Items filtered by date: November 2007

Neither the sweeping, bitter winds that tore through the streets nor the mountains of snow that overtook our fair city could keep me from joining the crusade at the Cadillac Palace Theatre for the New 25th Anniversary Production of Les Misérables. Although my fifth time seeing the world-famous operetta, the power of the story and beauty of the music were by no means dulled. In fact, with the many new elements this production entailed in addition to my four-year Les Mis withdrawal, you could even say they were heightened.

Not only is this Les Mis's first US tour in four years, but it's also the first time the show has been entirely reimagined. Nothing to worry about, though; you won't find Jean Valjean in blue jeans or Inspector Javert wielding a .44 magnum. The changes that were made, although undoubtedly meant to update the show, left the story untouched while altering instead the scenery and overall pace of the show. The original Les Mis tour was known for its revolving stage, simplistic indicators of setting, and enormous barricade sets that swung in from either side of the stage; the title stood projected onto a screen as the overture played, and the stage was generally sparse, the attention focused on the actors and music.

The 25th Anniversary Production, however, elaborated on some of these elements while cutting others out completely. First off, no revolving stage. (The one thing I truly missed.) Second, the backgrounds throughout the show comprised of images taken from Victor Hugo's paintings, all dark and dreary, which worked well to set the tone and establish the 19th century time period and French environs. The sets themselves were more numerous and complex, with many pieces frequently being wheeled on and off stage, as were the props. Comparing the two productions, the stage of this newer version seemed generally more cluttered and full, possibly to provide more visual stimulation. The overture played to a projected image of a desolate night sky rather than the title; it was only after the first fifteen minutes of the show when Valjean tears up his incriminating yellow parole sheet that "Les Miserables", in a new font, was projected onto the scrim as the mini-overture to the next song spilled out from the orchestra pit, all to much applause. This seemed very cinematic, the same way many films hold their titles until something of signficance happens to set up the story.

And the music -- oh, God, the music. Just as lovely and gorgeous as ever. Before singling out my favorite actors and singers from this production, I'd like to first pay a well-deserved compliment to the entire cast, and that is that they were exceptionally articulate. This is especially hard to come by in choral-heavy shows because more often than not when thirty or forty people sing together it's difficult to pick out all the words. This cast made sure to "kuh!" the Ks, "guh!" the Gs, and "tuh!" the Ts -- immensely helpful for those of us who don't want those poetic lyrics drowned out, as well as for those who have never seen the show and may have a hard enough time figuring out what's going on without the lyrics being unintelligible.

As for who stole the show, in my humble opinion, I'll have to start with the ladies, the lovely, lovely Eponine and Fantine, played by Chasten Harmon and Betsy Morgan, respectively. These women knew how to belt, and belt they did during the only two full-length female soliloquies -- "I Dreamed a Dream" and "On My Own" -- of the whole show. Justin Scott Brown (from the first Spring Awakening tour) played a charming Marius, with a perfectly even, professional-sounding voice to fit the part. Andrew Varela was a sinisterly foreboding Javert, his deep bass vibrato enough to send chills down your spine. And Valjean, played by Lawrence Clayton, was, despite the myraid alterations to the set, to me the biggest surprise of the show; frankly, I was suprised to see a black Jean Valjean. At first, I felt this was some sort of statement, considering Valjean's unfair persecution at the start of the show, but by the middle of Act One it wasn't something that stuck out to me anymore; with Clayton's strong, tenor voice and a gentle yet world-weary mien, he was just Jean Valjean.

Whether these changes and new additions are improvements, I cannot say, for it truly depends on each individual's taste. For me, I don't mind either way as long as the music stays the same. I wept and felt my soul swelling at the same lines of gorgeously-paired lyrics and music as I always do. I found each character compelling and complex, as I always have. The music speaks for itself. The story speaks for itself. Different sets may move around the actors, different voices may glide over the notes of the music and curl around the words of the lyrics, but if this revamped production proves anything, it's that the students will always be revolutionizing, the Thénardiers will always be conniving, Eponine will always be suffering unrequited love, Gavroche will always be patrolling the Parisian slums, and Javert will always be hunting Valjean. In 1985 and in 2011, that's Les Misérables.

