Displaying items by tag: Chicago

Willa is too old to live alone in her flat, and she has “accidents”. That’s why her well-meaning daughter brings her to a suburban London nursing home, “just to try it out”. Originally from Galway, Willa (convincingly played by Belinda Bremner) starts an unlikely friendship with a good-natured 24-year-old nursing home assistant Byron (very talented and highly animated Terry Bell). Byron, an illegal immigrant from South Africa, comes from extreme poverty and family tragedy, but, despite his hard life, he’s kind and funny, and the pair gets along oh so well, always laughing, telling each other stories and falling closer together. Meanwhile, Willa’s married daughter Catherine (Carolyn Kruse) has very little time for her mother; she’s busy carrying on an affair with a younger man. All in all, living at the nursing home wouldn’t be so bad if it wasn’t for the sadistic head nurse Sister Chang (Christine Bunuan). Sister Chang is a colorful character; she likes to “discipline” residents and doesn’t hesitate to go through their belongings to satisfy a sweet tooth.

The My Way Residential is a very charming play; it’ll make you laugh and it’ll make you cry too, but you will not be bored; far from it. The cast is fantastic, and writing wonderful. Not to mention the old-British-TV-show vibe to it that’s irresistible.

Directed by ensemble member Kevin Theis and written by Geraldine Aron, this tragi-comedy is a world premiere from Irish Theatre of Chicago that concludes its 2016-2017 Season. The My Way Residential is currently playing at The Den Theatre (Upstairs Main Stage) through June 25th. For more show information and to purchase tickets visit http://irishtheatreofchicago.org/.

Objects in the Mirror, an outstanding play having its premier at Goodman Theatre, will soon have you wanting to know more about its author, Charles Smith, a Chicago playwright.  

Starring Daniel Kyri as Shedrick Yarkpai, this play springs from the true story of the real life Yarkpai, a refugee who fled Liberia in the aftermath of its first Civil War, struggling for 12 years across hostile terrain and through refugee camps in Guinea and Cote d’Ivoire.

Excellent performances and a creative set and lighting make this a show not to miss, especially for the wonderful writing of Charles Smith. Breon Arzell plays cousin Zaza Workolo; Ryan Kitley is Rob Mosher; and Lily Mojekwu as Shedrick’s mother Luopu Workolo is just spectacular – she steals all her scenes.

The real life Shedrick Yarkpai eventually made his way to Adelaide, Australia, and as fate would have it became an actor. And so, playwright Smith met him and heard his tale while staging another of his plays there - Free Man of Color (it won a 2004 Jeff Award and has been staged widely, including the Goodman).

Shedrick Yarkpai’s passage through the wilderness alone would be a worthy story, bringing our attention to the privation in Liberia wrought by years of civil chaos. But this play would not succeed as it does, unless it can hold our attention and keep us in our seats. 

And here Smith’s skillful craft shines through, along with director Chuck Smith and the creative team, who have turned the years-long odyssey of the protagonists, Shedrick and his uncle John Workolo (Allen Gilmore is terrific) – they ate grass, lived in the bush, both life and limbs, literally, endangered by violent, machete wielding warriors – and condensed it into an engaging trek, showing geography, educating us on the history, but all in an entertaining way, unlikely as this may seem.

Objects in the Mirror is so much more than a topical recount of Liberian suffering and struggle. Smith also puts before us the psychological and emotional toll on all refugees who must give up so much of their culture, and themselves, in resettling. Among the things so striking about Smith’s play is how he holds our interest in Shedrick’s odyssey. But he subordinates it to a more charged dramatic concern: the personal compromises refugees must make in escaping, and losses that can never be reclaimed.

In a way that only theater can, we engage and experience the personal emotional stress. And while we know of the trauma, what Smith conveys is the suffering from loss of identity, and of dreams. Shedrick has adopted a false identity to make it through border crossings – but he regrets the loss of his name.

