Ivan Brunetti Spring 2013 . (Courtesy of the artist)’
A fun and startling exhibit at the Museum of Contemporary Art Chicago, opened June 2021, is likely to expand your definition of art and important artists.
As with art over the ages and across countries, much of it reflects the times and artists’ views and backgrounds.
But if you hadn’t thought of comics as art, consider the work of Ivan Brunetti in the 1960’s. His piece shown here was in the New Yorker magazine. It stands on its own as art but really is part of a cartoon.
So, if you read the New Yorker or a newspaper containing comics do you look just at the panels or do you look to see who drew them?
The MCA exhibit, titled “Chicago Comics: 1960’s to Now,” makes comics more personal by focusing on artists with ties to Chicago.
The works of more than 40 cartoonists from about the 1960’s to the present cover the walls and tables of MCA’s Fourth Level exhibition space including that of Lynda Barry, Lilli Carré, Daniel Clowes, Nick Drnaso, Edie Fake, Emil Ferris, Nicole Hollander, Charles Johnson, Chris Ware and Kerry James Marshall. Yes, Marshall, a world-renown Chicago artist.
Kerry James Marshall (photo by Bryan Conley, image courtesy of the artist)
His works are in major museums from the Art Institute of Chicago to the Met and MoMA.
The MCA exhibit includes more than a dozen of his comics from the Rythm Mastr Daily Strips. They were part of a 57th Carnegie International installation (2018) courtesy to the MCA by the artist.
What fanzine viewers and Marvel comics readers know is that artistic cartoons take many forms. In the MCA exhibit look for more than newspaper-style comics. See works in graphic novels, drawings, dioramas, zines, commissioned films, books sculptures and installations.
Brunetti, New Yorker, Photo courtesy of the artist)
For the MCA exhibit information and tickets visit Museum of Contemporary Art “Comics” continues through Oct. 3, 2021.
As to the Brunetti piece it is a comic cover for the New Yorker, a magazine famous for its cartoons.
Save time to also visit “Chicago – Where Comics Came to Life: 1880 to 1960” at the Chicago Cultural Center. Held up on the fourth floor in the Sydney Yates Gallery, the exhibit is the perfect companion piece to that at the MCA.
Lisa Rosetta Strum, Melissa Joyner and Jeffrey Bean in ‘Lines in the Dust’. (New Normal Rep photo)
4 Stars
Lines in the Dust , New Normal Rep’s currently streaming play, centers around Denitra Morgan whose daughter is illegally enrolled in a wealthy high school in Essex County, NJ in 2010. The school principal, Dr. Beverly Long, a friend of Denitra’s, is completely unaware of that situation.
Conflict arises when the school hires private investigator Michael DiMaggio to find out which students are illegally enlisted in the school.
One of the strongest aspects of the New Normal Rep production is its fine acting, especially Melissa Joyner’s performance as Denitra. One can’t help but greatly sympathize and feel overwhelming sadness for the immense hardships she faces and the sacrifices she makes. Her performance is raw and full of heart throughout the story. The emotion is never absent.
Because the format of this production is predominantly two separate videos used side-by-side for each character, the visuals may take time to get used to. Additionally, the special effects background is occasionally distracting. However, the engaging story will be enough to compensate and pull you in immediately as you await to see what happens next.
Written by Pulitzer-Prize nominated and Obie winning actress/playwright Nikkole Salter, the work has historical and modern-day societal significance. Set against family hardships, it is an excellent story guaranteed to have a lasting impact on its viewers. Salter’s writing always hits its note to form a very powerful and touching story.
Lines in the Dust runs for approximately 110 minutes, including credits. For tickets and information about the show and New Normal Rep visit New Normal Rep.
Pritzker Pavilion in Millennium Park (J Jacobs photo)
Chicago’s famed Gospel , Blues and Jazz festivals won’t happen until this fall (hey, it takes time to bring back their featured performers). To see who what and when visit Chicago festivals reimagined.
But the Chicago area will still be swinging, rocking and keyboarding the classics outdoors, this summer.
Check out Aurora for rock, the Grant Park Music Festival for classics and a 4th of July salute, the Windy City Smokeout bands and Ravinia Festival for all of that from rock to pop and classics.
Aurora
Just west of Chicago, Aurora has a terrific rock concert line up this summer. There are a few tickets left for REO Speedwagon, July 1, 8 p.m. at the River Ridge Park. Then, on July 16 there is Tribute to Fleetwood Mac. For tickets and more concert schedule info visit Aurora Pop/Rock.