 

Sex still sells. Playwright Laura Eason realized this firsthand when, in an admittedly calculated move to get a play produced, she concocted a simple two-character piece with an eye-catching, but slightly deceptive title. First staged in the summer of 2009 as part of Steppenwolf Theatre’s First Look Repertory of New Work, a revised “Sex with Strangers” returns to Chicago to reignite debates about public/private selves and communication in an era now dominated by online social networking.

Don’t let the title fool you: at the risk of generalizing, the play has a strong feminine sensibility that lends depth to a fairly formulaic conceit. In addition to Eason’s astute, yet warm writing, the play is directed by Jessica Thebus (a longtime friend of Eason’s) with an intimate, romantic (not erotic) charge; sexy, but not incendiary. The characters share an almost instant chemistry, though it is one fueled more by a shared love of words and professional envy than the purely visceral dynamic one might expect going in.

Olivia is an almost-40 novelist grappling with a paralyzing sense of failure (her first book was met with commercial and critical indifference). When we first meet her, she is holed up in a remote cabin in snowy Michigan completing a follow-up she has no intention of sharing with the world. Into this sad, yet artistically romantic scenario bursts Ethan, a cocky, self-made 24 year old rolling in the success of his blog-turned-bestselling book and soon-to-be movie “Sex with Strangers,” which chronicles his misogynistic “sexcapades” ala Tucker Max. Olivia is instantly fascinated/repulsed by Ethan’s success and the various ramifications of the blogosphere. In turn, Ethan has read Olivia’s “failed” novel, greatly respects her work, and aspires to a similar artistic depth. Of course, opposites attract. It is a pretty simple premise (almost sitcom-y in another context), but one that is mined for interesting questions regarding different generational views on identity and privacy, cyberspace as a liberating/debilitating frontier, and the role financial success (and the lack of) plays in relationships.

What this play is not about, however, is sex. The title is a commercial hook, not a preview of things to come. Yes, Ethan blogs about sexual conquests and the two characters share a palpable physical chemistry, but “Sex with Strangers” unfolds more like a brainy rom-com than titillating drama. The dialogue is sharp and crisp with both leads trading fun, incisive banter. Ensemble member Sally Murphy infuses what could have been a sad sack character with a nice mix of openness and vulnerability. Her Olivia has the battle scars of experience with the fleeting remnants of youthful idealism. And as Ethan, a returning Stephen Louis Grush (reprising the role from 2009) takes the stage with such roguish charm, you can almost see why Olivia would overlook the more immature, scumbag qualities. You believe in the pairing, despite the age and philosophical differences.

The staging of the two act play is sparse (yet nicely detailed), so most of the production rests on Eason’s writing and the leads. Kudos to Thebus for keeping the pace brisk (each act speeds by). And despite some of the more formulaic trappings of the story - and the by now played out do-it-yourself ending in vogue since “Lost in Translation” - the overall narrative arc is engaging throughout (one suspects a lot of autobiographical projection by Eason in Olivia’s career woes). Breezy enough to entertain, but sharp enough to provoke thought about the age we live in (and the ever-shifting public and private domains), “Sex with Strangers” might one day become yet another model of life imitating art: as with Ethan’s fictitious book-turned-movie, don’t be surprised to find Eason’s play dumbed down to a multiplex vehicle for Jennifer Aniston or Julia Roberts. Just remember you read it here first.

Running through May 15 at Steppenwolf Theatre Company, 1650 N. Halsted Street, Chicago, IL. For more information: 312-335-1650 or www.steppenwolf.org.

 

In this coming of age story that focuses on four choirboys (each wonderfully played by women), the audience is treated to a collection of original numbers that are both whimsical and very well sung - humorous songs and some that are a bit more thought provoking. "Escape from the Haltsburg Boys Choir" takes place in Austria and, despite the present American accents, has viewers successfully using their imagination in which the story, set and costumes are enough to create a wooded, European atmosphere.

