Items filtered by date: November 2007

There is nothing like hanging out with friends at a local night club while a good band is playing live. The music goes through to your soul and sets the tone for the evening. It can be an amazing time as the soundtrack is unveiled by the group on stage. Within the band Trainwreck it is a guaranteed good time for all.

The name of this group is Trainwreck, but they don’t sound like a big group of metal cars crashing into each other. It is just a name. These guys know how to set the mood for a party and get everyone in the crowd involved.

As the music began at Papa T’s in Burbank, Illinois, these guys played the “2112 Overture” by Rush. The four piece rock band took the song, jammed the hell out of it, and the place went crazy. Interestingly enough, the date was 1-21-12 and surely they played it because of the date of the show.

As their set unfolded through the night they kept playing one hit after another within the classic rock world. Performing a condensed version of all three sections of “Another Brick in the Wall” was a highlight of the band’s night. They played their own arrangement of the songs and immediately went into “Young Lust” after that. You can’t go wrong with playing Pink Floyd. It’s always a crowd pleaser.

The songs kept pouring out getting the people off their feet to dance and move about the room. An excellent version of “Simple Man” was great for the beer drinkers. A fairly well behaved crowd also enjoyed “Freebird,” “Sweet Home Alabama,” and what show would be complete without the Alice in Chains song “Would?”

Drummer Patrick Murphy slams his drum kit with hard precise hits within every song. He keeps the band’s clock on the beat and also sings lead vocals within a lot of songs. The talents within him shine through and he is fun to see play. Within the Chicago music scene he is definitely the cream of the crop of musicians.

Patrick’s brother Jimmy Murphy takes the center position on stage for some sweet vocals as well along with some tasty licks on the guitar. His rock guitar style is an important part to the band as any other member. He knows just what to play and it’s never overdone. He is very skilled at his instrument of choice and within a solo will stay more true to the original musical work of art.

At the stage left position is Jim Tomaszewski on guitar and vocals and he can hold his own on the six string. There is no doubt that this man has skills and knows his way around his instrument. He will throw in some flashier stuff at times doing some finger tapping. It’s quite obvious that he was influenced by Van Halen and he could pick a worse guitar player to be influenced by. 

·Kathy Robinson Tomaszewski

• Kathy Robinson Tomaszewski

Providing the low end and some very smooth vocals is Kenn Keyser. This south paw player fills the stage right position, but thanks to a nice wireless system he can be seen walking about the room interacting with the crowd. His playing compliments the others well in every song and he locks with the drummer.

This band’s main goal is to bring an “arena sized” show to local music venues and they do it so well. They will play a lot of songs true to the original, but on some songs they throw in a nice creative twist showing that they can think outside the box.

As this band has no rules other than to entertain, they will do it by any means necessary. Kathy Tomazewski, Jim’s wife, came up to sing a few songs and the girl has a set of pipes. She belted out “Heartbreaker” by Pat Benetar and it was definitely a worthy version. She also sang “Barracuda” (Heart) and “Call Me” (Blondie) and hit the notes with ease.

This band always seems to have the girls at their shows and no Trainwreck show would be complete without the twins Carla and Angela Annerino. Referred to by one bar patron as “The Doublemint Twins” these two are always there to support bands and take pictures.

In front of the stage people were cutting a rug during most of the songs played. The song that had everyone moving was “Play That Funky Music (White Boy).” Your feet can’t stop moving during the song and there was even a white boy trying to break~dance. Everyone had fun and if they didn’t they were dead. 

 Unfortunately all good things must come to an end and so did this show. They didn’t end it without hitting on some great songs like “Paranoid” (Black Sabbath) and “Free for All” (Ted Nugent). Ending their night was the Neil Young classic “Rockin' in the Free World.” It was a good time.

As the night came and went way too fast it will be a pleasure to see the band Trainwreck again. These guys rocked the house and kept you musically entertained all night long. It was a pleasure to be amongst friendly people and enjoy some live music. It was a night to remember.

AC/DC has long been one of the greatest rock bands to ever exist. They have inspired so many for forty years to play kick ass rock music. Some of them got it right like the AC/DC cover band TNT Chicago. These guys without a doubt know how to rock a house just like the boys from down under.

On a day that most regular people wouldn’t venture out, TNT Chicago took the stage at Penny Road Pub and tore the place up. The snow that hit Chicago caused quite a few fans and even one of the guitarists to miss this show. The band made the necessary adjustments and the show went on as scheduled. In the Chicago Metro area, this is the AC/DC show to see live.

