In Concert Archive

Kimberly Katz

Kimberly Katz

Sunday, 10 March 2024 15:35

MOMIX: ALICE is Spectacular!

I’ve seen quite a lot of wonderful, entertaining dance productions in Chicago lately - creations that include music and modern dance set to the compositions of great artists like David Bowie, Sting and also beautifully staged to outstanding selections by lesser-known musicians that undoubtedly deserve more recognition. This past weekend I was able to catch a very impressive dance spectacle by MOMIX, the Washington, Connecticut based company known for their dancer-illusionists. With incredibly spot on music by a host of talented artists, MOMIX brought their interpretation of Alice in Wonderland to life for a one night only performance at Chicago’s Auditorium Theatre. ALICE, by Artistic Director Moses Pendleton, really stood out as being a tremendously alluring and engaging piece of dancing, mixed media and an ingenious presentation - a unique experience of both modern and classical music. 

MOMIX: ALICE utilizes ingenious props involving full-length mirrors held by the dancers while gazing into them, silken fabrics, which seem to breathe like they are alive and glow as the dancers writhe beneath them in stunning shapes and subtle movements, and a massive whimsical swing for Alice to glide on while set in a sunny field of wildflowers and green grass. There are twenty-foot high mechanical lifts and gowns, which propel Alice high up into other worlds set to the music of Grace Slick’s “Go Ask Alice-White Rabbit” and giant rubber balls, which are bounced in unison by the seven dancers and manipulated in such a way that is both graceful and comical. Massive blood red silken roses come to life like puppets with no visible puppeteer, ever so gently brushing back and forth against the heads and shoulders of two beautiful dancers in Act Two’s “Bed of Roses” . 

Although this production is not a child’s production of the play or film Alice in Wonderland, it is marvelously colorful for a vibrant visual experience and spectacularly graceful in its execution. I loved that the final message given during this open interpretation of Alice comes in the words “feed your head, feed your head,” which was applauded wildly by the audience.

MOMIX: ALICE is a true ensemble piece and when the faces of the dancers are covered it is difficult to tell them apart, because Pendleton has cast a very specific body type and height in order to keep all of the movements and stunts unique to MOMIX as uniform as possible, yet the quality of their dance still allows for the fierceness and sensuality of individual dancers to shine through. 

All of the dancers, regardless of their dance background or number of years dancing displayed the highest quality of dance movement, which, to me, happens when the expression of each gesture and movement extends all the way through to the fingertips - the very tips of the fingertips and toes in the most elegant and intelligent way. This type of extension and attention to detail and grace in the hands particularly gives the entire production a hypnotic and floating quality that is not often seen in modern dance.

ALICE has dark moments, humorous moments and sensual moments that take us through Alice’s personal discovery in growing as a little girl into a woman experiencing different planes of consciousness. All the while, the production never veers into the realm of clowning or erotica that might tarnish the incredible combinations of superb young dancers mixed with art worthy projections and very interesting and exciting musical choices. 

Artistic Director Moses Pendleton says it perfectly in the program, “We see Alice as an invitation to invent, to dream, to alter the way we perceive the world, to open it to new possibilities. The stage is our rabbit hole. We welcome you to drop in!”

During the after-show Q&A, which was very interesting, an audience member asked why MOMIX does not have a permanent home in Chicago like Blue Man Group. Their answer was two-fold – to bring the show to wider audiences around the world by touring, and to leave the audience begging for more. I agree that the comparison to Blue Man Group (as far as being a resident show) is right on the money. MOMIX: ALICE is full of such spectacular illusions, marvelous video projections of nature and other psychedelic artworks accompanied by the highest quality of dance, that it is worthy of having its own permanent stage and is entertaining enough to see over and over again.

I highly recommend MOMIX: ALICE when it (hopefully) returns to Chicago or any MOMIX production for that matter. 

