Displaying items by tag: Chicago

“This world will remember me,” Bonnie and Clyde sing to each other in Kokandy Productions’ presentation of “Bonnie & Clyde” – a musical. Directed by Spencer Neiman, this odd-ball musical makes its area premiere after an unsuccessful Broadway run in 2011. This production also marks the fifth anniversary of Kokandy Productions, now a regular staple of Chicago’s storefront theater scene.

“Bonnie & Clyde” was developed in 2009 by La Jolla Playhouse in California, a frequent incubator for new Broadway work. The show opened officially on Broadway in 2011, but closed after 36 performances. Critics were not especially kind.

Even though it’s not a direct adaptation, it’s nearly impossible not to compare this musical to Arthur Penn’s stylish 1967 film. It’s an American film classic with iconic performances by Faye Dunaway and Warren Beatty. It’s widely considered a turning point in American cinema. The film was focused less on historical accuracy and more on drawing comparisons between the young outlaws and the political awakening of the late 60s. The musical tends to tread on the same territory as Penn’s film but in a less dynamic way.

The issue is camp. Penn’s film is mostly devoid of camp even some fifty years later. “Bonnie & Clyde” the musical feels like two hours of pure kitsch. There’s no discernable reason this story needed to be told to music and unfortunately the empty songs prove that. Neiman’s cast seems to forget that these characters were indeed real people and not cartoon characters to be parodied. The nature of the material isn’t especially satirical, but this cast has decided it is.

Missy Wise as Blanche Barrow pretty much steals the show with her number ‘You’re Goin’ Back to Jail’, but the whole thing feels a bit Disney-fied, considering that the real Blanche Barrow served time for armed robbery.

The two leads Desiree Gonzales and Max Detogne are both incredible performers. Detogne’s voice is perfectly suited for the country-tinged folk rock of Frank Wildhorn’s music. Gonzalas also has a strong voice and makes some genuine choices for Bonnie Parker, adding a real dimension to her that isn’t otherwise in the script. The generic “I-wish” song feels sincere with Gonzalas singing. You will remember her, just like Clara Bow. Detogne also makes it his own. There’s a chemistry between the two that really translates.

If you were just dying to see “Bonnie & Clyde” during its Broadway run in 2011, Kokandy offers up a serviceable production. If you were hoping to gain more knowledge about the infamous star-crossed outlaws, you may be impressed at what playwright Ivan Menchel spins into his version of “Bonnie & Clyde.”

Through October 15 at Kokandy Productions. Theatre Wit 1229 West Belmont Ave.

If you like Vegas like I like Vegas, you will love Marriott Theatre’s energetic and top notch, romantic musical comedy production of "Honeymoon in Vegas"!

Jack Singer (Michael Mahler) is in love with his girlfriend of five years Betsy Nolan (played with terrific spunk and formidable singing chops by Samantha Pauly), but was traumatized by the deathbed wish his mother imposed on him never to marry, because no one can love him like she did.  Bea (Marya Grandy) plays his mother with great physical comedy skills and her hospital deathbed scene where she strikes down a passing nurse in order to show jack what she can do to his future brides to be, gets some of the biggest laughs in the show. 

Jack and Betsy get through this flashback scene and resulting panic attack while shopping at Tiffany's for her ring and head straight to Vegas to tie the knot - before he loses his nerve for the umpteenth time. 

Upon arriving in Vegas, Betsy is instantly spotted by Tommy Korman, a rich, handsome but slightly shady businessman played to perfection by Chicago born actor Sean Allan Krill. Betsy reminds Korman of his past wife and then he goes all out to steal her from tentative Singer. His pursuit really begins when he invites Singer to a “low stakes” poker game, letting him win a few hands – a total set up. Singer has a hand next to impossible to beat and the pot becomes so large there is no way he can pay up if he loses. That’s when the fun really begins. Sean Allen Krill was the standby in this role for Tony Danza on Broadway. Krill was just fantastic and I'm not the only critic in Chicago to say Sean Allen Krill should be a huge Broadway star right now. Krill is so smooth in the role of Tommy Korman, so fluid and graceful in his immediate desire for, and courtship of, Betsy that women and men throughout the theater were so wowed by Krill's amazing singing voice and comedic acting chops that they actually wished Betsy would stay with him in Hawaii and not marry the non-committal, bumbling, but kind, Jack Singer. 

