Chicago Theater and Arts – Page 61 – What's happening on the arts scene – on stage, in museums and at fairs and festivals

‘Undeniable Sound’ is undeniably worth seeing

Henry Greenberg (Jeff Mills) and Lena (Lindsay Stock) in Undeniable Sound of Right Now at Raven Theatre. (Photo by Michael Brosilow)

4 Stars

There is so much to like about “The Undeniable Sound of Right Now” by Laura Eason at the Raven Theatre in Edgewater. It’s a snapshot of one of the many evolutionary changes that is inevitable in a growing and vibrant city.

Set in the fall of 1992 Hank (Jeff Mills), the owner of a Chicago dive bar, slash, live music venue, is in the autumn of his career in the midst of evolving musical tastes and gentrification that threaten everything he has built.

Hank has two great loves – live music and his twenty-one year old daughter Lena (Lindsay Stock) who grew up above the club and shares her dad’s enthusiasm for music.

Lena is anxious to expand her horizons to include the emerging style of “house,” a genre of electronic dance music of the era created in Chicago that features D.J.’s as the curators of the musical experience.

Her dad is a traditionalist who feels that D.J.’s are not musicians and that electronic music is in opposition to the live music he has championed for twenty-five years.

Thus the conflict is established,. It plays out in the confines of a neighborhood tavern that, like its owner, is definitely showing its wear.

The set design by Jeffrey D. Kmiec and decorated by Lacie Hexom is reminiscent of the many neighborhood watering holes that once dotted the Chicago map from north to south in this working class city.

In the earlier half of the 20^th century Chicago boasted 10,000 “shot and a beer” joints. Most have closed or been converted to fern bars and pubs. Those that survived like Hank’s are loved-to-death by countless elbows, decorated through neglect and illuminated with the ever present twinkling strand or two of Christmas lights.

These establishments retain and reflect a bit of each of the individuals and groups that made this particular venue their social hub, and Hank’s clientele have indeed left their unique mark on this location.

But neighborhoods, music, and people change; and we are all forced to face the changes that are an inevitable part of growing up and growing older. What is undeniable is the here-and-now and the sounds it makes.

Hank has little patience for nostalgia and no stomach for being viewed as a legend. The question is how do you confront the end of an era?

The story involves non-traditional family relationships and various forms of love which in this case includes Hank’s longtime, off-again on-again, salt-of-the-earth girlfriend, Bette (Dana Black), who accepted the role of surrogate mother in the absence of Lena’s birth mother

It is clear the two women have a true affection for each other which was all the more poignant on the Mother’s Day performance I attended.

Jeff Mills in the Undeniable Sound of Right Now at Raven Theatre. (Michael Brosilow photo)

Stock is spot on and perfectly embodies the role of Lena who is smart, savvy and charismatic. It is no wonder that she is adored by her “parents” as well as the club manager, Toby (Christopher Acevedo), the landlord’s son Joey (Casey Morris), and Nash (Henry Greenberg) the up-and-coming D.J. each vying in one way or another for her attention.

No doubt casting director Kanome Jones made Director BJ Jones’ life a little easier by providing an outstanding ensemble.

Eason has done a terrific job of juggling a number of ideas yet pulling it all together into one well-crafted unified whole. She understands Hank’s reluctance to turn over the reins and sympathetically advocates for the youthful exuberance of Nash and Lena.

Meanwhile the supporting roles of Bette, Toby, and Joey are fully fleshed characters with their own important contributions to the plot. Her dialogue is authentic and at times emotional without becoming saccharine.

When I don’t know much about a play I try to keep it that way until I see it. This was surprisingly different than what I expected, thinking it was going to be more of a jukebox musical.

It does have some recorded music as background as well as a few short riffs and verses admirably played on guitar by Mills – choices of sound designer Lindsay Jones. Music is integral to the story but it is not a musical.

If you are afraid that the indie music rock scene is not a genre you understand or enjoy do not let this dissuade you. The theme of the story is universal and the musical references are incidental. This can be any time period and any inter-generational conflict.

I predict this production will be deemed Jeff worthy with special recognition of Lindsay Stock and maybe BJ Jones and Kmiec as well.

Don’t miss this one. If you have experience with an aging business owner, a music maker, or someone affected by change that they feared or were reluctant to face this will likely resonate with you.

DETAILS: “The Undeniable Sound of Right Now” is at Raven Theatre, 6157 N. Clark Street, Chicago through June 16, 2019. Running time is 90 minutes with no intermission. For tickets and information call (773) 338-2177 and visit raventheatre.com.

Reno Lovison

For more shows visit Theatre in Chicago

Around Town: Mid May has treats for the senses

Yummy sweets at Long Grove’s Chocolate Fest, fine art visual treasures of antiques and art at a Merchandise Mart show and fascinating sounds of Finnish music at Symphony Center are all on tap this weekend in the Chicago area.

