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.
Christina Gorman and Lawrence Grimm in Shattered Globe Theatre’s production of Hannah and Martin. (Photo by Michael Brosilow)
4 Stars
Can a brilliant Jewish philosopher and her celebrated German professor, turned lover, exist on two opposite tracts? The answer, of course, is no.
But the production of “Hannah and Martin” by Shattered Globe Theatre takes the audience through an ideological and moralistic journey with deep, thought-provoking, dialogue.
Written by Kate Fodor, the play is based on the clandestine love affair between German-Jewish political theorist Hannah Arendt and her teacher, the well-known German philosopher Martin Heidegger. After the war, Arendt was considered one of the most important political philosophers of the twentieth century.
On a collision course with politics and destiny, this powerful drama takes place in Germany from 1924 – 1946. Disappointment looms when Arendt discovers that her beloved Heidegger is working to promote the goals of the Nazis.
Ross Lehman with pianist Chuck Larkin n Sentimental Journey at Citadel Theatre. (Photo by North Shore Camera Club)
3.5 stars
If you see “Sentimental Journey: A Musical Tale of Love and War” at Citadel Theatre, you may want to ask you parents, grandparents, aunts and uncles about their lives during WWII or Vietnam.
The show is actor Ross “Robbie” Lehman’s ode to his parents, Katey and Ross Lehman.
By telling their story through such 1940’s songs as “I May Be Wrong (But I Think You’re Wonderful),” “I Wonder Who’s Kissing Her Now,” “Sentimental Journey” and “We’ll Meet Again” with some Irish roots thrown in with “Molly Malone” and “Danny ‘Boy,” and by reading their letters in the voice of the writer, you learn about their meeting, dating and enduring the uncertainties and traumatic emotional and physical toll of war.
Lehman, whom theater goers know from seeing him at Chicago Shakespeare, Steppenwolf and Goodman, easily adopts the voices and mannerisms of Katey, a writer with a cigarette in one hand and a drink nearby, and Ross, a pipe (later cigar) smoker who loved to sing and was often chosen as an event’s emcee.
The first act, about 55 minutes, is filled with charming stories..The second act of about 35 minutes, turns emotional as you learn about his father’s horrific war experiences.
He takes his father’s bomber jacket out of its frame on the set to show the holes made by German flak and in a video close-up you see the medals, including the Purple Heart, that are also framed.
Ross Lehman in Sentimental Journey at Citadel Theatre. (Photo by North Shore Camera Club)
The frames are on a wall that even with a video screen on one side showing parents, family members and bombers, gives the set created by Timoth Mann, an intimate feeling. To one side is the piano played for some shows by co-musical director Chuck Larkin and other times by co-musical director Mark Weston.
Lehman credits his granddaughter Carlyn Hudson with the choreography (also shown in a video) so you know that the love of music and performance is passing down to another generation. BTW, Lehman is a faculty member at Loyola University and has taught acting, musical theatre and Shakespeare at DePaul and Northwestern Universities.
Directed by Mark Lococo who knows the Lehman family, the play is a way to better understand the War Years.
“Sentimental Journey: A Musical Tale of Love and War” is at Citadel Theatre, 300 S. Waukegan Rd., Lake Forest, through May 26. Run time: 100 minutes including one intermission. For tickets and other information call (847) 735-8554 and visit Citadel Theatre.
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.”
One of the spaces at The Den, a popular multi-show venue. (The Den photo)
The number of theater companies in Chicago varies each year with some going “dark” more than Monday nights and some opening or reforming but a number often used is 250. That’s companies, not venues which are often shared.
Some use mostly equity (union) players. Others can’t afford to. The Jeff Committee divides its awards into non-equity, announced early June, and equity, announced mid October. Both awards are important recognition of excellence.
Non-equity nominees were announced today, April 22 2019 regarding the 68 productions recommended for awards out of 144 eligible productions submitted for Jeff recommendation.
The eligible non-equity shows were produced between April 1, 2018 and March 31, 2019 and included 14 world premieres. Thirty-three theater companies had works receiving at least one nomination.
Of these Raven received 12 nominations, BoHo theatre 11 and Haven theatre company 10. Other companies receiving nominations include Steep Theatre Company, The Artistic Home, Black Button Eyes Productions, Sideshow Theatre Company, Theo Ubique Cabaret Theatre, Underscore Theatre Company,Jackalope Theatre Company, Kokandy Productions, Lifeline Theatre, Broken Nose Theatre, First Floor Theater, Pegasus Theatre Chicago, Pride Films and Plays, Redtwist Theatre, Refuge Theatre Project, City Lit Theater Company, Griffin Theatre Company, Interrobang Theatre Project, Red Tape Theatre, Trap Door Theatre and UrbanTheater Company.
The list of the 2019 Non-Equity Jeff Award Nominees is quite extensive as it covers 22 categories ranging from Ensemble, Production-Musical, Production-Play to individual contributions as performers, directors, choreographers and design. For a complete list, visit Jeff Awards.
A quick peek shows the following nominees
Production-Musical category
“The Bridges of Madison County” – Theo Ubique Cabaret Theatre
“Bright Star” – BoHo Theatre
“Grand Hotel” – Kokandy Productions
“Haymarket” – Underscore Theatre Company
“The Total Bent” – Haven Theatre Company
Production -Play category
“Birdland” – Steep Theatre Company
“Dutch Masters” – Jackalope Theatre Company
“Eclipsed” – Pegasus Theatre Chicago
“Hooded, Or Being Black for Dummies” – First Floor Theater
“Requiem for a Heavyweight” – The Artistic Home
“Tilikum” – Sideshow Theatre Company
“Yen” – Raven Theatre
The 46th Annual Non–Equity Jeff Awards will be announced June 3, 2019 at the Athenaeum Theatre, 2936 N. Southport Ave., Chicago at 7:30 p.m. (doors open at 6:30 p.m. with several cash bars ). Tickets are $45 in advance and $50 on June 3. For tickets visit Athenaeum.
The Equity Awards will be held on October 21 at Drury Lane Oakbrook.
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”
Cast of ‘Footloose’ at Marriott Theatre. led by Aiden Wharton as Ren McCormack (center). (Liz Lauren photo)
3 stars
If you bring the family (middle-school age and up) to see “Footloose” at Marriott Theatre, you will likely have interesting talking points after the show. This is a high energy musical that is perfect for adolescent audiences tired of rules, curfews and their town or suburb.
Based on the 1984 movie starring Kevin Bacon, the story’s roots are the ideology and actions of a small, rural town in Oklahoma that had banned dancing for almost a century.
In the musical, originally written for the film by Dean Pitchford, with music by Tom Snow, Jim Steinman, Kenny Loggins and Pitchford, (additional music by Sammy Hagar and Eric Carmen and others) Chicago teenager Ren McCormack moves to Bomont, Utah with his mom, Ethel, after their dad leaves home. Continue reading “Cut loose with ‘Footloose’”