Windy City Smokeout
The popular eat, drink and good band festival takes over Parking Lot C at the United Center, 1901 W. Madison St., Chicago, July 8-11, 2021. Headliners include Dierks Bentley, Jon Pardi, Brett Eldredge and Darius Rucker. For more info visit Windy City Smokeout.
Grant Park Music Festival
Held in Millennium Park’s Pritzker Pavilion, the longtime Chicago summer concert series starts July 2-3 with a mix of crowd pleasers from John Williams’ Summon the Heroes, Scott Joplin’s Overture to Treemonisha and a Robert Lowden arrangement of the Armed Forces Salute to pieces from Leonard Bernstein’s West Side Story, Tchaikovsky’s1812 Overture and John Philip Sousa’sStars and Stripes Forever. The Festival continues with such classics as Rossini’s Overture to Willian Tell on July 7 and Brahms’ Symphony No. 3 on July 9-10. For complete schedule and other information visit Grant Park Music Festival
Ravinia Festival
Located at the south east end of Highland Park, the historic music festival brings in world renown artists in classic, folk, pop and jazz genres, plus it is the summer home of the Chicago Symphony Orchestra. The July schedule features pianist Jorge Frederico Osorio playing Mozart on July 9 with Marin Alsop conducting the CSO, jazz/pop singer Kurt Elling July 13 and Rock band Counting Crows, Aug. 19. For tickets, complete schedule and other information visit Ravinia.org.
Music Theater Works does Legends of the 50’s and 60’s. (Photo by Bret Beiner)) production
4 stars
Grab a seat. Enjoy summer outdoors listening to talented singers and musicians perform nearly 60 classic and cherished songs from the 1950s to the 1960s. Music Theater Works, the North Shore’s famed musical production company typically performing from Evanston venues, is doing Legends Of The 50s and 60s: Greatest Hitsoutside Skokie’s North Shore Center For The Performing Arts, June of 2021.
While it is often a challenge to get audiences engaged, the performers and band faced no difficulty in doing so. Anyone who watches this show will undoubtedly want to join along in song and dance due to both the pure talent of the performers.
Co-directed by Music Works Producing Artistic Director Kyle A. Dougan and Martin L. woods, the performers’ strong and vibrant voices made the entire show come alive as they moved through the hit songs of such talents as Buddy Holly, Doris Day, The Supremes, Elvis, The Temptations, George Harrison, Aretha Franklin and Bob Dylan.
Additionally, the performance was heightened by the performers’ pure professionalism. The show flew smoothly from high energy number to number without missing a beat.
This show is an excellent choice for music lovers and a great escape to share with family and friends. Though the music might appeal more to older generations, younger people will definitely find enjoyment as they are introduced to less familiar classics. It is a must-see for anyone in the Chicagoland area looking for a talent-filled fun event.
Details: Music Theater Works’ Legends Of The 50s and 60s: Greatest Hits is outside the North Shore Center For The Performing Arts, 9501 Skokie Blvd, Skokie, IL 60076 from June 18th through June 27, 2021. Run time: Two hrs. 20 minutes, plus a 15-minute intermission. For more show information and tickets visit MusicTheaterWorks.com/BoxOffice or call (847) 673-6300.
Yes, the City of Chicago has reopened. However, look for your favorite festivals at different times in different formats and at different places. There are more events and new celebrations across the city’s many neighborhoods in 2021.
Music fests will return but at different times. (City of Chicago Dept. of Cultural Affairs and Special Events photo)
Don’t be Blue
Because some noted annual fests as Blues, Jazz and Gospel are arranged way ahead of performance dates but COVID interfered, plan on attending each of them in a three-hour, early-evening version this fall. As part of the city’s new “In Tune” program, they all will be free and run from 5:30 to 8:30 p.m. at Millennium Park’s Jay Pritzker Pavilion in September 2021.
Gospel is Sept. 3. Hosted by Jonathan McReynolds and Inspiration 1390’s Sonya Blakely and Deandre Paterson, it will include La Shon Brown, the Carson Sisters, Nicole Harris, Illiana Torres and the Tommies Reunion Choir.
Jazz is Sept. 4. Presented by the Jazz Institute of Chicago, it features Ari Brown, Marquis Hill and Lizz Wright.
House celebration is Sept. 11 featuring “Sanitize Your Soul,” a debut Gospel House Choir collaboration between Mark Hubbard and DJ Terry Hunter.
