Jodie Jacobs – Page 90 – Chicago Theater and Arts

1984 Thirty-three Years Later

Highly Recommended

George Orwell’s famous novel, “1984,” is likely to haunt audiences in AstonRep Theatre Company’s interpretation of the story, now at The Raven Theatre.

The production is powerful and provocative as wonderfully convincing characters transport the audience to the frightening nation of Oceania.

Adapted by Robert Owens, Wilton E. Hall Jr. and William A. Miles Jr. and directed by Robert Tobin, the play mentions and defines Orwell’s phrases such as the famed “Big Brother is watching you.”

Sarah Lo (Julia) and Ray Kasper (Winston) in AstonRep Theatre Company's '1984' at The Raven Theatre. Photo by Emily Schwartz — Sarah Lo (Julia) and Ray Kasper (Winston) in AstonRep Theatre Company’s ‘1984’ at The Raven Theatre. Photo by Emily Schwartz

Then there is “Newspeak” as the official politically correct language of Oceania, “Crimethink” for thoughts that oppose the government of Big Brother, “Goodthink” that are thoughts approved by the Party and “Doublethink” for the power to simultaneously hold and accept contradictory beliefs in one’s mind.

On that subject of power, the Party controls everything in Oceania, even the people’s history and language.

The leading character, Winston Smith, is played by Ray Kasper whose amazing talent covers a wide range of emotion. Winston is a low-ranking member of the ruling Party in London in the land of Oceania.

Everywhere Winston goes, the Party watches him through telescreens. And everywhere he looks, Winston sees the face of the Party’s seemingly supreme leader, Big Brother.

Frustrated by the rigid oppression of the Party which prohibits free thinking and all other expressions of individuality, Winston writes his criminal thoughts in his illegally purchased diary.

He interacts with a beautiful co-worker, Julia, skillfully played by Sarah Lo. Practical and optimistic, Julia becomes Winston’s lover.

The two of them move into a room above a store where they temporarily feel hidden from the watchful eyes of Big Brother. As Winston’s love for Julia progresses, his hatred for the Party grows more intense.

Winston becomes fixated on O’Brien, a mysterious upper class member of the Inner Party, powerfully portrayed by Amy Kasper. Winston believes O’Brien is a secret member of the Brotherhood, the legendary group that works to overthrow the Party.

He finally receives the message that he has been waiting for. O’Brien wants to see him.

Winston and Julia travel to O’Brien’s grand apartment where O’Brien is living a life of luxury. O’Brien sends Winston off with a copy of the manifesto of the Brotherhood which Winston excitedly reads to Julia in their room above the store.

Not to divulge the rest of the play to those unfamiliar with Orwell’s novel, Winston learns the bitter truth about many of the characters. The suffering he endures in the terrifying second act changes him forever.

The remainder of the very talented cast includes the following: Alexandra Bennett, Lauren Demerath, Lorraine Freund, Ian Harris, Rory Jobst, Tim Larson, Nora Lise Ulrey, and Sara Pavlak McGuire.

To quote director Robert Tobin: “. . . the power of ‘1984’ serves best not necessarily as commentary on current events but rather as a warning. Like a preventative medical screening, we need ‘1984’ as warning of what our world could become if we don’t take care of ourselves, our government, and each other.”

Details: ‘1984, an AstonRep Theatre Company production is at The Raven Theatre (West Stage), 6157 N. Clark St., Chicago, through Oct. 8, 2017. For tickets and other information call (773) 828-9129 and visit AstonRep.

Francine Pappadis Friedman

Iraqi and Mideast cultural losses seen through an artist’s eyes

Visitors to "Backstoke of the Midwest" at the MCA walk through a recreated ancient Iraqi Gate. Photos by Jodie Jacobs — Visitors to “Backstoke of the West” at the MCA walk through a recreated ancient Iraqi Gate. Photos by Jodie Jacobs

It’s hard not to follow what has been happening to the people, politics and conflicts in Iraq and throughout the Mideast, but to get an artist’s take on the events see “Backstroke of the West” at the Museum of Contemporary Art Chicago.

The works are Chicago-based, Iraqi-American artist Michael Rakowitz’s take on the personal and historic objects destroyed during the conflicts and how they can be memorialized and interpreted through art.

Born of an American father and an Iraqi-Jewish mother, Rakowitz uses such ironic materials as newspapers to recreate looted items and Arabic food packaging to replicate the ancient Ishtar Gate. A section even illustrates how he served Iraqi dishes on Saddam Hussein’s china.