When the abusive Choirmaster pushes the envelope much too far, four of the choirboys decide to make a break for it. However, the play is much more about an escape. The play is about relationships, self-discovery and hope. "Escape" is well rounded with smart humor, engaging dialogue and a host of songs strengthened by strong singing voices. Jeffrey Fauver (Choirmaster) and Kate Black as choirboy, Johanne, lead the cast with dynamic performances that get better and better as the show progresses. Daniel Caffrey does a wonderful job directing the large cast and the experience as a whole is tied together nicely with a live band just offstage.

"Escape from the Haltsburg Boys Choir" is playing at The Side Project Theatre located at 1439 W Jarvis Ave in Chicago through January 30^{th. For tickets or more information visit www.ruckustheater.org or call 773-769-RCKS.}

^{*Photo Top - (From Left) Jeffrey Fauver (Choirmaster), Susan Steinke (Weiss) and Kevin Crispin (Ingles)}

^{Photo Left - Kate Black as Johanne} 

Living in what can seem like an ice box for months in a row blows! However, the way Tribute Bands are treated by crowds can be additionally brutal.

Take the instance when a man, John Ritchie, was up on stage in front of a New York audience in the 1800's. Massive amounts of rotten tomatoes were thrown at him by the audience, and it lead to one hitting him smack dab between the eyes. The poor man fell to the floor of the stage, and is the first performer on record for having had rotten tomatoes and eggs thrown at him (merely because some people in the audience did not like him (www.howstuffworks.com 2011.)

Well, a Led Zeppelin Tribute Band, Led Zeppelin 2, are known to be nothing to sneeze at. Led Zeppelin 2 are snowflakes in the globe of Led Zeppelin Tribute Bands since they not only play the legendary rock band's songs, but they re-enact their previous real-life performances, as well (www.ledzeppelin2.com 2011.)
 
Let's see if they receive any free tomatoes, or the cold shoulder, from any weathered chicago concert-goers tonight.
 
First, some higher-ups at the House of Blues actually gave the excited, good-looking 21-40ish aged crowd the "Bird!" I'm speaking of the Chicago's, "The Loop," radio personality, Bryd, of course. The "Bryd" got the audience going more after saying they'd be seeing all of Led Zeppelin 1 this evening.
 
While the audience waited for the curtains to open, some eager beavers lifted them on their own. Consequently, I was able to get a glimpse, too, of the happenings beyond the curtains, and saw a guy's behind--his buns were wrapped in blue, bell-bottom jeans.
 
At last, Led Zeppelin 2 came out on stage to emulate the worshiped Led Zeppelin band--what a tall order, but the lead singer looked to be about 6ft without heels. During their first set they fell a little short due to a few instrumental oopsies, and there was one breif brain freeze. It was just about which song to play next, but the crowd seemed to care less. Besides, such incidents happen to the best of the best.
 
Pot was out and about, and to use the word in a different way, lead vocalist, Bruce Lamont, was highly noticeably deemed as a Male Sex Pot! Pairs of Penny Lanes were plentiful and blatantly showing animalistic hunger for A "Zep," a big sandwich with a filling in the middle (www.websters-dictionary.org 2011.) A "Zep" is also another name for the band mates of the original Led Zeppelin. 

Getting back to sandwiches, I caught girls and full grown ladies looking up at the members of Led Zeppelin 2 with dazed, but not confused, glazes. I caught a girl unbuttoning the 3rd, 4th or fifth button of her busty friend's top. What a sight for Led Zeppelin 2 to have seen while up on stage! Yet, they sustained their concentration on their playing and overall performance.
 
Afterall, these guys are professionals with many accomplishments under their belts. For instance, Bass Guitarist, Chris Klein, and Lead Guitarist, Paul Kamp were part of the groundbreaking, 90's Chicago-based band, Busker Soundcheck together. Busker Soundcheck earned multiple mentions on prestigious critic's "Best of Lists." Bruce Lamont has also been a lead vocalist for the critically acclaimed band, Yakuza. Drummer, Ian Lee is no slouch either, for he has the great honor of being featured in "How to Be John Bohnam--A Drummer's Guide (www.ledzeppelin2.com 2011.) 
 
