Items filtered by date: November 2007

Pete Guither has once again made his mark on modern theatre, this time pushing the envelope of artistic creativity to new realms with the latest rendition of his own creation, The Living Canvas - Demons. As part of National Pastime Theatre’s Naked July Festival, Guither ingeniously showcases his ability to intertwine the beauty of the naked body with flowing motion, mesmerizing projections and a riveting storyline that invokes a wide range of emotions.

 

The story is about an autistic girl and her sister who so desperately wants to break through to her. As the story progresses, the audience, along with her sister, are taken into an autistic mind that at times is chaotic while at other moments becomes a calm, warm haven. Superbly conveyed with the use of spellbinding music played over eleven talented performers (demons) dressed only in complex projections, the theatre is transformed into a world like no other that is both visually compelling and highly sensual.

 

Back for it’s seventh run in Chicago since 2001, The Living Canvas changes its theme for each production barring its fundamental premise of body acceptance in which audience members are challenged by the cast at the end of each performance to strip down and join them on stage in order to get a taste of what it is like to be “Living Canvasses”. “What are bodily flaws to one might appear as beauty to another,” leading cast member, Emily Mark, explains during the invite while also touching on being comfortable in your own skin. In the particular performance I attended, over a dozen people from the crowd took to the stage to dance with the performers and perform instructed motions such as swimming. The show finally comes to an end with a fun Q&A session that offers the opportunity for cast members and director to field questions related to the production. This is certainly a show not to be missed and one that will have you coming back to see it again. Who knows - maybe you’ll even take part in enjoying a liberating experience on stage.

 

The Living Canvas – Demons is playing at the National Pastime Theatre (4139 N. Broadway) on Friday and Saturday evenings at 10pm through July 31^st. For more information please visit www.thelivingcanvas.com or call 773-327-7077.     

When is the last time you saw full frontal nudity in the theater? Was it “Hair”, “Oh, Calcutta!” or maybe “The Blue Room”? Maybe you have never seen a play with nudity in it, well, here is your chance to experience the liberating effect of live theater specifically designed to give you the feeling that your body - despite its quirks or flaws - is OK just the way it is.

 

Laurence Bryan, my old friend and classmate from DePaul, is the Artistic Director of National Pastime Theater and he has assembled a really wonderful assortment of plays that each utilizes nudity in an artistically sound fashion. I have already seen two of the one act plays, “The Emperor’s New Clothes” deftly directed by another talented DePaul Alumna, Carolyne Anderson, and “The Living Canvas: Demons”.

 

I highly recommend buying the festival pass or daily pass to enjoy more than one show because they are all very different in their approach, some farcical, and some more sensual or dance oriented and taken in combination you really get the full effect of  a democracy of positive body image that the Naked July Festival is trying to convey.

 

“The Emperor’s New Clothes” is a light, funny, very clever take on the original tale by Hans Christian Andersen with a satirical political twist thrown in for good measure.

 

“The Living Canvas: Demons”, is the seventh show by this company, directed by founder Pete Guither and, by using projected light over nude dancer and actors bodies, beautifully portrays the journey into the mind of an autistic girl and her sister’s attempt to understand that world. It was tremendously moving and exciting to watch. The performance of the lead dancer Emily Mark, who portrays Lily the autistic, was worth noting as she was not only an accomplished dancer but also an accomplished actor in expressing without words a very precise and deeply moving sense of what it must be like to be trapped in a body and mind afflicted with Autism. Also, I think it is a tremendously courageous task to undertake a role like this involving nudity from beginning to end. The neat thing about “Living Canvas” shows is that at the end they allow the audience to strip down and join them onstage under the lights and a lot of people actually went for it and joined in. That in itself was a beautiful, free love kind of thing to see happen in a theater setting in the year 2010, not 1968!

 

I’ll be honest, I was skeptical. I have always felt that nudity in the theater is something to be avoided at all costs to avoid damaging the delicate psyche of a good actor. However, when it is undertaken in the way that Naked July Festival has with a real eye for liberal thought and artistic merit, it is a tremendously exciting and liberating experience rarely encountered in traditional theater going.

 

I especially enjoy returning to the atmospheric and historic National Pastime Theater (4139 N. Broadway), which was an actual speakeasy for almost twenty years and fills it’s lobby with wonderful local artwork for sale in the theme of the shows currently running.

 

I highly recommend attending the Naked July Festival: Art Stripped Down, and I look forward to seeing the last two pieces, “Eros” and “The Tumultuous Tale of the Tragically Transparent Tunic” next weekend. See you there!

