Items filtered by date: November 2007

I’m going to admit, this was not exactly what I expected. I heard flamenco and, me being a guitarist and passionate for the instrument, I thought…hmmm…Flamenco guitar music. That fact that the show would feature the degree of dancing it did never even occurred to me. So, I got the best of both worlds. There were guitars playing in the very impressive musical outfit, accompanying by dancing that was nothing short of spectacular. Two singers and percussion were also included in the act. Like I said, this show had everything.

Eduardo Guerrero was the lead dancer and was exciting to watch, each move as graceful as the last with just the right amount of aggression when needed. Six dancers performed different variations of Flamenco dancing throughout the presentation so we as the audience were treated to a true cultural experience to remember. Everything about the show was amazing.

One of the things that draws me to Latin Music is the rhythm. You can’t escape it. I looked up the word flamenco and found it comes from the word Flemish. The people who originated this type of dancing were gypsies from that area. Interesting.

Another thing I have noticed about Spanish music is how much I hear an Arabic flavor to the melodies and harmonies. You couldn’t miss it in the vocal melodies. I had a chance to watch a Turkish band play a while back and the music was so very similar. It’s fun to see how we are musically influenced from all parts of the world.

But back to the dancing. Microphones were strategically placed on the stage to pick up the sound of the dancers’ feet, literally making their bodies part of the music. Guerrero did some solo work out there that was so rhythmically driven I could see why they needed an intermission with so much energy being spent. This type of dancing must be exhausting. Some of the dance numbers were quite lengthy and would surely wear out even the strongest of dancers.

The costumes alone were worth the price of admission. I also sense a bit of an Arabic influence in that department. Bright colors dominated the stage to make each number as colorful as it was precise and energetic. The many people involved in making this production seem effortless are extremely gifted.

Guerrero and company did a fantastic job and left us with something wonderful and uplifting to take home. I heard the audience respond positively throughout the entire performance and rightfully so. This was yet another great show at the MacIninch Art Center (The MAC) at College of DuPage, proving again that you don’t need to go downtown to be entertained.

Just in time for Halloween comes Hell in a Handbag’s The Golden Girls: Bea Afraid! The play’s name itself probably tips most off that audiences will be in for one helluva ride. Handbag found much success in the past couple of years creating their own hysterical episodes of The Golden Girls, Vol 1 was extended twice and moved to a larger theater while Vol 2 also made waves. So, a Halloween special featuring our four favorite seniors – why not?

Artistic Director David Cerda and company are working double time right now performing in Artificial Jungle at 7:30 p.m. (through October 28th) followed by Bea Afraid! at 10:30 p.m. To say this theatre company works hard is an understatement. And one thing is for sure – there’s a whole lot of funny in each production.

Bea Afraid! gives us two Halloweeny episodes, the first a clever whodunit that gets sillier by the second (that’s a good thing) followed by a demon possession that you will never forget. As laughter-filled as the second episode was, my friend walked away saying, “That actually kind of scared me.” So, laughs and scares – the best of both worlds – the treat followed by the trick. Between scenes Golden Girls trivia is held and tongue-and-cheek prizes are handed over to the lucky winners, such as the lady who sat in front of me that was handed a tube of anti-itch crème. How well do you know the gals?

Cerda returns as Dorothy displaying the same dominance over the role that helped make Vol 1 such a smash hit while Ed Jones reprises his role as Rose and commands a laugh just about every time a line is delivered. Adrian Hadlock also rejoins the cast and again nails the role of Dorothy’s razor-sharp witted mother, Sophia. Grant Drager is ever so saucy as our beloved, loose-legged, Blanche, a role that AJ Wright played so well in the first of the hilarious franchise. The cast is rounded out by such brilliantly humorous talents as Chazie Bly, Michael S. Miller, Michael Rashad, Duane W. Taylor, Robert Williams and Maureen SanDiego, who stars as the evening’s hostess.

Created by David Cerda and directed by Becca Holloway, this is a Halloween show not to be missed. Handbag gets another feather in their cap for yet another hysterical production, leaving us to eagerly await the next Golden Girls adventures - please say there will be more!

The Golden Girls: Bea Afraid! Is being performed at Stage 773 through November 2nd. For tickets and/or more show information visit www.handbagproductions.org.