To zip it up, Led Zeppelin 2's second set was even better than their first one on all levels. And after their 4th encore, I lost track of how many more songs they played after that! I can say with the utmost of confidence, though, the crowd at the House of Blues on January 7th, gave them "A Whole Lot of Love," and they proved they deserved it!
 
For more information about Led Zeppelin 2 visit: www.Ledzeppelin2.com 
 
Sources:
 
www.howstuffworks.com

www.ledzeppelin2.com  
 
www.websters-dictionary.org

While I cannot prove this, I am pretty certain the last thing on Roger Waters’ troubled mind when writing The Wall over 30 years ago was a cast of nubile and acrobatic performers artfully stripping to the strains of “Comfortably Numb.” If so, the whole piece might’ve taken a decidedly less nihilistic tone. Regardless of Waters’ intentions (working through daddy issues, rock star issues, intra-band issues, etc.), it turns out that, among its many virtues, The Wall makes a great soundtrack for the art of burlesque.

Returning for the second year in a row, Hot & Heavy Burlesque’s tribute to Pink Floyd’s bleak opus The Wall is a highly creative interpretation of the 1979 classic. Borrowing elements from the (then) double-LP, live concert, and 1982 film, the show builds its own sensual (and yet still twisted) energy. All the familiar motifs are here: the marching hammers, gas masks, military/neo-Nazi regalia, and Gerald Scarfe-like projections onto the, yes, wall. But there are also plenty of original ideas to match the teasing and titillation throughout.

Even as Roger Waters himself continues to tour with a re-vamped (yet still powerfully relevant) staging of his most classic work, there is still room for alternate, and even fun, productions like this one. While one wouldn’t normally think of burlesque in association with Pink Floyd’s music (unlike, say, that of Mötley Crüe), the two make a better fit than expected. Both rely on theatricality for maximum impact. Burlesque has a far longer, and just as colorful, history as rock and roll. And there are stretches of The Wall that pulsate with a sinister, yet sexy menace: the intro to “Empty Spaces,” the cock rock of “Young Lust,” the stomping rhythm and descending chord progression of “Run Like Hell”. And David Gilmour’s elegiac guitar tone and plaintive vocals are well-matched with some of the more sensitive interpretations in the show (the loneliness behind the performer’s mask for “Hey You”).

Largely the brainchild of “Horror and Metal Burlesque Performer” Viva La Muerte, Hot & Heavy Burlesque delivers a tasteful, creative, and fun experience. While there is ample nudity throughout, the production sticks to more of an old-school burlesque aesthetic (the art of the tease instead of blunt exhibitionism). And the cast for this year’s production is diverse in appearance (not your typically uniform, ultra hard-bodied Vegas types). With names such as Rosie Cheeks, Holly Wouldn’t, Donna Touch, and the acrobatic group Nuts ‘n’ Cherries, you’d be well-advised to check any seriousness at the door. The group manages to infuse playfulness and tongue-in-cheek humor to “The Happiest Days of our Lives”/”Another Brick in the Wall Part 2” and “Empty Spaces”/”Young Lust” (the ‘80s “sexercise” trio had the look and attitude spot-on). That said (and without revealing too much), there were also quietly affecting moments in “The Thin Ice,” “Don’t Leave Me Now,” “Nobody Home” and many others.

If you are looking for a different spin on Floyd or a highly imaginative burlesque production with an awesome soundtrack, then make the time for the 2nd run of Hot & Heavy Burlesque’s tribute to The Wall. Just make sure to leave the kids with a sitter.

Currently playing Fridays and Saturdays through January 22^nd at the Viaduct Theatre, 3111 N. Western Avenue, Chicago, IL. For more information, go to vivalamuerte.us or viaducttheatre.com.

“A Jew never laughs without looking at his wife for approval.” – Jackie Mason

Funny is a good way to be classified if you are involved in comedy. For a comedian, it is much better to be classified as a “side splitter;” making the audience hurt from the joke because they laughed so hard. Ordained rabbi turned comic, Jackie Mason, has never been classified as just funny, but only a “side splitter.” He has always been a comic’s comic.