 

Call 773.327.7077 for performance times or check in at www.np2.com.

The night is cool and the crowd at Northerly Island is ready to heat up. The crowd’s anticipation starts quickly and the press gets ready. Devoted fans and enthusiasts start yelling as 311 appears and opens the show with “Down.” The crowd is pumped. For everyone who became a fan of the band when they released their self-titled album, they’re brought back to 1995 as 311 performs.


The crowd follows the rush that is set by lead singer and rhythm guitarist Nick Hexum. They jump and wave their hands in the air as if they just don’t
care—moving like a sea of humans that even a BP oil spill couldn’t calm.


311 allows each member to shine as they make the crowd feel as though they’re the most important fans on the planet. They show appreciation and
loyalty by talking with the audience and playing songs from their whole repertoire. Covering basics from their first album to their latest releases, 311 isn’t afraid to play anything because they know their fans will support
them with every song they play. 311 performed well at Northerly Island on
June 29th and will always play a great concert that leaves you with a smile
on your face.

 

 

The Down Side of Suicide: A Divine Comedy 

When: Fri 7/16 and Sat 7/31, 9:30 PM,

 Price: $15

When I heard the title of the newest show offered in Wicker Park’s quaint Gorilla Tango Nation Theatre: The Down Side of Suicide, “comedy” was not the first thing that crossed my mind.  This dark humored and at times raunchy show is not for the faint of heart.  Audience members find Abe Hutchins in a deplorable and outlandish act that sends him plummeting through the underworld on his journey to reach his eternal punishment.  Along the way, a few celebrities (some dead and some still living) are met, the ultimate divine spirit and devil cross paths, weird romances are formed, and some sort of message was learned in the end.

The cast of six talented actors carried out the jokes that lacked depth and intellect.  Most jokes fell short not in the delivery, but in the writing.  On the same level of “dead baby jokes”, I found my inner pre-teen self laughing nervously at jokes that I knew I shouldn’t find humorous. 

To sum it up: the actors have potential but the script and direction fall short of higher high school promise.  It was good for a few cheap laughs but not a show you’d want to see time after time.  Remember to keep an open mind if you decide to go and remember that they're just kidding even if they made fun of the son of God.

And if dead baby jokes and outlandish humor are your thing, performances run Wednesdays, June 16-30, 2010, Saturdays, July 3 & 31, 2010, and Fridays, July 9 & 16, 2010, all at 9:30pm at Gorilla Tango Theatre, 1919 N. Milwaukee Ave., Chicago 60647.  Tickets are $15; to purchase tickets call 773-598-4549 or visit www.gorillatango.com. Special student offer, buy one get one free with valid student ID that are available at the door.

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I saw Fureza Bruta for the second time last week as part of a special bloggers night and it is one of  the only shows I have  ever seen where I was planning while watching to see it a third time. It is such a thrilling multidimensional performance that makes the audience into one of the cast by literally bringing the whole audience onto the stage the entire show!

 

 Part of the reason I want to see it again and again is because of the fun I have had watching my friends get blown away by the experience as they watch. No one comes away saying -well it was just okay, or they should have done this or that differently. Their mouths just hang open for a while until they are enraptured and enthralled by the experience as much as I was

 

Another neat thing about this show is that they actually allow and even encourage you to take photos ( no flash) and video  during the performance. Just check out these short  video clips I shot  during the show and you’ll get a sneak peek at what all the excitement is about. If you enjoy innovative, sensual modern dance and over the top spectacle with a rip roaring nightclub feel, take my advice and gather some friends or a new love, wear comfy shoes and clothes that you don’t mind getting wet in and get to see Fuerza Bruta while it is still in Chicago. You will want to see it more than once so don’t wait till the end of the run!

 

Despite inclement weather and the confusion of trying to find the actual concert, the Bamboozle Roadshow at Soldier Field was a good time, even if it was only had by few people. This concert had a lot going for it. Big-name acts like LMFAO, Third Eye Blind and All Time Low were all on the bill. How many other festivals out there can see such a diverse line-up for a decent price of $50 (including all of the bullshit Ticketmaster charges)? Here’s what they did right: 1.  Provided a great line-up that offered something for all ages. 2. Had lesser-known bands signing autographs and allowed fans to take pictures with them. And, 3. They booked a great venue.



