Items filtered by date: November 2007

What an exciting sold out Yeasayer show at the Metro Thursday night. After Slieghbells finished their set and the sound crew completed what they were doing, the audience slowly got louder as the lights dimmed – Yeasayer was about to take the stage. Yeasayer walked to their positions and began singing, “We are children and we’ll give you trouble if we don’t like what you’re doing…” But trouble is not what the “children” of Yeasayer gave to their audience that night. What they did give was a quality performance with jivey feel-good music. The lyrics mentioned earlier are from the song The Children, which is the first track from their second album, entitled “Odd Blood”, released in February of this year. Since the majority of their songs are lively and upbeat, the ominous tone of The Children was a good choice for the outset of the performance. Other songs played from their “Odd Blood” album include O.N.E., Mondegreen, and Ambling Alp.

Half-way into their performance, Chris Keating (lead vocals) thanked the other bands (Chandeliers and Slieghbells) for playing and said that, “They fucking rock!”. During this time, Keating mentioned that he lived near the Metro in the past and pointed to his upper right (at the balcony) claiming he sat there during a performance years ago. Keating did not make clear which performance he saw because he was apparently embarrassed about it. Later on he made a joke and said that it was “Nickelback” he saw - after which the crowd “Boo’d” and some flaunted their thumbs in the down position, others laughed.  Closer to the end of their performance, Keating suggested (more earnestly) that it was a Slayer/Megadeth show that he attended.  Keating also stated several times, throughout the performance, that he was thankful to play in Chicago and was having fun.

The singles played from their debut album “All Hour Cymbals” (2007), included Wait for the Summer, 2080, and perhaps most notably Sunrise, which closed the show as Yeasayer’s encore. Sunrise created a memorable scene – many people raised their hands in the air while rhythmically clapping to the jam-band like beat of the song. In fact, all of the music that Yeasayer played enticed many people to either clap or dance. The sound of their performance was definitely outstanding. The vocals almost mirrored their studio produced sound as did many of the instruments. The Metro is a great place and Yeasayer played fantastically. However, if you decide to see a show at the Metro and plan to buy beverages, be sure to bring cash because at the bar they did not accept cards the night I was there. I would certainly revisit the Metro and if Yeasayer ever comes back to play in Chicago I will absolutely attend.

 

When I heard of a Broadway musical starring foul-mouthed puppets I thought this could just possibly be the best thing ever. Avenue Q did not disappoint. It exceeded all of my expectations and more by delivering hilarious dialogue, witty songs and full frontal puppet nudity (which is always shocking). In short, I loved it and I am willing to go so far as to say Avenue Q is the most enjoyable musical I have seen since Spamalot.
 
Imagine, if you would, Sesame Street if it were reformatted for late night on HBO. In a nutshell, that’s what this show is. It features starry-eyed puppets and their human companions doing their best to find decent jobs, stable relationships and their “purpose” in New York City. The storyline itself isn’t exactly original however the way it is told and performed on stage puts Avenue Q in a league of its own. You could easily watch this show multiple times in order to thoroughly appreciate the puppets and the puppeteers who are easily as animated as the puppets they control.

The story begins with Princeton (Brent Michael DiRoma) arriving on Avenue Q. He’s a fresh out of college puppet who has to figure out what job he can actually obtain with a BA in English. He’s optimistic but only because he isn’t quite prepared for post-college disappoints. Life on Avenue Q changes Princeton by challenging his idealism. His neighbors all have big dreams, little traction and live by the infectious motto, "It sucks to be me." During his stint on Avenue Q, Princeton ends up getting downsized before he even starts his job, he falls in love with a slightly racist monster, dumps her to focus on finding his purpose, takes ill advice from the Bad Idea Bears, and then ends up having a one night stand with Lucy T. Slut.

The music and lyrics done by Robert Lopez and Jeff Marx are hysterical. Songs like 'The Internet is for Porn,' 'Everyone is a Little bit Racist,' and 'The More you Love Someone, the More you want to Kill Them' are not only fun but also surprisingly catchy. This show truly delivers on all fronts.

