Items filtered by date: November 2007

For Johnny Cash fans, Ring of Fire – The Music of Johnny Cash is a must.  But even if you are not the biggest Johnny cash fan in the world, Ring of Fire is still a rockin’ good time. Currently playing at Theatre at the Center in Muster Indiana (a quick 35-40 minute drive from downtown Chicago), Ring of Fire brings the life of Johnny Cash alive through his music and narration. All songs are performed on a train station set by a live band, two Johnny Cash’s - a younger and more matured version and June Carter. The story begins with stories about Cash’s childhood and continues with his journey though legendary stardom.

From the show’s early goings, you will find your toes tapping and your hand slapping the side of your leg. Both the young and older Johnny Cash’s nail the voice and are simply fantastic, taking turns singing leads on various songs and even sharing vocal duties on some. Michael Monroe Goodman plays the youthful Cash and riffs some very impressive guitar leads while Kent M. Lewis takes on the later Cash and narrates the show. Both Goodman and Lewis impress with their Cash-like vocals and charismatic charm. While the two Cash’s are each thoroughly enjoyable to watch in their own right, Cory Goodrich takes on the role of the spunky and spirited June Carter. One gets the feeling that Goodrich is having as much fun playing the role of June as the audience has watching her perform. Goodrich exudes the innocent joy and bliss June was known for and tackles each song with just the right fervor each commands.  And if that’s not enough, just watching the rest of the band is thoroughly entertaining – Malcolm Ruhl rocks the standup bass!

As the story itself goes, we get a good taste of Cash’s life though a bit more explanation on certain subjects would have gone a long way.  For instance, Cash is introduced to “white pills” that help him endure the long touring schedule, but we are never really taken back to find out if it became a problem, if he overcame an addiction, etc. It also seems that Cash and June instantly fell in love and married, which wouldn’t be exactly accurate. Nit picking aside, the story told through music and narration still does a nice job in capturing many of the pivotal trials and successes of Johnny Cash’s life.

Ring of Fire – The Music of Johnny Cash is a fun time from its opening song “Let the Train Blow the Whistle” to its lively finale number “A Boy Named Sue”. The show includes a bevy of hits played with their deserved passion and spunk including “I Walk the Line”, “Ring of Fire”, “Jackson”, “Folsom Prison Blues”, “I’ve Been Everywhere” and so many more.

Ring of Fire is playing at Theatre at the Center (1040 Ridge Road, Munster, Indiana) through March 30th. For tickets and/or more information visit www.TheatreAtTheCenter.com or call 219-8363255.           

Contemporary dance is an art form like any other. As a style of dance it is much more of a philosophy than a strict technique like, say, traditional ballet or modern. Rather, it draws inspiration from both techniques and creates an entirely different experience for the audience. Much like art, the beauty is in the eye of the beholder. Whether you are a fan of contemporary dance or not, you should take the time away from the bitter winter cold and venture into the Auditorium Theatre to experience The Joffrey Ballet’s presentation of Contemporary Choreographers.

Like many of the contemporary showcases performed by The Joffrey, Contemporary Choreographers is split into three productions: Crossing Ashland, Continuum, and Episode 31. Let’s quickly cover off on some highlights; Episode 31, the final performance in the series choreographed by Alexander Ekman, is actually quite fun. It can adequately be described as a dramatic playground, bringing a youthful approach to dance with a touch of humor; no seriously, people were laughing along to the performances.

The second performance in the series is Continuum, choreographed by Christopher Wheeldon. This was the least entertaining performance for me; I would equate the performance as a whole as looking a blank white canvas in an art museum with a title like “Block 39.” To many, they would draw a profound and ethereal message from the blank white canvas, while others might see just a white canvas, blank and without meaning. Many of those in the audience gave Continuum a standing ovation, but to me the performance lacked a story and with it a reason to enjoy and watch it. Then again, it followed one of the best contemporary pieces I would safely say is the most enjoyable contemporary performance I’ve ever seen, so I am slightest biased.

Throughout the opening piece called Crossing Ashland, choreographed by Brock Clawson, dancers in streets clothes created the vision of pedestrians passing each other on the street, walking briskly back and forth across the stage. These stoics in street clothes turned expressive when they stripped away their outer layers of clothing and exposed the vulnerability of their inner selves. Crossing, the dancers showed us what we look like; dancing, they showed us the enormity of what we feel. The performances’ emotions were palpable to the audience and after each dancer took the stage you begged them to say longer. The dancers themselves were drop-dead, makes-you-want-to-go-workout, idol-worthy specimens, each and every muscle working to show their emotions. In lament terms, they were hot.

