Items filtered by date: November 2007

Kimberly Katz' Platinum Press

National Pastime Theatre has done it again, this time producing Doo Lister’s Blues, a story that takes place in Chicago during the 1960’s amidst riots and revolution. Terry Abrahamson’s powerful story revolves around a black barber, Doo Lister – a songwriter who pushes the envelope by exercising free speech, despite strong warnings from the F.B.I. who view his material as that which could incite race riots.

Abraham’s piece, both thought provoking and inspiring, is beautifully brought together by the outstanding direction of Victor J. Cole, its strong cast, and very memorable musical numbers.

The show wastes no time in getting started as modern day rapping narrator “Nine Pound Hammer” (Al Tamper” Mayweathers) bursts out onto the stage to heavy hip hop beats, setting the stage for this inspiring story. The show then takes the audience back to the mid-1960’s to Doo Lister’s barber shop. Doo Lister (played brilliantly by Warren Levon), an aspiring songwriter, and his uncle “Catfish” (Kenneth Johnson) tend the shop where it is business as usual until outspoken record distributor “Rebecca Zwieg” (Victoria Abram-Copenhaver) enters their lives and changes everything forever. Urging Doo to sing about the important things taking place on the streets and around the nation rather than songs that always equate love to sweets, it takes a personal tragedy before his eyes begin to open.

Doo Lister’s Blues cast couldn’t be more perfect. Lucy Sandy is wonderful as Doo’s wife, Maria Lister. Sandy and Levon exhibit a true genuineness as a couple trying to get by in such a hard time, making the story that much more authentic. Levon also showcases his ability to entertain with hard-hitting spoken word numbers coupled with a strong stage presence. Damien Crim, who is highly believable in a role that could only succeed if just the right amount of conflict and sympathy are brought forth, plays F.B.I. agent Jewel Moton. Terry Froncois should also be noted for his excellent portrayal of younger brother, Buck Lister.

Doo Lister’s Blues is an important piece that is masterfully presented and can be seen through November 27th. Complete with catchy songs, extraordinary acting and a well-suited set, this is a show that should be seen by everyone. For more information on show times, visit www.NPT2.com.  

On my drive downtown from suburbia I had plenty of time to second-guess my plan to bring my almost seven year old daughter to an 8 PM showing of Disney’s, The Lion King at the Cadillac Palace Theatre. Her eyes were already heavy as I pulled into a parking garage just down the street. This quickly changed as she took in the energy of other theatergoers. This was then sustained for the two and a half hour show by the amazing performers. The elephant that sauntered down the aisle certainly helped, later followed by wildebeests, hyenas, and birds. The music, singing and dancing kept my daughter fixated on every move and word.

The director has evoked a heightened level of attention to detail in all of the cast and crew and the puppeteers stayed true to their characters. It is obvious they have studied not only the lines and vocal inflections, but also the nuances of their characters movements and manners. The play stayed true to the story line of the animated original. Their favorite songs from the movie like “The Circle of Life” and “Can You Feel The Love Tonight” will dazzle both kids and adults. But those songs are not the only reason to see this play. The costumes are amazing, the story line is brilliant and it all comes together due to a talented cast. The Lion King is well suited for audiences of all ages.

Before you buy your tickets, be aware that while the Cadillac Palace Theatre is cozy. Seats to the far sides of the stage will provide an obstructed view of activities that take place in the rear corners. The show is in Chicago for nine weeks through Saturday, November 27. For tickets or additional information, go to www.BroadwayInChicago.com.

I'd like to start by stating the fact that sound at Subterranean is not ideal to any band, but the music intrigued me, so I bought an E.P., that was a good sign.  Do you remember any of the following; Lucky Boys Confusion, The Insecurities, The Waiting Game, One Life, 15 Minutes Late, Logan Square or Swizzle Tree?  Of Course!  This is a Chicago made super group, but they are not striving for this status, this is 6 guys (2 guitars, 1 bass, 1 drummer, 1 keyboardist, 1 singer) that are doing it for the love of music.  It's a more mature melding of the above mentioned bands, it's about 10 years of life experiences from where they were, it's mellowed, still has an edge is hooky and bouncy with thought behind the lyrics.  It feels/sounds like they breathed life back into the music and gave it a soul.  They love the audience and interaction with everyone, they want you to sing-a-long, bounce, have fun and conncet with them.  They talk with you not at you, they make the music for them, but for you to enjoy with them.

