Items filtered by date: November 2007

Blade Runner Live? Don’t worry, it’s not a musical adaptation of Ridley Scott’s 1982 sci-fi classic. It’s the inaugural film in The Auditorium Theater’s new series, Auditorium Philms, in which five films will be live scored by the Chicago Philharmonic. Performances are scheduled throughout the year and include a special 35th anniversary presentation of Tim Burton’s Batman Returns as well as Francis Ford Copolla’s 1992 version of Dracula.

Likely inspired by the success of Chicago Symphony Orchestra’s live scored film events, The Auditorium’s new series offers a unique way to enjoy classical music performance. In many ways, Hollywood film composers have kept the spirit of classical music alive, or at the very least made orchestra music more accessible to the masses. And who doesn’t sometimes put on their favorite film scores to get some work done?

The Chicago Philharmonic brings a small troupe of performers to the grand stage of The Auditorium, but however small they’re just as mighty. The score leaps off the stage and into the highest rafters of the enormous, gilded hall. Huge shows of percussion give an audience the feeling that the score is as big of a character as either Harrison Ford or Daryl Hannah. A musician also doubles as the vocalist, bringing a three dimensional element to the action-packed score.

Auditorium Philms creates a new hybrid movie theater-going experience. They’re blending the traditional theatre model (including a short intermission) with the “Imax” type rollercoaster ride audiences seem to clamor for with every passing superhero movie. The pandemic further cemented people’s love for not just film, but for also the sense of community that certain films create. Think ComicCon.  Blade Runner, Batman, etc there’s a fan-base that loves to cosplay and generally get to know each other. This series will provide a perfect place for film, theatre and music lovers to “nerd out” among like-minded folks.

Auditorium Philms run throughout 2024, check out the schedule here.

Imagine being Jewish and attending a White Nationalists meeting undercover. Sounds crazy, right? In the award-winning comedian Alex Edelman’s acclaimed Broadway Solo Show, Just for Us you get to hear the story of how Edelman does the unthinkable by putting himself in an extremely uncomfortable situation among White Supremacists. It seems very serious but happens to work perfectly for this comedy show.

The show begins with a few cheesy jokes about gorillas and horses, and how Edelman is dedicated to his craft by spending $800 on sign language classes. Things quickly take a dramatic turn when Edelman shares the blatant anti-Semitism he began to face on Twitter years ago. The scenario gets even more interesting when he finds out there’s a meeting for White Nationalists seeking to “answer questions about their whiteness”. This finding leads to Edelman making a brave and possibly stupid decision to attend the meeting in an apartment located in Queens, New York.

Edelman’s experience attending the meeting carries through the rest of the show as he weaves in childhood stories and random funny lines about our society today. His jokes and anecdotes are brilliantly written with clever punchlines that even made himself laugh. This show is disturbingly relevant to the events unfolding in the world today. And as Jew, who was raised Orthodox, Edelman gives you an inside look of his life experience grappling with his Jewish identity and the hardships of anti-Semitism.

Alex Edelman is a stand-out comedian and is entertaining to watch on stage. He is actively moving around and has quirky movements as he shares his strange experiences and ridiculous thoughts. Comedy seems to come naturally to him as he quickly delivers joke after joke. Edelman did an amazing job engaging the crowd and made us feel like we were a part of his story. He even added a few quiet moments for us to feel how uncomfortable it was for him to be in the room full of anti-Semites at the White Nationalist meeting.

Throughout the show the crowd was on the edge of their seats as laughter echoed in the packed theater. Edelman keeps the audience hooked through ups and downs of laughter and intense silence as he unpacks the depths of serious topics of racism, anti-Semitism, and sheer ignorance. Following the show, audience members were raving with a standing ovation, clapping and cheering.

I spoke with a few of them, and many loved the show. A young man named Asher said, “The show was funny, but relatable, especially if you have experienced any form of being different.”

Another crowd member named Margo said, “It was surprisingly hilarious, endearing and came full circle in the end.” She continued, “It was universal for everybody, something we will take with us and carry from here on out.”

“Just For Us” directed by Adam Brace is hilarious and thoughtfully pieced together with each joke. It’s easily one of the best comedy shows I have seen in a long time. I highly recommend everyone attend this show, no matter your background. The jaw-dropping ending is worth every penny.

The Steppenwolf Theatre was the perfect setting for the comedy show. The theater was sold out and offered a variety of drinks at the bar. The Downstairs Theater has two levels of seating including main floor and balcony areas. The theater is accessible for everyone and is intimate enough so that you don’t feel like you are miles away from the stage.

The Just for Us show runs from Thursday, February 15 to Saturday February 24, 2024. The running time is a quick 85 minutes with no intermission. Showtimes vary day to day from 3:00 pm to 7:30 pm. It’s located in the Downstairs Theater at Steppenwolf Theatre Co. located on 1650 N. Halstead St. in Chicago. Tickets start at $52 and are on sale now at steppenwolf.org/justforus or at the Box Office at (312) 335-1650. Make sure to get your tickets soon as they are selling out fast!

