Items filtered by date: November 2007

I’ve never been to Havana, Cuba. I never even saw Dirty Dancing: Havana Nights. But after seeing the world premiere of River North Dance Chicago and the Chicago Jazz Philharmonic’s performance of “Havana Blue,” Havana is definitely a place that I would hop on a plane and visit in a heartbeat. I am of course basing this decision entirely upon the hope that everyone breaks out into expertly choreographed dances to express emotions and feelings for the city they reside in. Regardless, the premiere of “Havana Blue” was a wonderful and entertaining surprise.

“Havana Blue” was created and collaborated on by choreographer Frank Chaves and jazz trumpeter Orbert Davis. They traveled the streets of Cuba, immersing themselves into the culture, the nightlife, exploring the country’s musical routes. What they came back with was a beautiful ensemble that celebrates the life and exuberance that is Havana.

Entering the theater and the show, I was far from the most knowledgeable about Jazz or Cuban life and culture. Jazz lovers and dance lovers alike flocked to see “Havana Blue” to make it a nearly sold-out performance, a feat I had never seen at the Auditorium Theater. The crowd was energetic and lively, freely swaying back and forth to the music and even jumping up in the aisles to dance. Everyone in the audience, including my friend who accompanied me, knew when Orbert Davis said ‘Dizzy,’ knew to respond with ‘Gillespie.’ But I soon discovered, when the curtain went up and the music started to play, I didn’t need to know a great deal about the show, or jazz history, to appreciate the art forms performing in front of me.

The curtains rose to reveal a brass jazz band, the brass twinkling under the bright stage lights, set against a dark brick wall. It was an impressive sight, and just as visually stunning as the gorgeous dance pairs of River North Dance Chicago that opened the show, the women in flowing blue dresses, the men in sexy-tight pants and open shirts, muy caliente.

“Havana Blue” is comprised of a several sultry and powerful dance segments, each representing a mood that you could find in the life-pulse of the Cuban city. One of the more notable dances was “Solteras" ("Single Ladies"), which many found to be a sad(ish) dance in which one woman was not being coupled up to dance with male partners. But the solo woman did not dance with a dejected rhythm but a “que sera sera” style, retaining a sexiness and comfortableness with dancing alone. Indeed, the women shifted partners, each woman getting a chance to dance solo while the couples danced around them. As the “Solteras” danced, there were smiles on their faces, not longing. I viewed the dance as empowerment for women, not romantic yearning because they weren’t coupled up. The women danced in spite of not having a partner and danced beautifully and strong, not slumped and saddened. (Cue female empowerment music: 'All the solteras, all the solteras,' kidding). Shortly after that performance was another notable dance segment "Lo Masculino" ("The Masculine"). To sum up the performance in one word: steamy. The males of River North Dance Chicago performed shirtless to a powerhouse number filled with masculinity, sweaty six-pack abs, and moves that would have made Baryshnikov proud. It was the perfect blend of power and rhythm that really made "Havana Blue" pop and sizzle.

“Havana Blue” completely embodied the sensual, powerful, and allure of the Havana culture. The artistic direction of Frank Chaves with River North Dance Chicago and the artistic direction of Orbert Davis was a match made in the streets of Havana. These two men created a show that will surely be enjoyed for years to come. Should you see “Havana Blue” coming to a city near you, or to our very own Chicago again, be sure to samba your way to see this show, you will not be decepcionado.

Based on the Charles Dickens’ 1838 classic Oliver Twist, OLIVER! has further immortalized this ageless story of a young orphan who finds himself living in the slums of London. Winner of multiple Tony Awards, this fiery musical has all the elements needed to cast a lasting impression on its audience.

OLIVER! follows the story of Oliver Twist, a kind, goodhearted kid who is brought to an orphanage after his mother dies while giving birth to him. He is mistreated and eventually sold to a family run funeral parlor by Mr. Bumble, the orphanage’s chief authority. Realizing he is damned to a life of further abuse, Oliver makes a break for it, running away to take his chances on the seedy streets of London. It is on these streets where he quickly makes friends with “The Artful Dodger”, a street smart pickpocket who brings Oliver back to his hideout to join a band of child criminals run by “Fagin”, an older man who makes his money by instructing and teaching these children grifting and petty street crime.  Oliver, not cut out for this kind of life, is then forced to make some tough decisions.

