Items filtered by date: November 2007

The trappings of the “American Dream” and suburban life have been explored in every artistic medium for decades. But what do the age-old questions about the hunger for upward mobility and its attendant isolationism mean when asked during our current economic and socio-political conditions? Kicking off the 2010-2011 season for the Steppenwolf Theatre Company, Detroit, written by Lisa D’Amour and directed with purposeful ambiguity by ensemble member Austin Pendleton, manages to stimulate new questions about suburban decay with a suitably comic touch.

While the setting of Detroit is more a metaphorical than literal device in the play, it sets the tone of things falling apart: American cities, homes (“first-ring” suburban houses built in the ‘60s), ideals, marriages, individuals… All we once thought we knew and wanted for ourselves as Americans quickly turning on itself. No more safe havens, particularly from our own humanity. These are heady, eternal issues, but one of the triumphs of Detroit is the deceptively light presentation of this material.

The outward plot of Detroit is paper-thin: a “settled” suburban couple named Ben and Mary (played pitch-perfect by Ian Barford and Laurie Metcalf of Roseanne fame) throw a barbeque to welcome their new neighbors Kenny (a hilarious Kevin Anderson) and Sharon (a fiery Kate Arrington, coming off a star turn in A Parallelogram) who have moved into the empty house next door. What starts out with the usual forced and highly-socialized pleasantries soon unravels as back-stories and secrets are revealed and as the two couples begin to exert an indeterminate influence on each other.

The choice of playing an older and younger couple “against” one another is inspired: the older couple shaken out of their torpor and loneliness as the younger couple is provided with a window into their own potential future. And there is ample, though cleverly underplayed subtext sprinkled throughout the play: the dream of suburbia a parallel for the dream of America, both built on ideals that soon inverted; private vs. public selves; fear of the “other”; the suppression of our primal (and hedonistic) selves. As with most stories dealing with the dark underbelly of suburban life, sexual frustration (and its reckless release) is never too far below the surface (though again, in Detroit it is but one of many threads woven into the story more for provocation than resolution). Even a late turn by longtime ensemble member Robert Breuler, which on the surface seems designed to provide some closure, only manages to raise more questions.

As with so many of Steppenwolf’s productions, Detroit is supremely engaging and provocative. The set design by Kevin Depinet is superb, the writing and direction artful, and the ensemble cast thoroughly likeable and winning throughout. By the time Detroit reaches its pointedly post-9/11 (and post-apocalyptic?) conclusion with Ben and Mary facing either re-birth or ruin, you will have laughed in empathy and recognition of self and be left with many questions about the uncertain future awaiting us all.

 

Above photo:(counterclockwise from upper left) - Ensemble members Kate Arrington, Ian Barford, Kevin Anderson and Laurie Metcalf in Steppenwolf Theatre Company's production of Detroit by Lisa D'Amour (playing through November 7th), directed by ensemble member Austin Pendleton. Photo by Michael Brosilow.

As a writer I am younger than one of the longest running musicals in history, but “A Chorus Line” still glitters and shines with the same fervor since its premiere on Broadway in 1975. This timeless play about a talented group of dancers going through the grueling, challenging, and emotional tryouts to make it in the chorus is one that everyone can relate to, whether they have two left feet or not.