I’ve loved the Joffrey Ballet for almost its entire lifetime (it was begotten just two years after I was). My first memories of seeing the Joffrey Ballet in performance date back to … the Eighties? Seventies? Any road, I’m not a joanie-come-lately fan of the Joffrey Ballet.

The Joffrey never disappoints. I’ve reviewed Joffrey Ballet several times here at Buzz Center Stage and my reviews reflect this: Joffrey Ballet never disappoints. But saying the Joffrey Ballet never disappoints is inadequate to the task of launching a review of STUDIES IN BLUE. I was transported; I was captivated; I was ensorcelled and entranced. In short, STUDIES IN BLUE is the finest program I’ve ever seen Joffrey Ballet perform. 

But I can’t just say that and go on about my day, yeah?  Right then: STUDIES IN BLUE, how do I love thee?

Hungry Ghosts - The Joffrey Ballet Ensemble

The program is three acts, Yonder Blue, Hungry Ghosts, and Hummingbird. I’ve seldom seen three ballets more dissimilar, yet each in its own unique way uplifted and harmonized with the other two to compose a perfectly unified program. Wowie.  

I’m going to snatch this opportunity to thank Artistic Director Ashley Wheater, CEO Greg Cameron, and anyone else who played a part in re-homing Joffrey Ballet at the Civic Opera House. I’ve been seeing and loving shows at the Auditorium Theatre since the early 1970’s, and it’s still a magnificent venue. I, however, have gone a bit to seed over the years, and find the Aud just a leeetle bit challenging to navigate. COH is far more user-friendly now I’m no longer quite so spry. Thank you!  

Yonder Blue was choreographed by Andrew McNicol, premiering in 2019. Yonder Blue’s music was composed by Peter Gregson, performed by the Lyric Opera Orchestra, directed and conducted by Scott Speck. It was delightful, joyful and vivacious but without straying into cloying or syrupy. McNichol reminds us that ‘yonder’ is a word that wobbles, tangible yet hard to grasp.  Yonder implies distance – from here to there – yet it remains imaginary, as once you reach ‘there’ it becomes ‘here’, and ‘yonder’ again withdraws. Jack Mehler (Scenic and Lighting Designer), captures this from the opening curtain – the dancers are silhouetted against a misty sky of blues which is slowly covered by a solid backdrop, creating the illusion of the horizon receding into the distance 'over yonder' as we are drawn deeper into the piece. 

We feel that shifting sense of space and place through both McNicol's choreography and the exquisite execution of the dancers. At one moment their movements are creaky, fractured, straining, and the next they float weightlessly through impossible lifts. If you know me, you’ll know I’m very partial to boy-on-boy dance; McNicol did one better for me with a perfectly splendid pas de trois featuring Jonathan Dole, Alberto Velazquez and José Pablo Castro Cuevas.  

‘Blue’ is another mercurial word, referring now to nature, now to human qualities and even emotions, from ‘feeling blue’ to bawdy ‘blue humor’. Yonder Blue encapsulates these many and disparate associations. The piece ebbs and flows, including an extended full-ensemble unison section which builds from a simple start of stationary forms to a full-stage cascade of whirling exuberance. 

An aside here: reading the program, I was marveling at the company’s diversity:  from Cincinnati to Jacksonville, Indiana to Utah, from Cuba, Japan, China, Estonia, Brazil, Russia, Australia. This diversity was visually evident during Yonder Blue, exposing all that winter-white skin!   

I was excitedly anticipating Hungry Ghosts, choreographed by Stina Quagebeur, as this is the first performance art I’ve attended that is inspired by ‘one of the most seismic human tragedies of modern times’: America’s opioid epidemic. See, opioid addiction is my thing – for 35 years I’ve been an addiction psychiatrist working on the streets with needle exchange programs and other outreach to the human beings ravaged by this unspeakable disease. Unspeakable indeed – there is no advocacy for addicts, and a death toll exceeding 100,000 annually elicits much editorial handwringing but virtually no direct action: jail is still, by several orders of magnitude, the standard (affordable/available/accessible) treatment for addiction.

Sorry, I just couldn’t hold that in. I’ll step down from my soapbox and return to Quagebeur’s far more eloquent litany. Her fittingly titled Hungry Ghosts has it all:  hope and longing, failure and despair, ambivalence and impotent rage and resignation. The disease is embodied by Anais Bueno and Hyuma Kiyosawa in a running pas de deux while the company animates the course of the disease: the swoop to dizzying heights and the inevitable plummet into the Slough of Despond. Jack Mehler’s brilliant Scenic and Lighting Design made ingenious use of vertical scrim panels to portray the addict’s isolation, the urgent necessity but lack of community; hunger and destitution and craving and loathing … all so poignantly expressed by Quagebeur’s choreography and the dancers’ mastery. 