Chicago Danztheatre Ensemble (CDE) in collaboration with Duncan Dance Chicago has put together a production that undoubtedly will tap into one’s inner most feelings by way of a stunning presentation of interpretive dance, storytelling and art exhibition. Meditations on Being, performed at Danztheatre’s home in the Auditorium at Ebenezer Lutheran Church is, according to the Executive Director and Founder Ellyzabeth Adler, inspired by the difficulty the arts community has faced over the last four year but focuses on reflection, and reconnecting – rebuilding a sense of community. Meditations is a stunning collection of eight pieces that also include contributions by author and playwright Timothy David Rey and fellow artist/performer Courtney Reid Harris who has worked with Adler on past projects The Wasteland and This Is Not a Pipe.

Chicago Danztheatre Ensemble opens the show with “Meditations on Nature: Birth, Decay and Renewal,” a segment co-created/performed by Wannapa P. Eubanks, that paces us nicely for what is to come after Adler sets the tone with heartfelt poetry that touches on the many frustrations we face in today’s society while offering a suggestion to reset by relinking with others to focus a peaceful mindset that revolves around the often overlooked, gift of the moment.

The production moves gracefully from one scene into the next. I was very touched by the two-woman dance piece by Duncan Dance Chicago titled “Street Salvation” with music by Chopin. The choreography was originally designed by company namesake Isadora Duncan. Duncan herself was simple and expressive. Artistic Director and Jennifer Sprowl performs beautifully as does Lila Rubin who portrays a young girl, down and out laying in the street, when an angel comes and tries to help her blossom and open up in the end. The angel walks towards Heaven and the young street girl finally able to get up and follow her.

“Confluence” created by Siwei Xu and Daria Jin is a lovely piece danced in complete silence. A beautiful girl is trapped in a maze of red velvet ropes suspended from the ceiling and her lover tries desperately to pull her out, so close at times yet so out of reach until the two are finally united.

Of the many poignant pieces the production delivers, “Elyse” created, and performed by Eileen Tull may have resonated with me the most. “Elyse” was a very well written monologue with interpretive dance about a young friend of hers who recently died of a heart attack. Tull’s delivery is compelling and her words, beautifully said in this lovely tribute to her dear friend, ever so moving. Connected to this piece, as part of the show’s visual art demonstration, one corner of the church space displays an art exhibit created by Tull, entitled “The Grieving Corner”. At one point in the piece, Tull asks the audience to call out the name of a person they were mourning, which I felt was very touching and effective.

“RIA” with choreographer and performer Anniela Huibobro and production by Gabriel Mercado with music by Victor Moris, Collen and Mercado is a stunning piece of modern dance while “Meditations on Walden” by CDE with text by Henry David Thoreau is a delightful and intriguing play on words and life. The act is summed up in the song “Who Knows Where the Time Goes” charmingly performed by Courtney Reid Harris to ensemble members Kerry Valentine Taylor, Jen Benjamin and Peyton Hooks.

The final presentation ends the show with expressive imagery that effectively sums up the program creator’s destined vision. “Meditations on Nature” includes beautiful video along with projected images of flowers and plants growing and unfolding while blossoming, as a woman donned in a wedding gown with a forty-foot train slowly walks up into the nature scenes. Her train becomes the final touch to the structure that houses a community rebuilt and reconnected.

Meditations on Being presents a powerful message thanks to inspired direction and its talented group of performers, writers and choreographers. I really enjoyed the way Chicago Danztheatre Ensemble employs so many different styles of dance from Isadora Duncan to modern along with the art installations that are available to look at during the intermission. This is a very lovely and touching, politically affecting night of entertainment and art. I highly recommended this production for audiences of all ages.

Mediations of Being is performed at Auditorium at Ebenezer Lutheran Church, 1650 W. Foster Ave through March 9th. Tickets are a suggested $10-$20 donation and running time is about one-hour and forty minutes, which includes a ten-minute intermission. For tickets and/or more information on this production, click here.  

