Created as part of the Bach+Beethoven Experience, “Chicago Stories: Book 2” challenges local composers to write a musical suite that utilizes baroque instruments to tell a story about Chicago.
One of the hallmarks of Bach+Beethoven Experience is to create a casual relaxed atmosphere to enjoy music of vintage instruments. There is nothing stuffy about this experience and I venture to say it can be enjoyed by virtually anyone regardless of musical tastes or preferred musical genre.
The premiere performance was presented Sept. 29, 2018 in the Sky Room at the Loyola Park Field House in Rogers Park overlooking Lake Michigan.
The first suite, “Stories of the Bloomingdale Trail” by Ronnie Kuller, was created to evoke memories of the trail’s past as part of an industrial corridor and rail line that contrasted with the present sounds of the walkers, runners, and bicyclists who enjoy the narrow elevated green space. The trail cuts a nearly three-mile path parallel to North Avenue from Ashland on the east to roughly Central Park on the west.Read More
Set during a changing period in recent history near New Orleans in 1963 “Caroline, or Change” is an emotionally charged story about the power of money and fear of change.
Caroline (Rashada Dawan) is a maid in a modest Jewish household in Lake Charles, Louisiana. Her employer Stuart Gellman (Jonathan Schwart) is a widower who has recently married one of his deceased wife’s friends, Rose (Blair Robertson) who hails from the Upper West Side of New York.
For Rose change is manifest in the challenges presented by her new life in the South which include a despondent husband, his eight year-old grieving son Noah (Alejandro Medina) and “negro” housekeeper whose life is slowly unraveling as she quietly struggles to keep it together.
It is the dawn of the civil rights movement, times are changing, President JFK has just been assassinated. Caroline is recently divorced, has three girls (Bre Jacobs, Princess Isis Z. Lang and Lyric K. Sims) at home and a grown son in Vietnam. To make matters worse she is under employed and feeling like she has no skills that would allow her to change her circumstances.
Caroline’s oldest daughter Emmie Thibodeaux (Bre Jacobs ) represents the new generation and the change that is coming.
The term “change” takes on a double meaning as the plot pivots around Noah’s habit of leaving loose change in his pants pockets where Caroline routinely finds it while doing the laundry and where the odd coins become a catalyst for a change in attitudes.
One can nit-pick but every member of this perfect cast turned in wonderful performances in a nearly flawless production directed by Lili-Anne Brown with a nearly flawless script featuring book and lyrics by Tony Kushner, and music by Jeanine Tesori.
The actors are accompanied by the musical direction and keyboard of Andra Velis Simon with her excellent four piece band, Yulia Block (percussion), Kimberly Lawson (violin) Emily Beisel (reeds) and Myles Bacon (guitars).
There is virtually no break in the music from beginning to end so it is difficult to single out individual performances. But, the charming jump rope style song “Roosevelt Petrucius Coleslaw” sung by Caroline’s adorable daughters and joined by Noah in Act One, as well as her own show stopping “Lot’s Wife” toward the end of Act Two were memorable moments for me.
If you are unfamiliar with this play I suggest you definitely put it on your “must see” list. And I will venture to say, that you are not going to get a much better chance than this Firebrand Theatre presentation of “Caroline, or Change.”
DETAILS: “Caroline, or Change,” a Firebrand Theatre production, is at The Den Theatre’s Heath Main Stage,1331 N. Milwaukee Ave. through Oct. 28, 2018. Running time: 2 hrs., 30 min. For tickets or other information visit Firebrand Theatre.
When “Tootsie,” a Columbia Motion Pictures film based on a book by Don McGuire and Larry Gelbart, came out in 1982, it received 10 Academy Award nominations. Adapted by Gelbart with uncredited assistance from Elaine May, Barry Levinson and Murray Schisgal, its cast had Dustin Hoffman starring and included, Jessica Lange, Teri Garr and Bill Murray.
Tthe movie, a tale of how an actor who has trouble finding a job adopts a female persona in order to land a role, presents a myriad of riotous scenarios.
Although really funny, the telling point of the film was that the Library of Congress decided to preserve it in the National Film Registry in 1998 because it was culturally, historically, or aesthetically significant.”
Given the current culturally and historically significant climate of women’s issues, “Tootsie” as a musical comedy with a clever book by Robert Horn (“13”) and witty and insightful score by Tony winner David Yazbek (“The Band’s Visit), promises to be a Tony winner when it goes to Broadway Spring of 2019.
