Items filtered by date: November 2007

Steppenwolf Theater will be the testing ground for Kenneth Lonergan’s “This Is Our Youth” before the play goes to Broadway for its launch in September. Powered with young, talented actors Micheal Cera, Kieran Culkin and 18-year-old fashion blogger turned actress, Tavi Gevinson, we are taken to a lived-in Manhattan apartment in 1982 during the Reagan era. Archetypal slackers, “Dennis”, “Warren” and “Jennifer” are rich kids with all the drugs and self-indulgent worries a group of college-aged kids can ask for.

It all starts when Warren (Cera) intrudes on his self-absorbed pal, Dennis (Culkin) with fifteen thousand dollars that he had swiped from his father after the two had a major argument. Having spent some of the money already, Warren recruits Dennis’ help in trying to replace it before he returns the cash back to his father – hopefully undetected. Dennis, not at all cool with the fact that Warren has now made him accomplice, devises a hair-brained scheme where they would buy some coke, keep some for themselves, cut it and then resell it for a profit exceeding the amount needed to replace the full fifteen thousand dollars. Of course, nothing goes as planned.

In the meantime, throughout constant belittling of Warren by Dennis, Jennifer comes into play, a girl that awkward and nerdy Warren has had a crush on for some time. Plenty of clumsiness takes place between the two before common ground and mutual interests are observed. As the story develops we see plenty of layers shed from each character exposing various vulnerabilities.

The plot is not rocket science – simple and to the point, but the dialogue is plenty and engaging enough to capture one’s attention all the way through to where interest is never lost for a moment. For those whose youth enveloped those early 1980s years, plenty of references are made that will make you think, “Oh, yeah. I remember those – or that.” “This Is Our Youth” is a witty comedy that is refreshingly not overly dark, heavy and depressing. It’s a classic story of a bad situation that gets worse in a very realistic way. Cera and Culkin are a wonderful team and their chemistry is through the roof whether they are bickering or horsing around.

“This Is Our Youth” is a modern day classic that has been performed around the world and has had a revolving door of talent taking on its roles, most notably Jake Gyllenhaal and Anna Paquin during a West End run over a decade ago. Anna D. Shapiro directs this production to perfection, brilliantly capturing all the character nuances and bringing this story to life in a theatre-in-the-round setting, creating an atmosphere to which one feels a part of the play.

Funny, charming and sharp, “This Is Our Youth” is pure theatre bliss. Cera, Culkin and Gevinson are electric.

“This Is Our Youth” is playing at Steppenwolf Theater in the upstairs theatre through July 27^th. For tickets and/or show information, visit www.steppenwolf.org or call 312-335-1650.      Captivate

I was eager to see the show but felt really bad as I settled into my seat for the opening night of GODSPELL at The Marriott Theatre in Lincolnshire. Pain was shooting through my legs, and my mind was overwhelmed after yet another day of wrangling with difficult business decisions. But by the time I left the theatre I genuinely felt uplifted and renewed by the youthful and fresh energy and the heartfelt message of hope in Jesus that poured out of this production.

The cast could have, and maybe should have, been cast older; except for two token adults most of the cast seemed straight out of high school or college. Their voices were fantastic in the way singers on American Idol are, but as soon as they formed the Tower of Babel as 9 to 5 city workers dressed in black and grey, I thought what do these kids know about how hard the workplace is?  Later during the heavier scenes regarding Jesus’ scourging and crucifixion I thought, what do these kids know about loss? Though one thing this young cast did have was talent – and plenty of it.

Brian Bohr played the role of Jesus.  I was at first shocked and taken aback by a Jesus who resembled a 22 year old, baby-faced, California surfer kid wearing a sky blue preppy polo shirt. But Bohr’s rich, smooth voice and determined lightheartedness eventually won me over. Although I was surprised by Bohr's youthful appearance and super clean cut costume and looks, I grew to enjoy his interpretation of the role because it reflected on just how very strong and happy Jesus must have been during his early ministry before he was attacked and weighed down with betrayal.