For lack or a better description, Avenue Q is the wrong side of  Sesame Street offering no holds bar life lessons for adults. Regardless of the laughs, Avenue Q tells the tale of coping in the real world and finding a good circle of friends. It really is a coming- of- age tale for the twenty and thirty somethings and reminds us we could benefit from a little childlike whimsy in our own messed up adult situations.

Life on Avenue Q is rather colorful. The building super is a grown-up Gary Coleman (Nigel Jamaal Clark and yes he is supposed to be the same Gary Coleman who played Arnold on Diff'rent Strokes). The neighbors include Rod (Brent Michael DiRoma), a closeted investment banker; Nicky (Michael Liscio, Jr.), Rod's room mate who resembles a green Ernie; Matt (Tim Kornblum), an aspiring yet unemployed comedian and his Japanese-born fiancee Christmas Eve (Lisa Helmi JohaPnson); a porn loving recluse named Trekkie Monster (Michael Liscio, Jr.); and an earnest kindergarten teaching assistant, Kate Monster (Jacqueline Grabois). 

This critically acclaimed, 3-time Tony award winning musical will only be in town until the 9th.  In my opinion, this is a must see show. Tickets range from $25- 75 and are well worth the admission price. Given the set and the layout of The Bank of America Theatre, a lot of the balcony seats suffer from an obstructed view. I suggest spending the additional money for a decent seat.

For more information, check out Broadway in Chicago or http://www.avenueq.com/.

Music lovers need to be aware of this amazing Whirlwind of a band on tour - Transatlantic is the combined artistry of Neal Morse (formerly in Spock's Beard), Roine Stolt (from the Flower Kings), Pete Trewavas (Marillion), and Mike Portnoy (Dream Theater). Currently on a small US tour supporting their most recent album, The Whirlwind, Transatlantic plays a combination of progressive and psychedelic rock conjuring up bands like The Beatles, Pink Floyd, and Genesis.

Originally forming and releasing their first album SMPTe in 2000, Transatlantic now has a total of 3 albums and usually does a short tour after releasing a new disc. In this case, they're doing 5 concerts in North America and 17 in Europe. Fans of the supergroup have been waiting for a tour for quite a few years now and definitely came out en force to the Park West in Chicago.

There was no opening act and Transatlantic played for several hours - opening with the title track from their new album, The Whirlwind. The entire concert hall was singing along with the band and this left no doubt in my mind that most of the people in attendance could be called dedicated fans. Filling out the sound was Daniel Gildenlow (Pain of Salvation), who added backing vocals, guitar, and percussion to the mix.

Highlights of the show were "Is it Really \Happening", "All of the Above", "Bridge Across Forever", and (because it was Mike Portnoy's birthday) there was a good amount of horseplay during the middle of the concert and the band all started up with "Birthday" by the Beatles and got the crowd jesting with Portnoy as well. The Park West is an amazing venue to see such a high caliber band at because of the intimacy of the show. At a concert where there are only about 700 seats, one would not expect to be able to see such amazing musicianship as witnessed here in Transatlantic.

Of course all of these musicians will be going back to their regular gigs after this tour ends - but I can only hope that there won't be such a large wait until the next album release and mini tour! If you can catch Transatlantic before they have finished this tour - do yourself a favor... Go, go, go, go!

If you want dancing – amazing dancing, then yes, “Billy Elliot” certainly delivers, and does so with flair, imagination and precision. However, if it’s music you want to take home with you and hum around the house, you might be hard pressed to remember any of it. Despite the fact that Elton John composed the music that was nominated for a record nine Oliver Awards (winning Best Musical), I found many of the songs to be plain and even a bit drab, not to mention over-hyped. But the songs did allow for astounding dance routines.  Elton John, who was present for the Chicago premiere, also gave the fans a thrill when he took to the stage in a tutu during the big finale. 

