Items filtered by date: November 2007

44 years after their inception in 1968, Rush returned to Chicago, amazingly still in top form. The United Center was host over the weekend as the great Canadian trio rocked the crowd for just over three hours. Starting the show with “Subdivisions” the band took immediate charge of the stadium and never let go.

Geddy Lee’s precision with the bass was as good as it gets while his vocals held true to most songs, only straining a bit on an occasional song where his high octave range of yesteryear has become tough to duplicate – even for himself. But lets give Geddy a well-deserved break. The 59 year-old vocalist held his own, and beyond, performing at an optimum level throughout the entire show. At the same time, Alex Lifeson, made the intricate guitar work required in each and every Rush song look so easy, it will be sure to frustrate the up and coming guitarists in attendance, but inspire them simultaneously.

Of course, one of the highlights in every Rush show is watching drummer Neil Peart do his thing. Breaking from songs on three separate occasions to break into a drum solo, Peart showed everyone why he is one of the most revered and influential drummers in the history of rock and roll.

After a ten minute break, the band continued this time with a 9-piece string section for set two, adding a whole new – and awesome – element to Rush music. The good mix of songs brought the band to “Spirit of the Radio” just before kicking off a high-powered encore with “Tom Sawyer” followed by “2112 Part I: Overture”, “2112 Part II: The Temples of Syrinx” and “2112 Part VII: Grand Finale”.

Bottom line – Rush kicked ass with a phenomenal live show that will hopefully continue to stop by Chicago for years to come.  

Set List United Center September 15^th, 2012

1. 1.Set One

1. Subdivisions 
2. The Big Money 
3. Force Ten 
4. Grand Designs 
5. The Body Electric 
6. Territories 
7. The Analog Kid 
8. Bravado 
9. Where's My Thing? 

(with Drum Solo)

10. Far Cry 

1. 11.Set Two, with string section

11. Caravan 
12. Clockwork Angels 
13. The Anarchist 
14. Carnies 
15. The Wreckers 
16. Headlong Flight 

(with Drum Solo)

17. Halo Effect 
18. Seven Cities of Gold 
19. The Garden 
20. Manhattan Project 
21. Drum Solo 

(The Percussor)

22. Red Sector A 
23. YYZ 
24. The Spirit of Radio 

(no strings)

Encore:

25. Tom Sawyer 
26. 2112 Part I: Overture 
27. 2112 Part II: The Temples of Syrinx 

28.2112 Part VII: Grand Finale 

I have to admit, when I saw “The Beatles Love” at the Mirage, I wasn’t in the mood for love. I was alone in Vegas on a “working” vacation and although I appreciate the Beatles music and their irreplaceable contribution to music and politics, I was afraid to see and hear what would happen when their incredible songs were translated into a full length Vegas production. Well, with Cirque Du Soleil’s Dominic Champagne, Gilles Ste-Croix and Chantal Tremblay at the helm, I needn’t have worried.

The most difficult task of all, re-orchestrating and re-mixing their music was done with such abundant love and creativity by Sir George Martin and his son Giles and then broadcast to the audience with the most incredibly powerful sound system with such force and precision that I can honestly say you will never hear their music sound as dynamic or as fresh as it does here in the “Love” theater.

Although this Cirque production has it’s share of exciting acrobatics and feats of daring like the synchronized in line skaters effortlessly navigating half pipes, or the performers on trampolines who gracefully defy gravity, the main focus of this Cirque show falls squarely on the shoulders of the beauty and strength of it’s dancers and dance itself, as it should.

You don’t often get to see pure modern dance and ballet flowing in this way without the interruption of stunts or spectacles to overshadow the mind-blowing poetry of the trained human body in all its glory. Two great examples of this are in the overwhelmingly sexy, romantic dance numbers of “Something” and “Come Together.” Instead of casting the tall, lanky showgirl type dancers, or an abundance of overly athletic acrobats, “Love” has wisely been cast with genuine petite, youthful Balanchine style dancers, and ballerinas, delicate and full of expression with strong American thighs that perfectly convey eternal youth in motion and the true spirit of sixties freedom and rebellion.