A Chorus Line follows an ensemble cast of aspiring dancers throughout three stages of cuts on their way into the chorus. The opening scene begins with the dancers practicing a complicated choreography routine while being criticized and judged by the director and his assistant; “How many Broadway shows?” “Keep your head up.” “Arms up on the fourth count not the third.” The ensemble cast has all the caricatures and stereotypes of dancers during the audition process; you have the standouts that shine and completely steal the spotlight, like the outgoing and overly-confident Val, played by Nina Fluke; you have the dancers who struggle with their confidence such as Paul, played by Bryan Knowlton, dancers who are battling nerves like Judy, played by Laura E. Taylor, the sassy veteran dancer like Sheila, played by Anika Ellis, and funny and flamboyant-like Bobby, played by Drew Nellessen. The entire cast was phenomenal with voices that carried the weight of desire and passion for dancing. The only exception the outstanding performances was the solo dancing sequence featuring Mara Davi as Cassie; her solo “The Music and the Mirror” was a spotlight number in which two way mirrors dropped from the ceiling adding a stunning visual backdrop for the actress, but Davi, who is an experienced Broadway performer, lacked the fluidity and grace the number required. The dance needed to embody Cassie’s passion and hold up to her statement, “God, I’m a dancer!” Her number, which should have been the crowning piece in the second half of the play, was lackluster and slowed the play, particularly following the hilarious and entertaining “Dance: Ten, Looks: Three” number by Val.

Overall, anyone who has been through an audition process, or even an interview for a job, can relate to the pain of just missing the cut, the relief and joy of being one of the select few to go onto the next round, and the unpredictability of the interview process that shakes your very core can truly empathize with these dancers. Often times we feel exposed, cast under a spotlight like Diana, played by Pilar Millhollen, who becomes anxious when asked the unforeseen question of “tell me about yourself…” rather than being asked to recite a scene from a play. We’ve all been in a situation like this, when we’ve had to explain to someone why we do what we do, why we dance, what got us started. Whether it was something you always knew you wanted to be like Maggie, played by Danielle Plisz, or someone who discovered a passion when given a scholarship to do something completely different like Richie, played by Max Kumangai. A Chorus Line resonates with the same power at Michael Bentley’s opening show on Broadway over thirty years ago. This is a show well worth the longer drive to the Marriott Theater in Lincolnshire, if only just for the show-stopping, closing number of “One.” The show runs through October 31st.

Did you know innocent people were "forcibly tattooed... for the identification system of them in Nazi concentration camps during the Holocaust?" So, "In modern times the association of tattoos with Nazi concentration camps and the Holocaust" has caused some Jewish people to be against the practice of tattooing of any kind (http://en.wikipedia.org 2010.)

The more folks expose themselves to truths about different cultures and religions than their own, and can understand where they are coming from, the better the chances of peace and harmony in a world of too many minds misunderstood and divided.

"The Invasion of Skokie" is a play partially intended to be a comedy about a Jewish family during the 1970s. Whopping whacked-in-the-head-Nazis may have said or say laughing gas should have been filled into the theatre since not all the punch lines spit out by the characters were laughed at by the audience of mostly middle-aged-men and ladies.

However, in all fairness the production had such non-comical heavy-weight themes with one being about the Holocaust, which is not to be taken shallowly due to its extreme emotional costs on Jewish human beings. The "Invasion of Skokie's" main character, Morry, played by Mick Weber, executed quite well how the Jewish have been hit by the evil blows of the Nazis, and how it can, understandably, still be painful for them to think of the unjustifiable torturous acts and killings of grandparents, moms, dads, sons, daughters, siblings...

To elaborate, the play was set during the time the Nazis of Illinois, in real life, beat the Village of Skokie in the U.S Supreme Court when they had fought to march in the town to throw their political existence in the face of victims and survivors of the Holocaust (which comprised of 40 percent of the residents there!) As one could imagine, some Jewish people around while the fight had taken place had said "This isn't just a free speech matter. This is an assault on a community," what a nightmare (Petlicki M. Chicago Dramatists marches into 'Invasion of Skokie' Pioneer Local. 2010 Aug 26.) Since Chicago Dramatists Network Playwright of "The Invasion of Skokie," Steven Peterson, had his deceased father and a lot of his friends as victims of the march it was something he wanted to share (Petlicki M. Chicago Dramatists marches into 'Invasion of Skokie' Pioneer Local. 2010 Aug 26.)