Shedrick is a dreamer. He is also a storyteller, as is Smith, and the characters he has created. "Through storytelling, the play ascends to a powerful examination of truth and falsity, and the powers of persuasion. All good stories tell a strand of the truth," says Uncle John.

Once in Adelaide, Yarkpai finds work with a supportive Australian government agent – but Shedrick’s uncle John is fearful it will blow their cover. The debate through several scenes in which different characters tell their version of the parts of Shedrick's story is the stuff of great theater. 

The creative team includes Riccardo Hernandez (set design), Mike Tutaj (projection design), John Culbert (lighting design), Birgit Rattenborg Wise (costume design), Ray Nardelli (sound design). Briana J. Fahey is the production stage manager.

Objects in the Mirror runs through June 4 at the Goodman Theatre. It is highly recommended.

It’s been quite some time since “Chicago” has actually been performed in Chicago (or thereabouts), but after a ten-year road in obtaining the show’s rights, Drury Lane Theatre in Oakbrook brings home the popular musical created in 1975 – and we are glad they did. With music by John Kander, lyrics by Fred Webb and a book by both Webb and super choreographer Bob Fosse, the musical “Chicago” is based on a 1926 play of the same name. Inspired by actual criminals and crimes reported by reporter Maurine Dallas Watkins, the story revolves around the notion of the “celebrity criminal” while mocking the Chicago justice system that was in place in the 1920’s, an era where it was also widely suspected that an attractive women could not be convicted of a heinous crime, like say, the murder of her lover or husband. 

In “Chicago” the story starts off with a “bang” when Roxie Hart (Kelly Felthous) shoots dead her lover on the side. She is quickly arrested and held in Cook County Jail while awaiting trial for murder. In an age when the press sensationalized homicides committed by women (good ol' media), the public quickly buys into the hype making an instant celebrity out of Roxie, and as starved for stardom as the former dancer has always been, she thrives on the new-found attention. In the “pen” Roxie meets several colorful characters, but none as tough as Velma Kelly (Alena Watters), a socialite divorcee and former cabaret singer who is currently the talk of Chicago for the high-profile murder she committed. Velma barely gives Roxie the time of day, instead giving her the cold shoulder. But when Roxie’s popularity soars as the “new story” and Velma’s diminishes, it’s Velma who wants to partner with Roxie for a song and dance nightclub act, this time receiving the cold shoulder from the new celebrity. 

Roxie’s only way to avoid a sentence of death by hanging is to hire the flashy, fast-talking lawyer, Billy Flynn (Guy Lockard) for five thousand dollars. Well beyond what the couple can afford, Roxie’s doting, naive and “invisible” husband Amos (Justin Brill) scrapes up what he can and promises Flynn to pay the rest when he can. From there, Flynn turns the case into a dog and pony show, equating the trial as a “three-ring circus”.  

Watters stuns on several occasions as sassy Velma Kelly, winning the audience over almost immediately after a dazzling performance of the musical’s opening number “All That Jazz”. Possessing just the right dose of sexy attitude, Kelly impresses both vocally and in her dancing, her performance nothing short of riveting. As notable as Watters’ portrayal of Velma Kelly, Felthous also knocks the ball out of the park as Roxie Hart, pairing perfectly with her fellow caged dame and giving the show a rock ‘em sock ‘em one-two punch. Felthous convinces as one stricken by delusions of grandeur, confusing the popularity of her murder case as celebrity fame, putting forth an overall display of well-tuned comedic timing to go along with her own vocal prowess and dance ability. As fun to watch as the two are, Watters and Felthous really bring it home in their physically-charged routine “Nowadays”. 