I dislike when reviewers try to describe the amazing special effects and light and set changes that occur in any Cirque show, simply because when you anticipate them as an audience member, it lessens the impact. I will just say that there are so many wonderful eye popping effects going on visually, so rich in color, detail and light, so many fantastic costumes in every number, that you can not possibly take it all in and will say to yourself, I have to see this again, even as the show is unfolding.

My favorite music from the Beatles has to be the songs they created when in the period of experimenting with psychedelic drugs like marijuana and LSD. I feared that this production would “clean up” or “family friendly” the songs too much and lose that spectacular feeling of psychedelic mind expansion and transcendence of the boundaries time and space in music that the Beatles pioneered. Again, I needn’t have worried. At the opening, in a discrete nod to this fact about the Beatles, a few dancers quietly walk the stage as the lead dancer swings a smoking lamp past their faces, like the ones used in churches and the show begins… taking the audience on a magnificent spiritually musical, and visually psychedelic journey that is naturally intoxicating.

Everything about this production shines with the same great humor, lightness of heart

and unique genius that the Beatles themselves conveyed throughout their careers.

It doesn’t matter if you are in the mood for love when you enter the theater because by the time you leave it you will be filled with the joyful feeling that “Love” is truly, all you need.

For more information on “Love” visit www.mirage.com.

Well, this is really exciting. It's not often I get to be surprised by and discover new talent. The American entertainment scene is so over processed and over exposed there is little left to actually discover. I generally just end up reminding my readers of old favorites of mine that still deserve attention.

However, this gifted performer, Matt Goss, is from England and very few Americans including myself have ever heard his name before, which seems implausible given that he and his twin brother, action adventure film star Luke Goss (Hellboy, Death Race 2&3, Diary of a Hitman) were part of a pop/rock group in the UK which sold over 16 million records.

The group named Bros achieved a total of 11 top 40 singles and 3 Top 20 albums in the United Kingdom, making them one of the biggest acts in British music between 1988 and 1991 and at one time were outselling U2. They reached number one when "I Owe You Nothing" was reissued in 1988.

They weren't just one hit wonders either, singing other peoples songs. Often, boy bands were assembled by managers or record producers with an eye toward the predilections of preteen girls. Normally, the boys didn’t play instruments, but they sang in harmony and had some swoon-worthy moves.

Although Bros were managed by former Pet Shop Boys manager Tom Watkins,  Matt and Luke wrote their own songs, played all their own instruments and continued having hits throughout the late 1980s, including "Cat Among the Pigeons" and "Too Much", both which made UK #2 during 1988 and 1989. After taking huge losses financially due to early contract signings and a true savaging at the pens of their own once adoring British press as backlash to their overwhelming early success, you can flash forward twenty five years and both Bros have landed on their feet with solid and lucrative entertainment gigs. Luke Goss with a burgeoning acting career and Matt Goss with a solo songwriting career and a sweet weekend gig headlining at Caesars Palace Friday and Saturday nights and always to a sold out house.

Now I'm just going to tell you flat out that you will enjoy Matt's concert, whether you are a seasoned Vegas traveler like myself who has seen all the big shows, or a new Vegas vacationer looking for a real, old school Vegas entertainment experience. I love a big Cirque show, yes, but after a few days of these mammoth thousand seat auditoriums, I really do love the idea of relaxing in a darkened booth, in a cozy, little theatre with a drink on the table right in front of me and the performer himself within eye shot. Matt Goss' concert in the ambient venue The Gossy Room located in Cleopatra's Barge at Caesar's Palace is cozy, intimate, ambient and dynamic at the same time.

Matt Goss does a combination of classic romantic standards mixed with his hits from the UK and brand new solo music. Even if you don't recognize all the songs, there is no denying that you are hearing a world class vocalist with tremendous vocal range and intricate phrasing on a par with young contemporary song stylists like Maroon 5's Adam Levine,  Michael Buble' and Harry Conick Jr. as well as old blue eyes, Sinatra himself.  Funnily enough I was most impressed by a short burst of brilliant, Jazz/ska scat singing which briefly turned the room into a full on island party!  It was marvelously energetic and very impressively performed. I'd love to hear an entire  EP  with more of that youthful, bouncy, ska rhythm.