An additional theme of "The Invasion of Skokie" is about a Jewish couple (Morry and Sylvia ) struggling to keep their daughter (Debbie) from marrying a man (Charlie) from another faith, even though he has been tight with the family ever since he was a young child. But, Sylva's and the family's close friend (Uncle Howie's) reactions toward the Nazi's march and the possible walking of a gentile into their unit, compared to Morry's, was mild. That is, Morry firmly believes in using violence against the Nazis who are to invade Skokie, whereas, Sylvia, Debbie and Charlie are adamantly opposed to resorting to measures that dangerous, radical and wild.

The Director, Richard Perez, as well as all of the characters played by Mick Weber (Morry Kaplan), Cindy Gold (Sylvia Kaplan), Tracey Kaplan (Debbie Kaplan), Michael Joseph Mitchell (Howie Green) and Bradford R. Lund (Charlie Lindal) have respectable credentials, and the acting seemed convincing thru and thru, especially Mick Weber's, while Steven Peterson's writing was not to my liking until 10 minutes or so into the production.

To close the curtain on the review, I will lastly say there is a tremendous throw-you-off-your-rocker part in the play which combined with its other themes, I did not mention, have the depth and importance for you to excitingly argue back and forth with someone about them.

"The Invasion of Skokie" (a finalist in the Dorothy Silver Playwriting Competition) plays at the Chicago Dramatists, 1105 W.Chicago Ave. Chicago, IL. 8 p.m. Thursdays-Saturdays, 3 p.m. Sundays, September 15th-October 10th. $32 Tickets; www.chicagodramatists.org; (312) 633-0630.

 

Above photo:

(L-R) Bradford Lund, Mick Weber, and Michael Joseph Mitchell star in Steven Peterson's world premiere production of The Invasion of Skokie, at Chicago Dramatists, 1105 W. Chicago Ave., running 09/2-10/10/10, Thursdays through Saturdays at 8 PM and Sundays at 3 PM. Photo by Jeff Pines.

From the brilliantly wacky minds of David and Amy Sedaris comes The Book of Liz, the heartwarming and hilarious tale of one Sister Elizabeth Dunderstock of the Squeamish cult -- er, religious community. Liz's delicious cheeseballs (both traditional and smoky) are wildly popular and sustain the existence of the quaint and pious Clusterhaven. However, Liz grows to feel unappreciated among her Squeamish brethern and makes the bold decision to try her luck in the outside world. On her journey, she makes plenty of friends, including Cockney-speaking Ukrainian immigrants (from Ukrainia), who find her a job waiting tables at Plymouth Crock, a family restaurant run entirely by recovering alcoholics. Everyone loves her and things are going great for Liz, until she's offered a promotion to manager on the condition that Liz fix her excessive sweating problem. Of course Liz wants the job, but should that mean compromising who she is? Meanwhile in Clusterhaven, the Squeamish can't seem to duplicate Liz's cheeseball recipe, and the community is suffering as a result. What is Liz's secret cheeseball ingredient? Will Liz stay and take her chances in the real world, or will she reclaim her place in the Squeamish community? Find out for yourself at Chemically Imbalanced Comedy on Friday and Saturday nights, where The Book of Liz will be playing until December 18th.

Much of this comedy calls to mind the short-lived Comedy Central show Strangers with Candy, which starred Amy Sedaris. Ridiculous situations and silly -- but oftentimes very much adult -- humor are characteristics of both and will be sure to have you in stitches. A talented and enthusiastic cast (each who play multiple characters throughout the show) bring the Sedaris' hysteriical words to life, both the subtle comedy ("You really think I'll make an okay waitress?" "Liz, I KNOW you'll make an okay waitress!") and the not-so-subtle ("You're gonna want to take the outer road to Route 420--" "Hehehe, 420." "Hehe, yeah it's funny.") And, despite the cheeseballs, don't expect anything cheesy here; what you get is the original, outrageous comedy of America's most hilarious sibling duo.