He’s charming, good-looking and possesses a silver tongue that can sway even the toughest juries. Well-cast, singer/songwriter Guy Lockard brightly shines as the smooth defense attorney, Billy Flynn, and gives the show yet another boost, particularly in his courtroom maneuvering melody “Razzle Dazzle”. Justin Brill also contributes nicely in his funny depiction of Amos Hart, a man who is considered so undistinguishable by others he aptly refers to himself as “Mister Cellophane” in one of the show’s most humorous numbers. E. Faye Butler’s strong interpretation of Matron Mama Morton is pivotal, Butler crushing it in the number “When You’re Good to Mama”, a jailhouse tutorial for newly imprisoned Roxie Hart. A talented ensemble also brings another strength to the production in their many alluring dance numbers, perhaps most markedly in “Cell Block Tango”, a sultry ode to the woman prisoner during the revolutionary Jazz age.  

This new staging of “Chicago” is colorful and richer than ever thanks to an artistic creative team that includes Kevin Depinet (Scenic Design), Sully Ratke (Costume Design), Lee Fiskness (Lighting Design), Ray Nardelli (Sound Design), Cassy Schillo (Properties Design), Claire Moores (Wig Design) along with Production Stage Manager Larry Baker. 

“Chicago” is an energy-driven musical that is sexy, fun and truly memorable. Filled with a slew outstanding performances, inventive choreography and a set list that is justly contagious, Drury Lane’s “Chicago” is a can’t miss thrill ride. 

The Roaring Twenties are back...in high style. 

“Chicago” is currently being performed at Drury Lane Theatre in Oakbrook through June 18th. For tickets and/or more show information, click here. 

I had the great fortune of seeing a true living Legend of Jazz Thursday night at Chicago’s Jazz Showcase and was able to speak to him before the first set. Pat Martino is one amazing man. He is also one of the nicest people you could ever meet. I sat and asked him a somewhat unrehearsed collection of questions. I did know a bit about him so the questions were not exactly random.

One of the first things we talked about was his approach to taking words and turning them into melodies. Martino explains there are twenty-six letters in the alphabet, seven notes in the major scale. That’s three groups of seven and one of five. You repeat the notes after you get to the seventh degree of the scale. Any word can become a melody. This tells you right away that you are not dealing with a traditional thinker here.

A word that popped up more than once in the conversation was precision. This is the way he seems to approach all aspects of life, not just music. Another key word was awareness. Awareness is a highly-overlooked concept for most people. Musicians who are tuned into what they are playing and the people they are playing with are going to end up on another level entirely. I consider Pat’s thinking to be extremely Zen in nature. “All there is, is now” was my favorite quote of his. It is very eye opening, really. The idea that the past and future do not truly exist is a reality most of us cannot accept. There is so much truth in that statement.

Another thing that struck me was how he talked about not being obsessed with music. That is another strong statement. This at first might seem a bit too casual for a musician to accept. How can a serious musician follow this? It is easy to get so caught up in your music that the rest of your life suffers. The rest of your life should be incorporated into your music. Balance is key to everything, another Zen like concept.

Now, let’s talk about the music. Pat currently plays in an organ trio. For those of you unfamiliar, that is organ, guitar and drums. There is no bass player. The organist handles the bass role most of the time. I personally love this type of trio. I am a huge fan of the Hammond B-3, an instrument that gives off one amazing sound - truly hard to duplicate. Pat Bianchi was the man behind the keyboard. He was Martino’s perfect compliment. He traded solos with Pat and provided superb accompaniment. 

Carmine Intorre completed the trio on drums. Jazz drummers are amazing creatures. The way they think of rhythm is off the hook. Rhythm is probably the most overlooked piece of the musical puzzle. Nothing grooves without the groove. I have heard the quote that a live band is only as good as the drummer. Intorre kept it going without a bass to lock in with, great job.

Pat’s own playing was flawless. I don’t remember hearing a bad note. His solos were highly creative. The rhythm of his phrasing brings back that word precision. Here is a guy pushing seventy-three-years-old that can out play people in the prime of their life. Actually, he may still be in the prime of his life. This guy is using strings on his guitar that most guitar players could not use. I am talking some heavy strings, even for Jazz players. I think a lot of it is due to how the man approaches life. Most people his age are shot, just not much left. He seems to really value a healthy lifestyle. I think being, as he described it, “mostly vegetarian” helps a lot. A lot of artists sacrifice their own health in pursuit if their art. Your body and mind are truly your instrument, not your guitar. The Zen concept again comes to mind.