The Bamboozle Roadshow offered a lot of different acts for all ages. They showcased bands like Forever the Sickest Kids, All Time Low and Boys like Girls to appeal toward the younger female crowd. I honestly can’t remember the last time I was the oldest person at a concert by at least 10 years. Bamboozle broadcasted bands from different generations to the masses, but, the order of performances left something to be desired. For example, why would you have Good Charlotte play before All Time Low? While it may have been a ploy to keep the kids out longer, but those there to see All Time Low don’t even know most of Good Charlotte’s songs. When Joel Madden of Good Charlotte comes on the stage and says, “We wrote this song 10 years ago!” I couldn’t help but think if he knew that the average person in the crowd was in first grade at that time. With that being said, the band did a great job of motivating the crowd and getting them psyched for the other performers in the line-up.



Aside from the lack of not preparing a proper performance order, each band gave one hell of a fun show. All Time Low was completely honest about their technical difficulties, shouting to the crowd, “Our shit doesn’t work and it totally fucking sucks! So who’s ready for snack time?” and proceeded to throw popcorn, Twinkies and other snacks out to fans who stuck around despite the rain. Ten minutes later the band was able to get all of their stuff to work and the crowd lit up like a light switch. Was the day a waste? Nope. People were still able to enjoy great music for the money, and the bands definitely got to see fans that appreciated them.

The crowd surrounding the back porch stage at the House of Blues is sweaty and ready.  They have been warmed up from Chico Trujillo and they want to keep dancing.  The Chicago House of Blues has transformed into a Latin American music bar from the heart of downtown Miami.  The stage lights match the feeling of Grupo Fantasma with infatuation and love.  Grupo Fantasma approaches the stage cool and confident.  They aren’t the kind of guys that feel the need to project their voice when they’re able to have their instruments do the talking for them.



This band consists of 10 different members.  The one thing, among many, that set this band far above other multi-member bands is that every member does more than just play their chosen instrument. Vocalists Kino Rodriguez and Jose Galeano are able to play every percussion instrument while singing with a voice that will attract the attention of any woman.  They are able to sing while keeping a rhythm that matches their hands and hips perfectly. Rodriguez and Galeano are able to keep the crowd entertained and happy. Along with Rodriguez and Galeano, guitarists Beto Martinez and Adrian Quesada play to the way of how a couple dances the tango, flowing and filled with natural beauty.


Grupo Fantasma’s performance brings enthusiasm and passion.  Their show will make you dance, even if you don’t know how.  Grupo Fantasma clearly enjoys their music and has the best advertisement money can buy—a great product.

The lights went out and the band took their place on the stage. There was no opening introduction and it wasn’t necessary. The packed house cheered and waited for the band to start. When the stage lights came up, the band immediately jumped in with “Nothing is Easy,” and the crowd went wild. Everyone in the place was grinning from ear to ear as Jethro Tull started up their show. It was a fantastic night for music.

 

Now with over forty years as a successful touring band, performing shows in five different decades, this bluesy progressive rock band has impressed the hell out of millions. Sunday night at Ravinia was no exception what so ever. Five men took the stage with a job to do; to entertain the audience and that is exactly what they did.

 

The up scaled outdoor theater was a great setting for Tull to perform some of their great hits as “Thick as a Brick,” and “Aqualung” that everyone would expect to hear in their concert. They also dug down deep and pulled out some “B” side material that impressed the true fans. One of the big surprises of the evening was “Farm on the Freeway.” It was a very nice piece from the album Crest of the Knave.

 

Ian Anderson throughout the show played tough flute pieces as he danced around the stage. He performed his signature step for brief moments, standing on one leg, kicking through the air with his unique version of an Irish jig. His playing as a flautist has changed over the years from his beginning comical days into a highly sophisticated musician. His runs have become fluent as they flow so wonderfully within every piece of music. He kept the crowd’s attention as he hammed it up on stage doing his best to gain the award of entertainer of the year. Most of the fans that attended would gladly present him with a trophy.

 

Martin “Lancelot” Barre is still one of the most under-rated guitarists to ever pick up a six string. His ability during the entire show was mighty powerful from every note that he played. His solo capabilities are far past what most other guitar players can do and he has the ability to play rhythms that most musicians can only dream about. The intricate display on stage was superb and scary that someone could become so much a part of his musical instrument. For the guitarist who has influenced so many players over the years, hats off to you. 

 

Doane Perry kept the meter going during the concert never missing a beat. This rock band would not be the same without this man behind the drum kit. His triumphant displays come across so effortlessly showing his talent within everything that he plays. His precise engagement with percussion instruments is a delight to see and hear. His drum fills at this show were so amazing, in sync, and to the point. The dynamic range of Doane is unbelievable for the fan and by your average four-four timing drummer. His elevated playing skills have far passed what other drummers have done in Tull and live he has been doing it for over twenty-five years.

