Items filtered by date: June 2026

The lights go out and I wish I'd gone to church this morning. Cradle of Filth bassist Dave Pybus takes stage with guitarists Paul Allender and James McIlroy. The three of them strike a chord and I can feel that my trip to hell has officially begun. People in the audience are raising their fists and their heads start bobbing like popcorn popping. Lead singer Dani Filth takes the stage and stands on a riser that seems as short as he is, but he can still deliver a powerful punch. With a fury of words machine-gunning out of his mouth, Dani Filth performs lyrics that cover everything from rape to Greek mythology and, of course, demons from hell. The problem with Filth’s lyrics isn't necessarily the content, but trying to figure out what he's actually trying to say.

Filth has mastered the art of deep growling vocal abuse while spouting a tale of England’s medieval history. As a matter of fact, Filth has become so good at his graveling vocals, that perhaps only Cookie Monster could understand what he's trying to say. Cradle of Filth's performance stays true to their recordings; they sound exactly how they do on their album. And, Dani Filth sounds just as intense on CD as he does live. For black metal fans, this was one hell of an amazing show. However, if you've never understood black metal, you might feel lost. But, you can't deny a strong performance when you see one, and Cradle of Filth leaves fans knowing why they've set the bar for English black metal.

SPACE in Evanston has to be one the coolest places to see live music acts! Not only is it a small intimate setting, but you can meet the acts that perform right after their concert for a meet and greet. The atmosphere is very relaxing, and tonight it's “Songwriters Night.” The two songwriters tonight are the legendary Jimmy Webb, who has written thousands and thousands of songs for famous recording artists. Then, after Jimmy was Alice Peacock, a great singer/songwriter, who is from Chicago. The night was calm and fantastic. First up, we had Jimmy Webb. Jimmy is a legend, and an incredible songwriter and performer. His compositions include “Up, Up and Away”, “By the Time I Get to Phoenix”, “Wichita Lineman”, “Galveston”, and “MacArthur Park.” His songs have been performed or recorded by Glen Campbell, The 5^th Dimension, Thelma Houston, Frank Sinatra, Barbra Streisand, R.E.M., Elvis Presley, The Supremes, and Richard Harris. He is the only artist to have received Grammy Awards for music, lyrics and orchestration. Jimmy's performances were heavenly, as he was performing his magic on the piano. Not only is he a great performer and songwriter, but he is a great storyteller. Throughout the night, he was telling the stories behind his songs. He also talked of his experiences with the people that helped him and inspired him, and he has a great sense of humor. The show was sold out. There were Jimmy fans everywhere. People I talked to knew exactly who he was. They were telling me how they grew up with his music, and how it's affected their lives. Being a singer/songwriter myself, I felt a deep connection to his music, growing up with songs. But the small, intimate setting made this concert magical. He started off with songs like “Galveston” and “By the Time I get to Phoenix.” The concert lasted about an hour and a half. Now the cool part was when he came out to meet his fans and sign CDs. Jimmy just released a new album he supporting on the tour called “Just Across the River.” The album has duets with Vince Gill, Billy Joel, Willie Nelson, Lucinda Williams, Jackson Browne, Glen Campbell, Michael McDonald, Mark Knopfler, J.D. Souther, and Linda Ronstadt. If you get a chance, listen to this CD. It's incredible! Overall, a magical, elegant performance from the great Jimmy Webb. Thank you Jimmy!

