Items filtered by date: November 2007

Lisa Lampanelli really killed it from beginning to end during her sold out comedy concert at The Venue in Hammond, Indiana’s Horseshoe Casino.

As she began her usual rant hitting on every race, sexual orientation, religion and minority group, she mentioned that the Hammond casino crowd of 3000 was “cute, not as ugly as she expected”, and called out for a show of hands on any Jews in the house. Seeing as I was in Hammond, Indiana, alone in an empty row reserved for reviewers - I was the only one who raised my hand.

“Oh great, only ONE Jew in the house!” she roared and mentioned that she would, “Appreciate a booking in CHICAGO!”

I absolutely love her appearances on the Comedy Central Roasts, where she has really set the tone and pace and her monologues are very memorable.

It's true she is one of the most insult driven comics out there, but it's also so obvious that she is doing the “Don Rickles - Mr. Warmth” thing by throwing the audiences' own prejudice and massive generalizations about all of these groups right back in their faces so that they can laugh at the sheer nonsense of hatred based on stereotypes. “As a professional comic, I only make fun of ethnic and other groups that I love- that's why you never see me making French jokes.” And on gays, “Gays love powerful, talented women, they just don't like their vagina's. If I saw a drag queen dressed as me I would be elated. It's like being inducted into the gay Hall of Fame - except the ceremony is in a Denny's men's room.”

Lisa shared a great example of the healing power of this type of comedy - when done right - about Zsa Zsa Gabor’s leg amputation earlier in 2011. When Lampanelli joked about the leg a little “too soon” for critics, Zsa Zsa sent Lisa a funny personal note back, saying how much she actually laughed and appreciated the attention at that difficult time.

Lisa recently met and married a great man - with great big balls apparently - because his nickname is Jimmy “Big Balls”.  A good portion of her hysterical set was devoted to describing his monstrous package. “Honestly, these freaking balls are disgusting, they're H-U-G-E!!!” I think this newfound love is the reason Lampanelli recently lost 30 pounds and seems well, a lot more “girly” and dare I say happy?  

At the end of the show Lampanelli announced that she will have her own show on Broadway next year and sang a show tune about not wanting to be “mean” anymore but I really hope she doesn't give up her astounding reign as the “Queen of Mean”. 

Women in general are so repressed and restricted from expressing anger, disgust and a vast array of  “socially unacceptable” topics in their daily lives. We all need Lisa Lampanelli's comedy to remind us it's perfectly okay to let off that steam, it feels great to let it out, especially if you can make it funny. Lampanelli has inspired this Jew to let out a little mean here and there too.

For more information on Lisa Lampanelli on tour: www.insultcomic.com. 

Most people have never been audience to a radio show, let alone a radio show set in the 1940s. Well, here’s your chance. Set in 1944 as a live broadcast at Chicago’s legendary Biograph Theater, spectators are able to capture an enjoyable and entertaining glimpse of yesteryear. American Blues Theater's “It’s A Wonderful Life: Live at the Biograph!’ is original, fun and heartwarming, but most of all it is a true experience.

As we walk into the theatre there is already a festive feel in the room with the sound of singing as cast members are leading the participating crowd in holiday classics. Between songs it is explained to us how radio shows work. We are shown an overhead sign and instructed to be quiet when the “On Air” light is on and to applaud when we see “Applause”. Cast members rotate from the three microphones stationed up front, a couch in the rear a chair to the side and a piano. They are having pleasant conversations with each other and laughing, reminiscent of a holiday gathering while taking turns addressing the audience.

Once the show actually begins we are already acquainted with the cast and primed for more holiday fun. Soon after, the curtains are drawn, shutting out the outside world, the house lights are turned down and the story of “It’s A Wonderful Life” commences.

The story begins, like in the film, with a conversation in heaven between “Joseph” (James Joseph) and “Clarence” (John Mohrlein) discussing the life of “George Bailey” and his need for help. From there the play continues to follow the classic story, as we know it. Each cast member takes on multiple roles, barring Kevin R. Kelly who has his hands full as “George”, in which he does a stupendous job. Zachary Kenney is fantastic as brother “Harry”, son “Tommy”, bartender “Nick” and “Ernie”, everyone’s favorite cab driver, while Gwendolyn Whiteside handles to perfection the voices of “Mary” and “George’s” mother. Like the others, Dara Cameron is also terrific in handling multiple roles, as is James Joseph, especially as “Uncle Billy”. As truly wonderful as each and every cast member is in this production the sheer brilliance of John Mohrlein is a true jewel to behold. So spot on is Mohrlein’s impression of Lionel Barrymore’s “Mr. Potter” that it actually prompts occasional laughs of disbelief and joy from the audience.

