Items filtered by date: November 2007

There are times that I think the skepticism of my generation prevents me from enjoying a simple play, or at the very least accepting a play and not questioning the ending, the character’s motivations, or poking holes in plot points. My cynicism might have gotten the better of me this Monday at The Raven when seeing The Trip to Bountiful.

Trip to Bountiful is set in Texas in the 1950's where Mrs. Watts is living a life she didn’t choose- a dependent to her son and daughter-in-law in their cramped Houston apartment. If she could just make it to Bountiful, Texas to see her beloved home and friends, she could live the rest of her days in peace.

The description is rather vague, so let me drive home the main storyline: an aging woman wants only one thing in her life, to get to Bountiful. This is seemingly the one thing in the world that will bring her joy and peace and her children are both unwilling and unable to accommodate. Of course the children have their own lives to lead, and there is obvious tension within those small walls. But while we briefly learn of the son and daughter-in-laws motivations, selfishness, various desires, and heartaches, the theme is still focused on this one woman’s desire to get to her hometown of Bountiful, Texas.

While the play was excellently acted, and the story moves along nicely, the issues I developed with the play had to do with the screenplay itself. Written by Horton Foote and performed for the stage over 60 years ago, The Trip to Bountiful, much like Foote’s other plays, tells the story of an ordinary person handling the harsh realities of life and the strength of the human spirit. We are all drawn to these types of plays despite the fact it might mirror many themes within our own lives, it’s not escapism we want, it’s realism. But the reality of Bountiful is that it leaves the audience in a state of questioning when the play ends.

Here is a woman [Mrs. Watts] who so desperately wants to run away to her hometown. Not only is she pursuing a desire 20 years in the making, but simultaneously escaping the oppressive feeling of living under someone else’s roof and live her life as she wants to. You feel the longing of this character, you rue her bitter and nasty daughter-in-law, and you as an audience member empathize with the loving mother-son relationship. You grumble and groan at the obstacles Mrs. Watts must overcome, and hope against hope that she can make it to Bountiful. For the love of Texas, it’s only a bus ride away! And when she’s a mere miles away from her destination, she is stopped once more, seemingly for the last time, and she breaks down, begging, sobbing, the drama building into a beautiful crescendo, and then…skepticism sinks in.

Suddenly, this strong female lead bargains with herself that she is content with only visiting a few hours in the shadow of her home. After 20 years of waiting and veritable “oh-come-on-really?” antics blocking her trip there, you expect the audience to just accept that she is content with leaving as quickly as she had come? That she somehow finds bittersweet peace within those few hours? It’s also important to note that all of the tension the built up within that Houston apartment promise to be resolved when the curtains close. Yes, folks, there is a nice bow on this present of a play.

Call me a skeptic all you like, but The Trip to Bountiful left me wanting an explanation of the sudden 360 of its main character. For a character desiring to get to Bountiful to be contented from a short visit seemed wholly out of character. Where was the bargaining with herself? Where was the inner monologue in which she came to the conclusion of being contented? For me this plot point was a bit of a reach and broke away from the harsh realism Foote was striving towards. A great play begs you to like or dislike a character, and while there’s a possibility of changing your feelings at the end, those feelings shouldn’t change to indifference.

So was the play worth seeing? Completely, if for nothing else than the superb acting The Raven Theatre is known for. The theatre is at its best when they tackle difficult themes with seesawing emotional undertones, and their actors always rise to the occasion. You’ll enjoy the journey to Bountiful, but possibly not the destination. The Trip to Bountiful is at The Raven Theatre through November 17^th. 

You could attribute this week’s hot and humid temps to Chicago’s ever changing fall weather, but anyone who saw the Joffrey Ballet’s performance of “Russian Masters” will definitively tell you it was this performance that brought the heat wave into the Chicago city limits.

