Mikaela Bennett and Corey Cott in West Side Story at Lyric Opera. (Photo by Todd Rosenberg)
3 1/2 stars
If you go to see “West Side Story,” now at the Lyric Opera through June 2, 2019, you are likely to think about how culture clashes have changed or not since Leonard Bernstein wrote the show’s dramatically descriptive music, Stephen Sondheim did the very memorable lyrics, Arthur Laurents penned the book based on William Shakespeare’s “Romeo and Juliet” and Jerome Robbins directed and choreographed it.
When West Side Story opened as a Broadway musical in 1957 it received six Tony nominations including Best Musical but a feel good show, “Music Man,” won the Tony Award for Best Musical. “West Side Story” was not meant to make audiences happy. Even the show’s single funny scene/song “Gee, Officer Krupke” sung by the Jets pinpoints societal problems.
Anyone who reads Shakespeare’s tragedies, knows the Bard is very good at portraying motivations and clashes.
If you know your Shakespeare, you will find some similarities between the “Romeo and Juliet “ of the 1590’s and Broadway musical of the 1950s.
Graffitti art in NYC from the 70s and 80s celebrated in musical Graffiti Kings. (Photo courtesy of Jonathan Gross)
If you take a train, “L” or bus in Chicago you are likely to see murals, words and names painted on the sides of overhead passes and buildings. Some tell a story or express moods and feelings but you might miss that if your vehicle isn’t stopped long enough. Sure there are also gang territory and identification words.
Would you lump all of it together as graffiti? Or would you think of any of the work as art, as cultural expressions?
Jonathan Gross not only sees much of the paintings as cultural art expressions, he is writing two booksabout that; “Four Studies in Graffiti” and “Cure for the Common Core: Arts Education in the Public schools.”
But what theater goers, musical lovers and arts aficionados should know is that Gross is putting the finishing touches on an earlier show he wrote, “Graffiti Kings: A Musical.”
Originally written on New York’s graffiti of the 1980s based on “Graffiti Kings” by Jack Stewart, “Subway Art” by Henry Chalfant and Martha Cooper and “Training Days” by Chalfan, the revised musical will be slightly expanded.
Still titled, “Graffiti Kings: A Musical,” the version coming to a Chicago venue in late May includes research into artist Martin Wong’s social realism of ethnic and racial identities works and collection and will fictionalize graffiti collectors into a composite of characters.
The revised show, now an hour long, will be performed at 7 p.m. on Stage 773, May 30, 2019.
“Graffiti Kings” had premiered in April 2016 at the Old Town School of Folk Music with student performers from DePaul University’s renowned theatre department; formerly the Goodman Drama School. It was backed by musicians Gross and Vincent Buoncore.
DePaul University English professor and playwright Jonathan Gross. (Photo courtesy of Jonathan Gross
You see, the playwright is DePaul University English Department’s Professor Gross. His area is Nineteenth-Century Literature; World Literature. No ivy-tower escapist, Gross worries about students in schools that under-fund the arts.
But during a recent phone interview, what emerged was this is the Gross who co-wrote such popular children’s musicals as “The Dragon’s Tale,” The Blue Dog” and “Snoops and Schnozzles” with Jacqueline Russell back in the 1990s. Russell is now artistic director of the Chicago Children’s Theatre.
Also revealed was that Gross studied piano and trumpet, and played in a jazz trio with Buoncore and Kim Healey called Lush Life.
A long-time admirer of Ethel Waters and Duke Elington, Gross wrote “Harlem Renaissance Remembered” (Brilliance Audio) and “Eye on the Sparrow: Afterlives of Ethel Waters and Bessie Smith.” He sees “Graffiti Kings” as the third part of his trilogy.”
“The play and songs for “Graffiti Kings” were written by me, inspired by the voices of graffiti artists Blade, Seen, Zephyr, Lady Pink, Lee Quinones and Martin Wong (graffiti collector whose work is compiled in NYC’s Museum of the City of New York),” said Gross in a follow-up note.
