Items filtered by date: June 2026

7 WALKERS

FEATURING BILL KREUTZMANN, PAPA MALI

GEORGE PORTER JR. AND MATT HUBBARD

ON TOUR NOW

SELF TITLED DEBUT ALBUM RELEASED

TO RAVE REVIEWS

Saturday, March 26 @ 9:00PM (Doors @ 8:00PM)

Double Door

1573 N. Milwaukee Chicago, IL

Tickets $20.00 Adv, $22.00 Dos / Ages 21+

For more information, please contact 773-489-3160 or visit www.doubledoor.com

The Merchant of Venice is not one of Shakespeare's most well known plays, in fact few of the people sitting around me in the theater had even read it let alone seen it. But the play is a gem, portraying cultural and religious stereotypes that are still prominent in today's society. The central themes in the play are simple: tolerance/prejudice, justice, mercy, and revenge.

The play is a tragic comedy centered on the wealthy, Christian merchant Antonio. Bassanio, a friend of Antonio asks for money in order to woo Portia, a rich heiress whom he is in love with. Antonio cannot afford the sum, but asks the Jewish moneylender, Shylock, for the funds. Shylock agrees, but only under the condition that if Antonio does not repay him, Shylock will take a pound of flesh from Antonio for payment. The story plays out, culminating in a trial that decides where fault lies, questions justice and fairness, tests forgiveness and ultimately determines right and wrong in the religiously one sided city of Venice.

With multiple storylines and minor characters, The Merchant of Venice can be difficult to follow on paper, but the cast of the Shakespeare for a New Audience company seamlessly bring to life the play for a new generation. The play is acted out on a single, industrial, technology-enabled set that even incorporates Mac computers and graphic designs. Similar to the styling of “Ten Things I Hate About You” (a modernized portrayal of Shakespeare's Taming of the Shrew), the company takes the Merchant of Venice and puts the modern, relatable twist on the play. The masquerade in which Leonardo and Jessica, the daughter of Shylock, steal away with her father’s riches is turned into a wild rave featuring techno music, Bassanio’s friends: Solanio, Salarino, and Salerio, work on the stock exchange. Lancelot, the foolish man in the service of Shylock, is a pot smoking delivery-boy who tells it like it is and is hilariously portrayed by Jacob Ming-Trent. Ming-Trent stole the show each and every time he was on stage with his adaptation of the goof Lancelot, from his facial expressions and subtle nuances, to his live delivery. But the true standout performances came from the female powerhouses of Portia and Nerissa, played by Kate MacCluggage and Christen Simon Marabate (respectively). Portia and Nerissa play smart, strong, sharp witted women.

The big highlight of the play and the company was watching F. Murray Abraham (Scarface, Amadeus) play the Jewish moneylender, Shylock. Shakespeare often made Jews the evil characters in his stories, pitting them against good Christians. In this case, Shylock is the “evil” Jew, who demands flesh in lieu of payment from the good and kind Antonio. We learn about his pains of living in Christian Venice, how others spit on him, cut him down, steal his goods, treat him like an alien. He wants fairness in Venice, and famously beseeches Bassanio’s friends with the heartfelt plea;

"If you prick us do we not bleed?

If you tickle us do we not laugh?

If you poison us do we not die?

And if you wrong us, shall we not revenge?"

But as much as we can empathize with his character, we also despise him. He is a man seeking revenge from Antonio but refuses even greater sums than he was owed, viciously demanding blood and flesh. He is also despised by his daughter Jessica, who runs away to escape her father’s household and further betrays and enrages him by running away with Lorenzo and converting to Christianity. It isn’t easy to balance this on the stage, but Abraham beautifully brings the two sides together in his portrayal of Shylock. Abraham brings an art to Shakespeare’s signature character and leaves the audience wanting more.

Chicago is filled with amazing theater, and we’re lucky to have an amazing choice of Broadway productions. The Shakespeare for a New Audience company, along with Broadway in Chicago, put on an incredible performance in the Merchant of Venice that any theater lover will not want to miss. The Merchant of Venice is plays through March 27th, 2011. For tickets and more information visit www.BroadwayInChicago.com.

It was Hamlet who said “the play’s the thing”, and Yasmina Reza’s play has won so many awards, it feels almost impossible to say anything critical about it. It’s a light, frothy modern-day farce, which lifts the audience up, before pushing them out into the spring Chicago air.

