Items filtered by date: November 2007

What the hell is pantomime anyway?  Will I be reviewing a game of Charades?  

Google to the rescue! But I searched in vain for a definition: 

1. pan·to·mime      [ˈpan(t)əˌmīm] a play or entertainment in which performers express themselves mutely by gestures.

PrideArts mounting a silent production? Um …. I find that unlikely in the extreme

2. theatrical entertainment based on a fairy tale and using Slapstick humor, designed for children and family entertainment. 

Has PrideArts become a children’s theatre? A venue for family entertainment?! Oi!  Tell me ain’t so!

3. Pantomime is a production of songs and dancing generally using gender-crossing actors…. 

Aha! That’s more like it!

1. Gender-crossing actors …check!
2. Singing and dancing … check!
3. Based on a fairy story … check!
4. Slapstick humor … check!

Put ‘em together and whaddaya got?  Bibbity Bobbity Boo!

But we can’t expect the internet to do all our work for us. It was time for field research.  So I pulled up my socks and set out for PrideArts Theatre, wherein I found:

All of the above, sans kids. What I was not expecting was the phenomenon of the SLAPSTICK DAME. Wikipedia helped me there: a British  pantomime dame  involves portrayal of female characters by male actors in drag, often in an extremely camp style with heavy makeup and big hair, exaggerated physical features [c’mon Wiki, just say ‘big tits’], performing in an over-the-top style.   

Oh yeah!  NOW we’re on the same page! 

OK, are we good with the definitions now? Let’s get to the freakin’ play!

Nanny Fanny (Neill Kelly), despite appearing in none of the fables, had a lead role in THROBBIN’ WOOD, along with her son Silly Willy (Freddy Mauricio). Every time N.F. came on stage [erm… I mean she mounted … erm …entered the stage] we were expected to.…

… Oh yeah! Forgot to mention – pantomime also requires audience participation. We were instructed to yell: “Spank me, Nanny!” each time Nanny Fanny came on stage [oh dear. I did it again!]. Other characters/situations provoked divers reactions.

There. See? That’s the sort of humor you’ll find in THROBBIN’ WOOD. 

Pantomime is a Brit thing, and you know those Brits and their idea of humor: vulgar puns, dirty double entendre, indecent innuendo, and other forms of vulgar waggery and unseemly buffoonery.  But pantomime requires a bit more than indecorous dialogue, and that’s where the acting comes in! Neill Kelly’s Nanny Fanny was outrageously OTT; her son Willy (Freddie Mauricio) was demonstrably Silly. Bryan Fowler’s Throbbin’ Wood was extremely debonair (though not too bright; but obstetrics was dodgier back then). Kyle Johnson was a perfectly glorious Anal-A-Dale, while Jack Gordon disseminated ecclesiastical good cheer and spiritous libations. I’d sure like to be a fly on the wall during his Confession! 

Don’t forget the Villain: Ryder Dean McDaniel had the perfect eyebrows for the job, and he employed them masterfully, the nefarious rapscallion!

Which brings me to the final Merry Man, Little Jonny (Jackson Anderson). Little Jonny was such a disappointment to me: a damp squid; a flash in the pan; a lead balloon. Mind you don’t misconstrue my meaning here! Jackson Anderson was superb, his character indispensable, and his appearance … mm mm mm. Finger-lickin’ good. BUT he never, not ever, no way, no how, NEVER authenticated his name!  We were told the appellation was chosen due to his extreme modesty, but still I left PrideArts without being allowed to appraise this crucial nominative characteristic personally.

I won’t go into details about the plot, partly to avoid spoilers but primarily because I’m not certain there was one. But here’s the layout:

Silly Willy (Freddy Mauricio) is telling his mum [Spank me!] about joining the Merry Men with Throbbin’ Wood (Bryan Fowler) — quite understandable, for Throbbin’ is tall, handsome, noble, and possesses … well, THROBBIN’ WOOD! What more couldja want???

If this enticement is insufficient, consider his Merry Men:  religieux Triar Fuck (Jack Gordon), renowned archer Anal-a-Dale (Kyle Johnson), and Little Jonnie (Jackson Anderson), of whom we’ve already spoken. See, THROBBIN’ WOOD is kinda like Lord of the Rings in that it features a bountiful cast of strong, handsome, heroic men but is bereft of females … and they consider this a problem!?  Go figure….

One imaginational figment was Fairy Glitterous (Danielle Bahn), who periodically appeared onstage for little apparent reason but to bring glitter, bling, and pink tulle into an otherwise fairly monochromatic set. But that’s OK! Everybody needs a little glitter, bling and pink tulle in their lives.

[NOTE TO DIRECTOR:  give F.G. a bag of glitter with which to shower the audience …yeah? ….no?  just sayin’]

Where was I? ah, the exiguousness of women in THROBBIN’WOOD. So let’s proceed to Maid Marion (Emma Robie), who is a pulchritudinous [isn’t that just the BEST word?!] maiden madly in love with THROBBIN’ WOOD.