Lead singer Jim Irwin usually doesn’t play guitar in this band, but the seasoned musician stepped up to the plate and covered the rhythm guitar as well as his required vocals. Honestly, the second guitarist wasn’t missed at all musically. Irwin covered all the rhythms just as if it was normally part of the show.

Bass player Stevie Conlon is the low end master within this group and sings backing vocals as well. The limber fingers rolled out the notes during every song keeping the rhythms tight. Feeling the bass within your chest and body made you feel as if you were part of the song.

Completing the other half of the rhythm section is Peter Jones on drums. He kept the timing with precision hits as wood chips occasionally flew off of his sticks. As the drums locked with the bass it really seemed as if this rhythm section became one entity.

Mike Sawinski filled one of the most important roles in an AC/DC band, the lead guitar role of Angus Young. Not just any guitarist can pull off these incredible licks handed down from a masterful band, but somehow Mike pulls it off just like the record. He is just phenomenal!!

As the night went on, the band played so many songs to perfection it was sick. All four of the musicians that showed up were of top notch caliber and played to amazing levels of expertise. WOW!!

The long list of songs within their set were a treat to hear. Songs like “Back in Black,” “Whole Lotta Rosie,” “Sin City,” and “Back in Black” shook the floor and walls of Penny Road all night long. These guys didn’t just come out with the hit songs. They went back to some “B” side material as well. For the real AC/DC fans, this was an impressive show.

 The band gathered audience participation on “Thunderstruck” at the beginning to help lay down a nice groove. “Ah, ah, ah, ah, ah, ah, ah, ah, ah, Thunder!” bellowed from the stage and the audience. They pumped the crowd up well and did their jobs as entertainers.

During the song “TNT” a young lady by the name of Debra was invited on stage to sing and dance with the band. She provided an extra show by shaking and dancing around for the guys in the room. Behind the microphone she appeared to be having the time of her life. When the song was over she was smiling from ear to ear. She animated the words, “Knockin' me out with those American thighs” as she grabbed her own during “You Shook Me All Night Long.” The temperature within the room seemed to go a little higher within her erotic dance moves.

The band kept playing until completely exhausted. Every bit of the show was a great time for all the attendees to this concert. The courageous fans that had the balls to make it through the snow were just amazed. It was a great time.

The members of AC/DC would be proud to see their songs done right. All the little intricacies of this band were pulled off by TNT Chicago flawlessly. Very simply, these guys F’n rock!! It’s about time someone covered this band so true to the original. If you go to a TNT Chicago show wanting to see blood, “You got it!!!!”    

A thin, pale boy sits in his boxers at the foot of a small, twin bed when you enter the third floor of the Flat Irons Building.  He’ll be the narrator and key figure in the 90-minute story of technology, morality, and obsession.  It’s a frightening tale of internet manipulation that almost ends fatally, but what is most frightening is that the story is true.

Inspired by the 2004 Vanity Fair article, “U Want Me 2 Kill Him,” Carlos Murillo has penned a morality tale of how young neurosis and technology can collide to create a digital world as dangerous as our own.  In “dark play, or stories for boys” (written in lowercase like a lazy IM conversation), 16-year old Nick seduces his classmate Adam in a chat room using the gorgeous, perfect, and perfectly fake woman Rachel.  In real life, this woman had no body, but this fictional female is embodied in the play, reciting the lines of text as if she is a fully fleshed character.  Collaboraction Artistic Director Anthony Mosley’s staging is so engaging that you forget most of the dialogue takes place while characters sit at a computer screen.  Besides being compelling, frightening, and well-acted, “dark play” is an excellent example of how technological interactions which consume so much of our contemporary lives can be meaningfully staged using traditional theatrical conventions.

Just as thespians create characters to illicit emotion, so too does Nick craft a three-dimensional digital Delilah.  The difference, however, is that theatergoers are conscious of their manipulation.  They may suspend their disbelief, but they know they are merely players on a stage, a fact they’re reminded of come curtain call.  But there is no curtain call in the online roman in “dark play.”  The truth is only revealed after a nearly-fatal ending, which appears quickly in the play, and despite being the actual event, feels somewhat false.   Ironically, the strength of “dark play” is also its weakness.  The climax might be real, but it diverges so far from the play’s reality that the ending feels somewhat contrived.  It’s deeply ironic that a true ending feels false.

