How you feel about “Rock of Ages,” a classic rock “Jukebox musical” now in Chicago, depends on whether you saw the original show ten years ago and liked it or if you don’t mind and even appreciate that this version is a parody of itself.
At the Nederlander Ttheatre (formerly Oriental) through Aril 28 2019, the current show is taking its 10th anniversary tour through the U.S. with more flashing concert rock-band lights and amps than when it came out in 2009.
Directed by Martha Banta, everything is highly exaggerated which makes this version funnier but it also gallops through several of the songs and turns up the volume so that you may catch the beat rather than the words even though the show includes such standards as “Waiting For a Girl Like You,” and “Here we Go Again.”
Heads up “Hamilton” lovers and anyone interested in Alexander Hamilton’s life.
“Hamilton: The Exhibition” (also called “Ham”), situated in an all-weather structure on Northerly Island, opens April 27. The island stretches south of the Museum Campus just west of the Adler Planetarium. The exhibition is at 1536 S. Linn White Drive.
“Hamilton” creator Lin-Manuel Miranda narrates the audio tour with the musical’s original Broadway actors, Phillipa Soo (Eliza Schuyler) and Christopher Jackson (George Washington).
Go to learn more about Hamilton’s early years and the start up of the United States of America through multi-media and historical artifacts that take visitors to St. Croix, New York of 1776 and George Washington’s war tent.
Not sure how many times I’ve seen ‘A Chorus Line,” but director Brenda Didier and choreographer Chris Carter’s version now at Porchlight Music Theatre, is not a copy.
It goes back to director Michael Bennett’s concept to present the story behind who are the dancers/singers in a musical’s chorus line.
He was interested in why do they want to be in a chorus line, when did they decide they wanted to dance as a career, what happens if they are accepted or not when they audition and finally, what will they do after they no longer can dance. In January 1974, he now famously asked a group of dancers to talk about themselves and if he could record it. Their responses make up the show.Read More
Opening in New York in 2005 and winning the Tony and Grammy Awards for Best Musical in 2006, “Jersey Boys” has now been seen by more than 25 million people. And I’ll bet that some have seen it more than once—like I have.
The book, “Jersey Boys,” was written by Marshall Brickman and Rick Elice. Amusing dialogue is interspersed with the tremendous songs that keep the audience laughing.
Directed by Des McAnuff, “Jersey Boys” is the story of Frankie Valli and The Four Seasons—four guys from New Jersey who weren’t known at all until they started singing outdoors on a corner. And once they did, their songs became more than popular and played on radios every day and night.
The songs by The Four Seasons in “Jersey Boys” not only bring back so many memories, but have younger audience members swinging and swaying in their seats.
Songs such as “Walk Like a Man,” “Sherry,” “Working My Way Back to You,” “Rag Doll,” and “Big Girls Don’t Cry,” hook-up with the musical’s story of a gang leader with a money problem that involves the mob and the record industry, along with many things that relate to true friendships and loving relationships.
The original Four Seasons were Bob Gaudio, the musical composer played by Eric Chambliss, Frankie Valli, played by Jonny Wexler, Nick Massi, played by Jonathan Cable and Tommy DeVito, played by Cory Greenan. The lyricist and producer, Bob Crewe, is played by Wade Dooley.
“My Boyfriend’s Back” is sung by the Angels portrayed by Ashley Bruce, Chloe Tiso, and Jessica Wockenfuss, all of whom also play other female roles.
The rest of the fabulous cast is Tony L. Clements, Caitlin Leary, Jeremy Sartin, and Kit Treece. Many of the cast members move on stage as they play musical instruments.
A Broadway in Chicago presentation now at the Auditorium Theatre, it’s a show not to miss . . . “Let’s Hang On to What We’ve Got!”
DETAILS: “Jersey Boys” is at the Auditorium Theatre, 50 E. Ida B. Wells (Congress Pkwy. at Michigan Avenue), Chicago, through April 7, 2019. Running time: 2 hours and 45 minutes with one intermission. For tickets and other information, call Ticket Master at 1-800-775-2000, or visit BroadwayInChicago.
There is plenty to like about this Broadway in Chicago theatrical extravaganza. It is loosely based on the true story of a woman who claimed to be the surviving daughter of Czar Nicholas II of Russia and whose family was assassinated along with him by the Bolsheviks following the Communist uprising in July 1917.
