Guest Reviewer Reno Lovison – Page 11 – Chicago Theater and Arts

Belle of Amherst Rings True

HIGHLY RECOMMENDED

If what you remember of Emily Dickinson from high school literature is that she was a spinster recluse who wrote free verse poetry about death you will be happy to know that at the Court Theatre you will be spending time with a much different Dickinson. This one imagined herself to be “The Belle of Amherst.”

Kate Fry is the Belle of Amherst at Court Theatre. Court Theatre photo

Maybe you asked, how could anyone who in adulthood never traveled more than a few miles from home, avoided her neighbors and had few if any friends, be an interesting subject for a one actor play.

But, sharing insights into her writing process, familial relations, lost loves and admirers, Kate Fry portrays a much spunkier, wittier version of the poetess than most of us imagined.

Fry grabs our attention the moment she makes her entrance and keeps the audience captivated for the remainder of the two-act play.

Captivated – now there is a word I believe Emily Dickinson “could take her hat off to.” She speaks of her love of words, how they look, how they sound and what they mean.

We learn that Dickinson did not have a love of life as we traditionally think of it. Rather she had a love of living. She says that just having life is the greatest thing imaginable.

When her poems are rejected for publication she says that like a bird she does not sing for others, she sings because she must sing. Likewise she lives because she must live and revels in the simple acts of living.

The action takes place on a visually stunning set designed by Arnel Sanciano – a kind of floating box within a box presented on an angle and a bit off center like the title subject.

The inner box is mostly monochrome with the only bright colors coming from glimpses of nature outside her windows and the numerous plants brought inside.

Sanciano’s set is perfectly complimented by the luminous effects of Lighting Designer Mike Durst who paints the monotone interior with wonderful shades of lavender and thoughtful shadows that augment the various moods of the many stories being told.

Since this is a play about words and a person who built her life around choosing just the right one, it is imperative that the dialogue can be heard distinctly and Sound Designers Andre Pluess and Christopher LaPorte do not disappoint us.

It may be a function of the excellent third row center seat I had but every word was clear as a bell (no pun intended) and did not have that artificial electronic sound.

My one minor criticism was the use of some background music that was periodically intended to enhance the mood. I found it more of a distraction particularly in one scene where it sounded like someone’s annoying cell phone melody.

Samantha Jones’ dresses for Fry were beautifully crafted, detailed and suited to the period.

A one performer play is indeed largely about the actor, who in this case was perfection but the overall production is all about the director.

In such a play the director is more important than ever because it is through him, in this case, Sean Graney that the performer gets all of her feedback.

It is up to the actor and the other crafts people to provide options and have the talent to execute ideas that emerge, but the director is truly the holder of the vision. He is the one who will decide what we all will see, and I like what I saw.

So in the end this is a true collaboration of stage craft. There is only one actor so the set, sound, and costumes are essential to help paint a fuller picture. Everything must be perfect and it really was.

DETAILS: ‘The Belle of Amherst’ by William Luce’ is at Court Theatre, 5535 S. Ellis Ave. on the University of Chicago campus through Dec. 3, 2017. Running time: 1 hour, 55 minutes with one intermission. For tickets and other information call (773) 753-4472 or visit Court Theatre.

Reno Lovison

For more shows visit TheatreinChicago.

Porchlight Mines a Diamond in ‘Billy Elliot the Musical’

HIGHLY RECOMMENDED

What if you have a dream or passion that does not fit other people’s notion of you?

‘Billy Elliot the Musical,’ playing now at The Prochlight Music Theater through Nov., 26, 2017 is about managing change and redefining who others say you are and who you think you can be.

Jacob Kaiser and Shanesia Davis in 'Billy Elliot' at Porchlight Music Theatre. Photo by Michael Courier — Jacob Kaiser and Shanesia Davis in ‘Billy Elliot’ at Porchlight Music Theatre. Photo by Michael Courier

The stage play with music by Elton John and book and lyrics by Lee Hall is adapted from the 2000 movie “Billy Elliot.” The time frame Is Thatcher era 1980’s in a small coal mining town near Newcastle in England. Union miners have been on strike for nearly a year and tensions between them and the “scabs” brought in to replace them is violent.

Billy Elliot (Jacob Kaiser) is 12 years old, his mum (Nicole Cready) is dead, his grandmother (Iris Lieberman) is senile and his brother (Adam Fane) and father (Sean Fortunato) are on the picket line, struggling to survive.