Source: http://en.wikipedia.org/wiki/Jimmy_Webb

Check out more of Jimmy Webb at his website: www.jimmywebb.com

It was late in the night, and next up was Alice Peacock, a fantastic singer/songwriter. She was there with her guitarist/co-producer/co-writer Danny Myrick. The two found the commonalities in their backgrounds – Myrick is the son of a southern Baptist preacher, Peacock the daughter of a northern Methodist minister – strongly influenced their co-creation. What I love about Alice is that you can easily relate to her music. Danny told me that night, “Songwriting is such an interesting thing.” The thing about it is you never know where the idea for a song can come from. But all the songs she played were flawless. They both were entertaining conversing with the audience and also telling the stories behind the songs. One song that I thought was so beautiful was “Time,” where Alice sat behind the piano playing solo. Other great moments were “Sunflower,” which was in the film Because of Winn-Dixie and the song “Bliss,” which was featured in the clothing ads for “J. Jill” and in “Hershey's” commercials. For just two people on stage, Alice and Danny knew how to rock the crowd! Whether it was the audience sing-a-longs, or Alice and Danny taking turns singing. Very entertaining and very energetic! Before their show, Danny and I were talking about today's music, and how we process classic songs to today's music. Alice has four albums released already. Her first, “Real Day,”, her second, the self-titled “Alice Peacock,” featuring John Mayer and Indigo Girl Emily Saliers. Her first two albums were more folk-rock. Alice sounds like the love child of Joni Mitchell, Shawn Colvin, and Laura Nyro all put together. Her third album entitled “Who I Am” was a beautiful pop record with Alice at the piano throughout the whole album. Most recently she released a brand new album “Love Remains,” which is the first collaboration for Peacock and Myrick. Great rocking album! Before Alice's two hour set last night, I caught up with Alice for an in-depth interview with her, while Danny was minding his own business at the coffee maker.  Thanks Alice for letting us be a part of your family for two hours!

Source: http://en.wikipedia.org/wiki/Alice_Peacock

Check out more of Alice Peacock at her website: www.alicepeacock.com

Buzz:   So Alice, who are your influences?

Alice:   There are so many. Everything growing up. The songwriters, Randy Newman, Jimmy Webb, Laura Nyro. You really learn from the craft. Mostly, the classic singer/songwriters. In Nashville, song is king. It's just you and the guitar.

Buzz:   Were you born here?

Alice:   I was born in Minnesota, but I'm currently living in Nashville. I moved to Nashville 2 years ago, after living in Chicago in Lincoln Park for 12 years.

Buzz:   What is the life of a Singer/Songwriter?

Alice:   I think when you're a songwriter, you have to give your antenna up. You never know where your inspirations are gonna come from. It's all about balance. You have to stay open.

Buzz:   What do you think of today's Music compared to the classics?

Alice:   I'm not a fan of noise. I'll always get surprised by something good. There's great artists like Radiohead, Coldplay and Ray LaMontagne.

Buzz:   What made you go into music?

Alice:   I had no choice.

Buzz:   What do you like to write about?

Alice:   Life, everything, anything. Last night, I was very inspired to see Shawn Mullins. I think it's always good to see other artists performing. It's like that antenna. Always staying open, like a TV. I haven't written about my son yet, but eventually it will happen. I think I need to write about myself. Some of my best stuff has been solo. I call it your deposit into your creative bank.

Buzz:   How does being a musician make you a better person?

Alice:   I think being a mom has made me a better person.

Buzz:   What made you want to pick up the piano and guitar? Which came first?

Alice:   Well, I was originally a Theatre major. I was in Musical Theatre. But I started playing music at an early age. I played piano first, and then eventually got to guitar.

Meet one of the stars of the Video Game Reunion here. The show is going on at this link, right now!

http://vgr.atom.com/#!s1/episodes/episode_1

Tonya Kay is an entertainer. Tonya Kay is a good steward of animals and earth. Tonya Kay is the voice of Green Girl, a lead comedic actor in the "life of it's own" movie Bold Native, Princess Peach on March 8th's launch of the Comedy Central special Video Game Reunion, has performed for Conan O'Brien, Japan, and toured in 2007 with Panic at the Disco.

Tonya also toured with STOMP, landing the opportunity in New York, and as a former Bridgeport  (Chicago) resident, she knows a few things about Chicagoland. Meet a person who's been in the business and makes the best of it. In a position to influence people with messages of vegan-living principles Tonya Kay does. She truely is a Bold Native in every sense of the phrase.

A vegetarian/vegan for approximately 30 years, when on tour with Kenny Rogers a while back, a road-stop to eat convinced Tonya that it was time to go entirely vegan after a slew of neon-color-packaged food with little to no appeal or health value finally drew the line.