Now I just know I’m forgetting someone ….  Oh yeah – we need a villain! The Sherriff is flawlessly depicted by Ryder Dean McDaniel [Boooooooo], who is ardently dedicated to, not solely the despoliation of our hero THROBBIN’ WOOD, but also to the inveiglement of Maid Marion. To this end he consigns her to a dungeon for no more malfeasance than rebuffing his advancements. 

[REVIEWER’S NOTE] I’m unfamiliar with this style of blandishment … unless M.M.is a rope bunny? …

OK, that’s the cast. Let’s slip backstage to congratulate Director Taylor Pasche and Assistant Caitlin Preuss on how skillfully they herded this bagful of cats. The ambience of many a scene was fomented by music (Music Director Chad Gearig) to provoke an appropriate response to each character: e.g. yelling Spank Me! for Nanny Fanny and Boooooo for the Sheriff. The spiritus mundi of the different scenes and characters is likewise imputable to Scenic Designer Hayley Wallenfeldt. The props were managed by Annaleigh Stone; Jen Cupani and Caitlin Preuss directed Choreography, and Costume Director Victoria Jablonski showcased an abundance of Men in Tights for our delectation.

I close this review with: I once asked a dramaturgic friend: “WTF does a Stage Manager actually do?”, to which they responded “Everything”. Corbin Paulino did everything.

THROBBIN’ WOOD is playing at PrideArts THeatre through December 15. 

I RECOMMEND you check it out!

Overall Citadel Theatre’s ‘Dames at Sea’ has a smashingly great cast of singers and dancers, perfect for a musical comedy satirizing the over-the-top 1930s movies and Broadway revues that were light on plot and heavy on costumes, dance routine, and ostrich-feathered pageantry. 

That’s exactly what ‘Dames at Sea’ pokes fun at, but lovingly. It originated in 1966 as an Off-Broadway show that ran for 575 performances, and became the launching vehicle for Bernadette Peters. Set in the early 1930s, its book and lyrics by George Haimsohn and Robin Miller, fittingly for a satire, embody every theater cliche imaginable: A Midwestern chorus girl steps off the bus in Manhattan, falls into a Broadway lead, and rockets to stardom. Plot points are near memes harvested from musical extravaganzas of that decade: The star is sick! What are we gonna do?! The show must go on! Well kid, think you can do it?! What choice does any trouper have?! 

Melody Rowland as Ruby and Beck Hockason as Dick in "Dames at Sea."

Six decades later, it’s still totally fun, the comedy broad, the exposition minimal, because we already know the story. Choreography is great, though heavy on the tap shoes, and lilting, lovely choral singing, to boot.

The melodious score by Jim Wise pairs beautifully with Haimsohn and Miller’s lyrics— every song is original, but they all sound like something you’ve heard before. Conjuring up Cole Porter’s 1935 “When They Begin the Beguine“ is Wise’s “The Beguine,” a deft reflection of the original, played with exaggerated passion in a singing-dancing duet by Mona (Ciara Jarvis) and Captain (Steve McDonagh). Or “That Mister Man of Mine,” which, though different and original, is reminiscent of “Can’t Help Lovin’ Dat Man of Mine” from “Show Boat.”

Ciara Jarvis as Mona in "Dames at Sea."

There are some very good voices in this show: Beck Hockason in the role of sailor Dick; Melody Rowland as Ruby, that Midwestern chorus girl; and McDonagh as Captain. Very much in the Benadette Peters mold is Ciara Jarvis as Mona. Jarvis’s acting chops shows she gets it, and she plays the inside joke to the audience effectively. Jarvis also has a wonderful, rich stage soprano,liltingly beautiful and “she’as easy on the eyes,” as a gaffer might have remarked backstage.

All this is quite wonderful, and we could call the show a great success save for one horrible aspect: sound and music. The cast was well miked, and their voices were great—when we could hear them. Unfortunately the prerecorded orchestration was played at too loud a level, at least on opening night. Rarely could singers get above and beyond it. Even so, a couple numbers succeeded, “The Beguine,” and in Act II, “Raining in My Heart,” featuring restrained musical accompaniment that for the moment was closer to balance with the live singing. 

The recording of the accompanying music was also lacking—just simply unpleasant arrangements. Combined with being too loud, it was not good. Hopefully, sound adjustments are made for future performances. And as to stage and sets, perhaps Citadel will consider relocating to a more accommodating stage. One with a true backstage, or at least the possibility of actual sets. This is merely a high school auditorium, and a wall-sized LED screen is all they’ve got for background.

Were that sound tuned, this show could be somewhat recommended. It seems a shame, with such a professional cast and the investment in licensing of a strong property. “Dames at Sea” plays through December 15, 2024 at Citadel Theatre in Lake Forest, IL.

When Francesca Zambello, director of The Glimmerglass Festival, commissioned an opera about race in America, the country was reeling from a spate of police shootings of young African-American men in Missouri, Ohio, Oklahoma, and South Carolina. By the time the commissioned work Blue premiered at The Glimmerglass Festival in 2019, police killings of unarmed African-American men and women had soared to nearly 135.

While Blue holds up an often times uncomfortable mirror to racism in America, it is much more than a “protest opera” or an opera about police violence. In the words of director and librettist Tazewell Thompson, an internationally acclaimed director for opera and theatre, “I wrote [Blue] from an obsessive need and responsibility to tell an intimate story behind the numbing numbers of boys and men who are killed.”