“Russian Masters” featured four pieces: “Allegro Brillante” choreography by George Balachine, “Adagio” and “Bells” both choreographed by Yuri Possokhov, and “Le Sarce du Printemps” choreographed by Vaslav Nijinsky. Of the four performances, one will leave you hot under the collar, while the others will simply leave you hot and bothered.

“Allegro Brillante” and “Bells” were beautiful ballets within their own right. For those who don’t know ballet, Balachine is essentially the father of American ballet. In one word, his style can be described as classic. Picture a ballerina in your mind and the way she would dance, yep that’s the style. Flawless, graceful, lithe techniques, clean lines, beautiful and elegant duets, that is a Balachine ballet and “Allergro Brillante” shined on stage, bringing the audience into its gentle embrace. “Bells,” choreographed by Yuri Possokhov was equally graceful and beautiful. Set to seven Rachmaninoff compositions that included some flawlessly executed duets it was all in all was just a good performance, not one that left you wanting more. It is evident within “Bells” that Possokhov is clearly at his best when it comes to duets.

His choreographed duet “Adagio,” performed by husband and wife team Victoria Jaiani and Temur Suluashvili left the entire audience in heat. It is my claim that Jaiani and Suluashvili’s performance required the theater to turn the air conditioning up. Their performance was filled with fiery passion and sensuality, with intricate skills and lifts that would leave a cirque du soleil performer impressed. They were the only performers of the night to receive a standing ovation and once you see the performance live, you too will be ready to jump from your seat and yell “Bravo!”

Cut to the final performance of the night.

Now forget everything you know about ballet, the tutus, the pointy toes, and the gorgeous ballerinas. All of the stereotypes in your head will be torn down and stomped on (almost literally) during the course of this performance. The final piece of the evening was “Le Sacre du Printemps” (Rite of Spring). A brief history: when “Le Sacre” first premiered in Paris in 1913, the performance shocked the sophisticated Parisian audience so entirely that they literally rioted in the theater. That’s right folks, rioted. Russian composer Igor Stravinsky’s haunting music set the audience on edge with loud drumming and bassoons, while Vaslav Nijinsky’s jagged, raucous, and barbaric ‘dancing’ depicting a virgin sacrifice, caused the audience to get so angry that they began catcalling and jeering at the performers, drowning out the orchestra music. In retrospect, it is apparent that Parisians paying to see a beautiful, graceful ballet were not prepared or welcoming to such an avant guarde piece.

While there was no rioting in Chicago on Thursday night, there was plenty of seat shifting, awkward glances from neighbor to neighbor, and an overall uncomfortable air from the audience. But that really was the point of the whole performance. Even in today’s society, with all matter of modern art forms around us, “Le Sacre du Printemps” still leaves audiences questioning what exactly it was they saw. Was it art? Was it ballet? You be the judge.

“Russian Masters” truly was one of the best compilations the Joffrey has put on since I have been in Chicago. The juxtaposition of soft, classical ballet in the first three performances against the brutality and harshness of "Le Sacre du Printemps" highlighted the wide range of talent that the Russian masters possessed. Hurry down to the Auditorium Theater as the show ends on September 22^nd. Dasvidaniya, comrades.

It was a night of great music, big laughs and best yet – it was all for an admirable cause. The Emporium Arcade Bar in Wicker Park was last night’s home a special event to benefit the Alzheimer’s Association - “The Brain Is a Terrible Thing to Waste”. Located at 1366 N Milwaukee, the Emporium Arcade Bar is lined with wall-to-wall 1980s arcade games making it all the more festive and challenging as one could play a quick round of Asteroids or Mortal Kombat before, after and between performers.

“The Brain Is a Terrible Thing to Waste” was organized by Danielle Gandhi to raise money for a cause she holds so close to her heart. Artwork on display was also for sale to raise money for the Alzheimer’s Association. The event was also put together to raise awareness about Frontotemporal Dementia, a rare brain disorder in the Alzheimer’s family. Gandhi was able to put together all the ingredients in order to make the event one to remember – arcade games, art, music, comics and plenty of beer. Commendably hosted by funnyman Andy Fleming, he went on give introductions to local comedians Lisa Laureta, Stephanie Hasz and James Earl Folks before making room for Bigg Picture to take the stage close out the stage entertainment.   

