Items filtered by date: November 2007

Blind optimism is put to the test in The Way West, a quirky but poignant story that reminds us of the downside of the American Dream and the methods we use to cope with the American reality.  Reminiscing on manifest destiny and the Great Western Migration, writer Mona Mansour extrapolates the misfortunes of a mother and her two daughters to our nation’s history of boom-and-bust and our current economic plight.  In an almost slapstick sequence of horrific events, Mansour reminds us of the fragility of our perceived success, and the futility of our attempts to hide our shortcomings.

Mansour’s dialogue and characters are so relatable that the audience feels almost awkward, as if we are watching our own family acted out on stage.  But there is an element of whimsy and over-theatrics to the show that turns an otherwise dark story into, quite literally, a lighthearted sing-along.  Any overly serious moments are quickly balanced out by snappy, off-key jingles performed by Mom with daughters on backup vocals and guitar.  And when Mom dims the lights to tell stories of the journey west, her oblivious references to incredibly morbid events manage to turn dark tales into hilarious monologue, and provide a true glimpse into the perspective of her otherwise guarded character.

Deirdre O’Connell portrays Mom’s conflict insightfully, putting on a defiant bravado and delivering her punch lines with ease, while always reminding the audience of the inner vulnerability she desperately tries to hide.  We know this woman, if not as our own mother then as an aunt, former teacher, or neighbor.  We, like her daughter Manda (Zoe Perry), want to shake her to her senses and force her to take control of her life – even as we struggle with our own – while Mom wants only to continue down the trail and hope she’s one of the survivors.

Kevin Depinet’s set design and Martha Lavey’s artistic direction deserve specific mention for their honest portrayal of the stereotypical suburban home.  Showcasing mismatched, worn, and tasteless furniture, bulky kitchen cabinets, and a collection of boxes that would make a modest hoarder jealous, we know the inside of Mom’s house almost as well as we know Mom.  In fact, more than one audience member mentioned that the set looked like “their mom’s” house, and the set’s slow deterioration throughout the show contributes to the same dark whimsy of Mansour’s dialogue.

It is ultimately left to the audience to decide whether Mom is the victim of her westward stories or the lucky survivor.  Simultaneously, we realize that we must make the same decision for ourselves.  As Mom says, it’s impolite to discuss our problems.  But perhaps Mansour can convince us to shed Mom’s façade, and honestly acknowledge when our problems exist.

The Way West is running on Steppenwolf’s Downstairs Theater (1650 N. Halsted St) through June 8, 2014.

It is with high recommendation that I urge theatre goers and entertainment seekers alike to take in Drury Lanes’ production of the beloved classic, Les Miserables, in celebration of their 30^th Anniversary. Multi-Jeff Award winning director of the production, Rachel Rockwell, stuck adamantly to the original storyline and stayed true to the musical score in its’ entirety.  This production lacked nothing as far as preserving the integrity of Alain Boublil and Claude-Michel Schonberg’s classic musical depiction. The incredibly moving score originally orchestrated by Boublil, Schonberg, Herbert Kretzmer and Jean-Marc Nate remained unaltered and was exceptionally directed by Roberta Duchak. This is very good news for anyone who hasn’t yet had the privilege to witness this definitive story performed live on stage and those who have alike.

Drury Lane Theatre is an impressively extravagant venue and very comfortable. As far as the stage and presentation, the setting seemed minimal, which I liked. Incorporating a minimalist display allowed for near seamless transitions in between scenes. Each prop, carefully placed, certainly carried a quality touchstone appearance (thank you Scott Davis), only adding to the authenticity presented in each scene. At times, I felt the projection on the backdrop was lacking in detail, though it did not take away from the immersive special effects used throughout the performance, including lighting design that offered remarkable focus and some very impressively choreographed slow motion dramatizations. Overall, the production value was sufficient, though not mind-blowing.

The performance was nothing less than should be expected for such a prestigious act and in such an esteemed venue, often exceeded expectations. Lead role and casting director Ivan Rutherford who has performed the role of Jean Valjean more than 2,000 times on Broadway performed flawlessly. The range of highs to lows that complemented each musical number in his every appearance was only matched by the array of emotion displayed in his moving performance. Quentin Earl Darrington portraying lawman Inspector Jabert, blew the audience’ mind with his powerful vocals and dedicated performance. One fan admitting after the show “He sent chills through my body”.

The audience was moved (some justifiably to tears) by the role of Fantine compellingly performed by Jennie Sophia. I would have liked to of seen more of the beautiful Emily Rohm (playing Cosette). Her fragile character will always personify the only true purity within this tragic tale.