Martin McDonagh's The Lonesome West brings us Coleman and Valene Connor, two brothers fighting continuously over issues large and small: which brand of potato chips is better, who of the two do girls find more attractive, and who really owns their house.

As the play opens, Coleman (Robert Tobin), the older brother is at the table with the village priest, Father Welsh (Mark Tacderas), who is wheedling for a glass of poitin – the illegal local hooch brewed from potatoes. The two discuss a funeral held that day, Coleman complaining to the priest about the lack of refreshments. 

“If I held the purse strings” there would have been food and drink, Coleman says. That complaint pales in contrast, or perhaps increases in significance, as we learn that it was Coleman's own father who was buried today. His lack of engagement with the loss of his parent, however, is our first signal that something is amiss. And somehow, it becomes slightly understandable, as we learn that Coleman has killed his father with a shotgun.

Father Welsh, who is also very thirsty for his poitin, handily provides the audience some exposition in this scene - recounting aloud to Coleman how fortunate he is that a witness saw him trip, providing an alibi that described the shooting as completely accidental.

Soon enough Valene enters the cottage,and the two go at each other, attacking each others' emotional vulnerabilities, and battling physical as well. Father Welsh is forced to intervene to stop them, reminding them of the solemnity of the occasion - about which neither brother seems to care. We also see that Valene has marked items around the house with his initials - V  -and we learn by and by that he has used his father’s death and Coleman's emotional state, to seize ownership of all the property from his sibling. How this happened is the crux of the drama, and we will avoid spoiling that.

Let it be said, though, that this worsens what is clearly a very bad dynamic between the brothers since their early years. Now Coleman must beg, borrow and mostly steal to wrest his sustenance from his younger brother. How this happened is a key to the intrigue of the play, and as it is revealed, we witness Martin McDonagh’s signature touch in a slow, unfolding of the plot. In all McDonagh’s works, we see a gradual reveal of the story, as he peels the onion – shocking and surprising us as the action advances. 

For the dramatic action, McDonagh’s characters are not merely arguing vehemently.  Colin and Valene are at each other’s throats, and private parts, with knifes, guns and fists. It becomes apparent that their father kept the two young men from killing each other, thus far.

Years of childhood enmity repressed by Dad come roaring to the surface, like a volcano erupting. With him gone, we watch in ensuing scenes as Coleman and Valene come perilously close to mutual injury and possibly murder. 

All the pummeling draws Father Welsh to intervene several times in the course of the play – stepping into the role Dad must have held. But this priest is a fragile figure, and he soon despairs of ever straightening out the boys, or anyone in his benighted parish.

“I thought Leenane was a nice place when I turned up here,” he confides to Girleen Kelleher (Phoebe Moore). “But then I find out it’s a murder capital.” Unfortunately for Father Welsh, Kelleher is a sadistic blackguard who taunts the suffering priest mercilessly, driving him further to despair. She also happens to be the local purveyor of poitin, on which Father Welsh is very dependent.

The brothers are chastened by Father Welsh after another neighbor commits suicide, and the two make efforts to mend their ways and to get along. But the deeper patterns of emotional dysfunction rise to the fore, and things go from bad to worse.

I won't reveal more of the story; go see this play. The performances by the cast are very strong.  The black humor of The Lonesome West is also part of its attraction, as well as the gradual unfolding of the plot. In his recent star turn, Three Billboards Outside Billings, Missouri we see how far McDonagh's mastery has progressed. This earlier work is a little less smooth, but is still a strong, if shorter, pleasure. 

The current production excels in physical performance, and this show is very physical. But it is somewhat hampered by the challenge of capturing the lilt of McDonagh's Irish English - the cast is consistent in their reach for the script's accent, but the language (and meaning) is lost at times to pace and cadence. Nevertheless, most of it comes through, and the underlying performances are uniformly good. 

The Lonesome West is directed by Dana Anderson and produced by AstonRep Theatre Company. It runs through November 18 at The Raven Theatre in Chicago. 

Martin McDonagh has lately become even more widely known for his screenplays, and is among those select writers whose byline can draw ticket sales. (He wrote and directed In Bruges with Colin Farrell and Ralph Fiennes; and Seven Psychopaths with Farrell, Woody Harrelson, and Sam Rockwell. His star rocketed with highly acclaimed Three Billboards Outside Billings, Missouri, which he wrote for Frances McDormand and which garnered two Oscars and won Golden Globe Awards. 