When Alan (David Pasquesi) and Annette (Beth Lacke)’s son hits Veronica (Mary Beth Fisher) and Michael (Keith Kupferer)’s son with a stick while playing, the two couples meet to discuss the issue. The evening starts well enough, with some clafoutis and coffee, but quickly descends into farce, as people’s social masks begin to slip.

The play is a modern-day comedy of manners, asking questions about parenting, relationships, and the correct way to dispose of a cell-phone that won’t stop ringing. All of the actors put in solid performances, the highlight being Pasquesi as an oleaginous lawyer, looking to bury a story about his pharmaceutical client. His wife, Lacke, is suitably neurotic, given her workaholic husband and apparently feral child.

In most farces, all is at is seems, and Reza’s play doesn’t deviate too far from the norm. The biggest laughs come from the physical comedy, but if were being picky, I’d complain that it’s the play itself that really just doesn’t deliver quite the replete number of laughs per minute. It’s an enjoyable enough 73 minutes, that means everyone’s at home in time for the babysitter.

God of Carnage is playing at Goodman Theatre thru April 17th. For more information visit www.goodmantheatre.org.

What can I say about “Johnny Boy's Graduation” other than it's INCREDIBLE! This show had to have been the BEST time I've ever had! The show, an interactive comedy by Mark Nassar, co-creator of “Tony 'n' Tina's Wedding,” and by Kevin Alexander, Denise Fennell and Justine Rossi, takes place at Boni Vino Restaurant on Van Buren Street in Chicago. From the moment you walk into this restaurant, you're family. Johnny's mom greeted me at the door, and the rest of the family started hugging me as I'm walking in. When you walk in, it looks like an Italian restaurant. Everyone was waiting in the lobby by the bar, as members of the family were walking up to people and making small talk. As everyone was talking, the wonderful Tiffany Turner, who plays Stella was singing songs until everyone went in the dining room. And man, can she sing! I was talking to a buddy of mine when sweet Little Mary came by, played by the funny and talented Sarah Bockel. She was telling us how she doesn't like to sing in front of crowds, then everyone forced her to sing. She sang Patsy Cline's “Crazy”, and WOW! One of the best versions I've heard. After Mary sang, we all entered into the dining room. Everyone was assigned to different tables. I was lucky enough to sit with the family. The main host for the evening was Dommie Spits, played brilliantly by creator Mark Nassar. He cracked me up all night. What I love about this show, is that everyone in the show interacts with the audience. The Chairman (George Hambach), assisted by The Saint (Johnny Rickert), went up to make speeches, along with Suds (Ron Cooper), Max Golden (Marty Shannon) and Willie Whacko (Bato Postran). The speeches leading up to Johnny Boy's arrival were hilarious, with the video screens showing Johnny Boy's release from prison. As we were waiting for Johnny Boy to arrive, we were the invited friends and family, throwing him a surprise party. Then, the arrival. Everyone went crazy, and the honoring began. The ever so funny Franny, played by the hilarious Jane Allyson, went up on behalf of her husband The Chairman to make a speech for Johnny. There were other members of the family too that were making speeches for Johnny. The ever so lovely Camille, played beautifully by Samantha Gold, and her husband Mickey Mouth, played by the brutus John Bellon. There was Little Mary, and her wise-ass/filmmaker husband Nicky Nerves, played by the hilarious Peter Parilli. The part where he brought his new “star,” played by Jan Godshaw, was hysterical. Along with filmmaker Dante (David Gigante), these two are a good team. But most importantly, we can't forget Johnny Boy's one true love Angie, played by the wonderful Jamie Brouillette.

As the getting-out-of jail-party commenced, all the family and friends are trying to figure out where the diamonds are. See, the reason Johnny Boy got thrown in the slammer for years, was for participating in a jewel heist. He was the only member of the gang that got caught and had to do time. But Johnny Boy is also the only one who knows where the diamonds are. Throughout the whole show, that's what's on everyone's minds. But, anyway, back to the party. Before we eat the elegant food that's served to us, Father Mike (James Grana) says a prayer for us with a plastic light up Jesus. The food was great. They were serving mostaccoli, ravioli, sausage and chicken. Don't complain about the food, or you'll get whacked. As the night goes on, there's more comedy, more fun, and more laughter. The party continues into the lobby room with dancing and singing. Father Mike was playing guitar, while everyone was partying it up. Throughout the evening we also had the smooth-voiced crooner, Mr. Bobby Boni (Joe Bonadonna). He entertained the crowds with sing-a-longs and a “Sinatra Battle.” Then, finally, by the end of the show, we have Det. Gus Tedakis, played by the brilliant Peter Buckley, raising all the commotion. As the show came to an end, we find out where the diamonds are, and a couple other surprises you have to see to check out! After the show, you can meet everyone out of character, and do karaoke.