Jazz can seem to be a bit self indulgent at times, all the soloing and all. What it really is a conversation between musicians. That is not always easy to see. However, when musicians are of this caliber, it is. I’m sure a lot of people who go to see a guy like Martino go to see an amazing guitarist. I can count myself on that list but after talking to Pat, I felt like I understood the scene a whole lot more. He talked about how the scene was back in the hey day. It was a community, not just the musicians. Jazz is a very social environment. In some ways, it is musician’s music. The fans are certainly another element. It is an environment for thinking people. An outsider might consider this a snobbish line of thinking. What it really is, is an escape. Jazz is a way of diving into a pool of joy. A lot of intelligent people find it difficult to exist in the world. They need a place to escape. Jazz clubs were at one time filled with people like this. I find it kind of sad in a lot of ways that there really is a very small Jazz scene left. That to me tells you a lot about our society today. 

I don’t want to end this on a downer. What I will say is don’t be afraid to think. Think outside the box. My conversation with Pat Martino was a bit of an epiphany to me. It’s okay to think and have your own ideas. You can live your life with a level of precision. This can be a pattern in your life, your music. Incorporating your life into your music is as important as bringing music into your life. I saw an amazing guitar player Thursday night, but I also met an amazing person. Thank You, Mr. Martino.

It was an interesting pairing of solo singer/guitar players last night at City Winery. I often check out artists I review that I don’t know before I go and see them. Often, I end up finding they can be quite different than the usual Youtube videos you see. This can be good or bad. A couple reasons for this. There is the energy of the room that cannot be captured on video or sometimes you end up checking out the videos that do not exemplify the band as much. In this case, both artists were better in person than video.

First up was Edward David Anderson. I would call him a bit of a story teller type of writer and singer. Most of his songs had entertaining introductions and good story lines. I found it interesting that he sat down and played bass drum while he sang and played guitar - a one-man band. His left foot seemed to be getting something like a tambourine sound. I could not see how he did that, exactly. After opening with a nylon string guitar that looked like it had survived a war, he switched over to banjo for a few songs. After that, he played slide on one of those cigar box guitars. He killed it on the cigar box playing a great version of Bill Preston’s “Go ‘Round In Circles”. I really liked that. 

Edward was a very funny guy between songs as well. His own songs were great. I really liked one called “That’s My Dog”. He was not too serious and very down to Earth. I thought his music was very accessible, and the crowd was in agreement. He got a great response. He even did some Dylan-esque harp work and, believe it or not, some kazoo while plying guitar and bass drum.

After a short intermission, Seth Walker took the stage. He was sporting and old Gibson hollow body guitar at first. He plugged into a little tube amplifier. He was a little more Blues based, but not a bunch of twelve bar repetition. He had some really good songs, too. He was a switch from Anderson but it was a smooth transition, either one could have been headliner. 

He switched to a steel string acoustic after a few songs, joking it was a borrowed guitar. His version of “Blue Eyes Crying in The Rain” was just amazing. Willie Nelson would surely approve. He switched back to the old Gibson for the rest of his set. He also seemed to put a little humor in his delivery. This tends to work rather well in a club this size. The crowd was very relaxed. There was a lot of clapping on two and four during Walker’s set.

Anderson came up and joined Walker for the last couple songs. “Ophelia” was a knockout song I first heard The Band do years ago. It had that kind of Levon Helm vibe. 

It was yet another great show at City Winery, which is a real nice place to see a show. The wine is excellent and so is the food. They also have a top-notch staff. The crowd was a nice mix too. I would highly recommend both the venue and the two artists highly. It was a great way to spend a Thursday evening.

