Items filtered by date: November 2007

I just love Jeff Garlin's work. It was really great to see him in his second  two week run at Steppenwolf Theater here in Chicago titled, "Closer Than I Appear", a year after his sold out run there with "No Sugar Tonight".

Each show started out with Jeff telling the audience they probably expected that since he was appearing at Steppenwolf, a theater known for it's serious, polished dramatic scripts  that his comedy show would be something he had really written out and planned but then he warns the audience  "I have prepared nothing. I'm relying on my wit." Garlin is a Chicago native, raised in Morton Grove and a Second City Alumna so when he relies on wit and improv based off the audience you really get a great taste of the genius underlying his "work in progress".

Half of the meaty 2 hour plus show was devoted to riffing off the audience including one couple he found out had flown in from  Florida just for his show that night. "We call you gold," he said as he took out his wallet and reimbursed the couple for their Spirit air tickets in cash and gave them his own unused carry on bag as a souvenir.

Garlin is a Jew after my own heart when he chummily relates Hollywood insider secrets like how to know who's closeted in Hollywood based on which way the family picture on their desk faces.  "The closeted executive has his family picture pointed outwards to impress his clients with his  "beard"- the straight man wants his family's faces where he can see them all day."

Although Garlin's unique genius lies in his sometimes meandering stories that suddenly wind back and grab you after winding down several corridors you didn't see coming, like his description of all the stores in an absurdist shopping mall where one store would just have an "old man handing out bags of raisins for free". But his one liners still get me like "If Hostess had only gotten behind pot reform, they'd still be in business" or "I wish I could have raised my wife."

Garlin is happily married and I've read his wife  makes him edit his act occasionally. I loved his joke about napping with young women. Garlin says he would never leave his wife but he still has a strong desire to take naps with pretty young women. "Just a nap, that's all I want to do with them - And let me tell you something, once a beautiful woman takes a nap with me, she never wants to nap with anyone else!"  And on his weight, "I think overeating is the least sexy addiction. I mean think about it, if you drink or take drugs, you will still get laid. I've never seen a woman look at a fat guy and say, Oh man, I want that! I want  to just climb on there and just bang the hell out of him - he must like Entenmann's as much as I do."

It is a great pleasure to hear him in this relaxed yet focused Steppenwolf setting performing and talking about the city he knows so well, "I consume everything Chicago!" and "The Reader gave me a bad review. F-ck the Reader." 

There is something indescribably satisfying about the way he sort of rambles around for a bit then out of nowhere reels us back in, sometimes just by saying, "I lost you for about 20 minutes there. It's okay, I'm going to give the audience members with A-D-D a chance to escape early."

Garlin looks and is admittedly much healthier physically than he was last year but still jokes about his appearance wearing black jeans and a t- shirt by saying , I am  the most comfortable comedian in show business, not the funniest- but the most comfortable. Experiencing him bouncing the audience on his comfy  Chicago born lap for over two hours made me feel like I was at home with one of my funny uncles at Chanukah time. It was comfy AND funny, funny as it gets. I genuinely look forward to seeing his "work in progress" progressing comfortably again next year. 

Sean Palmer was originally slated for the role of “Don Lockwood” but suffered an injury postponing the Drury Lane opening of “Singin’ in the Rain”. Acting fast, Broadway actor Tony Yazbeck was brought in for the role of “Don Lockwood” and his performance couldn’t be more wonderful. From Yazbeck’s singing to his dancing, the talented actor takes commend of the role, making intricate choreographed moves appear so effortless and sensational.

“Singin’ in the Rain” is about as good as one would hope. Coupled with a slew of magnificent sets and a cast of dynamic, talented actors, this shows stimulates with an energy and feeling reminiscent to the greatest of Broadway shows. Big numbers, exciting dance sequences, colorful costumes and timely humor are rolled into a perfect concoction of theatre bliss.

Matthew Crowle is simply terrific as “Cosmo Brown” and highlights his radiant performance with a fantastic rendition of “Make ‘Em Laugh” where his comedic dancing blends with brilliance and sheer talent. Also sparkling is Melissa Vander Shyff as “Lina Lamont” who consistently draws big laughs from the audience as the movie star face fit for silent pictures and the voice that should be hidden as far as possible from movies with sound.