The University of Chicago's very own, Court Theatre, was decorated with an array of scattered paintings, brilliant lighting, skinny doors, and fitted trash on Saturday, September 25th, as I sat down for Director Sean Graney's witty adaption of William Shakespeare's The Comedy of Errors, showcasing until October 17th, 2010. As I existed among a full room of spectators, I found myself readily open to be not just amused, but impressed. The cast consisted of six exceptional performers at any given time, bringing to life twenty animated characters that had the audience filling the air with laughter. Not only were my expectations met, but they were exceeded.

With some modern Graney renovations, The Comedy of Errors presented itself ninety minutes straight, and kept a consistency of clever puns throughout the time allotted. Elizabeth Ledo started the play out with high energy, entering stage right on a scooter as a towncrier who warns the people of Ephesus that none from Syracuse are welcome. Subsequently, the plot unfolds to reveal two unrelated twins, played by Alex Goodrich and Erik Hellman, from Syracuse who arrive in Ephesus in search of their identical brothers, also played by Goodrich and Hellman, which causes much confusion amongst the Ephesus townspeople (especially considering the sets of twins share the same names: Dromio and Antipholus). Significant others, friends, merchants, and even the police of Ephesus find themselves confused on what to make of the utter chaos that is bestowed upon the stage. The humor is endless, and sometimes pushes the envelope, which I loved. Somehow the ending out-did itself, as the confusion is resolved and the lights paint the stage for a dance party while the six actors do lightening quick costume changes, allowing a variety of characters to be involved in the ending. When the final bows were taken I sat in my seat for a moment hoping that I could watch the play just once more before heading back home.

Aside from an eye-catching stage arrangement, a gifted director, and a hilarious plot, this play had what is most necessary for a stellar show: notable performers. Kurt Ehrmann played four characters, including Dr. Pinch and the Courtezan, all of which had me laughing out loud. He delivered unfailing amusement for the viewers, as well as an eye full that no one saw coming. Elizabeth Ledo tackled four characters, her most memorable being Luciana and Luce. Ledo was not shy to step out of her shell and show everybody what she was capable of. In return, her enthusiasm drove her characters as far to the brink as possible, and left admiration from the crowd. The only other female performing alongside Ledo was Stacy Stoltz, who shined in her role as Antipholus' significant other, Adriana, a whiny wife with no clue as to which Antipholus is which. Also filling the stage with three characters to play was Steve Wilson, who created such a strong presence with not only his amusing facial features, but his ability to deliver well executed farce comedy for the crowd. Handling the main characters (as well as other roles) were Hellman and Goodrich, as mentioned earlier. Both actors did a wonderful job of winning over the audience in belief. Hellman did a fantastic job with his roles, and I enjoyed that his twin characters had different accents that he managed to keep straight. As a closet critic, I had a personal preference towards Goodrich's style of presence on the stage, everything from his faces to his voices had me wishing he was on a television sitcom so that I could watch him more. Everybody did a great job of highly entertaining me.

If you are wanting to do something new, or just laugh, I fully recommend stopping by Court Theatre to see The Comedy of Errors while it is still playing. If you miss it, then I am sorry, because great plays aren't as common as your favorite television show. The entire show was made possible with the help of raw talent - director, actor, and even the behind the scenes crew. Yet again, Chicago has not failed to disappoint me with what it has to offer.

On September 10^th the Riviera Theater was swarmed with Chicago hipsters, preppy wannabees, emo teenagers, intellectuals, and your friendly neighborhood stoners; this might sound like a scene out of a John Hughes film but this was the crowd that gathered to watch Bobby Birdman open for Dom and the headliner Ratatat.

