Just found out there are a few free Lollapalooza tickets waiting to be won. The Boundary at 1932 W. Division St. and the Old Town Pour House at 1419 N. Wells St. have a raffle going for impossible-to-get tickets to Lolla-land.
The deal is that patrons at either bar who purchase a Red Bull anytime from July 28 through July 30 will be entered into a raffle for a pair of tickets to Lollapalooza, Aug. 5-6, 2017. For more information visit the Boundary and Old Town Pour House.
Picture yourself sitting on a deck above The Park at Wrigley, a cold glass of Goose Island Green Line in one hand and a tasty buttermilk fried chicken sandwich in the other. I did that this week after a Cubs game at the just opened Brickhouse Tavern.
I loved the old baseball personality photos and Jack Brickhouse memorabilia around the upstairs bar. I’m also in love with the “Tuna Poke.” It was a great starter of diced raw tuna, mango, watermelon and other stuff.
The Brickhouse Tavern is at 3647 N. Clark St. But you can forget the address. Merely look for it at the north end of The Park. For more info visit Brickhouse Tavern.
Writers tell their secrets
If at all interested in penning a book and selling it go over to the American Writers Museum on Michigan Avenue near Lake Street from 6:30 to 8 p.m., July 27, 2017 to hear five writers who know from experience what it takes to succeed.
Sue Baugh will talk about “Five fiction techniques for compelling non-fiction.” Cyndee Schaffer will give “Five pointers you need to know about memoir writing”
Barbara Barnett will discuss “Five reasons you need an editor.” Reno Lovison offers, “Five important tips related to book marketing.” Cynthia Clamitt will cover “Five rules of nonfiction writing.”
You might also be inspired by the exhibits in the museum. Enjoy! The American Writers Museum is on the second floor of 180 N. Michigan Ave.
Tony Award nominated ‘They’re Playing Our Song,’ now a Brown Paper Box production at Rivendell Theater, is a boy meets girl, boy and girl fall in love, have problems, split and get back-together-again story with a celebrity twist.
With book by Neil Simon, music by Marvin Hamlisch and lyrics by Carole Bayer Sager, the show is a witty, entertaining musical with such easy listening songs as “If He Really Knew Me,” “When You’re in My Arms,” “I Still Believe in Love,” and “They’re Playing Our Song.”
What oldsters may remember from when the show opened on Broadway in 1979 with Robert Klein and Lucie Arnaz, is that it is somewhat autobiographical about Hamlisch and Sager’s 1970’s relationship.
The show is about New York Grammy and Oscar award-winning pop music composer Vernon Gersch connecting with lyricist Sonia Walsk because he is looking for a collaborator.
They start off with problems because Sonia is bubbly but has trouble keeping appointments anywhere near on time and is very busy trying to break up with a long-time boyfriend, and Vernon is sarcastic, uptight and somewhat aloof.
They start to bond when on a “non date” proposed by Sonia they dance and hear the band play songs they wrote.
Problems Sonia has with ex boyfriend Leon eventually comes between them when she appears very late for a recording session and Vernon says he can’t take it any longer.
That they still have feelings for each other becomes evident when they reconnect in LA.
On the cute side, Sonia wears dresses used in shows given her by a stage friend. On the witty side, they are both neurotic so Simon has Vernon saying “She’s a flake, I’m a flake. Two flakes make a snowstorm.”
She is in awe of his composing talent but he is in awe of her bubbly personality. He remarks that if a power outage causes a blackout in New York the only light seen would be coming from her.
Sonia is perfectly portrayed by Carmen Risi who has acted in Oil Lamp and Citadel productions in the Chicago area and in Four Seasons productions in Madison, WI.
Dan Gold who is often in Mercury, Apollo, Porchlight and Light Opera Works productions, is very believable as Vernon.
The two leads are totally convincing in their angst and attraction to each other.