Samantha Pauly had the most dynamic voice of the women and did a great job with the humor and tone of “Turn Back O Man”. At the same time, Devin DeSantis who had more of the hippy, wildman look I would have expected from Jesus, also had a great rich voice and made a very sympathetic Judas. The numbers were exciting and colorful, especially “O Bless the Lord My Soul” where golden hula hoops were incorporated into the dance choreography and “Light of the World” that really had the audience toe tapping and nodding their heads to the beat.  

As always I thoroughly enjoyed the use of the intimate space at The Marriott Theatre and all of the colorful ways the entire theatre was decorated with multicolored plastic drinking cups sticking out of fence walls like a rainbow. I noticed that most of the audience seemed to feel the same way, as more people were laughing and chatting after the show rather than stretching and yawning on a weeknight and rushing to get home.

Overall this is a great production that is perfectly suited for everyone. Even the crucifixion scene was exceptionally light and non-violent as Jesus is tied up and crucified with blue and white silks suspended from the ceiling.  I especially recommend this as a children’s theatre production for parents who want to take their children to an adult theatre piece with a great message about Jesus and the Gospel of John and Luke that will be very clean and cheerful all the way through.

GODSPELL is playing at The Marriott Theatre in Lincolnshire though August 10^th. For tickets and/or more information, visit www.marriotttheatre.com. 

Hell in a Handbag Productions has done it again, bringing yet another hilarious musical to the Chicago theatre scene, this time to Theater Wit. Caged Dames is one bad ass campy ride behind bars at a women’s correctional facility where “shocking” is just another day in the life. Writer and Artistic Director, David Cerda, brilliantly lampoons the old 1950s prison flicks, particularly “Caged” starring Eleanor Parker who lead character “Mary Anderson” is clearly created after.

Caged Dames, first produced in 2006, tells the story of innocent-natured Mary Anderson who, by a series of unfortunate events, winds up in the Calumet City Women’s Penitentiary. While in prison she comes across plenty of tough cookies while contending with a shady and sadistic prison matron and a warden who believes she can reach out to the inmates with psychiatric treatment and other unconventional methods. Matron Emerson and Warden Hope do not see eye to eye.

AJ Wright fantastically directs this Jeff Recommended production while each of the main characters bring something thoroughly entertaining to the table. Ed Jones is amazingly funny (as always) as the hard hitting “Matron Emerson” while Sydney Genco as “Big Lorraine” and Elizabeth Lesinski as “Myrtle Price” get constant laughs throughout along with the rest of this talentedly funny cast including lead Elizabeth Morgan as “Mary Anderson”. The show also comes with a live band and a larger than life set that takes its audience inside Calumet’s murky and dank prison walls.

Caged Dames is a fun take on film noir and then some, literally delivering laugh out loud moments nearly nonstop from beginning to end. We are treated to witty song and dance numbers with bite, Cerda’s delightfully genius humor and a smash performance by a very entertaining acting troupe that is considered among the funniest in Chicago. Cerda’s knack for parodying film classics is unbeatable. He has a keen ability to know when to push forward and when to hold back to perfectly capture, in some cases, the tiny nuances of a character while in other cases letting bold personality exaggerations fly to the extreme without going so far over the top the humor is lost.

Tickets are very reasonably priced at just $18-$37 leaving little reason not to see this greatly amusing production. Caged Dames – now Ken Recommended, as well – is running through July 13^th at Theater Wit located at 1229 W. Belmont. For more information visit www.theaerwit.org or call 773-975-8150.

Engaging and uproariously funny, Caged Dames is also plenty affordable, making it a show to enjoy on more than one occasion.   

In what could be the sleeper theatre smash of the summer, One Hit Wonders has just about all the ingredients a show would need to have the staying power for an extended run. And Chicago theatre fans should hope that to be the case, as this is a production that can be enjoyed over and over again. Finely directed by Daryl D. Brooks, the audience is thrust into the middle of a hilarious play, a live concert and even a dance party that spreads like wildfire from stage to seats close up through farther back. Sitting high above the set, a rockin’ live band that is often incorporated into the show’s storyline, is led by musical director and drummer, Robert Reddrick. It’s only a matter of moments that one realizes this band can play with the best of them.