If you’ve ever worked a day in your life, ever waited a table or slaved the day away in a cubicle, then you’ll love the Broadway musical Working. This upbeat, funny, hauntingly true-to-life musical capturing the stories of everyday working people has something for everyone.

Working is a musical based on the book by Chicago’s own Pulitzer Prize winning author, Studs Terkel. With songs written by Tony Award winners, Grammy winners, and Broadway composers, it should come as no surprise that the songs are not only catchy, but beautifully composed. Quirky and funny songs like “Delivery” about a fast food worker enjoying the days he gets to deliver and breathe fresh air, to songs like “Cleaning Woman” about a woman ending the cycle of her family becoming cleaning women and working to give her daughter a better future and better occupational options. There are over twenty characters portrayed in the musical through various scenes all seamlessly strung together, played by an all-star cast made up of only six actors and actresses. E. Faye Butler gave standout performances, stealing the stage every time she belted out a ballad, portraying a project manager, a housewife, a prostitute, and a cleaning woman. Emjoy Gavino captured our hearts as the hilarious flight attendant, a millworker, a receptionist, and a caregiver. Gabriel Ruiz was an absolute crowd favorite as a food delivery boy, a receptionist, a community organizer, a caregiver, and a young ex-newsroom assistant. Michael Mahler, Barbara Robertson, and Gene Weygandt rounded off the cast with memorable portrayals of workers in all types of professions from all walks of life. With so much talent in this six person cast you’d think there were more than twenty cast members in the company and throughout the show the transitions from one character to another are so seamless that it’s hard to comprehend that the steel worker just became the hedge fund manager in the blink of an eye.

You don’t have to be a fan of musicals to enjoy this show as it appeals to anyone who has ever had a job for any reason. Studs Terkel believed that our work became a part of our identity and his interviews in 1974 shed light on the lives of those whose occupations may be less than desirable, but more than necessary to our society. The musical was originally adapted for the stage by Stephen Schwartz (the brilliant mind behind Wicked, Pippin and Godspell), who made it both entertaining and believable. Throughout the play you’re introduced to hard working people we might overlook every day, from a cleaning lady to an architect and construction worker. Have you ever sat in your cubicle in your building and thought of the people that designed the building? Built the building? How about those who clean the building each night? Ever thought about the lives of those people, where they come from, what their dreams are? Perhaps not, but after seeing this play you might think twice about those people. We all work for a living, no matter what our job is. It isn’t the job that defines us, but we who define our jobs.

Tickets are a little on the pricy side, but in my opinion they are worth every penny. Any musical that can bring both humor and truth to everyday life and open your heart with inspirational and hopeful tales of hard working people. Working is playing at the Broadway Playhouse, for more information and tickets visit www.broadwayinchicago.com.

If you are on the prowl for some very funny improv, follow the path that leads to Chicago’s Apollo Theatre at 2540 N. Lincoln Ave. It is there that every Friday at 10:30 pm the hilarious comedy troupe "Baby Wants Candy" takes the stage to perform a comedy musical that, as they say, "Will be the very first and very last performance ever". The reason being is that the audience gets to choose the topic for each show. After a brief introduction the audience is called upon to shout out a musical that has never been done before. For example past performances included "Barack Obama’s Baby Mama Drama the Musical", "My Cat Has Aids the Musical" and "Nobody Puts Baby Jesus in the Corner the Musical", "How Captain Morgan Saved Christmas the Musical" and "It’s 1986 and Things are Going to be Different the Musical"

The show, in particular, that I attended featured "Harry Potter and His 12-Inch Wand". Well, I’m sure you can guess by the title where that show went. With songs ranging from on-the-spot big chorus numbers to less harmonious, more refined numbers, the ensemble injects humorous lyrics into melody created in part by the live band that is also improvising as they go. A story is cleverly formed by borrowing subject matter from the title complete with its own climactic ending, all the while cast members bursting into song at any given moment. Though off-key vocals often fill the air due to the spontaneous nature of the production, the talented ensemble makes this improv show work successfully with use of their quick wit and physical comedy, taking it a step above other comedy improvisations.