Blues is Sept. 18. The evening will celebrate the 50th Anniversary of Alligator Records with Lil’ Ed & The Blues Imperials and the Nick Moss Band . Also hear Dennis Gruenling, Cash Box Kings, Shemekia Copeland, Billy Branch and Wayne Baker Brooks.
Taste of Chicago To Go is July 7 to July 11 in different parts of the city. (Department of Cultural Affairs and Special Events photo)
Don’t Diet
Work off the Taste of Chicago treats after July 11. The celebration of Chicago dishes and restaurants starts July 7 but instead of everything happening in Grant Park it will be a week of pop-up food from nearly 40 eateries and take place in neighborhood markets. Plus there are cooking demos, music and community meals with local nonprofit organizations.
Pop ups are July 7, 2 -7 p.m. at Pullman City Market, July 8 from 1-7 p.m. at Austin Town Hall City Market, July 9, at 4-8 p.m. at iWEPA Mercado del Pueblo, and also at 5 -8 p.m. for Taste on Tap at Goose Island Brewery.
They continue July 10 from 10 a.m. -2 p.m. at The Hatchery, and from 10 a.m. -4 p.m. at Eli’s Cheesecake Company and from 1-8 p.m. on 63rd street in the West Englewood neighborhood.
The event culminates July 11 from noon to 3 p.m. with women restaurateurs in Millennium Park.
Pritzker Pavilion in Millennium Park (J Jacobs photo)
Wait, there’s more (as tv announcers say)
The city’s new programs include “Chicago Presents” community events; a nine-part House City series in the neighborhoods that helped create the music genre; two Latinx and World Music celebrations; two films and more just-announced special events at the Jay Pritzker Pavilion; and a mash-up of public art and dance at Lurie Garden in Millennium Park.
Vocalist Norm Lewis in The New Classics at Lyric Opera of Chicago. (Photo by Kyle Flubacker)
he Lyric Opera of Chicago has come up with an amazing substitute for the large-scale musical it produces on its large-scale stage at the end of its operatic season.
Titled “the New Classics-Songs from the New Golden Age of Music Theater,” it is about a 70-minute-long mix of dramatic, sad, wistful and powerful show numbers that some listeners will know but others may not find familiar.
And instead of coming from the Lyric’s grand stage, the production was mostly recorded back stage in an intimate, former Civic Opera space.
Hosted by David Chase who also accompanies the singers along with members of the Lyric Orchestra, the program reintroduces some notable musical theater by notable composers.
Vocalist Gavin Creel opens the program with the obscure Stephen Sondheim “What More Do I Need” from Saturday Night followed by Nikkie Renée Daniels’ wistful rendering of the well-known “The Heather on the Hill” from Brigadoon. Norm Lewis then wows with “Stars” from Les Miserables.
Jenn Gambatese changes the mood with “Gimme Gimme” (Love) from Thoroughly Modern Millie and Heath Saunders offers a moving “Something Wonderful” from The King and I.
Jo Lampert puts the best interpretation I’ve heard on “Omar Sharif” from The Band’s Visit and Amanda Castro “flamingo” taps the way to the top of her building with “Raise the Roof” from The Wild Party.
Chase segues to historic references between numbers to the Civic Opera and more show tunes sung by the cast (introduced above) that also include “Love Changes Everything” “I Will Never Leave You,” “Dear Theodosia,” ”Way Back to Paradise,” “I’d Rather be Sailing,” “Popular,” “If Only” and “Rain.”
Guess which shows those songs came from or better yet, click on the production. It premiere this Thursday, June 10 at 7 p.m. CT on Lyric’s Facebook and YouTube channels. For more information visit The New Classics.
Tribeca Film Festival closing night is the world premiere of Dave Chappell’s documentary.(Photo courtesy of Tribecca Festival)
Certainly, the Covid pandemic dramatically changed the arts and entertainment world including that of film festivals. But it also taught us we could work from home and enjoy plays and movies on line at home.
Some popular film festivals have been postponed yet another year to 2022. However, the New York’s Tribecca Festival is going ahead with its culturally and politically focused films in hybrid – at home and in-person – mode, June 9-20, 2021.
The festival includes Talks such as from storytellers John Legend and Mike Jackson, Games, Comedy and Films.
In person films range from “In the Heights” to “Johnny Mnemonic.” See In the Boroughs.
A highlight is the premiere showing of Dave Chappelle’s Untitled Documentary. To see it in person at Radio City Music Hall June 19, you must be fully vaccinated. And have proof.
Tickets are available for in-person showings in NYC and the boroughs and for at home viewing. For ticket info visit tribecafilm.com/festival/tickets.