Jeremy Birchall’s music was absolute perfection: alternately discordant and mellifluous; simultaneously strident and harmonic. I trust I’m not trespassing when I say that clearly neither Quagebeur nor Birchall learned about addiction by reading about it in a book – their intimate sophistication can only be gained the hard way. Thus, Quagebeur doesn’t succumb to the banal platitude of wrapping it all up with a pretty bow; rather, the ending reflects the ambivalence and uncertainty of the disease itself; death is the sole unequivocal outcome.  I was leaking tears by the end and was so glad for the standing ovation Quagebeur received for this world premiere performance – may her work advance to stages worldwide!

I was grateful for the intermission as I definitely needed time to recover after Hungry Ghosts, and my ballet buddy and I agreed to be underwhelmed by the final ballet, Hummingbird. I guess Hungry Ghosts rattled us enough to forget the cardinal rule: the Joffrey Ballet never disappoints.

Hummingbird - The Joffrey Ballet Ensemble

Liam Scarlett choreographed Hummingbird, and Lauren Strongin staged it a bit differently to the first two offerings. While Jack Mehler was Scenic and Lighting Designer for both Yonder Blue and Hungry Ghosts, David Finn’s lighting and John MacFarlane’s Scenic and Costume Design imparted a very different tableau for Hummingbird. Check out the photo – your eyes are not deceiving you; the stage truly is tilted up sharply at the rear, creating unique entrances and exits against the abstract backdrop.

Philip Glass’ music animates nine couples, in pas de deux and in company, into choreographed movement that comes from deep within: “Like an earthquake epicenter it ripples out… It has a human quality because it’s using everything you have.” Scarlett plays with our expectations – like an actor breaking the fourth wall with an aside to camera, he 'breaks' the dancers into unexpected movement. The ensemble entering with gracefully pointed limbs, only to crouch into a quick, flat-footed run-in-place garnered quite a few chuckles. Ending a fraught and emotional pas de deux with the dancers bent over and gasping for breath rather than perfectly poised added an emotional punch of realism.

I mentioned at the outset how these three pieces harmonized with each other - the treatment of the pas de deux by each piece offers a prime example. In Yonder Blue it was thematic, in Hungry Ghosts, narrative. In Hummingbird, the pas de duex sits somewhere in between - evocative, intertwining, and emotional as they thread their way in and out and around and through the ripples of movement around them.

Joffrey Ballet will perform STUDIES IN BLUE until February 25 on Thursday, Friday, Saturday evenings, and matinee shows on Saturday and Sunday, so you have no excuse to miss it! 

JOFFREY BALLET STUDIES IN BLUE at the Civic Opera House through February 25

VERY HIGHLY RECOMMENDED!!

Review by Sarz Maxwell with thanks for assistance from Eva Hare

There are but a few evenings in life that can ultimately change your destiny, David Yazbek’s The Band’s Visit tells the story of one such evening in the lives of those residing in a small Israeli town. When a lost bus drops off an Egyptian Police Band, a community offers to put them up for a night and in return, the band offers them a new perspective. All set to Yazbek’s gorgeous music created on stage by an impressive cast of actors and musicians.

Under the direction of Zi Alikhan in a co-production between Writers Theatre and TheatreSquared, this exciting new revival feels like exactly what the world needs right now. Too often the Middle East is portrayed as a war torn, chaotic region of the world and what this musical shows is that the human spirit is far more complex than ephemeral political moments.

There’s no definitive plot to The Band’s Visit but rather, a series of vignettes between the band members and the townspeople. Instead of the characters dissecting their political or religious differences, they focus on what makes them human.

The stirring music and performances make this immersive musical an unforgettable experience. The incredibly talented Sophie Madorsky leads the Israeli cast as Dina, a cynical widow who has given up on the idea of real love. Her touching evening with band conductor Tewfiq (Rom Barkhordar) is bittersweet and serves to remind us that you can find glimmers of hope at any age.

Optimists will choose to believe the band’s visit saves villagers Iris (Dana Saleh Omar) and Itzik’s (Dave Honigman) flailing marriage, reminding them too that love is complicated but worth it in the end. Their scenes together are at times heartbreaking and Dana Saleh Omar’s performance is one of the strongest assets of this production.

Youthful trumpet player Haled (Armand Akbari) is a bit of a casanova and spends the play helping young lovers find romance, despite his own predestined marriage. This is a musical about love, in all its many forms.

“The Band’s Visit” is not only thought provoking, but also a lot of fun to watch. It’s a rare departure from the ordinary musical theatre traditionally churned out by Broadway. For a musical based on a movie, this is not your typical jukebox musical adaptation that have become all too grating these days. Winner of 10 Tonys including Best Musical, The Band’s Visit is a unique, once-in-a-generation musical that requires just the right casting, direction and audience.

