Items filtered by date: June 2026

First of all, TYPING IN ALL CAPS IS CONSIDERED RUDE, RIGHT? So, just who does a band who has their name written in all caps (HEALING SIXES) think they are? Oye vey, perhaps I've been watching too much of Larry David's "Curb Your Enthusiasm Show!"

Moving on, the Indianapolis, Indiana boys (Doug Henthorn, vocals, guitar), (Eric Saylors, guitar), (Wade Parish, drums) and Jeff Stone (bass), played on an Indian Summer night in Chicago at the nothing-to-sneeze-at House of Blues. There was clearly no need to snort any NO-DOZ because, let me tell ya, the Healing Sixes' performance kept folks on their toes.
 
No jibber-jabbering amongst the audience about Tom, Dick or Harry Mary bombarded my ears. Nor did I see or hear a single person doing his or her spiel to get into anyone's pants or panties--or leave the floor in front of the stage to chug-a-lug more beers!
 
The Healing Sixes were on fire right from the very start. They ended their performance with The Beatle's "I Am the Walrus," and I was in a blazing sea of love during every part!

Just for the record, Healing Sixes only have their name printed in all caps on some of their materials for their website's address, and all nitpickiness aside, they are truly not rude for doing so at all.
 
They don't act as if they think they are 10 feet tall, yet it's as blue as the sky above to me and many, the HEALING SIXES are a band whose songwriting, plus, high quality playing make them stand out and unlikely to have a drastic career fall.
 
"Healing Sixes are always about emphasizing that their songs create a strong, vibrant--yet never formulated-rock sound (www.HEALINGSIXES.COM.") Also respectable, is they have opened for Ted Nugent, Bret Michaels, Eddie Money, Todd Rungren, Hoobastank and so on--yeah, Healing Sixes sure do get around. But, they are headliners, too, and continue to be buds with their former member, Jason Bonham, who helped the band get more off the ground.

 Ending on a high note, I have a good feeling the Healing Sixes new CD "Blue Jay" is sure to have you whistling "Yay...yay...yay," since it's a "super fly" Rock and Blues CD to play. In addition, you don't want to miss the exceptionally talented Healing Sixes on tour with The Steepwater Band, whose lead vocalist and guitarist, Jeff Massey is widely esteemed as playing the guitar in an "Oh, My God!" way.
 
The Healing Sixes' and The Steepwater Band's Tour dates and CD information can be found at: www.HEALINGSIXES.COM and www.steepwater.com

Steppenwolf Theatre company celebrates the 50th anniversary of Harper Lee's landmark novel To Kill a Mockingbird, featuring Lookingglass Theatre ensemble member Philip R. Smith as the wise and patient Atticus Finch, Bubba Weiler as the coming-of-age Jem Finch, Larry Neumann Jr. as the villainous Bob Ewell, Claire Wellin as the distraught Mayella Ewell, and 5th grader Caroline Heffernan as the bold, tomboyish Scout Finch, who plays her character with such fearlessness that it's hard to believe that this is her first time on the Steppenwolf stage.

The entire cast puts on a superb show, with Carolyn Defrin as a grown up Scout who narrates the story. The only thing I can fault this play for is the fact that it's not the novel. So many details are left out, but of course this is necessary for theatre or film, unless you want to be sitting in a theatre for twelve hours. Having the older version of Scout fill in the gaps with narration helped move the story along and still keep in many details that could not easily fit into the scenes themselves.

Set in Alabama during the Great Depression, To Kill a Mockingbird follows the journey of Scout and Jem Finch, whose father Atticus has been appointed to defend Tom Robinson, a black man accused of assaulting a white woman. As the trial progresses, Jem and Scout witness their community in a tense tug-of-war with racism and justice. This timeless classic compels us to take an honest look at our nation's past, as well as our moral responsibility to each other. Published in 1960, author Harper Lee has received countless literary awards and
recognitions, including the Pultizer Prize for Fiction in 1961. The novel was adapted to the stage by Christopher Sergel, who has also adapted novels such as Up the Down Staircase and Winesburg, Ohio.

Don't miss out on this honest, compelling, and undeniably captivating piece of theatre. To Kill a Mockingbird runs Friday, Saturday, & Sunday at 7:30 PM until November 14th at Steppenwolf's upstairs theatre at 1650 N Halsted. There are also weekday matinees at 3 reserved for school groups.