Another character actress deserving of special notice is Christine Bunuan, as the funny and fabulous Hawaiian tour guide who helps Jack find Betsy and Korman (yes, the story moves to Hawaii), but not without first trying desperately to make “Friki-Friki with Jack before delivering him to his destination. 

While talented Alex Goodrich is very funny to watch in multiple roles, Steven Strafford also shows off his comedic talent as Korman's sidekick, Johnny Sandwich.  

Several of the leading creators of its 2015 Broadway production were brought in by the Marriott Theater including director Gary Griffin, choreographer Denis Jones, and costume designer Brian Hemesath. The effect of all these highly skilled players coming together is a full-service production that grabs you right from the start with well-paced scenes and challenging, yet humorous, dance numbers that dazzle the audience with beautiful, leggy showgirls - Vegas style. 

I highly recommend this adorably sexy and funny, Elvis-filled production for young and old alike. This production is so well-played and fun to watch that you will feel you have had a honeymoon in Vegas - with a stop-over in beautiful Hawaii to boot!  

Honeymoon in Vegas is being performed at Marriott Theatre through October 15th. For more show information visit www.marriotttheatre.com.

Strawdog theatre begins its 2017-2018, 30th Anniversary Season with a Chicago Premiere of Barbecue by Robert O’Hara. Barbecue is performed at Steppenwolf’s 1700 Theatre as a LookOut Visiting Company.

In Strawdog’s Barbecue, a spirited trailer trash family is having a summer barbecue with an ulterior motive in mind: they want one of theirs, Barbara, to get help for her drug and alcohol problems. The most reasonable of them came up with the perfect rehab solution and wants other siblings to chime in. Squabbling around, as they normally do, smoking, drinking and calling each other names, the siblings can’t quite agree on most things except that their sister is an embarrassment to the whole family and definitely needs an intervention. They try to be considerate too, especially since the rehab might give Barbara “freezer burn”.

Without giving away too much, let’s just say that midway through the first Act there’s an intriguing race switch. The switching back and forth between the two races adds a fascinating dimension to the story and infuses the play with another cultural language; and plus, it’s cool to watch.

When Barbara finally shows up at the barbecue, everyone’s ready, albeit with a taser to subdue her if necessary. Taking turns, they present their arguments (mostly made up stories) to their bound and gagged sister, while making interesting bets for the outcome.

Robert O’Hara has such a great way with words; his characters are hilarious and wacky, they’re a fun bunch that’s keeping it real and holds nothing back. Director Damon Kiely chose a marvelously talented cast for the play that includes Strawdog Ensemble Members John Henry Roberts and Kamille Dawkins with guest artists Kristin Collins, Celeste Cooper, Anita Deely, Barbara Figgins, Deanna Reed Foster, Abby Pierce, Terence Simms and Ginneh Thomas. Minimalist set (set designer Joanna Iwanicka, props designer Leah Hummel) is to the point and doesn’t detract from the action on stage.

Act One ends with an unexpected twist. After the intermission, there’re more twists, the order of things gets changed, and the characters are propelled to fame and fortune. Enter Hollywood, wised up Barbara, a black movie star, and the race switch now makes sense. Second act’s takeaway message: “Everything is bullshit”. After all, life is all but a stage.

Barbecue is highly recommended and is being performed through September 30th. For more show information visit www.strawdog.org.

"Trevor the Musical" tells the tale of a beautiful young boy in the 1970's who is just discovering his love of choreography and dance. He is also lovesick for an older boy in his school during a time when same sex relationships were not as socially acceptable or acknowledged as the world at the time was much less gay friendly.

I predict that this play will have a very good effect on young people who view it and anyone who has ever felt put down or shamed by others for their own creativity or uniqueness.

Although I agree with some of the other critics that there was a slightly "after school special" feel to this production, there is nothing wrong with that. It moved where it needed to be moving and celebrated those who feel different than others because of who they are.

The young star of the show Eli Tokash (also played in split performances by and Graydon Peter Yosowitz) is delightful and really does a great job with all of his numbers both musically and in terms of dance and comedy movement. The music is well written, often fun and catchy, and also includes various Diana Ross hits. "Trevor" has all the ingredients to become a smash hit.

Because most of the cast is in their teens this show will definitely be produced in high schools and colleges for years to come which is a great thing especially given the current climate reviving negativity towards the LGBTQ community.