The Chicago ensemble is loaded with an all-star lineup that includes two-time "Jeopardy" contender and Second City touring member Joey Bland, and Erica Elam, who has also performed with Second City, as well as Annoyance, and The Comedy Shrine.

Best of all, each show is completely different from the last making "Baby Wants Candy" a show that can be enjoyed again and again.

For more information or show tickets visit wwwbabywantscandy.com or call 773-935-6100.

As the crowd of over 600 people were waiting in anticipation for a once-in-a-lifetime “experience,” four guys were on their way out. Yellow Matter Custard, a Beatles supergroup consisting of: Mike Portnoy (Dream Theater, Transatlantic, OSI, Liquid Tension Experiment, Liquid Trio Experiment, Avenged Sevenfold), Neal Morse (Transatlantic, Spock's Beard) , Paul Gilbert (Racer X, Mr. Big) and Kasim Sulton (Utopia). They take their name from a lyrics in “I Am the Walrus” by The Beatles. “Yellow matter custard, dripping from a dead dog's eye.” All four guys are legends in their own way. Mike Portnoy, dressed like a fancy Englishman. Paul came out with a psychedelic collared shirt that looks like something George Harrison would have wore. Kasim was dressed up in black pants, black vest and white collared shirt, just like Paul McCartney would have worn. Finally, Neal....well Neal just wore black jeans and a black t-shirt. But he knows how to look cool in whatever he's wearing. Either way, all these guys looked like they were experienced musicians ready to rock their butts off!

By the first song, everyone was singing along. The guys played at least 40 songs that night. Playing everything from “Don't Bring Me Down,” “Penny Lane,” Helter Skelter,” to an “Abbey Road Medley”. They opened with the upbeat “Back in the USSR.” Whether it was the amazing soaring guitar solos from Paul Gilbert, to the piano-guitar craziness of Neal Morse, this concert had the word “FUN” stamped all over it. All emceed by “The Portnoy” himself at the drums. Only once, did Mike come out from behind the drums. That was for an acoustic “You've Got To Hide Your Love Away.” The other times he was moving his sticks like magic. Not once did the band stop to take a break. They swept through those 40 songs like a tornado sweeping through the city. It's amazing how much energy they had for such a long set. There were lots of cool people there of different ages. The youngest being a 9-year-old little girl up by the stage. I'm glad parents are starting their children with The Beatles at an early age.

The band all took turns singing lead on the songs, which is a great variety. The awesome thing about Yellow Matter Custard is they've been around since 2003. Well the guys have been around for longer than that. But they performed only twice before: May 17, 2003 at Upper Montclair, New Jersey and May 18, 2003 B.B. King's Blues Club, New York. They released their New York show for a live DVD and CD release in 2005. Just this year, they all decided to come back out and play again. This time playing completely different songs in The Beatles' back catalog. Also, new on board is Kasim Sulton from Utopia on bass and vocals. This guy has a fantastic vocal range. No wonder he's the Paul McCartney part. He sure looked and sounded like it. He's filling in for Matt Bissonette, who couldn't come out on tour because of scheduling conflicts. But Kasim made it worth while. Then you have Neal Morse, who was so good at this, he seemed like a real Beatle himself. Neal is an incredible songwriter and performer, and a very nice guy. I got the chance to meet with Neal right after the concert for an in-depth interview. And, wow, what an opportunity and honor it was to meet him. I want to thank him for this tremendous opportunity. Rock on Neal!

Source: http://en.wikipedia.org/wiki/Yellow_Matter_Custard

Buzz: What influences your writing?

Neal: Well, everything. Everything I'm around or hearing. The conversations that I have with people. I was in a jazz band a while back called Windows with a guy named Skipper Wise, and that jazz guitar sound, I wanted to use for “The Light” album. My dad was a choir director. My son Wil plays piano at the Blair School of Music. I actually wrote a song about him called “Seeds of Gold.”

Buzz: What made you branch out with Spock's Beard to go solo?

Neal: Well, I fell into prayer. The lord told me to go and try my own thing.