That said, the bulk of “dark play” is theatrical and entertaining, chronicling what a British prosecutor called “an Internet soap opera moving from one scene to another, each character and story line more fantastic than the last."  It’s a startling exploration of a young boy’s psyche, which is all the more frightening when you realize we are only a few keystrokes away from doing the same.

On April 9^th, 1947, a meeting took place that would change sports and society forever. Branch Rickey, the General Manager of the Brooklyn Dodgers, is about to break the color barrier by calling up Jackie Robinson, who would be the Major League’s first black player and he is looking for support. The play takes place in a single hotel room where Mr. Rickey hosts renowned boxer Joe Louis, actor/activist Paul Robeson, entertainer Bill “Bojangles” Robinson and Jackie Robinson himself. As the meeting progresses, the often heated debate to support the move to African American communities by the three influential leaders takes on many faces, as trust, what is best for the future of Jackie and the advancement of blacks in America, risks and motives are all challenged or reviewed.   

Finely directed by ensemble member J. Nicole Brooks, Lookingglass’ production of “Mr. Rickey Calls a Meeting” has all the elements of a wholly entertaining play. The cast is exceptional. Simply put Larry Neumann, Jr. is superb as Mr. Rickey, Javon Johnson is heartwarming as Jackie Robinson, James Vincent Meredith is electric as the skeptical Paul Robeson, Ernest Perry is pure gold as Bill “Bojangles” Robinson and Joe Lewis couldn’t have been played better than by Anthony Fleming III. Kevin Douglas also brings with him terrific comic timing to his character Clancy Hope, the awestruck bellhop. A lapse of interest never takes place in this dialogue driven production that easily holds the audiences attention for the entire 90 minutes.

“Mr. Rickey Calls a Meeting” is significant. This powerful play is eye opening, warm and educational.  

“Mr. Rickey Calls a Meeting is playing through February 19 at Lookingglass Theatre located in Chicago’s historic Water Tower Water Works (821 N. Michigan). For more information visit www.lookingglasstheatre.org.    

Huge rock bands like Judas Priest are imitated all the time. Cover bands climb out of the woodwork to put together bad versions of the works of art by this iconic band. Some of them are just horrible, but others are quite amazing. Within the band Sin After Sin are five talented musicians that if you close your eyes, you think you are actually listening to Judas Priest themselves.

On a freezing cold January night, Sin After Sin took the stage around 10:00 P.M. at Bobby McGee’s (10139 S. Harlem in Chicago Ridge, Illinois). This group of professional musicians played the music of this great heavy metal band note for note. To enjoy this band you don’t have to be a fan of Judas Priest. If you truly enjoy music, these guys are musical entertainers.

For the real Judas Priest fans, this is a treat to see. These guys pulled out songs that Priest themselves don’t even do anymore. They will perform more from a diehard fan perspective than anything else. This is the most elite version of a cover band that could possibly ever exist and thankfully they are here in the Chicago area.

Each musician within this group is a show all by itself. The rhythm section is about as tight as you can get. With the thundering tree trunk fingers of Brent Sullivan on Bass, it locks with the timekeeper on drums, Ed Pukstis. The hard hitting drummer and the bottom end paint the canvas for the rest of the band to shine on.

Vocalist Steven Reimer nails the high notes like never seen before in any cover band. His range and sound is very wide and dynamic. The guitars are provided by two six string masters, Al Contreras and Briant Daniel. Both of these guys know all the ins and outs of their instruments and display it well within every song.

Songs that can be heard within a Sin After Sin show are; “Electric Eye,” “Dissident Aggressor,” “Hell Bent for Leather,” “Desert Plaines,” “Exciter,” “Starbreaker,” “The Ripper,” “Green Manalishi,” “Stained Class,” “Devil’s Child,” “Grinder,” “Diamonds and Rust,” “Breaking the Law” and many more.

There may have only been five guys on stage, but this band owes a lot of credit to the sixth man for the night, the sound man. The man behind the board had a very good ear for mixing. He even had a portable mixing pad so he could walk around the room and make adjustments depending on what he was hearing in the different parts of the room. He provided a very high quality level of sound for Sin After Sin and made this cold January night a party to remember.  

The band Sin After Sin is an awesome act to see in a live setting. They perform all the great songs of the band Judas Priest. This group of musicians will take a stage and completely and totally satisfy the heavy metal music fans in attendance. Any opportunity to see this band live should be taken. The heavy band Sin After Sin are truly “Metal Gods!” 