Writers has a hit on their hands. The show perfectly forms itself to the intimate Glencoe theater space. While audiences may shed tears, they’re not tears of pathos, they’re tears of joy. This show may not have all the toe-tappin’ songs that leave audiences singing their way home, but it certainly will leave audiences buzzing with a spirit of connectedness and hope.

Through March 17 at Writer’s Theatre. 325 Turdor Court, Glencoe. 847-242-6000

*Extended though March 24th

Court Theatre culminates its "Oedipus Trilogy" with a captivating production of "Antigone," marking an exhilarating conclusion. For those who witnessed the illuminating "Oedipus Rex" and the soulfully performed "Gospel at Colonus," the profound experience of "Antigone" brings a bittersweet moment of reflection. A fitting finale to the house of Oedipus.

Director Gabrielle Randle-Bent brilliantly implores us to consider another woman who defied unjust authority despite the potential consequences. The action starts with a recording of women discussing someone (Rosa Parks?) who refused to give up her seat on public transportation in the south. It sets the mood for the arguments we will hear.

The action starts after the death of Eteocles and Polyneices. Their uncle, now King, Creon (stoically played by Timothy Edward Kane) has decreed while Eteocles shall be buried a hero, anyone who buries Polyneices’s body will be put to death. He feels to bury Polyneices, a traitor, would be an afront to the Gods, Creon wants to solidify his power and assert his absolute authority and demonstrate his unwavering rule.

Antigone (the wonderful Aeriel Williams) feels it is her duty to her family and to the Gods to give her brother a proper burial regardless of what he may have done. This is the classic argument of divine authority over earthly jurisdiction, separation of church and state. Creon's decree forbidding Polyneices' burial directly contradicts divine laws. By burying him, Antigone asserts religious obligations over human-made laws, challenging Creon's authority and upholding the divine order.

Antigone shares her grief and her plans to bury her brother with her sister Ismene (Ariana Burks is sublime). Sharing her burden with her sister allows Antigone to express her grief, anger, and determination. Ismene's understanding and possible support could validate her decision and provide emotional strength.

The two-person chorus of Demophilos (Danielle David) and Euboule (Cage Sebastian Pierre) serves as the pulse of the community. They provide essential background information; they offer social and moral commentary. Speaking directly into microphones, they created a charged atmosphere that amplified the power of their voices. They used facial expressions, call and response and movement to bring their words to life, connecting, us, the audience, to the text on an emotional level unheard of in classical Greek plays.

Haimon's (Matthew C. Yee) tragic suicide serves as an indictment of Creon's relentless inflexibility, highlighting the devastating consequences of his flawed choices.

Julian Parker provided important information as well as lighthearted laughs as the Watchmen who becomes Messenger. I’ve been following his career for some time, and he’s only gotten better.

Cheryl Lynn Bruce as the Blind Prophetess, Tiresias was the embodiment of truth and wisdom. Warning of the potential dangers of pride and hubris, she gave an air of unquestioned authority.

The costume design by Raquel Adorno ran the gamut from Creon’s money green suit to the mud-cloth inspired ensemble worn by The Watchmen who becomes messenger. Antigone silver studded blouse was in stark contrast to Ismene muted soft colors. The costumes were a feast for the eyes.

Even in the face of dire consequences. Antigone's willingness to sacrifice her life underscores the importance of honoring family and divine obligations above all else. Her death serves as a powerful testament to the strength of individual conviction and the consequences of challenging authority. Additionally, Antigone's martyrdom solidifies her legacy as a symbol of resistance against tyranny and a defender of moral righteousness.

No, I’m not giving up this seat! No, My brother will not rot in the sun!

When: To March 2
Where: Court Theatre, 5535 S. Ellis Ave.
Tickets: $40-$70
Info: courtheatre.org
Running time: 1 hours and 35 minutes with no intermission

“May God bless and keep you always
May your wishes all come true
May you always do for others
And let others do for you
May you build a ladder to the stars
And climb on every rung
May you stay forever young
May you stay forever young”

For many, if they are unfamiliar with the music of Bob Dylan, they have at least heard the one. As the opening cords of “Forever Young” start to play, Elizabeth (Jennifer Blood) takes center stage. She sits on the bench and sings – backlit by a screen of light blue. Aside from her husband, Nick (John Schiappa), who sits frozen by her side – the stage is empty. The room is silent save for her stunning vibrato. We are left with nothing but her and the lyrics on which to focus, allowing us to join in her somber, reflective journey.  

Juke-box musicals can often run into challenges. In trying to fit an entire score of pre-made material, it can become tough to craft a story that flows and feels authentic. Girl from the North Country is a Bob Dylan juke-box musical, and you may just find that the creators found the perfect balance of storytelling to match his folk/rock genre.