One day Billy happens into the community gym and gets involved with a rag-tag ballet class run by Mrs. Wilkinson (Shanesia Davis). The chance encounter ultimately helps Billy find a way to express his budding adolescent angst, repressed grief, and shared frustration of what seems to be the impossible social situation that seemingly defines his life.

This expression is interpreted in two emotionally powerful dance numbers “Angry Dance” and “Electricity,” each skillfully co-choreographed by Brenda Diddier / Craig V. Miller and brilliantly performed by Kaiser with Ivan Bruns-Trukhin as Older Billy.

In his transformation to adulthood Billy begins to consider his sexual identity which is tested by Mrs. Wilkinson’s daughter Debbie (Princess Isis Z. Lang), his best friend Michael (Peyton Owen) and a testosterone filled environment that does not necessarily consider ballet dancing a viable or proper gender conforming career path.

Sean Fortunato and Jacob Kaiser in 'Billy Elliott. Photo by Michael Courier — Sean Fortunato and Jacob Kaiser in ‘Billy Elliott. Photo by Michael Courier

His dilemma, as well as economic realities, requires that he and those who are concerned for his future re-imagine another way of being.

Everyone must come to terms with the fact that times are changing. Coal is no longer part of the future. The jobs and the community that supported the industry are no longer an accepted surety.

Led by Director Brenda Didier, the company is outstanding from beginning to end starting with Jacob Kaiser who is an energetic and expressive dancer, singer and actor.

His transformation from beginner to advanced dancer was well controlled. His voice has a gravelly quality that is perfect for his age. It is clear this young man understands the part he is playing. Every line and every step was just right. He handles this demanding role with subtlety and maturity, devoid of annoying precociousness. Bravo!

Adam Fane, Billy’s older brother kept his emotional performance in bounds. Sean Fortunato, Billy’s Dad portrayed a perfect mix of stoicism and compassion.

Chicago stage veteran Iris Lieberman was spot-on as Grandma avoiding what could become a cliché performance. Peyton Owen as Billy’s best friend embraced his character with charm and elegance. Shenesia Davis manages the demands of her straight talking character Mrs. Wilkinson whose somewhat aloof nature could be misconstrued as harsh.

The ensemble was excellent, and it was clear that the girls of the ballet were having a blast.

Recognition must be given to dialect coach, Sammi Grant because there was never a time that anyone’s “English” accent was a distraction or got in the way of their performance.

Staging provided by this comparatively small venue at the Ruth Page Center for the Arts allows you to experience this production of “Billy Elliot the Musical” in a very intimate way.

The score has a unique quality that is difficult to define. It is contemporary but not “pop” or “rock.” It has aspects of classic musical theater but is not driven by the melody.

The play’s anthem, “Solidarity,” is rousing and powerful. “Grandma’s Song” is humorous and poignant. “Expressing Yourself” is a showstopper while “Born to Boogie” offers a bit of lightness and levity. In the case of “The Letter” I doubt there was a dry eye in the house.

Conductor/ Pianist Linda Madonia and her musicians Justin Kono, Cesar Romero, Greg Strauss, Cara Hartz, Dan Kristan and Sarah Younker provided the cast with a wonderful accompaniment behind the set’s sliding glass panels in the back of the stage which provided an effective illusion of the miners’ elevator decent at the end of the play.

In short this production is perfection.

Note: The part of Billy Elliot is shared at various performances by Lincoln Seymour.

DETAILS: ‘Billy Elliot’is at The Porchlight Music Theater in the Ruth Page Center for the Arts, 1016 N. Dearborn, through Nov. 26, 2017. Running time: 2 hours, 30 minutes. For tickets and other information call (773) 777-9884 or visit Porchlight Music Theatre.

Reno Lovison

For more shows visit TheatreinChicago.

Personal Stories Take Wing at The Moth StorySLAM

RECOMMENDED

If you have the ability to turn sound into images in your mind, spoken word performances can be great theater.

Moth StorySLAM events are open mic storytelling competitions held in several large cities around the U.S.

The event I attended this week took place at The Promontory in Hyde Park at 53rd and Lake Park, an attractive modern glass and steel second floor facility in what was previously a Barnes & Noble Bookstore.

A speaker tells about his discovery during a recent Moth session.