In my experience, about half the people that show up for a show will show up late for an opener, drink and socialize during the opening performance, or not show up at all until the headliner comes on to perform. Where is the respect for the opening artist? Luckily, Chicagoans did not follow the normal pattern and did not disappoint when they paid the proper respect to the West Coast artist, rocking out to his electronic-pop-ultrasonic-rock music.

Bobby Birdman, also known as Rob Kieswetter, is a San Diego-Nevada City-Portland native rocking off his latest album ‘New Moods.’ His music is eclectic with good beats perfectly suited for that afternoon drive along the coast of California, or in our case Lake Shore Drive. With songs like ‘Weighty Wait,’ ‘You’d Be Surprised,’ and ‘I Will Come Again,’ it’s surprising that this artist isn’t better known in the Chicago music scene. He’s touring with Dom -- a lack-luster group of long haired East Coast youth who was booed off stage following Bobby’s performance at the Riviera -- and Ratatat, who electrified the North Side stage. Bobby Birdman could have easily stood as the lone opener for Ratatat, their styles and beats are much more aligned than Dom-Ratatat, and Bobby was able to command the audience with his music and his stage presence (joking constantly about surfing). Bobby Birdman rocked Chicago before heading off to his California roots in LA.

On September 21^st we saw him rock out in Los Angeles at the Nokia Theater once more, with the same adoration and approval of the LA hipsters. Birdman is here to stay and the next time he flies through Chicago be sure to check him out. Though he’s still touring with Dom, the same reaction to his music vs. that of Dom was astounding, though not entirely surprising. Who doesn’t love a laid back musician with cool cruising music, besides, disenchanted youth garage-bands are so overrated. Let’s hope the next time Bobby Birdman flies through Chicago and the Midwest – or Los Angeles – that he comes alone or with an equally impressive band. Bobby Birdman-Ratatat concert in 2011? I think Chicagoans can agree to that.

I’d like to start this review with the wise words of the 80’s musical legend Warrant:

Heaven isn’t too far away...

And seriously, it’s not. It’s currently housed at the Bank of America Theater in the form of Rock of Ages, a sing-your-heart-out rock musical based on all your favorite hair-band ballads. Featuring a soundtrack of hits from Journey, Whitesnake, Poison, Foreigner, REO Speedwagon, and more; whether you’re old enough to remember the 80s music scene or just wish you were, Rock of Ages is the musical for you.

Rock of Ages brings the audience back to the Reagan era, into the lingerie-strung walls of the Bourbon Room on LA’s Sunset Strip. Here we meet our fourth-wall-breaking narrator, Lonny (Patrick Lewallen), his bar-owning friend Dennis (Nick Cordero)—who bears a strange resemblance to Weird Al Yankovic— and Drew “Call me Wolfgang” (Constantine Maroulis—the sexiest Greek singer/actor since John Stamos), a wannabe rocker who’s currently stuck working at the Bourbon room as a bar-back, cleaning the bathrooms and carting bags of vomit out to the dumpsters. To break up the boys-club, there’s a cast of big-haired, scantily clad women opening the show with a high-energy version of Quiet Riot’s “Cum on, Feel the Noize” that got the audience members laughing, clapping, and on their feet, dancing in the balcony.

Soon into the show, Lonny pulls out a reference book, Musicals for Dummies, and informs the audience that no musical is complete without a good love story... and right on cue, in walks Sherrie (Rebecca Faulkenberry), a Kansas native hitting the big streets of LA to pursue her acting career. She walks into the bar and immediately catches Drew’s attention. As they make awkward small talk, we learn that Sherrie’s just a small town girl, living in a lonely world, and Drew is a city boy, born and raised in… you guessed it, south Detroit. (Don’t worry, before the end of the night, they’ll take a midnight train going anywhere.)

