Jodie Jacobs – Page 7 – Chicago Theater and Arts

Inventing the World of James Bond

OO7 – James Bond at MSI (Photo Reno Lovison)

Fantasy and reality merge in the world of fictional espionage as seen in “007 Science- Inventing the world of James Bond” now at the Museum of Science and Industry, Chicago.

You don’t have to be a James Bond movie fan to enjoy this latest exhibit. Just consider what was make believe and what might be real, then and now.

You can see the prototype jetpack used in ” Thunderball” (1965) as well as suction cup climbers used in “You Only Live Twice” (1967).

Co-produced with Eon Productions who owns the rights to everything Bond, the exhibit features automobiles and an array of gadgetry found in several of the 27 films that make up reportedly the longest-running movie franchise.

Thirteen vehicles and over 90 additional artifacts are on display including a Jaguar, at least two Aston-Martins, a couple of motorcycles, the iconic lipstick and earpieces that allowed for secret communication in “No Time To Die” (2021), a Retina Scanner that enabled entry into the MI6 communications room in “Golden Eye” (1995), and other futuristic devices that indeed became part of our present.

The museum curators explained that they wanted to inspire a new generation of visionary inventors and show the intersection between art and science.

Various displays encourage visitors to consider the science behind many of the artifacts and why they might or might not actually work in the real world from a scientific point-of-view.

“007 Science: Inventing the World of James Bond”is open March 7 through October 27, 2024. There is a separate fee in addition to the museum’s general admission.

Museum of Science and Industry, Chicago, is at 5700 S. DuSable Lake Shore Drive, Chicago, IL . For more information visit msichicago.org

Reno Lovison

Love Jealousy War in Aida

Artistic designer Marquis Lewis, aka RETNA, brings a calligraphy motif to the sets of "Aida."

‘Aida’ at Lyric Opera of Chicago (Photo by Todd Rosenberg)

Highly Recommended

“Aida” by Giuseppe Verdi has returned to the Lyric Opera of Chicago after more than a decade. Under the direction of Francesca Zamnello and conducted by Enrique Mazzola, it is opera in the grand tradition but interpreted through a nontraditional lens.

Military leader Radames (tenor Russell Thomas) is in love with the captive Aida (soprano Michelle Bradley) who is enslaved in the household of princess Amneris (mezzo-soprano Jamie Barton) who happens to be in love with Radames. Therein lies the love triangle and principal conflict of this epic tragedy.

Rather than opening with a traditional crowd scene with an explanation of where we are and what is to come, this opera has a cold start with Radames ruminating on his love for Aida while sitting in what is apparently the war room of the unnamed kingdom. The highlight of this scene is Radames singing of “Celeste Aida” arguably the most lyrical aria in this opera and a favorite solo piece of tenors.

Amneris passes through the room and inquires as to why Radames is so distracted. When Aida enters, Radames’ demeanor changes and Amneris begins to suspect there may be something going on between the two.

The first two acts of the four-act opera are concerned largely with the armed conflict between the kingdom in which Radames serves and the kingdom of Amonasro (baritone Reginald Smith, Jr) who, unbeknownst to everyone, is the father of Aida.

The roughly sixty-voice men’s ensemble performs a thrilling chorus of preparation for battle, and shortly thereafter, a celebration of victory with Radames as the conquering hero.

Likewise, six dramatic trumpets play an impressive, well known, Verdi fanfare that at the end of Act Two, culminates in an impressive surprise celebration with 200 cast members on stage.

The preparation for battle and victory are further punctuated by ballet scenes choreographed by Jessica Lang that feature dancer Anne O’Donnell Passero who seemingly floats across the stage with dramatic lifts and leaps in a flowing white gown with golden lining that is truly angelic.

Originally conceived as a conflict between ancient Egypt and the kingdom of Ethiopia this updated version has a dystopian post-modern and mid-century vibe.

The costumes by Anita Yavich are a kind of mixed bag with some colorful gowns and drab dresses. Military uniforms are reminiscent of the fascist regimes of WWII with some more decorative officers looking like part of the Russian Imperial Army and the priests seeming to be part of the Greek Orthodox or ancient Jewish pharisees.

The mostly monochromatic set design led by set-designer Michael Yeargan is primarily a steely gray with tone-on-tone impressions of cryptic symbols reminiscent of hieroglyphs or Chinese pictographs.