But don’t worry this version of “Anastasia” has little to do with reality. Inspired by the Twentieth Century Fox animated film (later acquired by Disney Corporation), it refers to the tragedy but is scrubbed clean of most of the ugly parts, leaving behind the tale of a young, beautiful and strong heroine striving to find her true identity while struggling to come to terms with her inner princess.
It was an enthusiastic and appreciative, mostly female audience that packed Chicago’s Nederlander Theater opening night. The book by Terrence McNally is expertly crafted to suit its intended audience of preadolescent girls who themselves are likely exploring their own future and place in the world.Read More
Fans of opera, American soprano Renée Fleming and the Lyric Opera of Chicago were treated to an extraordinary program March 23 to honor Fleming on the 25th anniversary of her Lyric debut in1993 with Carlisle Floyd’s “Susannah.”
Chicago audiences may have heard her in other operatic roles such as Marguerite in “Faust” in the 1995-6 season and more recently as Hanna Glawari, in “the Merry Widow” in the 2016-17 season.
But what the program and Lyric President Anthony Freud mentioned during the concert is that there is a lot more to Fleming’s accomplishments than her vocal talent. As an advisor and innovator of public programs through the Lyric in Chicago and through the Kennedy Center in Washington D.C. Fleming has been behind several outreach initiatives.
Arguably less known is that she was on the soundtrack of Best Picture and Best soundtrack 2018 Academy awards for “Three Billboards Outside Ebbing, Missouri” and “The Shape of Water,” is a 16-time Grammy nominee (four-time winner) and is on the movie soundtrack of the “Lord of the Ring” and “The Return of the King.”
Hosted by Tituss Burges, the program also featured well-known opera stars soprano Sondra Radvanovsky, tenor Lawrence Brownlee, baritone Quinn Kelsey, and bass-baritones Eric Owens and Christian Van Horn, plus members of the Patrick G. and Shirley W. Ryan Opera Center. Patrick summers conducted the Lyric Opera Orchestra.
Fleming started out with what some consider her trademark piece of “Porgi amor” from Mozart’s “the Marriage of Figaro.”
Other pieces in the first part of the program were Eric Owens doing “O tu Palermo “ from Verdi’s “I vespri sicilarni,” Radvanovsky singing “Vissi d’arte” from Puccini’s Tosca,” Brownlee doing “Ahmes amis…” from Donizetti’s ”La fille du regiment,” Van Horn singing “Eddo il mondo” from “Boito’s La Mefistofele” and the Ryan Opera Center artists doing Faltaff’s “Un oro e terminiam la scena…”
Radvanovsky sang an aria from “Susannah” later in the concert. Then, to herald her role in a special musical production in December, Fleming did “Fable,” from Adam Guettel’s “The Light in the Piazza.” Tickets to the run, Dec. 14-29, 2019, go on sale March 28, 2019. For tickets and more information visit LyricOpera/light.
As a bonus Saturday, many of the designer gowns worn by Fleming were on display at the Lyric. For the concert she wore a navy tulle gown designed by Carolina Herrera and a rose-gold sequined gown by Vivienne Westwood.
Another interesting not is that the acoustic Pritzker Family Concert Shell designed by Studio Gang for Lyric’s 60th Anniversary Gala Concert in 2014 was the backdrop for Saturday’s concert.
Certainly “Miracle,” a musical directed by Damon Kiely and premiering at the Royal George Theatre May 8, 2019, refers to the Chicago Cubs 2016 Championship.
But during a phone interview with lead producer William “Billy” Marovitz, the concept’s originator, what comes across is how much baseball is a part of many people’s lives.
And yes, Marovitz, who has followed baseball “for as long as I can remember,” is the former, long-time IL State Senator instrumental in working out the compromise that brought lights to Wrigley Field in 1988.
Marovitz had earlier conceived a Chicago show about what happened in the city during the two Daley administrations. But when he realized the concept wasn’t going anywhere when Richard M. Daley didn’t run again, his love of baseball sparked another show idea.
“It was Feb. 16, 2016 and I thought the Cubs have a good team. So I though let’s look at the season through a family. I needed to tell a story, not one just about baseball, but about real people, their ups and downs,” he said.