OLIVER!, Drury Lane’s big musical, is filled with unforgettable show tunes including, “Consider Yourself”, “As Long As He Needs Me’ and “I’d Do Anything”. Heidi Kettenring leads the large cast of 35 as “Nancy” in this large scale production that is captivating from its opening scene where the “Workhouse Boys” set the tone with the big dance and singing number, “Food Glorious Food”.

Though there are many fantastic performances worth noting including Brady Tutton as “Oliver Twist”, it is the “Workhouse Boys” who double as “Fagin’s Gang” that really steal the show. This talented group comprised of children did everything asked of them and more, displaying strong and polished vocals and executing complicated dance sequences to perfection.

OLIVER! is a total package that has everything, including fun song and dance numbers, a well-designed set that takes the audience to mid-19^th century London and a compelling story that is fun to follow. OLIVER! is playing Drury Lane in Oakbrook (100 Drury Lane) through June 2^nd. For tickets and/or other show information call 630-530-0111 or visit www.drurylane.com.          

There is nothing better than a good chase. Based on the remarkable, almost too far-fetched true story, “Catch Me If You Can” is a whirlwind of exciting scenes and show stopping numbers. The story follows the exploits of Frank Abagnale Jr., a con artist in a league of his own, who successfully passes as a doctor, an airline pilot and a lawyer – all before hitting the age of 21 years old. I should also mention that he stole nearly two million dollars by passing bad checks. While Frank lives the playboy life from one city to the next, the F.B.I. is hot on his trail but by-the-book agent Carl Hanratty always a step behind.

It’s the early 1960’s and the jazzy, jet-setting era is tremendously brought to life with memorable, well-timed songs and dance numbers that swing and sway with an unadulterated youthfulness, such as the opening “Live in Living Color”, “Jet Set”, “Someone Else’s Skin” and the sexy “Doctors Orders”.

A well-rounded and talented cast put this show on the must-see-while-in-town list. The charismatic Stephen Anthony as “Frank Jr.” puts on one of the best stage performances I have seen in the last few years delivering spot on timing and on-a-dime expression while also providing breathtaking vocal prowess, most notably in his big finale “Good-bye”. Dominic Fortuna also demonstrates his pitch-perfect, lounge club voice as “Frank Abagnale Sr”, while Merritt David Janes (“Carl Hanratty”) does a great job as the likeable agent who gradually befriends Frank Jr. as the chase ensues. Caitlin Maloney as Frank Jr.’s mother “Paula” and Aubrey Mae Davis (“Brenda”) also deserve great praise for their wonderful performances.

This wonderfully directed show by Jack O’Brien really has it all. The stage adaptation of Steven Spielberg’s 2002 hit of the same name brings out everything desired in a fun, stimulating and visual Broadway musical.   

“Catch Me if You Can” is playing at Cadillac Palace (151 W Randolph) through April 14^th. Ticket information can be found at www.BroadwayInChicago.com, www.CatchMeOnTour.com or by calling (800) 775-2000.

Just sit back, fasten your seat belts and enjoy the chase!

Chicago, IL—On Friday, May 3rd at Elbo Room (2871 N. Lincoln Ave.,  Chicago, IL 60657),Sonic Palace recording studio will celebrate 10 years of recording and promoting music. For one decade now, Matt Mercado (with the help of engineer Kyle Reese) has been producing up-and-coming rap and rock artists with his affordable, full-service recording facilities. Mercado knows a thing or two about the music business. As a musician and major label recording artist himself (Daisy Chain, Mindbomb, Pivot Man, Supermercado), Mercado has seen the industry from all sides. His mission with Sonic Palace? To not just record artists and send them on their way, but to nurture and promote these artists outside the studio walls. This role, which once fell to record labels, is embraced by Sonic Palace. To back up this supportive philosophy, Mercado has organized an event to showcase the studio’s efforts.

Read the Illinois Entertainer interview with Matt Mercado:

http://illinoisentertainer.com/2013/03/studiophile-march-2013/

Helping to celebrate this milestone are a host of Sonic Palace clients including Cosmic Fury, False Hope Fades, Bolo Marchay, Matthew Farris, CEO, Moses Valdez, Some Years Later, KSK, Sapa Inca and others.

The highlight of the evening will be a performance by Famme Frasier.Famme is a rising rap artist from Ardmore, OK who will be making his Chicago debut at the Elbo Room.

Listen to Famme Frasier's Mixtape, D.O.P.E. on Indy Live Mix Tapes:

http://indy.livemixtapes.com/mixtapes/20531/famme-frasier-dope.html

Also scheduled is Mercado’s own project Cosmic Fury, featuring Danny Vega, Frank Iffland, and Michael Ray Garrett, who will perform songs from their debut 6 song EP.