My problem watching the show was with the Greek chorus of three females who are supposed to be in Sonia’s head and the three mails from Vernon’s head.
Even though they were talented singers and dancers, I found them distracting and sometimes annoying.
However, the leads are good enough and the show witty enough to make it a delightful evening out. To learn more about Carole Bayer Sager, see her 2016 book, “They’re Playing Our song: A Memoir (Simon & Schuster).
“They’re Playing Our Song” will be at Rivendell Theater, a small store front space at 5779 N. Ridge Ave., Chicago, now through Aug. 20, 2017. For tickets and other information visit Brown Paper Box.
Luzia – a combination of two Spanish words for light, “luz,” and rain, “lluvia,” is the backdrop for a unique performance that unites traditional Cirque du Soleil elements with scenes and characters from Mexico.
In “Luzia – A Waking Dream of Mexico,” acrobatic performances, beautiful costumes and music will not disappoint, even if they are somewhat expected in a Cirque du Soleil production.
The show opens with a traveler parachuting on to the stage. He will guide the audience on a magical and comedic journey through time and space.
After landing, he turns a large key and the show slowly begins to unveil the beauty of Mexico with a woman (Shelli Epstein) playing the role of the Monarch butterfly.
Although the beginning may start off slowly, hoop-diving acrobats dressed in hummingbird costumes bring it back to life in the second scene as they go through their routines on moving treadmills. With each leap, the acrobats perform a series of moves with increasing difficulty and grace.
As the show progresses from one scene to the next, the performers display their unique talents – balancing on one hand, flying from a trapeze and using aerial straps to move in ways you don’t expect.
However, it was the water and light show that generated some of the loudest applause. There is an impressive, controlled wall of rain with gorgeous pictures projected on it.
Everyone expects to be amazed, perplexed and amused by a Cirque du Soleil show. It’s a rarity to be made mildly queasy, but intentionally or not they pull it off with the most memorable and discomfiting positions of male contortionist Aleksei Goloborodko.
Throughout the show, the traveler, Eric Fool Koller, ensures the youngest members of the audience will leave with big smiles on their faces as he takes turns playing the narrator and the more traditional, bumbling circus clown.
Skillfully directed by Daniele Finzi Pasca, I highly recommend the show for both returning Cirque du Soleil fans and anyone who has never experienced the beauty and athletic abilities of this type of performance.
Cirque du Soleil’s “Luzia, A Waking Dream of Mexico” will be playing at the United Center (Parking Lot K) now through Sept. 3, 2017. For tickets and other information visit Cirque du Soleil Luzia.
OK, so a famous rock and roll group, a mega-hit musical and a play that has inspired musicals and operas may or may not appeal to different audiences. But they all are Chicago performance news.
Romeo and Juliet reenact their love story in Chicago parks
The internationally renowned Chicago Shakespeare Theatre is returning for a sixth year to put on a free show in Chicago’s city parks. This year, the production is a 75 minute version of “Romeo and Juliet,” William Shakespeare’s famous tragedy of two young lovers from feuding families.
Starting off at the just completed Polk Bros Park at the entrance to Navy Pier, performances will be at 7 p.m. July 26-28.. From there it will move to 17 Chicago neighborhoods through Aug. 27, 2017.
Shakespeare in the Parks has been the basis for 1,300 free Chicago ark District’s “Night Out in the Parks” summer events.
The free Shakespeare shows is possible through a partnership of Chicago Shakespeare Theater, the City of Chicago, Chicago Park District, Boeing and BMO Harris Bank.
“Memphis Tony nominee and Drama Desk Award winner Montego Glover will be taking the part of Angelica Schuyler in the Chicago company of “Hamilton” in early September, according to producer Jeffrey Seller. In addition, Broadway cast member Gregory Treco is moving to the Chicago company to play Aaron Burr Sept. 8.
“Hamilton,” the mujlti-Tony Award winning musical by Lin-Manuel Miranda, is at The PrivateBank Theatre, 18 W. Monroe St., Chicago. A touring company will open in LA at at the Pantages Theatre Aug. 8, 2017.