The “Hottest Show on Earth” returned to the Chicago area last weekend at the First Midwest Bank Amphitheatre in Tinley Park, with KISS reminding everyone what made them the rock gods that they are. Though the band received strong support from The Envy and The Academy Is, they didn’t need it. Despite the fact that KISS has been rocking the world for over 37 years, Paul Stanley (a.k.a. “The Lover”) and Gene Simmons (a.k.a. “The Demon”) still carried out the showmanship that made them one of the most famous acts in rock and roll history. With newer members Tommy Thayer and Eric Singer taking on the identities of “The Spaceman” and “The Cat”, this full-on rock show gave fans the chance to experience KISS as though they were still in their height of popularity – in fact this show may have been bigger.

 

From the opening number, “Modern Day Delilah” off their latest release Sonic Boom, when Simmons, Stanley and Thayer were airlifted over the towering drum set and placed at the front of the stage, it seemed as though the band incorporated something in each song that made the crowd think, “Holy Shit”. Whether a flurry of explosions, giant bursts of fire, or segments of the stage rising to propel a band member, nearly each song was a spectacle in its own unusual way. But not to be overshadowed by the incredible stage effects, was, of course, the music. In a set that lasted two hours and ten minutes, KISS included such songs as “Detroit Rock City”, “Love Gun”, “Calling Dr. Love”, “Firehouse”, “Black Diamond” and “Say Yeah”, also from their latest album.

 

KISS pulled out all the stops. Tommy Thayer shot fireworks from his guitar ala Ace Frehley and Gene Simmons breathed fire. Not long after, blood oozed from Simmons’ mouth during a haunting bass piece just before he was carried over 50 feet high, above the stage lights, to perform “I Love it Loud”.

 

The band went on with a six-song encore that kicked off with Eric Singer taking on former drummer Peter Criss’ ballad, “Beth”. While Singer stood center stage to sing, the other three members huddled to his right, quietly jamming in the background. KISS followed up with a couple more big hits before “I Was Made for Loving You” in which Paul Stanley glided across the audience on a cable and landed on a small platform with a microphone in order to perform to the people toward the rear of the arena. When Stanley returned to the stage, the band broke into “God Gave Rock ‘n’ Roll to You” as images from vintage KISS were displayed onto the jumbo projection screens. Finally, white confetti shot out from the stage, transforming the arena into a mega snow globe for the duration of the show, as the band jammed out to “Rock and Roll All Night” amidst thunderous explosions and high-flying stage theatrics – including an ascending drum riser.

 

KISS’ live show is not just a concert; it’s an experience – an experience that should be had by all rock and roll fans. Should KISS return anytime soon, make a point to catch this amazing show.      

 

  

Prior to the start of the show, the audience searches for open seating in the crowded small stadium sized venue surrounding the center stage at Profiles Theatre. “Fifteen” by Taylor Swift is one of the carefully chosen teen-pop songs playing in the background while the crowd gets comfortable. A perfect precursor for Deidre O’Connor’s Jailbait that begins in Claire’s bedroom, quintessentially designed for a modern girl her age, fifteen. A Taylor Swift poster hangs on the wall behind her bed indicating she is far from the days when Barney was her idol.  Her stuffed animal's arm peaks out from underneath a pillow that she hurriedly hid to cover any evidence of her immaturity from her sleepover friend, Emmy. Where Emmy intends to “sleep-over” is yet to be reveled.

Emmy, the popular, experienced, and boy-crazed boy-magnet, is the orchestrator of tonight’s events where her intentions are anything but innocent. Emmy’s much older 30-something friend Mark, who she met the week before at a 21 and over club, have a set-up prepared that was unbeknownst to both Claire and Robert, Mark’s 30 something friend, prior to the club. Regardless, Claire and Robert, the most unlikely of matches both timid and out of their element, meet.

Fast forward to the aftermath. “It’s a pick-up. It’s a dirty drunken night of fucking, followed by no phone call. No contact. No relationship. Nothing”, retorts Robert after Claire’s naive and innocent explanation of the night. Even after the 3:00am cab ride back home to fake-sleeping Emmy who drank a little too much at the club, Claire wears Robert’s sweater like a badge of honor. A right of passage both girls recount on Claire’s brightly colored flower print bed together. “It’s just sex”, Emmy rationalizes, “We all have to do it eventually”.