But before all that McDonagh was writing plays in Ireland in his native Irish English (he was born in England of Irish parents), set in Western Ireland, with titles like A Skull in Connemara, The Cripple of Inishmaan, and The Banshees of Inisheer, all towns in the vicinity of Galway and the Aran Islands.

The Lonesome West (1997) is the third in McDonagh’s Leenane Trilogy, perhaps the most famous being The Beauty Queen of Leenane (a Tony nominee for Best Play 1998). He set the very successful Pillowman outside Ireland, and A Behanding in Spokanee was his first set in the U.S.  All this by way of saying, do not miss an opportunity to see a Martin McDonagh work played live and well on stage in Chicago. 

Wolfgang Amadeus Mozart’s Idomeneo at the Lyric Opera of Chicago is opera as it should be, transcending all expectations. Don’t miss it! Indeed, we wonder why this uncommonly extraordinary performance did not open the Lyric Opera of Chicago season. Happily, after going dark for more than a week, forcing the initial performance scheduled for October 13 to be cancelled, the unfortunate dispute between the Musicians’ Union representing the Orchestra of the Lyric Opera of Chicago and management was successfully resolved, and Idomeneo was presented Thursday evening. The entire cast, without exception, sang splendidly, deftly handling the technically demanding florid passages and challenging long phrases, while creating real and distinct characters that earned our sympathy (thank the gods). On all counts, it was a glorious occasion.

Mozart began writing operas at the age of eleven, and had completed a dozen, or so, before he began work on Idomeneo in 1780, at the ripe old age of twenty-five. Considered to be his first “mature” opera, it is written in the “Opera Seria” style, literally “Serious opera”, a musical drama with a series of recitatives and set pieces in the early 18th century Baroque manner based upon Classical Greek or Roman themes, a form he would not return to until his final opera La Clemenza di Tito ten years later. This exquisite music, if not as well-known as his later masterpieces, is the cornerstone upon which all opera coming after it has been built, leaving no doubt of Mozart’s greatness. For that reason alone, go!

The orchestra, conducted by Sir Andrew Davis, was enthusiastically cheered before and after each curtain with shouts of support for the union from the audience. They played with a full, luxurious sound that remained within the stately structure of the classical period, and brought out all the color, nuance and innovation that raises Mozart above his peers. For that reason alone, go!

The production designed and directed by the late great Jean-Pierre Ponnelle (which by now, is probably older than the singers on the stage, yet still looks as fresh as it did when it was premiered in Köln in 1971) is in and of itself a timeless work of art. Visually pleasing, and beautifully lit by lighting designer Chris Maravich (thank the gods), Ponnelle’s setting evokes the time and place of the opera, while still allowing the audience to extend the themes in their imaginations to encompass all time and place. Ancient Grecian columns frame the stage and the mighty upstage center mask of Neptune, the real antagonist of the drama. Neptune, representing the unpredictable oceans of which he is king, is always present, either as a specter behind painted scrims, fully visible in his terrifying aspect, or even hidden from view. Above all, as it should, this stage set brilliantly serves the drama. For that reason alone, go!

The action takes place on the island of Crete after the decade long Trojan War. On his long way home, Idomeneo, King of Crete, has been caught in a raging storm at sea. He begs Neptune to spare him and in return, promises to sacrifice the first person he encounters upon shore. As operatic luck would have it, it turns out to be his own son, Idamante. Of course, father and son haven’t seen each other in years and don’t instantly recognize each other. Nevertheless, Neptune is going to expect the sacrifice Idomeneo promised.

For a story based in mythology and ancient history, it’s not hard to follow, even by opera standards. A father, who happens to be a king, loves his son and doesn’t want to lose him. We get that. That son, Idamante, has fallen in love with the Trojan Princess Ilia, being held prisoner in Crete. That happens. Princess Elettra, daughter of the Greek King, with whom Crete is allied, thinks Idamante should marry her, not the daughter of the enemy. Nothing out of the ordinary going on here. The excellent supertitles by Francis Rizzo are not at all stuffy, but explain the action and feelings understandably without dumbing it down (thank the gods). For fuller enjoyment you may want to check your crib notes from Greek mythology and the history of the Trojan War, but it’s not necessary. As in so many great stories, the large scale events provide the context for the more intimate human emotions.