Goss's show in the aptly named Gossy Room really does try to provide a little bit of the old school glamor and charm we imagine was present during the Rat Pack days. Matt Goss pumps up the sun burnt Vegas crowd and celebrities in the house with a dynamite 7 piece band, two sexy back up singers and  half a dozen, hot, leggy showgirls who have been cast and choreographed by Pussy Cat Dolls creator Robin Antin.

I loved Cleopatra's Barge, the cozy venue which reminded me of sailing in a plush Disney Pirate ship like Pirates of the Caribbean, and I wouldn't trade the experience of seeing Matt sing in a small venue. I would love now to hear Matt Goss rich vocal styling in a larger auditorium. As he performs and jokes with the audience and his band on the intimate stage, Matt gives off an energy like a large caged panther, pacing restlessly, longing to stretch his legs, dance and move more and burst out vocally as he has in the not so distant past at the Royal Albert Hall. I could easily see Goss' show being just as successful in a larger more elaborate Vegas showroom/set , or in a classy New York night club of the same size.

I lived in Manhattan for several years and It's ironic I ate at a restaurant in the New York casino across the street from my hotel ,the MGM Grand, before seeing Matt's show because when I walked in I felt a very  strong NY swagger  about the place  and a bit of NY attitude.  I also sensed a strong NY/ European vibe which proved to be correct as Matt asks at one point in the show how many here are Americans and only a few of us raised our hands. Then Goss asks how many are Brits and the room swells with the applause of at least 50 per cent of the audience. I just think that's extraordinary, that we have kind of an English superstar performing right here in Vegas and yet very few people here in the US know about his fantastic voice.

Truly there is something for everyone in Goss' concert, the super sexy dancing “Dirty Virgins” for the men, for the ladies, Matt Goss - a smokin' hot performer with the most piercing, actually smoldering blue eyes you've ever seen and a nice, tight, talented band for fellow musicians and real music lovers like myself.

I got to experience something really special as well before the show which really sums up the glamorous, “eye of the tiger” energy Matt Goss brings to the Gossy room each night.

I was in Matt's suite before the show, when time and energy allows he hosts a small, mellow gathering of friends and assorted guests in his lofted 4bed 4 bath Penthouse suite at Caesars'. I got a chance to make "the walk" with him and his security personnel through the vast Caesar's Palace casino floor to the stage

I could barely keep up with him in my heels with a bum knee as well, but I won't soon forget the sweeping rush of being swept back in time, almost as if I was in a movie watching Sinatra or Dean make this same power walk through Caesar's Palace with such terrific magnetism, greeting the guests and waving as the fans parted to let this stunning gentleman sweep through the crowd.

I used to go to Vegas several times a year, and there are a few shows like “O” and my old friends Louie Anderson and Frank Marino that I must see over and over again to really get back into the swing of Vegas spirit and humor.

Now we go to the strip just once a year  for our Buzz Vegas Feature but I will definitely add my new friend, Matt Goss, and his concert at Caesar's Palace  to my personal Buzz list of “must see” entertainment each time I return. You and all your crew are invited, too!

Showtime is 9:30PM Friday and Saturday nights.

You can buy tickets for Matt’s show in person at the Coliseum Box Office in Caesars Palace or from the Ticketmaster website.

Stay tuned for my interview with Matt next week and also check out Matt Goss's website for news and updates at www.MattGoss.LA.  

*Middle photo by Ken Payne

*Bottom photo - Matt Goss in Las Vegas with Kimberly Katz

Affinity filled the room at the Bottom Lounge on August 12^th as Loud Loud entered the stage. I was unable to account for the reactions in the crowd when they opened the show with my personal favorite “Mirrors” and it’s introduction song “Reflections”. Loud Loud had gained my complete attention and based on the hush silence I felt around me I could only assume that the audience was just as settled into the rhythm as I was.

At the close, the members of the band began vacating the stage. The audience members looked to and fro in anticipation as Joey Fernandez (vocals, guitar) emerged carrying an acoustic guitar absent the other members of the band and informed the crowd that he would be performing an exclusive acoustic version of “First Stages of Ending Phases”. I resisted the temptation to raise my lighter in the air as he began to play. The crowd roared when Fernandez had finished then the rest of the band reassembled to the stage.