Buzz: How did the album “Testimony” come about?

Neal: Well, I quit with all the bands. I was waiting for what God was gonna do with me. I had a lot of musical ideas I wanted to work with. I filled out 8 or 9 cassettes with songs. My daughter Jayda was born in 1998 with a really large hole in her heart. And my wife and I were really worried about her., and she had to go through surgery and everything. Then, one day, we went back to the doctor, and they couldn't see the hole anyway. It was truly a blessing. And I wrote the song “Jayda” on Testimony 2 for her. But I believed this from the bible. Psalm 37, III & IV “Trust in the Lord, and do good; dwell in the land and befriend faithfulness.” “Delight yourself in the Lord, and he will give you the desires of your heart.”

Buzz: I noticed every album you've released thus far since “It's Not Too Late” has had a biblical reference or influence. Why is that and how has the bible helped you through all these years?

Neal: Well I've used the bible a lot on my albums if you notice. At least on the concept albums. Testimony is my story. It's how the bible is part of your daily life. One is my take on the book of Genesis. Question Mark is about the Tabernacle. The messages from different preachers, and the idea that the only high priest comes once a year. Sola Scriptura, which is about Martin Luther. Then there's Lifeline, which is a step away from the prog concept albums. It's a collection of songs exploring a variety of topics.

Buzz: What made you wanna join Yellow Matter Custard?

Neal: Well Mike asked me to do it, and I thought it would be a lot of fun. God also told me to do it.

Buzz: What's your next project?

Neal: I got Testimony 2 coming out. It's very exciting. Then, I have another project I'm working on with Steve Morse, Mike Portnoy, Dave LaRue, and Casey McPherson. We don't have a band name yet, but we'll see what happens. It should be really interesting.

Buzz: Are you ever going to reunite with Spock's Beard and how do you like how they're doing?

Neal: I think they sound great! I just checked out their last album and it sounds great! I'm playing the Voltage Festival in London with them. I'm playing Saturday and they're playing Sunday. We'll probably play a couple songs together or something.

Buzz: Do you write all the songs on your worship albums? Do you use psalms from the bible?

Neal: It was a calling to Europe. I went to preach there. My wife and kids and I would sing some of these songs in our church. The one day someone said to me, “You should record some of these songs.” And we did. I asked a couple friends to help me out on the album. But, no, there's some psalms we use. And there's some covers of some worship songs we do as well.

Buzz: Last but not least, how do you think writing music and performing music has helped you as a person and as a performer?

Neal: Well, the performer thing, you really have to be careful of. God's given me a gift in that. How I express myself to other people. God's helped me in that way. I'm always praying.

A young woman walks on stage, looking like a cross between Janis Joplin and Sid Viscous with the theatrics of Jimi Hendrix.  She stands looking at her amp as though she is truly in love.  She stares into the eye that is the power light, cranks it to 11 and the eruption starts. Playing fast-speed notes flying by like an Indy racecar, the Fabulous Miss Wendy now has everyone’s attention.  The crowd is thrown a left hook when they are preparing for a right-handed upper-cut.  People didn’t know what to say about the sight of a young woman playing a guitar like a true guitar hero. She sings of being a “fucked-up bitch,” to pay tribute to Led Zeppelin’s “Heartbreaker.”

The Fabulous Miss Wendy packs a youthful, innovative punch to an appreciation that is rooted from 60s and 70s rock stars. She flails her axe as though it’s a part of her body. She can shred as well as any metal enthusiast and she can strum a bar chord with as much keenness as Green Day’s Billy Joe Armstrong.   The Fabulous Miss Wendy is the type of guitar player that will make female guitarists happy and male guitarists horny—she puts on a show that should never be missed and will always be appreciated by any fan of rock ’n’ roll.

Of course, no band can duplicate The Beatles, but “Rain” sure does pay an honest tribute that takes the audience as close to the musical experience as one could dream. With a close enough resemblance to the Fab Four (especially Graham Alexander as Paul McCartney) to already create a serviceable illusion that one is actually at a Beatles concert, it’s the uncannily precise music in “Rain” that really cements the experience as a whole.