Tickets are $10 and are available online at www.elboroomlive.com and at the Elbo Room door the day of the event. Doors open at 7pm with performances starting at 8pm and go until 1:30am.

For more information or interview requests, please contact This email address is being protected from spambots. You need JavaScript enabled to view it.

773-295-8330

www.sonicpalacemusic.com

There are few musical artists that have managed to stay in the mind of popular culture like Tom Jones. Some of this has to do with his timeless hits such as "She's a Lady". Other reasons that Tom Jones has managed to be so popular is that he constantly reinvents his sound. Finally, there is no doubt that his frequent live performances in the US and of course his famous UK concerts have also helped maintain his profile in the public mind. It can be said that there are some artists who are better well known than Tom Jones, but very few can claim to be as popular and enduring as this singer. 

Early Life 

Tom Jones was born in South Wales and was challenged early in life by a case of tuberculosis. According to his own statement, his time fighting tuberculosis was the worst two years of his life and he was unable to do little but listen to music and draw. Tom Jones Married soon after high school to Melinda Trenchard and a month later his first child was born. 

Early Career 

Tom Jones began his performing career with a beat group called Tommy Scott and the Senators which became a well known local group. As he began to become more popular, Tom Jones recorded several early singles which led to him becoming well known not only in the UK, but also in the US where he enjoyed several top forty hits in both countries. After some initial success the young singers popularity began to decline and he switched his style to more of a country sound which revitalized his career. 

The Las Vegas Years 

In the late sixties Tom Jones became one of several stars to begin headlining in Las Vegas. His shows became known for their sexual tension and raw energy. During his time in Vegas, Tom Jones befriended Elvis Presley and the two became close friends. At this time Tom Jones decided that he preferred the more lucrative club acts to cutting new records and it would be quite some time before he released a new album. 

Coming back 

For a long time Tom Jones seemed destined to be a footnote in music history, however he enjoyed a rather sudden and strong resurgence in the late 80s and early nineties and has since remained at the forefront of the world wide music scene. While Tome Jones has not released an album in a while he still performs live very often and these UK concerts are well known for carrying the same energy as they did when he was a much younger man. 

In the end, Tom Jones is sure to remain part of the music world for years to come and even when he dies there is little doubt many people will remember what he offered. His combination of crooning lyrics, sexually charged performances, and memorable tunes is sure to last for years and years to come.

THEATRE-ON-THE-HILL proudly presents Peter Barnes' scathingly brilliant satire, THE RULING CLASS performed indoors April 12-28, 2013. A profoundly witty, oddly dark comedy that has everything: clever dialogue, musical numbers, fabulous sets, serial killers, madrigals and burlesque striptease, opera and aristocracy, romance and insanity, jealousy and drama and theology and much more. Peter O'Toole, star of the 1972 cult film adaptation called it, "A grand comedy with tragic relief."

Produced & Directed by Michael Fudala

Starring
Victor Rachal
Bill Smith
Laurel Kotz
Lorrisa Julianus
Dan Jagodzinski
Kayaun Pierce
Jim Dougherty
Mike Brown
Marcus Gentry
Ruth Bardy
Marie Salvaggione
Matthew Bockus
Gary Patterson
Scott Bovaird
Don Reutzel
Jeff Gamlin

with the additional vocal talents of Caleb Hand, Sharon Hand, Bonnie Bovaird, Campbell Bovaird, Spencer Bovaird

PERFORMED INDOORS

April 12-28, 2013

The Bolingbrook Performing Arts Center (at Bolingbrook Town Center)
375 West Briarcliff - behind Bolingbrook’s Police Station
FRI & SAT: 8pm, SUN: 3pm
TICKETS: $15

Further info at www.tothbolingbrook.com or 630-908-2538

You can purchase your tickets at the box office immediately before the show, or you can reserve your tickets in advance and pay for them when you arrive at the show. We accept cash or personal checks. To reserve tickets, e-mail us at This email address is being protected from spambots. You need JavaScript enabled to view it..
Whether you write or call, please tell us:
· The name you wish to reserve tickets under
· The show date(s) you wish to attend
· How many tickets you wish to reserve

The Raven theatre has never disappointed me. Their performances strike an emotional chord with their audiences and their actors are among the best I’ve seen in Chicago. On a rainy Monday night, A Soldier’s Play premiered with mixed reviews, but from my perspective, this play is timeless and one you shouldn't miss.