Seeing Jackie Mason tell jokes is like stepping into the ring with a prize fighter. He will hit you with so many jokes in the matter of just a few minutes that it hurts. First he will hit you with an upper cut of a one liner. Then he gets you on the left side and then the right side. As he keeps going he gets more and more powerful with each joke told. He doesn’t give you a chance to breathe and he knows he is funny.

Jackie has been involved in the performing arts for over six decades and has become a comical legend. If you look up funny in the dictionary you find a picture of Mason. His ability to take an audience and tear them up with his jokes is just amazing. Absolutely a remarkable comedian to see live.

Jackie started out in the “Borscht Belt” as a comedian in the 1950’s. He shortly after became an ordained rabbi in his mid-twenties. After three years of being a rabbi, Jackie quit the synagogue to become a comedian. He later stated that, “Somebody in the family had to make a living.” He had almost instant success. Everybody was starting to love Mason and his popularity began to grow by the early 1960’s. He had made a few appearances on the “Ed Sullivan Show” that jump started his career and finally released his first comedy album I'm the Greatest Comedian in the World, Only Nobody Knows it Yet! The ball was rolling for the young comedian as he started to gain some momentum. He was on fire!

1964

Jackie Mason had an incident that caused him to be banned from the “Ed Sullivan Show” in 1964. During a Mason monologue, Ed Sullivan was off camera and gestured that Mason should wrap things up. The nervous Mason responded to Sullivan by telling the audience, "I'm getting two fingers here!" He then gestured back, "Two fingers for you!" All footage taken of his outburst didn’t show what Mason did with his hands. Sullivan was outraged and he was quite certain exactly what he saw. The ban lasted for a year and half and Mason made his final appearance on the show once the ban was lifted.

Mason bounced back and had a successful career within standup comedy, radio, television, and movies. He had multiple T.V. specials and appeared on several shows including “30 Rock” and “The Simpsons.” Mason also performed in the movies; “The Jerk,” “History of the World: Part I” and one of his funniest roles was as Jack Hartounian, in “Caddyshack II.” He referred to everyone at one point in the movie as a “fonzinoon” and then he gave the definition. “A fonzinoon is a guy who farts in the bathtub and bites the bubbles.”  

One of the roles that is most commonly miss-credited to Jackie Mason is the role of the Aardvark in the cartoon “The Ant and the Aardvark.” The voice was actually done by John Byner and was meant to be an impersonation of Jackie Mason. Apparently Byner did such a good job with the voice that he had most people fooled.

Currently Mason is performing a weekly morning segment on the John Oakley Morning Show in Toronto. Jackie comes on for a brief segment in the morning to throw in his two cents. He also completed a feature film called “One Angry Man.” The movie was modeled after “Twelve Angry Men,” but needed to be tailored to fit the Jewish comic. He also has completed another movie that is scheduled to be released in 2011. The movie is going to be opening in Florida and moving around the country. He is scheduled to be at The Horseshoe Casino’s theater The Venue (777 Casino Center Drive, Hammond, Indiana) on March 12, 2011.

In 2006, the organization Jews for Jesus used Mason’s likeness for a pamphlet. His picture was set next to the quote “Jackie Mason … a Jew for Jesus!?” Mason filed a lawsuit against the organization for the unauthorized use of his likeness and won. The court papers that were filed with Mason’s comments within the documents stating that “While I have the utmost respect for people who practice the Christian faith, the fact is, as everyone knows, I am as Jewish as a matzo ball or kosher salami. ”

Mason made claims that the organization had used his likeness to gain attention and try to convert people to their side of thinking. The group Jews for Jesus responded to the suit by saying, "Shame on him for getting so upset about this." The lawsuit settled, with Mason accepting the apology from the Jews for Jesus organization.

Mason has been accused of racism a few times over his career. In 1991, Mason made the comment about the mayor of New York, David Dinkins, that he was "a fancy schvartzer with a moustache." The NAACP criticized mason for his comments and he later apologized. After that he was accused of racism when a comic of Christian Arab Palestinian descent, was removed from opening for him at a Chicago appearance.