Nods to the “Me Too” and other concerns are scattered throughout the musical from a show director guiding a female cast member off stage while saying “I’m not touching you” to a character noting that female actors are paid less than the males.
Instead of following the film and having the lead don female garb to tryout and land a soap opera role, the musical has Michael Dorsey snagging the role of Dorothy Michaels, Juliet’s nurse, in a crazy adaptation of “Romeo and Juliet.” In cahoots with Juliet, he takes over the show to make a feminist statement and promote the character of Dorothy.
It is hard to picture the role played any better than it is currently handled by Tony Award nominee Santino Fontana (“Cinderella”) who nails the character’s angst and Dorothy’s feminine side while holding onto his own masculinity, his natural attraction to Juliet (Julie Nichols) plus his feelings for his girlfriend, Sandy Lester (Sarah Stiles).
Lilli Cooper is well cast as Julie, innocent of her attraction to Dorsey as Dorothy. Stiles is amazing as Sandy who sings a rapid-fire accounting of all her problems in a style reminiscent of Gilbert and Sullivan.
The rest of the cast is also sterling with Broadway actors John Behlmann playing Max Van Horn, Andy Groteluesche as Jeff Slater, Julie Halston as Rita Marshall and Michael McGrath as Stan Fields and theater, film and TV actor as Ron Carlisle.
Superb choreography by Denis Jones, gorgeous costumes by William Ivey Long and spot-on set design by David Rockwell are all worthy of Broadway nominations.
Just as important, under the fine direction of Scott Elis the show moves at an energetic pace that enhance comedic and startling moments.
Lucky for Chicago audiences it is following in the steps of such other Broadway hits as “Kinky Boots,” previewing in our city before heading to New York. It is currently showing at the Cadillac Palace Theatre.
DETAILS: “Tootsie” is at the Cadilac Palace theatre, 151 W. Randolph St., Chicago, through Oct. 14, 2018. Running time: 2 hrs, 20 min. with one intermission. For tickets and other information call (800) 775-2000 and visit Broadway In Chicago.
Unless you purposely seek out art galleries in Chicago, across the US and when traveling abroad, you are likely to miss seeing what is happening in the world of modern and contemporary art. But Expo Chicago offers a chance to catch up on the global art scene in one weekend, in one place. Happening now at Navy Pier it only goes through Sept. 30, 2018,
Basically, it is impossible to walk among the more than 130 galleries exhibiting upstairs in Navy Pier’s Festival Hall without stopping for a closer look at eye-catching sculptures and paintings or fascinating photography displays.
A brilliant wall-sized piece by Cameroonian,artist Ajarb Bernard Ategwa stops browsers at the Peres Projects Gallery. It turns out that the gallery is located in Berlin.
When asked why come from Germany to Chicago for Expo, owner Javier Peres,said,” We love the energy of Chicago, it’s collectors and institutions. It’s a truly American city, diverse and dynamic and we are keen to engage with the city and also the entire Midwest region more.”
An American Flag sculpture by internationally known, Harlam-based, artist Sanford Biggers, draws visitors to moniquemeloche a popular Chicago gallery with a new West Town location.
Nearby the dark works of Dawoud Bey pull people into the shared space of the Rena Bransten Gallery of San Francisco with the Stephen Daiter Gallery “They represent what a runaway slave might be seeing,” said Daiter.
In the same gallery are photos by Kenneth Josephson who likes to put scenes into perspective with a ruler or some other held object. Josephson’s work is featured in a show up now at the MCA that includes some photos on loan from the Daiter Gallery.
For Expo Chicago hours, tickets and other information visit Expo Chicago.
It can be said that any piece of literature is a conversation with the author across time and space but Iranian playwright Nassim Soleimanpour takes this to a new level.
For those interested in a nontraditional performance experience, “White Rabbit Red Rabbit” presented by Interrobang Theatre Project is an enjoyable, thought provoking, perhaps at times, philosophical, leap into experimental theater.
A different actor every night is presented with a few props and a sealed script which is opened on stage. At this point the actor follows the instructions and performs accordingly. Performers: Stephanie Shum (September 24) JD Caudill (October 1), Echaka Agba (October 8), Michael Turrentine (October 15), Joe Lino (October 22), David Cerda (October 29), Shawna Franks (November 5) and Owais Ahmed (November 12).
For some this may be a trip down a proverbial rabbit hole but others like “Alice” may encounter a splendid adventure.
Part of the intrigue is that no one (including me) is permitted to talk about the details of the play because no one sees exactly the same show twice.
Approximately one hour long, it is a kind of improvisational comedic/dramatic,social experiment.
