In a Sam Shepard play, rarely are things what they seem. His 1980 play "True West" is no exception. Under the direction of James Yost, Shattered Globe Theatre tackles this modern classic. "True West" is often considered part of a family saga by Shepard that includes his 1979 Pulitzer Prize winner "Buried Child."
Austin and Lee are two brothers who couldn't be more different. Austin (Kevin Viol) is an upstanding writerly type who we first meet hunched over a typewriter in his mother's kitchen. Lee (Joseph Wiens) is his hulking older brother with a checkered past. Austin is working on a script in his mother's house while she's on vacation. Hoping for some peace and quiet, he's interrupted by Lee whom he hasn't seen in five years. Over the course of Act I, we watch as Lee and Austin battle for superiority through frustratingly inane questions. The moment of reckoning comes when Lee highjacks Austin's meeting with an important Hollywood executive.
What the play points to in American culture is that bullies win. Bullies get what they want and being a polite makes you weak. This theme couldn't be more relevant as we look to a certain unpresidential candidate running for president this year. No matter how much evolution we have to the contrary, human nature is that the strongest eat first. Austin and Lee can be interpreted as two parts of the same mind. Shepard often opines on the perception of masculinity. "True West" explores the duality we all possess.
There's a special place in Chicago's theater community for "True West." It was one of the first out-of-town successes of a then fledgling theater company, The Steppenwolf. Gary Sinese and John Malkovich starred in the principal roles. It transferred off-Broadway in 1984 and helped establish The Steppenwolf as one of the best regional theaters in America.
Director James Yost's vision for this show is faithful. The set by Greg Pinsoneault drops us right into 1980. Sarah Jo White's costumes are also very authentic. Performances are this production's strongest asset. Kevin Viol's breakdown between Act I and II is hilarious. While Joseph Weins' character stays mostly static throughout the play, his commitment to the grossness of extreme masculinity echos Marlon Brando as Stanley Kowalksi. Shattered Globe's production of "True West" shows their knack for bringing topical themes to classic works.
Through Oct 22nd. Shattered Globe Theatre. 1229 W Belmont Ave. www.theaterwit.com
The plot is simple enough. Donna Sheridan raises her daughter Sophie now twenty-years-old, on a Greek island where she runs a small island resort. Sophie, about to get married, wants to be walked down the aisle by her father. Problem is, she doesn’t know who her father is. A bit of snooping through her mother’s diary offers three possibilities, leading her to invite each to her wedding, much to her mother’s chagrin as Bill Austin (Steve O’Connell), Harry Bright (Michael Gillis) and Sam Carmichael (Jeff Diebold) show up to the island where Sophie figures to find out which is her real father. Again, the plot isn’t very complicated. But we do not see Mamma Mia! for its plot, we see it because it’s Abba charged soundtrack is fun, the set and costumes are colorful, the dance numbers are contagious and the show has a good share of laughs. Simple, light and fun - the perfect anecdote to escape from the daily, or not-so-daily, doldrums so many of us endure, if even for two hours and twenty minutes.
Currently running at Paramount Theater in Aurora, we get a production equipped with a slightly different set from the traditional Mamma Mia! look fans have come to known, and it works quite well. Accompanied by a full backdrop flooded with video projections of waves gently making their way to the shoreline and trees with leaves softly blowing in the wind, it’s easy to get lost in the rich island atmosphere. Though the set design limits the larger dance numbers, this production makes it work with its own unique choreography that rivals most other presentations.