The show celebrates their characters in his original songs: “Open Book,” “Train,” “When I Said Goodbye,” Sheila,” “ Look Back in Anger,” and “Passenger.”
“Graffiti wasn’t a crime in the 70s and 80s. I’m trying to get people to see it as a culture contribution, to be admired and not as vandalism,” said Gross.
For tickets and more information on the show call (773) 327-5252 and visit. Stage 773/Graffiti Kings.
Nate Strain. “The Devil and Daniel Webster,” one-half of Two Days in court. (Photo by Steve Graue)
3 Stars
As the baseball season begins, City Lit is ending their 39th theatrical season with “Two Days in Court: A Double-Header of Classic One Acts.”
The two plays are “The Devil and Daniel Webster” by Stephen Vincent Benet, and the farcical Gilbert & Sullivan operetta “Trial by Jury.”
In “The Devil and Daniel Webster” a young farmer turned senator Jabez Stone (Nate Strain) has literally sold his soul to The Devil “Scratch” (Lee Wichman) in exchange for his success. The agreement comes due coincidentally at midnight on the day of his wedding to Mary Stone (Laura Resinger).
Luckily for the Stones one of their wedding guests is the famed orator of-the-day and prominent attorney Daniel Webster (Bill Chamberlain) who agrees to represent Jabez against Scratch in front of a “jury of the damned” to get the young Senator released from this most egregious contract.
Webster reminds the jury who have each sold their soul for advantage over others and short term gain, that they have sacrificed the simple pleasures of life.
L-to-R-Anthony Nuccio (Drew) and Katie LaMark (*Sherrie) in Rock of Ages. (Photo by Jeremy Daniel)
3 Stars
How you feel about “Rock of Ages,” a classic rock “Jukebox musical” now in Chicago, depends on whether you saw the original show ten years ago and liked it or if you don’t mind and even appreciate that this version is a parody of itself.
At the Nederlander Ttheatre (formerly Oriental) through Aril 28 2019, the current show is taking its 10th anniversary tour through the U.S. with more flashing concert rock-band lights and amps than when it came out in 2009.
Directed by Martha Banta, everything is highly exaggerated which makes this version funnier but it also gallops through several of the songs and turns up the volume so that you may catch the beat rather than the words even though the show includes such standards as “Waiting For a Girl Like You,” and “Here we Go Again.”
Hamilton The Exhibition opens on Northerly Island (Photo courtesy of Broadway In Chicago)
Heads up “Hamilton” lovers and anyone interested in Alexander Hamilton’s life.
“Hamilton: The Exhibition” (also called “Ham”), situated in an all-weather structure on Northerly Island, opens April 27. The island stretches south of the Museum Campus just west of the Adler Planetarium. The exhibition is at 1536 S. Linn White Drive.
“Hamilton” creator Lin-Manuel Miranda narrates the audio tour with the musical’s original Broadway actors, Phillipa Soo (Eliza Schuyler) and Christopher Jackson (George Washington).
Go to learn more about Hamilton’s early years and the start up of the United States of America through multi-media and historical artifacts that take visitors to St. Croix, New York of 1776 and George Washington’s war tent.
Company of ‘A Chorus Line (Richard Strimer as Zach) center) at Porchlight Music Theatre. (Michael Courier photo)
4 stars
Not sure how many times I’ve seen ‘A Chorus Line,” but director Brenda Didier and choreographer Chris Carter’s version now at Porchlight Music Theatre, is not a copy.
It goes back to director Michael Bennett’s concept to present the story behind who are the dancers/singers in a musical’s chorus line.