I was completely under the spell of this dazzling, tribute to romance and the magical vocal stylings of Frank Sinatra by Twyla Tharp in “Come Fly Away”, performed at the Bank of America Theatre. Twyla Tharp’s 15 amazing dancers bring to life the stories of four couples falling in and out of love with tremendous style and some of the best choreography performed by some of the best dancers I have seen on the stage in a long time.

If you are a huge Sinatra fan like myself, get ready to get drunk with pleasure and fully satisfied on this smorgasbord of his best recordings brought to life including: “Let’s Fall in Love”, “Witchcraft”, “I’ve Got a Crush on You”, “Teach Me Tonight”, “Body and Soul”, and “Yes Sir, That’s My Baby”. Sinatra sings all the songs with music performed by a fantastic 20-piece plus big band, which really gave the audience the feeling of being in the nightclub with all the dancers.

I believe the best dancers are also fine actors who emote their characters’ inner life through their faces as well as their bodies. Tharp’s stunning dancers, all of whom are superbly trained in ballet and modern dance equally, exude a raw sexuality that is a treat for the eyes. Twyla Tharp’s choreography is expert at dramatizing the flirtation and complex emotions of falling in and out of love that Sinatra standards describe so well.  

I can’t recommend highly enough this winning combination of my favorite singers of all time, Frank Sinatra’s standards about love interpreted and brought to life by one of my favorite choreographers of all time, Twyla Tharp.  It’s like peanut butter and chocolate, two great tastes that taste great together!

“Come Fly Away” runs through January 22^nd. For more information, visit www.broadwayinchicago.com.

In the Heights, winner of the 2008 Tony for Best Musical, follows three generations in the primarily Puerto Rican neighborhood of Washington Heights as they deal with issues of class, race, and assimilation.  It’s also really good.

Penned by musician and lyricist Lin-Manuel Miranda (who played the bodega-owner/narrator in the original Broadway production), In the Heights is a poppy, rappy, collection of songs filled with a carnival energy and carnal emotionality that resonate regardless of race.  While some jokes might be missed by EOL spectators (English as Only Language), the struggles of making it and what to make of it are universal

Usnavi, named after a ship his parents saw as they immigrated to the United States, welcomes us to his bodega, where he provides caffeine and empty dreams (lotto tickets) to his neighbors.  He’s sandwiched in between two other shops – a salon with stereotypically gabby stylists and a family-run cab company, whose owner and wife eagerly welcome their daughter back from her first year at Stanford.  Nina, who represents everything they came to America to achieve, returns to confess she’s lost her scholarship and is on academic leave.  The one who got out has dropped out.

While the first half-dozen songs of the show are mostly solo numbers, the clever lyrics, emotional music, and strong performances easily make up for a lack of variety. The touring cast is non-Equity, but their talent is non-arguable.  When a group number does appear – “96,000” (not the number of minutes in two months, but the number of dollars in a winning lotto ticket), the audience is captivated and the conflicting desires of the town come to a point.  While Grandma remembers the island and her difficulty of assimilating into the United States, Usnavi’s love interest Natalie who will do anything to get out.  These generational differences are more than teenage angst, and instead echo the cyclical rhythms of offspring turning away from their parents to create lives of their own.

While the second act takes second place compared to the first, there are several strong numbers.  However, they only reveal the slice-of-life quality to the piece.  The overall stakes remain low.  A pair of casual love stories and family drama make for strong individual stories, but combined they fail to elevate the 2.5-hour show to a place of profound emotional or narrative relevance.  Of course, I’d rather a musical attempt to accomplish much and slightly fail than succeed at the simple.  The accomplishment of preserving a historical moment in a neighborhood on the cups of gentrification outweighs any slightly out-of-focus narrative.  Also, it’s really damn good.

The lights are up on In the Heights at the Oriental Theatre through January 15.  More information at www.broadwayinchicago.com.

Dunanana. Snap. Snap.

Dunanana. Snap. Snap.

Dunanana. Dunanana. Dunanana. Snap. Snap.

The opening theme to the popular television series The Addams Family christens the overture of the new musical The Addams Family, playing this week at the Cadillac Palace in Broadway in Chicago.  After a pre-Broadway tryout in chicago with Nathan Lane as the horny patriarch Gomez, the production has been revamped and retooled and still plays on Broadway as the touring production visits its birthplace.