Of course some performers did a great job adding humor to balance the tragic nature of this story. Performers Mark David Kaplan and Sharon Sachs playing Thenardier and Madame Thenardier (Cosette’s underhanded guardians) continuously left the audience in an uproar of laughter. Their performances added great comic relief and expressively portrayed characters that I truly loved to hate. But the truest and most delightful experience for me and many others was the perfectly cast Matthew Uzarraga. While performing the role of the young and fearless revolutionary Gavroche, Uzarraga lifted each and every spectator’s spirit. I even caught some of the other stage performers falling out of character and lighting up in his presence. To a truly fearless performance, hats off to you sir, you’re gonna go far.

This is definitely a show worth seeing for fans of Les Mis and for those unfamiliar alike. If you’re a fan of theatre, you will absolutely enjoy this production. Very well done.

Les Miserables is playing at Drury Lane Theater in Oakbrook through June 8^th. To find out more information on this show, visit www.drurylaneoakbrook.com or call 630-530-0111. 

Music enters our mind in a way that takes us over.  It enters our ears; touches our soul with the melodies and rhythms that just brings everything to life. Toes will tap, heads will bob, and feelings of joy come over us in so many ways. The Auditorium Theater of Roosevelt University (50 E. Congress Parkway) was the setting for musical enjoyment. Bela Fleck and Chick Corea took the stage for an amazing night of live music and left everyone in awe.

On Saturday, April 5, 2014, the combined thirty-five time Grammy winners, Chick Corea and Bela Fleck performed as a musical duo. No other musicians were needed. It was two musicians, a Yamaha grand piano, a Deering banjo, and an audience full of appreciative and loving fans. The elegant performance is some of the most incredible musicianship ever seen. Just amazing musical gestures throughout the entire night with not one bad note played.

The setting for the evening was a one hundred twenty-five year old building that may have never sounded better. Since 1889, the names of great composers have been on the walls on both sides of the stage. Looking at some of the musical names of superiority; Haydn, Beethoven, Rossini, and Schumann it makes you wonder when you will see Corea and Fleck’s names on the wall of a theater as well. They are more than deserving of such an honor. 

They opened the show with a piece called “Senorita.” They played in unison and complimented each other well as they began the song. First the piano would hold the rhythm while the banjo was played in a flamenco style. Then the piano would take over and do intricate runs of musical notes to please the ears.

“Joban Dna Nopia” is a tremendous piece from the album Enchantment. As they introduced the song, Bela jokingly commented that he “finally figured out” the title of the song. It’s an anagram for banjo and piano which was all that was needed for a clever laugh. The bouncy piano started out the song and the banjo pizzicato came in. Gentle stabs at the piano with the graceful banjo combined for the romantic cadences within the song. The subtle sounds could not be any better or written with more intelligence.

These two virtuosos just started this tour to display their elegant compositions. They played the title track from the album Enchantment as well. Everyone should have access to this wonderful music. The music is nutrition for the soul and provides great warmth within.

Mr. Corea talked about meeting Stevie Wonder and they conversed about playing standards. Stevie asked him, “Why don’t you play one of my standards?” As he continued the humorous story it was an introduction to just that. The song “Overjoyed” was covered by Chick and Bela in such a fantastic arrangement paying homage to a fellow musician and friend. As Stevie is an incredible arranger it seemed this piece was meant for this group of concert goers to see and hear. It was a perfect selection to perform and done with great passion.

Fleck played a couple of songs that he named after family members. “Juno” was written “in honor of his newborn son” and is just a sweet song rejoicing life and the love for his child. The refined-rhythmic patterns were tastefully written and arranged in honor of the boy.

“Abigail’s Waltz” was written by Bela for his stunning wife, Abigail Washburn, who is a successful banjo player as well. He introduced the song and described first meeting her. Washburn was from Evanston, Illinois and her family ran the Rainbo Roller Rink that was at 4812 N Clark St. The musical piece was a pleasure to hear in celebration of his love for her.

Toward the end of the show, Corea brought out a camera to take a few snapshots. He first took a picture of the crowd. He then turned around taking a picture of himself with the audience behind him. This guy is not just a great musician; he has a sense of humor for miles.

The show closer was “Spectacle.” Bela said they needed to count it off to enter the song. “It will be a four count as three is too few and five is too many. We will come in on the seven.” The fans got a laugh from his joke as they proceeded to close the show. Fleck tossed a bottle to the end of the stage for someone in the front row. He then asked if anyone wanted a piano. Many hands were raised of course.