To further explain how Rakowitz seeks to bring people of different cultural and social backgrounds together he gives his projects such titles as “The invisible enemy should not exist” and “May the Arrogant Not Prevail.”

To accompany the exhibition, there is a pop-up food truck outside the MCA that will serve Iraqi dishes from family recipes.

Curator Omar Kholeif, l, and Iraqi-American artist Michael Rakowitz give an opening day tour of "Backstorke of the West" at the MCA. — Curator Omar Kholeif, l, and Iraqi-American artist Michael Rakowitz give an opening day tour of “Backstorke of the West” at the MCA.

Organized by MCA Manilow Senior Curator Omar Kholeif, Manilow, Director of Global Initiatives, the exhibit is the first major museum survey of Rakowitz’s work.

Opened Sept. 16, 2017, the show runs through March 4, 2018. The Museum of Contemporary Art Chicago is at 220 E Chicago Ave., Chicago, IL 60611.

For hours, admission and other information call (312) 280-2660 and visit MCA.

A million dollar group jams at Paramount

HIGHLY RECOMMENDED

Nicholas Harazin plays “the father of rock and roll,” Sam Phillips, seen here under the classic image of Jerry Lee Lewis, Carl Perkins, Elvis Presley and Johnny Cash shot at Phillips’s Sun Records Studio on December 4, 1956, in Paramount Theatre’s Broadway Series opener 'Million Dollar Quartet.' Liz Lauren photo — Nicholas Harazin plays “the father of rock and roll,” Sam Phillips, under the classic image of Jerry Lee Lewis, Carl Perkins, Elvis Presley and Johnny Cash shot at Phillips’s Sun Studio on December 4, 1956. Liz Lauren photo

Go to Paramount Theatre’s ‘Million Dollar Quartet’ if you love Johnny Cash. Go if you appreciate really good boogie piano. Or go if you are interested in the Sam Phillip’s Sun Studio’s handling of Elvis Presley, Johnny Cash, Carl Perkins and Jerry Lee Lewis.

It’s nice to have the show back in the Chicago area, if even for its short, little over a month, duration.

The story, captured in a photo and on tape at Sun Records Studio, Memphis, tells of the only time that four of Sam Phillip’s top stars jammed together.

They happened to stop by his recording studio when Carl Perkins was supposed to be taping. Some were going to tell Phillips that they were not renewing their contract but Lewis was looking for a long contract at Sun.

The important incident was turned into a “jukebox” show of great mid-last century songs by Floyd Mutrux who wrote the book with Colin Escott and directed the original productions.

Started in Daytona Beach in 2006 before going to Seattle in 2007, the show was developed further at the Goodman Theatre in fall 2008.

It transferred to the Apollo Theatre where it ran until recently, closing early in 2016. But the original cast went on to NYC where ‘Million Dollar Quartet’ ran on Broadway from mid 2010 to mid 2011 while still playing the Apollo. It brought Levi Kreis a Tony Award as Jerry Lee Lewis.

The phrase “blown away” is often used but that was how I felt when seeing Kreis. Paramount guests will feel the same way when watching Gavin Rohrer as Lewis. Rohrer is incredible. He has already portrayed Lewis in two other shows including the Lyric Theatre of Oklahoma.

Nor will long time fans of Johnny Cash feel cheated when they see Bill Scott Sheets in the role. An operatic baritone who has all played such musical theatre rolls as Don Quixote, Sheets nails Cash’s sound and microphone approach.

Chicago set designer Kevin Depinet has recreated Sam Phillips’s original Sun Records studio in Memphis - where Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins played together their first and only time. Liz Lauren photo — Chicago set designer Kevin Depinet has recreated Sam Phillips’s original Sun Records studio in Memphis – where Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins played together their first and only time. Liz Lauren photo

While some rockabilly aficionados might know that “Blue Suede Shoes” was written by Perkins who epitomized the genre, the fact that his hit song was closely identified with Elvis Presley is important to the show.

That frustration comes across with Broadway actor Adam Wesley Brown, a veteran of Chicago theatre and film, taking on the role of Perkins with the characteristic knee raise and emphasis.

It’s easy to see that Kavan Hashemian who has appeared in other ‘Million Dollar Quartet’ productions as Elvis, really enjoys the role. He has the moves down pat and can probably sing the songs in his sleep because he has been performing them since age three.