Each Addams is accounted for: the ghostly wife Morticia with a plunging neckline, the violent and pudgy Pugsley, the angsty Wednesday, and a whole slew of undead Addams that serve as the chorus.  The story they tell is a classic clash of families - Romeo & Juliet style, but with a quintessentially Addams twist.  The pale and ruthless Wednesday has found herself falling for a “normal” boy and is worried her family, especially her mother, will disapprove.  The macabre and the mundane clash at a large dinner that should showcase the morbid, twisted psyche of all things Addams.  But some over-characterization of the boy’s family distract from the titular family: the Mom speaks in poetry, the Dad has lost that loving feeling, and the Son has almost no personality, except for when it sets up a punchline for the Addams crew.  Rather than serve as a grounded juxtaposition to the Addam’s crazy, this invented threesome is bit too quirky and ends up fighting the titular family for focus.

Of course, this misstep might be forgivable if the show’s songs were tuneful and passionate.  But while the witty book deserves snaps, the songs in The Addams Family are more dunanana.  And I can put my finger on the it (or Cousin It).  Wednesday’s power ballad about being “Pulled in a New Direction” by love stands out as a song with emotion and a witty game to boot (as she sings, she tortures her brother by pulling his limbs in a new direction); but the other melodies, mostly unmemorable save the opening, tend to explain the plot rather than further it.  Lacking passion, the songs don’t build stakes or tension and end up flatlining  – which I suppose the Addams family would support.

A clever and witty book by the team behind Jersey Boys (Marshall Brickman and Rick Elice, whose other credits include co-writing Annie Hall and work with The Walt Disney studios) saves the night from complete death, with plenty of punchlines that celebrate the macabre and backwardly dark family.  But a central plot device - a mysterious “game,” which turns out to basically be “take a shot, tell a secret” – utterly misses the mark.  While the game and song, “Full Disclosure,” might properly close the first act of Lysistrata Jones or Legally Blonde, the Addams Family should develop a game a bit darker than your average peppy sorority sisters.

At its Chicago opening night, The Addams Family attracted a fair share of families, as kids as young as seven sat up straight to watch torture and ghosts abound.  And I felt like a kid at points, truly enjoying some of the clever and humorous puppetry (Fester’s love dance with the moon stands out).  But while the production might be enjoyed by most families, I still expect big budget musicals to offer something more passionate and moving to theatre-goers than the even-keeled nostalgic romp that The Addams Family is.  Snap. Snap.

The Addams Family is altogether spooky at the Cadillac Palace through January 1.  For more information, visit www.BroadwayInChicago.com.

The Greeks, who gave us theatre and big, fat weddings, have always been a rich source of inspiration for contemporary culture makers.  From James Joyce’s Ulysses to Disney’s Hercules, the iconic gods and legends of ancient Greece have been re-imagined, rebutted, and redone by painters, philosophers, and playwrights.  Penelope, a new play from the pen of Irish writer Edna Walsh, draws upon these distant myths to create a visually arresting, intellectually stimulating, but emotional lacking piece of theater which entertains in fits and starts.

Ancient myth (and a black-and-white comic in the Steppenwolf program) tells of the warrior Ulysses, who wages war, wins it, and pledges to return home to his love Penelope.  In the ten years’ meanwhile, hundreds of suitors vie for her hand while her husband is away.  Walsh’s Penelope starts with the final four.  In a drained swimming pool, the last of the suitors – one in each of their 30s, 40s, 50s, or 60s – have set up camp and outwitted and outlasted their weaker competition.  The lounge chairs of suitors that have fallen before are haphazardly stacked in the corners of the pool, creating a sculpture-like symbol of failed love that looms throughout the piece.

The Speedo-clad men enjoy modern luxuries – a gas grill, potato chips, and a table full of alcohol and shot glasses – as they wait to make their daily plea to Penelope (the silent and stunning Logan Vaughn).  A blaring siren and red lights announce her entrances, as the suitors scramble to fix their hair and ready their remarks.  They beg - with spoken word and vaudeville routines – as she watches on a flat screen from her secluded loft.  Their pleas fall flat, but Fitz, the eldest suitor originally cast as John Mahoney and now played by ensemble member Tracy Letts, catches her attention.  Letts brings a boisterous energy to the weathered suitor, who hides his shyness in a book, but speaks with raw sincerity.