The story moves on—Drew’s trying to make it big as a rocker, while Sherrie’s trying to land an acting gig. Their fast-track romance hits a speed-bump by the name of rock-star Stacee Jaxx (MiG Ayesa), lead singer of “Arsenal,” who uses his star power and some smooth talking to, ahem, “romance” Sherrie in the men’s restroom. Drew watches, forlorn, as the girl of his dreams slips through his fingers. At the same time, Hertz and Franz, a German father-son team of urban planners, come to meet with the mayor (Sure) to tell him to close down the bars on Sunset Strip (Sure) to make the town more clean and efficient (Of course). The mayor agrees, because money talks, despite the futile efforts of his shrill-voiced secretary (Casey Tuma), who reminds the mayor that LA was built on dreams of fame and celebrity… using, of course, some familiar words: “We built this city on rock and roll!”

Sadly, the town’s communal dreams of fame aren’t enough to make it in the world, and before long, the bubble bursts for our loveable characters on the Strip—the Bourbon Room is closing, Sherrie gives up auditions in favor of a stripper pole, and Drew’s rocker dreams fall to the wayside as he signs with an agent and winds up in a Tiger-Beat caliber boy band. The story moves on with some memorable numbers: the strippers (pardon me, “exotic dancers”) sell their trade to the tune of Journey’s “Any way you want it” and Joan Jett’s “I hate myself for loving you.” Early in the second act, Franz (Travis Walker) steals the show with an in-your-face rendition of Pat Benatar’s “Hit me with your best shot,” an unexpected showstopper that left the audience in hysterics.

As the 80s hits pump and the cast jumps and shakes through some high-energy choreography, you’ll have almost as much fun watching the audience as you will the show: dancing, singing, and power-arms aren’t generally a part of the Broadway-In-Chicago experience, but in this context, they’re perfectly appropriate. At times, it feels as though we’re all a part of the show, rocking out to the band at the Bourbon Room’s last night on the Strip. (The final hours before the bar’s closing, of course, are accompanied by “The Final Countdown.”)

As all good musicals should, Rock of Ages wraps up its story in a pretty little package. Drew leaves his boy band and Sherrie stops stripping. Franz and Hertz decide not to close the Bourbon Room, and the good times roll on—ending in a high-energy rendition of Journey’s overplayed but ever-loveable hit, “Don’t Stop Believing,” where we learn that Drew and Sherrie not only find love—they have a baby (in the bar, nonetheless!). The show ends with the whole theater on its feet, dancing and singing and having nothing but a good time.” It’s silly, it’s happy, but most of all—it’s damn fun. And you’re just glad to be a part of it.

On my way out of the theater last night, as the crowd laughed and sang and chatted about the show, I heard a woman remark to her husband, “Look at all these people under 30! None of them even understood this show—they’re too young for all these references.” And in some ways, I guess she’s right. We Reagan-era babies didn’t experience these songs the first time around—we were too busy watching Sesame Street and learning our shapes to over-process our hair and rock a Van Halen t-shirt with our acid wash jeans. But luckily, we 20-somethings were born on the cusp of the media generation. 1980’s culture was as much a part of our adolescence as it was for those who lived it: thanks to Vh1’s “I Love the 80’s” and the undying popularity of movies like “Back to the Future” and “Ferris Bueller’s Day Off,” we grew up loving the same songs that Generation X did. For those of us who came of age alongside the internet, the entire catalog of Foreigner’s hits or Bon Jovi’s ballads soon became available at the press of a button, allowing us to easily make the good old days our own.

So, I guess the moral of the story is this: Rock of Ages is an awesome, high-energy show. Its familiar soundtrack and pop-culture references make it a good choice even for those who don’t like traditional musical theater: whatever your age, if you like 80’s hair band music, you’ll love Rock of Ages. Check it out. (And soon! The run is almost over!)

Well, that’s it for me. I’ll leave you with some words to live by from character Stacee Jaxx: “Bon Jovi, in French, means Good Jovi.” Indeed it does, Stacee… indeed it does.