Overall, this was the best theater experience I've ever had. And I HIGHLY, HIGHLY, HIGHLY recommend everyone should see this show! You'll have a blast! If you've gone to “Tony 'n' Tina's Wedding,” you will love this! A wonderful interactive experience, where you'll leave never wanting it to end. I recently caught up with Creator and Producer Mark Nassar, who told me a little about how this show came to be, and about its origins. Thanks Mark for creating a FANTASTIC show!

7 pm on Saturdays Open-ended run, Boni Vino Ristorante, 111 W. Van Buren St., Chicago. $60, includes dinner except for drinks. Tickets are available on the website: www.johnnyboysgraduation.com If you enter the code BUZZ, you'll get $5 off tickets.

Buzz: I heard that there's a prison across the street from the restaurant. Does that have any significance to the show?

Mark: There is a prison on the corner about a half block away. The MCC. metropolitan correctional center. federal prison. mostly a hold for people waiting to go on trial. I was visiting a friend who had a stay there. walked down the street and there was Boni Vino's like a gift from heaven -perfect location. plus it gives us the opportunity to show a video of johnny getting out of jail and walking to the party in one shot. i don't think we'll ever find a better location. a guys getting out of jail and it's only a hundred yards away. plus the place didn't need any design or decoration. it was better than a designer could do.

Buzz: Where did you come up with the idea for this family?

Mark: In this case I created characters for actors I already new and wanted to use. mostly TNT vets in NY. the parts evolved from rewrites and they went from being mob to being a family of thieves. They are a little of both now.

Buzz: What prompted you to come up with Johnny Boy's Graduation?

Mark: I always wanted to do an interactive show about gangsters. then an opportunity arose when I needed money for a video project. I got together with some TNT vets (Kevin Alexander, Justine Rossi, Denise fennell) wrote a timeline with some characters. Kevin, also a writer of TNT came up with the idea a party for a guy getting out of jail. bingo! we threw up a very loose improv gangster party for only one night and it was a huge success. we raised a good amount of money. we did it again as a fundraiser for a theater company. Yonkers fireman played the gangsters. it was a riot. I thought it would be a success in chicago because of the gangster mythology there and with the success of TNT in Chicago, I thought it would be a no-brainer. I looked for for years for the right space here and finally found it in Boni Vino's. (of course when I found it I had no money but that's another story and a good one.)

Buzz: How is this show different from Tony and Tina's Wedding?

Mark: The basic difference of course, is that one is a wedding and the other is a gangster coming home party. The party itself is the most similar aspect of the two pieces. I think where they diverge is that "Johnny Boy's" is more scripted. It's still more event driven than lot driven because we want to avoid it being a murder mystery, but the actors have far more lines than they do in TnT.

Buzz: Will this show eventually go to New York?

Mark: The original producer of TnT has shown a lot of interest in bringing it to NY. I also have interest in Vegas. For now though, I am focusing on Chicago, solidifying it here, before I move it to another city.

Buzz: What made you want to write this show?

Mark: On the interactive side I have written, in addition to JB's and TnT, I wrote a show called "Birdy's Bachelorette Party", which is a spoof on "Chip n' Dales" and a big ole girl's night out. Ran for five years at the Culture Club in NY. As far as standard plays, I wrote a play called "The Mayor's Limo", about a guy who pisses on The Mayor's Limo and lands in a squad room. It had a successful off- broadway run, is published by Samuel French and was made into an Indie film called, "A Line in the Sand", which I also wrote. It won a good amount of awards on the festival circuit. (The film has won awards from: Bridge Fest (Audience Award), Santa Monica International Film Festival (Best Feature and Audience Award), Montana Independent Film Festival (Best Feature), Naperville Independent Film Festival (Best Actor - Jon Bernthal), Canada International Film Festival (Best Feature and Grand Jury Award), George Lindsey UNA Film Festival (Golden Lion Award). As a result of this success I have been hired to write about 4 screenplays in the last couple of years by various producers. I have a play, called "Shouting in the Wilderness", which had a workshop in Aiken South Carolina. www.shoutinginthewilderness.com