The story revolves around a show that is being put together based on popular R&B songs by artists that have, after releasing a successful hit, for the most part, vanished from the music scene never to recapture such fame and popularity again. In fact, though the songs played in One Hit Wonders were recognized immediately, it would be a challenge to know who the artist that created it. We are taken from the ground floor of this production (also called One Hit Wonders) to, as expected, a big finale full of flash and fervent celebration. In between there are many bumps in the road and several rotating mini plots that keep the story flowing ever so smoothly. There are plenty of laugh out loud moments and an arsenal of great R&B music delivered to the audience in rapid succession.  

Each of the cast members are very accomplished singers and get their chance to show it in their own solo numbers and even in the beautiful harmonies heard in the background. Songs such as “I Will Survive”, “Ring My Bell”, “It’s Raining Men” and even a lively version of “Da Butt” by Mark J.P. Hood incite spontaneous cheers from the crowd throughout, and deservedly so considering their polished and wholehearted performances.

One Hit Wonders is a feel good story that is power-packed and bursting with a bevy of enjoyable performances. Perhaps R&B’s answer to Million Dollar Quartet, this is a show that truly delivers in every facet and will have the toes tapping and the hands involuntarily slapping the thighs to the beat.

One Hit Wonders is playing at Black Ensemble Theater through June 29^th. Black Ensemble Theater is located at 4450 N Clark and tickets are just $55-$65 depending on the show date. For more show information visit www.blackensemble.org or call 773-769-4451.

*photo - (from left) Ta-Tynisa Wilson and Kelvin Roston Jr.

The New Colony has staked a claim in the Chicago and U.S. theatre scene. Creating original, devised, ensemble-based productions, the nomadic storefront theatre has made a splash on the local and national scene. In just sixth short years, their productions have appeared across the country - in Steppenwolf's Garage, the New York International Fringe Festival, and Off-Broadway. The secret ingredient? Lesbians. Five of them. And a quiche.

Originally part of their 2011 season, "5 Lesbians Eating a Quiche" is a clever romp set in 1956 exploring the hysteria of the Cold War, American feminism, and the delicate art of making a quiche. It also put The New Colony on the national map. For those who missed it, a second, reheated version is occurring in Wicker Park's Chopin Theatre. The ladies of the Susan B. Anthony Society for the Sisters of Gertrude Stein incite you to their annual quiche breakfast. When you enter, you'll get a nametag – my male date was "Patty," I was "Bernice" - and the 75-minute presentation with a plot twist commences. The women recount the history of their society, the importance of the egg – both for quiche and biology – and tap into their inner desires when the stakes are raised to nuclear proportions.

The talented ensemble - Caitlin Chuckta, Megan Johns, Thea Lux, Rachel Farmer, Kate Carson-Groner (the final two, full disclosure, are improv friends of mine) – is mostly the original cast who developed the characters, penned into an official script on sale in the lobby. The polished comedic romp through gender stereotypes, the politics of friendship and romance, and the absurdity of quiche-love is heightened to farcical extremes, making it a perfect post-brunch outing. Whether you're out or not, you should come out to "5 Lesbians Eating a Quiche." 

If you have any fondness for tales of the golden era of Hollywood, and in particular the work of  the beloved movie star comedian, Jack Lemmon, you will thoroughly enjoy this moving and entertaining one man show starring Jack’s son, Chris Lemmon.

Writer and director, Hershey Felder had a similar solid hit  last year with "The Pianist of Willesden Lane” in which a daughter tells the story of her mother surviving the Holocaust.  Jack Lemmon Returns script was originally based on a memoir by Chris Lemmon titled, A Twist of Lemmon. Felder took the book, added some wonderful music and had Chris do the entire piece, not as himself- but as Jack, which makes this piece especially unique and enjoyable. All of the monologues flow beautifully into each other along with the music and never before seen photographs projected above the stage to create a touching, and funny progression that is very polished and theatrically satisfying.

There is no hash slinging ala “Mommie Dearest”, but Chris acknowledges Jack’s two decade long struggle with alcohol addiction. A telling moment about Jack’s narcissism is when “Jack” describes the thrill of winning his first Oscar for Mister Roberts and realizing after a few hours of celebration that he had literally left his wife behind, sitting all alone in the auditorium, which signaled the end of his marriage to Chris’s mother and actress, Cynthia Stone.