And that is exactly the powerful appeal of Blue, which recently premiered at the Lyric Opera. Through Thompson’s intense and profound libretto and the soaring score composed by Tony-Award winner Jeanine Tesori, Blue draws us in beyond the names and the headlines to the unimaginable suffering of the families who have been torn apart by these tragic and senseless deaths.

Blue is a powerful, passionate, and yes, painful depiction of a family and community coming together in crisis and faith. Hailed by critics as a “new American classic,” it was named the Best New Opera of 2019 by the Music Critics Association of North America. Tesori, who won recent Tony Awards for the music to Kimberly Akimbo and Fun House, brought her considerable talent and success as a Broadway composer to create a score that is both contemporaneous and timeless. Thompson drew on a canon of African-American literary greats, including James Baldwin, Ta-Nehisi Coates, and Claude Brown, to write a libretto that is passionate and unapologetic.

The story centers on a Black middle-class couple living in Harlem, whose lives are shattered when their teenage son is shot and killed by a white police officer. Compounding the tragedy is the fact that the Father himself is a so-called “Black in Blue” – a member of the very same police force.

The two-act opera opens with the Mother performed by Lyric favorite Zoie Reams, who has gathered her girlfriends to share her wonderful news of her pregnancy. As her girlfriends, a charismatic trio led by Ariana Wehr in her Lyric debut and Lyric veterans Adia Evans and Krysty Swann, titter and exclaim over the Mother’s husband (“Damn girl,” they sing), the mood shifts suddenly as they learn her child is a boy. Oh no, no, no, they lament, reminding Mother that she is breaking the cardinal rule – “You shall not bring a black baby boy into the world.” Through a poignantly performed plea, Mother prevails upon her girlfriends to bless her child, whom she vows to bring into this world with love and hope.

The scene segues to Father, expertly performed by bassist Kenneth Kellogg in a role written specifically for him, as he reveals the news of his pending fatherhood with his three fellow police buddies (Terrence Chin-Loy, Jonathan Pierce Rhodes, and Christopher Humbert, Jr.) at the local watering hole, who can barely tear their eyes from watching the football game. Yet, they share in Father’s joy, peppering him with lighthearted advice and warnings about being a dad.

The first act concludes sixteen years later, when the Son, performed magnificently by tenor Travon D. Walker, and the Father engage in a bitter argument. The father confronts his son, who has been frequently at odds with the law for his involvement with non-violent political protests. “Look at yourself,” the Father intones. “Pull up your pants. Take off that hoodie.” The son pushes back, derisively accusing the Father of being “a cop,” “A clown in a blue suit,” upholding an oppressive system. Act 1 concludes with the Father, despite his son’s bitter words, offering an emotion-filled pledge to love and hold his son always.

As the second act opens, we discover that the Son has been shot and killed by a white police officer at a protest. The heartbroken Father meets with the Reverend, powerfully performed by Lyric veteran baritone Norman Garrett, who attempts to console him and encourages him to forgive. But the Father, in an ironic twist, adopts much of his son’s attitude and words, angrily lashing out at the Reverend. “I’m not here for redemption,” the Father says, “I’m here to confess” the revenge he plans to exact against the white officer. Yet, the Reverend continues to console the Father, and in a groundswell of pain, the two perform the beautiful heartrending duet “Lay my burden down.”

Meanwhile, the grief-stricken mother is attended once again by her girlfriends, to support her as she buries her son. In a particularly heartbreaking moment, Mother falls to her knees and begs God to return her son to her. “I don’t care if he’s blind; if he has no hands or feet. Just that he is alive,” she laments. But then, she bitterly remembers that “We are not God’s favorites.”

At the funeral, Father and Mother together wrestle with their grief. But with the prayers and support of the congregation, as the theme of “lay my burden down” is reprised, the two find consolation in their faith and community. The opera concludes with a flashback to the Son’s last night at the dinner table with his father and mother, pledging that this will be his last protest and promising that “nothing will happen. Nothing.”

Blue is an important, relevant opera, touching on themes and issues in a way that is not confrontational but heartfelt and profound. You may feel uncomfortable, but you will not walk away from this performance untouched and hoping for a better world.

Blue is in a limited engagement at the Lyric, with performances on Nov. 20, 22, 26 and December 1. For ticket information, visit Lyricopera.org.

Even 40 years later, the AIDS crisis continues to shape American life. Long before Hollywood brought AIDS stories to the cultural mainstream, the theatre was a safe place for actors and writers to explore their fears and sense of injustice for a mass audience.

‘Falsettos’ playwright William Finn began working on what would become the now classic musical in the 1970s, as a response to the gay liberation movement. The play started as a series of one-acts concerning Marvin, the show’s protagonist as he navigates leaving his family for his male lover. Initially the first installment, ‘In Trousers’ was a critical and commercial failure. Finn considered abandoning theatre entirely, but instead collaborated with lyricist James Lapine to create ‘Falsettos’. A musical that would explore both gay liberation and the early years of the AIDS epidemic through the vantage point of Finn’s character Marvin.