He was interested in why do they want to be in a chorus line, when did they decide they wanted to dance as a career, what happens if they are accepted or not when they audition and finally, what will they do after they no longer can dance. In January 1974, he now famously asked a group of dancers to talk about themselves and if he could record it. Their responses make up the show. Continue reading “‘A Chorus Line’ is the back story”
Opening in New York in 2005 and winning the Tony and Grammy Awards for Best Musical in 2006, “Jersey Boys” has now been seen by more than 25 million people. And I’ll bet that some have seen it more than once—like I have.
The book, “Jersey Boys,” was written by Marshall Brickman and Rick Elice. Amusing dialogue is interspersed with the tremendous songs that keep the audience laughing.
Directed by Des McAnuff, “Jersey Boys” is the story of Frankie Valli and The Four Seasons—four guys from New Jersey who weren’t known at all until they started singing outdoors on a corner. And once they did, their songs became more than popular and played on radios every day and night.
The songs by The Four Seasons in “Jersey Boys” not only bring back so many memories, but have younger audience members swinging and swaying in their seats.
(l to r) Eric Chambliss, Jonny Wexler, Corey Greenan, Jonathan Cable and compnay of Jersey Boys at the Auditorium Theatre. (Photos by Joan Marcus)
Songs such as “Walk Like a Man,” “Sherry,” “Working My Way Back to You,” “Rag Doll,” and “Big Girls Don’t Cry,” hook-up with the musical’s story of a gang leader with a money problem that involves the mob and the record industry, along with many things that relate to true friendships and loving relationships.
The original Four Seasons were Bob Gaudio, the musical composer played by Eric Chambliss, Frankie Valli, played by Jonny Wexler, Nick Massi, played by Jonathan Cable and Tommy DeVito, played by Cory Greenan. The lyricist and producer, Bob Crewe, is played by Wade Dooley.
“My Boyfriend’s Back” is sung by the Angels portrayed by Ashley Bruce, Chloe Tiso, and Jessica Wockenfuss, all of whom also play other female roles.
The rest of the fabulous cast is Tony L. Clements, Caitlin Leary, Jeremy Sartin, and Kit Treece. Many of the cast members move on stage as they play musical instruments.
A Broadway in Chicago presentation now at the Auditorium Theatre, it’s a show not to miss . . . “Let’s Hang On to What We’ve Got!”
DETAILS: “Jersey Boys” is at the Auditorium Theatre, 50 E. Ida B. Wells (Congress Pkwy. at Michigan Avenue), Chicago, through April 7, 2019. Running time: 2 hours and 45 minutes with one intermission. For tickets and other information, call Ticket Master at 1-800-775-2000, or visit BroadwayInChicago.
Lila Coogan (Anya), Stephen Brower (Dmitry) (Photo courtesy of Broadway In chicago)
3 stars
There is plenty to like about this Broadway in Chicago theatrical extravaganza. It is loosely based on the true story of a woman who claimed to be the surviving daughter of Czar Nicholas II of Russia and whose family was assassinated along with him by the Bolsheviks following the Communist uprising in July 1917.
But don’t worry this version of “Anastasia” has little to do with reality. Inspired by the Twentieth Century Fox animated film (later acquired by Disney Corporation), it refers to the tragedy but is scrubbed clean of most of the ugly parts, leaving behind the tale of a young, beautiful and strong heroine striving to find her true identity while struggling to come to terms with her inner princess.
It was an enthusiastic and appreciative, mostly female audience that packed Chicago’s Nederlander Theater opening night. The book by Terrence McNally is expertly crafted to suit its intended audience of preadolescent girls who themselves are likely exploring their own future and place in the world. Continue reading “‘Anastasia’”
Renee Fleming at the Lyric of Chicago in an anniversary concert. (Photo by Todd Rosenberg)
Fans of opera, American soprano Renée Fleming and the Lyric Opera of Chicago were treated to an extraordinary program March 23 to honor Fleming on the 25th anniversary of her Lyric debut in1993 with Carlisle Floyd’s “Susannah.”
Chicago audiences may have heard her in other operatic roles such as Marguerite in “Faust” in the 1995-6 season and more recently as Hanna Glawari, in “the Merry Widow” in the 2016-17 season.