There are some nights that the weather truly sets the mood. Never was that more true than last Tuesday when I went to experience the minimalistic, avant-garde band Suuns. With thunder streaking through the purple night sky, I entered the fabulous Lincoln Hall, where beer prices leave you with an awkward amount of change, and every male, including me, has facial hair. I had never heard of Suuns, and had no idea why there was an extra “u” in the name, but I was ready for something weird. The small stage was set, and I prepared myself to hear something new and awesome.

And I was not disappointed. Montreal based Suuns, formally known as Zeroes, came on stage and delivered a performance for the crowd, but more importantly for themselves. They legitimately seemed to be having a great time, and who could blame them? With music that involved incredibly fast guitar riffs, intense solos that went beyond the fret board, and music you just can’t help but brood to, Suuns delivered everything I wanted on that stormy Tuesday night. It was the perfect venue and soundtrack to match my mood; dark, intense, questioning, transitional and mind expanding. Under the disco balls and upside down Devo hats of the Lincoln Hall stage, I could just sit in the back, nod my head, and say hell yeah.

Suuns cannot be compared to any one band. Sure their music has dozens of influences, but they can’t be categorized into just one style. Part dance mix, part rave, part rock, part metal, this band doesn’t fit into a genre, but transcends them all. Opener “Arena”, available for download here, (http://www.scjag.com/mp3/sc/arena.mp3) is the perfect introduction to the band. Upbeat and cyclical, it completely surrounds you and invites you in. The kind of music that makes you feel high just by listening to it.

Several songs of the four-manned Suuns had no bass, which didn’t diminish the feel at all, but solidified the fact that this was a band that can’t be classified. Every member of the band was multi-talented, switching from bass, to guitar to keyboards mid-set. They even tricked me several times, leading into a false ending where I began to clap, right before popping right back into a subterranean pop beat.

While most of the show had a brooding, too-cool-for-the-mainstream-scene feel, there was one moment that caught me completely off guard. About halfway through their set, they switched gears by playing a two minute long head banging, speed metal song that felt out of place an unwelcome at the predominately laid back, experimenting college crowd.

At the end of the night, as the weather cleared, the thunder settled and I walked home, it felt like I had truly witnessed something special. So may times I’ve gone to a show to see a mainstream band, or a blockbuster movie that is so bloated trying to please a mass audience, that it loses all creativity and originality it once had. This cannot be said for the completely inventive Suuns, who love throwing in extra vowels when appropriate, shredding to experimental electronica influenced rock, and playing for whoever will come to listen. So get out there, go to great places in Chicago and see bands you’ve never heard before. Take advantage that we all live in Chi-town where new, hip, music is as much a part of our city as our shitty winters.

Learn more about Suuns, and download free tracks at http://secretlycanadian.com/artist.php?name=suuns

*photo by Eric Gasca

They say that pets look like their owners, and maybe fans look like their favorite bands. Based on the audience at Foal’s Lincoln Hall show, the average fan is an identikit of lead singer Yannis Philippakis ; often quite short, overwhelmingly male and wearing a checked shirt. That’s no complaint. I’m a big Lady Gaga fan, so this explains why I am wearing a baloney bra and hat shaped like a pterodactyl as I type this review.

Oxford University drop-outs Foals hadn’t visited Chicago for a while, and the crowd are beside themselves with excitement. From the first chord of opening song “Total Life Forever”, the fans are carried along by the sinuous guitars and tribal rhythms of Foals. Touring their well-received second album “Total Life Forever”, Foals played a mix of old and new, to a rapturous audience.

Foals are all business and after a quick “Hi Chicago, we’re happy to be here” it’s heads down, heads banging, fingers flying. Questions about whether or not they are actually a math rock band fly out of the window as they present their complex punk rock, trancy, tribal beats. This is music to dance to; juddering bass lines (reminiscent of The Cure), filled in with jagged guitars and intricate drumming. The crowd chants along, arms aloft. Yannis crowd surfs and climbs the speakers, like a cool Bono who has come to take your head off with songs like “Two Steps, Twice” and “Olympic Airways.” He once said he wanted “to fucking destroy the music industry from the inside out”. Based on tonight’s performance, I don’t doubt Foals could do it.

