorite lines get shouted from the seats. The whole cast seems to be up on having fun, and participates naturally in moments of improvisation between and during scenes. All that and a conveniently located bar offering (reasonably-priced)drinks throughout the show makes this a cool, casual event to check out.

There are still a couple weeks left to catch Point Break Live!. The show will continue to run on Friday and Saturday nights at 10pm through May 7^th.

(773) 866-0200

Last night Foals, along with openers Freelance Whales and The Naked and Famous, played to a sold out crowd surprisingly composed of the largest group of non-hipsters Wrigleyville has probably seen in years.

The Naked and Famous, playing their first show in Chicago, started off a little stiff but okay.  As time went by the more confusing it got about what kind of music this band wanted to play.  The Freelance Whales started off fun but after a few songs, the crowd was just not feeling their heavier material.  Their niche is definitely within the upbeat tunes.

Foals were met with roars and even a few squees from the audience.  The band’s lead singer, Yannis Philippakis, sounds a lot like Coldplay’s lead singer, Chris Martin as do both bands hail from the United Kingdom.  That’s where the similarities between the two bands end though.  This band is not like one that you’d hear on the radio but trust me, that’s a good thing.  It’s not so different that you hear it and hate it immediately because it’s out of your musical comfort zone but their music is diverse and a friendly way to prove that there is still good music being made out there.  They definitely know how to get the crowd moving with great energy and upbeat music.  Even the men in the crowd danced a bit.  Not the head bobbing that we are used to, but actual dancing to the beat!  The crowd sure needed tunes like “Total Life Forever” and “Afterglow” to make them put their iPhones down and they got it with Foals.

Be sure to check out the band at www.foals.co.uk .

From the director of Rent comes the most talked about new show on Broadway, NEXT TO NORMAL, winner of the 2010 Pulitzer Prize for Drama and three 2009 Tony Awards including Best Score. Alice Ripley who received the 2009 Tony Award for Best Actress in a Musical, will reprise her acclaimed performance in Chicago. Having been chosen as "one of the year's ten best" by major critics around the country, NEXT TO NORMAL is an emotional powerhouse of a musical with a thrilling contemporary score about a family trying to take care of themselves and each other. The New York Times calls NEXT TO NORMAL "a brave, breathtaking musical. A work of muscular grace and power. It is much more than a feel-good musical; it is a feel-everything musical." Rolling Stone raves, "It is the best musical of the season by a mile. It'll pin you to your seat."

Source: www.broadwayinchicago.com

Jeremy Kushnier plays the role of Dr. Fine/Dr. Madden in the show, who helps Alice Ripley's character with her problems and medications. The doctor plays a key role in this show, as the subject matter is about mental illness. Jeremy has played many great roles on Broadway including Ren in the Original Broadway Cast of Footloose, Roger in RENT, and appeared in the Original Canadian cast of The Who's Tommy. I recently spoke with him about how he feels playing such a key role in a great show.

Buzz:   What made you want to go into acting?

Jeremy: Well, when I was a kid, I used to just goof around a lot. I was lucky when I was growing up. There was a lot of opportunities for young kids for summer theater and regional theater and that kind of stuff. I just started doing it. It was just something to do. I played a lot of sports, and I was in the band, and in the choir, and it was just another thing to do.

Buzz:   How did you get started in Footloose?

Jeremy: I actually was living in Toronto. I'm Canadian originally. I got a phone call from my agent telling me if you could be in New York by tomorrow, you can audition for this new show. So I scrounged some money together, got on a 12 hour bus, auditioned, and got the job. It was a blast, because it was my first lead role in a brand new show. It was very exciting. I was very blessed.

Buzz: Now that you're in Next to Normal, what do you think people should take from the show after seeing it?

Jeremy: I think they're gonna take whatever they want. I think it's such an interesting piece. It definitely starts conversations about the mental illness, the treatments, people dealing with loss. It definitely is a conversation starter. And I think if doesn't anything but make people stop and think, I think it's great.

Buzz:   What was your favorite show you've ever done and why?