They continued performing through their set with a more upbeat spirit. I specifically recall the audience raising their fists and singing along at the open of “Burst and Bloom” a definite fan favorite. The band took the opportunity to treat the audience with an extra few minutes of stage time when they ultimately closed with an extended live adaptation of their album (Solace)’s closing track “You Had No Reason”. To say the least, I was impressed.

The interactions that I observed between the band members of Loud Loud and their devoted fans as they shared drinks and celebrated a successful show performed can only be described with complete empathy. They expressed a love and gratitude that could only rival that of an ineffable kinship observed between them and their adoring fans. The band’s passion and devotion to their music and their fans is nothing short of the distance their fans and I see Loud Loud continuing it’s lifespan. I look forward to their next performance and hope for many more to come.

A special thanks to the band members of Loud Loud for their dedication…

Joey Fernandez (lead vocals, guitar)

Jacob Vidovich (guitar)

Paolo Lanzisero (basist, backup vocals)

Nicky Lanzisero (drummer)

I caught up with guitarist Jacob Vidovich just after the show who was kind enough to answer a few questions.

Q; How long have you been playing the guitar/music?

A; Well, I started playing bass when I was 10, so 13 years all together with music, but I didn't start playing guitar until I was 13. 

Q; How would you describe your bands music?

A; I would say it's ambient with a pop structure. I can't really pinpoint a genre we totally fit into but we keep it pretty dynamic. I think of music like a mountain range, a good song should take you up the mountains and down into valleys. 

Q; How long has Loud Loud been together?

A; We started in October of 2011 so that would be 10 months I believe. 

Q; How would you describe your personal relationships within the band?

A; I hate all of them, hahahaha. No but seriously I love all of them as brothers. I'd take a bullet for any of these guys. I've known them for years and we've always been best friends playing in and out of different musical projects together, but Loud Loud definitely feels like a family; it feels like home and I think its because we are so close not only musically but as friends. That makes this band something special, at least for me. 

Q; Who/What are some of your musical/non-musical influences?

A; Musically I would say a lot of my style comes from Post rock/ambient bands like “Explosions In The Sky” or “This Will Destroy You”, or other bands like “The Early November”, “Third Eye Blind”, and “Brand New”. 

Non-musical influences would honestly be my parents. They taught me to work hard for the things you love and I really love this band and the music we are putting out. My parents taught me that no matter how hard it gets to just keep on going. They always had a smile on there face even when times were tough and I couldn't respect and love them anymore than I do. 

Q; Where do you find your inspiration?

A; I find inspiration everywhere. Sometimes, this sounds crazy, but I'll just hear music in my head be it the ambience of the room I'm in or a certain sound coming from machines at work. Inspiration can really strike at any time anywhere or in any situation I'm in at the time. It's really random. 

Q; Tell me about your record. Favorite track? Fan fav? What was put into it? 

A; The record is called “Solace”. It has 6 tracks on it and we recorded it at Melody Lane Studios with our good friend Erik Schillerstrom. We called it “Solace” because that is exactly what music is for us, our solace. It's the way we cope with things in our personal lives and express ourselves. My favorite track on the record would probably be "You Had No Reason". Just every time we play it, it sounds different and I really feel that song live. I especially can connect with the lyrics of the tune and the melody Joey sings and the chorus is just really powerful. I love it!

The fan fav is tricky… I get a mix between 3 songs. Usually “Solace”, “Mirrors” or “Burst And Bloom”. 

As far as what was put into the album, it was us. Not me, Not Joey, Not Nick, Not Paolo, it was us. We all had a lot to do with this album. If one of us didn't like a song, without question, we would scrap it. We are honestly 100% collaborative on everything we do as a band and that's why I think it works and why one song doesn't sound exactly the same as the others but is still very cohesive.  

Q; When can we expect to see a full length album? 

A; As far as full lengths go, I don't think we will be doing that unless we are signed. I think for an independent band, trying to make it wasting all that money by spending too much time in the studio is too costly, when you should be playing shows and getting your name out there. I think its more quality of work than quantity at this point in our career. 

Q; What do you hope to see in your bands future?