The show opens with a series of nostalgic period clips displayed on large screens on either side of the stage. Finally, the famous Ed Sullivan introduction in replicated as the curtain drops and the band goes into “I Want to Hold Your Hand”. As the evening progresses, “Rain”, for the most part chronologically, takes the audience into the various stages of The Beatles early on playing songs “Hard Days Night”, “Yesterday” and “Daytripper”. Before closing in on the midway break of the show the band takes on a complete transformation, donning the famous Sgt. Pepper’s Lonely Hearts Club Band garb and delivering such classics as “Strawberry Fields”, A Day In the Life” and “With A Little Help from My Friends”.

The bands returns from the intermission clothed in the mystical wear associated with The Beatles days with the Maharishi delving into “Hello Goodbye” and “I Am the Walrus” before hitting the final White Album/Abbey Road/ Let it Be eras. With each transformation in appearance the characters in “Rain” take on more and more likeness of The Beatles. The band is also accompanied by a massive projection screen at the rear of the stage that displays a flowing stream of images throughout, adding to the entire experience.  

If you are a Beatles fan (and who isn’t?), it without question that this show is for you. Alexander’s voice is scarily similar to Paul McCartney’s, Tom Teeley nails George Harrison’s guitar work, Douglas Cox plays like Ringo Starr incarnate and Steve Landes bravely takes on the tough task that is John Lennon and does so with the exactitude to successfully embody the famous icon.

The night ends triumphantly with encores “Let It Be” followed by a very crowd-pleasing version of “Hey Jude” that keeps the audience on their feet throughout and has them singing the “Na na na na na na na’s” is unison.

“Rain” is currently being performed at the Ford Center for the Performing Arts/Oriental Theatre (24 W. Randolph) through February 13^th. For more information visit www.raintribute.com or www.broadwayinchicago.com.          

“Laika Dog in Space” the combined effort of Chicago and New York’s Neo Futurist Theatre Company, is a witty presentation that is as inventive as it is funny. With clever props ranging from a host of simulated television sets, lighted space helmets and a raggedy stuffed pooch, the show takes a look at the hype, wonderment and possibilities of what may have occurred once the Russians sent Laika into space – the first animal to be sent into orbit. Unfortunately for Laika, the technology to de-orbit was not yet invented.

The three primary actors, Rob Neill, Eevin Hartsough and Jill Beckman (also collaborators in writing “Laika”) delivered brilliant performances whether it be carrying on in hilarious banter with each other or channeling their humor into song. Aiding the characters in working together, a calming, futuristic voice is heard throughout the show that interacts and sometimes reasons with the actors, creating a feel reminiscent to the TV classic, “The Prisoner”. The band is also very present during “Laika”. Besides their own droll lyrical additions, band members were often ditching their instruments for lines, and guitarist John Pierson even doubled as the “Space Race Host” where he finely portrays a cheesy game show personality.

What adds to the fun is that “Laika Dog in Space” is an interactive production in which anyone present in the crowd can suddenly find themselves as a part of the show. Members of the audience are frequently summoned to join in whether it is to answer a question, take instruction from the actors, read from a cue card or join in as game contestants.

Before the show all guest are invited to peruse a room of installations. Exhibits include a wall of famous dogs, funny and creative works of art, a silver ball that gives off electricity and will make your hair stand on end when touched and a vintage photo booth turned into a shrine that honors “The Prisoner” – inside it’s opening credits running continuously.

“Laika Dog in Space”, directed by Phil Ridarelli, is a very imaginative and entertaining show that should not be missed. Playing Thursdays, Fridays and Saturdays at 8pm through March 12^th, tickets are only $15 with discounts available for students and seniors. All performances are held at The Neo-Futurium, 5153 N. Ashland. Find out more about this show at www.neofuturists.org or by calling 773-275-5255. 