Jeremy: That's tough. Every show I have is a favorite for a reason. Footloose was probably my biggest favorites because it was my first big gig, as far as me moving to New York. I loved doing The Who's Tommy. It was my first big professional mega musical when I was living in Toronto with the Canadian company. Then I did RENT, which was also really special to me because I did that show off and on for over 8 years playing Roger.

Buzz:   What made you interested in Next to Normal?

Jeremy: I mean, first off, it's a job. It's really exciting to be involved in a Pulitzer prize winning piece that's brand new. And having such a small cast. The music is really phenomenal. I have been a big fan of Tom Kitt's for a long time. And there's so many reasons. Getting to work with Michael Greiff again. There are a lot more reasons than not to as far as getting together trying to get with the show. It's been a really cool experience.

Buzz:   What do you take from each role you perform, and how does it affect you as an actor?

Jeremy: Well, I think there's a piece you take with you, and there's a piece that you leave. I believe a little bit more than what I take with me, because with a show like this, it becomes too hard. You don't wanna carry around this stuff with you all the time. There's definitely something that stays with you after you do any of these kind of pieces. Shows like RENT and shows like this. It's hard, but you can take the hope from this.

Buzz:   What message do you take from this show personally?

Jeremy: I think there's a great message of hope. There's a great line in the show that's, “You don't have to be happy to be happy you're alive.” I think it's a pretty deep message, to realize how precious what we have is. Regardless of how glad we are in the moment. I think that's something important to remember.

If you love classic dance musicals from the 30s, then you will love Marriott's new production of 42^nd Street! The cast was wonderful. Now, I personally, have never been a fan of this show until now. After seeing this show, I loved it! The show is directed by Jeff Award winner Rachel Rockwell, with beautiful costumes by Nancy Missimi, unbelievable choreography by Tammy Mader, and Doug Peck's fantastic musical direction.

The show, about a tap-heavy cast getting ready to open their show, “Pretty Lady,” directed by the moody but brilliant director Julian Marsh (played fiercely by Tom Galantich), who starts to see new beginnings for his show when Peggy Sawyer (Kaitlyn Davidson, who amazed us with her dancing and beautiful matching voice), the small town girl from Allentown, Pa., steps into the lead role, when diva Dorothy Brock (the funny Catherine Lord) falls and breaks her ankle. The investor along with their star diva leaves, now it's up to Peggy to live up to the star in her performance.

The show breathes with magic in the feet of its actors. The tap dance segments were so wonderful to watch. For one thing, the choreography is truly the highlight of this show. I highly recommend this show to anyone that wants to have a fun time at the theatre. This show is for you.

For being a theater-in-the-round, the Marriott Theatre in Lincolnshire puts on astounding productions every season. For choosing 42^nd Street, I think they made the right choice. Everything was perfectly put in place. The comedy, the fun, the dancing, the lights, and the smiles onstage. For those of you who have never seen the show or heard it, then you maybe may have heard some the songs that are in the show, including “We're in the Money,” “42^nd Street,” and the classic “Lullabye of Broadway.”

Overall, it was a great entertaining evening of theater. Definitely go see this show. Who knows? You might be humming the music as you walk out the door. Marriot is a great theater to see shows, so if you get the chance try to see one there if you have or haven't. You won't be disappointed.

42^nd Street is playing through May 29 at the Marriott Lincolnshire Theatre; 10 Marriott Drive, Lincolnshire. The running time is 2 hours, 20 minutes. Tickets cost $41-49 at 847-634-0200 or visit them online at www.marriotttheatre.com.

The first thing that strikes one as they enter the theatre is the massive set. With a spacious hotel lobby taking up the entire main stage, check-in counter and switchboard on one end, a stairway takes us to the second floor where several rooms stand side by side, each framed with doorways though the doors and walls are transparent, giving the audience a bird’s eye view into each unique setting. Every room is decorated differently from the other, hinting towards each occupant’s personality. As theatre guests take their seats, activity is already taking place on the stage, presenting the daily goings on of hotel life from a man reading a newspaper, a clerk operating the switchboard, and people walking to and fro throughout the lobby or from room to room.