Everyone within the theater had a memorable time. The musical display took over everyone’s heart in such a quiet setting that you could hear every note played with intimacy. The onlookers were very polite and respectful letting Chick and Bela perform.

Bela Fleck and Chick Corea were flawless as they performed to a packed house. Their abilities shined throughout the evening, amazing everyone, and touching the musical souls within. After the show ended, people dispersed into the streets grinning from ear to ear. This is a night that will be remembered for a long time to come. It was an evening of music that truly deserved to be seen and brag about being at for years.    

If you've never seen Cats before, or if like me you have seen Cats many times over the years, this is the production of Cats you should make the effort to take your whole family to enjoy. This production was skillfully and joyfully directed and choreographed by Marc Robin. Robin does a fantastic job of bringing Cats, the second longest-running musical in Broadway history to life.

The Marriott Lincolnshire Theatre is hands down one of the best venues to see musical Theatre in the Chicago area. The space is cozy and houses an intimately sized ‘Theatre in the round’ and director Robin uses every single inch of the space to bring the mystifying and heartwarming movement of real cats to life. I was completely enamored by the way cast members mingled with the audience throughout the show just as cats mingle and cuddle and caress us at home. By leaving some groupings of seats empty and allowing the performers to perch and watch the goings on from the carpeted aisles at our feet and even in our laps occasionally, we got to feel both part of the show and as though the performers had truly become the graceful and mystical creatures they were portraying.

The dancing and choreography is spectacularly playful and impressive. This production really captures the magical quality of cats. If dogs reflect the qualities in human beings that are childlike and innocent throughout life, then cats surely reflect human beings when they reach maturity and progress into old age. The variety of cats portrayed from plump, round and lazy to skinny, aged and falling apart really help humans identify themselves as loveable, and salvageable even with all their odd foibles, scars and matted fur.

The enchanting and complex lyrics of Cats are all based on poetry, the enchanting poems of T.S. Eliot. The “Jellicle Songs” introduces the audience to the wonderful cast of cat characters who are about to attend the mystical tradition of a cats-only “Jellicle Ball”. At this magnificent dancing cat ball held in the middle of night by the light of a full moon, their elder cat, Old Deuteronomy selects one worthy cat to be re-born.

The hit song, “Memory” is sung by Grizabella, the chosen cat. It is essential that this song, which is the catharsis and climax of Cats, is sung by a mature vocal performer whose voice really soars and Heidi Kettenring (with six Jeff nominations, Man of Steel) really knocked it out of the park with her vocally rich and moving rendition in this production.

There is a universal appeal to this show, which has maintained its second position in popularity on Broadway for 23 years between Phantom of the Opera and Chicago. “Cats” makes you feel good about being who you are no matter what odd type of cat you have matured into when you attend the “Jellicle Ball”.

Cats and their mysterious, unpredictable feline natures are often identified with the female human, and sometimes in negative ways like the terms ‘catty’, ‘cat fight” or the myth that black cats bring bad luck.  In a way, “Cats” has a wonderful underlying feminist message to embrace the female, the changeable, and the vulnerable in our psyches.

 “Cats” the musical, with its challenging dance numbers throws all those negative myths right out the window and reminds us to embrace the marvelous grace, the ballet of acrobatics, that cats hypnotize us with and not to fear it.

Kudos to EACH of the talented dancers in this production, and also to set designer Thomas M. Ryan, and costume designer, Nancy Missimi, for bringing the exciting, loveable and playful nature of actual cats to life so fully in this production.

“Cats” is being performed at Marriott Theatre in Lincolnshire through May 25^th. For tickets and/or more information, visit www.marriotttheatre.com.

The Houston Ballet might not have shown us the world (shining, shimmering, splendid), but they did present the city of Chicago with an incredible production of “Aladdin” filled with the same sorcery, riches, splendor, magic, love, and romance as we’ve come to expect from the heartwarming tale of an impoverished young ne'er-do-well who becomes part of a whirlwind adventure.

The Houston Ballet made its debut at the Auditorium Theatre with celebrated English choreographer David Bintley's ballet "Aladdin." The ballet was originally created for the New National Ballet of Japan in Tokyo in 2008, and the Windy City was only the fourth city to experience the performance, sharing the magic carpet ride with such cities as Tokyo and London. Most people will know the story of Aladdin from the popular 1992 Disney movie of the same name. However, the Houston Ballet's "Aladdin" follows the more traditional story of Aladdin from The Book of One Thousand and One Nights (The Arabian Nights). There’s no singing genie or clever monkey named Abu, but there was no need for it in this breathtaking production.