The titular city is shorthand for the decline of the American dream these days, and so the audience comes prepared to “Detroit”, the new play by Lisa D’Amour that kicks off Steppenwolf’s 2010/2011 season.

The play opens with an American scene; two back yards, one a Michigan-style brick build, the other a more precarious wooden frame. We meet Ben and Mary, two middle-class suburbanites dealing with a modern reality. Ben (Ian Barford) has just been laid off from his financial services job and Mary (Laurie Metcalf) is coping by drinking a little too much. Into this disharmony step Kenny (Kevin Anderson) and Sharon (Kate Arrington, fresh from her great performance in “A Parallelogram”), two recovering addicts, fresh from a stint in rehab. Or are they?

Steppenwolf’s new season explores theme of public/private self, how the public and private aspects of our lives unfold in an increasingly complex world. “Detroit” offers up a view of two marriages, where circumstances mean that physical proximity is no guarantee of connection.

Medcalf, as Mary, is the heart of the play and she turns in a nuanced, powerful performance. We see her recalibrating her place in the world as she develops an unlikely friendship with Sharon, the feisty, self-confessed “white trash” stranger next door. D’Amour repeatedly sets up oppositions for them, my favorite being the cheese they serve at their getting-to-know-you suppers. Mary serves hers with a sprinkle of pink Himalayan salt. Sharon unapologetically offering Cheez Whiz. It’s moments like these that give the play its American heart.

Director Austin Pendleton gets committed performances from all of his actors, especially as the relationships take an odd turn towards the end. I cannot say that I entirely believed the backyard bacchanal of the finale, mainly because the set up, the creation of humdrum normalcy was so well pitched. D’Amour has an ear for the rhythms and pattern of day to day speech, capturing that to and fro of getting to know someone new, as people reveal themselves to one another. This isn’t quite carried through as the party gets out of hand, with life-changing consequences.

This is another strong showing from Steppenwolf, a theatre company that is unafraid to explore modern, middle-class America. This world premiere shows that they still have a great ear for the modern American dream.

Detroit is at the Steppenwolf theatre until November 7^th 2010. Tickets are available at www.steppenwolf.com

As an ardent, obsessive fan of Pink Floyd, you can imagine how excited I was sitting on my stiff, metal stadium seat, gazing out into the vast space of the United Center arena, where the beginning constructions of a wall stood on either side of the stage, waiting for those explosive opening chords of "In the Flesh?" to blast through the speakers and for Mr. Roger Waters to grace us with his presence. My ticket read "8 PM, PROMPT" for the show's starting time. Since my friend and I had arrived a few hours early -- just to have a beer, and to check out the $45 t-shirts (which we each bought, thank you very much) -- we hoped it would start promptly at 8. We didn't want to wait a minute longer.

Well, we did have to wait a minute longer. Twenty minutes longer, in fact. And all the seats in the stadium had just about filled up. I thought I might slip from the edge of my seat and off the balcony into the crowd below in my jittery excitement. The lights went out. Camera flashes and the blue glow of cell phones were the only things illuminating the pitch black arena. The room screamed and cheered. The very air was bristling with energy. Oh my god. This was it. It was happening.

A blue spotlight revealed a lone sax player in the middle of the stage, solemnly warbling out the slow, sad opening tune -- the same melody that ends the show -- as we yelled our elation into the stadium and waited with tingling limbs for what was to come. The audience would grow quiet, then scream again, then quiet again, then scream once more. We didn't know when it was coming, when the sorrowful melody would be bombarded with heavy guitar chords out of the blue, thus truly starting the show. There suddenly was a lull in the music, we all yelled and screamed, and then BA-NUM! BA-NUM! DUN, DUN DUN DUN! The stage was a blinding flash of fire and light and the room erupted. It was already a climactic moment of the show and it had only just started. My friend and I sang along to all the guitar parts until Roger Waters, in all his Roger Waters glory, (because there is glory in simply being Roger Waters), took his place center stage to welcome us with his opening lyrics: "So you thought you might like to go to the show?" Screams. Applause. Whistles. Yes, Roger. We did indeed think that we'd like to go to the show. We did, indeed.