Bigg Picture played an inspired hour-plus long set which included a lively variety of covers such as Dishwalla’s “Counting Blue Cars”, Jimmy Hendrix’ “Foxy Lady”, Talking Heads’ “”Psycho Killer” and Live’s “I Alone”. Guitarist/lead vocalist David Biggs (hence “Bigg” Picture) even riffed out a Joe Satriani favorite “Summer Song” before drummer Jason Royal got to show off his chops in the energetic “Buffy the Vampire Theme”. The trio had a full sound and played with a youthful rambunctiousness that really came to light during one of their four encores “(You Gotta) Fight for Your Right {To Party)”, a Beastie Boys favorite. Bassist Jeff Peterson thumped his way through Bigg Picture’s rockin’ set with polished finesse and command while at the same time impressing with his strong and spot on backing vocals.

The band finally capped off the night with a classic from The Police, “Message in a Bottle”, and though the crowd shouted for a fifth encore, it was time to pass the entertainment baton over to the house music and arcade games.  (Find out future events and info on Bigg Picture at  https://www.facebook.com/biggpicture)

“The Brain Is a Terrible Thing to Waste” was a successful event for a very worthwhile cause that we can only hope is put together again in the future.           

As part of their ongoing campaign to fight boredom and encourage super-fun times, Riot Fest announces a series of great shows taking place post-fest nightly as well as a Sunday matinee. Concord Music Hall will host Sublime with Rome and Cobra Lounge has The Lawrence Arms, Against Me! and Quicksand. Andrew W.K. and Rocket From the Crypt will be rocking Double Door along with Peter Hook and the Light, and the Lillingtons will rise with the sun and hit Beat Kitchen for a special brunch show.

Show info is below, ticketing information is here.

Alice in Chains took the stage as the final act of what had already been a full day of rock and roll fun at the Rockstar Energy Drink Uproar Festival at the World Amphitheatre in Tinley Park. Kicking it off with the command driven, “Them Bones”, Jerry Cantrell and company put on a show worthy to celebrate former frontman, Layne Staley’s, birthday. Powering their way through what was just a thirteen song set, the band was still able to touch on most of their albums playing songs “Again”, “Would?”, “We Die Young”, “Check My Brain” and “Hollow” from their latest release The Devil Put Dinosaurs Here, before capping the night off with an inspired version of “Rooster”.  

This is now the second album tour with the band for singer William Duvall and he couldn’t have had better control of each song performed. Though he may not make fans forget about Layne Staley – not that he would even want to do that – he is sure making a name for himself and has successfully transitioned himself into the shoes of what many thought would be impossible to replace. Duval’s command was impressive and his vocal prowess even more so.

Gloomy and trippy, Alice in Chains, flawlessly drifted from one song into the next aided by a stellar light show and dreamy projected images. With so many bands in the Uproar lineup, their time on the stage was limited. That said, I will look forward to their return to tour the new album to see and hear a more complete set.

Jane’s Addiction also made a noteworthy performance where iconic musical legends Perry Ferrall and Dave Navarro looked to be in prime form. Navarro made his blazing guitar playing look effortless and Ferrall weird antics surrounded his strong and unique vocals. “I love freebase. I love my band. I love the ocean. I love Chicago,” said Ferrall between songs. Ok, so his mid-song banter wasn’t the coolest, but their set was. Songs in their set included “Mountain Song”, “Been Caught Stealing”, “Underground”, and “Ocean Size”. It has been over twenty years since Jane’s Addiction had played at the World Amphitheatre – the site of the very first Lollapalooza, which they headlined.