Another familiar story of today’s neglected youth, with a dash of daddy issues and a dab of too young for adult relations they’re having in the bedroom. A story that, though disturbing and sad, wasn’t the story line that stood out. It is our battle to stay in or get to the ‘in between’ that was riveting.

Eric Burgher, who plays Robert, and Shane Kenyon, who plays Mark, do a fantastic job of portraying the aging man’s quest to stay young enough. Though Mark is the womanizing asshole of the two, he knows what he wants: sex, 20-something girls, and good-times. Robert, the seemingly more mature and future focused one, is, in truth, the most lost and unsure. Both carry baggage of past relationships where fairy-tale endings with 2 kids a dog and a white picket fence were once realistic and welcomed goals. Perhaps it is the bitterness of reality for Mark and the fear of next steps for Robert that drove them to the club that night. But it is the memory of those past relationship mistakes that they wish to erase and the desire to start again at 20-something that blinds them of truths and pairs them with the two innocent and naive 15 year old girls.

O’Connor wrote a script that intertwines characters and connects the struggles that we face both at 15 and at 30: the desire to be wanted, to be cool and more experienced, and most importantly, to believe we can start again with someone new.  An emotional and gripping performance of one devastating example of what can happen when we try to be someone we aren't anymore or aren't ready to be just yet.

Jailbait continues through Oct. 17 at Profiles Theatre, 4147 N. Broadway. For ticket information, click here

Walking into the tiny EP Theatre on South Halsted I was not expecting, nor could I have hoped to see as much as the mad and macabre as I was to see on September 1^st. I was about to witness The Texas Chainsaw Musical. With no AC and dozens of way cooler college kids and hipsters surrounding me, I prepared for what would be, if anything, something to talk about at the water cooler tomorrow.

 

As someone unfamiliar to musicals and independent theatre, I must say I was pleasantly surprised with my first real experience. Part of the Chicago Fringe Festival, TCM was far from the performances, I’d seen in my small college town, where costumes were ill-fitting, awkward dialogue was in every scene, and an art show headiness flew right over my head. The cast and crew of Texas Chainsaw Musical created a welcomed surprise; full of tension, humor, and the amazing ability to make the audience feels compassion for one of the most notorious serial killers of all time.

 

The show kicked off with the same tense, John Larroquette narrated monologue as the 1974 original. The tension soon breaks into a rollicking musical number about how hot it is in Texas. Rather appropriate given the small, AC-less EP theatre.

 

As the story continues we meet an eclectic cast of characters about to meet their demise. Most notably Amanda Hardesty as Sally, Adam Rosowicz as her wheel chair bound brother Franklin, and Guy Schingoethe as the chainsaw wielding Leatherface himself. The cast as a whole does a great job of creating believable tension when needed and delivering perfectly timed comic relief right when the audience needs it.

 

As the musical progresses, and more and more hot, young teens meet their inevitable fate; Leatherface puts down his chainsaw and shows his compassionate side. He croons the audience in a Phantom of The Operaesque way, making us feel incredibly sorry for the monster that just hung a busty teen on a meat hook.

 

The play ends in a finale that has to be seen to believe. Imagine the whole creepy Hewitt clan, rocking out in a live band all while torturing and attempting to murder the still screaming “final girl” Sally. With Grandpa on the drums, the Hitchhiker shredding guitar, Dad/The Cook plucking bass, and ol’ Leatherface himself playing ‘lectric keys, it’s unlike any jam band you’ve ever seen. I will never be able to watch the infamous Grandpa hammer scene from the 1974 movie without thinking of a thunderous drum solo. Thanks.