Court Theatre and TimeLine Theatre team up for a joint revival of ‘Falsettos’ at the Hyde Park theater. With a 70s-themed set, audiences are transported back to 1979 where they meet Marvin, the play’s central character played by Steven Schellhardt. Not only is this a play about gay culture, but it’s also a celebration of the Jewish-American experience. The show begins with a song ‘Four Jews in a Room Bitching’ that introduces the sing-songy musical style that permeates throughout.

Marvin is leaving his wife Trina (Sarah Bockel) for his new lover Whizzer (Jack Ball). Trina is taking up with the family psychiatrist Mendel (Jackson Evans). Their son Jason (Charlie Long) is caught in the middle as his parents duke it over his approaching bar mitzvah. Marvin wants it all, his perfect nuclear family and his new lover, at whatever emotional cost that comes to his son, his lover and Trina. What’s so striking about the first act is how modern the themes are. Perhaps in a world without the specter of AIDS hanging over it, this odd family arrangement would have eventually worked itself out. Act I essentially lives in a vacuum uninfluenced by the coming epidemic. Act II catches up with the characters two years later. Things have slightly improved for Marvin and his family but another grim reality emerges. Whizzer becomes one of the AIDS epidemic’s first victims. This 11’o clock tone shift admittedly feels jarring especially against the chipper upbeat music. Though, it makes this musical feel unique as far as AIDS literature goes. It’s not the AIDS musical per se, but rather a musical about the gay experience that features AIDS. In this story, the virus is so new it doesn’t even have a name or a course of treatment.

Lyricist James Lapine crafted words for Sondheim classics like ‘Sunday in the Park with George’ and ‘Into the Woods’. His signature rhyming scheme are both a blessing and a curse for ‘Falsettos’. Sarah Bockel is undeniably this production’s strongest asset, especially during  numbers like ‘Trina’s Song’ showcase her talent as a singer and physical performer. However, the lyrics feel outdated as any sort of feminist anthem.

The play is aptly titled ‘Falsettos’ as the characters are often singing in a much more upbeat style than the content of the lyrics. Sometimes it works, and sometimes the rhyming feels like a reach. The musical style works well in big cast numbers like ‘Falsettoland/It’s About Time’, but when the play takes on a more serious tone the format feels contradictory to the plot.

Director Nick Bowling and music director Otto Vogel present a faithful, high-end revival that will delight fans of the musical. The cast rises to the occasion wonderfully, especially child actor Charlie Long as the hopelessly awkward teen caught in the middle of his parents’ drama. Putting ‘Falsettos’ into the context of today’s more accepting world, it feels like a victory lap, a reminder of how far society has come. It’s a celebration of love in all its forms. 

Through December 8 at Court Theatre. 5535 S Ellis Ave. 773-753-4472.

I thoroughly enjoyed Drury Lane's enchanting stage production of Disney’s The Little Mermaid from start to finish. While few are overly familiar with Hans Christian Andersen’s original, darker tale of ill-fated romance, the Disney animated film and this stage adaptation, with a book by Doug Wright and music by Alan Menken, lyrics by Howard Ashman and Glenn Slater, beautifully transform the fairytale into a heartwarming story of love and triumph for the heroine, Princess Ariel.

The mermaid Ariel, portrayed with sunny enthusiasm and skillful vocal stylings by Sarah Kay, is a Princess and the beloved daughter of King Triton, convincingly played by Anand Nagraj. Ariel is captivated by the world above the waves, yearning to experience the sunshine and the joy of walking through green fields. Her fascination with the human world deepens when she falls in love from afar with a human prince.

During a fierce storm, Ariel saves the Prince from drowning, and in that moment, she finds herself falling for him. The Prince, portrayed with sensitivity and earnestness by Patrick Johnson, is captivated by the voice of his rescuer, though he never sees her face as Ariel swiftly returns to the sea, hiding her mermaid identity.

The chemistry between Kay and Johnson enriches their characters, making their blossoming romance both believable and heartfelt. Kay's Ariel exudes innocence and curiosity, while Johnson's Prince captures sincerity and a deep longing to find the mysterious singer who saved his life.

King Triton, wary of humans and deeming them dangerous, has commanded his daughters to stay away from them. This forces Ariel to make a desperate deal with Ursula—her powerful, estranged, octopus-like aunt, who was once banished by King Triton, her brother.

Anand Nagraj as King Titan and Michael Earvin Martin as Sebastian. 

Ursula, portrayed by Sawyer Smith, casts a spell on Ariel, compelling her to give up her extraordinarily beautiful voice in exchange for a chance at love. Ariel must win the heart of the Prince, who must love her so deeply that he is compelled to kiss her. Only True Love's kiss can break Ursula's twisted spell. If Ariel fails to find true love and receive the Prince's kiss, she will be banished to the underworld, and Ursula will claim her soul. Sawyer Smith, as Ursula, is a showstopper! Smith's costumes, makeup and movements are menacing, powerful, yet glamorous all at the same time. Smith’s talent is fully on display during a commanding rendition of “Poor Unfortunate Souls.”