Long Grove Chocolate Fest

From balsamics and bacon to popcorn and zucchini bread, just about everything imaginable that can infused, covered by or adorned with chocolate can be sampled and bought at the historic village of Long Grove May 17-19, 2019. Bands will also be playing throughout the event.

Details: Long Grove is near Routes 83 and Old Route 53 (about 35 miles northwest of Chicago). The festival is in the business district at the intersection of Old McHenry and Robert Parker Coffin Roads. Admission is $5 over age 12 per day, kids 12 and under free. Tickets can be purchased there or ahead of time by clicking HERE. However, parking is at a premium so there is a 2 for 1 admission discount up to 2 people who rideshare with uber/ lyft) and dropped at the Archer & Robert Parker Coffin Gate. Discount admission applies when upon showing the rideshare receipt at the gate. Hours May 17 are noon to11 p.m., May 18 from 10 a.m. to 11 p.m. and May 19 from 10 a.m. to 6 p.m.

For more information and the band schedule visit Long Grove/Chocolate-Fest.

Chicago Antiques + Art + Design

Explore the 7^th floor of the Merchandise Mart where 75 national and international exhibitors have brought fine art, antiques and unusual design elements. The show runs May 17-19, 2019 but there is also a first-look preview Northwestern Memorial Hospital benefit on May 16.

Details: The Merchandise Mart is on the north side of the Chicago River at 222 Merchandise Plaza, bounded by Orleans and Kinzie. For tickets and hours visit ChicagoAntiquestArtDesign.

Finnish Masterwoks at Symphony Center

A mostly Finnish program that includes violinish Hilary Hahn playing Jean Sibelius’ Violin Concerto, Einojuhani Rautavaara’s “A Requiem in Our Time” will by played by the Chicago Symphony Orchesra led by Mikko Franck, May 16, 17, 18 and 21 of 2019. Also on the program is Sergei Rachmaninoff’s Symphony No. 2. The progam is part of the Chicago Symphony Orchestra Association’s season of “A time for reflection-A Message of Peace.”

Details: Hours are May 16 – 18 at 8 p.m., May 21 at 7:30 p.m. Symphony Center is at 220 S. Michigan Ave., Chicago. For tickets and other information visit CSO

Jodie Jacobs

Maurice Jones extraordinary as Hamlet

Maurice Jones as Hamlet at Chicago Shakespeare Theater. (Liz Lauren photo)

3 ½ stars

Audiences hardly need to be reminded that William Shakespeare had a phrase, soliloquy or advice for almost every conceivable motivation, experience or outlook.

But when Broadway actor Maurice Jones, Chicago Shakespeare’s Hamlet, considers life’s unfairness and contemplates death in the famed “To be, or not to be, that is the question,” soliloquy, he is so natural in his musing that he could be any being who grieves for a murdered loved one instead of an actor playing one of the theater’s most famous roles.

And that is the strength of Artistic Director Barbara Gaines simple, but masterfully presented “The Tragedy of Hamlet, Prince of Denmark.”

Even when Polonius, Shakespeare’s overly verbose, elderly advisor to the Danish court, tells son Laertes “to thine own self be true, (and it must follow, as the night the day, thou canst not then be false to any man”) ” a contradiction to everyone’s actions, stage veteran Larry Yando nicely throws out the lines as if they were simply fatherly advice instead of among the Bard’s very famous quotes.

Polonius (Larry Yando, at center) reveals to King Claudius (Tim Decker) and Queen Gertrude (Karen Aldridge) the contents of Hamlet’s letter to Ophelia in Chicago Shakespeare Theater’s production of Hamlet, (Photo by Liz Lauren)

The production really succeeds because Jones is so good at Hamlet, he’s fine in modern dress rather than period costume as he sincerely becomes a distressed son whose father is killed by a brother and whose mother then marries, possibly unknowingly, her husband’s murderer.

Scott Davis’ minimal scenic design and Robert Wierzel’s lighting focus the action where it should be, on the players, rather than offering the trappings of a castle in Denmark. Booming sound design by Lindsay Jones portends tragedy waiting.

A nice touch is having long-time beloved Chicago and New York theater actor Mike Nussbaum play a comic gravedigger along side Greg Vinkler who is also the king with the players who come to court to perform.

The rest of the cast is fine, although not at the same level of Jones’ delivery. It’s likely audiences will be talking about this Hamlet for quite awhile.

“Hamlet” is at Chicago Shakespeare Theater, 800 E. Grand Ave. on Navy Pier, Chicago, through June 9, 2019. Running time: 2 hours, 45 minutes with one intermission. For tickets and other information call (312) 595-5600) and visit Chicago Shakes.

Jodie Jacobs

For more shows visit Theatre in Chicago

‘Chicago’ the musical in its namesake town

Chicago the musical is at the Cadillac Palace Theatre. (Photo by Catherine Ashmore)

3 stars

”Chicago,” the sardonic, jazzy, vaudeville-style musical written by lyricist Fred Ebb, composer John Kander with book by Ebb an Bob Fosse, is in its namesake town for just a week as it continues to make the rounds.