 

Overall TCM was a great way to kick-start a very early Halloween celebration. With many standout moments, including Franklin’s goopy gushing kill scene, Sally’s never ending screaming, Franklin’s hilarious and heartfelt, “I Wish I wasn’t in a wheelchair number,” and a finale that was truly epic. I won’t spoil it, but the way the Hitchhiker meets his demise, may be the funniest part of the entire production.

 

Hopefully The Texas Chainsaw Musical finds another venue and audience closer to Halloween. It’s a show that has just the right amount of scares and humor to enjoy during those harvest weeks. But until then I highly recommend finding more shows out there like this. It’s a welcomed surprise to the non-stop crappy remakes and handi-cam horror flicks that flood the Cineplex’s in October. Plus it’s not every day you get sprayed with chainsaw goo.

 

www.chicagofringe.com

http://www.nmtchicago.org/

For those who are not yet familiar with Katie Todd, you’re really missing out a very creative and intelligent songwriter, not to mention a highly entertaining and live show. Catchy songs, thoughtful lyrics and unique vocals coupled with an amazing band are the keys to success for any act and Katie Todd has them all. Over the weekend, fans were able to catch the band at the third annual Chickago Social in Andersonville, along with a handful of other performers including Sean Wiggins, Reyna Larson and international DJ, Lisa Pittman. The Pride event attracted Katie Todd loyals, the curious, music lovers in the gay community and anyone else in search of good musical performances.

 

Alone, Katie Todd quietly took the stage to open the show, headed to her keyboard and went into “This Time”, the full band joining her at just the right moment as the song began to hit its stride and take off. As the set continued, trumpet player, Steve Wright, an integral component to the overall Katie Todd sound, was able to showcase his skills, complimenting each song with just the right touch of horned flair, as well as delivering flowing backing vocals. Katie Todd’s cutesy but powerful vocals gracefully streamed over the band’s melodic instrumentation from each song to the next, perhaps most notably on favorites “Leave” and “Love Love Love You”.

 

Guitarist Ted Kezios is another reason the band gels so well. Ranging from subtle picking to aggressive rhythms, Kezios also displayed his signature sound in a handful of solos that had the crowd buzzing, especially in the band’s very original version of The Doors’ “People are Strange” where he flat out sizzled.

 

Despite playing with a relatively new rhythm section, Katie Todd pulled off a fantastic show without any hitches, leaving the crowd with yet another memorable performance that will certainly add to her large contingent of followers. For more information on Katie Todd’s music and upcoming shows, visit www.katietodd.com.  

        

The Neo-Futurists are at it again with the thought-provoking, baffling, irreverent, confuddling new play “Daredevil’s Hamlet.” In true Neo-Futurist form this play offers more than their clever title initially implies.

Written by Neo-Futurist Ryan Walters, the play explores the work of Hamlet, led by the charming male members of the of the Neo-Futurist company including Walters himself, John Pierson, Anthony Courser, Jay Torrence, Brennan Buhl and even “the Intern-Trevor!” The play is a compilation of small scenes following the basic storyline of Hamlet, combining the acrobatic antics of ‘Daredevils!,’ the 2005 Neo-futurist play, all the while exploring the major themes of Hamlet: revenge, identity, masculinity, love, family, and death. “Daredevil’s Hamlet” is like a steady stream of consciousness; simultaneously flowing together while at the same time not having any rhyme or reason to the order of things.

Each player takes a scene or a theme from Hamlet and interprets it in their own unique way. One of the more charming and funny stories was Brennan Buhl, dressed in swimming trunks and wearing water wings, coming center stage to talk about a childhood memory involving some other boys with him in a kiddie pool where “wild time” vs. “calm time” were rules to follow. Brennan’s aunt would have equal time shared between these two times, 3 minutes each with “calm time,” designating everyone sit still, and “wild time,” letting the boys splash Brennan with no mercy. When his aunt ceases calling the different times to go into the house, his brothers “wild time” reigns and poor Brennan is left to fend for himself, with no relief in sight. During the play audience members actually get water guns to squirt Brennan while screaming “wild time” in order to recreate this childhood scene. This story, while seemingly random, equated to a central theme in Hamlet: justice and fairness. When rules are established and come down, what is a man to do? Does one rebel or follow the masses? What is fair and just and who decides this? And lastly, what happens when authority leaves and cooler heads don’t prevail?