The cast delivers uniformly strong performances throughout. Matt Edmonds also stands out with his impeccable comic timing as Chef Louis, eliciting plenty of hearty laughs with his hilarious solo number “Les Poissons.” 

I valued the emphasis placed on the power of a single woman’s voice and the profound impact of a young woman losing her voice, especially in today’s context. It was heartwarming to see so many young girls in the audience, their faces glowing with delight. They were captivated by the show's humor and romance, yet also deeply moved to tears by the poignant theme of Ariel sacrificing her voice to win the love of a man.

This production, under the skillful direction of Scott Weinstein, with choreography by Kasey Alfonso and a vibrant set designed by Tijana Bjelajac, excels in providing delightful musical theater entertainment for both children and adults. It is truly a pleasure to watch.

Patrick Johnson as Prince Eric and Sarah Kay as Ariel.

The puppetry in this production was extraordinary, among the finest I've seen on a Chicago stage. For instance, the two eels, Ursula’s sinister accomplices, glide gracefully through the audience and across the stage with glittering lights encased in sheer black chiffon, creating an absolutely magical effect. The puppet characters were all exceptionally well played and designed. Notable performances include Sebastian (Michael Earvin Martin), Scuttle (Landree Fleming), Flounder (Maya Lou Hlava), Jetsam (Ryan Michael Hamman) and Flotsam (Leah Morrow). The impressive puppet design was crafted by Chicago Puppet Studio, Caitlin McLeod, and Zachary Sun. 

The set design, featuring the imaginative light projections by Anthony Churchill and the atmospheric lighting by Ryan O’Gara, brilliantly conveyed the sensation of being under the ocean. Their work uniquely and creatively transported the audience to an enchanting underwater world, making the experience both magical and mesmerizing.

The Little Mermaid is a fantastic ensemble piece, and the entire cast brings the house down with their rousing, colorful, and energetic group number in “Under The Sea.” This performance beautifully captures the splendor of the mermaid's underwater home and castle, making it a mesmerizing highlight.

I highly recommend this colorful, ingenious, and lively production for audiences of all ages who wish to experience one of their favorite Disney fairytales come to life! 

Disney’s The Little Mermaid is being performed at Drury Lane Theatre in Oakbrook through January 12th. For tickets and/or more show information, visit https://drurylanetheatre.com/the-little-mermaid/.

Keith Urban’s High doesn’t just flirt with genre - it throws open the doors and invites country, pop, rock, and soul to the same smoky bar. It’s a record that pulses with emotional electricity, blending introspection and exuberance in equal measure. Urban’s voice - still golden, still agile - acts as both compass and confessional, guiding listeners through a landscape of heartbreak, freedom, and late-night abandon with the ease of someone who’s lived every lyric.

This isn’t an album that seeks symmetry. It’s not polished to perfection or bound by thematic neatness. Instead, High thrives on its contrasts: the tension between swagger and sincerity, between chaos and clarity. Urban isn’t chasing cohesion - he’s chasing connection. And in that pursuit, he delivers some of his most compelling work to date.

Let’s talk about three tracks that don’t just anchor the album - they ignite it.

“Straight Line”

If High were a road trip, “Straight Line” would be the moment the engine roars to life and the windows roll down. It’s a kinetic, full-throttle anthem that channels the spirit of Urban’s early hits like “Days Go By,” but with a deeper urgency - less youthful wanderlust, more deliberate escape. The song is a rally cry for anyone who’s felt stuck in the static and is ready to chase motion, meaning, and maybe a little madness.

The guitar work is lean and propulsive, the chorus tailor-made for stadium echoes, and Urban’s delivery is infused with a sense of earned liberation. It’s not just a song - it’s a reclamation. A reminder that joy isn’t passive; it’s something you have to chase, even if the road ahead isn’t paved.

“Straight Line” doesn’t just open the album - it defines its emotional architecture. It’s the heartbeat that pulses through every track that follows.

“Messed Up Like Me”

Here, Urban trades the open road for a dimly lit room and a brutally honest mirror. “Messed Up Like Me” is a slow burn - seductive, shadowy, and emotionally raw. It’s the kind of song that lingers long after it ends, not because it’s catchy, but because it’s true. Urban explores the wreckage of a toxic relationship with aching vulnerability, capturing the paradox of two people who are wrong for each other but right in all the wrong ways.

The production is sleek and moody, with a haunting undercurrent that mirrors the dysfunction. Urban’s vocals are stripped down and intimate, as if he’s whispering confessions into the dark. It’s one of the album’s most emotionally resonant moments - a ballad that doesn’t beg for sympathy, just understanding.

As Urban put it, it’s about a relationship where “only one good aspect” keeps them tethered, while everything else is unraveling.

“Go Home W U” (feat. Lainey Wilson)

And then there’s this glorious detour into honky-tonk heaven. “Go Home W U” is a duet that doesn’t pretend to be romantic - it’s rowdy, bluesy, and unapologetically impulsive. Lainey Wilson brings fire and flair, trading verses with Urban in a playful, whiskey-soaked back-and-forth that feels like a flirtatious barroom dare.

The chemistry is electric, the groove infectious, and the vibe pure neon mischief. It’s a song for sticky floors, bad decisions, and the kind of night that ends with laughter and regret in equal measure. The psychedelic-tinged music video only amplifies the chaos, turning the track into a visual fever dream of flirtation and freedom.