When Captain Davenport, a black man with Captain bars in a white man’s army, comes to a segregated WWII-era Louisiana base to investigate a murder, the interrogation of the soldiers uncovers a web of contempt, expectation, and hatred. The play tackles the tough subjects of racism within races in the heat of the deep south. The play was written by Charles Fuller and premiered Off-Broadway in 1981, less than 20 years after the Civil Rights Act passed and less than 40 years after the end of WWII. Through the interactions between white and black soldiers, and amongst the black soldiers themselves, you can cut the tension with a knife and Captain Davenport, wonderfully played by Frank Pete, tries to unravel the mystery of who murdered Sergeant Vernon C Waters, wonderfully played by Antoine Pierre Whitfield.

The story follows Captain Davenport onto the Army base. We know nothing of what transpired other than Sergeant Waters being shot, but through interviews with the Privates on the base and their flashbacks we begin to see the events that led to the murder of the Sergeant and the palpable hatred that flowed in his veins towards his own soldiers and his own race. Waters is in charge of a black unit which is also the baseball team. They are allowed to fight in the war, but demeaned into playing ball for their white peers and, when not on the baseball diamond, cleaning up after them. One of the most tense and trying scenes of the play is told in a flashback by Private James Wilkie (Bradford Stevens), in which Sergeant Waters recounts his time spent as a black soldier during WWI, and his venomous thoughts towards a "typical" black Private under his command. Waters hatred stems from his inability to understand why people of his own race refuse to want to better themselves by learning to read, write, or anything else that would help them compete with their wither "superiors".  The flashback makes your skin crawl and Whitfield does a superb job portraying the character, in fact you’d actually believe he had those feelings himself, but that, after all, is the craft of the actor.

Director Michael Menendian had quite a task on his hands. A Pulitzer Prize winning play, with an original cast that originally included Denzel Washington, Samuel L. Jackson and Adolph Caesar, the feat to bring A Soldier’s Play to life at The Raven was no small task. But the director succeeded with an excellent cast, seamless set design, and impeccable blocking. Menendian really brought the WWII Army base to life. At times, we were so enthralled with the scene, that you would forget characters blacked out on stage, though they were the characters recounting the scenes we were watching. The fight scenes were so realistic, you’d forgotten it was just excellent fake stage combat. Much of that is written in the play already, but this cast and its Director brought a fresh energy to the performance.

A Soldier’s Play had quite the challenge: a rich play pedigree, sensitive material, a challenging emotional depth, but I believe it met that challenge, and most definitely earned its stripes. A Soldier’s Play is playing at The Raven Theater (6157 N. Clark Street, Chicago, IL 60660) through March 30^th. Enlist today and see this play while it lasts.

Fela! is based on the biography of Fela Kuti, a Nigerian superstar singer, musician, and composer who became an iconic spokesman for the country's underclass against the brutal and corrupt Nigerian military government in the 1970s and 80s.

Playing at the Arie Crown Theatre in McCormick Place through Saturday, Fela! is a magnificent show that should be seen and celebrated by everyone.

The first thing that really blew me away about this show is the incredibly beautiful and sensual style of dancing with the live onstage drummers and band to delicious expressive music termed "Afro Beat".

I've said in the past that the very best dancers are also very expressive actors, and the entire cast of dancers in FELA are absolutely in this A+ class. Directed and choreographed by Bill T. Jones, each dancer shows such remarkable individuality and style. While other musicals are increasingly strict and rigid in their dance styles, FELA's dancers remain completely free and unique, almost as if they are dancing for their freedom and the freedom of Nigeria's underclass right now on America's stages.

Adesola Osakalumi is absolutely electric as the Nigerian icon, Fela, and gifted vocalist Michelle Willaims of Destiny's Child is a stunning addition as Sandra, one of Fela's true influences during his formative years.

I really think everyone, young and old should see FELA! to realize how horrific it is for anyone to live under a military regime, and that in some ways we as Americans are also being held down and manipulated by our own government's corruption on many levels of our daily lives.

There are a few terrifying and powerful scenes though that should be explained to younger viewers in advance, like the 12 year old girl sitting next to me with her mom who needed consoling after the show.

When Fela Kuti describes his brutal interrogation by the police and says, "See this blade? It is to slice up your face. See this broken glass? Well, it is to shove up your A--!"

Later, when Fela's family camp is surrounded by 1000 police officers, who then proceed to gang rape and torture Fela and his wives and throw Fela's mother to her death from an upper story window, it is portrayed as calmly as possible but is still very disturbing, as it should be.