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

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

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

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

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

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

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

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

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

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

I really enjoyed this unique program of ballet created and choreographed by Dwight Rhoden (formerly of Alvin Ailey) and Desmond Richardson and performed by Complexions Contemporary Ballet company that features an interesting combination of the music of Johann Sebastian and Carl Philipp Emanuel Bach along with the prolific rock icon, David Bowie. The choice to use music of classical composers, Bach, Vivaldi and Beethoven for the first half of this program before diving into the wonderful music of David Bowie was interesting and effective. 

At the sold out, one night only Chicago performance of ‘Stardust: From Back to Bowie’ at Auditorium Theatre, the audience seemed anxious to absorb the quality of this highly trained company's talents while waiting for the David Bowie portion of the show to begin.

I have to say that David Bowie's music was a perfect choice for this beautiful and rare company to perform as they chose to cast many wonderful dancers of all races, genders and sizes, which was refreshing to see rather than the more traditional ballet productions that feature dancers of virtually the same structured dimensions. This marvelously diverse company danced with precision, grace and a high-level of artistry and it was just a pleasure to watch them in action.

I’ll admit I was mostly drawn to see this production because of the use of David Bowie's music, so the second half of the show that featured exquisitely executed dancing to the compositions from the man behind Ziggy Stardust really resonated with me. Bowie’s complex, expansive, modern, and often gender-bending music was a seamless match made in Heaven with these exiting dancers and choreography.

It was in the Bowie portion of the performance that, to me, the dancers all seemed to really come alive, including their facial expressiveness, as some were allowed to or chose to lip sync during their interpretive solos, with each dancer taking turns playing the Bowie lead role. The moment Bowie’s music hit the audience’s ears is when the show really burst into life.

Although the classical, Bach-driven first half of the program was well done, the excitement, DRAMA and exquisite storytelling of the Bowie segment begs the question, why aren't more high-quality ballet dance companies using Bowie's music and/or other modern popular musician’s music to dance to? Bowie’s portion of the show was absolutely inspirational. I saw many child dancers in the audience and could tell they were encouraged and inspired by the use of male and female leads to portray Bowie himself. 

I highly recommend this beautiful and astonishing production by a very unique and well-trained company for audiences of all ages. 

I absolutely adored Golden Girls: The Laughs Continue directed by Eric Swanson, now playing at Broadway Playhouse. Having grown up in Miami, Florida with my working single mom when the show actually began airing, the Golden Girls have always been a nostalgic favorite for me. The only stage creations I've seen of Golden Girls have all been done in drag by some of the best drag actors and actresses in Chicago, so I was pleasantly surprised with this beautifully casted production to see the fantastic accuracy and sense of humor that came alive in this very funny and fast paced take on our four golden heroes. 

“It’s not an old episode, it’s a brand-new show,” said Vince Kelley, who plays Blanche said in an interview with WTTW. “Sophia is out on bail looking to make money. Rose and Blanche have started a new hookup app for seniors to meet. Through the app, Dorothy finds a younger man and experiences a new romance.” Kelley continued, “Did you watch Sex and the City or Girlfriends? They wouldn’t even exist. There wouldn’t even be that four-character type show without the Golden Girls.”

This new play is based on Golden Girls, the mega-popular TV series about four retired women living together that ran from the mid-eighties through the early nineties. The show helped pave the way for women in leading roles and has gained more and more popularity with generation after generation. The wonderful thing about the original TV show created by the brilliant writers Susan Harris and Paul Junger Witt, is the way it brought to light the problems, pitfalls and joys of aging in ways that were insightful, touching and hilarious. This production which is set in 2023 written by Robert Leleux takes the time to illustrate several important issues facing seniors today.

In this story, Sophia has been arrested for selling marijuana brownies and LSD laced cakes to her fellow senior citizens at the nearby senior assisted living facility and gives a wonderful speech about why she should not be sent to jail for "rolling a few joints for those of her friends who have glaucoma" or selling LSD cakes to otherwise terminally bored and serious seniors who want to get over their fear of death.