A strong ensemble bolsters a capable cast, the musical numbers strongest during choruses or added backing vocals. Though Amy Montgomery as Donna can carry a tune, her voice is just enough to warrant her taking on the leading role. However, she is often strengthened by surrounding cast members during harmonies, and by the way – the harmonies throughout the show are fantastic across the board! But Montgomery clearly has the personality and charisma for the role, overall making her casting sensible. Donna’s two sidekicks Tanya (Jennifer Knox) and Ali (Sara Sevigny) are wonderfully played, each character getting their respective laughs and admirably tackling their vocal duties. Sevigny truly shines as Ali during her duet with Bill, “Take A Chance On Me” displaying a great sense of comic timing (as well as O’Connell), while Knox hits one out of the park in her gritty number “Does Your Mother Know” showing off her dancing prowess in a heated exchange with Pepper, the young flirt who has eyes for her since her arrival to the island.
We can easily buy into Dieblod, Gillis and O’Connell as Donna’s three past love interests, each also adding to the production with fine vocal offerings and just the right touch of physical humor. Diebold is no stranger to the role of Sam Carmichael having toured with Mamma Mia! on the Broadway North American Tour.
Still, you can’t have a successful production of Mamma Mia! without a strong Sophie, and Kiersten Frumkin is just that. Vocally on par for each of her many numbers, Frumkin is able to capture the essence of Sophie, projecting a true sense of wonder, hope and elation into her role, creating a believable twenty-year-old optimist that we can’t help but relate with and root for.
Though Mamma Mia! is far from a profound life lesson, it does promote self-acceptance in many ways and leaves us with hope that past mistakes can sometimes be corrected, even if twenty years later.
With one Abba hit after another Mamma Mia! grabs its audience from its opening number “I Have a Dream” and doesn't let go until after its finely built crescendo finale number “Waterloo”, where each seat in the theater is now empty due to its occupants dancing and clapping along with the cast.
Mamma Mia! is the feel good night out everyone can use to take in some great music and have some healthy laughs that will have audience members wanting to do it all over again. Mamma Mia! is being performed at Paramount Theatre through October 30th. For tickets and/or more show information visit www.paramountaurora.com.
As Sophie sings along with Bill, Harry and Sam, “Thank you for the music”.
It’s the beginning of a puppet-laden season in theatre this fall. Victory Gardens will be performing Hand to God, the story of a boy whose hand puppet is possessed by the devil, and later in the season, Writers Theatre will produce The Hunter and the Bear, their latest collaboration with Pigpen Theatre Company, which is expected to include the use of shadow puppets as storytelling devices. But first, The House Theatre of Chicago is now presenting their newest original work, A Comedical Tragedy for Mister Punch, a show which explores a fictionalized origin for England’s popular family annihilating marionette, and the minds of the people who came up with him. Featuring the best products of The House’s beloved design team, Mister Punch is a technical marvel, though the script by Kara Davidson is slow to start.
The earliest record of Punch and Judy shows comes from the seventeenth century, and the show is set slightly after that. Punch’s illegal immigrant Italian creator, Pietro Bologna (Adrian Danzig), ekes out an existence while dodging the authorities, as does the thief and street urchin, Charlotte (Sarah Cartwright). Fate brings them together, and Pietro decides he could use her as a bottler, the assistant who introduces shows and collects money. Disguised as a boy named Charlie, Charlotte is initially awful, but the puppets capture her imagination. They have inner life, Pietro tells her, though he guards his creations jealously, and insists that mass murder is the only acceptable ending for Mr. Punch’s stories. When Charlotte learns that Pietro visits a prostitute, Polly (Echaka Agba), whom he regards more as a mistress, she hopes that a softer side of her master might manifest through the puppets if she could only capture some of that affection in the play. But circumstances, and Pietro’s true disposition, are not so kind.
Lee Keenan’s scenic design is similar to the circus theme used in The House’s recently remounted Death and Harry Houdini, only this time, commedia dell’arte masks and puppet pieces dangle from the rafters. John Fournier’s original music contains several unnerving melodies, though naturally, few can compare with the props designed by Eleanor Kahn or with the puppets themselves, created by Jesse Mooney-Bullock. The leering grins of Punch, the crocodile, and the other denizens of his world look even more grotesque in the masks worn by the live actors (costumes by Izumi Inaba). Punch, played by Johnny Arena, appears in the flesh during scenes in which his puppeteers are acting him out, as do Judy (Carolyn Hoerdemann), his much-abused acquaintance, Joey (Joey Steakley), and his other victims. Though The House prides itself on innovative storytelling, few scenes in the show could be more highly theatricalized than these.