A; For the band at this point in the stage I would just like to see our fan base grow. Get the word out more and play shows. The first 6 months of the band was just us rehearsing writing material and recording and now I think since we got a record and we feel tight as a band, it’s all about just showing people what we have to offer. 

Q; Is there anything you want to say to the fans or those of them who are listening to you for the first time?

A; I would like to say F.B.G.L. If you don't know what that means come out to a show and we will tell you. 

Q; Any plans for your next live event?

A; We have a few events lined up but in the preliminary stages. What we plan on for the next live event, is to have a couple more tunes to throw in the rotation. We want to give people a variety of different set lists so it's a different experience every show. 

Listen to Loud Loud at www.facebook.com/loudloud and come see them play at Tiger O’Stylies August 29^th. Hope to see you there!

ONLY $8

21+ W/ ID 

6300 W. OGDEN AVE. BERWYN, IL. 60402

In this re-staging of their first production from 2001, the House Theatre of
Chicago beautifully incorporates classically authentic magic tricks into the
story of Harry Houdini, the world famous magician of the early 1900s. Having
witnessed his father die when Houdini (performed by Denis Watkins, a real
life magician) was a teenager, he became forever fascinated with death, and
in his attempts to trick and, ultimately escape it, he creates some of his most
memorable illusions.

From the beginning of the play, the audience is magically transported back
to the early 20th century. We then watch the personal life of Houdini unfold,
dominated by two women: his much worshiped crazy mother (wonderfully
played by Marika Mashburn) and his sweet wife Bess (great performance by
Carolyn Defrin). His brother Theo (dynamically played by Shawn Pfautsch)
becomes the engineer who crafted the equipment used in Houdini's act.
Professionally, Houdini is driven by the thrill of escape from the most
dangerous situations, culminating in the impressive Water Torture Cell escape.

The costumes, the music, the dancing all add up to the magical experience of
going back in time, but the ultimate reward after each effortlessly executed
trick is the wonder: “How in the world did he do that?”

Written and directed by Nathan Allen, “Death and Houdini” is compelling as it
is haunting. “Death and Houdini” is playing at The Chopin Theatre Downstairs
Theatre at 1543 W. Division and has now been extended through August 17th.
Tickets are $40 and show-goers should note that there is no late seating for any
performance.

For more information visit www.thehousetheatre.com.

The last time I saw Weezer some nine or ten years ago, the set was massive, fire blazed thirty feet high to key beats in “Hash Pipe” and pyrotechnics were used with reckless abandon. When I saw Weezer the other night at Horseshoe Casino’s The Venue in Hammond, Indiana, the show was very reminiscent to the days when the band played venues like the Aragon Ballroom and Metro in the 1990s.  Armed with just a their instruments and a line of amplifiers, the band was all about their music and nothing else – the way it should be.

Without acknowledging a single fan in the audience, Rivers Cuomo walked to his mic as technicians were still performing sound checks on other instruments. Grabbing his guitar he began to mess around with a few riffs and chords. After continuing for a few more minutes, the other band members walked onto the stage and took to their places, joining Coumo in a mini jam session at half volume with the house lights still lit. Their jam eventually transitioned into “Undone - The Sweater Song” and the show was underway.

The band played a healthy dose of songs from their debut Weezer (The Blue Album), rocking hard to “Buddy Holly”, “My Name is Jonas”, “Surf Wax America” and a powerful version of “Say It Ain’t So”. Weezer made the rounds and included songs from The Green Album such as “Island in the Sun”, Make Believe’s “Beverly Hills” and The Red Album’s “Troublemaker”.

Bassist Scott Shriner’s energy was infectious, as he’d thrust his instrument to the heavy thumping and continuously interacted with the fans in front of him. Wearing a sweater over his collared shirt to go along with his khakis and New Balance gym shoes, Cuomo surprised everyone by walking into the crowd during a song where he moseyed about for a good three minutes or so.

The band was polished and tight. Filled with a collection of fans who were there from Weezer’s beginning to the younger ones that have picked up on their music in more recent years, the general consensus was that of great appreciation, respect and admiration for the simplistic, yet brilliant, rock songs created and performed by a band that gave geeks the right to rock.