Rose and Blanche have created a hugely successful app for "horny seniors" called “Creakin’” because the alert sound is hysterically the sound of creaking bones. The girls hope to pay Sophia’s legal fees with the money they make from the app. Blanche declares with a sexy sigh, "You have no idea how many of them there ARE!!" It's a sound idea, actually. My mother spent eighteen years in various senior facilities and dating of any kind let alone sexual contact within each facility was very difficult and limited by their tiny community and inability to meet new people.

Dorothy just happens to use the app and swipes right on a younger man, Burt, who falls in love with her and offers her a whole new life as a star if she moves to New York with him! Dorothy’s younger love interest’s sincere sexual and intellectual attraction to her is not played off as a joke. It is played as a very exciting and mutually fulfilling meeting of minds and bodies in late life.  

This cast is downright stellar. Vince Kelley as Blanche is mind-blowing. Kelley is an absolute scene stealer with all of Blanche's overt sex appeal and unabashed libertine wildness. Adam Graber is an unbelievably beautiful and adorable Rose recreating with seeming ease and beauty the glorious comic timing of Betty White. Ryan Bernier, as Dorothy, has all of Bea Arthur's dry humor and intelligence and wisdom and even her subtle sexiness down pat while Christopher Kamm as Sophie hits on one-liner after one-liner. The transformation Kamm goes through to take on the role of Sophia in incredible in itself. Also commanding a good number of hearty laughs is Jason Bowen who plays dual roles of both Stanley, Dorothy’s ex-husband, and Burt, her new lover. The entire cast should be awarded for their performances which go beyond camp and into sincere tribute to each of the wonderful actresses who created these evergreen characters, Betty White, Bea Arthur, Estelle Getty and Rue McClanahan.

Yes, it takes great writers to create a show with this kind of universal and lasting appeal, but actresses are so often made to feel that they are replaceable, interchangeable and downright un-castable after the age of 35, and Arthur, White, McClanahan and Getty helped change that.

The degree to which these talented actors have recreated and brought back to life the work of four of the  greatest comediennes of ANY generation moved me so much because it demonstrated that the huge and long lasting success of this show hinged not just on the greatness of its writers, it absolutely was the result of the outstanding work of four actresses, who were always irreplaceable, never interchangeable and eminently castable well into their golden years. 

I highly recommend this production.

Golden Girls: The Laughs Continue is being performed at Broadway Playhouse at Water Place through May 26th. For tickets and/or more show information, click here.   

I thoroughly enjoyed this modern and timely play on both the issues of Hollywood stars whose lives are constantly scrutinized by complete strangers and how easily it is for any person now to be fed false information online in ways that can affect their lives either positively or negatively regardless of the intentions of the sender. Highway Patrol is being performed at Goodman Theatre’s Albert Stage and is funny, haunting, and engaging through and through. 

Dana Delaney, who plays herself, is best known for her roles in the TV series China Beach and the hit film Tombstone, and she looks and sounds fantastic. I have always liked her plucky, no-nonsense energy as an actress, and in this true-life story of her work life and internet/social media interactions the audience gets a very accurate glimpse of how lonely a life in the arts can be and also how badly many actors are treated by the industry at the expense of their physical and mental health.

I don't want to give away any spoilers because half the fun of this show is the whodunnit twists and turns her life took back in 2012 that continued for several years, sometimes dominating her private life at all hours... 24/7. The story begins when the actress decides to interact directly with one fan on social media, Cam. Thomas Murphy Molony is a very talented young actor who makes you feel deeply for Cam, a young Twitter fan who is suffering from a chronic and terminal illness, a recipient of two heart transplants who is innocently and adoringly in love with Delaney. While Cam enjoys his conversations with Delaney, his grandmother often provides updates regarding the boy’s health and upcoming procedures to keep her in the loop. Dot-Marie Jones, who takes on the role of Cam’s caretaker, Nan, is a very gifted character actress best known for her work on Glee and Desperate Housewives. Jones really displays her versatile acting range playing such a multifaceted character and does so beautifully with depth and complexity. 