The surprise of the Paramount show which is all about male performers, is the wonderful turn as Elvis’ girlfriend, Dyanne, by Courtney Mack. Her “Fever” in Act I and “I Hear You Knockin” in Act II, brings the house down. Of course, Paramount regulars likely remember her from “Mamma Mia”

Paramount Theatre’s 2017-18 Broadway Series opener Million Dollar Quartet stars (from left) Gavin Rohrer as Jerry Lee Lewis, Adam Wesley Brown as Carl Perkins, Kavan Hashemian as Elvis Presley, Bill Scott Sheets as Johnny Cash, Courtney Mack as Dyanne and Nicholas Harazin as Sam Phillips. Liz Lauren photo

Another unexpected musical treat comes when Zach Lentino as Perkins’ brother Jay shows off his skills as an upright bassist. BTW Lentino was in ‘Million Dollar Quartet at the Apollo.

Drummer Scott Simon who plays in several Chicago productions is Fluke, a member of Perkins’ group. He’s excellent but not really noticed until near the end.

Perhaps the most unappreciated role in the show is that of Sam Phillips. Played by Nicholas Harzain, a film actor who is also in several regional shows, Phillips comes across as a hard-working, small-town, talent developer.

A note about Kevin Depinet’s set design: folks who have been to Memphis and walked through what is now, basically a museum, know Depinet has totally captured Sun Studio.

Directed by Jim Corti with music direction by Kory Danielson, ‘Million Dollar Quartet’ has a “Whole Lotta Shakin’ Goin’ On.”

DETAILS: ‘Million Dollar Quartet’ is at Paramount Theatre, 23 Galena Blvd., Aurora, now through Oct. 29, 2017. Running time is two hours. For tickets and other information visit Paramount or call (630) 896- 6666.

Exquisite craft work nicely complements natural handiwork

Visitors going to the American Craft Exposition at the Chicago Botanic Garden this weekend, get a two for one experience.

Works in wood by Michael Bauermeister, Augusta, MO, are among the popular objects available at the American Craft Exposition at the Chicago Botanic Garden Jacobs photo — Works in wood by Michael Bauermeister, Augusta, MO, are among the popular objects available at the American Craft Exposition at the Chicago Botanic Garden. Jacobs photo

ACE, as the show is popularly known, presents the highest quality crafts produced by artists from across the United States.

Many of the artists, such as wood master Michael D. Mode of New Haven VT., have been showing their work at ACE for several years.

Mode who Started with the exhibition in 1996 explained. “It’s a good show with a good venue and it’s wonderful to be seen in a high quality show. It’s one of the top shows in the country,” he said.

When through admiring beautifully turned wood sculptures, gorgeous porcelain objects, amazing watercolor-like embroidery and lots of attractive, wearable art, visitors can relax at the café, then set out to see what is blooming in the gardens and what trees and plants are changing color.

Unfortunately, the exhibition is only up Sept. 15 through 17, so the show needs to be slotted into busy weekend schedules. However, it is worth the trip and admission. And the show, arranged by the Auxiliary of Northshore University HealthSystem , benefits orthopedic regenerative medicine and pharmacogenomics research.

Chicago Botanic Garden, Glencoe, IL Jacobs photo — Chicago Botanic Garden, Glencoe, IL
Jacobs photo

Tickets, whether used one day or for all three days, are one price with $13 for CBG members and $15 nonmembers. Children under age 12 enter free. The Botanic Garden is free but there is a parking charge for nonmembers.

The Chicago Botanic Garden is at 1000 Lake Cook Rd., Glencoe, just east of the Edens Expressway.

Hours are 10 a.m. to 6 p.m. Friday and Saturday and 10 a.m. to 5 p.m. Sunday. For other tickets, parking and other information visit Chicago Botanic or call (847) 835-5440.

Beverly Hills zip code teens live on in musical

SOMEWHAT RECOMMENDED

If from the generation that became addicted to the “Beverly Hills 90210” television series, you’ll appreciate the references and characterizations in the musical ‘90210’ now touring the United States.

Cast of '90210' now at Broadway Playhouse at Water Tower Place, Chicago. — Cast of ‘90210’ now at Broadway Playhouse at Water Tower Place, Chicago.

Cobbled together by Bob and Tobly McSmith with music by Assaf Gleizner, the show is a parody and it is funny.