I would like to add the most important part of Johnny Boy's, I think is the casting. I was so lucky to get the types and talent that I did. I wanted authentic working class Chicago types. I have people with a ton of experience and some with little or none. This cast has gone above and beyond just acting. They have helped in all aspects of production and sold a ton of tickets to keep this thing floating in the beginning. With no money down this was surely a very trying, yet rewarding organic theater experience. Also people like Vic P, and dear friends in Chicagoland took care of me, helped me and allowed this thing to happen.

They call themselves The Pink Floyd Experience, and what an experience it was. From the moment you step into the theater, you can see the haziness on the stage, as if it were a Pink Floyd concert. I have seen The Australian Pink Floyd Show and Think Floyd USA, and in my opinion, these guys did what those other two tribute bands can't do. The Pink Floyd Experience is made up of 6 guys. Tom Quinn on lead guitars and vocals, Howard Pattow on lead vocals and guitars, Gus Beaudoin on bass and vocals, Jesse Molloy on saxaphone, keyboards and vocals, John Cox on keyboards and vocals, and John Staten on drums. Wait, there's no female backup vocalists? That's right. These 6 guys did all the vocals themselves. These guys showed those other Pink Floyd tribute bands what you can do when you have 6 guys doing everything. Besides, less is more. The only drawback I had was I was waiting for the lasers, but they had a cool light show, and the videos were phenomenal. They started off the night playing the entire album of “Animals” from front to back. Personally, I'm not the biggest fan of that album. I've always been a “Dark Side of the Moon” fan. But the guys really pulled it off. The best song they performed off that album in my opinion was “Dogs”. There's just so much emotion in that song. After they performed the entire album, they took a 15 minute intermission.

The second set was unbelievable. The guys played all sorts of Pink Floyd songs from their catalog. They were playing everything from “Time” and “Money” to “Run Like Hell”. The performances of each of these players was very unique. Howard Pattow on lead vocals was a pleasure to listen to. His vocal range is unbelievable! He was able to mimic Roger Waters perfectly. To be honest, it's hard to find good vocalists who can sound like Gilmour and Waters. But these guys were able to do it really well. Jesse Molloy on saxaphone really blew me away! I've seen other sax players playing Floyd, but this guy outdid them all. He blasted through “Shine On You Crazy Diamond” and “Money”. The lead guitarist Tom Quinn looked and sounded like Dave Gilmour. The biggest highlight of the night was “Comfortably Numb”. These guys rocked the hell out of that song! With the disco ball whirling and the dazzling light show, everyone was cheering, because they knew the words. There were about 1,500 people at this concert. All Pink Floyd fans. It felt like you were at a Floyd concert. There was the stench of marijuana and alcohol everywhere, screaming fans and audience sing-a-longs. It was like being at a huge party. By the end of the night, they closed with “Another Brick in the Wall Part 2” from “The Wall”. All topped off by a giant inflatable pig being thrown into the audience, which was very cool. Overall, The Pink Floyd Experience lived up to its name and was a great experience.

To find out more, check out their website: www.thepinkfloydexperience.net

Annie Baker’s acclaimed play "Circle Mirror Transformation" won the 2010 Obie Award for Best New American play and for good reason – the production is funny, moving, well-crafted, includes characters that are easy to identify with and is refreshingly simple. Effectively directed by Dexter Bullard, "Circle Mirror" projects a warmth and familiarity from its five cast members that is essential to the play’s success.

"Circle Mirror Transformation" takes the audience to a six-week community acting class that brings together a somber teenager, a former actress, a divorced carpenter, and an upbeat teacher along with her hippie husband. From a series of extroverted acting exercises in which some students take to with an over zealous nature while others perform on the opposite, more timid, end of the spectrum, to the general interactions between characters, this is a play that has audience members laughing out loud – and often.

Each cast member deserves kudos. Carmen Roman delivers a splendid well-rounded performance as acting teacher "Marty", while Steve Key ("Schultz") and Joe D. Lauck ("James") display their big time abilities to draw laughs. Rae Gray ("Lauren") nails her character’s downtrodden humor while Lori Myers ("Theresa") is nothing less than outstanding, delivering demanding physical comedy and punchlines in a seemingly effortless effort.

