Items filtered by date: November 2007

If you are on the prowl for some very funny improv, follow the path that leads to Chicago’s Apollo Theatre at 2540 N. Lincoln Ave. It is there that every Friday at 10:30 pm the hilarious comedy troupe "Baby Wants Candy" takes the stage to perform a comedy musical that, as they say, "Will be the very first and very last performance ever". The reason being is that the audience gets to choose the topic for each show. After a brief introduction the audience is called upon to shout out a musical that has never been done before. For example past performances included "Barack Obama’s Baby Mama Drama the Musical", "My Cat Has Aids the Musical" and "Nobody Puts Baby Jesus in the Corner the Musical", "How Captain Morgan Saved Christmas the Musical" and "It’s 1986 and Things are Going to be Different the Musical"

The show, in particular, that I attended featured "Harry Potter and His 12-Inch Wand". Well, I’m sure you can guess by the title where that show went. With songs ranging from on-the-spot big chorus numbers to less harmonious, more refined numbers, the ensemble injects humorous lyrics into melody created in part by the live band that is also improvising as they go. A story is cleverly formed by borrowing subject matter from the title complete with its own climactic ending, all the while cast members bursting into song at any given moment. Though off-key vocals often fill the air due to the spontaneous nature of the production, the talented ensemble makes this improv show work successfully with use of their quick wit and physical comedy, taking it a step above other comedy improvisations.

The Chicago ensemble is loaded with an all-star lineup that includes two-time "Jeopardy" contender and Second City touring member Joey Bland, and Erica Elam, who has also performed with Second City, as well as Annoyance, and The Comedy Shrine.

Best of all, each show is completely different from the last making "Baby Wants Candy" a show that can be enjoyed again and again.

For more information or show tickets visit wwwbabywantscandy.com or call 773-935-6100.

 

As the crowd of over 600 people were waiting in anticipation for a once-in-a-lifetime “experience,” four guys were on their way out. Yellow Matter Custard, a Beatles supergroup consisting of: Mike Portnoy (Dream Theater, Transatlantic, OSI, Liquid Tension Experiment, Liquid Trio Experiment, Avenged Sevenfold), Neal Morse (Transatlantic, Spock's Beard) , Paul Gilbert (Racer X, Mr. Big) and Kasim Sulton (Utopia). They take their name from a lyrics in “I Am the Walrus” by The Beatles. “Yellow matter custard, dripping from a dead dog's eye.” All four guys are legends in their own way. Mike Portnoy, dressed like a fancy Englishman. Paul came out with a psychedelic collared shirt that looks like something George Harrison would have wore. Kasim was dressed up in black pants, black vest and white collared shirt, just like Paul McCartney would have worn. Finally, Neal....well Neal just wore black jeans and a black t-shirt. But he knows how to look cool in whatever he's wearing. Either way, all these guys looked like they were experienced musicians ready to rock their butts off!

By the first song, everyone was singing along. The guys played at least 40 songs that night. Playing everything from “Don't Bring Me Down,” “Penny Lane,” Helter Skelter,” to an “Abbey Road Medley”. They opened with the upbeat “Back in the USSR.” Whether it was the amazing soaring guitar solos from Paul Gilbert, to the piano-guitar craziness of Neal Morse, this concert had the word “FUN” stamped all over it. All emceed by “The Portnoy” himself at the drums. Only once, did Mike come out from behind the drums. That was for an acoustic “You've Got To Hide Your Love Away.” The other times he was moving his sticks like magic. Not once did the band stop to take a break. They swept through those 40 songs like a tornado sweeping through the city. It's amazing how much energy they had for such a long set. There were lots of cool people there of different ages. The youngest being a 9-year-old little girl up by the stage. I'm glad parents are starting their children with The Beatles at an early age.

The band all took turns singing lead on the songs, which is a great variety. The awesome thing about Yellow Matter Custard is they've been around since 2003. Well the guys have been around for longer than that. But they performed only twice before: May 17, 2003 at Upper Montclair, New Jersey and May 18, 2003 B.B. King's Blues Club, New York. They released their New York show for a live DVD and CD release in 2005. Just this year, they all decided to come back out and play again. This time playing completely different songs in The Beatles' back catalog. Also, new on board is Kasim Sulton from Utopia on bass and vocals. This guy has a fantastic vocal range. No wonder he's the Paul McCartney part. He sure looked and sounded like it. He's filling in for Matt Bissonette, who couldn't come out on tour because of scheduling conflicts. But Kasim made it worth while. Then you have Neal Morse, who was so good at this, he seemed like a real Beatle himself. Neal is an incredible songwriter and performer, and a very nice guy. I got the chance to meet with Neal right after the concert for an in-depth interview. And, wow, what an opportunity and honor it was to meet him. I want to thank him for this tremendous opportunity. Rock on Neal!