Fosse’s choreography in conjunction with Ann Reinking’s choreography in Fosse’s style for the 1997 New York production are skillfully performed by the company and the two female leads, Dylis Croman as Roxie Hart and Lana Gordon as Velma Kelly.

The Fosse style, Croman’s big number “Roxie” plus “When You’re Good to Mama,” sung by Jennifer Fouché and “Mister Cellophane” sung by Paul Vogt as Amos Hart make the current touring show worth seeing.

Just don’t expect quite the high level of razzle-dazzle of the original 1975 show or the 1996 revival or the 2002 film version that won the Academy Award for Best Picture.

Eddie George who has moved from the NFL to acting in Nashville companies, is an OK Billy Flynn but not in the same personality category as Richard Gere in the movie or at the song and dance guy level of Jerry Orbach in the Broadway production.

This version needs to turn up the heat on its famed “Cell Block Tango” which seemed a bit going-through- the-motions tired.

However, the show is fun to watch. The orchestra, conducted by Andrew Bryan, is still on stage as the main set-design element and its vaudeville-style, bring-them-on performances across the front of the stage is still entertaining.

“Chicag0” is at the Cadillac Palace Theatre, 151 W. Randolph St., Chicago through May 12, 2019. Running time: 2 hours, 30 minutes with one intermission. For tickets and other information visit Broadway In Chicago.

Jodie Jacobs

For more shows visit Theatre in Chicago

‘Dames at Sea’ is campy fun

(left to right) Sam Shankman (Lucky), Sierra Schnack (Joan), Kelly Felthous (Ruby) and Todd Aulwurm (Dick) at Theatre at the Center, (Photo by Brett Beiner)

3 stars

What’s not to love about a show that opens with a rousing tap number? Nothing, it turns out. “Dames at Sea,” the newest production at the Theatre at the Center in Munster, IN, is pure campy fun, from the first minute to the last.

It follows the story of Ruby. She’s fresh off the bus from Utah and in search of a career as a dancer on Broadway. She hasn’t eaten in three days, forgets her suitcase on the bus in her rush to get a job as a dancer, falls into a job dancing on a chorus line in a Broadway production, and catches the eye of a sailor who pledges his love for her — all in the delightful course of her first day in New York.

“Dames at Sea” is a long-running, Off Broadway hit that made Bernadette Peters a star in 1969. Kelly Felthous, the tiny blond firecracker who plays Ruby, channels her inner Bernadette Peters in this production, complete with spunky tapping, high-pitched voice and impish smile. (Ashley Lanyon takes over the role of Ruby from May 22-June 2.)

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A beauty of a ballet

It was impressive that the young dancers onstage for A&A Ballet’s May 4th performance of“Sleeping Beauty” were not thrown off by a cell phone ringing throughout the first half.

A stage manager solved that problem after intermission by asking audience members to turn off their phones completely, not just set them to silent. That was because the cell phones were interfering with the wireless systems in the Studebaker Theater, he said.

Whether that was true or not, it resolved the issue of the rude audience member so the rest of us were able to fully focus on the beauty onstage.

The matinee performance of the A&A Ballet featured a multi-cultural and multi-generational cast of impressive ballerinas, including some tiny tots who couldn’t have been cuter in their sheep costumes.

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‘West Side Story’ still carries a message

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.

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New musical features Graffiti as art

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.

Jodie Jacobs

Around Town – Two arts festivals

Arts and Crafts Adventure in Park Ridge. (Photo courtesy of American Society of Artists)

Two festivals open the spring/summer arts season, one downtown Chicago, the other in Park Ridge. They are the second weekend of May so let’s hope our rainy/snowy April won’t extend into May.

Manifest Urban Arts Festival

Held by Columbia College, long known for its arts programs and degrees the festival is a day-long, free arts celebration//demonstration May 10 from noon to 9 p.m. along the Wabash Arts Corridor May 10 from 9^th to 11 Streets.

The festival features bands, fashion and art exhibitions, dance and theatre performances and hip-hop star Kweku Collins, For time and specific location of each highlight visit Manifest Urban Arts Festival. As an example “Documenting Truth in an Era of “Fake News” features photographs and film trailers from noon to 9 p.m. at 1104 S. Wabash Ave. 8^th floor. Animation Showcase is in the same location from 4 to 7 p.m.

Arts & Crafts Adventure

Presented by the American Society of Artists, the show feature paintings, photography, jewelry, glass, wood and other hand-made items and some artists demonstrations. Look for it on May 11 in Hodges Park, 101 S. Courland near Prospect and Vine across from Park Ridge City Hall. It is near the uptown Park Ridge Train Station. Hours: 9 a.m. to 5 p.m. Free admission. For more information visit Arts & Crafts Adventure call (847) 991-4748 or visit Arts & Crafts Adventure.

Jodie Jacobs

Philosophy and passion clash in ‘Hannah and Martin’

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.

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