Creating a dramatic and assaulting pop of color that commands your attention, the symbols also appear painted in blood red during powerful moments and at the tops of the ceremonial staff carried by the high priest Ramfis (bass Önay Köse).

The production’s striking original concept is conceived by artistic designer RETNA, a celebrated street artist based in Los Angeles.

As Radames is celebrated, a tormented Aida admonishes herself for praying for his victory at the expense of her father and homeland.

Longing for her homeland, Aida sings the emotional aria “O patria mia.” She soon learns that her father is among the captives.

Meanwhile, the King (bass Wm. Clay Thompson) announces that he will give his daughter Amneris to Radames as reward for his victory and furthermore, will grant him any wish he desires.

In spite of his victory, Radames has pity on the countrymen of Aida for her sake and asks the King to grant the release of the prisoners of war. The King agrees to grant his wish with the caveat that Aida and her father must remain as ransom against any further reprisals.

Aida and her father conspire to persuade Radames to flee with them back to their home country. In doing so, they have him reveal further military plans. Aida is motivated by her sincere love for Radames and him for her and thus wins him over.

Almost immediately, Radames regrets his action from the point-of-view of his love of country that is in direct conflict with his love for Aida. He is shortly arrested and sentenced to death by the high priest.

The nature of Radames’ execution is to be entombed alive to suffer an agonizing death by suffocation and starvation. When his fate is sealed, he finds that Aida has hidden herself away and is entombed with him. Thus, the two are united in death while Amneris prays for the end of conflict, the peace of her lost love and peace for her grief-stricken self.

Unfortunately, this theme of conflict on a national level juxtaposed with the most intimate desires of individual lives has its roots in the ancient world and sadly no doubt is repeating itself in the world today.

Details: ‘Aida’ is performed in Italian with projected English titles at the Lyric Opera House, 20 North Wacker Drive, Chicago through April 7, 2024. Running time is about 3 hours with one intermission. For tickets and information, call 312.827.5600 or go to lyricopera.org/aida.

Reno Lovison

For more shows visit Theatre in Chicago

Maple syrup time

Tapping a maple tree at Ryerson. (J Jacobs photo)

That sweet gooey stuff you put on your pancakes starts with tapping maple trees. In Lake County, IL it starts with a hike through the maple trees of the Ryerson Conservation Area, 21950 N. Riverwoods Road, Riverwoods.

Operated by the Lake County Forest Preserves, the hike are going on right now, Saturdays and Sundays during the tapping season when the weather is changing and the sap is running. Most of the maple hikes have already filled up but there is still one open March 16.

“Starting a maple syrup hike is not just a journey into the woods; it’s a journey into learning about nature’s sugary secret,” said Director of Education Alyssa Firkus.

‘The temperature dictates what visitors will see along the trails’, said Environmental Educator Jen Berlinghof. “The timing for tapping maple trees comes down to temperature–above freezing during the day but still below freezing at night–plus precipitation and the hours of sunlight in a day,” Berlinghof said.

She explained that changing temperature causes the sap to surge upward from the roots toward the branches, where it helps the leaves grow and the buds bloom. Then in the summer, the leaves will produce more sap, which will settle back down in the roots by winter.

“Visitors can witness the science of turning sap from sugar maple trees into maple syrup. All registered participants can have a taste,” she said.

Tickets for Maple Syrup Hikes are required and hikes fill up quickly. Cost is $7 per person for residents and $9 for nonresidents. Children ages 3 and under are free. Purchase tickets online or call 847-968-3321. Special sessions designed for scouts or other large groups are also available. Call 847-968-3321 to register a group.

In addition, free, self-guided Maple Syrup Hikes are available March 18 through March 31. Explore the maple magic at your own pace as you stroll along a designated trail with a series of informational signs.

“Uncover the fascinating science behind the sap’s journey from tree to syrup, transforming your walk into an educational and delightful experience,” Berlinghof said.

Browse education programs and register online at LCFPD.org/calendar, or call 847-968-3321.

Other forest preserves in the Chicago area also hold maple syrup programs so check with your county’s forest preserves.

Jodie Jacobs

River turns green and Chicago holds a major parade

Chicago River turns green. (Photo courtesy City of Chicago)

Plan ahead to watch the Chicago River turned to green then watch Chicago’s big St. Patrick’s Day Parade.

February gave us better weather than the usual cold and snow for many readers. And a St. Valentines Day celebrated with flowers, chocolate and or dinner out broke up the month in the middle.