Peter Gallagher’s highly recognizable voice is also strategically used in this production as he plays the true-life friend and confidant of Delaney’s that he has been throughout most of her career. The recognizability of his voice in this show gives real weight to the fact that a human voice is like a fingerprint and gives much more honest information and clarity as to whom we are communicating over the voices we imagine in our minds when reading our own DM's or emails.

Director Mike Donahue does a great job staging the show into two compelling acts and theatre goers should arrive early to see Dana Delaney in character on stage prior to the start of the play. Having Delaney onstage beforehand is a very interesting choice and sets the tone of the play, acknowledging that most people, fans or not, are fascinated by seeing stars in person that they have "known" for decades.

I enjoyed Dane Laffrey’s set design and Yee Eun Nam’s projection designs so much! The colorful and quick changing sets along with large high-definition projections not only help the audience follow along with the digital clues based on the digital archives of actor Dana Delaney (with text curation from playwright Jen Silverman), but they also combine to form beautiful and realistic backdrops depicting the glamorous luxury, palm trees, sunshine, and sometimes loneliness of Delaney’s Los Angeles home and also her work life on set. 

The most fascinating thing I took away from this very enjoyable piece of theatre was not about the necessity of verifying and protecting oneself from the many digital communications we all send and receive every day. What struck me rather was the idea presented to the audience that sometimes we as isolated humans living in this new frontier of instantaneous digital communication, including celebrities who appear to "have it all", can possibly grow to miss fictional love messages and reassurances of digital communication even after discovering their true source. 

Dana Delaney is absolutely outstanding in this production, as is the entire cast. I highly recommend this funny, touching, yet haunting, modern play. 

Highway Patrol is being performed at Goodman Theatre though February 18th. For tickets and/or more information visit www.goodmantheatre.org.

I remember Betty Boop the cartoon character because she was my mom's favorite female cartoon as the sexy, saucy 1930's flapper who had men chasing her around town in her voluptuous, tight-fitting dresses - and this wonderfully staged musical does a brilliant job in bringing her to life! Jasmine Amy Rogers as Betty Boop is a star on her way to Broadway with her outstanding vocals, solid dancing skills and an air of innocence mixed with womanly wisdom that gives the entire story a warm grounded presence despite the cartoon's previously conceived air head version of her. 

In BOOP! The Betty Boop Musical, Betty gets to time travel from the black and white cartoon world she lives in to 2023 real world New York city in full color where she feels herself to be both "Real and Free!" There is a slight resemblance in plot there to the Barbie movie when a fictional character from a sexist TV or toy world becomes "real” in today's much different, progressing world - and this plot is also very well executed. People of all ages will identify with that feeling of having their lives go from blah, gray days to bright rainbow colors with one exciting leap of faith! 

When arriving in New York via time travel Boop lands at Comic Con and luckily meets her mate, Dwayne, played with flair by Ainsley Anthony Melham, a struggling young jazz musician with whom she falls in love. Together they perform some fantastic duets like "Why Look Around the Corner" in which the two lovers decide to stop waiting for what "might be around the corner" and decide to love each other in that very moment before their worlds are separated forever. Melham also sings the passionate and exuberant “She Knocks Me Out!" a song that describes how falling in love with Boop at first sight has knocked him off his feet with love for her and all her lively energy and sexual beauty causing him to fall hopelessly in love.

The exciting score by composer David Foster and lyricist Susan Birkenhead includes several hit songs, some of which include "Something to Shout About" sung by Rogers. In the well-performed number, Boop describes that after experiencing both her cartoon world and unrequited love in the real world that she is still waiting to find something really thrilling in life to really live her life to its fullest and not for other "human causes" like that of the politician Raymond Demarest played with great humor and jazz style by Erich Bergen. Demarest, a former sanitation worker now running for office, tries to use Boop’s popularity to con citizens of New York into voting for him so he can con them into using his "Doo Doo Solid Waste System". Nor is Boop looking to find more fame or money in the real world. In fact, from the beginning of the show her character expresses her deep desire to be somewhere, anywhere where she is "not famous" and is free to be her own unique self. But guess what, she's still as famous as ever in 2023, ninety years later - a true Comic Con star. 