Anthony Courser’s interpretation of masculinity called into play his favorite childhood character, Robin Hood. “Why would any child choose to be Hamlet, he didn’t even have a bow, or an action figure!” Anthony fires arrows using a Nerf gun in his makeshift cardboard archery armor to delve into the perception of masculinity in his mind versus that of Shakespeare.

Another Hamletisque theme, and a resurgent theme in today’s world, “Bromance” is explored when Jon Pierson, aided by Ryan Walters, describes a tender and intimate moonlit night with a male friend, staring out at the night’s sky and being within inches of one another, feeling a deep love and connection but not being in love. Can two men love one another without being in love as Horatio and Hamlet did? Is this experience still felt today?

These are just some of the interpretations provided by the fantastic cast of Daredevil’s Hamlet. There is no doubt, this play might leave you stumped for a quite a bit while you are watching it, but that is half the fun of visiting the Neo-Futurarium. This is the thinking man’s Hamlet, if Hamlet were to have been written with the philosophical jackass cast. Like the character of Hamlet, the players allow themselves to show their vulnerability, their faults and their frailties, and it’s because of this that Daredevil’s Hamlet is a success. It questions the crucial themes from the play; if your uncle killed your father, would you avenge him? Can two men share a deep plutonic love for one another without having to fear ridicule?

There’s nothing wrong in this state of Denmark, so make your way over to Ashland and Foster and see this charming play.

Daredevils’ Hamlet” runs through September 25, 2010 at The Neo-Futurarium at 5153 N. Ashland in Chicago. For more information or to purchase tickets, please visit www.NeoFuturists.org.

*Above photo - Jay Torrence, John Pierson, Trevor Dawkins, Ryan Walters,
Anthony Courser, Brennan Buhl; Ryan Walters performing "To be or not to Be" soliloquy from Hamlet

"The Bad Boys from Boston” returned to Chicago with a flair and command that could only be associated with Aerosmith. This time taking stage at the Fist Midwest Bank Amphitheatre in Tinley Park, singer Steven Tyler and company delivered a thorough set of classics opening the show with “Same Old Song and Dance” immediately followed with “Train Kept A-Rollin’” and “Love in an Elevator”. The large set included three large projection screens – one on each side and one above the stage, overhead panels to enhance the band’s light show that were lowered and raised, and a catwalk that protruded out into the crowd about 30 or so rows from center stage.

 

The band’s musical performance was pinpoint precise, with guitarist Joe Perry effortlessly nailing each lick and solo, while Tyler, dressed in classic Aerosmith frontman attire, danced around like a thirty-year-old and utilized his vocal range to perfection. The show included staple elements from the repertoire of rock and roll essentials such as a booming drum solo in which Joey Kramer pounded the skins with his hands in a thumping symphony of blistering beats. Perry also dueled his Guitar Hero counterpart (appearing overhead on screen) ultimately defeating him thanks to masterful fingerwork in a series of tasty progressions.

 

In addition, the band found themselves defending a crowd member at one point. Tyler reprimanded house security after they pinned down a woman who merely ran up to toss a pink boa onto the stage when the band went into the song, “Pink”. “Leave the woman alone,” shouted the famous singer before continuing with, “Security must not get laid around here.”

 

Included in Aerosmith’s fun-filled set were favorites “Livin’ on the Edge”, “What it Takes”, “Rag Doll”, “Sweet Emotion”, “Cryin’” and a superb rendition of the Beatles’ “Come Together”. The band also integrated a couple more obscure numbers before finally ending the show with a bang, performing encores “Dream On” and “Walk this Way”.