Mr. Ponnelle’s original stage direction was faithfully re-set by David Knuess, who assisted Ponnelle when the production was mounted at the Metropolitan Opera in 1982 and Salzburg in 1983. Ponnelle’s consummate stagecraft subtly ensures that our attention is always drawn to the heart of the drama. Contrary to the habits of those who think they are following in the footsteps of the visionary director, absolutely nothing ever moves without a reason. No meaningless business or distracting bits. We were granted the luxury of having the singers just stand still and sing, allowing their voices to be most expressive (thank the gods)! It was one of the most moving performances seen and heard in years. For that reason alone, go!

The title role could have been written for Matthew Polanzani, who hails from Evanston and enjoys a deservedly respected career on the international stage. A true Mozartian, this role is perfect for him, his voice being better suited to this repertoire than Bel Canto or Romantic styles. His singing was superb and he gave a completely satisfying dramatic reading of the tormented father and king. For that reason alone, go!

With striking stage presence and a voice with the palette of a Monet painting, Angela Brower, reminiscent of the incomparable Frederica Von Stade, is a tremendous artist. In the role of Idamante, created for a castrato, re-worked for a tenor, but now most successfully performed by a mezzo-soprano, she gave us several of the evening’s most memorable vocal moments. Even when not uttering a sound she was riveting: Idamante’s shock and horrific pain at being rejected by his father was heartbreaking and later, during Ilia’s aria “Zeffiretti lusinghieri”, a scene that could be corny if not played just right, Idamante is visible at extreme upstage center receiving the unseen caresses carried from afar by the breezes. It took the breath away from even the most jaded of opera goers. His acceptance of his fate, and his willingness to give his life for the well-being of the community made a profound impact. For that reason alone, go!

As Ilia, Chicago native and former Chicago Opera Theater, Merola Opera, and LA Opera Young Artist, Janai Brugger was exquisite. The warm glow and golden tones of her shimmering lyric soprano lent itself to an ingenuous portrayal of the princess torn between love for her family and country and her love for Idamante. Whenever she graced the stage, she infused it with the power of hope. Ultimately, when the happiness she deserved was bestowed upon her, we shed tears of joy! After the season opener of the unfortunate La Bohème, we feared that we had become incapable of crying. For that reason alone, go!

The remarkable Erin Wall, marathon runner and soprano with a voice like diamonds set in platinum, was a sympathetic and vulnerable Elettra. She portrayed not an un-hinged shrew, but a high-strung princess used to getting her own way. In spite of Wall’s ongoing battle against cancer, her voice was never more beautiful (thank the gods!). In her rage arias her voice was spectacular and provided a perfect dramatic foil to her rival, Ilia, difficult even for someone with 100% perfect health. Wall’s Elettra was not motivated by mere jealousy of a romantic rival, but was driven to despair by the unthinkable and perhaps racist idea that Idamante would fall for an inferior Trojan woman. This assault on her sense of the proper order of things was so powerful that it resulted in a believably frenzied spontaneous death, a feat most singers are not capable of pulling off with dramatic success. To top it off, she looked fabulous in a stunning, if somewhat unwieldy, 18th Century gown with panniers which on the freeway would require red flags and a “WIDE LOAD” sign. For that reason alone, go!

David Portillo provided a solid and stable presence as Arbace, Idomeneo’s confidante. Arbace’s aria is unforgiving and demanding, yet Portillo sang superbly with musicianship, virtuosity and an urgent pathos reflecting his patriotism and loyalty to his king.