This show has everything we’d hope to see in a big stage production. In Boop! The Betty Boop Musical aka The Boop-Oop-A Doosical, the full stage of excellent dancers, singers, and actors swirl to life with brilliant color. The creative costume design is credited to Gregg Barnes while David Rockwell has designed a huge and constantly changing set that dazzles the eye and enhances the storytelling, with equally colorful dynamic and complex lighting by Philip S. Rosenberg. The show also includes some real eye-popping New York-style hoofing comprising of full cast tap dancing numbers by the talented director/choreographer Jerry Mitchell that rival the Rockettes. This fast-paced, musical, and visual gem also gets a lift thanks to wonderful performances by Angelica Hale as Trisha, Boop’s newfound teenage friend in the real world, Tony Award Winner Faith Prince as Valentina and Stephen DeRosa as the highly and overly animated, Grampy.

Phillip Huber operates the one puppet in the show, Pudgy, Boop’s chubby, white Maltese puppy with adorable huge black eyes who time travels as well. This is a very cute bit of comic relief and the whole audience enjoys this little treat of excellently done puppetry.

Though a fan favorite for decades, let’s face it, the Betty Boop cartoon was littered with discriminatory, narrow-minded views of women. But, thankfully, the problem of the sexist subtext of the times when this black and white cartoon was written in originally, which has survived in cult pop culture, is finally resolved in this fantastic new musical. Upon returning to her own world, Boop’s eyes, now opened from her visit to today’s real world, the 1930’s cartoon starlet tells the director of her "talkie shorts" that she will NOT allow those plotlines to ever be shot again if they include leering men chasing her around desks only to be hit by her with a frying pan. 

BOOP! is based on an old cartoon yes, but its cast and producers combine new ideas about love and womanhood with modern and classic dance numbers that fill the stage with constant movement. Boop’s show stopping and catchy songs, belted out with great range, power and joy by the fabulous Jasmine Amy Rogers, are the Boop oop a doop! 

I highly recommend this sparkling, upbeat World Premiere production for audiences of all ages! 

BOOP! The Betty Boop Musical runs through December 24th at the CIBC Theatre, 18 W. Monroe St. For tickets and/or more show information, visit broadwayinchicago.com.

With so many wonderful dance options to enjoy the classic Holiday ballet The Nutcracker, it is refreshing to find one of such high quality with easy access and parking for families of all sizes and seniors at Northeastern Illinois University Salme Harju Steinberg Fine Arts Center.

Ruth Page Civic Ballet, no longer a full-time company, has a roster that is composed of students and freelance dancers on short-term contracts, however with the original choreography by Ruth Page and additional Choreography by Dolores Long, Larry Long, and Birute Barodicaite, this production demands a high level of skill and all of the principals and children cast really deliver the thrills and magic of ballet that one expects from a professional  company based in Chicago.  

A brief synopsis of the classic Two Act Ballet The Nutcracker: Act I presents a cozy Christmas Eve party, “Party Scene”, at the Stahlbaum home. When midnight strikes, the evening takes a magical turn, and the house is transformed into a battleground. Once the battle has ended, Clara and her Prince are then transported to a beautiful pine forest: the “Land of Snow”. 

In Act 2 Clara, Isabelle Cody-Källén, and her Prince travel to the Kingdom of Sweets. In honor of our heroine, the Sugar Plum Fairy presents a celebration of sweets from around the world in the Kingdom of Sweets!

Isabelle Cody-Källén as the child dancer heroine Clara is absolutely a pleasure to watch! Cody-Källén is a star in the making, her graceful lines and form are absolutely beautiful to see in a young dancer and her angelic face gives off a thoughtfulness and maturity in this role that is exciting to see!

Costume Design by José Verona needs to be acknowledged, as the costumes for every scene and every age performer were lush and beautifully designed to give a truly festive feeling of luxury. 