Written and directed by Conor McPherson, Girl from the North Country centers on a group of wayward travelers in Duluth, Minnesota in 1934. When these characters meet at Nick’s old guesthouse, we catch glimpses into their lives – past relationships, hopes for the future, and all of the regrets leading them to this moment. Much of McPherson’s musical is told in a vignette style – moments in which we see these characters briefly interact before moving on to their rooms for the evening. Scenic and Costume Designer Rae Smith heightens the theatricality with her design. Rather than featuring a full house on stage, we see the structure in segments – with walls dropping in various places as a way to highlight the characters’ interactions before moving to a different space in the house. 

The musical showcases a list of famous songs by Bob Dylan including “Forever Young,” “All Along the Watch Tower,” “Hurricane,” and “Like a Rolling Stone.” With the story moving so quickly, Dylan’s slower musical style allows the audience to catch up as the songs unfold – giving us just enough pause to catch a window into the characters’ true feelings before speeding back up again. This especially rings true in the more heartbreaking, romantic storylines of the show.

“Tight Connection to my Heart (Has Anybody Seen My Love)” appears early in Act One and features Marianne Laine (Sharaé Moultrie) – the adopted daughter of the innkeeper. We learn that she is pregnant but refuses to let anyone know the identity of the father – including her parents. As we see her break away after guest after guest pushes for that answer, the music starts to play. The lights shift. Moultrie is backlit by a bright green screen as she begins to sing – creating a haunting presence as her powerful belt rings throughout the theater. After seeing so many characters move in and out of the space, you may find that Marianne’s isolation on stage almost feels like a shock, but also offers a much-needed moment of backstory before quickly moving on to the next.

A moving story and jaw-dropping vocalists alone make Girl from the North Country a night to remember Conor McPherson and his artistic team celebrate Bob Dylan’s music in a way that I can only imagine is exciting for long-time fans to experience first-hand.

RECOMMENDED

Running through February 25, 2024 at the CIBC Theatre – 18 Monroe Street.

Matthew Paul Olmos is a playwright on the rise, and under the direction of Laura Alcalá Baker we have a chance to see a beautiful production of an exceptional work in its world premiere at Chicago’s Steppenwolf Theatre. As the vernacular title suggests, “A Home What Howls (or the house what was ravine)” is not a staid work, not a constrained “Cherry Orchard” where emotions are buried between the lines.

Instead, Olmos’ work is poetic, magical, and musical as well, and the characters, though poor, are living rich, happy lives in their homes. In the first act, realism rules in many scenes, and Olmos shows a mastery of dialog and detail.

The play opens with a married couple—Abrana (Charin Alvarez) and Manuel Vargas (Eddie Torres) asleep on a bed. In the adjacent room their daughter Soledad (Leslie Sophia Pérez) is hard at work on papers scattered around the floor, perhaps her schoolwork, or maybe something else.

Her parents are awakened by sounds of trickling water running outside. Soon after, sound of a helicopter roars by, and we hear earth moving equipment as well. “There are nightmares around this house,” says Manuel as he and Abrana jump from the bed, and he begins fiddling with a trap door in the floor—an escape hatch?

We begin to piece together that this family is illegally living in a home condemned to make way for a reservoir, one that will allow housing and other development nearby ravine , through which a river flows. By means of a kind of inferential exposition, Olmos paints a portrait of what happens when families are driven from their homes by development—not from the outside looking in, but from inside the homes and families.

Olmos departs from this style to solid realism filled with exposition in one crucial scene: a public hearing at which the now adult Soledad challenges government official Frank over the process by which these families in the way of development have been displaced. It is certainly the best representation I’ve run across of a marginalized community challenging the validity of an eminent domain claim by city officials to displace homeowners dwelling in an area coveted by developers.

As the ravine along which they live is being flooded, and their homes taken, Soledad challenges the city establishment at a public hearing, outing all the tropes which society accepts as the rules of the game—the original seizure of the land from indigenous people by treaty and ceremony; the surveys of businesses showing broad support for the development; Tim Hopper in the role of Frank is exquisitely obtuse. After all, he argues, a ceremony was held in which a “citizen” of the indigenous “transferred” rights to development to the city. “How was this representative procured?” Soledad asks.

The question flies over his head, as Frank goes on to describe, in all sincerity, a ceremony that he found moving—but it highlights the suggestion that the indigenous individual may have had no right to speak for his people. “You’re using the term ‘peace offering,’” Soledad says. “But Public Works uses the terms ‘relinquish’ and ‘transfer.’”

And what about the original homeowners who settled for generations in this indigenous land. ”They were not asked, but they were considered deeply,” Frank says. ”Only businesses” were surveyed, admits Frank, who is beginning to realize he has aquite an adversary in Soledad. Frank says the homeowners displaced were compensated for the value of their homes, which were dilapidated and brought them little. But a home is much more than a building, Soledad points out. How were they compensated for the loss of happiness and memories, and the dispersion of their families, she asks. Market value can’t equal that kind of loss.