Drury Lane’s production of “Singin’ in the Rain” does the historic film justice and even cameos Debbie Reynolds in a filmed appearance.

This lighthearted classic will have you toe tapping and smiling from beginning to end – just be sure to wear protective rain gear if you are sitting in the first few rows because there truly is singin’ in the rain.

“Singin’ in the Rain” is playing through January 13^th at Drury Lane Theatre (100 Drury Lane, Oakbrook Terrace). For tickets or more information, please visit www.drurylaneoakbrook.com or call 800-745-3000.          

‘Tis the season to jump into the holiday spirit and what better way than to kick it off by taking in a holiday classic. “It’s A Wonderful Life: The Radio Play”, now playing at American Theater Company, is a charming and fun-filled way to do exactly that. In this warm hearted production, the audience is taken to a live 1940’s radio broadcast when storytelling was a much different art and form of entertainment. As crowd members file in, a pianist plays Christmas classics while the cast strolls about the stage awaiting and preparing for  their “radio performance”.

Golden-voiced announcer Chris Amos finally takes to one of the four microphones stationed across the stage and starts the show, introducing the story while plugging an advertiser on occasion just as was done during such an era. Just before the cast goes into “It’s A Wonderful Life”, he instructs the audience to clap when the applause sign light up.

The 1940’s radio set is just as imagined it would be, propped with old time microphones, furniture and other 1940’s essentials. The set also included a Foley station operated by Rhapsody Snyder, where live sound effects were made to follow every detail of the story, which was very interesting and fun to watch.

Each cast member took on multiple characters, adding a comedic element at times, especially when outstanding actor Mike Nussbaum, went directly from mean old Mr. Potter to the loveable and naïve guardian angel, Clarence. Cliff Chamberlain was dynamic as the beloved George Bailey, while Sadieh Rifal, Tony Lawry and Tyler Ravelson added very solid performances for each character they played.

Another delightful blast to yesteryear came during the story breaks when the cast participated in quirky advertisements complete with corny jingles and campy one-liners. During these breaks the cast would also read aloud Christmas greetings from audience members submitted prior to the show’s beginning.

“It’s A Wonderful Life: The Radio Play” is the perfect show for the holidays and one that can be seen multiple times if you want to share the experience with others. “It’s A Wonderful Life: The Radio Play” is playing at American Theater Company (1909 W Byron St) through December 30thand tickets are a very reasonable $35-$40. For more show information or tickets, visit www.atcweb.org or call 773-409-4125.        

The play starts out with a poker game taking place in Oscar Madison’s living room. The place we can see is a mess, cigar smoke freely roams throughout and all the regulars are there – Speed, Roy, Vinnie and Murray – all but one – Felix Ungar. After much worry and time pass, Felix shows up dejected and frazzled. He had just been kicked out by his wife. With no place to go, best friend Oscar persuades Felix to move in with him. Good idea, right? Well, it seemed so at first, but when Oscar, an irresponsible slob who loves to drink, smoke and gamble is paired in a confined living space with Felix, an allergy ridden neat freak whose idea of fun is organizing and cleaning all things possible…well, maybe not such a good idea after all.

Neil Simon’s classic story, “The Odd Couple” is triumphantly delivered at Northlight Theatre and is cast with a slew of Chicago greats including Second City alumni Tim Kazurinsky, Peter Defaria, Phil Ridarelli and Marc Grapey. Grapey, incidentally carries out a terrific performance in the stead of George Wendt, who was scratched from the role of “Oscar” due to health issues. Phil Ridarelli gets a lot of laughs and immediately captures the crowd’s attention as the loud and sardonic “Speed”, showing great ability to command the audience with his great comedic expression, tone and body language.

Though initially disappointed that George Wendt was not playing the role of “Oscar”, Grapey quickly took command of the character and was a true pleasure to watch perform. Grapey is certainly well suited for the role and displayed a tremendous rapport with co-star Tim Kazurinski, who also gave a top-notch performance. Of course it wouldn’t be “The Odd Couple” without Murray and the Pigeon sisters and Peter Defaria, Katherine Keberlein and Molly Glynn really add the perfect touches to each character.  