If you are expecting a traditional night at the theater this may not be your thing but if you are looking for a refreshing break from the ordinary then hop over to see “White Rabbit Red Rabbit.”
DETAILS: “White Rabbit Red Rabbit” is at The Den Theatre, 1331 N. Milwaukee Ave., Chicago, through Nov. 12, 2018. For tickets and other information call (312) 219-4140 and visit Interrobangtheatre.
We’re told not to give away plot points of “We’re Only Alive for A Short Amount of Time,” British born, American actor, singer, composer David Cale’s musical memoir now in its world premiere at Goodman Theatre.
So suffice it to say Cale takes audiences from his unusual growing up years through how an early tragedy impacted him and his family to his leaving England for a new life in the United States where he blossoms as an adult and loves being alive.
OK, that’s an oversimplification.
“We’re Only Alive for A Short Amount of Time” is a commanding performance that combines acting and singing.
Cale adopts the mantle of each of his characters. His change of voice, movements, prose and lyrical poetry set to music, pull audiences into how he thinks family members and he viewed life and each other.
The changes are complemented by a superb six-piece orchestra on stage directed by co-composer/arranger pianist Matthew Dean Marsh. They are adroitly lit in parts and whole by Jennifer Tipton. Kevin Depinet’s creative set design enhances the verbal pictures painted by Cale.
No matter what else the show is and does for audiences, it is his tribute to his mother. If viewers look at the playbill cover they will see a woman pictured on his shirt. It is no accident that her picture is placed over his heart.
What is hard to believe is that he tells his story in 90 minutes, a short amount of time given that it has enough plot points to fill a two hour play or three-hour opera.
But Cale who has written one-person shows before, likely understands that brief exposure makes powerful statements.
Directed with great insight and empathy by Robert Falls, “We’re Only alive for A Short Amount of Time” is definitely powerful.
DETAILS: “We’re Only Alive for A Short Amount of Time” is at Goodman Theatre, 170 N. Dearborn St., Chicago through Oct. 21, 2018. Running time: 90 min. no intermission. For tickets and other information call (312) 443-3800 and visit Goodmantheatre.
In Rachel Bonds’ “Curve of Departure,” now at Northlight Theatre, you see four characters who face different issues they sort of resolve by the end of the 75-minute play.
The characters, Rudy (Mike Nussbaum), ex-daughter-in-law Linda (Penelope Walker), her son, Felix called Fe, (Sean Parris) and Fe’s boyfriend, Jackson ,(Danny Martinez) have come together for the funeral of Rudy’s son, and Linda’s former husband, Cyrus, who is only a presence by their discussion of how awful he was.
Rudy’s grandson and his friend share a New Mexico motel room with Rudy and Linda to save money.
It is easy to get caught up in their troubles without realizing the big picture.
With Halloween 2018 on the horizon, “Little Shop of Horrors” plays into the spookiness of the season. The sort-of-dark musical comedy is now running at Drury Lane Theatre in Oakbrook Terrace. It’s more spirited, shall we say, than scary.
The action centers around a dilapidated flower shop on Skid Row and its hard-scrabble denizens. The two central characters are Seymour, a hapless employee played by Will Lidke, and Audrey, his tartly dressed coworker and the object of his affection played by Kelly Felthous. Mr. Mushnik, their boss played by Ron E. Rains, is just as down on his luck as everyone else.
Seymour suddenly is offered success beyond his imagination by a demanding, carnivorous, exotic plant on a growth spurt. The condition? The plant is blood thirsty.
A Pittsburgh real estate developer with aspirations of becoming mayor finds himself at odds with his wife and his business partner after encountering a couple of guys from his old neighborhood who bring him closer to his own history and the roots of his community.
This is a story about the quest for success, what is legal, what is fair and ultimately, what is right and what is wrong.
These concepts are not just black and white. They are usually very muddy and predicated on each individual’s point-of-view. On some level this story tries to indicate that there is a clear distinction.
When Charity Hope Valentine is asked why she believes in love, she replies, “You have to have some religion.” In “Sweet Charity,” a show replete with good lines, after all Neil Simon wrote the musical’s book, this expression lies at the heart of the story.
However, audiences who have seen the 1969 movie and are seeing the show now at Marriott Theatre, will also catch that the theme that frames the show is Charity’s middle name, Hope.
No matter how often she is disappointed, Charity, a dance-hall hostess, rebounds. Instead of following the typical “and they lived happily ever after,” in “Sweet Charity” she moves forward, “hopefully.”