Or, at least, that will probably be the case after a few more runs. Though puppetry is often clumsy, more than was optimal seemed to be going wrong at opening, which distorted the pace of the comedy and caused some hesitancy among the actors during fight scenes. This has happened at other House shows, which were able to recover gracefully, but his time, the script was unfocused in the first act to the point where the performers didn’t have much to return to. In the second act, Davidson found her thread, and director Shade Murray was able to put together a story that was as alarming as it was open-ended. But in the first act, precious time was lost to self-indulgent interludes such as the main antagonist doing an impression of House artistic director Nathan Allen.
As annoying as some of the missed opportunities were, what happens in the second act more than redeems the show. We see Danzig’s Pietro as he truly is—not nearly as monstrous as his creation, but enough like him to confuse and disquiet the girl who can’t help seeing him as a friend. Cartwright’s performance takes over near the end, as with increasing desperation she attempts to turn the world of “cathartic violence” Pietro has devised into something kinder and more hopeful. Ironically, the scene which the opening night audience reacted the most viscerally to was one of the few instances of Pietro doing something truly altruistic, due to its graphic nature. The House strongly advises that this show is for teens, at the youngest. But for people able to enjoy and critique the Punch and Judy aesthetic, this show comes recommended.
A Comedical Tragedy for Mister Punch is being performed at the Chopin Theatre through October 23. Tickets are $30-35; for more information, visit TheHouseTheatre.com. Running time is two hours and fifteen minutes with one intermission.
Naperville may be worth seeing just for its portrayal of T.C., a newly installed Caribou Coffee shop manager. When customers repeatedly ask after Nick, his popular predecessor, he replies by the book, “Nick no longer works here.”
We soon see that T.C. is desperate to succeed in his new job, hoping to avoid the fate of Nick, who was sacked for letting customers linger past closing time – the kind of thing that throws a monkey wrench into the central database to which the cash register, lights, locks and ever observant video monitors are linked. Welcome to 1984.
While T.C. is a parody, he is also a parable for our times. In their chain store incarnation, coffee shops are friendly places – within limits. As he warms to the customers, T.C. slips and reveals that “Nick will never work in this or any other Caribou Coffee again.” As closing time nears, these customers have no intention of moving on despite T.C.’s angst-ridden and frantic efforts.
The problem with the rest of Naperville is that the roles are more caricatures than characters. Overweening Howard (Mike Tapeli), home to care for his sight-impaired mother Candice (Laura T. Fisher), is put upon as she needles him to get married. Howard ’s popular high school classmate, Anne (Abby Pierce), sequestered in a corner, broods over her poorly lived life while cobbling together a vaguely worthy history of Captain Joseph Naper.
Playwright Mat Smart delivers steady laughs and Naperville is somewhat engaging, but toward the midpoint we start hankering for. . .meaning, as do the characters. Instead we have something more like a Seinfeld episode (you know,” nothing happens”) only it’s a bit less edgy.
Not to fault this cast. Abby Pierce has movie star quality. Mike Tepeli projects the protagonist as “everyman.” Charlie Strater as Roy perfectly evokes that untethered born-again character you hope to avoid in social settings. (And he draws our sympathy when he reveals his pain in answer to Howard’s, “What’s your deal?”). Also, the set (Joe Shermoly), props (Amanda Hermann) and costumes (Christine Pascual) are pretty much perfect. Somewhat recommended, Naperville runs through October 16 at Theater Wit.
Amour, playing at the Atheneaum, is a jewel box of a show. This lighthearted musical (technically a comic opera) is profoundly entertaining, without needing to be profound. It is just plain fun.