It seats over 100 people, has a large well lighted stage and a full cash bar in the back. The venue is used mainly for music although there is a nice, full-service restaurant on the first floor.

Be prepared for a considerable number of stairs to the performance area. They claim to have handicap access but it is an awkward service elevator accessed from the restaurant.

Moth StorySLAMs are held in this location the second Tuesday of every month. Tickets are $10 and available online at The Moth.

Ten volunteer storytellers are chosen at random to tell a true story without using notes. Each story is five to six-minutes long. Then, they are scored on a scale of one to ten based on how well the story is crafted as well as presentation and entertainment value.

Winners have an opportunity to advance to The Moth GrandSLAM. Selected stories recorded at the various venues can be heard on the The Moth Radio Hour. In Chicago listen Thursday evenings on NPR Station 91.5 FM.

Each event has a topic upon which to base the stories. When I went it was DISCOVERY.

The first fellow spoke about what he discovered about his deceased parents through an interaction with a man who had been his father’s best friend and his mother’s first husband.

Another woman spoke about what she had discovered about childhood friendship the summer she and her friends rode a mattress down an infrequently used stairway at a major department store in St. Louis.

The winner incorporated a good deal of humor. His discovery related to his determination to hang on to his childhood dream of owning a monkey.

My friend, Robert, a frequent public speaker, talked about discovering that true winners help others to succeed.

There were other stories dealing with the discovery of love, romance and personal pain.

Some speakers are professionals while others may be making their first public speaking appearance which provides for great entertainment with an element of danger.

Though I have been something of a devotee of the radio show, I would say in this case I discovered a great new venue and an enjoyable event that I would easily recommend. Perfect if you enjoy exploring the diversity of the human experience.

Other MothSLAMs are held on Chicago’s Northside and in Evanston.

Visit themoth.org to learn more.

Reno Lovison

‘It Don’t Mean a Thing if It Ain’t Got That Swing’

RECOMMENDED

Ladies in sparkly gowns and men in tuxes croon such tunes as “Satin Doll,” “Prelude to a Kiss” and “In My Solitude” in “Duke Ellington’s Greatest Hits,” a Music Theater Works production.

Ellington tribute at Music Theater Works. (Photo by Brett Beiner)

The show includes songs popularized, written or arranged by one of the greatest jazz musicians of the 20th Century. Ellington defined sophisticated elegance and cool.

The performers have fun with the exotic melodies of “Caravan” and “Perdido,” and pick-up the rhythm with jazz classics “Take the A Train,” “Sophisticated Lady,” and “It Don’t Mean a Thing,” as well as the sultry “Mood Indigo.”

Singers Justin Adair, Dawn Bless, Jar’Davion Brown, Caitlyn Glennon, Amanda Horvath, Evan Tyrone Martin, and Martin L. Woods move seamlessly from song to song delivering a steady stream of familiar hits.

Adair who performed Older Patrick in Music Theater Works’ recent production of “Mame,” surprised the audience by accompanying the ensemble on the guitar playing “In a Mellow Tone,” showing yet another of his many talents.

The three piece band with Christian Dillingham (bass) and Phillip Fornett (drums) is energetically directed by Joey Zymonas (piano).

This is an entertaining 90 minutes or so that celebrates the legacy of this great composer and entertainer but “Ain’t got” enough “swing.”

DETAILS: “Duke Ellington’s Greatest Hits” is at Music Theater Works (formerly Light Opera Works) at Nichols Concert Hall, 1490 Chicago Ave., Evanston, through Oct. 15, 2017. For tickets and other information call (847) 920-5360 and visit MusicTheaterWorks.

Reno Lovison

(Guest reviewer Reno Lovison is married to pianist Julie Lovison who is proud to say she kissed Duke Ellington on the cheek after one of his performances.)

Death Notice: Flanagan is dead

SOMEWHAT RECOMMENDED

An irreverent priest, tale weaving drinking buddy, sex starved fiancé and infirm old mother make up some of those attending Flanagan’s Wake now at Chicago Theater Works.

Cast of Flanagan's Wake, an interactive experience at Chicago Theater Works. — Cast of Flanagan’s Wake, an interactive experience at Chicago Theater Works.

Flanagan has sadly passed, and you, along with a small cast of characters and about 50 other mourners are invited to attend his wake.

The room is outfitted much like a church basement community room or banquet hall with a small stage on one side and an open bar complete with bartender, who also happens to be the town’s mayor, on the other. Drinks are available for purchase before and during the proceedings.