It’s so easy to make comparisons with artists these days. He/she sounds like so and so, etc. My expectation before seeing Becca Stevens was to find a folk singer along the lines of the clichéd variety. I was surprised at what I found. I guess Stevens does somewhat fit into the folk category only because the industry likes to file music into genres. However, the folkie title is a bit too generic for her music.

Stevens is the singer/songwriter type for sure. That being said, I would consider her music to be more along the lines of eclectic pop sprinkled with some folk and almost Medieval overtones. During her recent performance in support of her latest release Regina at City Winery, I sat back, unsure of what to expect live. As l listened to Stevens’ set, I heard some very catchy melodies including those in “Queen Mab” off her latest album. Steven’s voice I might compare with someone like a Joni Mitchell, at least in terms of range, though her songs were quite different than Joni’s. I really liked the band she had, as well. Three musicians backed her up - drums, keys and bass. Stevens also played guitar – and well.

Steven’s ability to play guitar with such heart and technical prowess was jaw-dropping at times. I couldn’t help but notice several interesting chord voiceings and it sounded to me like she might have ventured in to some open tunings. Stevens did not perform any guitar solos. She is not that kind of player, and her music did not lack anything because of that.

Liam Robinson was the man on keys. He also contributed backing vocals. He played a grand piano, electric keys and accordion depending on the song. Robinson adds a very melodic element to the fold. The accordion was a nice touch and Steven’s performance had me wondering if it was not also used as a midi controller due to some of the timbres I heard.

Jordan Perlson played drums. A very solid pocket guy, he did not over or underplay either. He was part of what I would consider a very solid rhythm section. I consider dynamics a huge part of performing and he led the musicians in that direction very well. He knew just when to pull back when the time called. The balance of sounds has a lot to do with the man behind the kit. A live band can’t really be any better than their drummer, and in this case, they have a solid one in Perlson. 

My favorite part of her band was bass player Chris Tordini. He also sang along with Stevens and even pitched in with some short lead vocal lines of his own. His style was very diverse. Pick and finger styles were used along with some almost classical guitar style right hand work. Tordini complimented the dynamic drums and never overpowered the vocals.

The City Winery has a great system. I am not sure if the person running the board was the house guy or not. The mix was flawless, very unlike a lot of the clubs I hear in Chicago were all you hear is the bass and drums. I don’t care to much for that. I like hearing the vocals myself. I was not disappointed.

Becca seemed to have quite a following at City Winery, as many people were singing along with her songs. I may need to dive into some more listening from her catalog. I also thought it was very cool that she did some work with a band I highly respect, Snarky Puppy. Talented people do seem to attract one another’s attention so I shouldn’t be all that surprised. The surprise to me was that Stevens was billed as some type of roots musician. I didn’t hear that at all. I found the songs to never really sound dated. I think that title should be dismissed. I don’t like categories anyway. That always narrows the focus of the artist and the mind of the listener. Music should expand your mind, and Becca Stevens is a fine example of that notion.

For more info on Becca Stevens visit http://www.beccastevens.com/.

To check out the upcoming schedule at City Winery, visit http://www.citywinery.com/chicago/. 

Leah Urzendowski and Anthony Courser have created a show that is part comedy, part play therapy that is truly a joy to behold. Don't skip the opening steps. When you enter the lobby, you will be asked to write down one of your fears and place it in an envelope. Then you will be asked to think of something that brings you Joy and bring that thought with you as you enter "The Joy Womb". The Neo Futurium has been cleverly lined with mismatched sheets, colored lights beneath to create a lovely, cozy joy womb effect. 

The? Unicorn? Hour? begins with an awesome light show in the "womb" accompanied by terrific music and sound effects to which Leah and Anthony (who are a couple in real life) enter wearing dark capes and much smoke, which is soon thrown off to show that they are actually dressed in beautifully crafted, silvery unitards as Unicorns of Joy! 