In addition to the Ryan Center alumni: Mr. Polenzani, Ms. Wall and Mr. Portillo, the uniformly excellent cast included current members of the program including Josh Lovell and Alan Higgs as two Trojan Men, Whitney Morrison and Kayleigh Decker as two Women of Crete. Each made worthy contributions and showed promise for the future, most notably Ms. Morrison. The voice of Neptune was chillingly sung by David Weigel (no spoilers, but gasps were heard) and Noah Baetge was fully credible as the High Priest. In these roles, as well as the principle roles, opera cognoscenti will enjoy recognizing the nascent characters which will eventually populate Mozart’s later works. Credit must be given to the Ryan Center for their advocacy of young talent, and to the Lyric for giving them the opportunity on the stage of, on this night, a major international opera house. It should be noted that the employment of young artists may represent a significant cost saving to LOC, yet these young artists gave us greater satisfaction than many “world class” artists would have provided (thank the gods).

Under the direction of Michael Black, the Lyric Opera Chorus sang magnificently in the big moralizing choruses that ended each act, and most impressively in the delicate “Placido è il mar” in Act II. They played their part well representing the people of Crete as a traditional Greek Chorus, reacting as one with stylized movements that were both emotionally affecting and that effectively served both the music and drama.

With respect to the recent contract dispute, it should be said that over past seasons we have had issues with a few programming decisions, issues with some singers’ performances, and issues with too many of the productions. However, we have never, ever had an issue with this orchestra. It is, especially under the baton of Sir Andrew, of the highest caliber, truly world-class, an over-worked phrase we try not to use. Their excellence stands as testimony to the unquestionable necessity of a top rank orchestra to the existence of a top rank opera house. They deserve a contract commensurate with their standing.

Bottom line: Idomeneo should not be missed. A young couple attending their first opera ever said they were enthralled, and that they were definitely coming back for more (thank the gods). Did we say you should go? Indeed, Go! Go! Go to Idomeneo.

Performances continue October 21, 24, and 28 and November 2. You might be able to get tickets at the door, but that would be a shame, because these performances should be sold out. Nevertheless, tickets are available on line at www.lyricopera.org or call 312-827-5600.

The Joffrey Ballet opens 2018-2019 season with the return of choreographer Christopher Wheeldon’s modern re-telling of Swan Lake to the Auditorium Theatre four years after its first premiere in Chicago in 2014.

Composed by Pyotr Ilyich Tchaikovsky in 1875-77, it was originally a ballet in two acts, named The Lake of the Swans. Choreographed by Julius Reisinger, it premiered in Moscow’s Bolshoi Theater in 1877 but was poorly received by the critics. Nearly twenty years later, the music score undergone changes by Riccardo Drigo, who added various other Tchaikovsky’s pieces to the original score for the choreographers Marius Petipa and Lev Ivanov's 1895 revival of the ballet, consequently re-named Swan Lake and performed in four acts.

Christopher Wheeldon’s masterful re-telling of Swan Lake is based on that latter version of the ballet, as well as Edgar Degas’ paintings circa 1870’s, of the Paris Opera backstage, where ballet rehearsals were often attended by the male patrons of the arts.

In Wheeldon’s version of Swan Lake, the story begins at the Paris Opera during the rehearsal for the opening night of Swan Lake. The Principal Dancer who portrays Prince Siegfried in the classical ballet gets so lost in the ballet fantasy, that his world becomes full of illusions. Fantasy is superimposed on reality until he can no longer distinguish between the two. In love with his beautiful dance partner, he’s painfully aware of the advances of the Patron who is always lurking around during the rehearsals, making unsavory proposals to ballerinas. In his mind, he turns into prince Siegfried, and finds himself at the lake, where he sees a beautiful maiden telling him that she had been cursed by an evil sorcerer to stay in swan form during the day until someone falls in love with her. He imagines that the maiden is his dance partner and the sorcerer is the patron.

The technical skills of Dylan Gutierrez as Siegfried are truly superb; his dancing is as beautiful as it is emotionally charged. Odette/Odlie’s role is danced by the magnificent Victoria Jaiani, who is floating on air, like she always does, effortlessly performing the most highly technically challenging pirouettes.

By the Second Act, the ballerinas so perfectly capture the essence of the swans, they seem to have lost their human form and become transformed into birds. This resemblance and the white costumes of ballerinas separate Siefried’s fantasy from reality in the ballet. In the Third Act, it’s back to reality: the stage comes alive with action; it’s a gala evening to celebrate the new production of Swan Lake. The fancy legwork of the cheerful Pas De Quatre (The Dance of Little Swans) does not disappoint; beautifully performed by Anne Gerberich, Jeraldine Mendoza, Edson Barbosa and Greig Matthews. Followed by the sexy Russian, Spanish, Czardas and Burlesque dances, the colorful costumes (by Jean-Marc Puissant) are in stark contrast to demure lakeside scene; this party is so much fun. Chicago Philharmonic Orchestra led by Scott Speck blends Tchaikovsky’s music with dance so perfectly that not a moment is out of sync; it’s divine.