Rounding out the sensational cast is Michael Mahler who mans the piano, but also takes on a few characters himself, and Shawn J. Goodie who handles the show’s Foley, creating genuineness to the radio show.

It’s even fun when the show pauses for commercial breaks. Customized corporate jingles are sung as a product or service is being pitched just as done in the 1940s. At this time messages are also read to the crowd submitted by other audience members.

The show ends in its tremendous feel good fashion and the audience is then invited to have cookies and milk with the cast. Fun, fun, fun - Can you say "Must See"?

For more information, visit www.americanbluestheater.com.

*Featured in photo - Kevin R. Kelly (left) and John Mohrlein

It wasn't that long ago where I gushed and gollied over what an incredible album Jay-Z and Kanye West's "Watch the Throne" collaboration turned out to be. While so called experts and critics felt it was 'under-whelming" and 'self-absorbed", I knew better. And quite frankly the streets don't lie. You know what else doesn't lie...numbers. And by the shear amount of sell-out crowds and acclaim garnered from previous stops on their 'throne" tour, you just knew the touchdown in Chicago was going to be epic. Not only is Chicago the hometown of Mr. West, its also one of Jay-Z's favorite spots to perform.

I've had the pleasure of seeing Kanye West at Summerfest in June, and while he was very theatrical, he also was extremely emotional and energetic. So I knew what to expect from the hometown kid who was bout to live his dream of playing a packed house in his hometown next to his hero. As for Jay-Z, well he's gotten better and better each time I've seen him, so with their last two shows in my head I came in expecting nothing less than a total euphoric hip hop experience.

No opening act needed for these two, as the sounds of "HAM" came reigning through the speakers (yes I know how I spelled reigned...I like that description!). With both performers on dual rising cubes across from each other, they tore into a "Throne" favorite "Who gon stop me", in which Jay-Z just tears through his verse like Jason through the first hundred Friday the 13th movies. Why Kanye thinks wearing a kilt cool is anyone's guess, but hey, he's Kanye., he does what he wants...clearly.

Both artists took turns on stage seperate and together ripping through crowd favorites back to back to back...there was no time to rests as the crowd spent the concert on their feet the entire night. I once pointed out the differences in stage approaches in both Jay and Kanye, and it was the same here: Kanye, emotional, eccentric, not sure what he's going to do or say, while Hov is like the world's best poker player on stage, never letting his guard down, never giving you too much, always making sure each gesture and lyric is well planned, well thought out...none more evident that the encore where as Kanye would put on any hat thrown on stage by the crowd , as Jay stayed focus...Yankess hat tilted over his eyes, only removed for purpose and to get his point across.

The duo hit an entire catalog of hits, and the visual aspects on the background screen helped give some of the "throne" songs more of an emotional connection. But this show wasnt about selling an album, it was the two kings of hip hop and music worldwide showing just why they are in a league of their own. A setlist like no other hip hop or rock show before it, its clear why they have gotten rave reviews in every city. Its a can't miss show filled with 3 hours of nonstop hits. From die-hard to casual fans of eaither artist, this is the show you'd want to see.

My favorite moment of the show..one that was repeated from last year's Jay-Z show is when the lights go out upon the crowd as Hov finishes up his monstorous crowd pleaser "U don't know", and they show the entire crowd, hands in the air in the diamond position rocking back in unison to Jay-Z like an army...its a breath-taking thing to witness as its amazing when music connects so well with its biggest listeners.

I didnt sit down until the encore...well, midway through the encore, which was the duo ripping through their hit "Niggas in Paris" a record 8 consecutive times! This song is currently the hottest record on radio and even in high school gyms (almost every high school basketball team has this song in their warm-up, which means it must be hot, right? The kids are even listening to it!!) Hearing a song 8 times in a row is just way too much for me, no matter how hot the song is at the moment, but it was clear that the duo was actually having alot of fun on stage together, and enjoying the chemistry and crowd reaction. You could tell they were having too much fun as even the poker-faced king of rap let down his guard with a smile and tip of his hat, as he ripped through his "Paris" verse a 6th and 7th time. And despite it all the crowd ate it up.