"Before Elvis there was nothing." – John Lennon

Over one billion albums sold! No solo artist has ever reached the popularity status of Elvis Presley. The power that was in his voice, the friendliness in his show, and the complete musical package was just a masterful presentation. Many have tried to duplicate his style and presence within their show without much success. No one has ever been able to duplicate him accurately, until now. The Ultimate Elvis Tribute was a powerful depiction of the King of rock n’ roll; what a phenomenal show it was to see.

Four different Elvis performers took turns singing through a chronological presentation of the greatest performer that ever lived. From the early breakout days to the beginning of the 1970’s, every performer did just an awesome job vocally and within their show, they brought you back to the live Elvis experience. For the people who never saw a live show from Presley, this is the show to see. There is a little bit of every era of the King.    

The Early Years

Victor Trevino Jr. started the show in the role of young Elvis. The band backed him up performing the rockabilly style hits from over a half century ago. The band came in kickin’ the music out with the hallow body guitar, standup bass, and small drum kit. In the back was a piano player tickling away at the ivories. Trevino sang songs like “Don’t Be Cruel,” “Heartbreak Hotel,” and “Hound Dog.” He stole a lot of the ladies hearts when he sang “Love Me Tender.” Women were lined up in front of the stage to get kisses in between vocal lines, waiting for the young King. He performed a fantastic replication of the early era of rock n’ roll music. After his opening songs he came back and pulled off the more difficult “G.I. Blues” without a flaw. He was just awesome.

The Hollywood Years

Kevin Mills came out and took the stage for the movie star-post army era. He brought out one of the most popular songs, “Blue Hawaii.” The background singers/dancers took it to the next level and just knocked the audience over. There was a storm of music coming from the stage and it was attributed to hurricane Mills blowing straight off of the island of Hawaii. He performed some of the more mature debonair songs from the popular movie career. Unbelievable!

Kevin had a co-performer for some of the songs. Lori Russo came out and performed as Ann Margret and she was amazing. The girl on stage was Ann Margret. She looked so much like her, danced, and spoke like the incredible entertainer. She was a carbon copy of Margret within every move she made and truly has the voice of an angel. Together they sang “The Lady Loves Me” with absolute grace as they became one for the song. They absolutely had to do the song “C’mon Everybody.” The crowd chair danced - snapping their fingers, clapping their hands, and turning their heads to the left and the right. They performed the Ray Charles hit “What’d I Say” from the movie Viva Las Vegas. Of course, they did the upbeat title track from that movie as well. Lori Russo and Kevin Mills gave the crowd their monies worth, but the show wasn’t over yet.

The ’68 Comeback Special

Leo Days came out in a black leather suit looking like he could take on the world. The fitting song, “T-r-o-u-b-l-e” was chosen for the attitude being presented. His was just monstrous performer within everything he did. The voice came through your very soul and connected to your musical being in a way that could have only been done by the King. Smiles were on the faces amongst the concert-goers, from ear to ear, during the awesome Elvis classic “One Night.” He sat at the front of the stage with the rest of the band singing his heart out, just like they did in 1968. He also performed “Jailhouse Rock” and a perfect version of “Are you lonesome tonight.” The middle monologue was so much like the record and there was no lip-syncing being done. This man was really that talented.

Vegas and the Early 1970’s

Bill Cherry slid across the stage in sequined jumpsuit and cape for the final jaw dropping performances. His amazing voice bellowed through the auditorium with every note. His impersonation was done so naturally. During one of the most popular songs of that era, “Suspicious Minds” Cherry had a chance to shine and that’s exactly what he did. He handed out scarves to the ladies in the audience and some women went nuts for them as if Presley was on the stage in front of them. One lady tried tugging at a scarf around his neck before he had the chance to hand it over. Two other ladies were both snatching at the same one in front of the stage before they regained their sense of reality. Bill Cherry’s best performance was during the patriotic classic “An American Trilogy.” Often considered one of the best tributes to America, this song had veterans standing and saluting the stage. The incredible set of pipes brought down the house and unfortunately was leading everyone to the end of the show.  

During the entire show, Elvis Presley sang his heart out for the audience at The Horseshoe Casino. This was not a bunch of bad impersonators, but a group of well trained professionals that brought the best music ever made to the stage. The unbelievable voices of all four men, the awesome band, and the backup singers brought the works of Elvis alive once again. They were all fantastic.