Songs proclaim the life-style of spoiled rich kids (and their parents) in LA’s iconic 90210 zip code.

The show deals with some of the drama, however without empathy for teenage problems.

And if looking for clever dialogue, forget it. The script relies on juvenile humor.

But if merely interested in what a popular teen series in the 90s looks like as a campy show, you’ll probably like it and for sure will laugh.

The best part of the show is the singing voice of Ana Maru as Brenda Walsh, a new girl in town from the Midwest.

DETAILS: ‘Bob and Tobly’s Beverly Hills 90210 The Musical (The unauthorized parody)’ is at the Broadway Playhouse at Water Tower Place, 175 E. Chestnut St. Chicago, Sept. 13 – 17, 2017. For tickets and other information call (800) 775 -2000 and visit BroadwayinChicago.

Roaring Twenties musical parody works as a comedy within a show

RECOMMENDED

Audiences know that when the lights go off the show will start after actors take their places on stage. But in ‘The Drowsy Chaperone,’ a multi-Tony Award winning musical at Skokie Theatre, the lights stay off while a voice is heard moving closer to the stage.

Cast of 'The Drowsy Chaperone' at Skokie Theatre. MadKap Productions photo — Cast of ‘The Drowsy Chaperone’ at Skokie Theatre.
MadKap Productions photo

“I hate theater,” says a man’s voice. As he approaches the stage he explains that what he wants is a short show of about two hours. “Three hours is too much,” he says.

He notes that he wants the show to take him to another place so he can escape from the horrors of the real world. He wants to be entertained.

After the stage lights come on and he sits down in an old chair next to a record player, he asks the audience if they mind if he puts on one of his favorite musicals, ‘The Drowsy Chaperone.’ Of course, the audience agrees.

And so, James Spangler who is perfect as The Man in the Chair, has broken down that fourth wall of the stage as he addresses the audience throughout the show.

And yes, the musical that he asks the audience to imagine coming to life while he plays his record, is short. Running time is two hours, including a 15 minute intermission. But as The Man in the Chair requested, the show entertains.

A spoof of 1920s musicals populated by predictable characters, it has a Broadway producer and his ditsy girlfriend, gangsters, a talented musical star who will leave show business for love, her wealthy boyfriend, a Latin lover, an alcoholic dame and an aviatrix.

Across his sparse, care-worn flat, the first characters to appear are Mrs. Tottendale (Debby Shellard), owner of the mansion where the action takes place and Underling (Mark Anderson), a butler who caters to her whims. After wondering why she has on a fancy dress, he explains they are hosting a wedding.

Groom Robert Martin (Christopher Johnson) enters saying he may be getting “cold feet.” When followed by best man, George (Joe Lewis) the two do a terrific “Cold Feet” tap dance number.

The plot, as is appropriate for spoofs, thickens. Broadway producer Feldzieg (Bob Sandders) is confronted by The Tall Brothers gangsters (Zeke Dolezalek and Connor Hernandez), who pose as bakers and say their boss, a backer, seriously doesn’t want the show‘s star to wed and leave the production.

Feldzieg’s girlfriend, Kitty (Abby Boegh), says she’s ready to step in with a different kind of act when the star and bride-to-be, Janet Van De Graff (Rachel Whyte) leaves to marry.

Asked if she is serious bout leaving show business, Whyte brings down the house with her “Show Off” song and dance, full-company number. While showing off everything she can do including splits she insists she doesn’t want to “show off” anymore.

Beautifully choreographed by Julie Salk and performed with acrobatic agility by Whyte, the surprise it that the number can be performed on the Skokie Theatre’s small stage.

Convinced his star does mean what she says, Feldzieg plots to change her mind by bringing in Adolpho, nicely overacted with the right amount of flamboyancy and vanity by Sean Barett.

Adolpho is sent to the bride’s room where he finds The Drowsy Chaperone, interpreted with zestful fun and sophistication by Mani Corrao.

Meanwhile, the bride tests the groom to see if he really loves her.

Act II brings resolution. It also brngs Trix the Aviatrix, played with pizzazz by the Sabrina Edwards, down to ground to perform a quadruple wedding.

As The Man in the Chair says, “Everything always works out in musical.”

Along the way, the audience is reminded that they are merely seeing a musical as explained by the Man in the Chair when he pauses the record player needle and the actors stop mid-movement, or when he has to correct the needle when it sticks. Yep, picture it.