“Trevor” comes with a slew of entertaining performances, including Declan Desmond’s as “Pinky”, the object of Trevor’s boy crush. I thoroughly enjoyed the costumes and creative set design as well.

The only note I have for this cast of very talented young people is to avoid becoming robotic in their quest for perfection. The emergence of such shows like American Idol and "So You Think You Can Dance" have both encouraged young people more than ever to follow their dreams in the arts, however I feel that they have put so much pressure on young people to hit every note perfectly and to strike every pose with almost robotic precision in order to win First Prize that many of their performances now seem stiff and over analyzed and micromanaged by their directors. So much so, that they make the audience feel nervous because they as young performers seem nervous and afraid to mess up or even let their characters messy emotions show through the facade of artistic perfection because they are trying so hard to live up to this Broadway standard placed on even the very youngest performers of today. Another perfect example of this public and private pressure can be seen clearly on the popular reality show for young performers called "Dance Moms,"as they scream and yell at their own eight-year-old daughters that they are not dancing well enough.

Other than the slightly uptight feeling which I think will be worked out over the course of this run and as the book of this show is revised and edited and cut for Broadway, I highly recommend this inspiring production. Everyone left the theater in a great mood feeling that they had seen the world premiere of a play with something timely, special and energetic to say to the world. “Trevor” is a play which encourages adults and children alike to be true to themselves in every way - no matter what the other kids say, even under scary opposition from groups of mean and ignorant "haters" who do not understand what it is like to be different from the pack, whether a dreamer or a believer in Unicorns or the healing power of Diana Ross.

“Trevor the Musical” is being performed at Writers Theatre in Glencoe through its newly extended date of October 8th. For tickets and further show information visit www.writerstheatre.org. 

Nearly fifty years since the start of an amazing rock band, Ian Anderson of Jethro Tull takes up for another tour most recently making a stop at the Chicago Theater. With him, he brought his classic songs and jammed away. Needless to say, the night was filled with incredible music.

A few minutes after 8 p.m. the lights dimmed to let everyone know it was show time. People made their way to their seats excited in anticipation of an explosive show. The upscale Chicago Theater was an excellent setting for a night with a musical mastermind. The ushers were helpful, fans were happy, and then the lights faded.

The show started and the powerful rock band painted the canvas of music for the evening. The earlier portion of the show contained a couple gems; “Living in the Past” and “Nothing is Easy”. These crowd pleasers were just what everyone wanted. They kept nailing the riffs in a refined way and delivering the music.

Ian Anderson brought along some really sweet sounding flute to the theater. His musical ability and showmanship is second to none. Playing fast-paced flute while standing on one leg while making mischievous looks are all part of his unique skill set.

Up next was a rewritten version of “Heavy Horses” that had a different twist. New lyrics were added to the song, but there was also a virtual singer involved. Screens behind the band were in sync with the show and had singers on the screen that were pre-recorded.

A favorite among so many, “Thick as a Brick” was yet another a great selection from Jethro Tull. The current lineup of musicians did the piece justice duplicating it. The presentation of the edited version makes quite a nice show and demonstrates the musical insanity of Ian Anderson.

Band Members;
Ian Anderson – Guitar, Flute, Mandolin, and much more!
David Goodier - Bass
Scot Hammond – Drums and percussion
John O’Hara – Piano, keyboards, and accordion
Florian Opahle – Guitar
 
The night went along playing one Tull song after another. Ian’s magic flute shines on the song “Bourree”. The instrumental piece always makes the fans happy. The polished up version was a perfect selection for their set. It wouldn’t be an Ian Anderson show without a classical piece like this one from J.S. Bach. The only way to continue was with “Farm on the Freeway”, “Too old to Rock n’ Roll, Too Young to Die,” and “Songs From the Wood”. Then the band took a quick intermission.
 
The crowd was very pleased at the start of the first set with “Sweet Dream”. Florian Opahle had his guitar tone set just right to mimic the record. Everything he does shows he can handle the guitar work produced on Jethro Tull albums. He nails the riffs and sound all while making it his own.

“Dharma for One” is a jam that ends up in a drum solo. Scott Hammond played some of the most incredible rolls going all over the kit in what was a seriously hard piece to play. His style and ability match, or surpass, that of any drummer around.