Historian Ron Chernow’s “Alexander Hamilton” a biography about the West Indies immigrant who instrumental in the Revolutionary War and became the first US Secretary of the Treasury.
Each time you walk into another room up on the fourth floor of the Museum of Contemporary Art Chicago you’ll hear a gasp or a wow. The responses are to the wall-filling, psychedelic art of Takashi Murakami.
A Japanese artist who has studied the traditional methods of his country but favors anime (Japanese animated film) and manga (Japanese comics), Murakami mixes folklore, politics, Asian culture and contemporary pop art in highly-patterned or deeply contrasting paintings and with fanciful or foreboding sculptures.
Titled “Takashi Murakami: The Octopus Eats Its Own Leg,” the MCA exhibit is a retrospective that begins with early, fine-art works using traditional Japanese Nihonga materials on paintings of turtles. However, look closer at their themes and you understand that Murakami is concerned about industrial pollution and nuclear power..
As you walk through the exhibit and see different themes and materials that Murakami favored during the past three decades, you will understand that the title refers to regeneration. If an octopus eats off a damaged part a new one will grow.
Some motifs are scary or critical commentary. Others are cheerful and playful. But no matter the subject matter, Murakami’s works are eye-catching and show great attention to detail.
To accomplish his more complex and very detailed works, Murakami has a studio of artist assistants. Indeed, one room shows what a work looks like when drawn but not completely painted in. It looks like a page from the currently popular patterned coloring books enjoyed by youngsters and adults.
It’s also okay to see commercial value in what Murakami does. He worked with pop star Kanye West on an album cover and with Louis Vuitton on a fashion product.
But as you walk through the rooms, remember that Murakami has done and continues to do is what other artists do. Their works express inner emotions and also are responses to surrounding cultures and what is happening in the world.
Murakami has merely been responding in hi definition and amplification.
”Takashi Murakami: The Octopus Eats Its Own Leg,” organized by the Museum of Contemporary Art Chicago and curated by Michael Darling, is at the museum now through Sept. 24, 2017.
The Museum of Contemporary Art Chicago is at 220 E. Chicago Ave., Chicago. For admission, hours and other information call (312) 280-2660 and visit MCA.
One of summer’s finest pursuits is viewing a William Shakespeare play while reposing under the stars and sipping a smooth wine.
First Folio Theatre affords that experience with a first-rate production of the Bard of Avon’s “As You Like It” on the grounds of the historic Mayslake Peabody Estate in Oak Brook.
The gently rolling hillside forms a natural amphitheater for the two-story wooden stage and for audiences to spread their blankets and pop their picnic baskets.
Directed by Skyler Schrempp, this delightful tale meanders among a tangle of storylines and a large cast. The plot weaves family feuds, banishments, mistaken identities, forgiveness and love triangles.
Most everyone finds themselves exiled in the lush Forest of Arden. That is, until truths are revealed and couples happily pair up in marriage like they typically do in Shakespearean rom-coms.
The highly polished cast numbers nearly two dozen, many of them First Folio returnees and almost all with previous Shakespearean credits on their resumes.
Leslie Ann Sheppard shows great flexibility in her dual-gendered role as Rosalind. At the onset, she is a favored and stylish family member of the royal court. After she is banished, she heads to the forest and adopts a male persona for safety reasons.
She is accompanied by her cousin and best friend Celia, played adroitly by Vahishta Vafadari who takes on the guise of a peasant. The young women venture a convoluted path to find their loves.
Courtney Abbott is charming and comedic as the mohawk-crowned, androgynous jester Touchstone.
Tempering the frolic is Kevin McKillip as Jacque, a melancholic lord. With great gravitas he delivers one of Shakespeare’s most well-known soliloquies, the one that begins with “All the world’s a stage, and all the men and women merely players.”