There's currently a lil' Wayne/Eminem tour oversees that may make its way to the states before the year is out, but it will be hard-pressed to come close to the energy and emotion given by Jay-Z and Kanye on this night.

SETLIST:

1.Intro: HAM

2. Who gon stop me?

3. Otis

4. Welcome to the jungle

5. Gotta have it

6. Where I'm from

7. Jigga what, Jigga who?

8. Can't tell me nothin'

9. Flashing lights

10. Jesus Walks

11. All falls down

12. Diamonds...

13. PSA

14. U don't know

15. Run this town

16. Monster

17. Power

18. Made in America

19. New day

20. Hard Knocks Life

21. Izzo

22. Empire state of mind

23. Runaway

24. Heartless

25. Stronger

26. On to the next

27. Dirt off your shoulder

28. I just wanna love you

29. Thats mu bitch

30. Good life

31. Touch the sky

32. All of the lights

33. Big Pimpin

34. Gold digger

35. 99 problems

36. No Church in the wild

37. Lift off

38. Niggas in Paris

39. Niggas in Paris

ENCORE:

6 more renditions of Niggas in Paris (tour record).

I have heard about ‘Fiddler on the Roof’ my whole life and don’t know why I waited so long to see this musical. I remember bits and pieces from seeing it as a child, but probably couldn’t begin to appreciate how true-to-life the play really is. ‘Fiddler on the Roof’ embodies the same challenges, struggles and changes that families have had for hundreds, I’d wager thousands, of years; from breaking arranged marriages, to falling in love with a teacher, and even falling in love with an outsider not of the same faith. The themes portrayed in this musical and set to amazing musical numbers and scores you can find in modern society.

For those who have never seen the play, ‘Fiddler on the Roof’ is a musical about Tevye, a poor Jewish milkman, and his five daughters living in the 1905 Tsarist Russian village of Anatevka. Tradition is a way of life in the village, where fathers are the bread winners and teach their sons their trades, like tailoring, butchery and farming; the mothers are the keepers of the household and teach their daughters to sew, cook, clean and maintain a household for their husbands. Throughout the play, Tevye attempts to maintain his religious traditions and his family’s happiness while outsiders, and outside forces, threaten their simple way of life.

The most prominent storyline focuses on Tzeitel, Tevye’s eldest daughter, who objects to the village matchmaker’s ‘match’ for her with the butcher. She confesses to her father her love for the village tailor and beseeches her father to allow her to marry him, thus defying tradition of matchmaker’s making matches for young girls (matchmaker, matchmaker, make me a match, find me a find, catch me a catch). But what if you were forced to walk away from the one you love to marry someone your father chose? It was a harsh reality for girls, and a tradition that was thankfully broken long before my generation. In the play, it’s Tevye who must decide if the proposal of marriage with the butcher (a match that would ensure prosperity and financial security) be broken for his daughter’s happiness or if he sticks with tradition and deny his daughter’s heart (but inevitably save her from a life of a tailor’s wife and financial hardship). Sweetly, he rescinds the offer and he allows Tzeitel and the tailor to wed.

Don’t think that sounds scandalous? Well let’s put this into perspective, shall we? In 1905, males ruled the household, tradition ruled the day, and beggars were not choosers. Tzeitel and the tailor were defying a father’s decision, a big no-no in patriarchal society. Also, a ‘match’ like one that Tevye and the village matchmaker struck, would allow a poor man’s daughter to marry into a rich and prosperous marriage. It was one of the greatest things a man could ask for; the betterment of his children (and his female children at that). Tevye embodies a man who chose the happiness of his daughter over that of his better judgment. Which leads him to one of the best numbers in the musical, “If I Were a Rich Man,” a song so true and timeless that Gwen Stefani sampled it in her 2004 hit ‘Rich Girl,’ (a fact which an enthusiastic twelve year old in our audience was too happy to share with us). It was challenge enough for Tevye to allow his daughter to choose her husband, but Tevye is challenged further when his second eldest daughter, Hodel, falls in love with her tutor, Perchik, the idealistic outsider from Kiev. In the second act his next eldest daughter, Chava, elopes with the Russian gentile, Fyedka, whom her father has forbidden her to see, let alone marry. A Jewish girl marry an outsider and a man not of their faith? It was Tevye’s breaking point which made him disown his daughter. Don’t worry, Tevye makes amends before his family and the villagers are viciously cast out of their homes and village by the Tsarist Russians.