The two principal adult dancers Marité Fuentes who plays the Snow Queen and American Beauty and Adiarys Almeida as the Sugar Plum Fairy were spectacular! Both ballerinas are Cuban-born and are members of National Ballet of Cuba.  

I highly recommend this full length 2-hour and 15-minute classic, yet fresh and exciting, production of the majestic Nutcracker ballet for audiences of every age to welcome the Holiday season with the love of spectacular ballet! 

Billed as Chicago’s oldest Nutcracker tradition, Ruth Page’s The Nutcracker was performed at Northeastern Illinois University Salme Harju Steinberg Fine Arts Center this past weekend but has additional performances at the College of Lake County James Lumber Center for the Performing Arts Saturday, December 16th at 1 PM and 5 PM and Sunday, December 17th at 1PM. For tickets and/or more show information, click here.  

Recommended.

I've been a devoted fan of David Cerda's Hell in a Handbag Productions for so many of the 23 years they have been in Chicago, and I still get the same great feelings whenever I attend one of their award-winning camp comedy/musical shows.

Having grown up in Miami, Florida with my Golden Girl mom, Joanne, during the years in which the TV show was on the air I have a special affinity for all of their Golden Girls adaptations, especially the Christmas Editions. 

The plotline for The Golden Girls Save Christmas - A Lost Parody Episode at Center on Halsted involves a very sexy Blanche who boffs old Saint Nick until his back gives out and the whole gang has to band together to save Christmas. This show is just a nonstop funny reminder that holidays are for loving up your family, friends, and lovers like any other Holiday. 

This year's Christmas production directed by Frankie Leo Bennett features original cast members David Cerda as Dorothy, Grant Drager as Blanche, Ed Jones as Rose, and Ryan Oates as Sophia as the fearsome geriatric foursome - and they are as spot on as ever in their expert renditions of all four great actresses in the TV show. The fantastic performances from these four original cast members are reason enough for me to keep returning year after year for all of the Golden Girls Handbag shows. 

With the leads taking on the famous TV roles - Cerda as Bea Arthur’s Dorothy the dry, cool anchor of comedy, Drager as the flirtatious unabashedly insatiable Blanche, played by so well by Rue Mclanahan and Ed Jones as the naive, scene stealer as Betty White’s Rose, the Handbag company goes way beyond parody and even beyond camp into a realm of musical theatre genius. This talented cast is compelling and endearing to watch as one feels that you are at times witnessing a live theatrical performance from these three grand dames of comedy!

There are fantastic cameos and lots of big laughs and songs coming from the supporting cast this year from Eustace Allen, Kelly Bolton, Terry McCarthy, Michael Rashid, Scott Sawa, Tyler Anthony Smith, Danne W. Taylor, and Robert Williams.

Hell in a Handbag Golden Girls shows always begin with the whole audience singing the theme song, "Thank you for being a friend," which perfectly sets up the audience for an evening of lighthearted, sentimental, yet bawdy, good adult fun. 

If you are one of those people who delight in period costumes from the 80's you will LOVE all of the fantastic hair makeup and costumes and shoes in this show. The production team includes Madeline Felauer (Costume Design), Liz Syd Genco (Make-Up Design) and Keith Ryan (Wig Designer). 

Hell in a Handbag Productions’ The Golden Girls Save Xmas also has a generous intermission for drinking and catching up with your friends that begins and ends with terrific full cast song and dance numbers like the great tune “You Can't Stop Christmas! It's Coming!”, so you feel you've gotten a nice full night out of socializing and entertainment!  

Be sure to pose for a picture with the fully costumed cast of stars after the show and your donation will be given to AIDS-related charities. Also, mark your calendars for Peep Show, the team’s yearly fundraiser on December 10th at Center on Halsted to support Hell in A Handbag Productions, a Chicago classic camp favorite theater company that keeps on creating compassionate, funny, camp extravaganzas with live singers - not impersonators - who maintain the highest level of comedic expertise! For more information on Peep Show, click here.