“The Odd Couple” is flat out funny. It is the perfect getaway if you are looking for a brief retreat from the humdrums of daily life. Located just next door to Jameson’s Steak House, what better way to spend an evening than dinner and a show. Northlight Theatre is located at the North Shore Center for Performing Arts, 9501 Skokie Boulevard, Skokie. For tickets and/or more information visit www.northlight.org or call 847-673

To call Joshua Tillman’s career unusual is something of an understatement. A former drummer for Fleet Foxes and an accomplished solo musician, he left that group, loaded his van with mushrooms and took a trip down the California coast, a hazy exodus that resulted in the birth of his current performing alter-ego Father John Misty. Luckily for us, that strange journey resulted in one gorgeous album, and now a global tour that made its stop at Lincoln Hall on October 30.

It should come as no surprise that Tillman’s band resembles the Muppet’s Electric Mayhem, all bleached dreadlocks and sunglasses that are most likely vintage. Despite their somewhat loud appearance, though, the band stayed mostly quiet throughout the night, leaving the stage banter to the instrument-free Tillman. He more than lived up to the challenge, going on drawling sidebars between songs, every word as perfectly scripted and drily erudite as his lyrics.

“I see one masked face coming out of the fog,” he said at one point, noticing a concert-goer in a Halloween costume. “This is how I always knew death would come to me. Masked, in the fog. Take me. It’s my time.”

When that same wry, detached voice opens up in song, it’s startling. His voice has the polish of aged wood, or maybe oak-aged bourbon is a better comparison – there’s roughness there. Tillman sounds remarkably flawless live, and his wonderfully bonkers lyrics come through even clearer on stage:

“I ran down the road/pants down to my knees/screaming “Please come help me, that Canadian shaman gave a little too much to me/and I’m writing a novel/because it’s never been done before.”

Considering how patently strange the lyrics are, it’s slightly astonishing that the album has cultivated such a passionate following. Lincoln Hall was stuffed to the gills with enthusiastic attendees of all ages, spanning the spectrum of standard twenty-something hipsters to subdued-looking professionals. We were sandwiched between a particularly lively group who shrieked along to every number, and a guy dressed as MacGruber.

The set highlight was definitely “Hollywood Forever Cemetary Sings,” a strangely infectious mid-tempo jam filled with gravestone imagery and a relentlessly driving beat.

Even with the wonderfully witty banter, the concert was over far too soon – Father John Misty, after all, has only released one album. Tillman and his guitarist (who Tillman said had a “lusty” speaking voice) did return for a quiet number, and the rest of the band came out for one last song before everyone said goodnight.

MacGruber seemed to approve.

Father John Misty's debut album "Fear Fun" is out now on Sub Pop.

If you’ve recently had the odd inclination to see a play that revolves around an Uptown donut shop –good news! You will be pleased to know that Tracy Letts’ “Superior Donuts” is not only currently playing at the Cabaret Theatre inside the Royal George Theatre, but is also a sweeter treat than any Krispy Kreme fried dough concoction. Funny and thoroughly engaging, “Superior Donuts” centers around a donut shop in the midst of Uptown that has been in the family for sixty years – but there’s so much more.

Run by son, Arthur Przybyszewski (just like it sounds), now an aging Jerry Garcia-alike, Superior Donuts holds onto to the comforts of routine, and unchanging ways where the same handful of regulars make most of its customer base. When Franco Wicks, a young visionary and dreamer, comes knocking for a job opening behind the counter, Arthur reluctantly hires him. Franco is filled with energy and new ideas and continues to hammer Arthur with creative proposals to attract a new crowd – bran muffins and bananas for the healthy minded individual, poetry night… Though the two couldn’t be more opposite, they begin to click, learning from, and about, each other as outer layers are slowly peeled away. In the meantime, neighboring businessman, Max, is trying to buy the donut shop from Arthur to expand his electronics business. Arthur is not willing to sell.