Lemmon has wonderful stage presence, as himself and as his dad, Jack. I was unaware that both he and his father were such gifted pianists. Jack introduced Chris to music, who later earned a degree in classical piano and composition. Chris recalls how after his parents divorced, while he was only two, Jack would make time to visit him almost everyday at his beach side home to play piano together. Chris says that although his new stepmother did not really welcome his presence, Jack was still  “a little bit in love with his mother” and he remained his father’s beloved “hotshot” son without interruption.

The one piece of video in the show was of French Actor/Director and Mime Jean-Louis Barrault's performance in the silent film Children of Paradise, which Jack Lemmon studied intensively. It shows how ahead of his time Jean-Louis Barrault’s expressive hand gestures were - like a series of poetically powerful  hand mudras, which were able to make people laugh and cry at the same time.

Chris does an amazing job of recreating young Jack’s many complicated trademark mannerisms, comical stuttering and gracefully manic hand gestures. He also does some fantastic impersonations of the friends in Jack’s start studded life like James Cagney, Billy Wilder, Jerry Lewis, Gregory Peck and even Marilyn Monroe.

Chris Lemmon grew up near Marilyn Monroe and relates a great story of how he snuck into her yard once while she was surrounded by secret servicemen during a tryst with JFK.  The armed men tried to remove him but Marilyn stopped them and said “No! That’s Jack Lemmon’s son! “

The ninety minutes flowed so quickly and intensely that I wanted it to go on longer and pack in even more star recollections. Chris said afterwards that he and Felder had a rough time cutting the piece down to this exact running time especially when it came to cutting a section about Jack’s great friendship with actress Shirley Maclaine. He further explained that an intermission or even three extra minutes could stop the pace of this one man show in its tracks.

There is a real market for this special piece. After the show I felt like I had experienced a visit with real Hollywood royalty in both Jack and Chris and wanted to see Jack Lemmon’s movies again, and read Chris Lemmon’s biography with this new perspective.

At 59 Chris Lemmon is the perfect age to play his father as a young man and into old age when Jack died of cancer at the age of 76.

 Chris’s stage version of his beloved father is more than an impersonation. Because of Chris’s skill and because Chris Lemmon is “blood”, his remarkable performance borders on actually “channeling” his late father’s huge spirit.  It is truly exciting and haunting to watch. At times I felt I was actually witnessing Jack Lemmon joyfully “stepping into” his son’s face and body.  After congratulating Chris and meeting his lovely wife and daughters at the end of the night, we hugged goodbye and I told him how much I loved his dad. I could have sworn I saw Jack Lemmon himself with his broad smile winking at me over Chris’s shoulder.

Hershey Felder said after the show that they brought “ Jack Lemmon Returns” to Chicago first because of all the cities in the U.S., Chicago is the only city that truly welcomes new theatre and longs for it’s success, instead of sitting arms crossed in judgment.

Do not miss your chance to see this remarkable and beautifully written and directed piece of theatre while it is running here at The Royal George Theatre, which is being performed through June 8^th. Visit http://www.theroyalgeorgetheatre.com/ for more info.

It is always a pleasure to see a play by Neil Simon and Lost in Yonkers is always near the top of the list. Now playing at Northlight Theatre in Skokie, artistic director BJ Jones and Executive Director Timothy J. Evans bring this classic to the stage under the direction of Devon de Mayo, who is able to bring out all the nuances that have made this Pulitzer Prize play the success that it has been for so many years.

We are taken to a hot and humid New York summer in 1942 where Eddie falls on hard times due to surmounting medicals bills for the care of his late wife. Without much choice he has borrowed nine thousand dollars from local loan sharks and now has one year to pay it back – or else. The only way for Eddie to earn such a sum of money is to take on a traveling sales job, the only problem is that he needs to find a place for his two teenage sons to stay in the meantime. After some convincing, he arranges for the two boys to stay with their tough as nails grandmother, who is as strict as they come. Bella, his lovable, but somewhat broken sister also lives with them and the dynamic becomes even more off kilter when his brother, Louie, a small-time gangster also lives with them from time to time. What we get is a mish-mash of personalities who are thrown together and though nerves are often tested, valuable lessons are also learned.