‘Fiddler on the Roof’ is a wonderful show that captures Jewish and family culture and the happiness and hardships that eclipsed the village of Anatevka. The humor and love in the musical are timeless, the humor priceless, and the lively Jewish Klezmer tunes will have you dancing on the Auditorium Theater’s roof. Let’s hope the wandering Fiddler hitches a ride to Chicago on Tevye’s wagon soon, and when he does you won’t want to miss it.

BAH HUMBUG! Ebenezer Scrooge's famous line from Charles Dickens' "A Christmas Carol."  It's a story all too familiar to most of us and (I hope) we all still remember it from our childhood; I know I do.   It's one of the most memorable Christmas tales ever told and I was particularly pleased to hear it was playing at the Goodman Theatre in Chicago.  Now still being particularly new to theatre, I was unaware that this production is done nearly every year.  However, had I known, I would have certainly seen it sooner.

After seeing this production I can certainly see what attracts so many people year after year to this play!  Whether you're a child, an adult or even an elderly person, I want to make one thing clear; you WILL enjoy this play.  You would have to be real Scrooge to not enjoy this show; seriously.  Of all the plays I've had the honor of reviewing for Buzz Magazine, this was by far my favorite.

The play of course, tells the classic tale of a greedy old man (Ebenezer Scrooge) whose love for money and success eventually consumes him to the point that he is nearly void of all humanity.  He is then haunted by three ghosts who take him on a journey in a last ditch effort to save him from himself, his greed and lack of love for others.  It's a story about equality, love for one another, and change.  Over all, I think that everyone has a lesson to learn from this classic and once you see it brought to life on stage, you may even find yourself humming a Christmas tune or two as you'll be gleaming with holiday cheer.

The most impressive aspect of the show was the productions visual appeal.  The stage scenes were obviously made to look absolutely perfect, and as you sit there watching the show, you almost forget that you’re at the theater.  Of all the Christmas Carol movies there have been throughout the times (and I've seen most of them), this play was certainly the most enjoyable one I have ever seen.  It's lively, it's exciting, and it leaves you feeling that holiday cheer that many of us seem to have lost as we've grown older.  I was so pleased with the production that I was smiling and talking about it for hours after it was over.  I could only imagine how exciting this show would be for a child to see.  It really brings something to the viewer that TV or movies cannot.

A Christmas Carol will be playing November 18 - December 31 at Goodman Theatre in Chicago.  Prices vary depending on the seats and box seats are also available.  Please visit www.goodmantheatre.org for ticket/venue information. If you've got kids, nieces or nephews, taking them to this play would be a perfect gift.  Forget the gift cards, video games, and itchy wool sweaters.  Everyone should be familiar with A Christmas Carol and seeing this production live is sure to make a memory that will last for many years to come.  Don't be a Scrooge and see this play!

Jukebox musicals have become as common as dancebreaks in the past decade. Popular songs of yesteryear are strung together with a loose story to create a Broadway show that feels more like a scrapbook of memories than something memorable in its own right. Given this musical landscape, it’s a rare treat top find a show with all new songs that feel as if you’ve magically tuned into a 1950s radio station. Joe Dipietro and David Bryan (of Bon Jovi keyboard fame) have penned such a treat. Powerful songs that channel the tone and changes of the early years of rock ‘n’ roll are driven by a surprisingly emotional book in their Tony Award-winning musical Memphis.

Huey Calhoun, an irreverent DJ played by the talented Bryan Fenkart, falls in love with “black music” and a black woman – Felicia (played by the sultry Ms. Boswell of the same name). Loosely based on real-life Memphis DJ Dewey Phillips, Huey’s passions wouldn’t pose a problem had he been born in the past 30 years. But Tennessee in the 1950s kept black and white separate, and Huey’s graying passions weren’t apropos. Of course, Huey was never one for conforming; with a wardrobe that pairs plaid, tie-dye, and Hawaiian prints, he lives to mix things up.