Patty Halajian’s costumes add nostalgic charm. Directed by Stephen M. Genovese with musical direction by Aaron Kaplan, the Skokie Theatre’s The Drowsy Chaperone, offers a delightful, high-quality, tongue-in-cheek view of 1920s musicals.

First shown in 1998 in Toronto, then opening on Broadway in 2006, ‘The Drowsy Chaperone’ is a musical comedy with book by Bob Martin and Don McKellar and music and lyrics by Lisa Lambert and Greg Morrison

DETAILS: ‘The Drowsy Chaperone’ is a MadKap Productions show at Skokie Theatre, 7924 Lincoln Ave., Skokie, now through Oct 7, 2017. For tickets and other information call (847) 677-7761 and visit Skokie Theatre.

Energetic ‘Rock of Ages’ revisits eighties music

RECOMMENDED

‘Rock of Ages’ at Drury Lane Oak Brook is a fun 80’s inspired musical romp through the apparently now nostalgic Reagan / G.H.W. Bush era.

Russell Mernaugh (Drew), center and the band. Brett Beiner photo

The ankle-deep plot is reminiscent of the old Beach Party movies of the 1960’s. Basically boy, Drew (Russell Mernaugh) meets girl, Sherrie (Cherry Torres). He aspires to be a rock star. She aspires to be a movie star. The couple’s love affair is interrupted by the intervention of superstar Stacee Jaxx (Adam Michaels) and hijinks ensue.

Meantime the evil, Nazi inspired Hertz (George Keating), reluctantly aided by his cowering and outrageously funny son, Franz (Nick Cosgrove), plans to push out the “rockers” and redevelop a portion of the Hollywood Sunset Strip into a European inspired mega-mall featuring all of the popular retail brands.

The plan includes taking a wrecking ball to the iconic Bourbon Room, a kind of Urban Cowboy bar run by aging proprietor Dennis (Gene Weygandt) who has not noticed that time has snuck up on him.

However, the culturally destructive aims of Hertz and Franz are energetically and enthusiastically challenged by the grassroots efforts of Regina – pronounced with a long “I” (Tiffany Tatreau).

This musical farce is sped along by the cornball humor and physical antics of Lonny (Nick Druzbanski). Think Svengoolie meets John Belushi.

The stage manager/audio tech and keeper of the Fogmaster 5000, acts as a kind of one man Greek chorus.

‘Rock of Ages’ has no religious connotation and the idea that the music of this period has a kind of timelessness is hopeful at best.

Cherry Torres (Sherrie) gets a job at the Bourbon Room in 'Rock of Ages.' Brett Beiner photo — Cherry Torres (Sherrie) gets a job at the Bourbon Room in ‘Rock of Ages.’
Brett Beiner photo

The story-line is basically an excuse to revisit a series of tunes and pay homage to the theatrically inspired Los Angeles Glam Metal genre whose rhythms are ideal for driving your shopping cart through Target or Walmart which is where you have probably heard most of these songs lately.

As the early part of generation X, the 80’s is defined musically by the rise of Madonna, Whitney Houston, Prince and Michael Jackson. The rock bands of the period had names like Guns N’ Roses, Metallica, Iron Maiden, Poison, Megadeth, and Anthrax which this production aptly spoofs.

Every member of the cast has the vocal chops required for their individual tasks. Donica Lynn who plays Mother gives us a couple of much appreciated soulful gospel-inspired moments.

The voice of Tiffany Tatreau is not lost in the crowd. Her feisty performances alone, and with Adam Michaels, really raise the energy level.

Much of the success of this production is due in no small part to the outstanding rock band led by keyboard/conductor Chris Sargent with guitarists Tom Logan and Dan Peters, Patrick Williams on bass and drummer Rich Trelease. The high point of the evening was their post finale jam played as the audience was filing out.

This production lived up to the high standards Chicago audiences have come to expect from The Drury Lane Theatre.

Director Scott Weinstein obviously encouraged his performers to have fun. The choreography (Stephanie Klemons) included a cool segment that was reminiscent of the mechanical bull rides that were popular at the time.

The set design (Jeffrey D. Kmeic) that incorporated the use of projected images and video was very innovative and effective, while the lighting (Greg Hoffman) captured the techno vibe of the era and contributed to the rock and roll atmosphere.

Kudos also to Theresa Ham for some costume surprises and Ray Nardelli for keeping the sound levels appropriate for a theatrical audience while not losing the rock essentials.