Costume designer Mieka van der Ploeg advances the setting as ambiguously modern-day, yet-far-away with attire that borrows from vintage, punk and club-kid cultures.
Throw in a couple of fascinators, a pair of black-and-white wingtips, and a few dirndl skirts, and you get the feeling you’re somewhere else.
A summer evening at First Folio Theatre is as idyllic as the Forest of Arden. Arrive early to enjoy the natural landscape. The staff sets out citronella candles, but bring mosquito repellent.
DETAILS: “As You Like It” is at First Folio Theatre, Mayslake Peabody Estate, 1717 W. 31st St., Oak Brook, through Aug. 20. For tickets and other information, call 630-986-8067 or visit First Folio.
With such top drawing festivals and names as Pitchfork, Windy City Smokeout and Jimmy Buffett (among several others) filling parks and fields all over Chicago this past weekend, you might think that a north suburban music outpost would not be jammed.
Yet Ravinia Festival in Highland Park packed them in for James Arthur, Fitz & The Tantrums and OneRepbulic, Saturday, and its Tchaikovsky Spectacular played by the CSO, Sunday.
“Every inch of space and lawn was filled,” said a One Republic fan describing the Saturday scene.
If understandable for the pop rock genre, it might have come as a surprise to classical music lovers that the same was true on Sunday as visitors kept filing in and looking for even a few inches to sit and picnic.
The luckier folks, or make that those in the know, staked out their space two hours ahead of Sunday’s early, 5 p.m. concert start.
Spread out with a yummy-looking picnic under the trees before the crowds descended were The Nelson family who came from Chesterton and West Lafayette, IN and from Evanston.
“We all came last year,” said Wendy Nelson, Evanston. The rest chimed in with “We enjoyed it so much wanted to do it again,” said Laura Nelson, West Lafayette; “You know, Purdue University,” husband Jeffrey said. They were there with parents Eileen and Roger Nelson, Chesterton. “I’m the patriarch,” said Roger.
By 4 p.m. the lawn was a sea of humanity. After the Romeo and Juliet Fantasy Overture, a sterling piano performance of Concerto No. 1 by Simon Trpceskiand and the Francesca da Rimini fantasy, came the 1812 Overture with real cannons in a roped off area.
When the smoke faded and the last note played, some people left to catch the Union Pacific North Line train but that didn’t make much of a dent in the crowd that still enjoyed getting together and picnicking on the lawn.
“Great concert,” said a guy from Glen Ellyn on his way to the parking lot.
Well, there are a lot more chances to come to Ravinia, this summer.
The CSO returns July 18 with Yefim Bronfman playing Brahm’s Piano Conderto No. 2. The orchestra which makes Ravinia its summer home, will be back for several more concerts including July 20-21 to play Beethoven and Sibelius programs.
BTW, Tony Bennett returns Aug. 4. Hootie & the Blowfish founder Darius Rucker is at Ravinia the next night, Aug. 5.
Santana, the famed guitarist of Latin, rock an jazz fusion, is there Aug. 11-12 and heartland rocker/rock and roll hall-of-famer John Mellencamp is coming for the first time to Ravinia Aug. 26-27.
Ravinia Festival is at 418 Sheridan Rd., Highland Park. For more schedule information, tickets, prices and parking, call (847) 266-5000 and visit Ravinia.
“Little Fish” is a musical adventure of a young woman’s journey to get her life on track as she leaves a bad relationship, gives up smoking and ultimately finds a core group of friends who are willing and able to support each other through life’s challenges.
Even though I quit smoking thirty years ago I could still relate. I always tell people I wanted a cigarette for the first five years. So I understand how addiction to nicotine can make you crazy.
The opening musical number grabs your attention and sets the tone immediately. It’s like a roadmap that lets you know where we are heading as the adventure begins.
Nicole Laurenzi takes control of the stage the minute the lights come up and doesn’t let go for the next 90 minutes with no intermission.