 

The story takes place in a small English town where the miners are on strike, causing tension throughout with those who cross the picket lines. Billy Elliot, the 11-year-old son of one of the mentioned striking miners, is expected to find interest in boxing and others boy-like hobbies, but is obsessed with ballet dancing instead. Billy (startlingly played by a rotation of Giuseppe Bausilio, Cesar Corrales and J.P. Viernes). Emily Skinner, a true notable in the Chicago production, plays Mrs. Wilkinson, a dance teacher that works with Billy when she realizes how gifted the 11-year-old is. At first she has to teach Billy in private because his father and older brother, Tony (Patrick Mulvy), are adamantly against him ballet dancing – endearingly called “bay-lee” throughout the show. It is not until Mrs. Wilkinson convinces Billy’s family that he is talented enough to audition for the prominent Royal Ballet School in England that they begin to support his dancing.

 

Armand Schultz is powerful as Billy’s father and Cynthia Darlow is charming as “Grandma”, as the two veteran stage actors provide a solid presence within the story while showing off their honed singing voices.

 

There are plenty of things to like about “Billy Elliot” – its touching story, dazzling dance numbers, commanding acting performances, its big-production set, a good share of laughs and even the engaging English accents used throughout. Still, the show was not without its flaws. Apparently, based on its award nominations, I’m in the minority when I stated the music was not very memorable, but I also felt that it ran a bit too long and began to drag. Still the biggest problem for me was the omission of the film’s ending when Billy is shown as the lead in Swan Lake. To me this explains that he was a true standout overall – not just in his small town – that Billy was truthfully exceptional. 

 

 “Billy Elliot the Musical” might not be as enjoyed by those who have seen the film. However, on the whole, the production is still worth checking out because of its mind-blowing dance numbers alone. But to dub it as one of the best musicals in recent years, if not the best…that would fall a bit short.   

 

“Billy Elliot” is currently playing at Chicago’s Oriental Theatre. For more information, please visit www.broadwayinchicago.com. 

 

 

“Maybe it’s just Thursday,” remarked Antlers leader Peter Silberman to a packed crowd at Lincoln Hall, “but it feels like there’s magic in the air.” The resulting roar of approval and the alternating moments of fragile quiet and powerful release throughout the band’s memorable set indicated that Silberman may have been on to something.

The Brooklyn-based trio of Silberman, keyboardist Darby Cicci and drummer Michael Lerner returned, after playing in February at The Vic with popular UK act Editors, as a headliner to Chicago, in support of the critically acclaimed 2009 LP Hospice. The buzz surrounding the album and a Chicago fan base bolstered by multiple local performances during the past year made the show a weekday sellout, and the band delivered a solid hour and a half set focused largely on Hospice but featuring a smattering of songs from prior releases, a bit of new material, and a dirge-like cover of “VCR,” made popular by Londoners The xx.

Atmosphere was a key to The Antlers’ performance, and the stage show was simple yet effective. Contrasting with a completely dark house, the stage was bathed in alternating monochromatic light for much of the set, and blasts of smoke encircled the band and created a haze that reached to the back of the venue.  Small potted plants sat atop Silberman’s effects setup and Cicci’s weathered Rhodes piano, and added a subtle contrast to songs fixated upon illness and death (Hospice is a concept album revolving around a medical worker’s blossoming relationship with a terminal cancer patient).

Any concern that slow tempos and a general funereal quality to most of the band’s songs would make for a less-than-compelling performance was quickly allayed. As frontman, Silberman was surprisingly talkative, and the band’s emotional, energetic stage presence gave a drive to the songs that is present in the recordings could potentially have been difficult to reproduce effectively in a live setting. Lerner’s drums and a programmed bass track gave punch to the swells of guitar and ambient sound that accompanied the louder portions of songs like Hospice standouts and fan favorites “Two” and “Kettering.” Silberman’s voice, alternating between a falsetto reminiscent of Jeff Buckley and a controlled tenor, nicely filled the room and held most of Lincoln Hall’s two levels at attention for the duration of the show.