“A Home What Howls” runs about 90 minutes, no intermission, and is part of Steppenwolf's Young Adults theater program. But as with other such works in the Young Adults series, it is profoundly good, so I try to see them all.

I will say that I couldn’t always follow the magical parts of the second half, as the old woman resident Syera Lama (Isabel Quintero) appears. She teams up with Soledad in a quest for the rights of the people, encountering a menacing train conductor, also played by Hopper. Quintera also appears numerous times disguised as a magical figure Coyote. Despite my own confusion, the audience was clearly digging it, and the laughter at comical scenes was quite full. “A Home What Howls" runs through March 2 in Steppenwolf’s new in-the-round Ensemble Theater. It’s a great chance to see the work of a playwright we will doubtless be hearing from more and more.

The ballet BUTTERFLY: HOPE IN THE TEREZIN GHETTO was inspired by the diary of Holocaust surviver Helga Weiss. The concept, choreography, and Lighting Design of BUTTERFLY are the work of Julianna Rubio Slager, Artistic Director and Resident Choreographer at BALLET 5-8. Two shorter ballets formed the first portion of the program: WIND, choreographed by Steve Rooks, and COUNTERPART, another creation of Julianna Rubio Slager, who was also Lighting Designer for all productions.

WIND is aptly named; dancers in flowing skirts partner with Alfonso Peduto’s music, and we see – even feel – the movement of spring leaves dancing delicately in the gentle breeze, and the furious barrage of a stormy gale. Dancers in the first and third movements included Miranda Rubio Opsal, Lorianne Robertson, Kayla Kowach, Libby Dennen, Natalie Chinn, Jenni Richards, Katrina Clarke, Ford Tackett, Christian English and Samuel Opsal. The second movement was a pas de trois with Jonathan Bostelman, Ford Tackett, and Christian English.

COUNTERPOINT explored partnership and the thrill of equality, a pas de deux performed by Samuel Opsal and Elizabeth Marlin to the music of genre-bending string trio Time for Three. I particularly liked Wardrobe Head Lorianne Robertson’s costumes: stark black lines forming geometrical shapes on pale peach leotards. As one might expect in a dance that celebrates equality, the male and female costumes were like but not identical.

To  return to BUTTERFLY:

The ballet takes place in various locations at Terezin, differentiated using props and, most of all, projections. The projections were created by Juliana Rubio Slager with the assistance of Annika Graham and Jeremy Slager, and each projection depicted the paintings and drawings Weiss created while imprisoned at Terezin. The fourteen cast members represent actual persons whom Helga Weiss knew in Terezin. Of these fourteen, nine perished, chiefly in the gas chambers of Auschwitz.

A little historical background may be helpful here. Terezin was originally a holiday resort near Prague, reserved for Czech nobility. In 1940 the Gestapo turned the resort into a Jewish concentration camp and ghetto. Terezin was unique in that many of the detainees were scholars, artists, scientists, philosophers, and musicians. This  made Terezin a cultural camp unlike any others, earning it the sobriquet ‘Paradise Ghetto’.

More than 150,000 Jews were detained at Terezin for months or years before being sent “East”, to Treblinka, Majdanak, and Auschwitz extermination camps. 90,000 Terezin detainees were deported; 33,000 died in Terezin itself and, of 15,000 children, less than 150 survived.

Terezin was heavily propagandized by the Nazis. BUTTERFLY depicts the most notorious disinformation campaign, the “Great Beautification” of 1944, in response to Danish King Christian’s demand for a Red Cross inspection of Terezin.

The Nazis transformed Terezin for the inspection, planting gardens and renovating barracks, building shops, cafes, and playgrounds. Social and cultural events were staged for the visiting dignitaries, and the delegation was led along a painstakingly groomed route through the camp. The Red Cross reported to King Christian that Terezin was indeed quite pleasant, its inmates happy and healthy.

King Christian actively resisted Nazi deportation of Danish Jews; stating “one Dane is like another”, and wearing the yellow star symbol himself. However, Good King Christian also volunteered his own army to assist the Gestapo in rounding up gay Danes; their badge was a pink triangle and they received the same treatment at concentration camps as did Jews.

Just sayin’.

At the risk of sounding repetitious, back to BUTTERFLY.