With nearly no spoken dialog, the nine cast members sing their hearts out for 90 minutes. The music, lively and varied, stays fresh – and the libretto is sharp and humorous. These are all very talented, natural singers, who are well balanced and, with no electronic assist, sing dialog clearly, ever with an ear to a backstage orchestra – though small it is excellent.
On key and in seemingly effortless harmony, the cast waltzes through a dozen different musical styles that hearken to the play’s roots. It was Tony nominated on Broadway in 2002, adapted from a 1997 Paris production. Numbers run the gamut from cabaret to jazzy Manhattan Transfer, grand opera, and everything in between.
The story line is delightfully simple: an office worker in dreary post-war Paris discovers he can walk through walls, turning his humdrum life into an adventure. Brian Fimoff as Dusoleil brings that Everyman quality to his role.
Much credit must be given to Black Button Eyes Production for retrieving this treasure from the script vault. Their mission is to bring Chicago seldom-seen works containing elements of fantasy, in which magical and surreal invade reality. Mission accomplished.
Standouts include Missy Wise (as Claire/Whore), with a big voice and plenty of sass. Kevin Webb plays a Gendarme but his performance as a Nazi-like Boss in jodhpurs and riding crop is over the top funny. A real standout is Scott Gryder in three key roles: he is all Newsies as a newspaper vendor; very funny as frightened advocate; but he could give Paul Lynde a run for the money as office clerk Bertrand.
And then there is THE VOICE: in this show, it's Emily Goldberg (playing Isabelle). Goldberg has it all: trained, expressive, and Broadway beautiful. (Goldberg, playing musical theater al around town, is certainly Broadway bound, so catch her locally while you can.) Fimoff pairs nicely with Goldberg in their duets, but he cannot match the rest of the troupe's volume when he is not belting.
The Amour production itself is a tribute to what can be conjured up with minimalist but imaginative props and sets. It also is a testament to the audience's ability not just to suspend disbelief, but to join in the fantasy.
Amour debuted in Paris in 1997, and its original libretto was adapted for Broadway in 2002 by Jeremy Sams. Music is by Michel Legrand, and the French libretto is by Didier Van Cauwelaert here in a witty English adaptation by Jeremy Sams.
Amour, highly recommended, runs through October 8 at The Athenaeum Theatre.
Wouldn’t it be great if we were given a simply written book to tell us how to succeed in whatever it is we wanted to pursue so long as its easy steps were followed? Supposing we were unqualified and the book taught us how to beat the system in ten or so easy steps? Well, such would be the case in Marriott Theatre’s latest production How to Succeed in Business Without Really Trying.
In this latest Marriott musical, we are taken to the “Madmen” era of the early 1960’s, thrust back into a day when women in the business world were either secretaries or sex objects – or both - and men lacking professional skills could save their jobs simply by reaching out to the brotherhood of man, even getting women to join in their argument. We’ve all heard the phrase “fake it ‘til you make it” and in some ways everyone adheres to such advice conscious of the fact or not, meaning we can all relate. In How to Succeed in Business Without Really Trying, based on Shepherd Mead’s 1952 book of the same name, we get a highly exaggerated example of such a philosophy as well as a humorous satire of a sexist corporate structure.