The caliber of talent that took the stage this past weekend would leave the staunchest of critics in awe. From the background dancers to the principle dancers, everyone commanded the audience’s attention with a technique and grace that prove why the Houston Ballet is a world renowned. The moment the curtains rose, the dancers instantly transported us to old Arabia. Set against spectacular scenery created by the English designer Dick Bird and coupled with an exceptional original score by Carl Davis and performed by the Chicago Philharmonic, the audience was immediately under the spell of Aladdin’s magic.

While there were many highlights throughout the 2 ½ hour performance, one of the standouts had to be the cave of wonders. When the evil sorcerer convinces Aladdin to enter the cave and retrieve the magic oil lamp, Aladdin is met with jewels and riches beyond his imagination. The jewels onyx, pearls, gold and silver, sapphire, rubies, emeralds, and diamonds were all brought to life by dancers, making the riches literally dance before Aladdin’s eyes. The audience watched on, as mystified and entranced as the young peasant boy himself. Equally impressive were the comings and goings of the genie throughout the performance; whether he hovered in midair or vanished and appeared in a cloud of smoke, the genie entered with power and pizazz that would make Robin Williams himself proud. In one scene at the royal court, when the genie transforms Aladdin from rags to princely attire, the scene erupts into a frenzied dance with the genie, jewels, slaves, and courtesans. The high energy, fast moving dance was so synchronized you’d think one person was controlling the dozens of dancers on stage. It was graceful, powerful, magical, and was the definitive mark that this ballet is here to stay.

Who doesn’t love the story of Aladdin? It’s a rags to riches story that has stood the test of time. The Houston Ballet’s production of “Aladdin” is nothing short of spectacular. Folks young and old gave the performance a standing ovation and were captivated for the entire duration of the performance. The sheer talent and pageantry of the ballet was a welcome change to Chicago and the Auditorium Theater. I hope more shows like this breeze through the Windy City for Chicagoans to experience. So the next time “Aladdin” flies into Chicago on its magic carpet, be sure you jump on and enjoy the ride.

In Christian O’Reilly’s Chapatti, what you get are two superb performances by two very gifted actors in John Mahoney and Penny Slusher. Directed by Artistic Director BJ Jones, Chapatti is the dark and often humorous story about the importance of companionship.

Taking place in Dublin, Ireland, we meet Dan and Betty, each lonely animal lovers, who cross paths and enter an unlikely, but much needed relationship. Dan has lost his wife, Martha, years earlier and plans to hang himself to be with her as he confesses that she needs him and is waiting for him and that she is “Incomplete without me”. As the show progresses it becomes obvious that Dan is projecting his own feelings on Martha.

Chapatti is filled with a gentle warmth at times – and can be quite cute, as the two get to know one another, but it also surrenders to heavy emotional conflicts, where stage veteran Mahoney really delivers. Really touching on how one must feel to yearn for a lost love, Chapatti depicts an astute picture of emptiness but also presents a sense of hope and how one can be freed from the shackles of despair at the most unexpected moment. Chapatti is about the bravery to move forward no matter how unfamiliar and scary it may seem.    

Slusher and Mahoney are equally impressive in their performances, embracing their roles of a dog and cat lover and creating a believable romance by two people so very desperate to have someone in their lives. It’s a love heals all theme that kicks self-pitying oneself to the curb.    

Chapatti is playing at Northlight Theatre through April 13^th. For more information and/or tickets, visit www.northlight.org or call 847-673-6300. Northlight Theatre is located at 9501 Skokie Boulevard in Skokie.  

What’s better than a love story? Answer - A love story that takes place on the Los Angeles strip in the mid to late 1980’s during the height of hair band pandemonium. But what makes it even better is that Rock of Ages is a hilarious ode to such an important (though often mocked) musical era, filled with some of the most memorable rock songs of that era performed with plenty of spandex and Aquanet.

The story begins with a stereotypical approach. Drew,“born and raised in south Detroit”, has moved to L.A. in the hopes of fulfilling his dream as a rock star. Sherrie has moved to the City of Angels to become an actor. In the meantime, both are working at the infamous Bourbon Room while waiting for the opportunity to hit it big. At the same time, big time band Arsenal is losing their lead singer, Stacee Jaxx, for a solo career and the Bourbon Room is hosting their final show. If that’s not enough, plans are in the making to tear down the L.A. strip to have it replaced with shopping malls. While all stories unfold – and intertwine – the audience is hit with one rocking song after another from bands Warrant, Styx, Twisted Sister, Night Ranger, Journey, Poison, Damn Yankees, Survivor and many more.