The deep bass feeling from David Goodier on “A New Day Yesterday” was the start of the blues jam that got some people moving. He blended well with John O’hara on keyboards. All of the musicians have some seriously good chops.

“Aqualung”! The opening guitar riff is one that stands out well. The heavy guitar-based song had the crowd on their feet and moving. The solo was incredible as well as the rhythm section. Once the song was over with the cheering didn’t stop and unfortunately the words, “Bye-bye! Bye-bye!” were said. No one was going to let them leave without playing one more song.

The band did not let their fans down. The song began and the audience was happy. The FM hit, “Locomotive Breath” gave a final punch to the show. The bug eyes and over the top leadership within Ian provided a memorable show. His song writing and musical styling was a pleasure within a live setting to see. The man is way beyond a flute player. He is a showman.

After almost fifty years of being involved with music, Ian Anderson of Jethro Tull continues to tour with no signs of stopping and no reason to. The Chicago Theater was a perfect setting for the magic flute work of Ian and his amazing band. As always, they were a delight to see.

Roomful of Blues is celebrating fifty years this year. That’s a long time playing together. Not all the members go back that far, but the history of the band does.

Opening for Roomful of Blues at City Winery Chicago was Corey Dennison and his band. I think fans of Freddie King would dig this cat. I don’t see Dennison as a King imitator, but I did see some similarities in his appearance and the guitar he played. Dennison has a four-piece band - two guitars, bass and drums. The band pulls off some fun choreographed stage moves and display a ton of energy. Corey even did the Buddy Guy trick of walking through the crowd while playing. The difference being that Dennison started singing without a microphone in the middle of the club. Still, you could hear his strong voice without a problem. Sometimes Blues singing is almost like a holler, just shouting more or less. You can really feel it.

Dennison proved to be a decent Chicago Blues guitar player. He plays without a pick like a lot of the older players, using a lot of thumb. It seems primitive but it’s a great sound.

Roomful of Blues is a bigger band - three horns, keys, guitar, bass, drums and vocals and the crowd was responsive. Together, they present a powerful sound. The horns give more melodic information to chew on. Everything about the band was musically excellent. Well-seasoned players are such a treat to watch. The energy of the band was good but did not match Dennison and crew.

I have heard a lot of Blues music in Chicago. Having said that, I am dying to hear something new. I know a lot is tradition. The twelve-bar form does have limitations. I don’t really hear songs anymore. It’s all the same song. You can speed it up, slow it down…change keys…it’s still the same song. The Blues bands of yesterday had more going on. The missing ingredient is the dancing.

Once upon a time, bands were there so people could dance. Even Classical Music was based on the dances of the day. Dancing has been replaced by sitting. Blues bands of yesteryear would never have held a gig doing whole sets of twelve bar. Tough to dance to a shuffle beat.

Roomful of Blues started towards the end of the sixties Blues movement. Then it stopped moving. The Psychedlic era killed it and I don’t see it being much more than a novelty now. Stevie Ray Vaughan brought it back thirty years ago and that was really Rock disguised as Blues. In no way am I saying that I am down on The Blues. It is still a valid form of music but it needs to grow. This genre of music spawned Rock and Jazz and a lot of other styles. And I think there is more that can come from it in the future. But that will not come from repeating the past.

Machinal refers to an automated or mechanical system. Sophie Treadwell's 1929 play "Machinal" takes its styling from this theme. Directed by Jacob Harvey, Greenhouse Theater Center brings this work back to Chicago for the first time in many years.

Maybe not as well known as Lillian Hellman, but Sophie Treadwell was once a popular playwright on Broadway during the height of expressionism in theater. She wrote some forty plays and often directed them, nearly unheard of in those times.

"Machinal" is a retelling of the murder trial of Ruth Snyder who was eventually executed by electric chair. The play is an expressionist interpretation. The dialogue is written in a way that feels like the innerworkings of a machine. There's a sparse greyness to the costumes by Christina Leinicke that would also suggest the joylessness the protagonist lives.

Heather Chrisler plays the young woman. Chrisler interprets the staccato dialogue with a human quality. Her performance brings up the intensity by breaking through the repetitive and unpoetic lines. She brings life to them and elicits an emotional response. This woman is pleading for her life as her societal system of steamrolls her.