In the heart of fast-paced New York City we find window washer J. Pierrepont Finch. He immediately shows a strong desire to become something bigger – someone important. Taking a break, he reads from a book in his hands, “How to Succeed in Business”. The audience hears what he is reading – shortcuts and tricks to quickly climb the ladder in a company. One of the first steps is to “find a company big enough where no one knows what the other employees are doing”. Finch may lack the qualifications to be a business professional but has no shortage of enthusiasm or ambition. Thanks to the book’s instructions, Finch “unwittingly” bumps into the right people and quickly lands himself a job in the mailroom of a large New York company. Referring to the book as often as possible, Finch butters up important decision makers in his path and, as the book predicts, is unceasingly promoted to higher positions. When Finch first arrives at the company he is met by Rosemary, a secretary, who has eyes for the young, determined newbie. Though her advances are obvious, Finch is dismissive having his eyes firmly fixed on succeeding within the company. Naturally, his plan does not proceed without a few hiccups along the way, the book always nearby for reference on what to do in such situations. As the quick-witted newly hired employee tries to climb to the next level, company owner Biggley’s nephew Frump (who was reluctantly hired by the big boss in the first place), jealous of the attention the newcomer is getting, always finds himself scheming to bring Finch down.
Seinfeld fans are reminded of George Costanza who cheats the system at work to always appear busy by acting annoyed at all times, continuously saying “five minutes” if someone asks for your time, keeping unkempt piles of paperwork on your desk, always having a document in hand while walking and sighing loud enough for fellow employees to hear to seem stressed.
Ari Butler admirably takes on the role of fast talking J.P. Finch, creating a likeable go-getter that we can back as he sidesteps company protocol to better his success. Gifted with fine acting chops and a pleasant voice that holds it own, Butler is exciting to watch from the musical’s opening number “How to Succeed”. Due to Butler’s energy-filled personality and charismatic nature that he injects into the character, we can easily overlook the fact that Finch is really just a transparent status-seeking kid who, rather than working hard, wants to cut all the corners he can in order to leapfrog those who really deserve it. We still like him – and the cast is filled with goodies. Jeff Award winner Alex Goodrich, who many may remember from his leading role as “Buddy” in Elf, takes his role as Biggly’s envious nephew and knocks it out of the park garnering most of the show’s biggest laughs. Terry Hamilton as Biggley is also a delight, perhaps making his biggest splash in the duet he shares with Finch “Grand Old Ivy” to which Finch of course is lying about his alma mater to appease his superior. And while a talented and hard-working ensemble is pivotal in moving the story along in a most entertaining fashion, Jessica Naimy naturally seizes audience attention as Rosemary who is constantly vying for Finch’s attention. The striking young starlet who has in the past landed a Broadway role in Honeymoon in Vegas and has hit the road for a national tour of South Pacific, is genuinely funny as she sings and dances her way into everyone’s hearts. In the now obviously sardonic number “How to Keep His Dinner Warm” near the show’s beginning (not so sure that was the case at the show’s inception in 1967), Naimy clearly lays the groundwork for a strong performance to come.
How to Succeed in Business Without Really Trying has several big song and dance numbers that come with a large amount of pizzazz and lines that will probably be stuck in one’s head for a while afterwards. A light comedy that can’t be taken seriously with lots of laughs and snappy numbers, Marriott’s latest production is a fine escape from life’s rigmarole if just for a night, as the early 1960’s are nicely recreated helping us lose ourselves in an charming story that comes with fine acting performances.
How to Succeed in Business Without Really Trying is being performed at Marriott Theatre in Lincolnshire through October 16th. For tickets and/or more show information, visit www.MarriottTheatre.com.
Kinky Boots has now come through Chicago a few times and I am glad I finally had a chance to see this musical, being so hyped everything. With lyrics by Cyndi Lauper, I was curious to see how her music would translate to live theater.
Based on a true story, the play starts at Price & Son’s gentlemen shoe factory in Northampton, England. It centers on Charlie Price (Adam Kaplan) trying to turn around his father’s failing business. With the help from Lola (J. Harrison Ghee), who happens to be a drag queen, they collaborate to build a new direction for Price & Son and take it all the way to Milan.
What stands out more than anything else in this play is Ghee’s performance as Lola. Ghee is an amazing singer who exudes the energy you’d expect from a Broadway performer. Additionally, many of the other characters that are part of Lola’s Angels do a fantastic job (Joseph Anthony Byrd, Sam Dowling, Ian Gallagher Fitzgerald, JP Qualters, Xavier Reyes, and Sam Rohloff). They are toned, vibrant, and of course beautiful!