 In just nine months since their abbreviated appearance at the 2009 Pitchfork Music Festival, The Antlers have become vastly more assured as a live band and the songs of Hospice have taken on new qualities that can only be discovered through performing them night in and night out. The band’s next performance in Chicago takes place at this summer’s incarnation of the Lollapalooza festival, and checking them out is highly recommended. More information about the band, Hospice and upcoming concerts  can be found at their official Myspace page: http://www.myspace.com/theantlers .

Porchlight Music Theatre debuts a revival of Stephen Sondheim and James Lapine’s modern classic Into The Woods this week at The Theatre Building on Belmont Ave. Though the show still has its kinks, a snappy pace (crucial for most Sondheim musicals), excellent set design, and some good performances make this iteration of Woods a success.

Into The Woods follows the story of a baker (Steve Best) and his wife, doomed to infertility by a local witch, and inserts familiar characters and story lines from classic fairy tales to create both a parody of the stories we grew up with and a surprisingly moving meditation on wish fulfillment and the consequences of our choices. Jack (of Beanstalk fame), played by Chicago veteran Scott Sumerak, is a dimwitted youth who is sidetracked by giants when tasked by his mother (the funny Kristen Leia Freilich) to sell his beloved pet cow. While his vocal style occasionally teeters uncomfortably between reedy comedy and the power of a trained lead, Sumerak is an expressive actor, is clearly familiar with the beats of the character, and delivers his lines to great effect.   A host of additional characters includes the irrepressible Little Red (Jeny Wasilewski), Cinderella (Rachel Quinn) and her wicked family, Jennifer Tjepkema’s Rapunzel, two mugging princes, played by the multi-talented Cameron Brune and promising newcomer William Travis Taylor, and a narrator (Henry Michael Odum) who unwittingly becomes part of the story.

The Witch is played with hammy gusto and in commanding voice by Bethany Thomas. Thomas’s transformation from hag to diva toward the end of the first act should be a nice surprise for newcomers to the show, and though her acting is not exactly subtle she does a nice job conveying the Witch’s multi-faceted personality.  Though Thomas has (and clearly relishes) the flashiest role in the show, at the heart of Woods (and of this production) is the story of the baker’s wife, played with subtlety and depth by Brianna Borger.  The honesty of Borger’s restrained but emotional turn resonates in a sea of outsized performances, and her simple vocal delivery is powerful but never overwhelms her fellow performers or the poignancy of her character’s journey. Borger plays nicely off of Best’s Baker, and the couple’s comfortable interaction adds believability to the central storyline.   

The technical aspects of the production are mostly solid. Artistic Director Walter Stearns makes great use of the three-dimensional space at the Theatre Building, a particularly notable triumph of stage direction being a climactic exchange between Best and a mysterious man (also played by Odum) who may or may not be his father.  The lighting (designed by John Horan) is superb, particularly in its use of blues and greens in Act II. The spare orchestra, led by Eugene Dizon, effectively communicates Sondheim’s score without getting in the way of the performers, and is creatively embedded on stage behind a hedge – one of many effective aspects of Ian Zywica’s immersive woodland set. The most  striking technical aspect of the show is also the most uneven. Projection designer Liviu Pasare uses a beautiful backdrop of a gigantic full moon to display animation that serves the story. A giant beanstalk grows seemingly from nowhere, Cinderella’s feathered friends flit in and out of frame, and in a particularly ambitious sequence an entire part of a scene in Little Red’s grandmother’s house is played out on the screen. The animation is interesting but occasionally distracting, and its rudimentary nature makes its inclusion in the action of the show feel forced at times. Also, that the majority of the backdrop is translucent makes it difficult for actors to move around backstage without being easily seen by the audience.  

Porchlight’s production will improve with the run and is, on the whole, satisfying. Ultimately, it is the complex music (even for Sondheim) of Woods and unconventional resolution of the story that make the show a must-see. As the second act veers into darker territory, with various choices made to advance personal hopes resulting in the deaths of several main characters, the show (like the original versions of many of the fairytales it borrows from) abruptly turns from light comedy to morality play. The characters and Sondheim’s songs give us a stern warning of the potential consequences of allowing the whimsical stories we tell our children to become our own reality, and though it retains its fantasy setting the show becomes one of the most authentic interpretations of our most basic human dilemmas that the stage has to offer.