Doubtful that Treadwell saw the real life Ruth Snyder as a villain. "Machinal" shows the the pressure of getting married, of having financial security and living in a ever-moving world. The young woman in Treadwell's play can't keep up. She's pushed into an advantageous, but unsatisfying marriage. She finds happiness in the arms of a lover. She does what she has to do to feel free and pays the ultimate price.

Eleanor Kahn's set mirrors the starkness of the play. Presented in a near black box with the exception of some strobe lighting, there's an eeriness from the beginning. There's an atmospheric quality in Kahn's setting, and it's working.

Life may seem a little more liberated for today's women but Jacob Harvey's point in mounting this work, is that maybe it's not? And maybe it's not even limited to just women. Treadwell's play is about the mechanics of being a adult human in this world, and how that conveyor-belt life makes us all animals destined for slaughter.

Through September 24 at The Greenhouse Theater Center. 2257 N Lincoln Ave.

I have been waiting to see Delbert McClinton for a while. It just never happened for me…timing, etc. Finally, it happened. I even took my Mom who is as big a fan as I am.

Warming up for Delbert was Amy Black, a singer/songwriter from Nashville. Black sang only accompanied by piano, which blended perfectly with her very strong voice that comes with powerful with awesome intonation. However, I didn’t feel that strongly for her songs. They were well written but just not overly catchy. In fact, I walked away with no memory of them at all, but only that of an amazing voice. I would like to see her with her full band instead of the simple piano/voice arrangements. Maybe that’s what was missing.

Then, after a brief intermission following Black’s set… Delbert McClinton walks onto the stage. I can’t even comprehend how many times he has done this. “Take Me to the River” was the opener. Del’s version is way more swampy feeling than Talking Heads - not even the same song. Del’s hand-picked musicians formed a tremendous band. No name brand guys. No one under fifty or sixty-years-old. I don’t even remember a band introduction. It was all about the music.

What about the music, you ask? McClinton’s music is self described as Blues but there is much more to it than that. It more like the intersection of Blues Road, Country Avenue and Old Rock and Roll Boulevard. If you think of music like cooking I guess it all kinda comes from the same kitchen, but his unique formula really makes the flavors that stand out. You have the basic recipe but when you start adding spices and such…things get extra tasty.

In a way, I feel here is a guy that should be headlining stadiums. But when I see him work a club, my thoughts change. An intimate venue like such is the perfect environment for Delbert. He is basically a breathtaking club act with great songs. Sometimes we put too much emphasis on the bands playing the hockey stadiums and forget the guys in the clubs exist. The lesson here - go see more musicians like this where you can see the expressions on their face and the watch each note played with finesse and passion rather than viewing a giant monitor.

Let’s get back to the songs. “When Rita Leaves” was played early in the set and another crowd favorite “Ain’t I Got a Right to be Wrong?” was included in the first five, six songs. He has SO many great songs. Two of Delbert’s songs that always stood out were songs at least partially penned by a guy named Jerry Lyn Williams – the same guy that wrote a chunk of Clapton’s later hits. “Giving It Up for Your Love” is a classic that was on the set list. The other is a beautiful song called “Sending Me Angels”.

Music like McClinton’s is good for your cardio-vascular system. It even gets the older people dancing…did I mention that? Well, I just turned fifty and took my seventy-one-year-old mother…and there were people older than her dancing. Some of you youngsters should get out and watch a band like this. You might not be able to keep up…unless somebody breaks a hip.

As a cook and a big fan of Ina Garten, I was excited to see “The Food Show” on opening night by The Neo-Futurists theatre. The main plot of the story is about family, which is brilliantly defined through cooking. Rather than hold the show at the Neo-Futurium, there was a last-minute change in location as the theatre company is partnering with Metropolitan Brewing in Avondale. 

Upon entering the venue, we were greeted by gentleman who offered us a beer before heading to our bleacher-like seats, similar to what one would find in a football stadium or gymnasium. Yes, this was going to be a different theatre experience.

As we sat down, I noticed Tif Harrison kneading some dough that will later be used to make pasta, which was interesting to watch in itself – and pleasantly strange. I was also happy to see Spencer Meeks who starred in “We Are Going to Die” at Den Theatre earlier this year, who puts on yet another steady performance in this very unusual, yet entertaining, production. The play is divided into seven sections with an opening by Kyra Sims who was visiting from New York. 