The story, fleshed out by film and TV writer Jason Brett, co-founder of Chicago’s Apollo Theater, follows the Delaneys, a Wrigleyville bar-owning family, through changing times.
Marovitz tells how in one part of the show the Delaney’s 11-year old daughter asks her grandfather who is always going over to Cubs’ park, how he got his limp.
“He explains he was in Vietnam, in a fox hole when he got shot up, and said he thought would lose his leg,” Marovitz said. He continued, “And then the grandfather says “The only thing that kept me going was a transistor radio. I could listen to the games.”Read More
This version of the coming of age story “A Bronx Tale” is based on an off-Broadway, one-man play by Chazz Palmintiri later turned into the 1993 Robert De Niro movie of the same name.
Adding music by Alan Menken and Lyrics by Glenn Slater this is a very successful adaptation appearing in Chicago on tour.
Narrated by Calogero (Joey Barreiro), he tells of growing up in an Italian/American section of the New York borough of The Bronx during the tumultuous and racially charged era of The Sixties. And that he is mentored by a local mobster, Sonny (Joe Barbara), and is hanging out with “the wrong crowd.”Read More
Visitors and Chicago area residents are arguably familiar with the city’s Theatre District of show venues in the Loop and the Museum Campus next to Soldier Field.
Now add the Water Tower Arts District to Chicago’s cultural district scene.
Now, the city has officially designated an area both sides of North Michigan Avenue that stretches approximately from Streeterville to the Gold Coast as the WTAD.East of LaSalle Street from Illinois Street to North Avenue .
Launched at the Museum of Contemporary Art Chicago by Commissioner Mark Kelly of the Chicago Department of Cultural Affairs and Special Events on March 12, 2019, the new district includes these 15 cultural organizations: (1) The Arts Club of Chicago, (2) Broadway in Chicago’s Broadway Playhouse at Water Tower Place, (3) City Gallery in the Historic Water Tower, (4) Graham Foundation, (5) International Museum of Surgical Science, (6) Lookingglass Theatre Company, (7) Loyola University Museum of Art (LUMA), (8) Museum of Contemporary Art (MCA), (9) the Newberry Library, (10) Poetry Foundation, (11) Porchlight Music Theatre, (12) Richard Gray Gallery, (13) the Richard H. Driehaus Museum, (14) the Ruth Page Center for the Arts, and (15) the Society of Architectural Historians.
Anyone old enough to recall “Bug House Square,” the once popular tag for Washington Square Park south of Newbery Library where people would debate social issues, will understand Kelly’s reference during the launch to the area as Bohemian.
Plus, he and Chicago historian Pamela Bannos noted that the area around the Water Tower, was once known as “Towertown,” a Bohemian arts stronghold, so the new designation was really a return to its roots.
“This tightly knit group of arts organizations raises the same spirit of camaraderie and collaboration as they reclaim the District and invite visitors to experience a diverse array of cultural activities…,” Kelly said.
Lookingglass Executive Director Rachel Fink likes that the arts organizations are joining together to attract attention. “It felt a little isolated over here…,” said Fink. “The Mag Mile has a different focus.”
The process of gathering together, which she recalled started about five months ago, has also introduced her to other arts organizations in the neighborhood.
“I like meeting our neighbors. It’s been an incredible opportunity for me” she said. “Now I know more the Driehaus Museum and I learned about the interesting (International) Museum of Surgical Science.”
She added, “It helps to do things as a community. Now we’re celebrating and brainstorming together.
For more information and descriptions of the 15 organizations and activities, visit the website Watertowerarts. The site and the graphic designation were created by Chicago designers Michael Savona, and Tobey Albright plus Mollie Edgar from Hour. Photographs of the institutions were done by Chicago artist Assaf Evron.
You don’t have to be a kid to laugh, tear-up, applaud and walk out grinning from Marriott Theatre’s latest musical supposedly geared to young audiences.
Certainly there is Marriott’s terrifically designed costumes and choreography that show goers are used to for the regular subscription season.
And there are such fun Dr. Seuss characters as the Cat in the Hat, Horton the Elephant, the “Whos” and jungle denizens – all mixing together in lyricist Lynn Ahrens and composer Stephen Flaherty’s creative “Seussical.”
But what’s special for adults and youngsters is that the players are all featured actors in Chicago area musicals.Read More