Into The Woods runs from April 9 through May 30 at the Theatre Building Chicago. Tickets are available through the box office at (773)327-5252 or at http://www.ticketmaster.com .

Standing at the House of Blues last Wednesday April 7^th was like stepping into a time machine. Suddenly I was back in high school, going to a concert on a school night to see my favorite pop punk band on the week. Back then it was cool to be seen at a show like this, it was cool to spike your hair and wear spiky bracelets. Now, sadly pushing 26, it was just kinda sad. For me at least.

 

At my age I should be going to see artsy bands with complicated lyrics, syncopated rhythms and chords that venture outside of the basic power chord. But hell, I still watch cartoons on a weekly basis, so who says my music tastes have to completely grow up.

 

In a line up that blasted through several styles of the punk-pop genre, a crowd full of much younger and sexier music fans waited for their headliner, Motion City Soundtrack. With synth pop melodies, extremely catchy hooks, and lyrics for those of us bred on Mountain Dew and Mario it was the place to be on an early Wednesday night. Assuming you had your parents permission.

 

Openers Sing it Loud and Rocket to the Moon were, completely forgettable. Their brand of ‘rock’ seemed like recycled bits and pieces from all my favorite songs ten years ago. Back then, I might have thought it was fresh but even with my current immature musical tastes, I could recognize music for high schoolers by high schoolers. Is this really the product of a generation weaned on Blink 182 and Green Day? The rest of the crowd (mostly the tweens) seemed into it so if it makes them happy, rock on you youngin’s.

 

Luckily for me and other older members of the audience, the following band was extremely, well fun. Fun, the product of the now dispersed band, The Format, is a completely indescribable band. But I’ll try my best. With musical influences that transcends decades of music, Fun is a band you have to see to experience. With 6 members jumping and dancing to the music fun not only provided a well-deserved burst of energy, but they genuinely seemed like they were having exactly what their name suggests. Songs like “All the Pretty Girls,” and “At Least I’m Not as Sad (As I Used to Be)” are insanely catchy and really set the stage for the headliner.

 

Motion City Soundtrack took the stage at 8PM and immediately started rocking into the night. Their setlist had a large amount of their older catalogue while still giving a broad, best of from their latest album, My Dinosaur Life. Single’s “A Lifeless Ordinary,” and “Her Words Destroyed My Planet,” are great songs, but for me, the fun and energy of their latest album came from “Pulp Fiction,” and “@!#?@!” Their style hasn’t changed too much since I saw them last, but their energy level was amazingly even stronger than it was when I first saw them at the Warped Tour in 2003.

 

What I enjoyed most of all was being there to witness a crowd that acted suspiciously like I did back in high school, jumping up and down, smiling with their pals, and screaming along to their favorite songs. They hit a deep chord of nostalgia with me with some of their older tunes like, “My Favorite Accident” and “The Future Freaks Me Out.” Songs I remember loving cruising around my first year of College.

 

If anything I can say that the concert was a blast to the past for me, which is weird considering that all the songs from this show were only released seven or eight years ago. But what can I say; I get nostalgia for things that happened to me at breakfast. And I like being reminded of my music history, no matter how embarrassing or silly it might be. But it takes a band that is still relevant after nearly a decade to make me realize that all those years of music were not completely wasted.

 

The dissident style of “Swear Jar” is a breath of fresh air in a comedic world filled with stale political and healthcare jokes. Imagine an uncensored Second City-style revue with the added bonus of a beer bar only a few feet away from your seat. That’s what you get with this show. To put it simply, it’s crude and experimental comedy at its finest and frankly you’re not going to find a funnier bang for your buck.

Mick Napier, founder and Artistic Director of the The Annoyance Theatre, birthed this unrestricted tour de force which happens to also mark the first sketch show he has directed for his own company in its 22 year history.  Napier’s resume is impressive and includes highlights like directing David Sedaris’ “One Woman Shoe” and Chicago’s longest running musical “Co-Ed Prison Sluts.” With a man of his caliber in the director’s seat, you know you’re in for a satisfying evening.   