Joffrey’s Corps de Ballet indisputably consists of world class dancers whose technical skills and ballet mastery make every performance exquisite; every one of their moves is executed with razor-like precision. Combined with brilliant Wheeldon’s choreography and gorgeous Tchaikovsky’s music, Swan Lake is a treat for the senses. In short, it is magnificent.

For more information on this beautifully executed production, visit www.joffrey.org.

You may be wondering why four of the city’s most formidable houses are each mounting productions of ‘Frankenstein’ this season. You may be also asking yourself which, if any, to see. It appears that Lifeline, Remy Bumppo, Court Theatre and Lookingglass have all included unique adaptations of the sci-fi classic. More than likely it is because 2018 marks 200 years since a young Mary Shelley published her seminal work. Of course, October is a pretty great time to stage any sort of Halloween theatre, but there’s something about the production running at Remy Bummpo that doesn’t quite feel like a horror story.

From an adaptation by Nick Dear and directed by Ian Frank, Remy Bummpo brings a great deal of humanity to this stage production. Dear’s adaptation was a success when it premiered at the Royal National Theatre in London back in 2011. It went on to be live broadcast in American movie theaters in 2012. This particular script comes with fanfare. The RNT production was directed by Danny Boyle and starred a then fledgling Benedict Cumberbatch. Something interesting Ian Frank borrowed from the London staging was the interchangeable casting of the Creature and Victor, played here by Nick Sandys and Greg Matthew Anderson. The two switch roles every other night. Sandys portrayed the Creature in Tuesday night’s opening.

Dear’s swift moving script begins at the creation scene, arguably the most dynamic moment of Shelley’s source material. Not too many frills here but the device saves quite a bit of exposition, because honestly who doesn’t already know the basics of the story? For those unfamiliar with Shelley’s original text, this is where the plot might diverge from popular memory. Dear’s script maintains a great faithfulness to the novel rather than the Boris Karloff monster movie.

Sandys performance as the Creature is more tragic than scary. Though, Kristy Leigh Hall’s special effect makeup makes Sandys unrecognizable and very menacing. The Creature, like a baby, begins naked and ignorant of the world around. Over the course of the 90-minute play, we watch a cruel world educate the outcast Creature into becoming a monster bent on revenge. Sandys eventual monologues about the desire for love are as haunting as the murder scenes. The script intellectualizes the Creature in a way that makes the audience pity him instead of fear him.

Ian Frank’s production is intimate and minimal. A sleek stage design by Joe Schermoly gives this production a disorienting effect. It’s almost to say, forget what you think you know about ‘Frankenstein’. In fact, this ‘Frankenstein’ may not even be a true horror story. Unlike Stoker’s ‘Dracula’ or Gaston Leroux’s ‘Phantom of the Opera’ – ‘Frankenstein’ sets itself aside as a story of scientific failure and the condition of humans to fear what we do not understand. It’s a story about the human need for love and this production tugs at the heart more often than it curdles the blood. Mary Shelley would appreciate the depth this adaptation gives to her most important contribution to literature.

Through November 11 at Remy Bummpo. Theatre Wit 1229 W Belmont Ave. 773-975-8150

The anti-fairytale is something everyone can get behind. Though there have many of these attempts over the years, Shrek is still the stand out, the one that broke the mold, the OG. Now everyone's favorite ogre is back in an  hilarious stage spectacle, based on the Oscar-winning, smash-hit film.

An unlikely hero, Shrek, is determined to reclaim his precious swamp from exiled fairytale misfits with the help of his wisecracking sidekick, Donkey. Together, they find themselves on a life-changing journey to rescue a princess who is locked away in an isolated castle guarded by a fire-breathing, lovesick dragon. Throw in a short-tempered bad guy, a royal wedding, and an evil curse and you've got the kind of mess only true love's kiss can fix!