Alice and Chains were notably that largest acts in the Uproar Festival but it was a full day of loud, rock music starting at 3pm. The talent list was not short as one band impressed after another. The band lineup included Mindset Evolution, Beware of Darkness, Charming Liars, The Dead Daisies, The Chuck Shaffer Picture Show, New Politics, Middle Class Rut, Danko Jones, Walking Papers (featuring Duff McKagen), Circa Survive and Coheed and Cambria.

Bottom Line – The Rockstar Energy Drink Uproar Festival rocked from beginning to end. If you like music on the heavier side that doesn’t lack in quality, there is no reason not to attend such a fun and musically awesome event. I am already looking forward to next year’s lineup.     

For more information on the Rockstar Uproar Fest, visit  http://www.rockstaruproar.com/

Just 30 minutes north of Chicago is a fantastic place to see some really amazing shows in the round. One of those shows is currently playing at the Marriott Theatre in Lincolnshire through October 13^th – “9 to 5 the Musical”. Based on the wacky 80s film starring Dolly Parton, Jane Fonda, Lilly Tomlin and Dabney Coleman, Parton has created and score that is as clever as it is upbeat.

It is an age when a woman taking a CEO position was unthinkable, a man’s world where women were merely underlings and often objectified. Welcome to the workplace in the 1970s and the fight for women’s rights. In “9 to 5” we meet three improbable friends who are bonded when they each have to put up with their abusive, sexist and egotistical boss, “Franklin Hart Jr.”. Enough is finally enough when the three kidnap their boss and seize control of the office. When their new ideas are implemented, we see the office change from a sexist and petty rule-ridden atmosphere into a place where employees enjoy coming to work and productivity skyrockets.  

“9 to 5” is funny and flat out entertaining.  The cast features two Jeff Award winners in Kelli Cramer (Violet Newstead”) and Susan Moniz (“Judy Bernly”} and each are as sensational with their impressive vocals as they are with their humorous line delivery. Alexandra Palkovic is also stunning as “Doralee Rhodes” and has just the right amount of country and vocal talent to gracefully pull off the signature role made famous by Dolly Parton.  Of course, for the play to succeed a strong talent would be needed to take on the role of “Franklin Hart Jr.” and they certainly cast well in bringing in James Moye, whose presence couldn’t have been more fitting.  

David H. Bell, who so brilliantly directed “South Pacific” at Marriott Theatre last year, does it again in his creative direction of “9 to 5”. At the same time, Matt Raftery gets big kudos for his wonderful choreography. A charming workplace revenge story, “9 to 5” not only salutes women’s rights but even promotes the legalization of marijuana. This is a fun, toe-tapping show that doesn’t make you think too much. It’s the perfect show to just simply relax and have a good time. Then you can go home and have your own revenge fantasy with your boss.

“9 to 5 the Musical” is playing a Marriott Theatre in Lincolnshire through October 13^th. Tickets range from $40-$48. For more information, please visit www.MarriottTheatre.com or call 847-634-0200.  

Steppenwolf Theatre

Becky, a 17 year old, played by Rae Gray, is involved with the death of a mentally handicapped friend at a party in Massachusetts. She is sent to visit for one week with her reclusive uncle, Sterling, played by William Petersen, at his cabin in a remote jungle in Costa Rica.

Greg Pierce has written a near perfect two-character play with a brisk 90-minute running time with no intermission. The dialogue is funny and touching in turns but never falls into melodrama or even sentimentality. During the course of the play we learn that Sterling is also struggling to forgive himself for a financial crime that caused a friend to be incarcerated for 15 years, by hiding out in the jungle. Sterling justifies his jungle lifestyle with daily meditation/penance by walking the path of his own man made labyrinth.

William Petersen’s performance is subtle and well crafted at the same time, Petersen acts with his whole body, from head to toe, his every hand gesture is rich with meaning and humor. Even Petersen’s silences onstage resonate passionately with the fullness of a seasoned actor whose senses have thankfully not been dulled by the 10-year stint on his hit TV show CSI.