"Circle Mirror Transformation" is the prefect play to see if you are looking to stay away from the heavy or complicated and take in something light and funny that doesn’t make you think too much. The humor, though simple, is smart and the message, though simple, is endearing.

"Circle Mirror Transformation" is currently playing at Victory Gardens Theatre through April 10^{th. For more information visit www.victorygardens.org.}

I like to celebrate my birthday. I learned that from my mom who would always tell us before we got to the restaurant on her birthday to please discreetly inform the wait staff and ask them to sing to her when they bring dessert to the table. Many of my friends scoff at celebrating their birthdays. They say it’s no big deal and that it doesn’t mean anything.

It does mean something, something important and not just to your mother. It means something even to those strangers sitting in Red Lobster who applaud your birthday for ten seconds, and will never see you again.

For one thing, it means that you as an earthling, physically made it this far and to this day, the same date as the first day you shot out of your mother and into the atmosphere of our hostile world. It means you may have made it past many possibly fatal threats to you being alive eating at Red Lobster on this day, your birthday.

You may have out dodged childhood diseases, car accidents, poverty, plane accidents, all the adult diseases, boating accidents, skiing accidents, maybe even hurricanes and tornados came your way and couldn’t take you down. You have been on the planet this many years and are still here!! Albeit you may be lurching about a bit, but you are still here for your loved ones.

Also, if you find any value in astrology, Eastern, Western, and everything astronomical in between, then investigating the archetypal meaning of your birthday can have great eye opening power for you as it did me.

For example, I was relieved when I read that the week of my birth is considered to be the week of "The Loner". It really explained to me why I have always chosen to spend so much time alone at home, in libraries or out in nature, often going to movies or dance clubs alone. I’d see large groups of girls going in and out of bars or shops and wonder what’s wrong with me? Why don’t I have that many friends? Why don’t I even have the desire hang out with that many people? Am I alone a lot because I’m a "witch" or "weird"? When I read that description about my being a loner by nature, I realized I’m not a pack animal. It’s not a problem; it’s just the way I was designed to roll.

March 5^{th, The Day of Heaven and Hell}

I actually remember the first time I opened to that paragraph in the BIG, giant, Book of Birthdays while standing in a Barnes and Noble bookstore on the upper west side of New York. I was hungrily searching for clues about my spiritual self and was pretty sure my birthday was going to be called something lovely and impressive like "Dances in Rain On the Day of Beauty and Roses" or "The Day of Laughter and Unicorns" at the very least "Super Duper!!- You’ve got the very best birthday in this whole book!" But no, there it was, mine was the ultimate good news/bad news birthday-"The Day of Heaven and Hell".

The good news? You bring out the very BEST in people! That’s GREAT!

The bad news, you bring out the worst in people. Holy sh-t, that sounded horrible. Almost like an oxymoron, impossible!

Now I think everyone has had that experience of seeing a person clearly and positively at the beginning of a relationship and then maybe a few weeks or months when the masks usually come down, suddenly see the person completely differently, maybe even negatively. This is a normal experience and when there is the desire and the time, this unmasking doesn’t have to mean the end of the relationship, it can actually mean the very beginning of the real relationship.

So what happens for a "piercing insight, able to easily access the feelings of others, and naturally psychic" March 5th baby like myself is that the heavenly, falling in love process, and the hellish, unmasking process, happen very quickly, almost simultaneously and very, very intensely. I say almost simultaneously because they cannot happen at the same time. Heaven and Hell are two opposing forces or concepts and cannot occupy the same space at the same time. Also because "Heaven" or "light" is real, it really exists everlastingly and "hell" or "darkness" is not real and does not really exist or last.

Most people get to play out the above "getting to know you" scenario over a few candlelit dates, or over a period of years or-for a blessed few there is no big change in image, but for those born on March 5th the heaven and the hell are going to make a soul shaking appearance right away, no matter what.

So here’s what happens when I encounter a person I am attracted to, someone I think may be soul mate material (because at my age I’m not looking for anything less.) I’m used to this process, this is old hat for me but for the guy, he’s probably never seen or psychically felt one of "these" ever before. By "these" I mean the unique collection of planetary energies that make up my birthday and year.