Rock of Ages is filled with one big production number after another. Sherrie, who is dynamically played by Shannon Mullen, and Drew, terrifically played by Dominique Scott, team up together for power ballads “Can You Take Me Higher” and “The Search is Over” with the passion intended by the songs’ writers. With 28 songs to work with, we are given a host of creative renditions sung by a variety of interesting characters including Bourbon Club owner Dennis Dupree (Brian Ashton Miller) and “Franz” (Tanner Hussar) the oppressed son of the real estate developer that threatens the strip’s existence.

As much passion is inserted into each song is also a humorous element. And as blown away as the crowd is by Dominique’s vast vocal range and array of powerful notes, we are also taken with the stellar performance of Andrew Sklar who plays “Lonny” the soundman for the Bourbon Room but more importantly – the show’s narrator.

Whether you are a product of the 1980’s hair band scene or not, this is a show that everyone will enjoy.

“Rock of Ages”, currently playing at the Bank of America Theatre (18 W. Monroe), is loaded with funny characters and contains big, sexy dance numbers. Guitarist Paul Wiley (who shreds) leads the live band (also doubling as Arsenal) as they play all music from the rear of the stage, giving the show a real feel of a rock concert.

Whether looking to reminisce about your glam rock days gone past or if you are looking to simply rock out to a super fun show, “Rock of Ages” truly“ain’t nothing but a good time”.       

Campy, fun, sexy and totally rocking, “Rock of Ages” is playing at Bank of America Theatre through March 16^th. For more information visitwww.broadwayinchicago.com.

What's more fun than a Barrel of Monkeys? Milton Bradley has asked this question for decades and now a Chicago-based arts education theater ensemble, aptly named “Barrel of Monkeys,” begs the same question of their audiences. After seeing their newest performance of “That’s Weird Grandma: Behind the [Monkey] Music,” I think you will be inclined to admit that there is indeed nothing more fun than a Barrel of Monkeys.

Barrel of Monkeys is first and foremost an arts-education group that conducts creative writing workshops for 3^rd-5^th grade students in underserved Chicago Public Schools. The group then becomes a theater ensemble, turning the children’s stories into performances performed at the school for the children and for general audiences at various venues around the city. The performances have a “Whose Line is it Anyway?” quality, only the shots are called by kids which is an amazing feat for this ensemble of actor-educators. If you aren’t impressed yet, Barrel of Monkeys’ performance of “That’s Weird Grandma” takes children’s stories and turns them into musical numbers, creating the first all musical performance by Barrel of Monkeys.

With such adorably written pieces as “Flower Argument,” an argumentative piece debating whether or not a flower should be picked from the point of view of the flower, to “Not So Much Pressure,” about Batman needing a break from saving the world, “Barrel of Monkeys” ensemble cast takes these pieces and turns them into musically hilarious gold. The audience, made up of adults, teenagers, and adults who act like children, was in stiches. The clean humor, awww worthy moments, incredible musical talent of the cast, and the honest and touching children’s’ stories was a perfect storm of perfection. What’s even more extraordinary is the show is never the same. Audience members vote on their favorite pieces from the hour-long show (roughly 12-14 pieces) and the most popular make the cut and are included in the next week, the rest of the showed being filled with new pieces.

This is a fantastic organization to support. Arts, music, and theater programs are typically the first to get cut in school budgets and the CPS system is no exception. The benefits of having a creative outlet for kids can be infinite. “That’s Weird Grandma: Behind the [Monkey] Music” runs through March 31^st at the Neo-Futurist Theater (5100 block of N Ashland Ave.). I double-dog-dare you to not enjoy this Barrel of Monkeys.

Russian Transport, currently running at Steppenwolf through May 11^th, is, in playwright Erika Sheffer’s words, a story of “good people in bad circumstances doing terrible things.”  Inspired by her own family of first and second-generation Soviet immigrants, and directed by fellow Eastern-European immigrant Yasen Peyankov, Sheffer’s story is an extremely personal portrayal of our common struggle to define success and happiness.

Staged at Steppenwolf’s upstairs theater (four flights of stairs, if you’re walking), the personal touch of the writer/director duo is immediately apparent, as the audience must use the set’s foyer entryway to reach their seats (vodka and cognac set out, but unfortunately not served).  The cultural details of the performance are extremely accurate and well-thought: indoor slippers are always worn, vodka is served casually to minors, and the mother, Diana (understudy Loretta Rezos filled in for Mariann Mayberry), ensures food is always present.