Another stand out performance is Tiffany Engen as Lauren. Lauren is a longtime employee of Price & Son and has a crush on Charlie. Engen is quirky and effortlessly breaks the ice when she is on stage. I would have liked to see more of her character in the play than the script allowed along with her fun dance moves.
I felt like there was some disconnect with the casting for Adam Kaplan. I had a really hard time connecting to his portrayal of Charlie. So much so that in the end, I just wished that Lola took over the entire operations at Price & Son.
Kinky Boots is fun and full of many ups and downs. If anything, you should go for the solo Ghee performs close to the end of the show. I felt remnants of Whitney Houston in the air and a lot of soul.
More importantly, the play touches on many of the injustices that are faced around the LGBTQ community. This is something that is still a challenge and many people still are not familiar or understanding of the community. I would implore people to watch this play and actually have a real conversation about gender identity. Although the play has a humorous tone, there is an underlying message that should be discussed.
You can catch Kinky Boots at the Oriental Theatre (24 W Randolph St, Chicago, IL 60601) during their short engagement ending on September 4th. Ticket prices range from $25-$98.
Chicago actress Linda Reiter plays Rose Kennedy, matriarch of the Kennedy family in the play "Rose" by Laurence Leamer, with both strength and delicacy. I have seen Linda Reiter around town in many great productions but this is truly her finest and fullest role, deserving of a Jeff Award (the Chicago version of the Tony Awards).
Leamer, a Kennedy biographer, built the entire play on forty hours of taped interviews taken by Robert Coughlan, who was the ghostwriter of Rose Kennedy's own memoir in 1974. Leamer attained the tapes after Coughlin’s death in 1992 where the tapes found home on a shelf until just recently when Leamer finally chose "deal with them", the result being this spectacular and intimate one-woman show.
Kind of a rise and fall of the Kennedy’s from Rose’s viewpoint, I learned many interesting and sad facts from this piece that I'm sure the public is unaware of. For one, Rose mentions in the show that she felt a delay in the doctor’s arrival that caused her daughter Rosemary's "slowness" or what we would call today very mildly mentally challenged due to oxygen deficiency at birth.
I was unaware of the circumstances and motive behind the lobotomy Rosemary was given. Apparently, the beautiful, but "slow" Rosemary was an embarrassment to Joe Kennedy so she was sent to live with some nuns in Europe - out of sight out of mind Joe thought. But when Rosemary had just barely reached adulthood she began to sneak out in the night to meet men and have adult experiences in the local towns, Joe feared she would become pregnant ruining his and his sons’ chances for political success.
At that time only five hundred lobotomies had been performed in the world and only on the most violent of criminals. So without telling her mother Rose he took Rosemary to a doctor who supposedly specialized in such a procedure. The doctor administered some topical anesthetic to Rosemary's forehead and told her to sing a song. Beautiful Rosemary with her big eyes and full lips trustingly and with no knowledge of what the doctor's visit was for, asked her father what to sing. Joe said, “Sing Danny Boy, that's a good one." The doctor carved away at Rosemary's frontal lobe until she stopped singing. Later Joe told Rose that '"His daughter sang ...for too long."
Rose was bound with this horrible secret and did not tell the rest of the family because she knew they would never feel the same way about their father again. Rose later wonders if she had let them know if they would have bowed to his wishes so complacently, sometimes leading eventually in some way to that child's death - either fighting at war or when Joe refused to let Kathleen marry the man she loved out of their religion.
Sadly, Rose herself only visited Rosemary once twenty-some years later in the nunnery her daughter was returned to after the disastrous lobotomy. She said Rosemary actually recognized her and had gained a lot of weight but cursed at her, turning her back until the nuns came and said Rose must leave because her presence was upsetting her daughter.