Arthur is such a wonderful character. Slow to speak with simple, direct and thought out words, he is extremely laid back, outwardly set in his ways, though at times also shows glimpses of excitement to explore new directions. Still, at the end of Arthur’s day it’s all about complacency, familiarity and relaxing with some weed in his bowl at closing time. As the play moves on, we learn about Arthur’s background  - Polish heritage, raised in Jefferson Park, and like many, past ghosts are revealed, in his case a lost wife. Richard Cotvsky is simply terrific as Arthur, really making the character easy to relate with.

What makes this play so entertaining is the connection and interactions between Franco and Arthur. As every bit as engaging as Arthur was made to be, the same can be said about Franco. Kudos to the director for casting Preston Tate, Jr. to play the role of Franco, who was not only outstanding as Franco, but couldn’t have been more perfect to craft a fun, and meaningful, relationship with Cotvsky. The chemistry between the two is magical and is completely enjoyable to watch from any theatre seat in the house. I want to also acknowledge Paige Smith for his exceptional work in the role of Max and express appreciation to him for providing some of the show’s biggest laughs.

“Superior Donuts” is a perfect dose of Chicago evening theatre and contains all the ingredients of an intriguing story from loan shark thugs to the perpetual ambitions of a dreamer, complete with big laughs and its share of sticky moments.   

“Superior Donuts”, A Mary-Arrchie Theatre Company production, is playing at The Royal George Cabaret (1641 N Halsted St.) though November 25^th. For more information call 312-988-9000 or visit www.maryarrchie.com. 

“Who Killed Rock ‘n’ Roll?” In a musical landscape currently littered with corporate, mindless teen-pop and overproduced hip-hop, this was Rick Springfield’s opening salvo Friday night at Joe’s Bar on Weed Street.  Over a classic, driving power-pop rhythm and cranked power-chords, Springfield spit out lyrics any mourning, long-term lover of rock could relate to: “Rap put the bullet in rock ‘n’ roll’s head/Radio used her and left her for dead”. It was a high-energy opener that would’ve worked just as well in a stadium setting as in the more intimate confines of Joe’s.  Thankfully, the small-scale atmosphere also played to Rick’s strengths as a performer (even if it took the first two numbers for him to find his footing on the tighter stage).

Perhaps it’s the Malibu living, years of groupiedom, or maybe he has a very decrepit portrait hanging in his attic, but at 63 Springfield stands as a testament to the more rejuvenating powers of rock-n-roll. Touring behind his latest (and possibly strongest) album “Songs for the End of the World,” Rick has somehow managed to turn back the hands of time. Onstage, he still looks every bit the rock idol of yesteryear and, if anything, his voice actually sounded stronger on certain songs (the aforementioned opener and the new single “I Hate Myself”). This is a veteran performer who has known his share of highs and lows, but also still values his creativity and his audience.

He is also an underrated songwriter. Beneath the pop-idol image and sunny, sing-a-long choruses lay some dark lyrical observations on fame (“Living in Oz,” “Rock of Life”) and sexual obsession (“Don’t Talk to Strangers”).  Even songs of seduction and young lust, such as “I Get Excited” and “Love is Alright Tonite” have an air of accusation and taunting. And on “Our Ship’s Sinking” (one of two new songs in Friday’s setlist), he sings about his marital struggles. Anyone who’s read his uniquely honest (among celebrities) autobiography knows it hasn’t been an easy ride for Mr. Jessie’s Girl.

Sprinkled among the many pop hits (probably more than one remembers) were some energetic covers such as Wings’ “Jet” and Robert Johnson-via-Cream’s “Crossroads” (complete with impressive guitar work – even more so considering Rick was relegated to two fingers on his temporarily broken fretting hand). There were also several nods to the Beatles with the upbeat “Can’t Buy Me Love” as part of his encore and the classic “I Want You (She’s So Heavy)” outro riff making an appearance at the end of “Jessie’s Girl”.