So what makes Crossing Ashland special? It’s the fact that the dance is so relatable, so understandable to the audience; two people pass on the street, their hands touching slightly, longingly, but then they part. So much is said in those moments without saying a word, and when two dancers portraying their emotions take the stage and perform a deeply passionate interpretation of breaking-up and making-up, you are captivated. Crossing Ashland could easily be made into a full length production and take the stage for a full two hours and no one would be bored. And more importantly, it could introduce an entirely new generation to contemporary choreography that isn’t limited to what one sees on televised dance shows or in the movies.

So cross Wabash Avenue and make your way to the Auditorium Theatre to see Contemporary Choreographers. The show runs through February 23^rd. It is a breath of fresh air to a modern style of dance that will hopefully leave you breathless.

Deemed by the American Film Institute as “one of the funniest movies of all time”, Young Frankenstein was bound to hit the live stage at some point. Finally, in 2007, creator Mel Brooks adapted his 1974 film for stage where, after a premier run in Seattle, the show hit Broadway where Young Frankenstein: The Musical got mixed results. Now, after a couple national tours, the show has found a new temporary home at the Drury Lane Theatre in Oakbrook. Drury Lane’s artistic director, William Osetek, took on the tough task of taking a show that didn’t exactly set the world on fire for most critics and making it his own in the hopes of making it more entertaining and relatable for the audience. Well, he did exactly that. Emphasizing on family and inner kindness and love, a perfect balance is created that makes the slapstick and silly humor work like a well-oiled machine without ever becoming overbearing. Mel Brooks should be very happy with this production.

Young Frankenstein: The Musical is the latest Drury Lane success story. The show has a slew of funny characters, songs that have plenty of laugh-out-loud moments, creative dance numbers, a stunning set with plenty of sound and visual effects and of course – a monster.

Ashamed of his family business that has gone on for many generations, Frederick “Fronkensteen” has tried very hard to remove himself from anything that has to do with life-giving experiments and his true Frankenstein name, and flees to New York where he becomes a Dean of Anatomy and enjoys lecturing his students on the brain. Shortly thereafter, he learns he has inherited his grandfather Victor Frankenstein’s castle and heads back to Transylvania. He is immediately met by Igor, who comes from generations of castle henchmen and urges Frederick to continue in his grandfather’s footsteps. Frederick picks up Inga, his new bombshell assistant and quickly realizes he is cut from the same cloth as his grandfather. But bringing back the dead is far from a perfect science as he finds out when his monster wakes with the IQ of a grape and shows bits of uncontrolled anger. Hijinks and hilarity ensues as Frederick scrambles to make things right while the townspeople want the monster destroyed.

There are just so many fantastic performances in this show across the board, but Devin DeSantis absolutely hits on all cylinders as “Dr. Frederick Frankenstein”. His comic timing is flawless and he simply takes charge of his role – and has fun with it. Jeff Dumas as “Igor” gets a ton of laughs because – well, the guy is just plain funny, and Allison Still as “Inga” is dynamite, especially when she gets to show off her vast vocal range in “Roll in the Hay”. But you can’t have a worthy production of Young Frankenstein: The Musical without a strong portrayal of the monster and Travis Taylor hit this challenge out of the park. Complete with 4-inch platform shoes, heavy makeup and plenty of bulky padding, Taylor is still able to gracefully dance to perfection in some pretty complicated choreographed routines. Taylor also adds the humor and charm needed to make the role effective.      

Young Frankenstein: The Musical is quick witted with plenty of one-liners and silly songs somewhat reminiscent to Spamalot. The humor from the classic film translates well to the live stage because it is performed well and it is ageless. It’s the perfect show to take one’s mind off our record breaking cold winter.

Young Frankenstein: The Musical is playing at Drury Lane Theatre in Oakbrook through March 16th. Depending on the seat and show, tickets range at a very reasonable $35-$49. For tickets and/or more show information, visit www.DruryLane.com or call 630-530-0111.              