Now, March is already seeing tulips and hyacinths poking their heads through the soil due to our still unseasonably warm weather. And we have such St. Patrick’s weekend events as turning the Chicago River a charming Irish color of green.

More is coming about other parades and places to be in the next article. But this one is about the river because you should start thinking now about going downtown Chicago to watch this annual event a week from this Saturday on March 16, 2024. The coloration is due to start at 10 a.m. Then the downtown parade starts at 12:15 p.m.

First colored in 1962 thanks to the local plumbers union, the river dyeing is still done by them with a secret, environmentally-friendly dye.

What to know: The dyeing of the Chicago River, now celebrating 69 years, is held the Saturday before St. Patrick’s Day and is followed by the city’s main parade which starts at Balboa Drive and pipes its way north on Columbus Drive to Monroe Drive. In the parade are politicians, Irish dancers, marching bands and bagpipers.

Where to watch: First colored in 1962 thanks to the local plumbers union, the river dyeing is still done by them with a secret, environmentally-friendly dye. Today, more than one boat is used to drop in the coloring. Best is to find a spot on the Michigan Avenue bridge or just west of it along the river. (The lower Riverwalk will be closed.) You need to get there early because the best spots fill quickly.

You can also watch from a river cruise such as Chicago’s First Lady (Wendella. is sold out) Afterwards, grab a snack or coffee and head west of Michigan Avenue to Columbus Drive for the parade.

Jodie Jacobs

Oscars party

If you are turning on TV this week, the news is all about Super Tuesday and politics but if you want something else to think about here is where we are regarding the 96th Academy Awards, or what we call the Oscars.

First, settle down with a tray of nibbles and libations, then enjoy.

The 96^th Oscars will be televised next Sunday, March 10, 2024 on ABC at 7 p.m. EDT from the Dolby Theatre at Ovation Hollywood.

Hosted by Jimmy Kimmel, it just added the following celebrities to the list of award presenters: Emily Blunt, Cynthia Erivo, America Ferrera, Sally Field, Ryan Gosling, Ariana Grande, Ben Kingsley, Melissa McCarthy, Issa Rae, Tim Robbins, Steven Spielberg, Mary Steenburgen, Anya Taylor-Joy, Charlize Theron, Christoph Waltz and Forest Whitaker.

Already on the list are:
Mahershala Ali, Bad Bunny, Nicolas Cage, Jamie Lee Curtis, Brendan Fraser, Chris Hemsworth, Dwayne Johnson, Michael Keaton, Regina King, Jessica Lange, Jennifer Lawrence, Matthew McConaughey, Kate McKinnon, Rita Moreno, John Mulaney, Lupita Nyong’o, Catherine O’Hara, Al Pacino, Michelle Pfeiffer, Ke Huy Quan, Sam Rockwell, Octavia Spencer, Michelle Yeoh, Ramy Youssef and Zendaya.

So, tune in March 10 at the recently revised and announced 7 p.m. ET. Just remember that we changed to daylight savings time while you were likely sleeping at 2 a.m.

After watching all the awards shows leading up to the Oscars you may be familiar with the following main nominees:

Performance by an actor in a leading role

Bradley Cooper in “Maestro”
Colman Domingo in “Rustin”
Paul Giamatti in “The Holdovers”
Cillian Murphy in “Oppenheimer”
Jeffrey Wright in “American Fiction”

Performance by an actor in a supporting role

Sterling K. Brown in “American Fiction”
Robert De Niro in “Killers of the Flower Moon”
Robert Downey Jr. in “Oppenheimer”
Ryan Gosling in “Barbie”
Mark Ruffalo in “Poor Things”

Performance by an actress in a leading role

Annette Bening in “Nyad”
Lily Gladstone in “Killers of the Flower Moon”
Sandra Hüller in “Anatomy of a Fall”
Carey Mulligan in “Maestro”
Emma Stone in “Poor Things”

Performance by an actress in a supporting role

Emily Blunt in “Oppenheimer”
Danielle Brooks in “The Color Purple”
America Ferrera in “Barbie”
Jodie Foster in “Nyad”
Da’Vine Joy Randolph in “The Holdovers”

“Barbie” Jacqueline Durran
“Killers of the Flower Moon” Jacqueline West
“Napoleon” Janty Yates and Dave Crossman
“Oppenheimer” Ellen Mirojnick
“Poor Things” Holly Waddington

Achievement in directing

“Anatomy of a Fall” Justine Triet
“Killers of the Flower Moon” Martin Scorsese
“Oppenheimer” Christopher Nolan
“Poor Things” Yorgos Lanthimos
“The Zone of Interest” Jonathan Glazer

Enjoy the Oscars and hopefully you have seen these movies or have them on your rental list.