While none of the men are ultimately successful, it is their struggle and its universality that forms the shaky core of the work.  Despite the trappings of the contemporary – gas grills and potato chips – the ancient and eternal battles shine through: unrequited love, fierce competition, and the quest for friendship amidst it all.  A strong ensemble (Yasen Peyankov as the fiery Quinn, Ian Barford as the pained Burns, and Scott Jaeck as the chaotic Dunne) under the simple direction of Amy Morton bring powerful performances to the swimming pool floor.  But at its core, Penelope is more thought experiment than emotional journey, more clever than clear, and more brain than heart.

By play’s end, the audience has become a sort of meta-Penelope.  You watch the performances, but your interest ebbs and flows.  You appreciate the wit and devotion, but the recited words start to blur meld together.  In the end, you’re left waiting silently for something more, something truer to finally come home.

Swim with Penelope at Steppenwolf through February 5.  Tickets available at steppenwolf.org.

The Joffrey Ballet production of The Nutcracker ran for its 25^th season this year in Chicago's Auditorium Theatre. Having once seen The Nutcracker ballet as a child, I was delighted to have the opportunity to see this performance once again as an adult; and it certainly was a treat. The venue; The Auditorium Theatre, is an absolutely beautiful place to visit if you've never been there before. It's a very unassuming building from the outside, however,once inside the theatre, you can't help but awe at it's magnificent appearance. I'm not certain if this is the same venue I once saw The Nutcracker as a child, but, the theatre's beautiful gold curtains, adornment and interior decor did feel remarkably familiar to me once I sat down. My girlfriend and I had been anxious to see this performance for months, so were both very excited for the performance to begin once we arrived!

It's Christmas Eve, and Mayor/Mrs. Stahlbaum and their children (Fritz & Clara) are preparing for a wonderful holiday party to celebrate Christmas.  As the evening move's on the family's guests soon begin to arrive, and they've all come with a magnitude of gifts for the family to enjoy!  The last to arrive, is the mysterious Dr. Drosselmeyer, Fritz and Clara's godfather, and he has come with a plethora of gifts!  He's come with a variety of mechanical dancing dolls to entertain the guests with, and a wooden nutcracker in the shape of a soldier just for Clara.  Clara instantly loves her new toy given by her godfather, however in the mists of playing, Fritz and his friends accidentally break the nutcracker that Clara loved so much.  To make up for the broken nutcracker, Dr. Drosselmeyer takes Clara on a magical journey to see the Nutcracker Prince and all her toys come to life!  It's a classic story I remember clearly from my childhood, and in it's 25th season, the Joffrey's production of The Nutcracker is more fantastic then ever before! 

As I sat there watching the performance, I soon came to realize that as a child; you really cannot appreciate the subtleties and beauty that is ballet.  The graceful movements of the dancers, the perfected symphany of the orchestra and the passion that everyone has for their roll in the performance.  It is all very obvious to an audience.  After watching the performace, I can certainly appreciate the dedication that dancers have to ballet.  Just how do they stand on their tippy-toes so effortlessly!?  The jumping, twirling, and timing of the dancers is all so perfectly matched to the fantastic orchestra music.  To explain it into words does not even come close to how great the performance really was.  The orchestra, to me, was my favorite.  Everything from the oboes to the timpany can be clearly heard throughout the theater, and it was a real treat to hear live and in person.  This being the first time I had seen a ballet as an adult, I was really quite moved by the over all performance as I really did not know what to expect going into the theatre.  

I am very thankful I was able to experience The Nutcracker ballet again, as it was much more enjoyable experience from when I was a child.  I certainly am looking forward to seeing more ballet performances in the future.  The Joffrey's production of The Nutcracker is a wonderful show that I think is appropriate for all to see.  Though children may not appreciate the beauty of the ballet as much as an adult may; it is still a visually spectacular show that any child would love!  The Joffrey's production of The Nutcracker Ballet will still be showing through December 27th.  It's a great show to take a date to and an even a better show to take some family to.  It's the Holiday season, and a lot of family comes to visit.  So for all of you living in the greater Chicagoland area, I highly reccomend taking someone to see this production before it's too late! 

If you do happen to miss The Nutcracker ballet this year however, rest assured it will be back next year for it's 26th season in 2012 as Chicago is the true home for Joffrey's, The Nutcracker.

You can visit, www.joffrey.org for more information on the Joffrey ballet company, as well as performance and ticket information on future shows.