I truly believe this one act of tortuous father to daughter betrayal in the Kennedy family was the beginning of the so called "curse" on the Kennedy clan. Reiter brilliantly describes with heart wrenching poignancy this unbelievable story along with the deaths and mourning of the rest of her children - one by one, many of whom she also gave birth to alone as Joe was usually on vacation in Florida with other women) while she was pregnant and giving birth.
Ironically, it was Eunice Mary Kennedy Shriver who started the Special Olympics, perhaps the only good thing to come of Rosemary's terribly unfair and cruel life and demise.
Reiter, as Rose, fondly recalls her memories of Jack, who grew up sickly, still suffering from chronic pain even in his days as President. Almost dying from surgery performed in his youth, she explains how Jack defied the odds, fulfilling his destiny. She describes in detail how Jack looked up to his older brother Joe and the devastation felt upon his untimely death from a plane crash. She describes Bobby as Jack’s protector stating, “There wasn’t anything Bobby wouldn’t do for Jack.” Reiter skillfully captures the pride of a mother upon speaking of their achievements and also the worry and pain as she reminisces the family’s misfortune.
The play is inter-cut with wonderful photos of the entire Kennedy clan including Rosemary, which I had never seen before. Throughout the play the phone occasionally rings as Rose nervously waits to hear from her son Teddy who is running later than usual. After all, he is her only remaining son as she tells her story and though Rose’s disappointment is apparent that Teddy is not on the other end of the line, the audience gets to hear her conversations with various family members including Jackie Onassis Kennedy.
Kennedy buffs or not, historians all the same will certainly enjoy this masterful piece that Reiter executes so very well. In “Rose”, we as audience members, get an up close and personal view of the Kennedy’s rise and the many tragedies that later claimed the lives and health of one of America’s most prestigious families. Reiter performs brilliantly in this history-filled treasure, “Rose”, a part of Greenhouse Theater Center’s Solo Celebration.
I highly recommend this beautifully crafted and factually stimulating play with Linda Reiter delivering possibly the finest performance of her life. “Rose” is being performed at Greenhouse Theater Center through September 25th. For more information on tickets and curtain times, visit www.GreenhouseTheater.org.
Alas, another band we as music fans must bid farewell to in 2016, The Go Go’s have called it quits after a run that has spanned five decades since their inception in 1978. Currently saying their goodbyes on their Going, Going Gone Farewell Tour, The Go Go’s now join a slew of other 2016 retirees such as Black Sabbath, Kenny Rogers, Motley Crue, Sandi Patty and The Who. Slated as possibly the most successful all-female band of our time, Chicago area fans got to see the new-wave-pop driven California band one last time when The Go Go’s performed at Ravinia Festival over the weekend. With most band members now in their mid to late fifties, their youthful spirit and magnetic charm were still ever apparent, their musicianship polished and their set as exciting as it was in the 1980’s.
Opening acts Kaya Stewart then Best Coast set the tone nicely for the evening, Stewart more eclectic and the latter more Rock N’ Roll, though it couldn’t be soon enough for The Go Go’s to take the stage. And once they did, the band wasted little time before diving into their opening number “Vacation”, one of their most successful hits (you remember that crazy water skiing video). In a set that not only included the band’s top forty singles “We Got the Beat” and “Our Lips Our Sealed” (which I embarrassingly used to sing as “Honest Lucille”), The Go Go’s lit it up with a handful of cover tunes including The Sparks’ “Cool Places” and The Capitols “Cool Jerk”. The band also performed a couple songs from the very early days that had never made it onto their records and played a beautiful version of Belinda Carlisle’s solo hit “Mad About You”.
And the band looked and sounded great. Did I mention that?