Trevino, Mills, Days, and Cherry combined their efforts into one show that well represented Elvis Presley, The King of rock n’ roll. Each one of the performers had a well rehearsed and well scripted part, becoming the greatest icon of the twentieth century. Elvis may have left the building forever, but his music lives on with great impersonators like these four gentlemen. As each one gives their all to perform, the King is looking down upon them. After seeing this show, he must be smiling with delight. They did his songs such justice. He would be proud.  

The Venue, located in the Horseshoe Casino in Hammond, Indiana, was rocking over the weekend as Chris Isaak once again graced the Chicagoland area complete with his distinctive falsetto, trademark suits, witty humor and of course the well-oiled machine that is his band. Oh, and did I mention his charisma? In a well-paced set that lasted nearly two hours, Chris’ voice never sounded better and his band played with a fire that got hotter by the moment. Refreshing with a Chris Isaak show is how genuine and comfortable the band is with each other. Displayed is a chemistry that cannot be faked. Not only is the band’s easiness with each other fun to watch, but there is plenty of choreographed routines they share along with a good sense of humor.

Chris Isaak looked sharp, taking the stage wearing a westernized black suit with silver sequins, but, with such a strong performance, it wouldn’t have mattered if he were wearing khakis and a knitted sweater. While including his own hits such as “Baby Did A Bad, Bad Thing”, “Big Wide Wonderful World” and “The Best I Ever Had”, he also included a few of his own faves by some of his inspirations. Stepping into the crowd and taking a seat next to a woman in the first couple rows, Chris went into Elvis Presley’s “Love Me Tender” and later again paid homage to “The King” with a beautiful version of “It’s Now or Never”. He also included a James Brown number before going into “Roy Orbisson’s “Pretty Woman” during a four song encore in which Chris switched into his famous mirrored suit. As many great moments that occurred throughout the show, one of the highlights was when guitarist Hershel Yatovitz led the band into a dreamy orchestration of “Wicked Game”, undoubtedly entrancing the entire room with his mesmerizing tones and Chris’ heartfelt singing swimming over the music.

Kimberly Katz' Platinum Press

National Pastime Theatre has done it again, this time producing Doo Lister’s Blues, a story that takes place in Chicago during the 1960’s amidst riots and revolution. Terry Abrahamson’s powerful story revolves around a black barber, Doo Lister – a songwriter who pushes the envelope by exercising free speech, despite strong warnings from the F.B.I. who view his material as that which could incite race riots.

Abraham’s piece, both thought provoking and inspiring, is beautifully brought together by the outstanding direction of Victor J. Cole, its strong cast, and very memorable musical numbers.

The show wastes no time in getting started as modern day rapping narrator “Nine Pound Hammer” (Al Tamper” Mayweathers) bursts out onto the stage to heavy hip hop beats, setting the stage for this inspiring story. The show then takes the audience back to the mid-1960’s to Doo Lister’s barber shop. Doo Lister (played brilliantly by Warren Levon), an aspiring songwriter, and his uncle “Catfish” (Kenneth Johnson) tend the shop where it is business as usual until outspoken record distributor “Rebecca Zwieg” (Victoria Abram-Copenhaver) enters their lives and changes everything forever. Urging Doo to sing about the important things taking place on the streets and around the nation rather than songs that always equate love to sweets, it takes a personal tragedy before his eyes begin to open.

Doo Lister’s Blues cast couldn’t be more perfect. Lucy Sandy is wonderful as Doo’s wife, Maria Lister. Sandy and Levon exhibit a true genuineness as a couple trying to get by in such a hard time, making the story that much more authentic. Levon also showcases his ability to entertain with hard-hitting spoken word numbers coupled with a strong stage presence. Damien Crim, who is highly believable in a role that could only succeed if just the right amount of conflict and sympathy are brought forth, plays F.B.I. agent Jewel Moton. Terry Froncois should also be noted for his excellent portrayal of younger brother, Buck Lister.

Doo Lister’s Blues is an important piece that is masterfully presented and can be seen through November 27th. Complete with catchy songs, extraordinary acting and a well-suited set, this is a show that should be seen by everyone. For more information on show times, visit www.NPT2.com.  

On my drive downtown from suburbia I had plenty of time to second-guess my plan to bring my almost seven year old daughter to an 8 PM showing of Disney’s, The Lion King at the Cadillac Palace Theatre. Her eyes were already heavy as I pulled into a parking garage just down the street. This quickly changed as she took in the energy of other theatergoers. This was then sustained for the two and a half hour show by the amazing performers. The elephant that sauntered down the aisle certainly helped, later followed by wildebeests, hyenas, and birds. The music, singing and dancing kept my daughter fixated on every move and word.