Urban said it began as a late-night drum loop and evolved into a chorus “that could be sung by any drunk person in any bar anywhere in the world.” Mission accomplished.

High doesn’t posture or preach - it confesses. It trades profundity for authenticity, and in doing so, uncovers something far more compelling than polish: truth. Whether Keith Urban is reckoning with past regrets, chasing the rush of reinvention, or simply strumming his way through the chaos with a grin and a guitar, he’s never felt more grounded, more vulnerable, more alive.

The album’s brilliance lies in its refusal to play it safe. It doesn’t follow a straight line - it zigzags through joy and wreckage, swagger and sorrow, impulse and introspection. It’s a celebration of the beautiful mess that lives between heartbreak and healing, between the thrill of the moment and the weight of memory.

This isn’t a tidy journey. It’s a wild ride. And Urban doesn’t ask you to hold on - he dares you to let go.

“Every Brilliant Thing,” places unusual demands on its lead character, Narrator. Jessie Fisher delivers a carefully calibrated performance from a comedic script that is deceivingly simple, but deeply emotional and upon reading it afterward, I saw that it is beautifully structured, as well. 

Fisher is the center of our attention in this 70 minute monologue that evokes the gamut of emotions—at times poignant and tearful, at others boisterously funny. She relates a sampling of thoughts of people, places and things intended to capture life’s happy and satisfying moments. This was Narrator's lifelong quest, begun in childhood, to stave off her mother’s suicidal tendencies by coaxing her to dwell on the brighter side of things.

In this demanding role, Fisher must be onstage 30 minutes before the “curtain” rises formally, welcoming each audience member with numbered slips of paper, each bearing a charming thought evoking joy: 1. Ice Cream. 2. Water fights. 3. Staying up past your bedtime and being allowed to watch TV. In the course of the performance, we are each called upon to read aloud the item we received. (My companion had #1654: "Christopher Walken's voice." mine was #1655: "Christopher Walken's hair.")

Fisher also eyes the incoming ticket holders as potential stagemates, and several will be called from their seats to play an array of characters from her life: a school counselor, a lecturer, a veterinarian, her father, her spouse, even herself, at one point. As the formal show begins, Fisher narrates the story of her life, and calls on these individuals and others, and all of us eventually, to voice items from the list, or to play the bigger roles. She becomes both actor, and director, and we are transformed from spectators to players, the fourth wall continuously dissolved in this unusual play.

So reliant on the audience is “Every Brilliant Thing,” that each performance varies significantly—yet reading the script afterward, things that I imagined must have been spontaneous or ad libbed, are in fact detailed by the British playwright Duncan Macmillan (with comedian Jonny Donahoe, who played Narrator in the original productions in London and New York). Director Kimberly Senior has guided Fisher to a remarkable performance that is deceivingly natural and immensely convincing. I had a chance to see “Every Brilliant Thing” a couple years ago at WIndy City Playhouse, and this production, in Writers Theatre's more intimate Gillian space is every bit as good as that one.

We see Narrator through stages of her life, in college, getting engaged, married, divorced—all the while growing and maintaining this list of “brilliant things” that make life worth living. In her earlier life, she shared it with her mother, but it made little impact on her. The audience members are cued to read their assigned thoughts by number. As she courses through life, Narrator’s list grows into the tens of thousands, and hundreds of thousands, deepening in complexity. The pace of Narrator's recitation of brilliant things hastens, and she recites many of them herself.

We see that ultimately, this list is for the Narrator, a lifeline to which she clings as a vision of a happier life. 

 “Every Brilliant Thing” runs through January 5, 2025 at Writers Theatre in Glencoe, IL, and comes highly recommended. 

*Extended through January 12th

Sometimes history has a way of repeating itself and it’s not always for the better. Try as we might to learn from history, some of us are simply doomed to repeat it. But not everything that is repeated is necessarily bad. Historical music, art, and opera transcend history, where repetition is not only encouraged, but exalted. There is something magical about watching a live performance of an artform that was performed for audiences over two hundred years ago and think about the audience’s reaction then and now; did they laugh the same way? Did they like it as much then as we do today? Did they really use the word ‘b*$%h?’ There is truly a magical and historical connection happening at The Lyric Opera as they put on one of the most beloved operas of all time, The Marriage of Figaro.

The Marriage of Figaro continues the plot of The Barber of Seville several years later, and recounts a single "day of madness" (la folle journée) in the palace of Count Almaviva near Seville, Spain. Rosina is now the Countess. Dr. Bartolo is seeking revenge against Figaro for thwarting his plans to marry Rosina himself, and Count Almaviva has degenerated from the romantic youth of Barber, (a tenor in Paisiello's 1782 opera), into a scheming, bullying, skirt-chasing baritone. Having gratefully given Figaro a job as head of his servant-staff, he is now persistently trying to exercise his droit du seigneur – his right to bed a servant girl on her wedding night – with Figaro's bride-to-be, Susanna, who is the Countess's maid. He keeps finding excuses to delay the civil part of the wedding of his two servants, which is arranged for this very day. Figaro, Susanna, and the Countess conspire to embarrass the Count and expose his scheming. He retaliates by trying to compel Figaro legally to marry a woman old enough to be his mother, but it turns out at the last minute that she really is his mother. Through the clever manipulations of Susanna and the Countess, Figaro and Susanna are finally able to marry.