Jodie Jacobs

‘James and the Giant Peach’ is a sweet treat at Marriott Theatre

Cast of “James and the Giant Peach” at Marriott Theatre. (Photo by Liz Lauren)

Recommended

Introducing young theatregoers to the delights of musical storytelling leaps off the page of the famous Roald Dahl novel at the Marriott Theatre for Young Audiences in Lincolnshire.

“James and the Giant Peach” is the perfect way to introduce young theatergoers to enjoying live musical theatre. The hour-long performance is suited for audiences of all ages as they watch the fantastical musical come to life.

In traditional Roald Dahl fashion, James is an orphan forced to live with his two screechy aunts who are anything but nice to him. When he is sent to chop down their old fruit tree, he discovers a magic potion that turns an ordinary peach tree into a gigantic peach.

All of a sudden, he finds himself among a group of larger-than-life insects who quickly become the family he is missing. They go on adventures in the ocean ending up at the Empire State Building in New York City. Along the way they learn that they must work together to survive.

Humor, music, and comedic antics weave their way through this wonderful performance. The music by the Tony Award-nominated team of Pasek and Paul (La La Land, Dear Evan Hansen) is catchy and fun.

Starring is the always wonderful Alex Goodrich as Ladahlord. Lucy Godinez as Aunt Sponge and Leah Morrow as Aunt Spiker are hysterical with quirky costumes to match. The young James is played by the talented Kai Edgar.

The show is directed and choreographed by Tommy Rapley with music direction by Ryan T. Nelson. Kudos to costume designer Amanda Vander Byl for her amazing insect and character costumes. They are colorful and fun.

Each performance is followed by a question-and-answer session with the cast.  The show plays most Wednesdays through Sundays at 10 am with select 12:30 pm performances and plenty of Spring Break performances.

Also currently playing at the Marriott is Lin Manuel’s “In the Heights” now through March 17, 2024. Next up is The Music Man opening April 10.

“James and the Giant Peach” is the perfect way to introduce young theatergoers to enjoying live musical theatre.

Details:” James and the Giant Peach” runs through March 30 at the Marriott Theatre, 10 Marriott Drive in Lincolnshire. For tickets, call Marriott Theatre Box Office at 847.634.0200 or visit  www.MarriottTheatre.com.

Mira Temkin

For more shows visit Theatre in Chicago

Reclamation of Invisible Lives

Manny Buckley and Jon Hudson Odom in "The Reclamation of Madison Hemings" by American Blues Theater. (Michael Brosilow)

(L to R) Manny Buckley and Jon Hudson Odom in “The Reclamation of Madison Hemings” at American Blues Theater. (Photo by Michael Brosilow)

4 Stars

Can you free yourself from the past, particularly if your past was filled with unhappiness? Can you find the good times you remembered? Can you shake loose the pain or reclaim your legacy? These are some of the themes explored by playwright Charles Smith in “The Reclamation of Madison Hemings” on stage at the American Blues Theater.

Shortly after the end of the Civil War two former slaves ruminate on their experiences living and working within Monticello, the estate of former President Thomas Jefferson.

Arriving at Monticello as a boy, Israel Gillette Jefferson (Manny Buckley) was originally assigned to making nails in the nailery with his brother, Moses. Eventually he was moved into the house as a fetcher, rising to the position of footman at the time of Jefferson’s death.

Madison Hemings (Jon Hudson Odom), together with his siblings, lived a life of comparative privilege by slavery standards. They were the product of the union between the former President of the United States and his slave, Sally Hemings.

Brothers Israel and Moses were auctioned off after the death of Jefferson and had vowed to meet at Montecillo on the anniversary of their purchase date if ever they were freed. Madison was freed as part of a stipulation in Jefferson’s will. After emancipation they found themselves as neighbors settled in Pike County, Ohio.

Madison has now agreed to accompany Israel to reclaim a bit of their past. In doing so they are reunited in spirit with family and friends who lived and died alongside them in bondage and provided what little love and support they were able to find in a cruel and oppressive system.