Singer Belinda Carlisle swayed beautifully to the music, throwing in some of her well-known, carefree go-go-esque moves and sounded, well…amazing. Carlisle was radiant, exuding the same fun nature that captured Go Go fans when they really broke out in the early 1980's. At the same time, spunky rhythm guitarist Jane Wiedlin was a ball of energy, still exhibiting the major band presence Go Go’s fan have become acquainted with over the years. Whether spinning in circles, jetting across the stage, interacting with the crowd or playing on her back, Wiedlin had no shortage of oomph, assuring fans that her Vitamin B intake is quite plentiful. Gina Schock was rock steady on the drums and Charlotte Caffey impressed with guitar leads and her prowess on the keyboards, rounding out the band's sound.
But their music wasn’t the only excitement that night. Schock did her best to get the crowd going when she took the microphone and asked those in seats further from the stage to come forward and grab the scattered empties towards the front causing a bit of a stir for a brief moment or two. As security tried to maintain order, Schock chanted “Let them sit! Let them sit!” But Ravinia’s staff handled it well and a few lucky fans got an instant ticket upgrade. Despite the momentary chaos, the band clicked and the fans ate it up.
Taking their first bow after a fulfilling fifteen songs worth of material, The Go Go’s quickly returned wrapping the night up with Miley Cyrus’ “Wrecking Ball” before ending on what many consider to be their best song of all, “Head Over Heels.”
The Go Go's really made their mark in music history and when you think of all the female fueled bands since to which The Go Go's paved the way it's not just an extraordinary achievement, it's an enrichment to one of the truest art forms that exists. But all good things come to an end sometime. After seeing them perform, it's easy to see that they could still have plenty of productive years ahead as a band. However, when it's time to go, it's time to Go Go.
This final Go Go’s tour seemed to be made for Ravinia and for the band’s fans who missed this show, well…you really missed out on a special farewell. Thumbs up, Go Go’s!
From the moment British television star Simon Slater appeared in the lighting to the side of the stage and began to describe in gritty detail the three most common ways to commit suicide, it became apparent this one-man murder mystery thriller was going to be one helluva ride. Gripping from the get go this high-charged play only became more and more engaging as the story progressed thanks to Slater’s airtight delivery and fantastic ability to convincingly take on a series of characters.
As part of the Solo Celebration, a series of twelve one-person act shows at Greenhouse Theater Center spanning over eight months, “Bloodshot” makes its U.S. premiere after making its mark as a successful hit in London. Written by Douglas Post and directed by Patrick Sanford, Slater flawlessly weaves together a peculiar string of events, producing a smart, witty and spellbinding mystery that has traces of film noir and leaves one guessing all the way through.
“Bloodshot” takes place in 1957 London when an ex-detective now freelance photographer finds himself smack dab in the middle of a murder mystery. Known for his capturing “blood shots” from grisly crime scenes, he takes on a different type of assignment when he is hired – and paid handsomely – by an unknown employer to secretly take photos of a beautiful young woman. He is soon thrust in the middle of a murder mystery that takes on many unexpected turns the deeper he investigates.
While taking the audience along on this thrilling tale of murder, Slater’s skill in becoming the handful of characters sprinkled into the story is nothing short of remarkable, and the dialogue exchanges just as impressive. As an American jazz club musician, Slater demonstrates his talent as a saxophonist and he adeptly plugs away at the ukulele while immersing into a slew of vaudeville-esque jokes as a comic. Slater also performs a jaw-dropping magic trick as a club owner who entertains his patrons as a magician, swallowing several razor blades in the process.
Slater is a force to be reckoned with as he takes a well-written story and single-handedly creates an illusion of a large scale production and does so seamlessly. “Bloodshot” has everything a theatre goer desires from a fetching storyline abundant in intrigue, brilliant acting, humor and a display of musical talent. Simon Slater is someone you cannot help but enjoy watching perform.
Highly recommended, “Bloodshot” is being performed at Greenhouse Theater Center through September 10th. For tickets and/or more show information, visit www.GreenhouseTheater.org.
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