The company of The Marriage of Figaro at Lyric Opera of Chicago.

For those who have never seen an opera before, I could not recommend The Marriage of Figaro enough. The storyline is easy to follow despite the number of colorful characters. The opera is a musical comedy in four acts that first premiered in Vienna in 1786 and follows a comedy of errors as the players scheme and plot to catch each other in lies, all centered around a lascivious man who wants to have his way with a brushing bride, and the many men and women who don’t want that to happen. Mix in some humorous cross-plots and you’ve got yourself a comedy of errors that could have been written today. Composed by Wolfgang Amadeus Mozart, audiences old and young will instantly recognize the harmonies and familiar songs that have been featured in everything from Charlie and The Chocolate Factory and Mrs. Doubtfire, to countless Looney Tunes cartoons, and even viral TikToks. Considered one of the greatest operas ever written, The Marriage of Figaro is consistently ranked as one of the top ten most frequently performed operas. While the opera is sung in Italian, don’t worry, there are English translations displayed above the stage for the audience to understand what is being sung. With a minimalist but grand stage, vibrantly colored costumes, and voices of actors that are remarkably otherworldly, The Lyric Opera pays homage to history of this opera with their production. Helmed by incredible talent from Peter Kellner as Figaro, Ying Fang as Susanna, Federica Lombardi as Countess Almaviva, and Gortdon Bintner as Count Almaviva, this opera is an incredible introduction to the artform for both seasoned and novice operagoers.

When we look back in history, we sometimes wonder if those from the past thought about how they’d be perceived by future generations. Did Mozart know his masterpiece would still be played hundreds of years later? Do the opera singers feel history captured in the libretto they are singing? Not everything in history that repeats itself is bad. The things that bring life, laughter, love, and light into our lives should be repeated, and frequently. When history does inevitably repeat itself, be sure it is pulling you into the light and not into a pit of despair. After all, we could all use a little bit of light and laughter in our lives right about now. So make a night of it in Chicago and see The Marriage of Figaro at The Lyric Opera (20 N Wacker Dr, Chicago) during its limited run through Nov 30^th. Tickets are available at www.lyricopera.org.

Throughout our busy lives we often seek out the new. It is easy to see the allure. Beginnings offer a bit of magic, a clean slate, a chance to start anew. The opportunity brings with it a sense of hope and optimism that maybe this time we’ll be lucky, maybe this time things will change. But there is also just as much magic in endings as there are beginnings, sometimes moreso. The end of a bad relationship, the final day at a toxic job, the final chapter of a good book, the end of a chaotic and disappointing year, endings provide us a rare opportunity beginnings cannot, the opportunity to let it go. And what more fitting way to let it all go and end 2024 than with a bit of magic and a bit of nostalgia with Disney’s Frozen: The Broadway Musical, now playing at Paramount Theatre.

Nominated for a Tony Award for Best Musical, this sparkling Disney fairytale has been reimagined for the stage. The theatrical production of Frozen brings Disney’s beloved animated film to life and fills the stage with winter magic. Set in the magical kingdom of Arendelle, the story follows two royal sisters, Elsa and Anna, as they navigate love, loyalty, and magic. In her struggle to understand her identity, Elsa questions her talents, confusing them for character flaws but ultimately finds strength in her identity and gifts, looking both inward and to those she loves to let it go and be who she was born to be.

Emily Kristen Morris plays Elsa in Paramount Theatre’s Midwest Regional Premiere of Disney’s Frozen the Broadway Musical.

The stage adaptation of the beloved movie brings Disney magic to the stage. The musical has breathtaking scenic designs that transport us to the kingdom of Arendelle, lighting and sound and stage designs that bring magic to life, and an incredible cast of performers to include, but not limited to, Young Anna played by Avelyn Choi, Hans played by Jake DiMaggio Lopez, and Anna played by Beth Stafford Laird. Audiences young and old will feel a sense of nostalgia as the musical is filled with popular songs like “Love Is an Open Door” and “Do You Want to Build a Snowman?” and older audiences will appreciate songs that showcase internal monologues to move the musical forward like “Hans of the Southern Isles” and “I Can’t Lose You,” and all audiences will love the fun musical numbers like “Hygge” and revel at the iconic earworms like “Let It Go.”

It was fitting that the first act of the 2 hour musical ends with “Let It Go.” The audience needed the breather to the climactic beauty of the number helmed by the breathtaking Elsa played by Emily Kristen Morris. The staying power of “Let It Go” lasted long after the curtain calls and final bows. The magic lingered, the message more profound, communicating wordlessly what Director Trent Stork wanted the audience to take away from the performance. “I hope our show gives you the courage to be as bold as Elsa,” says Stork. “I hope you find a renewed sense of bravery from Anna…I hope you remember that love means putting others above yourself.”