The musical closely followed the movie, at times nearly line for line, even capturing the original line’s cadence and inflection. But the repetitive was broken up by clever musical numbers such as What’s Up Duloc?’,  ‘I Think I Got You Beat,’ and ‘Freak Flag,’ that enabled the show to stand out on its own. The musical adapted the magic of the play well with a life-sized version of the gingerbread man, a fire breathing dragon, and the stand out of the day, riding a motor-powered horse, Lord Farquaad played perfectly by Steven Strafford. As the actors, stagehands, and technical crews moved throughout the theater and on stage, the audience was transported to Duloq seamlessly.

The green anti-hero first premiered in 2001 and seventeen years later it still holds up in a form that young audiences can embrace and enjoy.

SHREK THE MUSICAL runs on most Wednesdays through Sundays at 10 a.m. with certain performances at 12:30 p.m. Visit MarriottTheatre.com or call 847.634.0200 for exact schedule, as show times and dates may vary. Single ticket prices are $18.23 per person. Groups of 20 or more receive a discount by calling 847.634.5909. Free parking is available at all shows. To reserve tickets, call the Marriott Theatre Box Office at 847.634.0200 or visit www.MarriottTheatre.com.

It’s that spooky time of year when we crave cheap candy and scary movies, and when deserted storefronts suddenly pop their doors open to sell Halloween costumes. Strawdog Theatre Company launches its 31st season with the world premiere of Masque Macabre, a Halloween-y show inspired by the works of Edgar Allan Poe. Written by ensemble members Aly Greaves Amidei and John Henry Roberts and company member Cara Beth Heath and directed by Co-Artistic Director Anderson Lawfer, Janet Howe and Eli Newell, Masque Macabre is an immersive theatre experience.

The play seems like quite an ambitious undertaking. Strawdog Theatre has converted its entire space into a colorful house (scenic design by Tom Burch, props design by Lacie Hexom), set as a farewell party for a young filthy rich entrepreneur. Every room has a purpose: there’s one with a mad alchemist mixing colorful liquids and talking to a creature in a fish bowl, an antique bath tub perfect for storing a dead body, a room with dozens of human skulls made of glass. It sounds like fun.

Before the show even starts, the actors and audience hang out in the theatre lobby. Like with many haunted houses the audience is asked to sign non-disclosure waivers but are then shown a short video/ introduction and given masks to wear. We are encouraged to move around the house, following the drama that unfolds in real time. It starts out with a great promise of fun and there are a few rules to follow (“don’t touch anything’, “only speak when spoken to”, etc). There are fourteen horror stories to follow and many scary conversations to eavesdrop on. Actors dress as party guests (great costumes by Virginia Varland!) move between various rooms and closets enacting scenarios of revenge, murder, and other drama, occasionally engaging audience members in small talk and tasks, like holding a flash light.

In my opinion, immersive theatre, if done right, is the most exciting theatre entertainment there is. Plays like [last year’s] For One and [this year’s returning] Madness of Edgar Allan Poe: A Love Story are wonderfully creative and intense, and truly are an unforgettable experience. Unfortunately, Strawdog’s Masque Macabre lacked both the intensity and substance; there’re really no cohesive stories to follow, most dialogues are confusing, and actors seem to be at a loss for words a lot of times. And, most disappointing of all: it’s not even remotely scary, and that’s the real crime. In short, Strawdog’s Masque Macabre still needs to live up to its full potential in order to be the great immersive theatre experience we have come to expect from so much talent behind this production’s team. This production just never really comes together like one would hope. Lots of potential here. The idea is there, but it’s not quite ready. Strawdog has put forth many strong shows over the years, but I wouldn't be so quick to add this one to the list quite yet. 

Masque Macabre is being performed at Strawdog Theatre through Halloween. For more info on this production visit https://strawdog.org.

To say music flowed out of New Orleans is an understatement. The Mississippi River technically flows South, but in “Take Me to the River: New Orleans Live” the music poured out in all directions. There is a documentary coming out later this year to go along with this concert. The same thing was done last year with the music of Memphis as a follow up to Snoop Dog’s documentary “Take Me to the River: Memphis”. I missed that show, but I did see the film, which is a wonderful exploration of Memphis-based music. I almost thought I was going to miss this latest concert that celebrates the music of New Orleans – and I’m sure glad I made it.