With his own radio show, Huey plays the music he adores on the radio, and gets the whole city dancing.  While integration laws were essential to enacting racial change, minds aren’t changed in Congress; they’re changed in dance halls and concert houses. Huey plays his part in racial integration by getting white folk singing and dancing to the songs of black folk, but in many ways, he was a bit ahead of his time.  He catches the attention of TV execs who like his style, but not the company he keeps. They’ll give him his own primetime show on black-and-white TV (wonderfully dramatized on stage) as long as the performers are all white. 

Not to spoil the story, but Memphis doesn’t fall victim to the happily-every-after, clichéd Broadway ending. The show doesn’t let the pieces come together perfectly for our hero, which makes it much more real and that much more heartbreaking.  Light-on-his-feet and easy-on-the-ears, Huey possess the power to be heard and the rare youthful energy that makes you believe anything is possible – whether it’s falling in love, becoming a star, or changing the world. But believing and achieving are two separate tasks.

Memphis is not a jukebox musical, but don't be surprised if you hear its songs on tomorrow’s jukeboxes.  They be blaring loudly and irreverently as young couples like Huey and Felicia dance, kiss, and cry to the beat.

Memphis plays at the Cadillac Palace Theatre through December 4, 2011. Additional information and tickets available at www.BroadwayInChicago.com.

After a 12 year run at Bailiwick Repertory, The Christmas Schooner sails again in a wonderfully revamped form at The Mercury Theater.

The Christmas Schooner relates the true story of German immigrants who risked their lives on the freezing waters of wintry Lake Michigan to bring Christmas trees to Chicago back in the 1880's.

The entire cast is excellent with lovely voices. 12 year old, Daniel Coonley (Karl Stossel) is very good in his role and not too saccharine sweet as some child actors can be.

Jim Sherman, (Gustav Stossel, Karl's grandfather) holds down the fort with his solid character study and really choked me up during the scene when he laments his dead son with a strangled cry of

“I miss him!”

Cory Goodrich (Ana Stossel, Karl's Mother) has a really rich, beautiful singing voice. Goodrich performs the role with grace and a great sense of humor.  Goodrich’s character Ana Stossel, really is the heart and center of the entire production, the schooner, if you will, that propels her son, husband, and father in law to become a part of history by attempting these dangerous but much lauded heroic voyages to Chicago.

This is a really lovely holiday production to bring your family to, as it makes you feel a part of the true history of Christmas in Chicago.  The Christmas Schooner also elucidates the history and magic of the Christmas tree itself as one of the things that helped families get through the long cold Chicago winters inspiring well wishes with it's beautiful shining lights and hopeful meaning.

At the end of the show the cast passes a branch of a Christmas tree hand to hand, right into the audience who continued to pass it along with the wish that each who touches it find love this holiday season.

The theater space at Mercury is really perfect for this show, as it is both intimate and expansive at the same time. I also loved that they served cookies, hot chocolate and Peppermint Schnapps in the lobby at intermission and that you can step straight out of the play and slip straight into the cozy confines of Cullin's Pub without going out in the cold.

I highly recommend making The Christmas Schooner at The Mercury Theater a new tradition in

Christmas Theater going for the entire family to enjoy together. For more information, visit www.mercurytheater.com.

Yuri Lane was a child actor, almost cast as Doogie Howser until the producer decided to go blond.

Lane has performed on the stage with Matt Damon and has many commercials under his belt but fame eluded him until one of his videos showing his amazing beat box skills went viral on YouTube with a million hits. Yuri was flown around the country by Google, Yahoo and many other corporations came calling with offers, some paid, some not. After a while he says he “kind of lost himself” in the process of trying to make the phenomenon of his number one YouTube video profitable at 1/20^th of a penny per hit.

Lane has made an interesting and funny one man show about his wild run with YouTube, which showcases his unbelievable vocal skills as a beat box artist as well as his sense of humor.

Yuri plays his own father by projecting himself as his dad on a video screen above his head and it was a very effective and funny way to illustrate their relationship. Yuri's recollection of his own Jewish artist father, a painter who is living precariously on Social Security, is revealing. Yuri's dad tries   to help by making suggestions like “Just walk into advertising agencies and sell yourself!”  The way Lane's father constantly plies Yuri with guilt trips about why Yuri isn't making more money to help support him and questions about how much “art “Yuri is creating in the meantime, really hit home with me.