"The mighty rumpus that defeats the evil!" They cry out then ask if we are feeling scared, defeated etc. by what's going on in the world, inviting the audience to join them in their journey to transform fear into real joy. 

Both actors are fantastic physical comedians (having been creators together on the popular play "Burning Bluebeard", the unique show in which actors from the deathly 1903 Iroquois Theater fire where over 600 audience members were killed), and try to get through the show without killing their audience this time, as well. But Leah Urzendowski is a real dancer in every sense of the word, expressive, muscular, sensitive and flexible. Her dancing as the Unicorn takes the show into another realm of professionalism and put of pure clowning. 

There is a special guest from another show, I won't reveal because there will be a new special guest each week but this Eeyore-like character enters to the music "Lonely Boy" and the audience sees clearly that joy is a choice, as the pair tries to get him to cheer up using a bubble machine. He keeps insisting over and over, "Those bubbles are just gonna pop. There goes another one and another one, they are all popping!" 

There is a "swear square" where tensions are released by letting out swear words, but when Courser gets too carried away after starting off with innocent words like “dang” and “darn it” and the swearing turns mean and scary i.e. "I've got a bag of dicks and I'm going to stir it in a pot to make myself a dickwich to…," she eventually stops him. It's a tiny little feminist statement that many miss because in today's anything goes type of political correctness sometimes things just go too far in that dark "pornographic" way and women and children end up feeling threatened instead of empowered to express their own anger however gentle it may be. 

There is a fabulous physical bit where Courser pantomimes a journey to the top of a mountain that includes horseback riding, to flying, to parachuting to snow climbing among other fun-tastic feats. But as they both reach the top, the audience is suddenly enveloped in darkness and fear again. 

This is where the cast members come around and start asking us to name our fears and if we’d like to give them to the players to take away from us. Some of the fears in our audience were loneliness, fear of being alone in the dark, a pet or loved one dying, failure, never being more than I am now and drowning in cold water. But by the end of the show we are all asked to shout out our joys - the sound of a dog drinking water, a fresh piece of buttered toast, easy money, cuddling in bed all day, etc. and the room is restored to feelings of Joyous Surrender to the music and dancing these two have created. 

Their dance numbers really are both comical and extraordinarily demanding and professional, with the two winding about each other like seahorses made to fit as one beautiful, silvery creature with Leah's legs wrapped around Courser’s waist or even his neck as she peers out between his knees to whisper "JOY!" 

I have to say this is the MOST fun and joy I have had in recent years at any comedy in Chicago and promising an audience as stressed out as Chicago audience members are now by the political disasters and death unfolding around us every day, delivering a dose of real JOY in the theater world, is a REAL achievement! 

I highly recommend this hilarious, thought-provoking and most of all FUN, delightful, refreshing, exciting, comforting and colorful piece of work to anyone who is seeking to remember how to have a little joy in their lives right NOW. 

The? Unicorn? Hour? Runs just over an hour and is currently being performed at the Neo Futurium in Andersonville through May 13th (hopefully an extension will take place). For tickets and more show information visit www.neofuturist.org.

Shattered Globe Theatre welcomes back one of Chicago’s own, Sarah Ruhl.  “For Peter Pan on Her 70th Birthday” is a new play making its Midwestern debut at Theater Wit. Ms. Ruhl is one of the country’s foremost playwrights right now. She has another new play, “How to Transcend a Happy Marriage,” currently running at the Lincoln Center in New York. Her work is often produced in Chicago usually directed by her friend Jessica Thebus. This is an especially personal production for Ruhl as it stars her own mother (Kathleen Ruhl) in the title role. 

No, this is not another warmed over incantation of the JM Barrie fairy tale. While somewhat influenced by the source material, “For Peter Pan on Her 70th Birthday” is a very realistic story of five siblings grappling with the death of their father. What begins in a depressing hospital room, moves to a whiskey-soaked conversation between siblings that eventually turns into a make-believe version of Peter Pan. 