Though not timeless, “Rock of Ages” is an energetic fun filled performance that can be enjoyed by ages 13 and up.

DETAILS: “Rock of Ages” is at Drury Lane Theatre, 100 Drury Lane, Oakbrook Terrace, now through Oct. 15, 2017. For tickets and other information call (630) 530-0111 and visit Drury Lane Theatre.

Guest reviewer Reno Lovison says, “Don’t Stop Believing.” He is an avocational folky soft-rock singer/acoustic guitarist and video producer who says he was too busy to remember much of the 1980’s.

Reno Lovison is @Renoweb.net

The many facets of EXPO Chicago

Celebrate Chicago EXPO Week Sept 11 through Sept 17, 2017.

What is it?

The week features EXPO Chicago, a top quality, annual exhibition in Navy Pier’s Festival Hall. Visitors can see what is being shown by top galleries across the world and in the U.S., Sept. 14 to Sept. 17.

Navy Pier, at the east end of Grand Avenue host EXPO Chicago.. Photos by Jodie Jacobs — Navy Pier, at the east end of Grand Avenue, hosts EXPO Chicago.
Photos by Jodie Jacobs

It’s also a time when Chicago art galleries and institutions usually start new exhibitions. The Program site on EXPO Chicago lists several area art shows.

It’s a chance for art lovers to visit galleries that will stay open past their usual hours. Many of the galleries are opening new exhibits on Sept 12 with evening receptions. Others will stay open from 6 to 9 p.m. Sept. 15. See Art After Hours on EXPO Chicago.

This year, EXPO Chicago also partially coincides with the city’s Architecture Biennial which primarily fills the Chicago Cultural Center with past, present and future architectural projects and initiatives beginning Sept. 16, 2017 and continuing to Jan 7, 2018. There are also special exhibits and installations off site.

So, put on the walking shoes, save these links to the smart phone calendar and figure out where to go and when to take advantage of Art Week.

At Navy Pier

EXPO Chicago (International Exposition of Contemporary & Modern Art) at Navy Pier opens Sept. 13 with Vernissage, an evening benefit reception for the Museum of Contemporary Art Chicago. The EXPO features 135 internationally known galleries. See tickets for EXPO hours and admission costs. Navy Pier is at 600 E. Grand Ave.

Special Exhibitions by regional, national, and international non-profit institutions, museums, and organizations will be on the main exhibition floor of the exposition.

Around Town Exhibits that tie in with the show.

‘Past Forward: Architecture and Design at the Art Institute’ opens Sept. 12. Also see “Color Studies.” The show also relates to the Architecture Biennial. The Art Institute of Chicago is at 11 S. Michigan Ave.

The Modern Wing of the Art Institute of Chicago has architecture galleries.

Palais de Tokyo is holding “Singing Stones,” an exhibit of emerging Chicago and French artists, in The Roundhouse at Du Sable Museum of African American History, 740 E. 56th Place, Sept. 13-Oct. 29. Also at the DuSable Museum is “Chicago: A Southern Exposure,” Sept. 12, 2017–Mar. 18, 2018.

Go over to the Peninsula Chicago Hotel, 108 E. Superior St. to see “What it is to be Human,” an exhibit of artist/ architect Gaetano Pesce curated by Salon 94 Design that ties in with EXPO Chicago and the Chicago Architecture Biennial (Sept. 16, 2017-Jan. 7 2018). The exhibit is on the ground level lobby and 5th floor lobby, Sept. 11-Oct. 9, 2017.

The Sullivan Galleries at the School of the Art Institute, 33 S. State Street (7th floor) is doing ‘Apichatpong Weerasethakul: Serenity of Madness’ Sept. 15 through Dec. 8, 2017.

The Arts Club of Chicago, 201 E. Ontario St., has an opening reception for “Roman Ondak: Man Walking Toward a Fata Morgana” Sept. 12. The exhibit goes through Dec. 9, 2017.

At the Emhurst Art Museum and Mies van der Rohe’s McCormick House, 150 Cottage Hill Ave., Elmhurst, “Hebru Brantley: Forced Field”S is Sept. 9 through Nov. 26, 2017.

DuPaul Art Museum, 935 W Fullerton Chicago, features “Ângela Ferreira: Zip Zap and Zumbi” Sept. 7 through Dec. 10, 2017.