I have already made plans to see FELA! For a second time because the music and dancing and message of overcoming unspeakable violence and human rights violations is so uplifting and empowering.

FELA! produced by Jay Z and Will and Jada Smith, is a MUST SEE and of all the shows I personally have seen in Chicago this year, FELA, really is the most exciting and important of all by far in terms of music and dance originality and political relevance for the entire nation.

Inevitably, in every ballet review, you’ll find some keys words: genius, perfection, flawless. Throw in a few lines about choreography, music, and storyline and you’ve got yourself a puffed up piece that radiates with fabulosity about the performance. Unfortunately, I don’t think I can use any of those words or puffy pieces to describe the Joffrey ballet’s new American Legends.

Ballet enthusiasts and Joffrey loyalists will say American Legends is wonderful and they will recommend it to everyone they know. But if you see one ballet in your life, this should not be it. Most ballets have a single story told, or at the very least an underlying theme throughout the entire performance. It not only makes the performance easy to follow and understand, but it allows you to really enjoy the dancing.  American Legends did not offer any of these things.

American Legends made its world premiere at the Auditorium Theatre on February 13^th. The show was made up by four dance pieces each about 20-40 minutes in length: Interplay, Sea Shadow, Son of Chamber Symphony, and Nine Sinatra Songs. Interplay was the first ballet, and was an upbeat, West Side Story-like, playground romp. You could easily imagine Interplay as an interpretation of children playing at recess (if those kids were talented ballerinas). They even had a dance battle! The whole thing was fun, and best of all, it didn’t take itself too seriously (as some contemporary pieces can).

Sea Shadows was the best piece of the night, and could be enjoyable as a full length ballet. It was a duet which told the story of a man on a beach falling in love with a sea nymph. The ballet screamed sex, and the performers did an incredible job. But it ended about as soon as it started, much to the chagrin of some of the males in the audience. What followed after the intermission made me wish I had simply left.  Son of Chamber Symphony was an ultra-modern contemporary piece that had no storyline, no purpose. If it were a piece of art it would be a solid black canvas; trying so hard to be deep and meaningful, but falling just shy. The ballet was all over the place. Dark, moody, abrupt, and set to music straight out of a horror film. The whole ballet seemed like a ballerina’s bad dream. It couldn’t end soon enough. After another intermission, the curtain rose and a disco ball hung above the stage. It was time for Nine Sinatra Songs. Sinatra. A disco ball. How could this ballet possibly be bad? Oh, but it was.

Nine Sinatra Songs featured, you guessed it, nine songs by Sinatra. Each song featured a duet of ballet dancers dancing an unusual ballroom-contemporary style. You could tell the dancers were not too familiar with ballroom and awkwardly transitioned from traditional ballroom steps to contemporary segments. The dances didn’t interpret the Sinatra songs very well and after about three duets, all three couples would come back on stage, each dancing their own styles to Sinatra’s ‘My Way.’ It was another ballet in a string of ballets that night that was all over the place, lacked any sort of consistency, and overall was just disappointing.

Ballet is classic, timeless, and beautiful; no one in Chicago does classic better than the Joffrey. But contemporary is not their strong suit.  Overall, American Legends was a disappointment that won’t deter me from seeing the Joffrey again, but it definitely gave this reviewer second thoughts. American Legends runs through February 24^th at the Auditorium Theater. 

Lookingglass Theatre’s “Bengal Tiger at the Baghdad Zoo” is a dark comedy that questions human nature, the existence of God and explores living with the decisions we have made. Directed by ensemble member Heidi Stillman and written by Rajiv Joseph, “Bengal Tiger” takes us to Baghdad and centers around two U.S. Marines, an Iraqi translator and a tiger.

Greed and disloyalty are present in this land of ghosts. This play shows the world to which the spirits of those one kills stay with them, often driving one crazy. At the same time, we are also shown the unfortunate behavior of some American soldiers who take advantage of a country taken over for a gluttonous cause guised as a mission of liberation.

Troy West is delightful as the Bengal Tiger, who delivers one question on human nature and beliefs after another, adding profound observations on man from one looking in from the outside. JJ Phillips is sensational as “Kev” and lights up the stage with a dynamic performance while Anish Jethmalani anchors the terrific cast as “Musa”.

“Bengal Tiger at the Baghdad Zoo” is playing at Lookingglass Theatre through March 17th and is well worth seeing. For more information and/or tickets, visit www.lookingglass.org or call 312-337-0665.