Taking yet another beloved movie of yesterday and transforming it into a big stage production, Ghost the Musical is certainly different than most. Though the storyline is captivating, as most know, it’s the show’s jaw-dropping special effects that really grab one’s attention. Plenty of illusions and jumbo screen visuals are certain to mesmerize keeping the focus from the production’s on and off song numbers.

The story really begins after Sam Wheat is unexpectedly killed during a mugging after an evening of theatre. Sam’s spirit – or ghost – is caught between worlds where he finds himself living amongst the life he knew. It soon becomes apparent that Sam’s purpose is to bring his killer to justice and with the help of psychic Oda Mae Brown, who is able to actually hear him, he puts his plan into action.

There are plenty of great performances in this show and Steven Grant Douglas as Sam Wheat tops the list with both powerful acting and his ability to carry a tune. Katie Postotnik also turns it up a notch playing Sam’s heartbroken lover, Molly Jensen. And though plenty of kudos could be thrown around for more strong performances, one of the most entertaining to watch was that of Brandon Curry who played the angry and paranoid Subway Ghost.

Ghost the Musical has plenty of song and dance numbers, but as mentioned earlier, some hit and some miss. There are a couple of variations of the film’s classic theme song “Unchained Melody” that are thoroughly enjoyable and are among the few better numbers, but as pleasurable as this show is, you’re probably not going to see it for its music.

But make no mistake about it, this is a show that will truly captivate. 

Ghost the Musical is playing at the Oriental Theater located at 24 W Randolph in downtown Chicago through January 19^th. For tickets and more information, visit www.BroadwayInChicago.com.   

Of the many Christmas shows I have seen over the years, Mary Wilson of The Supremes and The Four Tops may have collaborated for one of the best I have seen with their Holiday Spectacular. Amazing vocals, flashy costumes, classic band hits and a bevy of holiday song favorites made this night at Harris Theater one to remember.

The Four Tops, led by founding member Abdul “Duke” Fakir, kicked off the show with a handful of their own hits including “Reach Out”, “Bernadette”, “I Can’t Help Myself (Sugar Pie Honey Bunch)” and “Baby, I Need Your Loving”. Spin moves and choreographed  routines that help made them famous in the late 1950s and early 1960s were still highly present as the band motored its way through the night. Beautiful harmonies swept across the auditorium while The Four Tops tackled Christmas favorites “Silent Night” and “White Christmas” before Mary Wilson joined them on other beloved melodies like “My Favorite Things”. Wilson and Fakir also collaborated on one of the highlight moments of the evening when the two teamed up for a duet for an amazing rendition of “Baby It’s Cold Outside”.

Mary Wilson was simply astounding. Looking fantastic and sounding silky smooth she plunged into many of The Supremes most notable songs “Baby Love”, “Can’t Hurry Love” and “Stop In the Name of Love”. Wilson had the help of a 15-plus piece band, backup singers and dancers, making each number larger than life. Another show stopping moment was when Wilson sang a breathtaking version of “Have Yourself A Very Merry Christmas”.

The mood was certainly merry throughout the crowd during this festive and most memorable event. Audience members rose to their feet with regularity. Toes were tapping and hands were clapping. It was certainly a treat to see these performing legends work together and we can only hope that Mary Wilson’s Holiday Spectacular Featuring Special Guest The Four Tops will return next year. 

Twas a cold winter evening,

In Chicagoland,

On the way to the Auditorium theatre,

For a performance quite grand.

The guests took their seats,

The stage decked in splendor,

Anxiously awaiting their journey,

Expecting ballerinas so tender.

Then up went the music,

And down went the lights,

As we were whisked away

To the Nutcracker that night.

All know the story,

The Nutcracker’s tale,

From the grand ball to the Sugar Plum Fairy,

Danced by a young Mikhail (Barishnikov ;-) )

The Joffrey performed the ballet,

With intricate care,

To keep with traditions,

So all ages could share.

Spanish Chocolate, Arabian Coffee,

Chinese Tea and Russian Candy,

Danish Marzipan, Mother Ginger,

It was all just dandy!

But the waltz of the snowflakes

And the waltz of the flowers,

Is where this ballet

Holds all of its power.

The dancers on pointe,

In their tutus and tights,

Twirling and leaping,

Twas a majestic sight.

The Joffrey Ballet is performing,

A holiday tale to remember,

For all to enjoy,

While it runs through December.

So off to The Joffrey!