The most obvious cultural aspect of the performance is the dialogue, as the three adult cast-members put on thick Russian accents for the duration of the show.  English-speakers should know that much of the dialogue is actually in Russian, as writer Sheffer admits she intended to show the audience that, “you can follow the action without literally understanding the words.” The approving laughter of the many Russian-speakers in the audience is a testament to Peyankov’s direction and the cast’s preparation, and actor Tim Hopper’s accurate command of the mannerisms and intonations of recently-immigrated Uncle Boris is one of the stand-out performances of the show.

Hopper’s performance is trumped only by that of Aaron Himelstein as Alex, the Russian-born but American raised son caught between his father Misha’s (Alan Wilder) flailing-but-legitimate car service business and Uncle Boris’ more illicit business dealings as a means of providing a living.  The story’s transformative character, Alex’s inner turmoil must be thoroughly convincing in order to convey Sheffer’s message, and Himelstein’s performance is raw, real, and entirely believable.

Through each family member’s influence on Alex, Sheffer challenges the audience to find a personal definition of success and happiness. Misha stands for family pride and honesty even as his business fails, while Boris succeeds despite his illicit dealings with young women.  Diana supports her brother Boris, maintaining that his terrible actions are justified by his ability to provide for the family, ignoring the age and naivety of her own daughter Mira (Melanie Neilan) in relation to the girls that Boris traffics.

In fact, Sheffer’s script dictates that the actress portraying Mira must double as the Russian “models” that Alex transports for Boris, putting the story’s competing perspectives in plain view for the audience.  If the double-role metaphor is not plain enough, the connection is made absolutely clear during Neilan’s final costume change from Mira to Russian girl, conducted in front of the audience at center stage under a single spotlight. 

While mostly maintaining a narrow focus on the unique struggles of her characters, Sheffer does step into a more general commentary on the “American dream” for a very brief moment.  As Alex transports his first girl for Boris, he tells a story of a school trip to the Statue of Liberty, where the class waited all day to climb the statue, only to find that the view from the top was just a short glimpse through a dirty window.  This statement, which is left open for interpretation, is as profound as Sheffer attempts to dive in an otherwise direct and entertaining narrative.

“Russian Transport” perfectly embodies Steppenwolf’s theme for the 2013/2014 season, “Getting Ahead,” which explores “our hunger to come out on top, and the discoveries we make along the way.”  In her interview with Dramaturge Dassia Posner, Sheffer notes that, “I want to see characters who, even if they might be doing things that are awful, have love in them and are capable of goodness.”  With Peyankov’s direction and the cast’s commitment to their characters, Sheffer succeeds in reminding us that we all have the capacity for the terrible when survival becomes a struggle.

What an honor and delight to see Alvin Ailey’s American Dance Theater return to the historic Auditorium Theater during its 125 Anniversary year with our First Lady, Mrs. Michelle Obama serving as Honorary Chair for the 2014-2015 season!

Chicago is not only the groundbreaking company’s home; the Auditorium Theater is host to the longest run of domestic performances by Alvin Ailey’s American Dance Theater outside of New York city.

The program changes each night of the run except for the performance of Ailey’s seminal work “Revelations”. I have seen “Revelations” in the past and it never fails to deeply move me and inspire great hope.

“Revelations” truly does “explore the emotions of deepest grief and holiest joy in the soul”. Ailey uses classic songs like “Didn’t My Lord Deliver Daniel” and “Sinner Man” to paint with his superbly trained dancers many expressive and poignant pictures of hopelessness leading to deliverance in the African American tradition.

The program I viewed also featured the refreshingly modern “Chroma” and “Four Corners” which stunningly portrayed the four Archangels guarding the four corners of the earth, holding in their angelic hands the four winds.  It was breathtaking and beautifully performed.

I highly recommend seeing as many of the different nights of dance Alvin Ailey’s American Dance Theater bestows upon its beloved Chicago audiences. The spectacular strength and beauty of Ailey’s dancers as directed by Robert Battle since 2011 will be a great source of inspiration and joy to all the members of your family, especially little girls and boys who dream of dancing with this exceptional troupe one day.

Alvin Ailey’s American Dance Theater will be performing at the Auditorium Theater (50 East Congress Way, Chicago) through March 9^th. For tickets and/or more information, visit http://www.alvinailey.org.