Rae Gray does a great job of holding her own opposite Petersen in a demanding role. Gray has good comic timing and handles the more difficult scenes with sensitivity and intelligence.

The sound design is wonderful and becomes a sort of third character in the show, as the sounds of the jungle and it’s creatures remind Sterling and Becky about the great power of nature, life and death and destiny that is beyond their control. 

The most rewarding part about this production is the way it unfolds and it’s message about self forgiveness creeps up on you without hitting you over the head like an after school special.

The spaciousness and sparing exactness in which “Slowgirl” was written allows the audience room to consider instances in their own lives that required huge leaps of understanding and compassion to overcome. “Slowgirl” gently and easily leads the audience to feel that forgiveness, no matter what the circumstance, no matter how late, is always practical if not mystical and always possible.

“Slowgirl” is playing in Steppenwolf’s upstairs theatre through September 1^st. For tickets and/or more information, visit www.steppenwolf.org.

(Rosemont, IL ) – “THE RAT PACK IS BACK!,” a tribute to the legendary 1960s stars known as “The Rat Pack,” will play the Rosemont Theatre, 5400 N. River Road, for one-performance-only, Saturday, Oct. 19 at 8 p.m.  Tickets go on sale Friday, July 12 at 10 a.m.   Photos from the production are downloadablehere. 

All proceeds generated by this performance of “THE RAT PACK IS BACK!”  will benefit Salute Inc., a non-profit organization that provides financial support for military men and women and their families, organized by Rosemont Mayor Brad Stephens.  This is the third consecutive year that Mayor Stephens has organized a theater performance to benefit Salute Inc.  To date, the performances have raised more than $80,000.

“THE RAT PACK IS BACK!” takes the audience back in time and space to classic Las Vegas on a balmy night circa 1960 when four show business legends -- Frank Sinatra, Sammy Davis Jr., Joey Bishop and Dean Martin -- converged at the Sands Hotel for the first time.  These stars delivered style with substance, swing with swagger and a non-stop party to which everyone wanted access. 

“THE RAT PACK IS BACK!” unites four of the country’s most accomplished singer/actors.  Mickey Joseph (appearing as Joey Bishop); Drew Anthony (appearing as Dean Martin); Kenny Jones(appearing as Sammy Davis, Jr.) and Brian Duprey (appearing as Frank Sinatra).

In “THE RAT PACK IS BACK!,” Frank, Sammy, Joey and Dean are back and do it “just one more time.”   What ensues is an uncanny recreation of one of the Rat Pack’s raucous, antic-filled performances, featuring Bishop’s hilarious comedy and performances of such standards as Sinatra’s “You Make Me Feel So Young,” and “A Foggy Day,” Martin’s “That’s Amoré” and Davis’ “Mr. Bojangles.”  Backing the singers is swinging 12-piece live orchestra performing period perfect orchestrations.

“THE RAT PACK IS BACK!” is produced by Dick Feeney (“Viva Las Vegas,” “Showgirls,” “The Great Gleason”). 

“THE RAT PACK IS BACK!”  will play the Rosemont Theatre, 5400 N. River Road on Saturday, Oct. 19 at 8 p.m.   Tickets are priced from $29.50 - $69.  Tickets go on sale Friday, July 12 at 10 a.m. and  are available at www.rosemonttheatre.com or all Ticketmaster outlets or by calling Ticketmaster at 800-745-3000. For groups of 15 or more, contact GroupTix at 773-327-3778. 

"And baby It’s amazing I’m in this maze with you, I just can’t crack the code, one day you screaming you love me loud, the next day you’re so cold...."

Holy Grail

It was going to be hard for “The Legends of the Summer” tour to actually top the ultimate anticipation and expectations surrounding its build up, however when that tour includes the number one pop artist and the number one artist in rap, not to mention said artist both promoting new albums, you can see why expectations were high.