Don’t miss it this year,

Fill up your holiday,

With Nutcracker cheer!

It’s the holiday season once again and that means an abundance of Christmas themed shows have once again sprouted throughout the Chicago area. With plenty of quality shows to choose from “The People’s A Christmas Wish” at Quest Theatre should not be overlooked – and it is completely free! Donations towards the theatre company are requested upon entry and while exiting to which no amount is too small or large.

“A Christmas Wish” is a charming story that takes place in a taxidermy shop where all the stuffed animals come alive on Christmas Eve. But this year a new arrival is present as Dasher’s head is mounted on the wall. Each animal tells their story, some of love that has sadly passed them by. Dasher tells his new group of friends about his time with Santa and of his true love Jane Doe and how he ended up on the wall of a taxidermy shop.

The story is uniquely different from traditional Christmas stories and also includes tons of fun puppetry. Each animal in the taxidermy shop is also cleverly represented by a human to enhance its story telling through flashbacks and song and dance numbers. When in human form, characteristics of the animal are still applied such as “Goat’s” goatee or “Beaver’s” beaver teeth, adding a needed reference.

The show is filled with songs accompanied with a live band. Though some songs fall short of being very memorable, there are enough numbers that are humorous and catchy to actually consider “A Christmas Wish” a decent holiday musical.  A few standouts include “Not Again”, “The Most Annoying Song”, “Every Magic Cent” and “Feel Good Tonight”. “A Christmas Wish” is also a clean show that parents along with their children can wholeheartedly enjoy.  

Though not a homerun, “A Christmas Wish” is still a solid collection of base hits, making it a worthwhile show to take in over the holidays. The show is filled with plenty of moments that will make you laugh, some upbeat music to tap your toes to and puppetry that will make you feel a couple decades younger. The story has a nice flow, fun characters, and is visually amusing, but also has an ending that will have you asking yourself, “Uh…Was that a good thing?”     

“The People’s A Christmas Wish” is playing at Quest Theatre through December 22^nd. Quest Theatre is located at 1609 W Gregory. For more show information visit www.questensemble.org. Though the shows are free, Quest Theatre also asks that reservations are made online ahead of time to best accommodate everyone.   

In fine holiday tradition The Christmas Schooner has once again set sail, this time for its third year at Mercury Theater after a twelve year run at Baliwick. Inspired by the 1912 shipwreck of “The Christmas Tree ship” in Lake Michigan, manned by Captain Rouse Simmons, The Christmas Schooner is a heartwarming story catapulted by strong family bonds and Christmas spirit.

Written by John Reeger and composer Julie Shannon, The Christmas Schooner is the tale of a brave sea captain of German decent who decides to ship Christmas trees from Michigan to Chicago through the treacherous winter storms. He is prompted to do so after receiving a letter from his cousin who tells him Christmas is not the same without a Christmas tree.  Tannebaums (fir trees) have always been a tradition in Germany and the many Germans in Chicago have not had access to them since leaving their homeland. There are plenty of trees in Michigan, so Captain Peter Stossel, along with his father Gustav, set sail to Chicago in the hopes that they will find buyers for the many trees they have bundled aboard. To the crew’s surprise, hundreds of Chicagoans are waiting for them, having already dubbed their schooner as “The Christmas Tree Ship”.

Karl Hamilton is just wonderful as “Captain Peter Stossel” generating a true genuineness in his role as a family man, a beloved sea captain and as the man who will sacrifice in order to make a difference. At the same time, Cory Goodrich (“Alma Stossel”) and James Wilson Sherman (“Gustav Stossel”) are also superb all the way around. Sherman exudes charm and kindness becoming the grandfather every child would be lucky to have. A very strong supporting cast is also key in making this such a delightful production with great performances by Travis Taylor as “Steve”, the Captain’s best friend and right hand man, Elizabeth Haley and Brennan Dougherty who plays “Karl Stossel”.

The Christmas Schooner blends classic Christmas songs with original numbers. In this lively production, we are treated to an intriguing story, polished vocal performances, big choruses and a handful of well-choreographed dance routines. Like it or not, audience members cannot help but be injected with a massive dose of Christmas spirit. This is a show that anyone of any age can thoroughly enjoy.

Performances are running at Mercury Theater (3745 N. Southport Ave) through December 29^th. If it isn’t already, make The Christmas Schooner your new holiday tradition. For tickets and/or more information visit www.mercurytheaterchicago.com or call 773-325-1700.