She and her voice are perfect for the role of Charlotte, an aspiring writer in New York City who is both vulnerable and determined.
Her mission at first seems simply to quit smoking and to overcome the fact that she is average and ordinary. In the end she does not emerge as a beautiful swan but rather as a content, more confident human being who just wants some peace of mind and feeling of security. This is not a fairy princess story but rather a story the majority of people can relate to.
Charlotte’s two new NYC friends encourage her to try swimming and running to take her mind off her cigarette craving. Her beautiful friend Kathy (Aja Wiltshire who has a gorgeous voice) introduces her to swimming at the YMCA where Charlotte earns the moniker “Little Fish.”
Her gay male friend Marco (Adam Fane) suggests running. Marco gets the title song explaining the need for little fish to “swim in schools” or basically band together for support and for their own protection.
Cinder (Teressa LaGamba) is Charlotte’s first NYC roommate and gets most of the comic relief in this production as she belts out a couple of the most emotionally energetic tunes.
Robert (Jeff Meyer) is the smug know-it-all ex-boyfriend who appears in flashbacks voicing Charlotte’s insecurities and doubts as he reminds her that whatever she does will never be good enough.
The addition of the young Anne Frank (Kyrie Courter) who appears in a dream is a very funny idea.
“Little Fish” is entertaining and might more accurately be termed a modern opera. Bravo to Michael John LaChiusa who not only wrote the book but also the music and lyrics. No small task, which he accomplished brilliantly.
The story, loosely based on Deborah Eisenberg’s short stories “Flotsam” and “Days,” is well conceived and well executed but the star of this overachiever’s trinity is the music, an upbeat mix of jazz and pop rock with strong Latin rhythms.
There is nothing here that will assault the senses or challenge anyone’s musical preferences. It has a kind of “old school” cabaret quality that is easy to listen to with easily articulated lyrics and a few memorable tunes.
Carl Herzog as Mr. Bunder gets his Frank Sinatra groove on very effectively, as Charlotte’s smarmy boss offering a classic NYC vibe.
I can see this as a standalone melody for a number of Sinatra or Harry Connick wannabees
Shout out to Kokandy Production’s six piece band conducted by Kory Danielson. The lack of an overture was a disappointment as I would like to hear more from them and it would have been nice to help us get in the mood.
Arnel Sancianco ‘s minimal set design worked well even though director Allison Hendrix seemed to prefer to avoid using the center of the stage.
The choreography was a miss for me as was the lighting. I realize this is a small space but the movements were cliché and not well executed bordering on comical at times and looking much like a high school production. An exception was the swimming sequences which were quite effective.
The lighting or lack of lighting seemed arbitrary. Memorably, a tableau which might have been an opportunity for the lighting designer Alexander Ridgers to shine, literally left the actors in the dark. These are not deal killers and perhaps will improve over time.
As a side note Kokandy Productions offered an interesting newsprint playbill but it lacked a list of songs and any background information about the creator Michael John LaChiusa which seems a major faux pas.
Chicago’s premiere production of “Little Fish” is entertaining and makes me want to keep an eye out for future offering by LaChiusa. There are no big laughs and no great let downs. Much like Charlotte herself it is a safe and secure evening’s entertainment and ideal for lovers of cabaret style music.
Each performer gets his or her moment and they each do it effectively. This production is in keeping with The Wit’s stated mission to offer “humorous, challenging and intelligent plays that speak with a contemporary theatrical voice.”
Details: “Little Fish” is at Theater Wit, 1229 W. Belmont Avenue in Chicago now through Aug. 20, 2017. For tickets and other information call (773) 975-8150 and visit Kokandy Productions.
“Rashid Johnson: Hail We Now Sing Joy” is worth the drive across Illinois’ northern border. Up now through early fall at the Milwaukee Art Museum, the most current works of Johnson are monumental.
