Items filtered by date: November 2007

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/.

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.