The world premeire The Golden Girls Save Xmas - A Lost Parody Episode by Artistic Director David Cerda is being performed at Center on Halsted’s The Hoover-Leppen Theatre through December 30th. Tickets are just $42 if purchased in advance and $45 at the door, and $36 for group rates of 10 or more. For tickets and/or more show information, visit www.handbagproductions.org.    

Highly recommended!

It was such a pleasure to see a Chicago not for profit dance company, Identity Performing Arts, now in its seventh season, meet such high levels of ballet and modern dance!

With several choreographed pieces by Founder and Artistic Director Ginny Ching-Yin Lo under her belt, the premiere of Enliven will mark her 10th creative work. Lo, born in Hong Kong and trained with the Hong Kong Ballet, is both a choreographer and dancer whose works have been performed in the US as well as in China, France, and Germany.

I can't say enough about the sensual and energizing choreography by Ginny Ching-Yin Lo!

In her own words…

Perpetual

This piece premiered in Spring 2023. Perpetual reveals the delicate balance between our dual natures. Experience the angelic and the demonic, all under the veil of ethereal love, harmoniously juxtaposed and eternally connected. While precisely executed, this piece was beautifully fluid and, in many moments, hypnotic, and was the perfect opening segment for what the rest of the performance was to offer. 

Ginny has a great gift for staging and creating multiple levels of emotional depth and the feeling of synchronicity in action for her talented group of nine dancers.

Kindred

There was an interesting and refreshing 15-minute multi-media short film presentation by director Spence Warren of the premiere of Ching-Yin Lo's piece titled Kindred.

Kindred is a celebration of the merging and new possibilities that arise when individual artists get together to collaborate creatively.  

The short film was shot in one 8-hour day in a sunny private home with dancers striking beautiful and sometimes somber poses on common objects like stairwells, tabletops and even on top of beds, which gave this piece a modern identifiable setting that made you realize that our homes can also be a place for the physical expressions of creative dance.

Enliven

The final third of the program was Lo's premiere of her newest piece Enliven.

I am including the music choices for this piece because they were so striking and perfect with Ginny Ching-Yin Lo’s flowing, powerful and sexy choreography; Enliven Music: “Lemon Tree” by Jingxuan (Guzheng) and Felix Nunes (Cello), “China Wind” by Zhuolin Wang, “Fusion” by Estas Tonne”, “Abundance” by Future of the Forestry, “Glittery Green Vibrations” by Wilson Hicken and “Mortise & Tenon” by Young Yan.

I would like to acknowledge the dancers, all of whom were classically trained and surpassed my high level of expectation for a dance troupe under Lo's direction. The dance ensemble included Josephine Castillo, Mark Gonzalez, Mackenzi Bolyard-Pizaῆa, Amelia Harris, Audrey Hartnett, Wilson Hicken, Hayley Midea, Hanley Simpson, and Tiana Thompson.

While the two male dancers were clearly skilled and dynamic in their own right, it was the seven women in this troupe that really exuded full expression of this stunning and complex choreography and were just fascinating to watch. Also, the use of lighting for both live works performed was perfectly managed to effectively heighten the experience, creating dream-like sequences.

Ginny Ching-Yin Lo states that her mission is to create dance that addresses "universal societal issues and affirms the values of our individual and community diversity with the intent to heal and restore." And I really felt a sense of meditative restoration and exuberance while enjoying this program. Lo has achieved and will continue to achieve her goal of "healing and restoring" the senses by reminding her audiences of the healing qualities of eternal and ethereal love in motion.

Recently performed at Ruth Page Center for the Arts and again this past weekend at Studio5 in Evanston, I highly recommend this exciting, stimulating yet peaceful dance program and future performances by Identity Performing Arts to audiences of ALL ages for dance lovers who are accustomed to seeing high quality ballet and modern dance.

For upcoming events and more information on this wonderful dance company, visit www.identityperformingarts.org.

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