The director has evoked a heightened level of attention to detail in all of the cast and crew and the puppeteers stayed true to their characters. It is obvious they have studied not only the lines and vocal inflections, but also the nuances of their characters movements and manners. The play stayed true to the story line of the animated original. Their favorite songs from the movie like “The Circle of Life” and “Can You Feel The Love Tonight” will dazzle both kids and adults. But those songs are not the only reason to see this play. The costumes are amazing, the story line is brilliant and it all comes together due to a talented cast. The Lion King is well suited for audiences of all ages.

Before you buy your tickets, be aware that while the Cadillac Palace Theatre is cozy. Seats to the far sides of the stage will provide an obstructed view of activities that take place in the rear corners. The show is in Chicago for nine weeks through Saturday, November 27. For tickets or additional information, go to www.BroadwayInChicago.com.

I'd like to start by stating the fact that sound at Subterranean is not ideal to any band, but the music intrigued me, so I bought an E.P., that was a good sign.  Do you remember any of the following; Lucky Boys Confusion, The Insecurities, The Waiting Game, One Life, 15 Minutes Late, Logan Square or Swizzle Tree?  Of Course!  This is a Chicago made super group, but they are not striving for this status, this is 6 guys (2 guitars, 1 bass, 1 drummer, 1 keyboardist, 1 singer) that are doing it for the love of music.  It's a more mature melding of the above mentioned bands, it's about 10 years of life experiences from where they were, it's mellowed, still has an edge is hooky and bouncy with thought behind the lyrics.  It feels/sounds like they breathed life back into the music and gave it a soul.  They love the audience and interaction with everyone, they want you to sing-a-long, bounce, have fun and conncet with them.  They talk with you not at you, they make the music for them, but for you to enjoy with them.

The University of Chicago's very own, Court Theatre, was decorated with an array of scattered paintings, brilliant lighting, skinny doors, and fitted trash on Saturday, September 25th, as I sat down for Director Sean Graney's witty adaption of William Shakespeare's The Comedy of Errors, showcasing until October 17th, 2010. As I existed among a full room of spectators, I found myself readily open to be not just amused, but impressed. The cast consisted of six exceptional performers at any given time, bringing to life twenty animated characters that had the audience filling the air with laughter. Not only were my expectations met, but they were exceeded.

With some modern Graney renovations, The Comedy of Errors presented itself ninety minutes straight, and kept a consistency of clever puns throughout the time allotted. Elizabeth Ledo started the play out with high energy, entering stage right on a scooter as a towncrier who warns the people of Ephesus that none from Syracuse are welcome. Subsequently, the plot unfolds to reveal two unrelated twins, played by Alex Goodrich and Erik Hellman, from Syracuse who arrive in Ephesus in search of their identical brothers, also played by Goodrich and Hellman, which causes much confusion amongst the Ephesus townspeople (especially considering the sets of twins share the same names: Dromio and Antipholus). Significant others, friends, merchants, and even the police of Ephesus find themselves confused on what to make of the utter chaos that is bestowed upon the stage. The humor is endless, and sometimes pushes the envelope, which I loved. Somehow the ending out-did itself, as the confusion is resolved and the lights paint the stage for a dance party while the six actors do lightening quick costume changes, allowing a variety of characters to be involved in the ending. When the final bows were taken I sat in my seat for a moment hoping that I could watch the play just once more before heading back home.

Aside from an eye-catching stage arrangement, a gifted director, and a hilarious plot, this play had what is most necessary for a stellar show: notable performers. Kurt Ehrmann played four characters, including Dr. Pinch and the Courtezan, all of which had me laughing out loud. He delivered unfailing amusement for the viewers, as well as an eye full that no one saw coming. Elizabeth Ledo tackled four characters, her most memorable being Luciana and Luce. Ledo was not shy to step out of her shell and show everybody what she was capable of. In return, her enthusiasm drove her characters as far to the brink as possible, and left admiration from the crowd. The only other female performing alongside Ledo was Stacy Stoltz, who shined in her role as Antipholus' significant other, Adriana, a whiny wife with no clue as to which Antipholus is which. Also filling the stage with three characters to play was Steve Wilson, who created such a strong presence with not only his amusing facial features, but his ability to deliver well executed farce comedy for the crowd. Handling the main characters (as well as other roles) were Hellman and Goodrich, as mentioned earlier. Both actors did a wonderful job of winning over the audience in belief. Hellman did a fantastic job with his roles, and I enjoyed that his twin characters had different accents that he managed to keep straight. As a closet critic, I had a personal preference towards Goodrich's style of presence on the stage, everything from his faces to his voices had me wishing he was on a television sitcom so that I could watch him more. Everybody did a great job of highly entertaining me.