Beth Stafford Laird (left) plays Anna and Emily Kristen Morris is Elsa in Paramount Theatre’s Midwest Regional Premiere of Disney’s Frozen the Broadway Musical.

As the year comes to an end, be bold, be courageous, and above all be kind to others and to yourself and let it all go. Good or bad, things inevitably come to an end, a close, a final curtain close. It is not weakness to let something go that no longer serves us or things that are beyond our power to control, it is kindness, and at the heart of it is love. Love yourself and love your neighbors to simply let it go. And if you need a little help to let it go, let Elsa and some incredible theatre magic help you do just that. Frozen: The Broadway Musical is now playing at Paramount Theatre (23 E. Galena Blvd. Aurora, IL) and runs through Jan 19, 2025, tickets are available at https://paramountaurora.com/.

I've always had a deep fondness for the two timeless films Holiday Inn and White Christmas. These movies feature outstanding soundtracks composed by the legendary Jewish American immigrant Irving Berlin. With a repertoire of 1,500 remarkable songs, including the iconic 'God Bless America', Berlin also sparked a Christmas revolution with his deeply emotional and sentimental classic, 'White Christmas'. Few are aware that Irving Berlin experienced a personal tragedy when he lost one of his children to sudden death on Christmas Day in 1928. Despite this, Berlin, an immigrant, always conveyed his profound love for America through his music. Like in 'God Bless America,' he consistently expressed his deep belief in the nation's potential for goodness, unity, and global leadership. Marriott Theatre's White Christmas is a heartfelt tribute to Irving Berlin and offers a wonderful opportunity for audiences to embrace the Christmas spirit.

White Christmas revolves around two talented entertainers, Bob Wallace (Ben Mayne) and Phil Davis (Tyler Johnson-Campion), who form a successful song-and-dance duo after World War II. They encounter singing sisters, Betty and Judy Haynes (Jacquelyne Jones and Kelly Felthous), and follow them to a Vermont lodge owned by their former army commander, General Waverly (Rom Barkhordar).

With the lodge facing financial difficulties due to a lack of snow, the group decides to stage a spectacular show to attract guests and save the establishment. Along the journey, romance blossoms between Bob and Betty, as well as Phil and Judy. The film is filled with memorable musical numbers, including the iconic "White Christmas," and concludes with a heartwarming and festive celebration.

Linda Fortunato directs and choreographs this dynamic in-the-round production, seamlessly transitioning from one spectacular showstopper to the next throughout the evening. The show is further elevated by its four exceptionally talented leads, who bring delightful moments of romance, dancing and humor to the stage.

Ben Mayne initially portrays a slightly stoic Bob Wallace, the character originated by Bing Crosby in the 1954 film. However, as the performance progresses, Mayne’s sensitive acting beautifully reveals Wallace’s transformation from a man guarded and wary of love to one who is deeply and undeniably in love. Meanwhile, Tyler Johnson-Campion dazzles as Phil Davis, a role originally brought to life by Danny Kaye. His immense talent as a singer and dancer repeatedly brings the audience to their feet, with tap-dancing performances that seem to defy gravity and overflow with the exuberance of newfound love. 

Jacquelyne Jones, playing Betty Haynes—a role famously portrayed by Rosemary Clooney—delivers a poignant and heartfelt performance in 'Love, You Didn’t Do Right By Me,' capturing the depth of female grief with striking authenticity. Together, Mayne and Jones enchant the audience as their characters fall in love, beautifully showcased in their renditions of Berlin's exquisite love song, 'How Deep is the Ocean.' While Jones treats the audience with a wonderful performance, Kelly Felthous shines as Judy Haynes, a role played by Vera-Ellen in the film version, bringing an infectious joyous energy and singing with great glee and charm. Felthous and Tyler Johnson-Campion, both exceptional dancers, leave the audience in awe with their expert hoofing in the hugely romantic and fun number 'The Best Things Happen While You’re Dancing.'

Jacquelyne Jone and Ben Mayne in Marriott Theatre's 'White Christmas.'

Rom Barkhordar shines as General Henry Waverly, Wallace and Davis’s retired commander, bringing a blend of humor and warmth despite his gruff exterior. Meanwhile, Robin R. McGee delivers a truly breathtaking performance as Martha Watson, Waverly’s dedicated helper and hotel manager, with her rendition of 'Let Me Sing and I’m Happy.' McGee possesses an indescribable vocal range, delivering her performances with the power and grace of a seasoned star who dazzles brighter than ever. 

White Christmas is a delightful musical, brimming with wit and fun, featuring memorable song and dance numbers that truly leave a lasting impression. Among the numerous standout moments, the entire cast's rendition of “Blue Skies,” set against the breathtaking backdrop of real snow falling in Vermont, is a spectacular and uplifting highlight that will stay with me throughout the winter season.

I wholeheartedly recommend this timeless yet refreshingly vibrant production, brimming with Irving Berlin's endlessly inspiring and romantic music. It's perfect for audiences of all ages who wish to take a joyous journey into the past and fully savor the upcoming Holiday Season.

"Snow, snow, snow, snow, snow!"

White Christmas is being performed at Marriott Theatre through December 29th. For tickets and/or more show information, click HERE.