When you enter you might be greeted by any of the cast who interact with the audience in character and will craftily weave what information they have learned from you into the performance. They may ask questions such as, “how you happen to know Flanagan” and “what you remember about him.”

This is an interactive improvisational performance so come in a good mood and be ready to participate. It is the type of experience that can be particularly fun with a small group of friends.

The audience is seated at tables of six or eight much like any large social gathering. If you come as a party of two you will likely be seated with four other people. We had a good time at our table of six comprised of three groups of two.

Like any improv experience the humor is sophomoric at times; clever and inspired at others. The cast is capable and it is clear that they are well practiced at their craft.

The highlight for me a was clever ditty composed by the grieving fiancée, Fiona Finn, that was created on the spot based on an idea from an audience member.

This is not high humor or great theater but if you are looking for an alternative to a sports bar, maybe a date night or just some good laughs with a few friends, what can be funnier than attending an Irish wake, at least if it is Flanagan’s Wake.

DETAILS: ‘Flanagan’s Wake’ at Chicago Theater Works, 1113 West Belmont, Chicago, runs through Nov. 9, 2017. For tickets and other information visit Chicago Theater Works.

Guest reviewer Reno Lovison is not Irish but always happy to share a Guinness with some mates.

‘Our Town’ our life

RECOMMENDED

Thornton Wilder’s classic ‘Our Town,’ now at Redtwist Theatre, is a slice-of-life drama that asks us to ponder our place in the universe while pausing to appreciate the seemingly mundane interactions and events that comprise the bulk of our days and which ultimately define our existence.

Jaq Seifert (George Gibbs) and Elena Victoria Fetz (Emily Webb) in 'Our Town' is at Redtwist Theatre through Oct. 29, 2017. (Photo by Jan Ellen Graves) — Jaq Seifert (George Gibbs) and Elena Victoria Feliz (Emily Webb) in ‘Our Town’ is at Redtwist Theatre through Oct. 29, 2017. (Photo by Jan Ellen Graves)

Divided into three acts with two ten minute intermissions, act one presents the town and the characters with an emphasis on birth and youth. Act two deals with love and marriage. The last act addresses the inevitable experience of death.

The story line is facilitated by a character known as the “Stage Manager” (Richard Costes) who introduces each of the other players. He fills us in on the physical attributes of the fictional Grover’s Corners, NH that is supposed to remind us of our own town.

Written in 1938. The time frame is identified as roughly 1901 to 1913 but it can really be anyplace anywhere in America at any time.

The pre-WWI period harkens back to a simpler pre-industrial agrarian era that serves to remind us of the essence of living when days were marked by the rising and setting of the sun and the meals in between.

Mr. Costes is the first of the play’s trifecta of winning performers. The other two are Emily Webb (Elena Victoria Feliz) and George Gibbs (Jaq Seifert) who each turned in remarkable performances.

On some level the success of “Our Town” traditionally hinges on the actors in these three major roles. But in the Redtwist production the entire cast offered tight performances. A few honorable mentions to Rebecca Gibbs (Ada Grey), Professor Willard (Rebecca Flores), Mrs. Soames (Jared Michael David Grant) and Mrs. Webb (played by understudy Jeanne Scurek) who each stood out in some way.

This is the directorial debut of the company’s Associate Artistic Director, James Fleming, who with Scenic Designer Lizzie Bracken managed an innovative visual presentation in a somewhat awkward space.

The Redtwist is a storefront theatre meaning that the dimensions are long and narrow leaving little room for a traditional proscenium stage other than a small roughly ten foot by ten foot riser at one end of the room. The company overcomes this by creating three or four loosely defined minimalist scenic areas throughout the room.

The roughly 35 seat audience is then snuggled along the perimeter, in between, and around these spaces. This leaves the center open for the main action. So it’s like a performance in-the-round with the audience on stage. The important thing is that it works.

“Color blind” casting is no longer unusual but Fleming has elevated the concept in this production by extending it to include gender neutral roles and actors with limited physical abilities.

For instance the part of milkman Howie Newsome is played by Joel Rodriguez who happens to be confined to a motorized wheelchair. Joel uses his chair brilliantly to infer the presence of his horse and milk wagon. It’s not necessary nor is it overt but it works because he is simply incorporating who he is as a person into his role as an actor.