The John David Mooney Foundation, 114 W. Kinzie St., is participating in the Art After Hours with a reception Sept. 15, 2017 for an exhibition of works by modern Vietnamese Artists and particularly the paintings of Bùi Xuân Phái.

The University of Chicago’s Neubauer Collegium for Culture and Society, 5701 S. Woodlawn Ave., is doing “Terence Gower — Havana Case Study,” Sept. 12 – Dec. 15, 2017 in conjunction with the Architecture Biennial.

The Smart Museum is on the University of Chicago's Hyde Park campus. — The Smart Museum is on the University of
Chicago’s Hyde Park campus.

The Smart Museum of Art at the University of Chicago has several new exhibits. “Emmanuel Pratt: Radical [Re]Constructions” is Sept. 12, 2017 to the summer of 2018. “Revolution Every Day” is Sept. 14, 2017 – Jan. 14, 2018. “The Hysterical Material” is Sept. 14 – Dec. 17, 2017. The Smart Museum of Art is at 5550 S. Greenwood Ave.

“Materials Decoded” is Sept. 10, 2017 – Jan. 7, 2018 at the Hyde Park Art Center, 5020 S. Cornell Ave.

Intuit: The Center for Intuitive and Outsider Art, has an opening reception for “Darger + War” Sept. 15. the exhibit continues through Dec. 10, 2017.

“Michael Rakowitz: Backstroke of the West” is at the Museum of Contemporary Art Chicago, Sept.16, 2017 – Mar. 4, 2018.

“Let Me Be an Object That Screams” is Sept. 8 – Oct.21, 2017 in Gallery 400 at the University of Illinois at Chicago University of Illinois in the Chicago Art and Design Hall, First Floor 400 S. Peoria St. (at Van Buren Street).

Graham Foundation Sep 14, 2017 – Jan 06, 2018

The Graham Foundation in the Madlener House, 4 W. Burton Place, is showing David Hartt’s “In the Forest,” a new, multi-part installation in conjunction with the Architecture Biennial.

Mary and Leigh Block Museum of Art, 40 Arts Circle Drive at Northwestern University’s Evanston campus, is featuring “Carrie Mae Weems: Ritual and Revolution” with the opening reception Sept. 12. The exhibit continues through Dec. 10, 2017.

For more information visit EXPO Chicago.

Master of Boogie

There isn’t a beer hall or gin joint in Chicago with a piano that hasn’t been visited sometime in the past 50 years by the fingers of jazz pianist and boogie master Erwin Helfer.

Boogie master Erwin Helfer Photo credit: iranaydebrecen.hu — Boogie master Erwin Helfer
Photo credit: iranydebrecen.hu

This week we caught up with him at Hungry Brain 2319 W. Belmont Ave., Chicago, where he will be appearing Tuesdays at 7 p.m. through September and possibly longer.

The venue is a clean. old-school style tavern with a mid-century vibe and a sizeable beer list. Wine lovers will find only a red and white choice. They have enough booze to whip up a cocktail if you keep it simple. Cash Only!

Sorry no food, but we skipped around the corner to “90 Miles” on Clybourn and brought back a couple of delicious Cuban sandwiches which I washed down with a Bells Brown Ale while my wife opted for a glass of the “white.”

If you are a lover of straight-up classic jazz with a boogie rhythm, Erwin is “the man.” He’s a pianist’s pianist. I know this because my wife is a pianist she has been a groupie of his for years.

Erwin has a mean left hand that can pound that bookie bass. His improvisations on the right hand are thoughtful but not showy. He is classically trained and has restraint and a love for the songs he plays.

Between the banter and reminiscences of the many legends he has known and performed with, you’ll hear him play several of your favorite melodies like “Georgia on My Mind”, “St. James Infirmary” and “Swanee River Blues” (a variation on “Swanee”). You’ll know “Pinetop Blues” when you hear it and according to his mood you might hear some riffs on gospel standards like “Take My Hand Precious Lord” or a country tune like Hank Williams’ “Jambalaya.”

Erwin Helfer is one of the sweetest guys you’ll ever meet. He is a gentle soul whose temperament is reflected in his music. At 80+ he still gigs several times a week. Seeing him wherever he is playing should be on your Chicago bucket list.

If you miss him at Hungry Brain you might check out his upcoming concert with Spanish Blues and Boogie Woogie pianist Lluís Coloma at the Old Town School of Folk Music Oct. 27, 2017 at 7 p.m.

For more information visit Erwin Helfer and Hungry Brain.