Alistar Sewell as “Jay” and Sebastian W. Weigman as “Arty” are full on fantastic as Eddie’s two sons, each showing a strong ability in delivering comedic lines and timely expressions. At the same time, Linsey Page Morgan displays her well-rounded talents in portraying the often neurotic and emotionally scarred “Bella”. What you get with this production of “Lost in Yonkers” is heavy-duty acting all around, a heartfelt story and a lot of laughs – not to mention a great taste of New York family life during WWII.

This recommended production of “Lost in Yonkers” is being performed at Northlight Theatre (9501 Skokie Blvd, Skokie) through June 8^th. For tickets and show information, visit www.northlight.org or call the box office at 847-673-6300. Tickets are also available at a very reasonable $25-$75 dollars with student tickets being offered at just $15.     

With so many ways to enjoy springtime in Chicago, The Sound of Music, currently being performed at Lyric Opera of Chicago, should certainly make your list of to dos. With acting heavyweight, Billy Zane, and Broadway star, Jenn Gambatese, leading the way, audience members are treated to a most memorable performance of the Rogers and Hammerstein classic that will have you singing that catchy little “Do Re Mi” days after you’ve seen the show.   

As a general rule for success with this particular musical, it’s safe to say that to truly bring "The Sound of Music" alive on stage, a strong supporting cast is utterly essential, but most important of all, the show requires a vibrant “Maria” who exudes wholesome fun and is convincing as a free spirit. Done and done. Lyric Opera of Chicago's production of “The Sound of Music” has not only put together a brilliant surrounding cast from top to bottom, but has also struck gold with leads Billy Zane as “Captain Von Trapp” and Jenn Gambatese as “Maria Rainer”. Not only are the two vocally right for the roles; their chemistry together is nothing short of magical, adding a very believable element to this timeless story of love for family and country. And, yes, to alleviate any doubt, if any at all – yes, Billy Zane can sing, and quite well at that. Zane especially makes it crystal clear that he’s not just a big Hollywood name used to sell a show during his gripping vocal performance of “Edelweiss”. I should also mention that his acting was right on the mark too, but that should have already been expected. So, in a nutshell, Zane is surprisingly perfect as “Captain Von Trapp”.      

Lyric Opera of Chicago has succeeded with this production and then some.

Gambatese grabs the audience immediately after her opening number, “The Sound of Music”. And though it is not yet clear where this “Maria” will take us, it doesn’t take long to find out. During her next song, “I Have Confidence”, her talents really stand out and her sparkling personality now officially beams throughout the house. At that point, it is apparent she has thoroughly captured the entire crowd.

The seven Von Trapp children are immediately likeable and, like the rest of the cast, more than vocally efficient. Christine Brewer adds a tasty punch as “The Mother Abbess” boasting her incredible vocal range while Edward Hibbert (of Frasier fame) is a sheer delight as “Max Detweiler”. Other standout performances would include Betsy Farrar as “Liesl” and Elizabeth Futral as “Elsa Schraeder”.

The set design is stunning as the audience is taken inside the Abbey then into different areas of the Von Trapp mansion and its courtyard. The set changes are equally impressive. One highlight has the stage seamlessly transformed from the mansion living room into the very festival in which the performing Von Trapp Singers escape from Nazi occupied Austria.

Many productions of “The Sound of Music” have come and gone and some have stood out more than others. This current production is one that stands at the top. A perfect Spring treat or a family night out, "The Sound of Music" at Lyric Opera of Chicago is an unforgettable experience that you can relish over and over again. This is a show that anyone of any age can enjoy.

"The Sound of Music" is being performed at Lyric Opera of Chicago through May 25^th. For tickets, performance times and/or more information, visit http://www.lyricopera.org/. 

It may not be the age of Aquarius anymore, but American Theater Company is currently bringing back the days when hippies believed love was the answer for everything, the war in Viet Nam was being protested with demonstration after demonstration, racial barriers were being broken and psychedelic drugs were in fashion more than ever. HAIR represents a time and movement that has certainly gone down in history as one of the most influential to date in American culture and politics. HAIR is a story of peace, love and the acceptance of people for who they are.  