I was born in 1965, the Year of The Chinese Wood Snake, considered the most wise, beautiful and psychic of the Eastern traditional signs. I have also four planets or pairs of dolphins in Pisces, also considered by experts to be the most psychic and impressionable "mirrors" of the Western Water signs. Don’t forget four planets in Virgo, the earthy, analytical, fastidious Virgins, and one eternally youthful, Aries Ram Moon, behind the steering wheel of my emotions.

Picture the image of a large powerful mirror, carried by four very careful Virgins. The mirrors’ reflective surface is not made of glass it is made of water, with eight dolphins living in the water, and the mirror is being shoved forward by a ram with a happily coiled snake riding on his back, that’s a pretty good illustration of what I look like astrologically.

At first my guy sees heaven, reflected in the mirror of my eyes. Because I have four planets in Pisces, the very archetype of the Eternal Soul Mate in my lineup, he sees a very real personification of his very own heavenly soul mate, completely equipped with all the heavenly qualities he heretofore only prayed for.

And he sees that I see the heaven in him too. Not just the younger more successful him, maybe 35 years old, when he may have been at the top of his career but the 11 year old him, the pure dreamer with a pure dream, the vast unmolested potential of him still perfect and unbruised in it’s tightly closed bud.

In just one stunning, powerful glance we both get to see clearly the heavenly archetypes we both currently embody including The Victor, The Accomplished Artist, The Spiritually Mature, The King, The Queen, The Humorist, The Hero, The Survivor, The Free Spirit and The Lover.

He also senses that I have enough Pisces power or fairy dust and four times the Virginal earth to make the heaven he only dreamed of real on earth as well.

This is a wonderful process, fantastical at first, but like the Woody Allen quote about not wanting to belong to any club that would have him as a member, he immediately feels certain that I am not seeing the real him, the hellish Devil he fears he has become or that he is seeing the real me.

To any other girl, born on a day not as "naturally psychic" or "piercing" he might suddenly reveal that he leaves his socks on the floor, is lactose intolerant, or is isn’t happy in his work, but in my case I quickly get to see the real "Hell" him. These shadow archetypal versions of him might include the hellish Hypocrite, The Coward The Procrastinator, The Pervert, The Failure, The Bully, The Misogynist, The Cheater, The Liar, The Psycho, The Icy Cynic, The Cheapskate, The Hermit, The Impotent, The Weakling, The Depressive, The Idiot, etc.

Now I’m not like Lady Gaga, I don’t want your "bad romance", your disease, your revenge or your horror, I only want your love.

I SEE that perfect child still alive in you. It is one of my gifts that I have the ability to actually see and touch the real, eternally ageless, heavenly version of you and that’s the only one I want.

Because I’ve been through this experience already with several other soul mates in my 46 years I already know that the "Hell" version of you is not even real. At most, these thoughts and behaviors are just collections of symptoms left over from not being in true love with a soul mate for a while.

I know too that the fearful hellish images he temporarily imposes on me, i.e.,

The Whore, The Goody-Goody, The Critic, The Prude, The Bitch, The Workaholic, The Cry Baby, The Old Maid, The Needy One, The Jokester,

The Victim, are all unfounded too, just shadow figures, just reflections of fearful thoughts quickly passing across the surface of my water mirror.

Now, it’s in my nature to butt heads and then quickly swim, slither, and run away from someone who appears so demonic and threatening to me. That’s a good thing, a protective safety hatch in nature. I believe we have more than one soul mate in this short life and it is crucial to choose to spend time with the right one at the right time for that union to be truly positive and fruitful emotionally for both people, as truly heavenly in every way possible. Connecting with one of your soul mates in this brief lifetime is always amazing but choosing the wrong Soul mate to connect with at the wrong time can lead one down a path of disaster that takes you off your true, spiritually prosperous life path for many important years, maybe for the rest of your life.

I guess this is an open letter to my future soul mate, letting him know not to be afraid of what he sees in my mirror or of what he sees me seeing in him. Yes, I see it all; mostly the good, but also the bad and the ugly and I reflect it all. For lack of a better term, I’m a psychic-reflective-visionary! It’s a good thing, one of my gifts. Apparently I can’t hide it and I can’t help that you SEE me, seeing it ALL.

But know that if our timing on earth is right, we can just laugh at the distorted "Funhouse mirror" versions of ourselves, set the mirror straight and see heaven clearly, together.