The props were minimal but eloquent and the projections were magnificent – depicting scenes painted by Helga in Terezin, showing stone walls and concertina wire, horribly crowded bunks, piles of suitcases. Each scene of the ballet corresponded to a date in Helga’s diary, with quotations from the diary in our programs. Helga was twelve (young Helga danced by Ellington Nichols) when she arrived at Terezin in October 1941 and met her mentor Friedl Dicker-Brandeisˢ (Valerie Linsner). Again, each dancer depicted an actual historical person: teacher Irma Lauscherˢ (Lorianna Robertson), musician/conductor Rafael Schachter (Samuel Opsal), Jewish leader Heinrich Veit Simmons (Melanie Rodriguez), Pavel and Malvina Brandeisova (Christian English and Lezlie Gray); Mr. Kˢ, survivor of Nazi medical experimentation (Jonathan Bostelman), Helga’s father Otto Weisˢ (Ford Tackett) and mother Irena Fuschsovaˢ (Caedence Sajdowitz), while Miranda Rubio Opsal danced the part of Helga as an adult. The cast included four children: Zuzana Winterova (Libby Dennen), Eva Bulova (Sarah Clarke), Honza Trechlinger (John Szwast), Petr Ginz (Kayla Kowach), and Hannah Messingerˢ (Sophia Snider), the sole surviving child.

[NOTE: the symbol ˢ depicts those who survived Terezin.]

It must have been difficult dancing the parts of the so-easily duped Red Cross Delegates: Maurice Rossel (Analiese Hunter), Agnes Detlefsen (Rachel Walker) and Cecilie Kaas (Marissa Woo). Even more difficult but brilliantly performed were the four Nazi soldiers: Oberaufseherin Hildegard Neumann (Elizabeth Marlin), Oberaufseherin Elisabeth Schmidt (Katrina Clarke), Frau Gretel (Natalie Chinn) and Frau Marie [inspired by Caecilia Rojko] (Jenni Richards).

Helga was sustained by the heroic work of Friedl-Dicker Brandeis and Irma Lauscher; her story and artwork bear witness to the horror of the Nazi regime.  Even more so, BUTTERFLY celebrates Helga’s work as metaphor, a symbol of how the Jews of Terezin endured unimaginable brutality and atrocious privation through ART.

The music of BUTTERFLY includes sections composed by Terezin residents Gideon Klein and Hans Krasa, (both perished at Auschwitz); also works by Lorne Balfe, Thomas Oboe Lee, Clare Reitz, Alexander Shonert, Bedrich Smetana and Giuseppe Verde. The ballet’s name, BUTTERFLY, memorializes a poem by that name written in 1942 by Pavel Friedmann, who perished at Auschwitz September 29 1944.

One is aghast at the art that was irretrievably lost in the Holocaust. Rafael Schachter composed Defiant Requiem; its haunting performance for the Red Cross representatives was of course unrecorded and now will never be heard; Schachter perished in the 1945 Death March.

And what of all the genius extinguished before it could even be manifest? How many unrealized Rafael Schachters, Rosalind Franklins, Ignaz Semmelweis’, Howard Shores, Alexander Flemings, Emma Lazarus’, Marc Chagals, Marcel Prousts, Fritz Habers, Albert Einsteins, Leonard Bernsteins, Herman Wouks, Camille Pissarros, Gertrude Steins, Gustav Mahlers…

[I could go on for many pages before running out of Jewish geniuses, even if I only list those that are household names.]

BUTTERFLY is testament to the strength and resilience people in dire straits can derive from Art.

Similar strength and resilience were demonstrated after the performance in “The TALKBACK”, a special Ballet 5:8 tradition occurring directly after the performance, wherein Artistic Director Juliana Rubio Slager and Artists of the Company hold an open panel discussion. Each panel member described a particular scene or event that spoke to them personally. Most of the artists were in tears, as were many in the audience. Audiences were invited to ask questions; most revealed themselves as descendants of Holocaust. The panel was fully as moving as the performance.

There was but a single performance and it was poorly attended.

I don’t want to know the sort of people who missed BUTTERFLY in favor of the Superbowl.

Rachel Silvert plumbs the lyrics of a dozen of Broadway’s classic romantic songs, in “Love Songs Are Weird—and other reasons I’m single,” a one-woman cabaret show at Davenport’s Piano Bar on Milwaukee Ave. in Chicago.

Silvert often begins the numbers by singing pieces straight up, then breaks between stanzas or lines to dissect the works for the more questionable parts.
In her opening number, Silvert jumps right into it with “On the Street Where You Live,” the richly melodic expression of a man’s romantic infatuation from Lerner & Lowe’s 1956 “My Fair Lady.”

I have often walked
Down the street before,
But the pavement always stayed
Beneath my feet before
All at once am I
Several stories high,
Knowing I'm on the street where you live

Singing it straightforwardly (accompanied by pianist Nathan Urdangen), the phrasing becomes more uncertain as she progresses through the stanzas, and it begins to cross my mind, is this guy a stalker? Especially, given Silvert’s patter, informing us the young woman has just told this amorous man she never wants to see him again in her life:

And oh, the towering feeling
Just to know somehow you are near
The overpowering feeling
That any second you may suddenly appear
People stop and stare
They don't bother me…

Some songs, especially by contemporary standards, have lyrics Silvert finds suspect. Take Rogders & Hart’s 1937 “My Funny Valentine:”

My funny valentine
Sweet comic valentine
You make me smile with my heart
Your looks are laughable
Unphotographable
Yet, you're my favorite work of art
Is your figure less than Greek?
Is your mouth a little weak?
When you open it to speak
Are you smart?