One of the most identifiable performers in “The Food Show” is Oliver Camacho who happens to be a chef in his days before acting. He is easy to connect with and, in this particular performance, made what looked to be a perfectly seared salmon. Bilal Dardai is another intriguing character impressed upon the audience who engagingly talks about Islamic constraints of eating pork and his kid's food allergies. 

I want to be clear. The style of cooking in “The Food Show” is not refined like that you would see Ina Garten cooking up in her Hamptons home. Actors before cooking professionals, these chefs were a bit messy and their chopping skills (sorry, Bilal) need some help. But that is all part of the fun in “The Food Show”. After getting past the fact that we are not watching Gordon Ramsay, it’s easy to appreciate what the play really is - sharing life experiences over food and reflecting on where our food comes from. 

The Neo-Futurists' “The Food Show” is being performed at 3031 North Rockwell, right next to the Metropolitan Brewing. Tickets range from $10-$25 and can be purchased at www.neofuturists.org. The show will be playing until September 2nd. My tip to those planning to see this production - wear something light and breezy as there is no air conditioning in the warehouse. 

I was very happy to see Brown Paper Box Company put together this once hugely successful romantic comedy by Neil Simon, which played on Broadway for four years with music and book by Marvin Hamlisch and Carole Bayer Sager. Produced, directed and choreographed by Daniel Spagnuolo, this semi-autographical piece about the true-life romance of Hamlisch (hot off “A Chorus Line") and Sager, who was busy writing and performing hits of her own for Barry Manilow and Melissa Manchester. 

Although “They’re Playing Our Song” is basically a two-character show, the introduction of a chorus of players playing behind each of the leads referred to as " the voices in his head" or " the girls" representing, the "ID, the EGO and Passion" is a delightful and effective tool to understanding how quickly each character’s mood is changing and reacting to every word from the other. When the characters insult each other the chorus reacts instantly and likewise when they begin to loosen up. As the two stop competing with each other’s insecurities and speak honestly about their growing love, the chorus reflects on their faces and through dance how happy each character really is on the inside. 

If only we each had such clear representations from our subconscious minds to guide us moment by moment though lovers and arguments in real life, more couples might find the happiness these two finally find by the end of the play. 

Vernon Gersch (Dan Gold) and Sonia Walsk (Carmen Risi) meet for the first time in his luxury NY apartment where he is searching for new songwriters to collaborate with and has begun working on one of Sonia's songs. Although the balance of power is off at the beginning, Sonia asserts herself by letting him know she has been writing music since she was eleven and has other lucrative offers coming in musically as well as a persistently needy, but still attractive, ex-boyfriend waiting in the wings. 

Dan Gold has an excellent singing voice for this piece but has a little trouble always delivering the "funny", as his character veers from outright patron-ism towards Walsk to put her in her place to a kind of forced sneering anger as her bubbly personality seems to outshine his own success. Still, Gold does have his moments. Risi, whose overall trained voice is pleasant puts her own spin on some of the notes originally scored for Lucie Arnaz. Risi's opening night performance early on found herself speaking way too fast for the audience to understand everything she is saying at times, which made many of the good one liners fall flat. However, once finding her comfort zone in the role as perhaps opening night nerves had quelled, Risi eventually redeemed herself, injecting it and Vernon Gersch with her infectious, if somewhat relentless bubbly, enthusiasm for him and their possibilities for living together successfully in a mutually respectful yet non-competitive marriage. Gersch finally admits that he is "terrified, literally terrified by the feelings she causes in him both loving and hateful at the same time and we as an audience understand his neurotic sense of loss of control around her perfectly. 

Gold and Risi might seem mismatched at first, but by the play’s second act their intense pairing seems justified.

Every inch of this intimate theater space was used to the max including dance numbers by all six members of the Greek chorus behind the two leads.

I liked the kitschy sets and costumes but felt music was thin, which sort of cheapens the real amount of musical talent packed onto the stage in every performer. 

I do recommend this very funny, psychologically instructive comedy for a couple's date night. 

I think every man and every woman will see parts of themselves they want to change in the struggle for power and finally supportive equilibrium of these two highly-neurotic yet supremely artistically gifted lovers that Hamlisch and Sayer so lovingly documented in this  1979 award winning musical. 

“They’re Playing Our Song” is being performed at Rivendell Theatre through August 20th. For more show information visit www.brownpaperbox.org.