 

John O’Hara had a solid keyboard performance during the show on each and every song. One of most important parts of Jethro Tull music had become their keyboard player even though they didn’t even have one when they first started out. They have gone through so many keyboardists over the years and this guy had to duplicate what so many competent musicians have done before him. He pulled off everything without even appearing to sweat. His musical knowledge was apparent as he pulled off the classical runs during the opening to “Locomotive Breathe” and the middle jam in “Thick as a Brick.” He proved that he is more than capable of doing his job as a member of this band and he fits in well.

 

David Goodier provided the low tones that were felt deep down within your body and soul. Approximately a half dozen bass players have taken the stage with this band since 1968 and none of the previous ones may be in the same league. The master of the low end showed his skills during “Bouree” as he displayed sweet bass parts. His quick and finesse like attack kept everyone supplied with the most pristine bass lines within a live setting that anyone could possibly ever imagine. He was sporting a monster of a six string bass that sounded as good as it looked.

 

The night consisted of songs being played such as “Beggar’s Farm” and “A New Day Yesterday.” The sound mix of the group, as always, was just a clear and perfect presentation of music. For the awesome display the band played their fingers to the bone. Ian presented the audience with two giant balloons that he balanaced on his head during “Locomotive Breathe” before throwing them into the crowd. The balloons were knocked around above the crowd like a giant beach ball. Their final song played and Tull put on another tremendous show that could go down in the record books. One of the balloons popped as the fans grabbed for a piece of the souvenir and two small children got the other one to take home. Their final song played and Tull put on another tremendous show that could go down in the record books. Ian and the rest of the band said, “Bye – bye! Bye – bye!” The lights came up and “What a Wonderful World” by Louis Armstrong played through the theater giving everyone their walking music.

 

Ravinia was an excellent setting for this concert to take place. Jethro Tull had a beautiful setting to display their music. The band as always played some of the most difficult music done by any band that ever existed. They came, they played, and they conquered their fans. They brewed the songs of love and hatred as the crowd hummed along and kept on going. It was truly a magical evening.

When I was younger, I thought that plays were these boring events that boring adults went to when they felt like socializing with other boring adults.

As I’ve grown older (and wiser?) I have come to learn that sometimes this premise is not too far off from the truth.. but in the case of Killer Joe, “boring” could not possibly describe one second of this masterpiece written by Pulitzer Prize-winning playwright Tracy Letts.

The Smiths hire “Killer” Joe Cooper (Darrell W. Cox), a detective who moonlights as a hitman, in order to cash in on a scheme hatched by the troubled son, Chris (Kevin Bigley). Chris gets himself into a situation where he owes some money to a group of local thugs, and to get out of it he persuades his father Ansel (Howie Johnson) to hire Killer Joe Cooper for the murder his biological mother (whom Ansel has long since divorced). The insurance policy is set to go to Dottie (Claire Wellin), Chris’s mentally unbalanced sister. Sharla (Somer Benson), Ansel’s new wife, is also in on the deal – and the Smiths tentatively agree to split the money.



Of course, everything does not quite go according to plan – and this results in a lot of pain and suffering for everyone involved. The Royal George Theater is not admitting guests under 17 for this performance, and for good reason – nudity, graphic violence, and adult language abound in this production. But that’s not to say that they are without reason.. in fact, these scenes are absolutely necessary in order to believe that this family exists in a real space – because every moment of what happens on stage is incredibly real.

The best aspects of theater were in play here: broad swings of emotion, twists and turns, comedy, tragedy, staging, lighting, effects, etc. In fact, the players in this production were so talented that I find myself unable to pick out individual moments of the piece to talk about.

What I will say is that the use of the set and props in Killer Joe was head and shoulders above any other production I’ve seen in recent memory. The actors brewed real coffee, smoked real cigarettes, ate real chicken, and watched real television (this and other aspects of the direction were surely the work of the brilliant Rick Snyder). For me, this took the play an extra step towards reality.. and wow, reality can be a scary place.

This is a play about a family. Sure, it’s a dysfunctional family living in a dilapidated trailer and hiding quite a few skeletons and more than one bag of dirty laundry.. but a family nonetheless. Plenty of attention is paid to the character development here, and that really shines through. Anyone and everyone who appreciates good theater should find their way to the Royal George Theater and see Killer Joe.