If you are wanting to do something new, or just laugh, I fully recommend stopping by Court Theatre to see The Comedy of Errors while it is still playing. If you miss it, then I am sorry, because great plays aren't as common as your favorite television show. The entire show was made possible with the help of raw talent - director, actor, and even the behind the scenes crew. Yet again, Chicago has not failed to disappoint me with what it has to offer.

On September 10^th the Riviera Theater was swarmed with Chicago hipsters, preppy wannabees, emo teenagers, intellectuals, and your friendly neighborhood stoners; this might sound like a scene out of a John Hughes film but this was the crowd that gathered to watch Bobby Birdman open for Dom and the headliner Ratatat.

In my experience, about half the people that show up for a show will show up late for an opener, drink and socialize during the opening performance, or not show up at all until the headliner comes on to perform. Where is the respect for the opening artist? Luckily, Chicagoans did not follow the normal pattern and did not disappoint when they paid the proper respect to the West Coast artist, rocking out to his electronic-pop-ultrasonic-rock music.

Bobby Birdman, also known as Rob Kieswetter, is a San Diego-Nevada City-Portland native rocking off his latest album ‘New Moods.’ His music is eclectic with good beats perfectly suited for that afternoon drive along the coast of California, or in our case Lake Shore Drive. With songs like ‘Weighty Wait,’ ‘You’d Be Surprised,’ and ‘I Will Come Again,’ it’s surprising that this artist isn’t better known in the Chicago music scene. He’s touring with Dom -- a lack-luster group of long haired East Coast youth who was booed off stage following Bobby’s performance at the Riviera -- and Ratatat, who electrified the North Side stage. Bobby Birdman could have easily stood as the lone opener for Ratatat, their styles and beats are much more aligned than Dom-Ratatat, and Bobby was able to command the audience with his music and his stage presence (joking constantly about surfing). Bobby Birdman rocked Chicago before heading off to his California roots in LA.

On September 21^st we saw him rock out in Los Angeles at the Nokia Theater once more, with the same adoration and approval of the LA hipsters. Birdman is here to stay and the next time he flies through Chicago be sure to check him out. Though he’s still touring with Dom, the same reaction to his music vs. that of Dom was astounding, though not entirely surprising. Who doesn’t love a laid back musician with cool cruising music, besides, disenchanted youth garage-bands are so overrated. Let’s hope the next time Bobby Birdman flies through Chicago and the Midwest – or Los Angeles – that he comes alone or with an equally impressive band. Bobby Birdman-Ratatat concert in 2011? I think Chicagoans can agree to that.

I’d like to start this review with the wise words of the 80’s musical legend Warrant:

Heaven isn’t too far away...

And seriously, it’s not. It’s currently housed at the Bank of America Theater in the form of Rock of Ages, a sing-your-heart-out rock musical based on all your favorite hair-band ballads. Featuring a soundtrack of hits from Journey, Whitesnake, Poison, Foreigner, REO Speedwagon, and more; whether you’re old enough to remember the 80s music scene or just wish you were, Rock of Ages is the musical for you.

Rock of Ages brings the audience back to the Reagan era, into the lingerie-strung walls of the Bourbon Room on LA’s Sunset Strip. Here we meet our fourth-wall-breaking narrator, Lonny (Patrick Lewallen), his bar-owning friend Dennis (Nick Cordero)—who bears a strange resemblance to Weird Al Yankovic— and Drew “Call me Wolfgang” (Constantine Maroulis—the sexiest Greek singer/actor since John Stamos), a wannabe rocker who’s currently stuck working at the Bourbon room as a bar-back, cleaning the bathrooms and carting bags of vomit out to the dumpsters. To break up the boys-club, there’s a cast of big-haired, scantily clad women opening the show with a high-energy version of Quiet Riot’s “Cum on, Feel the Noize” that got the audience members laughing, clapping, and on their feet, dancing in the balcony.