I have had a "Peter" on my mind for some time. I had not been thinking of the word in one of its common meanings (a wiener) or it being short for a "Peter Pumper," either. Rather, I was obsessing about a band whose name I mistakenly had thought was "Peter Rabbit." The correct name of the self-proclaimed bossa nova/pop/psychedelic band is "Pepper Rabbit," which is more fitting since they are not silly rabbits, as far as their skills are concerned.
 
Plus, the duo, comprised of Xander Singh and Luc Laurent, present peppered, magical musical ingredients and chemistry that indeed have the potential to stretch a person's imagination, and make the cells in his head grow. And, that is putting it mildly because I can say with the utmost of confidence, no people will be asking for their money back after having seen one of Pepper Rabbit's shows.
 
However, LA based Pepper Rabbit did take me by surprise with their performance last weekend. People did not seem to want to touch them with a 10-foot pole, or even a 6-inch pole! To elaborate, patrons at Chicago's ultra cool Subterranean venue and lounge stood far way from the stage while Pepper Rabbit played.
 
Yet, during Pepper Rabbit's first song the room filled quickly, and the Subterranean is known for being a tough crowd to please. But, while I looked around I saw just about everyone's eyes fixated on, and in awe of Pepper Rabbit's performance.
 
I truly believe the physical distance between the customers and the stage was due to them being utterly taken back by Pepper Rabbit's, just about as unique as can be, showmanship and total musical components.
 
Xander Singh, eventually invited the audience to come closer to the stage, and it appeared as everybody did, although they were still pretty stiff, probably by all of Pepper Rabbit's songs zapping them like lightening rods. Pepper Rabbit's worldly and highly complex arrangements were shocking in a such a good way, I could easily conceive flocks of people risking going miles down to Mexico. (In a desperate attempt to get the same feeling in a pill form.)
 
A "Hallelujah" is in order that people can skip the possible Mexican Prison time, and who knows what else, by simply buying Pepper Rabbit's critically acclaimed albums and tickets for their shows instead (http://www.myspace.com/pepperrabbit.)
 
Pepper Rabbit's performance, all in all, also induced lots of foot thumping amongst the crowd, as well as, praise. For instance, a beautiful girl named, Maren, I spoke to during the show said she played all the same instruments as Pepper Rabbit in her band, The Photographers. And, in her professional opinion she stated "Pepper Rabbit are real tight!"
 
Pepper Rabbit's performance displayed marveling multi-tasking abilities, memorization skills and dedication needed to pull out, and use so many instruments so often while singing, too! They pulled out a slew of joyous-invoking instruments including a mandolin, banjo, ukulele, tambourine, drums, pianos, flat 7ths and so on!

Plus, Singh's voice had a charming boyish sound, that was also powerfully loud and from the gut at the same time, showing off lyrics stemming from their personal experiences. In addition, some of Peppered Rabbit's songs have lyrics that are delightfully playful. I kid you not, Pepper Rabbit will make you feel like a child, again, excitingly discovering music for the first time.
 
It would be a crying shame if the incredibly talented and passionate Pepper Rabbit do not receive a much larger fan base and more album sales. I believe they will, though, as long as they go after a significantly larger amount of exposure--you know how fast rabbits can multiply!

You can go to: http://www.myspace.com/pepperrabbit to get their new album, BEAUREGARD, and tour information. 

What’s not to love about Celtic punk music that glorifies drunken shenanigans and their love of hard-working Americans? The answer is absolutely nothing. In a glorious pre-St. Patrick’s Day kickoff, The Dropkick Murphys brought an abundance of Celtic pride to the Congress Theater to promote their recently released album, Going Out in Style.

Not many punk bands have the mainstream appeal of The Dropkick Murphys. After banding in 1996, Dropkick has won over punk crowds, sporting arenas, and even landed on a major motion picture soundtrack. Despite their rise in popularity, Dropkick has always stayed true to their original sound.

To paint the scene, imagine a crowded venue inhabitant by people of all walks of life. A buzz is in the air making everything feel electric. The crowd, without much prodding, was properly amped and ready to see the main event. The crowd begins chanting, “Let’s go Murphys,” while the anticipation level hit a fever pitch. Dropkick, never a band to disappoint, graced the stage and kept the intensity level up for the rest of the evening.