In the end, it was the ‘80s hits people came to hear (a fate he shares with many veteran hit-makers, even those with strong new material) and Rick delivered them with the same youthful enthusiasm he did during his initial, heady burst of fame. For “Human Touch,” Rick not only crowd-surfed, he got deep in the trenches, fully connecting with fans. And in-person, all of the songs had a heavier, driving guitar sound than on record, making the live versions punchier and, dare I add, a bit more “guy-friendly”. For musicians, there was much to admire in the interplay between Rick and his talented band members (standouts being Rodger Carter on drums and George Bernhardt on lead guitar). This was tight, concise, late ‘70s-style power-pop at its finest.   

By the time Rick and company arrived at the final encore of the evening (audience favorite “Kristina”), the nostalgic itch had been scratched, but for those paying closer attention there was every reason to believe in the Rick Springfield of today. He delivered what was expected, but remains creative and attuned to the present. Between writing strong new songs and promoting them in a fun way (his recent New York subway-busking appearance and the four different interactive CD covers), he is doing his part to make album-buying enjoyable again. And for a “sleeping” art form such as rock-n-roll, what more can you expect?    

Setlist:

1. Who Killed Rock ‘n’ Roll?
2. Affair of the Heart
3. Living in Oz
4. Jet (Paul McCartney & Wings cover)
5. I Get Excited
6. Medley: Bop ‘Til You Drop/Celebrate Youth/Calling All Girls/Don’t Walk Away/State of the Heart/What Kind of Fool Am I
7. I’ve Done Everything for You
8. I Hate Myself
9. Our Ship’s Sinking
10. Rock of Life
11. Love is Alright Tonite
12. Crossroads (Cream cover)
13. Don’t Talk to Strangers
14. Love Somebody
15. Human Touch
16. Jessie’s Girl

Encore:

17. Can’t Buy Me Love
18. Kristina

Review by Bruce Colón

www.joesbar.com

www.rickspringfield.com

Something interesting is showing at Auditorium Theater this weekend. I say interesting because it’s one of the few words I can think of to sum up the Joffrey ballet’s fall program ‘Human Landscapes.’ Comprised of three pieces, Forgotten Land, Pretty BALLET and The Green Table, Human Landscapes explores the human spirit, interpreting life, relationships, romance, and death, in the most interesting of ways.

The first performance, Forgotten Land, was inspired by a painting of women on a beach by Edvard Munch. This piece is supposed to ‘invoke treasured memories of lost homelands, lost lovers and lost time.’ It’s difficult to watch a ballet portraying a painting when one has never seen the painting. And while the dancers were beautiful, I did not get the impression that the choreographer obviously was trying to convey, though I am not an interpreter of ballet or art. It was an interesting piece to say the least, but I had high hopes for the next piece, Pretty BALLET.

I’d like you to close your eyes and imagine a ballet. Any ballet. And now picture the dancers dancing that ballet. Have an image in your mind? If you do, it’s most likely that Pretty BALLET is a pretty accurate representation of your imagination. The performance delivers what its name promises; it is a pretty ballet. The curtain opens and dancers in long tutus stand surrounded by mist, a beautiful dancer with red shoes held in the air, and the women twirl and the men leap; oh what a pretty thing. The ballet is a perfect combination of femininity and masculinity that explores ‘the subject of ballet itself as a balance between romantic ideals and industrious principles.’ Interesting, I guess I am getting better at interpreting ballets.

And finally, like any good tv marathon, the show you want to see is always at the end. The final performance in the evening, The Green Table, was by far the standout performance of the evening for the Joffrey. First premiering in 1932, The Green Table is a rather dated piece, but one that still resonates with audiences. It starts and ends with, what else, a green table. Humorous caricatures of diplomats gather around the table bickering and disputing and until –bang—they incite a war. There enters the character of death, beautifully performed by Fabrice Calmels, which ‘takes’ victims of the war from on and off the battlefield, sometimes in a passionate way, others in a harsh, cruel way. This is the one performance that does not require a whole lot of interpretation, but one that requires thought and appreciation for the ballet as a whole as a representation of death and war.

An interesting evening of ballet awaits you in Human Landscapes. It’s a much more modern, angular fall production, and if you are not a fan of modern ballet, this performance might not be the best for you. However, if you are in the mood for an interesting evening, Human Landscapes shows through October 28^th at the Auditorium Theater.