In 2009, Mason did it again. One of the worst people he could have said anything about was Barack Obama. During a live performance Obama was referred to as a "schvartzer" which in Yiddish and German it loosely translates into black or Negro. Later Mason’s comments came out trying to back pedal. "I'm an old Jew. I was raised in a Jewish family where 'schvartzer' was used. It's not a demeaning word and I'm not going to defend myself." A black political commentator Angela McGlowan defended Mason's comments and strongly disagreed that he was trying to use the term in a racist fashion. "It's easier to insult someone's mother than it is to insult Barack Obama," said Jackie. He had been chased down by reporters after the incident. He cursed at them and told them he has said worse things about other minorities.  

Mason has been making fun of politics during his entire career. He thrives off of the punch line. "If you wanted to hear politics, you'd go to Henry Kissinger, you wouldn't go to hear Jackie Mason. The reason I speak about politics is because I know I can get a laugh out of it. As soon as I tell a line without a laugh, I don't tell it anymore,” says Jackie.

This man’s comical career has been an amazing thing study and watch how it unfolded. So many comedians over the years have tried to be Jackie Mason, but there is only one problem. There will never be another Jackie Mason. He joke telling style is unique and no one can tell the punch line quite the same way.

As Jackie Mason enters into his sixth decade within the performing arts it doesn’t seem like the man will ever slow down. He has made people hurt from his jokes and stories in a clever way like no other comedian could. The side splitting ex rabbi has always been a comic’s comic and always will be.

 

 

 

Jackie Mason Quotes

"Eighty percent of married men cheat in America. The rest cheat in Europe."

"Politics doesn't make strange bedfellows, marriage does."

“It’s no longer a question of staying healthy. It’s a question of finding a sickness you like.”

“I was so self-conscious, every time football players went into a huddle; I thought they were      talking about me.”

"Did you know that the Jews invented sushi? That's right - two Jews bought a restaurant with no kitchen."

“I have enough money to last me the rest of my life unless I buy something.”

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Secret Life- Jorge Farfan

 

 

 

 

 

 

 

 

 

 

 

 

Music was coming from the monitors as the curtains started to open slowly. Fans peaked through to get a glimpse of the blue lit stage. The crowd was ready to see the main attraction at Chicago’s House of Blues on a cold December night. Sister Hazel started to play and any thoughts of the frigid temperatures outside were quickly forgotten. It was a fantastic night for music.

Chicago was graced with two shows by the band from Gainesville, Florida, Sister Hazel. The group came out and performed some of their best songs such as “All For You” and “Change Your Mind.” They brought out so many songs with the intentions of entertaining the crowd and that is exactly what they did. Going along with the holiday season they played the Christmas rock song “Run, Run, Rudolph” which had everyone dancing. The Soggy Bottom Boys would have been proud to see the song “Man of Constant Sorrow” to be played so close to the original. It was a flawless performance and sounded just like the CD.

Front man Ken Block led the band with the upbeat guitar oriented songs, to the vocally driven a cappella sections of other ditties. His lead vocals were sweet sounds to the ears. Vocally the entire band blended well with each other within every song. Ken’s acoustic guitar work was done in a fast paced strumming style. His guitar was a clear representation of how hard he plays. He was well on his way to wearing a hole in the body as a lot of country and folk players had done in the past.

The bottom end was provided by Jett Beres. He played the same five string bass during the entire show through a bass rig that could move the Earth. Within the main floor, the rumbling could be felt within your feet. He had quick fingers that played the kickass bass lines and a tone that made everything he played sound warm. He also has a very wide range vocally. He brought the definition of three part harmony a new meaning.

Completing the rhythm section is Mark Trojanowski on drums. His timing was better than any clock and his versatility was displayed on everything he played. He was completely on fire during the entire show. He showed amazing dynamics and at times he was a great example of playing less is more. He wasn’t on stage being an animal like other drummers have done. He knew how and when to hit with the absolute correct amount of force. He is just a solid in the pocket drummer.

A great asset to the band is found in Andrew Copeland. This guy provides rhythm guitar, keyboards, vocals, and a solid foundation of music within this rock band. What more could you ask for in a musician? His part within the band is holding down the rhythms and melodies. Within his role, he helps to fill out the bands musical style and sound. He is a very talented musician and it shows within his performance.