From its opening number “Aquarius” to its big finale “Flesh Failures (Let the Sun Shine In)”, HAIR will have you longing for the days of yesteryear when flowers in your hair was as commonplace as “Make Love Not War” chants, or simply yearn for a time you never got to experience but always wanted to. As you walk into the theater you are immediately thrown into the midst of a late 1960s social as cast members in striped bell bottoms and paisley dresses donned in beads and headbands are scattered throughout interacting with each other and audience members.

PJ Paparelli does a great job in his direction but gets just the right support from his costume, hair and scenic designers to really make the era come to life. And you simply cannot pull off a successful production of HAIR without a good band and Sam Brownson’s fuzzy guitar leads the way along with John Lauler on bass, Matt Roberts on drums and Greg Woods doubling on piano and guitar.     

And then there is the cast.

Zach Kenney is just terrific as “Claude”, who is conflicted throughout the show once he receives a draft card to serve in Viet Nam. Kenney shows a vast range of emotions and is also able to carry the role vocally with just the right amount of finesse. Sky Seals also shows off a good deal of talent in his role as “Berger”, pushing the boundaries any chance his character allows.  From top to bottom, the HAIR cast gets the job done well and treats the audience to fantastic vocal harmonies and exciting dance numbers for an entire 140 minutes.

Though there were a couple moments in the show that dragged, they are quickly overcome with fun songs, good laughs and stimulating choreography. There is nudity in this show, so be advised if that makes you uncomfortable. But HAIR without nudity would be sacrilegious.

My take? HAIR is fun and it promotes a beautiful message. Go get your hippie on and get over to American Theater Company and take in a night of song, dance, comedy and most of all – love.

HAIR is playing at American Theater Company (1909 W Byron Street) through June 29^th and tickets are priced at a reasonable $48. For tickets and/or more information, visit http://www.atcweb.org/ or call 773-409-4125.      

*Photo by Michael Brosilow - Candace Edwards, Sky Seals, Zach Kenney, Ella Raymont, Mary Hollis Inboden  - V

I just saw Kevin Costner and his great band Modern West perform at The Arcada Theatre near Chicago and was blown away by their polished and expansive sound and by how much they have grown as a band over the years. Kevin Costner’s spectacular presence as a front man, singer and bandleader has reached new heights.

I have seen the band perform only twice before several years ago at The House of Blues in Chicago and the Northern Lights Theatre in Milwaukee and both times felt the band was already hitting all the right notes. Now they are even better. Kevin Costner and Modern West are very poised and professional as a group. The band comes with great original western rock flavors and superbly skilled musicianship which includes founding members John Coinman, bassist Blair Forward and a sparing, tight ensemble, including Teddy Morgan and Park Chisolm on guitar, Larry Cobb on drums, complete with a soulful, laidback fiddle played by Jason Mowery.

And now after traveling the world and performing to sold out venues with upwards of 40,000 people, Kevin Costner and Modern West have elevated their songwriting and playing style in such a way as to be forever removed from those lists of actor’s bands that have come and gone. Modern West is a legitimate western rock band – and a very good one.

Kevin Costner and Modern West’s vocal harmonies are not just precise, they are touching and moving. The fiddle, bass and guitars are sweet and low, almost a subtext to the lyrics, very pure and emotional. Larry Cobb’s fantastic drumming can be thunderous and pulsating or warm with a gentle finesse when needed. I just love it. Cobb holds down and rocks the beat old school style and his work really pushes the sound into true rock and roll.

I got the full VIP treatment. I was able to “check under the hood” of the band during the sound check and hang out with them and Kevin backstage to relax, share a glass of wine, and “check the oil” of the band as friends and mates. The Modern West vehicle passes inspection with flying colors.

Kevin Costner’s voice and stage presence as a musician have grown over the past nine years to the point where I can honestly compare him to great singer/songwriters in the vein of Garth Brooks, Johnny Cash, and Kenny Chesney. Kevin’s voice fits perfectly with the band’s style of music. Costner has created his own little niche vocally and thematically. The lyrics are also crucial, and I was tremendously moved by several of the new songs.

There are several songs, which have radio hit and/or soundtrack success written all over them.  Two of them being the timeless, classic sound of “Let Me Be the One”, of which Costner sang as a duet with daughter Lily and “Never Losing You.”