Source: http://en.wikipedia.org/wiki/Yellow_Matter_Custard

 

Buzz: What influences your writing?

Neal: Well, everything. Everything I'm around or hearing. The conversations that I have with people. I was in a jazz band a while back called Windows with a guy named Skipper Wise, and that jazz guitar sound, I wanted to use for “The Light” album. My dad was a choir director. My son Wil plays piano at the Blair School of Music. I actually wrote a song about him called “Seeds of Gold.”

 

Buzz: What made you branch out with Spock's Beard to go solo?

Neal: Well, I fell into prayer. The lord told me to go and try my own thing.

 

Buzz: How did the album “Testimony” come about?

Neal: Well, I quit with all the bands. I was waiting for what God was gonna do with me. I had a lot of musical ideas I wanted to work with. I filled out 8 or 9 cassettes with songs. My daughter Jayda was born in 1998 with a really large hole in her heart. And my wife and I were really worried about her., and she had to go through surgery and everything. Then, one day, we went back to the doctor, and they couldn't see the hole anyway. It was truly a blessing. And I wrote the song “Jayda” on Testimony 2 for her. But I believed this from the bible. Psalm 37, III & IV “Trust in the Lord, and do good; dwell in the land and befriend faithfulness.” “Delight yourself in the Lord, and he will give you the desires of your heart.”

 

Buzz: I noticed every album you've released thus far since “It's Not Too Late” has had a biblical reference or influence. Why is that and how has the bible helped you through all these years?

Neal: Well I've used the bible a lot on my albums if you notice. At least on the concept albums. Testimony is my story. It's how the bible is part of your daily life. One is my take on the book of Genesis. Question Mark is about the Tabernacle. The messages from different preachers, and the idea that the only high priest comes once a year. Sola Scriptura, which is about Martin Luther. Then there's Lifeline, which is a step away from the prog concept albums. It's a collection of songs exploring a variety of topics.

 

Buzz: What made you wanna join Yellow Matter Custard?

Neal: Well Mike asked me to do it, and I thought it would be a lot of fun. God also told me to do it.

 

Buzz: What's your next project?

Neal: I got Testimony 2 coming out. It's very exciting. Then, I have another project I'm working on with Steve Morse, Mike Portnoy, Dave LaRue, and Casey McPherson. We don't have a band name yet, but we'll see what happens. It should be really interesting.

 

Buzz: Are you ever going to reunite with Spock's Beard and how do you like how they're doing?

Neal: I think they sound great! I just checked out their last album and it sounds great! I'm playing the Voltage Festival in London with them. I'm playing Saturday and they're playing Sunday. We'll probably play a couple songs together or something.

 

Buzz: Do you write all the songs on your worship albums? Do you use psalms from the bible?

Neal: It was a calling to Europe. I went to preach there. My wife and kids and I would sing some of these songs in our church. The one day someone said to me, “You should record some of these songs.” And we did. I asked a couple friends to help me out on the album. But, no, there's some psalms we use. And there's some covers of some worship songs we do as well.

 

Buzz: Last but not least, how do you think writing music and performing music has helped you as a person and as a performer?

Neal: Well, the performer thing, you really have to be careful of. God's given me a gift in that. How I express myself to other people. God's helped me in that way. I'm always praying.

A young woman walks on stage, looking like a cross between Janis Joplin and Sid Viscous with the theatrics of Jimi Hendrix.  She stands looking at her amp as though she is truly in love.  She stares into the eye that is the power light, cranks it to 11 and the eruption starts. Playing fast-speed notes flying by like an Indy racecar, the Fabulous Miss Wendy now has everyone’s attention.  The crowd is thrown a left hook when they are preparing for a right-handed upper-cut.  People didn’t know what to say about the sight of a young woman playing a guitar like a true guitar hero. She sings of being a “fucked-up bitch,” to pay tribute to Led Zeppelin’s “Heartbreaker.”

The Fabulous Miss Wendy packs a youthful, innovative punch to an appreciation that is rooted from 60s and 70s rock stars. She flails her axe as though it’s a part of her body. She can shred as well as any metal enthusiast and she can strum a bar chord with as much keenness as Green Day’s Billy Joe Armstrong.   The Fabulous Miss Wendy is the type of guitar player that will make female guitarists happy and male guitarists horny—she puts on a show that should never be missed and will always be appreciated by any fan of rock ’n’ roll.