‘Master of the House’ from Les Miserables (photo courtesy TPS and Marston McCoy Media)
Stacey Flaster and Liz Fauntleroy, founders of Highwood, IL-based The Performer’s School, had their 40-member cast set for Les Miserables and 26-member cast for Disney’s Beauty and the Beast Jr. when Covid-19 shut down stages and venues everywhere including Ravinia Festival where they put on one of their shows.
“We didn’t know how long the quarantine would last but the kids had signed on,” said Flaster.
In addition, their staff orchestrator, editor, costumer and props people were still working on the shows and still hoped to do Les Mis and Beauty.
“So, we had to do something,” said Fauntleroy.
The something was to ask Peter Marston Sullivan, associate artistic director of Marriott Theatre and founder with wife Elizabeth Telford of the new, digital production company Marston McCoy Media, to turn the two musicals into digital productions where everyone looked as if they were performing at one time on the same stage.
Beauty and the Beast Jr (A Performer’s School production by Marston McCoy Media
The kicker was that everyone couldn’t be filmed at once. CDC and Illinois Covid protocols meant keeping everyone safe with separate rehearsals, separate costuming, separate dance moves and separate singing, but it all had to look like one show, one backdrop, one taping.
Sullivan had already been working with them on workshops and knew they needed a way to present the musicals.
In 2020 Elizabeth and I sat in our basement to experiment. We didn’t want something as bland as zoom. Then Elizabeth, sang “One Day More” for a demo to show what is possible,” said Sullivan explaining that his wife, Elizabeth Telford, was a musical theater performer who had done several shows Marriott and around Chicago.
“I sent to The Performer’s School. They said they were thinking of doing Les Mis. So we all took a risk,” he said.
“Peter came to us and said he had this idea on how to make it happen,” said Flaster. She added, “We were willing to take a chance. So we all just dived in.
“We presented it to the students. They all said yes!” said Fauntleroy.
The students involved are 26 fourth and fifth graders in Disney’s Beauty and the Beast Jr. and 40 sixth through eighth graders in the school edition of Les Miserables.
What comes across when watching either of the completed productions is that the youngsters could easily go on to post college or academy careers in musical theater. Past Performer’s School students have performed on Broadway, in regional theaters and commercials.
The P:erformer’s School founders Stacey Flaster and Liz Fauntleroy,
Flaster and Fauntleroy, explained that talent agencies, casting directors and local theaters often ask the school to suggest students for particular shows and roles.
The two school founders are themselves, veterans of Chicago area musical theater who then went on to teach workshops before founding their school eight years ago.
They noted that some of the students just enjoy performing while others are very talented, have agents already and often go on to related fields in college.
The back story is that after a few months of experimentation and six months of multiple takes of each cast member in front of the type of screen similar to one used by TV weather forecasters, the results were two astounding productions.
“It’s not like zoom. It’s a cinematic experience,” said Flaster.
Elizabeth Telford, baby McCoy and Peter Marston Sullivan (Photo courtesy of Marston McCoy Media
Sullivan explained the process as “long” “complicated” and “layering.”
“We record the performers individually in front of a green screen then edit that so they appear to be together,” he said. “There are multiple takes with each kid, then they are cut out and all put together so then when we animate it feels like a movie.”
He added, “My wife had the great idea to have them looking where they would in a scene. So, in one take Jean Valjean would be looking left toward Marius (Pontmercy) who would be looking right in his take.”
He then edits the tapes and stacks them one behind or in front of another. “It’s hard. ‘One Day More’ took two weeks to edit,” he said. Then added, “The battle scene is amazing. It’s really layered editing, like animation.”
Sullivan said kudos had to go to TPS Music Director/editor Jeff Poindextor, “The orchestral track was all done at Marriott’s large rehearsal warehouse,” and to other staff of The Performer’s School who worked on the project.
“It’s hard, but what you see is cool. People will see what is possible,” said Sullivan. “And what was done with the students is amazing. They learned a whole different medium. The shows were perfect for film and the kids see themselves as movie stars. They’re glowing.”
Jonathan Hancock in Badlands National Park in Bastard’s Road.
4 Stars
PTSD is a very difficult subject for many people to fully understand. Therefore, it is an even more difficult topic to make into a film. However, Bastards’ Road does an excellent job of representing this condition through clever cinematographic choices.
Bastards’ Road is a 96 minute documentary that focuses on veteran Jon Hancock, an American who served in the Iraq War. After returning home the horrendous things he had both seen and done followed him, resulting in chaos in his personal life and mental health.