 “Never Losing You” just soars with true emotion: 

“I believe that you and me are bound together,

 Through the past and now forever,

…Never losing you, never losing me.

 -And I know, I’ve always loved,

I know, I’ve always loved,

 I know, I’ve always loved,

 And I know, I’ve always loved …you.”

The lyrics are such profound, yet simple poetry, and the hook, the melody and chorus together just brought tears to my eyes, literally, rolling down my face. “Never Losing You” as sung by Costner, so honestly, so hopefully, was a heartrending performance I will never forget. It is more than a love song; it is an anthem, a hymn.  The song “Never Losing You” is surely destined to be the outstanding love theme in one of Costner’s future projects.

On this tour, Kevin’s daughter Lily opens for him and sings one song with the whole band. Lily is beautiful enough to model, but smart enough and talented enough to write and sing her own music. Lily Costner has a unique and lovely lilt to her voice. If I were a folk/country A& R person, I would be fighting to sign her.

                                                          photo by Ken Payne - Kevin Costner and John Coinman during sound check at Arcada Theater

Kevin Costner is a true performer, from head to toe. Costner really does it all, he has had phenomenal success as a writer, director, and producer of everything from film to TV and now as a singer/songwriter and bandleader.  Kevin works consistently with a slow, persistent rhythm and casual determination that belie the massive maelstrom of information and details milling around in his brain.

 Always working, always creating, Costner and Modern West wrote several of the songs, which were included in the award winning, hugely successful “Hatfield’s and McCoy’s” TV miniseries soundtrack.It would be reverse discrimination not to mention Costner’s current film release, just to prove to music folk that his band is the real thing. “Draft Day” by Ivan Reitman,  a fellow Jew whom I adore, also gave audiences another fun, solid and compelling piece of filmmaking. Kevin Costner carried “Draft Day” on his broad shoulders with a shark-like intensity and grace reminiscent of Cary Grant.

I compare the pleasure of true performance to the fun of riding a bike. Performing as an actor in TV and film is like getting to peddle your bike three times and then stopping. Peddle, peddle-stop. Peddle, peddle, stop.  Wait around with your bike for three hours then peddle three times more and stop. There is no feedback from an appreciative live audience - no applause.

Acting for the stage, when it becomes possible, is somewhat better in terms of actual minutes of performance time, like riding your bike for a good hour here and there, but still you may not be riding your bike, it is usually someone else’ words and ideas you are expressing. 

Performing original music with a band is getting to ride your bike for as long as you want and going wherever you want to go. You can trick your bike out with sparklers, you can sticker it with tears and lightning bolts, and you can pop a wheelie. In other words, you are performing with all of your own heart, soul and body for as long as you want on any given night.

Kevin Costner knows this about performing and along with his longtime friend and songwriting partner John Coinman, has wisely and lovingly built a bike to his own exacting specifications. Modern West is a vehicle, if you will, that gives him and his band mates carte blanch to experience the joy and satisfaction of true performance whenever and wherever he has time to play.

Kevin has got that rock swagger going on now when he performs with the band. The musicality of movement is in his body. It is an essential element of healthy performance for any front man hoping to perform rock music.  Costner’s tanned face, arms and trademark long legs, are full, healthy and muscular. It’s funny because as we all chowed down on healthy broiled chicken and steamed broccoli backstage, guitarist/lyricist John Coinman confided that they all have to push Kevin to eat his vegetables!  John said Kevin doesn’t work out per say but can still hit a ball like a pro. Whatever Kevin is doing, it’s keeping him in great shape.

Kevin Costner is a legend for good reason; his extensive body of superior, quality projects has blessed our culture for many generations all around the globe and that makes him a national treasure.  Each night that you as an audience member choose to spend with him, to actually look him in the eye, in the flesh - not a shadow of lights and illusion on the big screen – is unique and will not occur again. 

Look, there’s an old saying I love that’s still true today – “You can’t fake the funk!” You can hire a bunch of studio musicians, you can tweak your voice in the studio, but if the music is not good you can’t just pretend that it is. Kevin Costner and Modern West are the real McCoy.

For tour dates and more information on Kevin Costner and Modern West, visit http://kevincostnermodernwest.com/.