*Photo - (from left) Rob Neill, Eevin Hartsough, Jill Beckman - photo by Evan Hanover
                       

Neither the sweeping, bitter winds that tore through the streets nor the mountains of snow that overtook our fair city could keep me from joining the crusade at the Cadillac Palace Theatre for the New 25th Anniversary Production of Les Misérables. Although my fifth time seeing the world-famous operetta, the power of the story and beauty of the music were by no means dulled. In fact, with the many new elements this production entailed in addition to my four-year Les Mis withdrawal, you could even say they were heightened.

Not only is this Les Mis's first US tour in four years, but it's also the first time the show has been entirely reimagined. Nothing to worry about, though; you won't find Jean Valjean in blue jeans or Inspector Javert wielding a .44 magnum. The changes that were made, although undoubtedly meant to update the show, left the story untouched while altering instead the scenery and overall pace of the show. The original Les Mis tour was known for its revolving stage, simplistic indicators of setting, and enormous barricade sets that swung in from either side of the stage; the title stood projected onto a screen as the overture played, and the stage was generally sparse, the attention focused on the actors and music.

The 25th Anniversary Production, however, elaborated on some of these elements while cutting others out completely. First off, no revolving stage. (The one thing I truly missed.) Second, the backgrounds throughout the show comprised of images taken from Victor Hugo's paintings, all dark and dreary, which worked well to set the tone and establish the 19th century time period and French environs. The sets themselves were more numerous and complex, with many pieces frequently being wheeled on and off stage, as were the props. Comparing the two productions, the stage of this newer version seemed generally more cluttered and full, possibly to provide more visual stimulation. The overture played to a projected image of a desolate night sky rather than the title; it was only after the first fifteen minutes of the show when Valjean tears up his incriminating yellow parole sheet that "Les Miserables", in a new font, was projected onto the scrim as the mini-overture to the next song spilled out from the orchestra pit, all to much applause. This seemed very cinematic, the same way many films hold their titles until something of signficance happens to set up the story.

And the music -- oh, God, the music. Just as lovely and gorgeous as ever. Before singling out my favorite actors and singers from this production, I'd like to first pay a well-deserved compliment to the entire cast, and that is that they were exceptionally articulate. This is especially hard to come by in choral-heavy shows because more often than not when thirty or forty people sing together it's difficult to pick out all the words. This cast made sure to "kuh!" the Ks, "guh!" the Gs, and "tuh!" the Ts -- immensely helpful for those of us who don't want those poetic lyrics drowned out, as well as for those who have never seen the show and may have a hard enough time figuring out what's going on without the lyrics being unintelligible.

As for who stole the show, in my humble opinion, I'll have to start with the ladies, the lovely, lovely Eponine and Fantine, played by Chasten Harmon and Betsy Morgan, respectively. These women knew how to belt, and belt they did during the only two full-length female soliloquies -- "I Dreamed a Dream" and "On My Own" -- of the whole show. Justin Scott Brown (from the first Spring Awakening tour) played a charming Marius, with a perfectly even, professional-sounding voice to fit the part. Andrew Varela was a sinisterly foreboding Javert, his deep bass vibrato enough to send chills down your spine. And Valjean, played by Lawrence Clayton, was, despite the myraid alterations to the set, to me the biggest surprise of the show; frankly, I was suprised to see a black Jean Valjean. At first, I felt this was some sort of statement, considering Valjean's unfair persecution at the start of the show, but by the middle of Act One it wasn't something that stuck out to me anymore; with Clayton's strong, tenor voice and a gentle yet world-weary mien, he was just Jean Valjean.

Whether these changes and new additions are improvements, I cannot say, for it truly depends on each individual's taste. For me, I don't mind either way as long as the music stays the same. I wept and felt my soul swelling at the same lines of gorgeously-paired lyrics and music as I always do. I found each character compelling and complex, as I always have. The music speaks for itself. The story speaks for itself. Different sets may move around the actors, different voices may glide over the notes of the music and curl around the words of the lyrics, but if this revamped production proves anything, it's that the students will always be revolutionizing, the Thénardiers will always be conniving, Eponine will always be suffering unrequited love, Gavroche will always be patrolling the Parisian slums, and Javert will always be hunting Valjean. In 1985 and in 2011, that's Les Misérables.