What do you get when you combine The Dirty Dozen Brass Band, George Porter Jr. and a couple Neville Brothers? One amazing ninety minutes of musical bliss is what you get. This was a lesson that stems from the roots of American Music.

New Orleans is known as the birthplace of Jazz. It is actually a mini cultural melting pot, musically speaking. A lot of influences are woven into the sounds that NOLA has given birth to. Jazz improvisation was conceived on the streets, emerging from funeral parades. Being below sea level, there are no burial grounds. So, people spent a lot of money on their post life. When people passed on, their friends and family often had parades to the place of final resting. Horn players along the way would jump in with the band…you had to have a band, right? Some of these players didn’t even know the songs being played, so they winged it. The result is what we now call improvisation.

Well, enough of the history lesson, let’s talk about the present. I am actually writing this only about an hour after seeing the show. This review is as fresh as the tomatoes you just picked out of your Momma’s garden. The music was like plate of Jambalaya with a bowl of Filet Gumbo on the side, very tasty. The grooves deep enough to get seriously stuck in.

One of the highlights of the evening for me was The 79rs Gang. This musical outfit was all vocals and rhythm complete with two members dressed in Native American costumes. I guess I am not done with the history lesson. There actually is a considerable Native American influence on the music of New Orleans. If you have ever heard about Congo Square, you know what I am talking about. That was a place to gather. The rhythmic part of NOLA started there. Most of us will acknowledge the African American contribution to the rhythm of Jazz. The people who gathered in Congo Square were basically anyone in town that were not purely Caucasian. This combination of ethnicities helped shape the music in the early development stages.

When I saw Big Chief Monk Bordeaux walk out to join The 79rs, it was just amazing. That gave everyone visual evidence of how these influences united essentially in their own repression. Often, bad things like racism brings forth amazing results. Jazz, R&B and other forms of music in America are testimony to that sad fact in our nation’s history. The redemption is musical forms that are purely and utterly American.

The room was full of people that will probably never know this, but, still, they did have a grand time. I am not saying I don’t appreciate the fact that those who might not know all the history supported tonight’s production. I’m thrilled – and we all have to learn sometime. Maybe a few went home to read up on the music of New Orleans. I think anyone who supports the arts is my friend. I just wonder if they got the same thing out of it that I did.

The McAninch Arts Center hits another homerun for bringing in such a unique, fun-filled musical experience that will be remembered for a long, long time.

Forget about the lofty plans you had for the day, the goals you had set.  Grab your girls, all your friends, your snacks, your drinks, and head over to Miss Cook’s Women’s Gym!

WaistWatchers the Musical will have you and your friends laughing hysterically and cheering along with MC, Cheryl, Cindy, Carla and Connie.  Up close and personal within the alcoves of the Royal George Theatre, inspiring you through sweat, tears, song and their supportive friendships, we go through the struggles of these strong women trying to reach their gym goals. Their reasons vary. For some it is for love, others for acceptance of themselves, and some for those who just want to control their cravings for the decadence of delicious life.

                                                                                                                With the terrific cast of WaistWatchers the Musial

The cast is finely tuned and features fantastic performers like Martha Wash, a two-time Grammy nominee (Connie) who we all know as one of the The Weather Girls that brought us “It’s Raining Men” and "Everybody Dance Now".  Along with the powerhouse voices of Katherine S. Barnes (MC), Krissy Johnson (Cheryl), Sarah Godwin (Cindy) and Kiley L. McDonald (Carla). This 90-minute musical, which allows audience members to refill their snacks and drinks throughout the non-stop performance, contains a plethora of musical styles from pop and soul to country. The sassy musical includes remakes of songs that we love, clever lyrics and plenty of cheeky commentary. After watching this fun and inspiring show you will probably wonder when the next open class is available near you. 

Created by Alan Jacobson (Book and Lyrics) with Vince DiMura (Music) and directed by Matt Silva get your tickets to WaistWatchers the Musical now. Show times are: Wed. 7:30PM, Thu. 2PM & 7:30PM, Fri. 8PM, Sat. 2PM & 8PM, Sun. 2PM. For more information on this highly humorous musical, visit http://waistwatchersthemusical.com.