After taking a brief break, the band returned to the stage and tore it up with Poison’s “Talk Dirty To Me” where Cuomo showed off his lead guitar skills before capping off the night with the triumphant “The Greatest Man Who Ever Lived (Variations On A Shaker Hymn).”

Whew…

Without question, Weezer puts on a hell of a show. 

Who would have ever guessed back in the hairband heyday of the mid-to-late ‘80s that we would still be talking about Poison frontman Bret Michaels in 2012? Though he has been responsible for his share of mindlessly fun party rock (“Unskinny Bop,” “Nothin’ But A Good Time”) and the won’t-die-even-if-you-want-it-to power-ballad “Every Rose Has Its Thorn,” nothing about Poison’s clownish antics and over-the-top image suggested longevity of any kind. And when the inevitable winds of change in pop culture blew northwest in favor of Seattle and all the boys that didn’t get laid in high school, the party looked to be over for Bret and company (as well as for the spandex and hairspray industries).   

What no one could have accounted for was Michaels’ resilience. This is a man who not only survived both the fashion and lifestyle excesses of pop metal (including the requisite rock star Ferrari wreck), but also a back-to-back emergency appendectomy and near-fatal brain hemorrhage in 2010. Along with an admirable work ethic and easygoing, likable charm, Bret is definitely favored by the gods of cheeseball pop culture trends, having experienced a career renaissance as a “Celebreality” phenomenon. His stint on VH1’s Rock of Love and NBC’s The Celebrity Apprentice have given Michaels more mainstream exposure (and cash-in opportunities) than even his initial run of MTV fame.

A consistent road warrior, Michaels is currently on tour with both Poison (opening for Def Leppard on a Rock of Ages tie-in) and his solo band (plugging his upcoming solo album “Get Your Rock On” on the summer festival circuit). This past Saturday, Bret brought his solo tour to Chicago Ridgefest at Freedom Park. And from the opening notes of Poison’s “Talk Dirty to Me,” Michaels was in high-energy mode, feeding off the crowd’s enthusiasm and his own love of performing. At 49 years old, Michaels still pulls off the swagger and charisma of his prime while looking more fit and road-ready than performers half his age.

Though the set was short (no doubt truncated to accommodate the festival’s schedule), it was a tight hour of mostly Poison classics, mixed with a few select covers from his upcoming solo disc and the Rock of Love theme song “Go That Far” (which sounded far stronger live). Never the most versatile singer, Bret has nonetheless made the most of his limited range as both a vocalist and songwriter, playing to his strengths (his positive, feel-good energy as a performer) and never over-reaching. And while the colorfulness of C.C. DeVille and company was definitely missed on Saturday night, Bret pulled off every Poison chestnut with aplomb, switching from lead singer mode to 12-string acoustic balladeer and power chord basher with ease. Some of the credit must go to his well-chosen supporting band (standouts being guitarist Pete Evick and drummer Lucky Chucky). From covers of Skynyrd’s “Sweet Home Alabama” and Sublime’s “What I Got” to the inevitable lighters-in-the-air moment “Something To Believe In,” (dedicated to our military personnel), it was a night of crowd-pleasing fun – light on substance, but a great way to cap off a clear summer night in Chicago.

While Steppenwolf occupies itself with Russian "Sisters," the Goodman is mounting a musical with sisters of a different sort. "Crowns," the soulful musical brainchild of Goodman mainstay Regina Taylor. Inspired by real-life stories of Black women and the extravagant and fabulous hats that adorn their heads, "Crowns" hits its stride about 20 minutes in when the ensemble settles into a church to tell their stories.

The women have lived with heavy topics like persecution and death, and more light-hearted travails like bickering with a husband over buying too many hats; but no matter the situation, the lesson remains the same: stay poised and proper, holding your heads up high to keep your hats in place. 

Originally penned a decade ago, "Crowns" has been updated to reflect cultural shifts in the past 10 years. The new script follows a "urban" youth from Engelwood who has lost her brother; she's angsty, emotional, and, unfortunately, a bit cliche. The language and staging of her initial story remain a bit too vague to prick like specificity can. Nevertheless, the bulk of the show centers on stories around this main thread.