Centered around a campfire, the banter between the two is reminiscent of Samuel Beckett’s “Waiting for Godot” as the two men, seemingly suspended in time, conjecture and bicker about whether Moses has come and gone, whether he is delayed or whether he will come at all.

The playwright’s dialog in this well produced production gives voice to a traditionally unheard side of American History. It is peppered with humor that establishes an obvious underlying bond between the two men who do not always share the same point-of-view regarding the effects of the war, their new station in life, their view of the man who controlled them, nor how much longer they should linger.

Credit to director Chuck Smith who no doubt contributed to the natural cadence and rhythm that comes to life from the mouths of Odom and Buckley. Their conversations enlighten us as to the peculiar realities of the Monticello household, including the obvious hypocrisy of the person who penned “All men are created equal” into the Constitution of the United States. This is all done without preaching or lecturing.

There is the matter of a reference to a blind white mule often heard braying offstage. I am going to go out on a limb and suggest that this device represents echoes of slavery. Though out-of-sight, starving and debilitated it is not easily silenced and not yet dead.

In regard to stagecraft the scenic design and props by Jonathan Berg-Einhorn were suitably evocative, with the presence of a large buckboard wagon offering an imposing sense of time and place.

The costumes of Lily Wallis demonstrated an appreciative attention to detail down to the bow-tied gatherings of Israel’s long-johns. I did however find the lighting by Jared Gooding and Rachel West to be flat. With the exception of an impending storm it did not add much to the atmospherics or mood.

This was my first visit to the new home of the well-respected award-winning American Blues Theater one block north of Bryn Mawr on Lincoln Avenue.

It was refreshing to see that the theater’s board, under the leadership of Executive Artistic Director Gwendolyn Whiteside, elected to add a bit of style to the design rather than go with a simply barebones “get away as cheap as we can” approach. The seats are comfortable and relatively spacious in terms of leg room.

The proscenium stage proportionally seems unusually wide compared to its depth especially as the theater seating area is also more wide than deep. Though not technically a thrust the generous apron provides a gentle curve that adds an even greater sense of intimacy for the 137-seat audience.

The spacious contemporary look of the lobby and theater, sporting wood paneling with metal detailing, belies the building’s humble history as a former Walgreen’s and most recently a Dollar General. I live only about three blocks away and am happy to have ABT as a new neighbor.

DETAILS: “The Reclamation of Madison Hemings” is at American Blues Theater, 5627 N. Lincoln Ave., Chicago, through March 24, 2024. Running time is a little more than 90 minutes with a short intermission. For tickets and information visit www.americanbluestheater.com or call (773) 654-3103.

Reno Lovison

For more shows visit Theatre in Chicago

Two diverse cultures wonderously offer support during an accidental overnight visit

Egyptian band members, Rom Barkhordar and Armand Akbari, hear Israeli cafe owner Dina’s (Sophie Madorsky) thoughts in “The Band Visit – The Musical” at Writers Theatre. (Photo by Michael Brosilow).

Highly Recommended

When an Egyptian Police Unit’s professional band ends up in the desert Israeli town of Bet Hatikva overnight instead of at the cultural center in a large Israeli community due to the similarity in town names, both sides, the musicians and town residents, take away a better understanding of their own lives by dawn. That is the basic plot of “The Band’s Visit.”

I loved the show when it was simply a 2007 screenplay by Eran Kolirin because it delicately entered the life situations of the band members and of the residents.

Audience members of Writers Theatre in Glencoe where it is now appearing through March 17, will find the basic premise is still there but the production, now a 2018 multi-Tony Award-winning Broadway musical by composer David Yazbek and book writer Ithamar Moses, has drastically changed the show. I don’t think it is better or worse. It’s just different. There is even a roller-skating rink (with appropriate musical number) in this desert town.

Audiences who saw “Once” at WT will recognize and love the introductory musical number and closing number as similar in beat, musical instruments and choreography. Not sure why they were used here unless they somehow represent the music at the destination’s cultural center but they don’t change the story line.

Directed by Zi Alikhan, the characters present their situations with sensitivity and also compassion for each other.

Dina, a cafe owner interpreted by Sophie Madorsky, is both sensual and empathetic as she interacts with Tewfiq, the band’s leader played by Rom Barkhordar. They sing “Something Different.” By the story’s end you learn of Tewfiq’s tragic family story.