At its core, this is a play about love. There are plenty of plays about dysfunctional families, and this isn’t one of them. What it boils down to are five adult children trying to pinpoint a time when they felt their father’s love. These siblings have differing political beliefs and Ruhl’s apt commentary about our current climate is especially sharp, without being polarizing. There’s a great deal of truth in the courtesy her characters show for one another’s opinions. She also spends a great deal of the play dissecting the role of Catholicism and whether or not there is an afterlife. Despite the volley of bittersweet and at times painful memories of their childhood, these characters love each other and that is felt in the dialogue and performances. 

Kathleen Ruhl is adorable as the oldest sister and former Peter Pan star, Ann. Perhaps it’s her relation to the playwright, or her commitment to character, but Kathleen Ruhl makes the audience question how much of this work is fiction and how much is fact? Eileen Niccolai, a Shattered Globe ensemble member, provides a lot of the humor, but also some of the more heartfelt moments as youngest sister Wendy. All the siblings are named for Peter Pan characters, which underscores Sarah Ruhl’s point that with their parents gone, they are orphans now and need to grow up. 

Like any Sarah Ruhl work, there is a great deal of whimsy. With each new work, Ruhl continues to keep one foot on the ground and one in the clouds. “For Peter Pan on her 70th Birthday” is both prolific in its subject matter and also aesthetically striking it its presentation. The reality of the situation and the poignancy of the lines allows the audience to trust their narrator and fly when the time comes. 

Shattered Globe’s “For Peter Pan on Her 70th Birthday is being performed at Theater Wit at 1229 W Belmont (773.975.8150) and has been extended through May 27th. 

One might be unsure of what to expect from a show featuring 65 horses and 48 artists, but the mystical grandeur of Odysseo by Cavalia leaves one feeling awe and in disbelief of the athletic feats and performance they have just witnessed. Set to live musical performances of a band and live singers, Odysseo takes the audience on a journey through different lands, cultures, seasons, and across land, water and air to display the astonishing talents of the horses, riders and acrobats. Hailed as “The Best Show Ever”, Cavalia is a performance like no other seen in the past. 

Sitting under a Big Top as large as a football field, everyone is anxious to see the first horses enter the scene, and once that happens the crowd is giddy with delight as they gallop across the stage. It is wonderful to be in the presence of such beautiful horses and one can’t help but feel lucky enough to be near them and imagine brushing their beautiful manes. An incredible amount of talent is demonstrated through each routine. The horses also display their personalities through their interactions together, sometimes even picking on each other in the middle of the act as if to say, “Hey! That’s where I’m supposed to stand!” 

Some of the most daring parts of the show establish the bond between the artists and horses. This bond is very apparent throughout each act as they work together to perform many stunts and dances in unison. Riders often appear hanging from the side, underneath, or standing on top of a galloping horse. The timing alone is so crucial for the stunts and the trust between the horse and performer is palpable. 

The acrobatic feats of the performers is one, no, two steps beyond what one might have seen from other troupes. Angel-like Aerialists are kept grounded via their flowing aerial silks to horses and riders below who are guiding them in a circle while they float, spin and wrap themselves in a dance that could only be done in the air. Phenomenal acrobats flip across the stage, across each other, and often on top of each other forming human steeples and pyramids that look like one person is entirely supporting at the bottom of the steeple. Performers wearing spring-legs are human kangaroos often jumping as high and as far as the horses. The strength and agility of the performers during the act "Carosello" is breathtaking, the piece completely unique to Cavalia. Incorporating a spinning carousel suspended from the top of the set, acrobats are dancing together on the moving poles demonstrating immense strength and teamwork that is disguised with graceful, flowing moves, sometimes looking effortless.