Last but not least is Ryan Newell on lead guitar. During every concert, the man who has the spotlight is always the guitar player. Ryan deserved every bit of it as he shined through on what he played. His guitar work is in the same league with some of the great guitar Gods. He played some intricate and flashy guitar riffs that amazed a lot of people within the room, including musicians. When he picked up a slide and moved it across the strings it was just magical.

The best part of the show was when the band broke into the middle guitar jam of “Hotel California” by the Eagles. Newell hit all the tough guitar licks from this classic rock anthem as if Joe Walsh was there himself playing it for you. He was backed up on the double guitar solo parts by Ken Block.

The band did the same customary routine as all other acts do. They pretend they are done with their show and leave the stage knowing damn well that they are coming back out for another song or two. For their encore they came back out and performed the song “Champaign High.” The acoustically based song had left the fans with a smile on their face.

During the show there was a positive energy that flowed around the room. Good, happy music was being played and the audience welcomed the sounds with open arms. As the show went along, the fans felt that positive energy coming from the stage and sent the feelings back to the band with applause and cheers.

The show had ended and the fans left the building. They huddled together in the streets attempting to stay warm as they waited for their cars to be brought to them. Smiles were everywhere despite the frigid temperatures.

Sister Hazel was just an incredible band to see live. Their ability as musicians is unbelievable. The entire group was on the money within all of the songs they played. Five guys performed as if they were one unit captivating the ears and eyes of the patrons at the House of Blues in Chicago. One word describes the show that was done and that is perfection! It was a fantastic night for music.

It is my belief that nudity and simulated sex are not a part of the craft of theatre and film acting and should not be engaged in at any point in their career by actors and actresses who are sensitive enough and talented enough to be considered artists and craftspeople.

 

In the same way that drinking three shots of whiskey and then “acting” in a drunk scene is not acting, so is actually being nude or engaging in real “simulated” sex not acting.

 

In the same way that eye gouging is not allowed or a part of the skill and sport of playing professional basketball or football, so should nudity not be allowed in artistic acting projects that consider themselves to reflect the superior quality of the craft of theatre and film acting.

 

Why isn’t eye gouging allowed in professional sports? Well, obviously eye gouging has nothing to do with the skill or gifts required to perform in professional sports. The second and most obvious reason why eye gouging is not allowed in sports is because it causes permanent injury to the player. In fact, after just one or two good eye gouges the talented sportsperson will be lacking the required facility – eyesight- to perform in the sport ever again.

 

No one wants to admit that nudity in film and TV is dangerous to your health or your career but we all know it is. The only question to ask yourself when casting an actress in a role that requires nudity is-would I cast a friend in this part? The answer will almost always be no. Why? Because you know that this actress will be subjected to a process that is demeaning at best and psychologically crippling at worst. That the chances of appearing nude in a feature film or TV show like ‘ Entourage” could very easily be the worst career move of her life, causing future casting directors to look on this actress’ resume as belonging to a stripper/exotic dancer type or a permanent extra player.

 

I’m not going to run down a list of actresses whose careers have either gone into a tailspin after doing nudity in film or never resumed forward momentum in career status because I don’t want to do any further damage to artists who have essentially consented to being “molested” on camera. In fact with the advent of the internet these actresses are reminded every day that the few seconds of film in which they appeared nude are being downloaded as freeze frames ad infitum just like any porn star with no acting training, experience or gift at all.

 

If you read a few interviews at random with actresses of quality about their actual experience doing nude scenes you will see several common claims. That the experience of being nude on a film set with many strangers watching and filming was “upsetting, embarrassing” that they “cried in their trailers afterwards”, that they were “unable to feel confident as actors afterwards” or made it impossible to interact with the other players as professional equals, that they “regret doing the scenes” and “would not do it again.” And importantly, that it not only did not open the career doors that were promised by “taking the risk and baring all” but in fact destroyed the very faculties of extreme emotional and psychological sensitivity and openness that are part of parcel of the skill package required to perform in “top form” in the craft of theatre and film acting ever again. And this happens after just one experience - just as quickly and efficiently as one good eye gouge destroys the eyesight of a pro sports star.