Plenty of humor along with powerhouse voices make "Crowns" entertaining and occasionally emotional. While an overall narrative might not move you, individual performances and ensemble numbers make the song cycle a strong performance piece. Felicia P. Fields is particularly impressive as the soulful, wise Mother Shaw. While the character of an older, wise Black women is as well-worn as a old baseball cap, it doesn't keep her from being entertaining as hell - or heaven.

Head to "Crowns" at the Goodman Theatre through August 12. For more information, visit http://www.goodmantheatre.org

A comfortable schoolteacher, an angst-ridden housewife, and an idealistic teenager walk into a house. What sounds like the set-up for a terrible joke is a roll call for the titular characters in one of Chekhov's most produced plays. "The Three Sisters," currently enjoying a nearly pitch-perfect incarnation at Steppenwolf, chronicles three Russian siblings and a cast of connected characters who come and go but never really go anywhere.

In a small town during wartime, members of the family mourn their past (a fallen patriarch), contemplate their present, and dream of a future in Moscow. The distant city is promised land of vodka and honey, but it remains a dream as characters realize they will never reach it and must find other meaning in their lives. Chekhov, a subtext slut, challenges actors with his naturalistic language, and the Steppenwolf ensemble attacks the text to bring out new meaning. Veterans and newcomers alike revel in his bluntly stated questions about life, love, and happiness.

The set contributes to the haziness of answers to these questions. A 40x15 foot frame hangs above the stage, blurring the suspended doll house estate. Combined with the proscenium, the frame allows the audience to remain disconnected from the characters and their existential questions. We watch like gods listening to their creations scream for answers, and remains silent for reasons of etiquette, or perhaps ignorance.

After the curtain call, I emerged onto Halsted with thoughts of death, betrayal, and the fear that being equally in love with someone is as much a fiction as a fairy tale. Then I realized it was 70 and sunny and went to the beach. As brilliant and moving as Steppenwolf's "The Three Sisters" may be, brooding angst and life-ponderind questions aren't well suited for swimsuits and sunshine. Chekhov is a winter writer.

Chekhov's "The Three Sisters" is checked in to the Steppenwolf through August 26. For more information, visit http://www.steppenwolf.org

RAVINIA PRESENTS HOLST’S THE PLANETS, THE 2012 ONE SCORE, ONE CHICAGO SELECTION WITH THE CHICAGO SYMPHONY ORCHESTRA LED BY JOHN AXELROD ACCOMPANIED BY FILM ON PAVILION AND LAWN SCREENS

Conductor Gianandrea Noseda makes his Ravinia debut leading the CSO in an all-Rachmaninoff program featuring Nicole Cabell and Sean Botkin; Ted Sperling leads the CSO in a tribute to Harold Arlen

 Martin Theatre recitals feature separate performances by pianist Denis Matsuev in an all-Russian evening and violinist Miriam Fried with pianist Jonathan Biss

 Crosby, Stills & Nash return for a sold-out show; teenage superstar Demi Lovato makes her festival debut

Saturday, August 4, 7 p.m. —Pavilion
Demi Lovato +
Tickets: $50/Lawn $27**/Park opens at 5 p.m.

Sunday, August 5, 5 p.m. —Pavilion
           A Tribute to Harold Arlen
Chicago Symphony Orchestra
Ted Sperling, Conductor
Ann Hampton Callaway, Vocalist
John Pizzarelli Quartet
Featured Sponsor: Women’s Board of Ravinia Festival
Media Support: WCIU
3-4:30 p.m. Family Space on the north lawn (music-related crafts, storytelling, and “instrument petting zoo")
Tickets: $70-$40/Lawn $10/Park opens at 3 p.m.

Sunday, August 5, 8 p.m. —Martin Theatre
Martinez-Urioste-Brey Piano Trio +
            Beethoven:      Trio in D Major, Op. 70, No. 1 (“The Ghost”)
            Arensky:          Piano Trio No. 1 in D Minor, Op. 32
            Ravel:              Piano Trio
Tickets: $60-$40/Lawn $10/Ticket & dining package $75/Park opens at 3 p.m.

Note that artists and programs are subject to change. Repertoire being performed at Ravinia for the first time is marked with an asterisk (*). Artists making their Ravinia debut are marked with a plus sign (+).