The set by Guillaume Lord is magnificent and plays like a main character throughout the show. The depth that is created through use of video screens, lighting, and a stage that slopes down from the height of three stories, creates a vast landscape that is used to tell stories with a cinema-like quality. Horses and riders arrive from distant mountains and are most stunning in the act "Travellers". Water is brought to the set through creating rain and a pond that helps highlight the very talented prancing horse, accentuating the performance of acrobats and the stunts riders perform on the galloping horses. The large screens display video creating a layered backdrop and the use of lighting helps to fashion different textures on the ground that takes us to many different landscapes, producing a mystical world where horses, riders and acrobats live in harmony while creating art. 

Under the Artistic Direction of Normand Latourelle and the Direction of Wayne Fowkes, Odysseo by Cavalia will transform your expectations of shows of similar caliber. It is an inimitable experience that gives the audience the opportunity to enjoy a spectacular performance like no other that demonstrates agility and grace through cooperation and trust. It is a must see along with anything that Cavalia creates in the future. 

The horses in Cavalia are used from all parts of the world including Spain, France, Germany, Australia, The United States and Canada with breeds ranging from Arabian, Appaloosa, Lustitano and Holsteiner to name a few. Well cared for, a 20-person team comprised of trainers, veterinarians, groomers and health technicians travel with the show. To stay in tip-top shape, the horses go through a daily stretching and gymnastic routine daily. And no need to worry as the horses are well fed, receiving eight healthy meals per day with special treats (carrots and apples) given to each on Sunday evenings. In fact, each horse has a diet based on its individual needs. 

The human performers are also well-traveled, coming from Italy, Brazil, the United States, Russia, France, Guinea, Poland, Canada and Ukraine as nine languages are spoken at Odysseo.

Visually stimulating, adventurous, spectacular and one of the most original shows to come through Chicago in years, Cavalia is a family-friendly show that people will be talking about for some time. 

Odysseo by Cavalia will be performing under the Big Top located in the South Lot of Soldier Field through April 23rd (now extended to June 3rd). Tickets are available at www.cavalia.com or calling 866.999.8111. Special pricing and packages are available or groups. 

It's not often you'll hear cool and the play 'Picnic' in the same sentence, but director Will Davis' new version at American Theater Company is just that. This is William Inge's 1953 Pulitzer Prize winner as you've never seen it before. For many, 'Picnic' triggers high school boredom flashbacks. When traditionally produced, this play can tend to be a little dry. Not the case here, with unique staging and deconstructed notions of gender, Davis brings Inge's work into our century. 

William Inge was himself gay in a time period in which it was not acceptable. The theme of secret desire in 'Picnic' parallel Inge's own struggle with being other in a more straight-laced world. Though the Midwest has certainly changed since the 1950's, much of its close-mindedness still exists and that's what remains relevant about Inge's play. 

This is Will Davis' first full season as artistic director of American Theater Company and this production is bound to get noticed. This version of 'Picnic' begins as almost performance art; a woman takes a seat at a piano and the cast enters in the shadows. In look and feel, this production couldn't be more different from the traditional staging. While jarring at first, the cast immediately finds its footing and makes Inge's dialogue come to life. Artful and visually stunning effects are peppered throughout, which make for a memorable experience. 

Performances are impressive here. Davis' gender-blind casting forces you to focus not on what a performer looks like but rather how their performance makes you feel. In the role of transient stud Hal, is Molly Brennan. While it's apparent she is female, through costuming and attitude, Brennan delivers Hal with such sincerity, it brings to mind Mary Martin's Peter Pan. Malic White is striking in the role of Madge. White's petite and soft spoken Madge turns preconceived notions about feminine beauty on its head. Spinster school teacher Rosemary is played hilariously by Michael Turrentine whose physicality couldn’t be more spot on. 

Classic plays should be analyzed in every time for their relevance. These plays can only stay part of the cannon if they connect to a modern audience. It's important for theater companies to take risks and make bold choices to usher these works into a new millennium. Will Davis' 'Picnic' hints at a fearless future for American Theater Company. 

Through April 23 at American Theater Company. 1909 W Byron St. 773-409-4125