 

Unfortunately for actresses in particular, providing the nudity that helps “sell” a feature film translates into a “Game Over” situation for that artist.

Does the amount of facial hair seen in a crowd, actually predict how hip a band’s set will be? Let me present you with some facts. On Tuesday November 23^rd at the House of Blues, over 50% of the men in the audience were bearded, preparing to have the excellent Wolf Parade melt their whiskers off. Meanwhile, at the Justin Bieber/Lady Gaga concert with openers Nickleback, not a single face was adorned with a man scarf. Is this coincidence? Is this even true? No. But that does not change the fact that Wolf Parade ruled Tuesday night, and made a lot of bearded gentlemen very happy.

 

Wolf Parade has always been a band flying just south of the radar for me. My buddy in Portland (a bearded bloke mind you) gave me their albums years ago, and I’ve listened to them casually ever since. They never struck me as mind-blowingly amazing or anything too different from other indie rockish bands like Modest Mouse or Arcade Fire. Then I saw them live at the House of Blues last Tuesday. Now, I’m not 100% sure I didn’t just appreciate them more, because I myself have grown my own beard. My facial follicles tend to absorb more good vibrations, whereas a clean-shaven face tends to just get marauded with whatever crappy music hits their cold cheeks. All I know is every perception I had about Wolf Parade went out the door about five minutes into their set.

 

But before we get to the meatiness that was Wolf Parade, let’s talk about the equally interesting opening bands. The first, Ogre You Asshole, is an all-Japanese band with decent influences from Fugazi and Talking Heads. They spoke barely a lick of English, but spoke the international language of rock, eloquently. Wintersleep, the second band, was however completely illiterate. The lead singer was channeling a weird combination of Michael Stipe’s vibrato, and Scott Stapp’s suckiness. When a band that doesn’t even speak English, with songs totally incoherent to an American audience, plays before you and wipes the floor with you, it’s time to take a long look in that rock n’ roll mirror. As Michael Kronenberg, a devote and loyal Wolf Parade fan said behind me, “I just got a drink so I could tolerate that awful band.” Couldn’t have said it better myself.

 

Wolf Parade owned. For sure. Not only did they play a nice mix of their new songs, from Expo 86, and their older albums, Apologies to the Queen Mary and At Mount Zoomer, they did it with gusto. A great amount of energy, humor, and personality that really brought the band, that previously just lived on my ipod between Ween and Wu-Tang, to vibrant life. Highlights were the insanely catchy song “What Did My Lover Say? (It Always Had To Go This Way)” and the fan favorite, “I’ll Believe in Anything.”

 

Unlike previous concerts where people talk the whole way through or, shout unnecessary obscenities throughout the show, the spotlight was truly on Wolf Parade. They commanded attention. If music is judged by how many heads can bob up and down together (bearded or not), this show kicked ass.

 

Wolf Parade has a unique talent that separates them from other bands of a similar nature. Sure, you can call them hipsterish, you can call them a jam band, but what separates them from these genres is the fact that, well they pull it off. Although every song could easily be taken to it’s hipiest extreme with an endless musical tangent, they can take all their complex sounds, build it over the duration of a song, and wrap it up, without it sounding like a chaotic mess.

 

A final highlight from the show, as if it needed one, was the encore as the Japanese bass player from Ogre you Asshole plays with Wolf Parade during the encore. Call me lame, but there was something beautiful about watching two talented musicians of totally different cultures, coming together to speak the same language of rock.

 

Wolf Parade has easily made it into my top concert of the year. The simply blew me away. When a band can change your perspective from one live show, they’re doing their job. Music should always be based on their live performances, not their overproduced studio sound, and this is where Wolf Parade excelled. They created an experience totally different from listening to them on your ear buds. Which is something everyone can appreciate, bearded or not.

 

If you like Wolf Parade I also strongly recommend checking out singer/keyboardist Spencer Krug’s other band Sunset Rubdown, and singer/guitarists band Handsome Furs.