Soon into the show, Lonny pulls out a reference book, Musicals for Dummies, and informs the audience that no musical is complete without a good love story... and right on cue, in walks Sherrie (Rebecca Faulkenberry), a Kansas native hitting the big streets of LA to pursue her acting career. She walks into the bar and immediately catches Drew’s attention. As they make awkward small talk, we learn that Sherrie’s just a small town girl, living in a lonely world, and Drew is a city boy, born and raised in… you guessed it, south Detroit. (Don’t worry, before the end of the night, they’ll take a midnight train going anywhere.)

The story moves on—Drew’s trying to make it big as a rocker, while Sherrie’s trying to land an acting gig. Their fast-track romance hits a speed-bump by the name of rock-star Stacee Jaxx (MiG Ayesa), lead singer of “Arsenal,” who uses his star power and some smooth talking to, ahem, “romance” Sherrie in the men’s restroom. Drew watches, forlorn, as the girl of his dreams slips through his fingers. At the same time, Hertz and Franz, a German father-son team of urban planners, come to meet with the mayor (Sure) to tell him to close down the bars on Sunset Strip (Sure) to make the town more clean and efficient (Of course). The mayor agrees, because money talks, despite the futile efforts of his shrill-voiced secretary (Casey Tuma), who reminds the mayor that LA was built on dreams of fame and celebrity… using, of course, some familiar words: “We built this city on rock and roll!”

Sadly, the town’s communal dreams of fame aren’t enough to make it in the world, and before long, the bubble bursts for our loveable characters on the Strip—the Bourbon Room is closing, Sherrie gives up auditions in favor of a stripper pole, and Drew’s rocker dreams fall to the wayside as he signs with an agent and winds up in a Tiger-Beat caliber boy band. The story moves on with some memorable numbers: the strippers (pardon me, “exotic dancers”) sell their trade to the tune of Journey’s “Any way you want it” and Joan Jett’s “I hate myself for loving you.” Early in the second act, Franz (Travis Walker) steals the show with an in-your-face rendition of Pat Benatar’s “Hit me with your best shot,” an unexpected showstopper that left the audience in hysterics.

As the 80s hits pump and the cast jumps and shakes through some high-energy choreography, you’ll have almost as much fun watching the audience as you will the show: dancing, singing, and power-arms aren’t generally a part of the Broadway-In-Chicago experience, but in this context, they’re perfectly appropriate. At times, it feels as though we’re all a part of the show, rocking out to the band at the Bourbon Room’s last night on the Strip. (The final hours before the bar’s closing, of course, are accompanied by “The Final Countdown.”)

As all good musicals should, Rock of Ages wraps up its story in a pretty little package. Drew leaves his boy band and Sherrie stops stripping. Franz and Hertz decide not to close the Bourbon Room, and the good times roll on—ending in a high-energy rendition of Journey’s overplayed but ever-loveable hit, “Don’t Stop Believing,” where we learn that Drew and Sherrie not only find love—they have a baby (in the bar, nonetheless!). The show ends with the whole theater on its feet, dancing and singing and having nothing but a good time.” It’s silly, it’s happy, but most of all—it’s damn fun. And you’re just glad to be a part of it.

On my way out of the theater last night, as the crowd laughed and sang and chatted about the show, I heard a woman remark to her husband, “Look at all these people under 30! None of them even understood this show—they’re too young for all these references.” And in some ways, I guess she’s right. We Reagan-era babies didn’t experience these songs the first time around—we were too busy watching Sesame Street and learning our shapes to over-process our hair and rock a Van Halen t-shirt with our acid wash jeans. But luckily, we 20-somethings were born on the cusp of the media generation. 1980’s culture was as much a part of our adolescence as it was for those who lived it: thanks to Vh1’s “I Love the 80’s” and the undying popularity of movies like “Back to the Future” and “Ferris Bueller’s Day Off,” we grew up loving the same songs that Generation X did. For those of us who came of age alongside the internet, the entire catalog of Foreigner’s hits or Bon Jovi’s ballads soon became available at the press of a button, allowing us to easily make the good old days our own.

So, I guess the moral of the story is this: Rock of Ages is an awesome, high-energy show. Its familiar soundtrack and pop-culture references make it a good choice even for those who don’t like traditional musical theater: whatever your age, if you like 80’s hair band music, you’ll love Rock of Ages. Check it out. (And soon! The run is almost over!)

Well, that’s it for me. I’ll leave you with some words to live by from character Stacee Jaxx: “Bon Jovi, in French, means Good Jovi.” Indeed it does, Stacee… indeed it does.