An aging hotel in the early 1970’s, we can see watermarks, missing fixtures and other signs of dilapidation. The tenants consist of a motley assortment of characters including prostitutes, assorted drifters and a handful of other folks with tough stories. However, despite their differences in background and current situations, a family-like bond has been created. Hard news hits when the news breaks that the Hotel Baltimore is set to be demolished and life as they recently knew it must change. Jon Michael Hill wonderfully plays "Bill Lewis" the hip hotel clerk who finds himself in the center of everything and who is just as much a part of the family as the boarders.

A gentle ghost from a past era, perhaps the 1930’s, also resides in the hotel. Donned in a 'Palm Beach" suit and fedora pushed forward over his eyes, he quietly takes pleasure and interest in everything that happens. The ghost subtly watches on and glides from room to room and lobby, adding the feeling that grand days once took place in the Hotel Baltimore as opposed to that which takes place in its current run down state.

The set is tremendous, but the hauntingly accurate wardrobe direction also plays a large part in bringing the 1970’s alive, taking viewers somewhere in between "The Electric Company", "Cooley High" and "The Mary Tyler Moore" show.

With a strong cast filled with Steppenwolf ensemble veterans Kate Arrington, Alana Arenas, Yasen Peyankov, James Vincent Meredith and Molly Regan, there is no shortage of fine acting. "Hot L Baltimore" also brings in other super talents such as Allison Torem, de’Adre Aziza, Namir Smallwood and Sean Allen Krill (one of me personal faves) amongst others, which turn an already strong cast into a spectacular one.

"The Hot L Baltimore" has it all – funny, revealing, moving and visually stimulating. Written by Lanford Wilson and directed by ensemble member Tina Landua, this show falls into the "must see" category. "The Hot L Baltimore" is playing at Steppenwolf through May 29^{th. For tickets or more information visit www.steppenwolf.org.}

One part solo drag show, one part infomercial, one part women’s history lecture, and three parts sexual innuendo, “Dixie’s Tupperware Party” is all parts party.   As you enter the studio theater at the Royal George, grab a nametag and a piece of candy from Dixie, who trots around with a candy dish like any proper party host should. When you take your seat, you won’t find a playbill with cast bios, but the Spring 2011 Tupperware catalogue (Dark blue water filters and pitchers are all the rage this spring.)

Dixie Longate, a formerly incarcerated mother of three from Mobile, Alabama, hosts the party/stars in the show, demonstrating the multiple uses for Tupperware merchandise. In a blue-polka dotted dress and three-inch heels, Dixie shows a caddy for 18 cupcakes that could also carry 24 Jello shots. Or perhaps an air-tight water bottle just enough room for a bottle of Yellowtail. And gentlemen, go ahead and marinate your meat in the double-ribbed container: it comes with a lifetime guarantee.

The solo show really shines during segments of audience participation. Raffle prize winners are invited on stage to massage a Tupperware brand ball or compete in a sealing context. Dixie’s improvisational abilities are as tight as the air-tight seal on the “plastic crap” she peddles. Last Wednesday, when Mike had some trouble operating a can opener, Dixie railed into him (“Mike. Mike. Mike. Miiiiiiiike. Mike. Mike.”) Of course, improvisation can lead to unedited material, and the night I attended, there were a few too many lesbian jokes directed at a young woman who was chosen to sit on stage. Of course, by placing the butt of the jokes in a couch on stage, audiences (and Dixie) can see how the person reacts and course-correct accordingly. The woman laughed.

The man behind the woman on stage is Kris Andersson, who a decade ago was working as an actor in Los Angeles. A dare from a friend gave birth to a character who became the third-highest seller of Tupperware in 2003, acknowledged as such during the company’s annual Jubilee. Producers took notice, and “Dixie’s Tupperware Party” transitioned from an evening in someone’s home to and evening at the New York Fringe Festival. The production, in various incarnations, has been on tours ever since.  Now 41, Andersson seemed a bit tired at the end of the show where he essentially talks for 100 minutes. An eleventh-hour emotional monologue allows him the opportunity to sit, and when the lights dim and Dixie talks about winning the Jubilee (an annual party celebrating Tupperware's top sellers), the evening is given some emotional gravitas.