During the show you watch other band members getting to know and interact with residents who are having relationship problems. However different the musical is from its original intent, ‘The Band’s Visit” is a heartwarming and beautiful short story of two cultures coming together with support for each other.

DETAILS: “The Band’s Visit” is at Writers Theatre, 325 Tudor Court, Glencoe, IL., now through March 17,2024. Run time: 95 minutes with no intermission. For tickets and more information call (847) 242-6000) or go to www.writerstheatre.org.

Jodie Jacobs

For more shows visit www.theatreinchicago.com.

Superb ‘Silent Sky’ reminds how gender matters

(L-R) Cameron Feagin, Anne Lentino, and Melissa Harlow (Photo by North Shore Camera Club

Highly recommended

First, I must reveal that Lauren Gunderson is my favorite contemporary playwright. I loved her ATCA award-winning “The Book of Will,” a play about saving the works of William Shakespear and how they got published. She is among the most produced current American playwrights.

Gunderson often intertwines witty dialogue with historical matter while developing themes that have been overlooked. Such is “Silent Sky,” currently on stage at Citadel Theatre in Lake Forest.

A true story based on what Ratcliff grad and astronomer Henrietta Leavitt faced in 1900 when she left Wisconsin and family to join the Harvard University Observatory, (she used her dowry to move and get settled), the play follows her discoveries and interaction with female coworkers called “computers” and a male who is the boss’ assistant.

Now imagine what it must have been like to be told she couldn’t touch much less use the famed telescope there. Picture her working after hours to explore the universe through photos that she and coworkers used in an office space called “the Harem” (really).

Do you think much has changed since then? Did you see the true NASA-related movie, “Hidden Figures?”

Through Gunderson’s words, finely interpreted by Melissa Harlow, Henrietta comes to life in the beautifully done Citadel show.

The entire production is well cast with Cameron Feagin and Anne Lentino, both of the Promethean Theatre Ensemble that did the excellent “Blue Stocking,” as fellow computers in the Harem and Adam Thatcher as Peter Shaw, the assistant boss. Thatcher just did Citadel’s “She Loves Me.”

Even though the theater space is small and the stage is tiny, Trevor Dotson’s set design includes a proper area for Henrietta’s Wisconsin’s home that includes her sister Margaret’s piano.

Margaret, now a young mother played by the very talented Laura Michele Erle (also the co-writer of “Three Sisters, Four Women”), is composing a symphony.

Pulling it all together is Director Beth Wolf, a Jeff award nominee for Citadel’s “Outside Mullingar” production.

Details: “Silent Sky is at Citadel Theatre, 300 S, Waukegan Rd, Lake Forest, (West Campus of Lake Forest School District) now through March 17, 2023. Run time is about 2 hours including one intermission. For tickets and other information visit www.citadeltheatre.org or call 847-735-8554.

Jodie Jacobs

For more shows visit Theatre in Chicago

Colorful orchids match carnival mood at Botanic Garden

Orchid Show wonders includes carnival atmosphere and special effects (JJ Photo)

Imagine a colorful carnival taking over the greenhouse area of the Chicago Botanic Garden. Picture part of a Ferris Wheel. Notice unicycles. The fun is part of “The Orchid Show of Wonders” that this year turns the Garden’s annual orchid display of 10,000 blooms into a delightful entertainment break.

It’s happening daily Feb 10 through March 24 from 10 a.m. to 4 p.m. at the Chicago Botanic Garden, 1000 Lake Cook Rd., Glencoe, IL

It's all there at the Chicago Botanic Garden - What you might find at a carnival. (JJ Photo) — It’s all there at the Chicago Botanic Garden – What you might find at a carnival. (JJ Photo)

Walk under the Big Top, listen to the music. Look for the Fun House next to the greenhouses with its fattening mirrors. Then go inside the greenhouses to see more carnival style accessories including a tightrope walkers net that caught the flowers.

Pansy Orchids among different ones to look for in the greenhouses. (JJacobs photo) — Pansy Orchids among different ones to look for in the greenhouses.(JJacobs photo)

Take time to stroll among thousands of colorful orchids then return on the weekend to find vendors selling some of the exotic plants in the Market Place. (Saturday & Sunday February 10–11, 17–18, 24–25 and March 2–3, 23–24 10 a.m. to 4 p.m.

For more information visit Chicago Botanic Garden.

Jodie Jacobs