But what the program and Lyric President Anthony Freud mentioned during the concert is that there is a lot more to Fleming’s accomplishments than her vocal talent. As an advisor and innovator of public programs through the Lyric in Chicago and through the Kennedy Center in Washington D.C. Fleming has been behind several outreach initiatives.
Arguably less known is that she was on the soundtrack of Best Picture and Best soundtrack 2018 Academy awards for “Three Billboards Outside Ebbing, Missouri” and “The Shape of Water,” is a 16-time Grammy nominee (four-time winner) and is on the movie soundtrack of the “Lord of the Ring” and “The Return of the King.”
Hosted by Tituss Burges, the program also featured well-known opera stars soprano Sondra Radvanovsky, tenor Lawrence Brownlee, baritone Quinn Kelsey, and bass-baritones Eric Owens and Christian Van Horn, plus members of the Patrick G. and Shirley W. Ryan Opera Center. Patrick summers conducted the Lyric Opera Orchestra.
Fleming started out with what some consider her trademark piece of “Porgi amor” from Mozart’s “the Marriage of Figaro.”
Other pieces in the first part of the program were Eric Owens doing “O tu Palermo “ from Verdi’s “I vespri sicilarni,” Radvanovsky singing “Vissi d’arte” from Puccini’s Tosca,” Brownlee doing “Ahmes amis…” from Donizetti’s ”La fille du regiment,” Van Horn singing “Eddo il mondo” from “Boito’s La Mefistofele” and the Ryan Opera Center artists doing Faltaff’s “Un oro e terminiam la scena…”
Radvanovsky sang an aria from “Susannah” later in the concert. Then, to herald her role in a special musical production in December, Fleming did “Fable,” from Adam Guettel’s “The Light in the Piazza.” Tickets to the run, Dec. 14-29, 2019, go on sale March 28, 2019. For tickets and more information visit LyricOpera/light.
As a bonus Saturday, many of the designer gowns worn by Fleming were on display at the Lyric. For the concert she wore a navy tulle gown designed by Carolina Herrera and a rose-gold sequined gown by Vivienne Westwood.
Another interesting not is that the acoustic Pritzker Family Concert Shell designed by Studio Gang for Lyric’s 60th Anniversary Gala Concert in 2014 was the backdrop for Saturday’s concert.
Cubs championship photo (Courtesy of William Marovitz)
Certainly “Miracle,” a musical directed by Damon Kiely and premiering at the Royal George Theatre May 8, 2019, refers to the Chicago Cubs 2016 Championship.
But during a phone interview with lead producer William “Billy” Marovitz, the concept’s originator, what comes across is how much baseball is a part of many people’s lives.
And yes, Marovitz, who has followed baseball “for as long as I can remember,” is the former, long-time IL State Senator instrumental in working out the compromise that brought lights to Wrigley Field in 1988.
Marovitz had earlier conceived a Chicago show about what happened in the city during the two Daley administrations. But when he realized the concept wasn’t going anywhere when Richard M. Daley didn’t run again, his love of baseball sparked another show idea.
“It was Feb. 16, 2016 and I thought the Cubs have a good team. So I though let’s look at the season through a family. I needed to tell a story, not one just about baseball, but about real people, their ups and downs,” he said.
The story, fleshed out by film and TV writer Jason Brett, co-founder of Chicago’s Apollo Theater, follows the Delaneys, a Wrigleyville bar-owning family, through changing times.
Marovitz tells how in one part of the show the Delaney’s 11-year old daughter asks her grandfather who is always going over to Cubs’ park, how he got his limp.
“He explains he was in Vietnam, in a fox hole when he got shot up, and said he thought would lose his leg,” Marovitz said. He continued, “And then the grandfather says “The only thing that kept me going was a transistor radio. I could listen to the games.” Continue reading “The ‘Miracle’ musical”