The emotional thread that carries throughout the piece centers on the creator of Tupperware parties: Brownie Wise.  Throughout the evening, Dixie worships the black-and-white photograph of Wise, who took the newly-invented Tupperware off the shelves and promoted the product through parties in her home after WWII. At a time when many women were losing their jobs as the war effort ended, Wise, according to Andersson via Dixie, empowered women working at home to earn extra income using their party planning and entertaining skills. Today, Andersson uses his entertaining skills to support himself, donning Dixie’s drag to sex up the prudish 1950s image of a Tupperware Party.

 “Aren’t you dressed nice, Mr. Zach,” Dixie remarked as the evening began, reading from my nametag and offering me a sugar-free mint from her candy dish. “My friend was dressed up, too, but changed before we came,” I replied. “Oh, of course, would dress up for the theater?” she deadpanned. “It’s just fine to look like a common whore.”

The Music Theatre Company in Highland Park presents “Merrily We Roll Along,” a marvelous musical with a great book by George Furth and beautiful music and lyrics by Stephen Sondheim himself.  A rarely produced musical, The Music Theatre Company is thrilled to be presenting its first five-week run with this widely-loved work. It is based on the 1934 play of the same name by George S. Kaufman and Moss Hart. The show is about 3 friends who stick together through their lives. The story moves backwards from present day, to when they all first met.

The story begins in 1976 and ends in 1957. I love the way how the ensemble narrates the show as the characters go from old to young within a span of 2 hours. The transitions were marvelously blocked by the fantastic director/choreographer of this show, Jessica Reddish, who is the founding Artistic Director.  The set and the music were great. I highly recommend this show to everyone! I’m a huge fan of Stephen Sondheim’s work, and have never seen or heard this show. I only knew some of the familiar songs from this show, “Not a Day Goes By,” “Good Thing Going,” “Old Friends,” and “Our Time.”  But this story is truly a great story to tell, with great actors to help portray it.

The wonderful cast includes Jessie Mueller, who was hilarious as Mary Flynn, Jarrod Zimmerman as songwriter Franklin Shepard,  and Alan Shmuckler, who is a real character play Frank’s writing partner and friend Charlie Kringas. Dara Cameron plays Frank’s wife Beth, who sings a beautiful rendition of “Not a Day Goes By.” Other notable cast members in the show include Stephanie Herman as Frank’s wife Gussie, and her ex-husband Joe, played by Jerry Galante. The ensemble really helps guide this show. Props to this wonderful ensemble!

Merrily We Roll Along will be running March 31-May 1, 2011 at The Music Theatre Company at the Karger Center, 1850 Green Bay Road in Highland Park.

Shows are Thursdays – Saturdays at 8:00 p.m. with Sunday matinees at 2:00 p.m. Additional matinees will be held at 3 p.m. on Saturday, April 15 and Saturday, April 30. Tickets are $30 and can be purchased by calling 847.570.4900 or visiting  www.themusictheatrecompany.org. Groups of ten or more can purchase tickets by calling 847.579.4950 x 2.

DINNER-THEATRE PACKAGE

The Music Theatre Company’s patrons will receive a 15% discount off their bill at Café Central, a casual and cozy French bistro at 455 Central Ave. in Highland Park. Please call (847) 266-7878 for reservations. Bring in your email ticket confirmation before or after the show to receive the discount.  Discount applies for dining the day of ticket only.

For additional participating restaurants go to www.themusictheatrecompany.org.

UPCOMING EVENTS

Saturday, April 23 at 2pm, The Music Theatre Company will present a reading of the play, Merrily We Roll Along, by George S. Kaufman and Moss Hart on which the musical is based. Actors in the musical will play their corresponding role(s) in the play. The reading will be directed by Michael Weber and is free to the public. Audiences are encouraged to attend and stay for a post-show discussion, examining the methods of adaptation and the ideas utilized (or not) in the musical.