And what a show it was.

Although keeping to the traditions of the original Wall tour from 1980, with the wall being built across the stage as the show progressed, with enormous moving puppets of the school teacher, the mother, and the wife creepily lurking and, seemingly, peering at the audience from the sides of the stage, and with the final tearing down of the wall before the very last song of the show, there was much modernization. The wall itself served as a screen for projecting elaborate, ever-changing images, animations, and quotes, as well as the signature Pink Floyd circular screen that hung behind the stage. These technological advances helped to drive home a message that is deeply relevant to our time.

The anti-war theme of the album was brought to life with such clarity throughout the show; for instance, at the end of "Vera," a clip was shown on the wall of a little girl sitting in a classroom when she gets a look of surprise on her face, then disbelief, then an overwhelming flood of emotion and tears as she sees her dad, a soldier who has come home, walking through the door as she runs to embrace him. I was teary-eyed at this, and even more so when the pulsing drumrolls, triumphant horn section, and Roger Waters's pleading vocals burst into the air for "Bring the Boys Back Home."

There were also messages to be wary of the government and large corporations. During "Run Like Hell," logos of gas companies and car companies washed over the wall amidst the words "You Better Run!", and these same logos were being dropped by military planes during the animation on "Goodbye Blue Sky." Other corporations were attacked as well, one of the most obvious being Apple, with mock iPod ads being projected onto the wall alongside phrases like "iBelieve", "iFollow", "iProfit", "iLose". However, the most prominent and blunt theme was clear as glass: The lyric "Mother, should I trust the government?" was met with "boo!"s all around, and then euphoric cheers and applause when the projection on the wall answered the question itself with the words "No Fucking Way."

The pungent smell of marijuana hung heavy in the air during "Comfortably Numb," and I would have had it no other way. We stood up in our seats and swayed side to side as we sang along, and I never wanted that guitar solo to end. After "The Trial," in which it is decided that the wall must be torn down, the room chanted louder and louder "TEAR DOWN THE WALL!!" as the music built. The music then died away and the first few tiers of white bricks fell forward and onto the stage floor accompanied by booming sounds of explosions and falling rubble. We screamed and screamed as row upon row collapsed until only the sides of the wall remained standing. A light illuminated the front of the stage and the band was revealed, with Roger Waters joining them amongst the debris.

After a long while of cheering and applause, the noise of the crowd abated somewhat and Roger went into the last song, repeating the final line twice, "After all, it's not easy banging your heart against some mad bugger's wall." The room erupted once more and this time we wouldn't stop until the house lights came on and forced us to leave. Over the shouting and clapping and screaming, Roger addressed the crowd, saying, "Thank you, from the bottom of my heart! You've been a fantastic audience!" My friend and I proceeded to repeatedly bow with oustretched arms yelling "Roger! Roger! Roger!" We were still ecstatic, but also bereft, now that it was over. We had waited for this our whole lives; Pink Floyd is in our blood! It runs in our very veins! We didn't want this to be the end. After Roger waved and walked offstage and the house lights went on, everyone made a scramble for the nearest exit as the two of us remained in our seats yelling "Dark Side! Do Dark Side!" at the stage.

All in all, ticket prices may have been steep, but if you like this music and you're going to spend money on anything extraneous, like at a fancy restaurant or on $11 movie tickets or to buy food for your kids, do yourself a favor and spend it on a ticket to Roger Waters instead. He may not be in Chicago anymore, but he's around, and this is your last chance to see him before the wall comes down forever. All in all, it's all so much more than just a brick in the wall.