By the 1970's Carol Burnett was such a beloved entertainment spirit that when she shared her seasoned range of expression she landed a historic place in the homes and families of millions of fans who saw her as another part of the family, likely one they wish they could be.

She was born in 1933, a time where the Depression era was not only affecting those old enough to feel the pressures of the times but it created a darker heavier atmosphere for some of the children. There's a reason it was called " The Depression" after all.

Befor the 1930's were over Carol's parents were already divorcing. Her mother was a publicist and her father a movie theater manager. Their alcoholism as media patrons of that time forced Carol into the custody of her grandmother Mabel. Although Carol had a half sister, who also went to live with Mabel in an impoverished Hollywood boarding house, she started inventing her first character. By dressing in different outfits and entering her room at different intervals she entertained herself by creating an imaginary "twin". Although she became tired of running in and out of rooms changing clothes to play both herself and her imaginary twin, this early spiritual exercise would ultimately be the axis of her career.

Apparently, at some point in Carol's early infinity for acting, her mother insinuated that writing was more stable a choice because looks we not a factor.

Yet Ms. Burnett's interest in theater only became stronger. Having both parents in the industry and a grandmother living in Hollywood, in addition to being excluded by the theoretics of glamor and Hollywood perceptions at the time, Carol started getting her "foot in the theater door" so to speak by becoming an usherette at one. Despite her parents alcoholism Carol showed signs of survival, taking all of the components of her life circumstances and place and pedalling them even stronger up hill.

The impression that Carol Burnett was an exceptionally sanguine, optimistic, and high spirited child who's wide-eyed hunger took both good and bad equitably in stride is unquestionable. That her parents were overly influenced by fashionable Hollywood dogma, tailing out of the depression, is testament to some of the gravities that bounced off of her brimming determination to stay young at heart even if she likely had her lonely moments as any depressed childhood ego would be.

A higher power of human continuity mused Carol as a channel of free spirited expressionism in a time where rigid social structures forced many people to lock up depressed emotions. Her drive is a testament to this; her performance career a lucky look into what is really important overall.

The video below shows some of what makes Carol Burnett a real star by all definitions of the heavenly term. Stay tuned for a follow up on more of the Carol Burnett story, as well as unique insight into the work and life of this amazing entertainment icon.

Until then, enjoy the video below.

As the snow starts to fall, Chicago audiences take refuge in heated theatres and family-friendly performances that warm them with holiday cheer. But if someone stumbled upon Victory Gardens this winter, perhaps expecting "It's a Wonderful Life," they'd quickly realize they were taking in something very different: a close examination of a family that is definitively unfriendly.

Victory Garden's "Appropriate," a world premier from young African-American playwright Branden Jacobs-Jenkins, follows the Lafayette family as three children return to their deceased father's estate to settle his affairs and their life-long feuds. These adult children - who often act more like children than adults – are played by the powerhouse Kristen Fitzgerald, the comedic Keith Kupferer and the looney Stef Tovar. Along with their "chosen" family – a son, a wife and two children, and a new finance named River, respectively – the three treat each other as only family can: cruelly, hurtfully, and painfully.

Their mutual distaste is heightened when the threesome uncover a secret about their absent father. How Jacobs-Jenkins reveals the secret, though, is a delicate moment that could be improved – we see the characters in shock, repeatedly, before we are let in on what it is. When our imaginations are left to run wild, it can hurt the gravity of the actual secret and make it seem smaller to what is collectively imagine.

Critical reception to the play has been overwhelmingly positive, with many comparing the work to the similarly Chicago-bred dysfunctional family drama "August: Osage County." Workshopped and developed in 2012 at Victory Gardens, "Appropriate" is now officially premiering, though I can't help but feel like it is on the cusp of greatness and not-yet-great. My suggestion would be for the playwright and director Gary Griffin to seek out and nurture moments of compassion and comedy in the play. In such a dark, realistic slice of an American family, we need a balm to go along with the wounds we are watching. Jacobs-Jenkins has a biting wit and command of dramatic tension, and hints of nourishment are present. But without some substantial "holiday cheer" (for lack of a better term), we are far less likely to eat the brilliant medicine he wants to feed us.

"Appropriate" is tearing down the house at Victory Gardens through December 14. More information and tickets at  http://victorygardens.org