-Reno Lovison

Love and Lawlessness

HIGHLY RECOMMENDED

‘Bonnie & Clyde,’ a Kokandy Productions musical now at the Wit Theater, is based on real outlaw lovers. They found nationwide fame during the 1930’s depression for their crime spree across the southwestern U.S. and lower Midwest.

[Spoiler Alert] The couple famously met their end in a police ambush that resulted in perhaps one of the most salacious news photos of all time showing their bullet riddled bodies and car that ironically provided the duo with the notoriety they both craved.

In the second song, “Picture Show,” Young Clyde (Jeff Pierpoint) a psychopathic boy idolizes the notorious outlaw Billy the Kid, introducing himself with his main theme of “Bang Bang You’re Dead.”

Young Bonnie (Tia L. Pinson) sweetly sings of being an “It Girl” like screen star Clara Bow and plans to be a movie star, singer and poet.

In an age progression Clyde Barrow (Max DeTogne) and Bonnie Parker (Desiree Gonzalez) find love, linked by a mutual goal of fame and fortune that leads to their ultimate destruction.

Desiree Gaonzalez (Bonnie) and Max De Togne (Clyde). Evan Hanover photo — Desiree Gaonzalez (Bonnie) and Max DeTogne (Clyde). Evan Hanover photo

In the context of today’s news cycle these themes of violence are all too familiar and have the potential to make this death-wish love story somewhat uncomfortable. But it does make for good theater, particularly when combined with the music of Frank Wildhorn (Jekyll & Hyde) with lyrics by Don Black (Billy, Sunset Boulevard) and book by Ivan Menchell, performed by an outstanding cast of singers accompanied by a superb four piece orchestra.

Originally presented at La Jolla Playhouse in 2009, and transferred to Broadway in 2011 this Chicago premiere production happens in a now familiar hodgepodge set by Ashley Ann Woods. In this case, it’s designed to represent a farm house, jail, café, bank, church and boudoir. The automobile where the two meet their end is skillfully handled.

The storyline unfolds through a series of songs written in the “modern pop” genre with blues, gospel and rockabilly accents. This does a lot to keep the tension high and action moving but has a negative effect of seeming like it is constantly speeding. This, of course, mimics the fast paced life of the main duo racing through life.

Clyde’s sister-in-law Blanche (Missy Wise) is the voice of reason who provides a welcome respite from the chaos with her tender ballad “That’s What You Call a Dream” and the humorous number “You’re Goin’ Back to Jail” with husband Buck (Justin Tepper) and the Salon Girls.

Max Detogne who appeared in Theo Ubique’s production of ‘Jesus Christ Superstar’ has a voice tailor-made for this genre and infuses Clyde with all of the requisite humor and charm necessary for us to care about the character.

Desiree Gonzalez understands the complexities of Bonnie Parker who establishes early on that she is Clyde’s equal as she manages the character’s vulnerability and ruthlessness

“How ‘Bout a Dance” shows Bonnie’s softer side while the disturbing “Dyin’ Ain’t So Bad” reveals Bonnie’s other side and her commitment to live fast and die young.

Tia L. Pinson is a potential scene stealer (in a good way). She is an “It Girl” who has a charming presence onstage and is someone to keep an eye on.

Kokandy Productions, a Theater Wit resident company, has put together a tight package effectively led by Spencer Neiman (Director) and John Cockerill (Musical Director).

This is an instance where the subject matter on the surface is unsettling. It has the potential to make heroes of criminals and minimize the death and destruction they perpetrated. “Dyin’ Ain’t So Bad” comes dangerously close to romanticizing what is essentially a suicide pact between young lovers.

In the end Bonnie and Clyde is a theatrical performance that explores the need for recognition and love. It explores romantic love, parental love, spiritual love, self-love, lost love and unrequited love.

Played out in a depression era where many people felt unseen, unvalued and desperate Bonnie Parker and Clyde Barrow decided to reject the society who rejected them and in so doing became sort of perverted ‘Robin Hood’ folk-heroes acting out what others were feeling, thus fulfilling Clyde’s objective, “This World Will Remember Me.”

The mission of Theater Wit is to promote humorous, challenging and intelligent plays. Check, check and check.

DETAILS; Bonnie & Clyde’ is at Theater Wit, 1229 W. Belmont Ave., Chicago, now through Oct. 15, 2017. For tickets and other information visit Theater Wit.

Reno Lovison (renoweb.net)