Ranging from alcohol abuse to suicidal tendencies, Jon had come home as a different man and found it difficult to get help.
To heal himself, he journeys across the United States on foot, visiting his friends from the Marines along the way, as he contemplates both the war and his life.
One amazing aspect of this film is the cinematographic choices that are used. For example, in the film, we see many shots of Jon walking past beautiful, relaxing landscapes. In these shots, he is often shadowed and silhouetted while the nature is colored in soft, pastel colors.
In a sense, this represents Jon’s dark, internal struggles, but also the fact that there will always be hope for him, which is shown by the light and color in the background.
Here, the audience is able to visually see and understand how disconnected Jon is from the world and the extent to what he is going through. By casting him in shadows, the audience can understand the emotional darkness that the shadows symbolize.
Additionally, the film includes actual footage from the Iraq War that we see while Jon and his friends discuss the horrors of war. While this footage is not always pleasant to watch, it heightens the overall stories and allows the viewer to better understand war and PTSD and therefore relate to the veterans.
When the audience is able to see actual footage of the events that, years later, still haunt these men, it is easier to understand where Jon and his friends are coming from. This footage is utilized perfectly, as it is weaved within the veterans’ personal stories.
Bastards’ Road is an incredibly heartfelt narrative that shows the difficulties of war and overcoming your past. Through cinematic techniques, the quality of the film is increased, resulting in a superb film without a dull moment.
Whether you like or dislike documentaries or movies about war, this film’s uniqueness and beauty makes it a must-see for everyone, due in part to its importance and educational value.
(Where to catch the film: A Gravitas Ventures award-winning feature documentary, “Bastards’ Road” can be found on TVOD/digital platforms & DVD. Find it atLink Tree/ bastgardsroad.)
Bella, Mary Beth Fisher and Christopher John Drea, in Adam Rapp’s ‘The Sound Inside’ streaming live from Goodman Theatre. Photo by Cody Nieset)
3 stars
“The Sound Inside,” by Adam Rapp, the Jefferson Award winning and Pulitzer Prize nominated playwright of “Red Light Winter,” is a perfect choice for Goodman Theatre’s first live performance on its Owen Theatre stage.
A 90-minute drama that will have audiences wondering what happens next, the play follows the high intensity interaction between a Yale professor who teaches a writing class and a student.
The difference in watching this play from last year’s pre-pandemic, in-person shows and the streaming plays mounted in 2020 and still going on, is that the audience is not filling Owen’s seats and that the action is not pre-taped.
Viewers are at home watching the action as it happens. (Camera angles are important and included in the photos)
Because some scenes seem to be wordy and others might make audiences who think too much information might want to fast forward, which of course, they can’t, the fact that this is live is actually good.
What may sound like background information is crucial to the psychological buildup behind each character’s behavior, responses and the play’s conclusion.
The characters are Bella Lee Baird, interpreted brilliantly by Mary Beth Fisher as a 50-something creative writing professor who is struggling with a recent diagnosis of stage 2 cancer, and Christopher Dunn, superbly played by John Drea as an antisocial, anti- technology freshman in her Reading Fiction for Craft course.
Christopher sees Twitter as an outlet for those people “scared of loneliness.” Bella who somewhat narrates the actions, describes herself as unremarkable and the equivalent of a “collectible plate on the wall.”
Not so incidentally, Rapp’s mother’s maiden name was Mary Lee Baird. She died in 1997.
Director Robert Falls cloaks the opening scenes in darkness. They mirror Bella’s mood as she describes the dark park where she comes at night when she can’t sleep. She says the park is “filled with trees that look arthritic.”
Bella then recalls her mother’s illness and death and wonders what she could have done wrong to bring on cancer because she eats healthfully and doesn’t overdo anything.
The scenes between the two characters contain a minimal number of props and lighting so that the audience can focus on Bella’s and Christopher’s changing relationship and the information slowly released about a book he is writing and about a book Bella wrote.
Among the worrisome and telling features of “The Sound Inside” is that both books are tragic and that Christopher believes good, successful authors commit suicide. He names several.
Another telling point is Christopher’s response to Bella’s use of Dostoyevsekyh’s “Crime and Punishment” to discuss antiheros as in the murder of the pawnbroker and his sister. Christopher cries, “Someday, I’m going to write a moment like that.”
“The Sound Inside,” is streaming live from May 13 –16. Running time: 90 minutes.
“Ohio state Murders’ streams live June 17-20. “I Hate It Here streams live July 15-18, 2021. Individual tickets are $30. Three productions tickets with a Live Membership is $60..