Of course, no band can duplicate The Beatles, but “Rain” sure does pay an honest tribute that takes the audience as close to the musical experience as one could dream. With a close enough resemblance to the Fab Four (especially Graham Alexander as Paul McCartney) to already create a serviceable illusion that one is actually at a Beatles concert, it’s the uncannily precise music in “Rain” that really cements the experience as a whole.

 

The show opens with a series of nostalgic period clips displayed on large screens on either side of the stage. Finally, the famous Ed Sullivan introduction in replicated as the curtain drops and the band goes into “I Want to Hold Your Hand”. As the evening progresses, “Rain”, for the most part chronologically, takes the audience into the various stages of The Beatles early on playing songs “Hard Days Night”, “Yesterday” and “Daytripper”. Before closing in on the midway break of the show the band takes on a complete transformation, donning the famous Sgt. Pepper’s Lonely Hearts Club Band garb and delivering such classics as “Strawberry Fields”, A Day In the Life” and “With A Little Help from My Friends”.

 

The bands returns from the intermission clothed in the mystical wear associated with The Beatles days with the Maharishi delving into “Hello Goodbye” and “I Am the Walrus” before hitting the final White Album/Abbey Road/ Let it Be eras. With each transformation in appearance the characters in “Rain” take on more and more likeness of The Beatles. The band is also accompanied by a massive projection screen at the rear of the stage that displays a flowing stream of images throughout, adding to the entire experience.  

 

If you are a Beatles fan (and who isn’t?), it without question that this show is for you. Alexander’s voice is scarily similar to Paul McCartney’s, Tom Teeley nails George Harrison’s guitar work, Douglas Cox plays like Ringo Starr incarnate and Steve Landes bravely takes on the tough task that is John Lennon and does so with the exactitude to successfully embody the famous icon.

 

The night ends triumphantly with encores “Let It Be” followed by a very crowd-pleasing version of “Hey Jude” that keeps the audience on their feet throughout and has them singing the “Na na na na na na na’s” is unison.

 

“Rain” is currently being performed at the Ford Center for the Performing Arts/Oriental Theatre (24 W. Randolph) through February 13^th. For more information visit www.raintribute.com or www.broadwayinchicago.com.          

“Laika Dog in Space” the combined effort of Chicago and New York’s Neo Futurist Theatre Company, is a witty presentation that is as inventive as it is funny. With clever props ranging from a host of simulated television sets, lighted space helmets and a raggedy stuffed pooch, the show takes a look at the hype, wonderment and possibilities of what may have occurred once the Russians sent Laika into space – the first animal to be sent into orbit. Unfortunately for Laika, the technology to de-orbit was not yet invented.

 

The three primary actors, Rob Neill, Eevin Hartsough and Jill Beckman (also collaborators in writing “Laika”) delivered brilliant performances whether it be carrying on in hilarious banter with each other or channeling their humor into song. Aiding the characters in working together, a calming, futuristic voice is heard throughout the show that interacts and sometimes reasons with the actors, creating a feel reminiscent to the TV classic, “The Prisoner”. The band is also very present during “Laika”. Besides their own droll lyrical additions, band members were often ditching their instruments for lines, and guitarist John Pierson even doubled as the “Space Race Host” where he finely portrays a cheesy game show personality.

 

What adds to the fun is that “Laika Dog in Space” is an interactive production in which anyone present in the crowd can suddenly find themselves as a part of the show. Members of the audience are frequently summoned to join in whether it is to answer a question, take instruction from the actors, read from a cue card or join in as game contestants.

 

Before the show all guest are invited to peruse a room of installations. Exhibits include a wall of famous dogs, funny and creative works of art, a silver ball that gives off electricity and will make your hair stand on end when touched and a vintage photo booth turned into a shrine that honors “The Prisoner” – inside it’s opening credits running continuously.

 

“Laika Dog in Space”, directed by Phil Ridarelli, is a very imaginative and entertaining show that should not be missed. Playing Thursdays, Fridays and Saturdays at 8pm through March 12^th, tickets are only $15 with discounts available for students and seniors. All performances are held at The Neo-Futurium, 5153 N. Ashland. Find out more about this show at www.neofuturists.org or by calling 773-275-5255. 

*Photo - (from left) Rob Neill, Eevin Hartsough, Jill Beckman - photo by Evan Hanover
                       

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.