Lane brings up many interesting points about the process of becoming a star on YouTube and also how very difficult it is to make any money on YouTube even with a video that gets over 2 million hits.

“MeTube” also shows that a performer like Lane who is obviously multi talented as a vocalist and writer/ producer but in such a unique and unusual ways that it sometimes it is very difficult to get a lasting break in Hollywood.

Judas Priest was Unleashed in the East once again last Saturday night. Well, at least east of Chicago, that is – Hammond, Indiana – home of The Venue inside of the Horseshoe Casino. Getting big time support from Thin Lizzy and Black Label Society, Judas Priest bulldozed their way through a two and a half hour set in what the band is calling the “Epitaph” tour – their final farewell. Sold out, The Venue proved it can handle even the mightiest of metal shows hosting a monster stage and laser light show and providing superb acoustics so that every bone-crushing crunch from the guitars were clearly heard as intended by the band.

Legendary frontman Rob Halford teams up with originals Glen Tipton and bassist Ian Hill on this tour along with Richie Faulkner on lead guitar and Scott Travis on the drums. While keeping the crux of the sound intact, Faulkner also brings his own style to the band, which is more on the young at heart side, to a band that could use a youthful infusion when it comes to the visual part of the performance. Even though Tipton seemed a bit fragile and Halford a bit less mobile, make no mistake about it – Judas Priest still gets it done. The fact of the matter is that the band flat out rocks with authority.

Halford showed off his high-pitched vocals with relentless fervor, sounding as good as ever, while his showmanship was still that of top caliber. Changing from one metal-studded jacket to another from song to song, Halford patrolled the stage with a mighty presence as the band took the audience on a memorable journey of metal nostalgia. Taking a stop or two on many of the band’s albums, Halford included a little history lesson with most and shared fond memories. The set list was vast and included such favorites as “Victim of Changes”, “Diamonds and Rust”, ‘The Sentinel”, “Heading Out to the Highway” and “The Green Manalishi”. The band also played “Breaking the Law” but let the crowd sing the words from beginning to end as Halford stood by directing and admiring loyal Priest followers.

With already more than a full night of music in the books, Judas Priest went into their first encore with a power-packed version of “The Hellion” and “Electric Eye” before bringing the Harley Davidson onto the stage for “Hell Bent for Leather” followed by “You’ve Got Another Thing Coming” led by a British and American flag clad Rob Halford. The band then took their bows to roaring applause and walked off stage only to return to do their party on classic, “Living After Midnight”.

We’ve heard the words “Farewell Tour” many times only to see a band resurface down the road. However, if the “Epitaph” tour (expected to run through 2013) is really it for this band from Birmingham, England, then they left on a powerful note. Producing metal since 1969, Judas Priest has influenced so many bands that since followed as well as generations of fans. To see them perform at the high level they have maintained for over four decades was nothing short of special.

I am always amazed by experiencing Sting performing live in concert. Sting has an incredible knack for creating an infinite number of new and compelling variations on his rich 25-year catalog of hit music. He never just rehashes his hits or performs them by wrote, he actively uses the fantastic musicians around him and his own life experience to innovate hip new arrangements that take each song to a whole new, truly new, level of intensity and meaning.

Sting appears on the stage for his Back to Bass Tour casually stripped down, with shaved head, zero body fat and wearing sheer gray T-Shirt and jeans. Sting appears relaxed yet energetic and completely in command of his band and the audience.

Sting has chosen such a small and an interesting group of players for this tour. Sting's right hand man, longtime guitarist, Dominic Miller, is on this tour, as well as Dominic's' 26 year old son, Rufus Miller. Rufus is a very good rhythm guitarist and already displays some of the handsome, pouty, nonchalant stage presence of a more seasoned player like his dad.