Silvert sees red flags all over that one: Laughable looks, a figure less than Greek, and not so smart, for starters. Likewise with other songs, with Silvert suggesting context is also important, including for shows like “Cinderella,” ("Do I love you because you are beautiful, or are you beautiful because I love you?") and from Pippen, “With You,” a sweetly benign meditation on love and fulfillment - but sung by a circus performer before a street full of prostitutes.

But Silvert never gets too heavy; this delightful confection of a show is pure entertainment. Another high point is a rendition of an eight-year-old grammar school girl passionately singing “My Heart Will Go On,” from the movie Titanic.” Drawn from Silvert’s personal experience - was that her on the lawn in 1997 with her classmates, singing with such conviction, as the meaning of the lyrics flew over her head? It’s a funny bit.

The closing number did evoke sentimental tears from this reviewer: “Some Enchanted Evening,” from Rodgers & Hammerstein’s “South Pacific.” Silvert finds nothing to question in this perfectly wonderful expression of the genesis of love. But it does serve as a perfectly touching accompaniment for the “reveal” of the evening. No spoilers here; you’ll have to catch Silvert next time she is at Davenport’s Piano Bar, which also has daily performances and open mics in its front bar. Or catch her at Hey Nonny in Arlington Heights September 21, 2024.

I thoroughly adored Dance Chicago’s Dances from the Heart curated by Artistic Director John Schmitz, the highlight of the show, which featured Canadian guest artist Azalea Kaviani and Jordan Faye, was the premiere of “Of the Sun” from the program; Fish of the Sun. Fish of the Sun tells the story of a little fish who has lost her father and goes on a long, challenging journey to find him again. Children have an innate need to be near their parents or caregivers; their lives revolve around them much like the planets revolve around the sun. As the lost fish struggles to find her father, she recalls the importance of the physical connection. This dance shows the benefit of creating space for work that is for by and about the nuanced experiences and artistic expression of people with disabilities.

Azalea Kaviani, who is also one of the artistic directors, dressed in a blue and white unitard with lighting that appeared to make her and her partner appear underwater was a delight to behold. She danced with grace and sensitivity. They conveyed the inner experience of the delicate, lost fish looking for her father. Jordan Faye was a wonderful supportive and strong dancer and partner. When Faye carried his daughter, the little fish, off of the stage it was the most touching and meaningful moment of this wonderful evening of dance. 

Having had two members of my immediate family, paralyzed by genetic ataxia, I sincerely hope that more artistic directors like Kaviani will get the support they need to utilize dancers in various stages of disability showing the world that beautiful interpretive dance is not limited.

Comedy Dance Chicago, with their opening number and titled “L – O – V – E,” brought out the light moments of comic relief and showed that anyone with any level of dance experience can still express themselves and the joy of dancing.

The two largest international dance troops, TRINITY Irish Dance ensemble with twenty-three dancers and Hromovytsia Ukrainian Dance Ensemble with fifty-one dancers, filled the stage with joy and tradition. These group dances, complete with wonderful, colorful costumes from each country, although completely different in style, conveyed how marvelous it is that young boys and girls together can dance together in freedom and safety, while in many parts of the world, this type of performance is either forbidden or impossible.

Gus Giordano Dance Company was fantastic with their numbers entitled “So Hot” and “Issa Vibe”. 

Soloist Sophia DeLeon Sanchez with the premiere of the dance, entitled “Letting Go“ was a stand out with her sensual, hypnotic and mature grace.

I was also impressed by tap dancer and soloist Trey Dumas. The first portion of his solo was an improvography in silence, which allowed the audience to hear the intricate beats that this long time tap dance teacher was able to create on the spot. But the second half of his program, which was set to the song autumn leaves with the original French lyrics by Jacques Peurye and performed by Leslie Odom Junior, really brought the light of his tap genius into the romantic program that fit perfectly with Dances from the Heart.

Hip Hop ConnXion family with eleven dancers took over the stage with great energy and verve in their dance entitled “I miss you”. Other wonderful contributions were made by Visceral Studio Company, Christine Rich Dance Theatre, Flamenco, Ramya Ravi, Kalakriti bharatanatyam, Culture Shock Chicago, Tap Icon Tre Dumas, Footprints Tap Ensemble, Forum Dance Theatre, Elevation Studio Company, and Wheatland Dance Theater.

Dances from the Heart at the lovely North Shore Center for the Performing Arts in Skokie was a full-length program with a complete variety of highest quality dance troops curated from all over Chicago and the country was two hours of enchantment with a 15 minute intermission. I highly recommend this program in the future for audiences of all ages.