The set began with a song off of their new album. True to form, Dropkick came out strong and took the crowd on majestic journey through their discography with minimal hesitation between songs. Personal favorites, crowd pleasers, new, and even more obscure tracks fed the already captivated congregate of fans. Words cannot describe the feeling of seeing Dropkick perform tracks like “I’m Shipping Up to Boston,” live. Simply put, their live performances are phenomenal.

Since high school, Dropkick’s infectious sound has peppered the soundtrack of my life. Below is a sample of some of my favorite tracks. Give ‘em a listen.

1). “Barroom Hero”

2). “The Gauntlet”

3). “The Spicy McHaggis Jig”

4). “Finnegan’s Wake”

5). “Boys on the Docks”

6). “I’m Shipping Up to Boston”

7). “Gangs All Here”

8). “Rocky Road to Dublin”

9). “Going Out in Style”

10). “The State of Massachusetts”

If any musical is a precursor to the rock opera, it's 1967's very own Hair. I saw elements of Rent, Godspell, and Jesus Christ Superstar, among others, embedded within the music, choreography, and even the costumes. This show is great fun but with serious things to say. Written and set in the late sixties, Hair speaks to many of the hot button issues of the time: the emergence of the hippie culture, freedom of sexuality, the generational gap between young adults and their parents, the prevelance of androgynous young men growing their hair long, and most importantly, the Vietnam War. Yet, the messages are still more than relevant today.

Act One opens with the show's most famous tune, "Age of Aquarius," then takes the audience through a sort of roll call of the characters, who address and speak to (and sometimes dance with) the audience. We learn about the male characters' rage and fear over being drafted and watch them scheme and worry over getting out of it. But the upbeat songs and energetic people moving around onstage allow you to put the misery on the backburner for awhile and enjoy celebrating "Peace! Flowers! Freedom! Happiness!" with the colorful members of the fringe culture.

I found that I liked the cast even before I saw them, reading through their bios in my program. Nobody had boastful lists of regional or touring credits, but rather tidbit philosophies on life (on karma, Zen, art), shout outs to family and friends, and -- a cute touch -- their astrological signs. This cast was young, enthusiastic, and a very strong ensemble. And brave. I've never once gone to the theatre and seen any actor, let alone an entire cast, stand unabashedly nude before the audience. If you happen to get bored with all the peace and love, just hang on, because that'll wake you right up.

Some of my favorite aspects of the show included three white girls singing about how much they love "Black Boys" followed by three black girls singing about how much they love "White Boys," the prayer of "Sodomy" (and cunnilingus, and fellatio, and masturbation...), the beautiful, shirtless hippie men (abs!), and Claude's profound defense to his parents of his opposition to the war, "I Got Life."

Obviously, the anti-war sentiments still ring true, but the part of the show where I really got chills, thinking of all the bullying and suicides that have taken place among the young gay community, was when a cast member dressed as an older woman (the embodiment of the conservative generation) turned to the audience and said, "I wish every mother and father in this theatre would go home tonight and tell their kids: 'BE FREE. Be whoever you are, and do whatever you want to do.'" Adding, "As long as you don't hurt anybody." As messages go, this is about as clear as it can get. 

I've known the music of Hair for years, but this was the first time I actually saw the show. It was wonderful to finally put a story and characters to the songs I love so much, and it was everything I'd imagined it would be. A celebration of being alive, of friends, of music, of freedom, of LOVE LOVE LOVE! However, it wasn't all flower-power optimism; by the end you will be left with a haunting reminder of the consequences of war. Not to fret, though. The cast continues the celebration by bouncing back up onstage for curtain call and a "Let the Sun Shine In" dance party with the audience, half of whom joined the cast onstage to dance and sing, some running down the aisles for their chance, some being somewhat reluctantly lead by hippie cast members. And good fun was had by all!

I wish I would have been around for the original Hair production, just to see what 21st-century changes had been made. Whether it's a direct reitterance of the 1967 production, I can't say, although I doubt that it is. No matter what, though, I can safely say that this revival stays faithful to the ideas and convictions of the sixties original and perpetuates them in a way we can relate to. I think everyone should go see it. I walked in with a question mark over my head in regards to what I was about to witness, and I walked out with flowers in my hair, an invitation to a Human Be-In ("Bring Your Own Pot!"), and "Let the Sun Shine In" thrumming through my head. The Hair revival is here until March 20th at the Ford Center/Oriental Theatre, so don't miss out on the peace, love, and astounding cultural significance.