For the last week I have been trying to find the right words to express my love for Napier’s “Swear Jar.” It’s a delightfully filthy experience thanks to its talented screwball cast and Lisa McQueen’s ever so witty musical numbers that included homage to the sheer joy only bulimia can bring and the nostalgia of early 90’s mall culture. As a whole, the show is raunchy, dark and pleasantly demoralizing. It opens with a quick jab at the snootiness of Trader Joe’s before travelling down a classless rabbit hole. Along the way, the audience is graced with explicit yet hilarious sketches about menstruation, cunnilingus and even being able to find clarity with a plunger or an impromptu gearshift stuck up your ass. This is the type of show that pushes the envelope and delivers laugh after laugh through deviant perversion.

The cast (Vanessa Bayer, Aidy Bryant. Angela Dawe, Colleen Murray, Andrew Peyton, Connor O’Malley, Brian Wilson and Chris Witaske) creates a dynamic powerhouse with undeniable standout performances from Vanessa Bayer, Aidy Bryant, Andrew Peyton and Chris Witaske. It is hard to pick a favorite but I have a feeling Mr. Witaske will become a big name in the sketch comedy world.  His stage presence is captivating which makes him a standout even when he’s isn’t center stage.  

The only criticism I can give can also be applied to most sketch comedy shows. “Swear Jar,” at times, suffers from its lack of continuity. The performance can seem a little choppy as they bounce from one sketch to the next. This might be alleviated if they end some of the sketches before they run out of steam and hit an ill at ease conclusion. One might accuse “Swear Jar” of using shock value to stimulate the audience rather than garnering actual laughter. That wasn’t the case for me but be forewarned the content of the show is rather vulgar. Overall, I found it to be a riot and as my friend put it, “funnier than anything I’ve seen on SNL in years.”

 “Swear Jar” runs every Saturday night at 10:00pm through May 1^st. Tickets are a steal at $15 and can be purchased at The Annoyance Theatre website, theannoyance.com, or by calling the box office at (773) 561-HONK.

Chicago’s As Tall as Lions fans helped kick off the band’s North American tour promoting their most recent album, You Can’t Take It With You, Tuesday night at The Bottom Lounge in the West Loop.  Headlining a tour for the first time, ATAL has their gaze fixed on the future, far past what guitarist Saen Fitzgerald calls their “dark days” when referring to the time period of making You Can’t Take It With You.  Three Producers, questioned self-confidence and a side step away from implosion, the “original four” -Dan Nigro (lead vocals, guitar), Saen Fitzgerald (guitar), Julio Tavarez (base), and Cliff Sarcona (drums)- managed to produce one of their most impressive LPs to date.           

Rhythmically fervent tempos and guiding melodic tones solidify this indie jazz-fused band as top seed in the live show experience.  Like twins separated at birth, the band members appear to read each other’s mind on stage knowing one another’s next musical move before it is made.  This musical spontaneity on stage is a unique quality only found in their live set.  Drummer Cliff Sarcona explains, “We live in the moment when we’re on stage.  We’ve gotten to the point as musicians and as a band where we can read each other and play off one another with whatever we’re feeling at the moment.”

Fans are transfixed on the energy and passion each member of the band exudes on stage.  Colored lights shine through the smoke filled stage as lead singer Dan Nigro belts out falsetto notes amplifying the band’s instrumentals.  The four have been playing together since high school. “We’ve definitely matured,” Sarcona said, “bringing in more complex instrumentation and incorporating horns into our tracks.”            

As Tall as Lions was on their first stop of a 23-city tour before heading to Minneapolis the next day and on to Kansas City Friday.   When asked about what they look forward to the most this tour, Saracon responded, “I think I’m most excited for Coachella.  It’ll be one of the biggest shows we’ve played…and we’re honored we get to play there,” and Fizgerald added “Mainly I’m excited to headline a tour…I think headlining is a great next step for us, and the right one. “

 

*Photo Credit Shawn Brickbill