Here’s what you should know: Justin Timberlake is a tremendous pop artist. He’s a showman, a song and dance king. He’s been doing this thing before even he remembers. Justin can sing and dance and entertain in his sleep. Where he begs and pleads for approval, his tour-mate Shawn Carter basically demands it, un-apologetically. Trying to find a common comfortable ground, both played wingman throughout the night for each other. With large band in hand and a tremendous stage setting, the show opener “Holy Grail”, echo’ed throughout the 60,000 plus packed Soldier Field like anew generation sing a long anthem…and it’s fitting, in a music industry so fickle and built on stars who rise and fall within minutes, both artists were here, in this moment, with the biggest albums in the world, staring in the biggest concert tour of the year.

So let’s get to the show: Over 30 songs, all full of energy, had the crowd singing and dancing all night long. Their difference in styles comes off more as an Alpha/Omega relation, where as in past concerts Timberlake plays the same, he’s all over different instruments, commanding the crowd, and interjecting some very cool dance moves. Put him next to Jay Z however, and you notice how Jay commands a stage, while Justin fits easily into the sideman role. Jay Z has become one of the better live performers in music. While not built on movement or running and dancing around stage, Jay Z makes every move mean something, every verse, wether he emphasizes a line, a word, his voice…it commands the crowd.

There were the typical show-stoppers: Timberlake’s “Tunnel Vision”, “Pusher Love Girl”, “Mirrors”, “Love Stoned”, and “Cry me a river” put the crowd in the palm of his hands. Plus you’ll rarely find another song that gets a crowd moving and chanting like “Sexyback”. And while Justin was tremendous, it’s Jay Z who dominated the night. Commanding the Chicago audience to sing along to his NYC anthem “Empire State of Mind”, Jay Z rocked the crowd with hits such as “PSA”, “U Don’t Know”, “99 Problems” and “ Ni**as in Paris”.

After nearly three hours, as the clock approached midnight the two kings of music brought this epic night to a close, dominating the nights with hits, living up to most of the expectations fans had been counting on for months and months. Great show, great night.    

In a posh French flat in the Parisian neighborhood of Belleville, Abby walks in on her new husband Zack masturbating to porn. The Americans are living the dream: she teaches yoga in her fantasy city, he saves lives with Doctors without Borders, and the two couldn't be more in amour. But this discovery is the first in a series of cracks which erupt in a shocking climax that warns against perfection, lies, and living for others.

Amy Herzog's "Belleville," commissioned and premiered by Yale Repertory Theatre where she received her M.F.A, powerfully closes the Steppenwolf's "The Reckoning" season. Directed by Anne Kauffman, who helmed the premier and Off-Broadway incarnations, the 100-minute play is raw, funny, and startling. Herzog's contemporary-set script still creates a traditional playground for the Steppenwolf design team. Greek and Shakespearean imagery – blood, water, daggers – appear alongside cell phones and a luxurious French apartment with plenty of natural light to expose the wounds within.

The wounds are suffered by four characters, breathed by life by a talented ensemble – Kate Arrington and Cliff Chamberlain shock, move, and scare as the destructive couple Abby and Zack. Chris Boykin and Alana Arenas entertain, ground, and reveal as Alioune and Amina, the couple who live a few floors down who own the building. While the landlord couple cares for a newborn, have a thriving property management business, and seem to make their relationship work, Zack smokes weed, Abby pops pills, and the pair fight and torture themselves and one another. At opposite ends of the alphabet, A and Z shouldn't be together; meanwhile, Alioune and Amina are A synchronized pair.

"Belleville" is an edgy, existential thriller, brilliantly brought to life by powerhouse performers, designers, and a director. It's not a feel-good play, although I did feel good as I left – impressed by its execution, haunted by a Herzog's warning, and glad to be single.

"Belleville" is a tenant in the Steppenwolf Downstairs Theatre from June 27 – August 25, 2013. For more information and tickets, visit steppenwolf.org.