Drummer, Vinnie Colaiuta, is dynamite on the sticks, serving up some really great and tricked out yet solid rhythms for these arrangements.  On backing vocals Jo Lawry, has a rich, dramatic vocal presence, and also provided fiddle and additional percussion, which is doubly impressive. The show stealer is another young musician, Peter Tickell, who brought our house to a roaring standing ovation with his fiddle solo during “Love is Stronger than Justice”. Tickell really is an amazing player, like a Stevie Ray Vaughn on the violin. I've seen other young people solo with great skill like Peter, but in that boring, cold and speedy,  “music school” showing off sort of way. Tickell has the soul and rhythm to really feel out the emotional crescendo of his solo and it's catharsis and is a surprisingly mature, dead on rockin' and passionate player for his age.

I love that the Back to Bass Tour is utilizing smaller more intimate venues this time around. Sting has no difficulty projecting a great performance to a roaring outdoor crowd of 40,000, like with the Police Reunion Tour at Wrigley Field. However, I personally find that enjoying the superior quality of his voice and intricacies of his arrangements is so much more affecting in a smaller indoor venue.

Sting really is a master of transforming- or  “trance- forming”- musical performance. The combination of his detailed, lyric story telling, ultra-rhythmic bass lines and intensive Yogic training over the years   come together perfectly in a shaman like fashion, drawing the willing listener into a musical “trance” that is both entertaining and healing at the same time. I enjoy walking around after his concerts seeing the relaxed, happy, meditative looks on the faces of his satisfied audience members after the show.

Sting mentioned that he enjoys a great sense of “continuity when playing in Chicago, that it always feels like coming home to perform here.”

I feel a sense of continuity when Sting plays here as well because I have so many great memories of his concerts, meeting him and interviewing his band mates Dominic Miller and Chris Botti over the years.

In a way, Sting and Dominic gave me one of my very first breaks as a journalist when they allowed me to come backstage to do a live interview just 15 minutes before they ran out on stage in front of over 10,000 excited fans during the Sacred Love Tour.

I did not have my own Chicago magazine or PR firm established. Back then, I was writing for a teeny,  tiny newspaper in Brookfield Illinois. My cameraman and I drove six hours from Chicago to Grand Rapids but we were a full hour late for the scheduled interview because we forgot about the time change in Michigan, but they still had the ushers lead me back into the dressing area to conduct the interview with only minutes to spare before curtain.

I remember I had undergone a disastrous tanning booth experience the day before hoping to look good for the meeting wherein the entire back of my body ended up with 3^rd degree burns from double exposure and my front remained untouched and completely white. Now, I always make a point of giving my celebrity interview guests a big hug when we finish and I remember thinking, I don't care if it hurts- I am hugging Sting and Dominic for doing this interview- no matter what!

Then there was the wonderful, encouraging, 50 minute plus, phone interview that Chris Botti gave me just moments before taking the stage that night at Carnegie Hall. Chris Botti called me for the interview from Stings' condo in Manhattan, which Chris had just purchased from Sting and had barely moved into.

There are many wonderful and synchronistic events that I have experienced seeing Sting but the best has to be when he provided two wonderful seats to a rehearsal concert in Miami for my mother and I.  My mother was having major health problems at that moment and I flew to Miami to help her.

For my mom, attending Sting's concert that night turned out to be a miraculous, healing, dream-like, turning point for her and I really am indebted to him on a soul level for reviving her.  After that concert, Danny Quatrochi, Sting's personal bass assistant since The Police, hung out with my mom and I in the hotel bar and made her feel like the Belle of the Ball at the age of 73. The entire evening was amazingly generous and sweet.

Well, I could wax rhapsodic about more of my Sting-chronicity's over the years but I am sure with the shape Sting is in, there will be many more great concerts and mysterious dreams come to life in years to come.

I'll leave you with this about the show last night. Sting has a great practice of really allowing his players to shine and temporarily take the spotlight away from him on stage, but just in case you were starting to get distracted by all the bells and whistles of his band, Sting takes his last of three encores alone, with only his voice and an acoustic guitar filling the excited space.

When he does this, the energy in the room stays strong and climbs even higher, proving without a doubt that Sting's voice and compositions alone are the reason we have congregated here and that Sting's magnificent voice and songs really need no adornment whatsoever.

I highly recommend seeing the Sting, Back to Bass Tour. When it comes to your city in 2011.

The performance of Back to Bass that I attended here in Chicago at The Rosemont Theater was sheer concert perfection, a “must see” concert event of this season for any Sting fan.

For Tour dates through December of 2011 visit www.Sting.com.

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