“Stage Manager” (Richard Costes) happens to be hearing impaired. But this is incidental to his performance which would be excellent under any circumstances.

He periodically uses his skill at sign language to provide us with a visual enhancement of the point he is making or a town attribute he is describing. (Note: he is not signing his entire performance but occasionally enhances the depth of his communication.)

The character of Mrs. Soames (Jared Michael David Grant) is perhaps the most gender bending role. Mr. Grant plays the part of a female character but not in drag. He wears a simple man’s suit and looks perfectly male.

Though admittedly a bit confusing at first, I came to believe that Fleming wants us to put aside our role bias and expectations and simply enjoy the performance. In other words, be color blind, be gender blind, be ability blind and simply accept what each actor has to offer and accept that they are the characters they say they are.

As was pointed out by someone after the performance, “This cast represents our town.”

DETAILS: ‘Our Town’ runs through October 29, 2017 at the Redtwist Theatre, 1044 W. Bryn Mawr, Chicago, IL 60660. For tickets call (773) 728-7529.

Guest Reviewer Reno Lovison (RenoWeb.net)

Louis Jordan tribute could not be ‘moe’ fun

HIGHLY RECOMMENDED

The title of ‘Five Guys Named Moe,’ a musical now at Court Theatre, is based on the names of five performers, Big Moe (Lorenzo Rush, Jr.), Little Moe (Darrin Ford), Eat Moe (James Earl Jones II), Four Eyed-Moe (Kelvin Rosten, Jr.) and No Moe (Eric A. Lewis).

The doo-wop quintet are apparitions who emerge from inside a vintage radio to help young boozy, bluesy Nomax (Stephen ‘Blu’ Allen) get out of his funk.

Stephen 'Blue' Allen (far left) watches as Lorenzo rush Jr. (l), Darriean Ford, James Earl Jones II, Eric A. Lewis and Kelvin Roston Jr. dance in 'Five Guys Named Moe' at Court Theatre. (Michael Brosilow photo — Stephen ‘Blue’ Allen (far left) watches as Lorenzo Rush Jr. (l), Darriean Ford, James Earl Jones II, Eric A. Lewis and Kelvin Roston Jr. dance in ‘Five Guys Named Moe’ at Court Theatre. (Michael Brosilow photo)

All five guys are energetic, funny, full of personality and have great singing voices.

They are backed up by an awesome, six-piece, jazz combo on stage: J.P Floyd (trombone), Sam Hankins (trumpet), Jarrard Harris (reeds), Ben Johnson (drums), Chuck Webb (bass), led by Abdul Hamid Royal (music director/pianist).

It reminded me of big-time nightclub performances seen “back in the day” at places like the Copacabana or Chicago’s Empire Room.

The story-line couldn’t be “moe thin,” but the show, written by Clarke Peters, is an opportunity to revisit and explore the music of saxophonist and songwriter Louis Jordan.

His new approach to jazz in the 1940’s helped pave the way to Rock & Roll with hits like “Caldonia” and the “Choo Choo Ch’boogie” piece that ran 35 weeks in 1946 as #1 on the “Race Records” chart.

If you are a fan of four piece harmony you’ll love the five piece harmony of these five guys.

“Beware Brother Beware” and “I Like ‘em Fat Like That” are songs that illustrate Jordan’s musical philosophy of “playing for the people.” He felt other jazz musicians of the day created music for themselves.

The five Moe’s leave it all on the stage moving quickly and seamlessly from one number to the next as perfectly choreographed by Christopher Carter. The numbers allow time for a few lame jokes and some amusing audience participation.

In the second act I started thinking, all this needs right now is for the Nicholas Brothers to appear.

Just as I thought that, No Moe busts out a terrific dance number complete with two splits and few back-flips.

Courtney O’Neill’s radio inspired set design is a wow. Costume design (Michael Alan Stein) was on point including the guys’ conked and pomade hairdos.

Directed by Ron OJ Parson with Associate Director Felicia P. Fields, ‘Five Guys Named Moe” couldn’t be any “moe” fun.

DETAILS: ‘Five Guys Named Moe’ is at the Court Theatre, 5535 South Ellis, Chicago (on the University of Chicago Campus, through Oct. 15, 2017. Running time: 2 hours with an intermission. For tickets and other information call (773) 753-4472 and visit Court Theatre.

Guest reviewer: Reno Lovison, RenoWeb.net, is a videographer with a theater and music background.

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

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)