More often than not, an exhibit features works large and small. And Johnson, a Chicago native and New York-based artist, has worked with a variety of formats from photography to installations. Many of those works were in a 10-year retrospective at Chicago’s Museum of Contemporary in 2012.
Now, isitors to the MAM show are likely to get the message of how Johnson, a black artist who grew up in Evanston and studied at Columbia College Chicago and the School of the Art Institute, views the world today. They are immediately aware upon entering the exhibit that this time Johnson is thinking large scale.
The first gallery is dominated by a 10-foot high black scaffolding that is overflowing with plants in hand-built ceramic pots, small shea butter sculptures, books, a video, an upright piano and lights.
Titled “Antoine’s Organ,” the piece is Johnson’s nod to the African Diaspora but the work is named for Antoine Baldwin, a pianist and music producer. Musicians will be up in the grid of scaffolding periodically to play the piano.
It doesn’t matter which way visitors continue behind the grid into the next galleries. There are just four rooms. Each has one theme: “Antoine’s Organ,” “Anxious Audience,” “Escape Collage” and “Falling Man.”
Faces, all looking as if they were inspired by Edvard Munch 1893 painting, “The Scream,” look from the walls in the “Anxious Audience” gallery. Made with wax on black soap backed by white ceramic tiles, the faces seem to reflect the racial violence and conflicts in the news.
“Escape Collage” in another gallery, goes in the opposite direction. The
works, made from custom wallpaper appear to have black smudges that may be figures entering a colorful, tropical world of multicolored tiles and paint. Johnson has said he equated palm trees with success because they meant being able to leave a cold climate for a tropical one.
A table filled with blocks of Shea butter will capture viewers’ attention in the fourth or second gallery depending on which way visitors walk after “Antoine’s Organ.”
Johnson leaves it up to the visitors to interpret the meaning of the butter although Shea is often thought to be soothing and even a balm.
However, all the works on the walls of this gallery are called “Falling Man.” They are made with red oak flooring, pieces of mirrors, black soap, wax and white ceramic tiles.
Although the figures resemble video game people, the pieces’ titles of “Falling Man” beg other interpretations such as violence or unsuccessful economic ventures.
Viewers should find Johnson’s work relevant now and reflective of the past given that art through the ages has historically reflected the times when created.
“Rashid Johnson: Hail We Now Sing Joy” is at the Milwaukee Art Museum, 700 N. Art Museum Drive, Milwaukee, WI 53202, now through Sept 17, 2017. For admission and hours call (414) 224-3200 and visit MAM.
It’s likely no surprise to art aficionados that an extraordinary exhibit has opened at the Art Institute of Chicago this summer.
Chicagoans don’t question an oft used phrase referring to the Art Institute as a world class museum. Arguably, among the things that have made it so in their minds are its large collection of French Impressionists and such famed paintings as Grant Wood’s “American Gothic,” Edward Hopper’s “Nighhawks,” Pablo Picasso’s “The Old Guitarist” and Georges Seurat’s “A Sunday on La Grande Jatte — 1884.”
But a great institution does more than collect. It investigates well-known works were created and why and also presents new and lesser known works.
There was “Seurat and the Making of ‘La Grande Jatte’ ” back in the summer of 2004 which revealed other figures in the famous painting and included related sketches and paintings.
Then there was “Matisse: Radical Invention 1913-1917” in spring of 2010 which revealed new information about “Bathers by a River -1909-1910” found through technical research. It also offered a more in-depth view of the artist’s works.
More recently, the museum focused on the paintings: “Van Gogh’s Bedrooms” which were researched and compared in order to shed more light on the artist and his time in Arles.
Visitors at that exhibit in 2016 may remember that Van Gogh set aside a room for Gauguin whom he greatly admired and hoped would help start an artists’ commune there.
Now the museum is turning its spotlight and technical research onto Gauguin. The resulting exhibit sheds extraordinary light onto an artist who is much more than a painter particularly fond of Tahitian figures.