Displaying items by tag: Buzz Center Stage

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.

The summer concert season continues at Ravinia. Midsummer brings to the Midwest one of the toughest guitarists on the planet. The act that has graced the stages with the most famous performers at Woodstock has come to Ravinia in Highland Park for yet another incredible performance. The oldest outdoor venue in America was the setting for two sold out nights. Santana graced the stage and, by night’s end, everyone was completely blown away.

A zero-humidity night with slight breezes made for the perfect setting for an outdoor concert. People from all walks of life entered the manicured grounds at Ravinia for the one band show. Dressed to impress, concert goers were seen dancing salsa-style to the rhythmic sounds of a Latin influenced band. It was just amazing.

Opening the night with “O Paradiso” was a great way to start the evening. The mood had been set. The smooth guitars over the Latin percussion made feet move and caused hips to shake throughout the entire evening. Carlos Santana had taken charge and he wasn’t leaving without impressing each soul that watched and listened to his band in awe.

“Are You Ready” kept the musical train rolling. As the crowd clapped their hands and stomped their feet, the music clearly ran deep into each fan. The music was not only being heard, it was being felt. Ray Greene was the vocalist. Greene took the songs and presenting them with his incredible voice that sounded as if it was handed down from the heavens.

The night kept going with “Love Makes the World Go ‘Round”. This Deon Jackson cover was a perfect selection for the evening. The opening guitar riffs combined with the vibra-slap kept the audience’s attention and the adrenaline levels high.

“Maria Maria”, “Foo Foo” and “Corazon Espinado” were amongst the next selections played. The grace and style of the band that was on stage was incredible. The rhythm section was spot on never missing a beat. The combination of an incredible bass player (Benny Reitveld), drummer (Cindy Blackman Santana), and Latin percussionist (Karl Perazzo and Paoli Mejias) were the underlayment for a fantastic evening. Carlos held notes so long that it seemed like they would never end and no one wanted them too. He followed up with fast-paced guitar runs and had a sweet guitar tone from his Paul Reed Smith.

“Jingo” helped to keep people moving to the music. Many attendees couldn’t stop dancing in the lawn and pavilion. It was so powerful you could feel it in the ground. The band was so on fire that nothing could stop it.

When “Evil Ways” began the place went wild. A young lady started grinning from ear to ear as she began to dance. Within the first few seconds the joy went right to her face as she proclaimed, “That’s my song!” David K. Matthews was filling all the gaps from behind his keyboards. His Hammond organ was pumping throughout the evening as he screamed on the keys.
The night was also filled with songs that other songwriters wrote. “Higher Ground” by Stevie Wonder and “Troubled Man” by Marvin Gaye were superb choices for this band to tackle. The music was so packed with energy and the sound was clean.

A highlight for the night was “Mona Lisa”. The melody within the guitar was nothing less than ear candy that dripped from Carlos’ strings. The canvas was being painted for the vocalist to sing about an amazing woman worthy of her own song. Latin music was in the air and young lovers were moving to the groove. Tommy Anthony was the backup guitarist and held his own.
A Santana show would not be complete without the Tito Puente song, “Oye Como Va”. The crowd was at their feet singing with every note. There couldn’t be a better way to say, “How’s it going?” The song ended and the band exited the stage for a short period, but they weren’t done yet.

The crowd cheered, clapped their hands, and stomped their feet to bring out an incredible guitarist once more. There was no way he could leave yet. After a few minutes, the video screens started showing clips of people sliding in the mud from the 1969 concert Woodstock. The drums kicked in to begin “Soul Sacrifice”. The tribal rhythm was just the start of the encore.
His wife, Cindy, was a powerhouse drummer. Her work was a driving force and during her solo she proved she could lock horns with anyone else behind a kit. When the song finished Carlos gave props to her amazing ability stating, “That’s the sound of a woman kicking a man’s ass. Spiritually speaking.”

“Smooth”, “Love, Peace, & Happiness” and “The Highest Good” finished out the evening. The lights came on and people started making their way out of the concert venue even though nobody wanted to leave yet. People continued to cheer and sing. The crowd was nearly delirious from an evening of musical greatness and fun.

Highland Park’s Ravinia is the place to be in the summer months. The acts that grace their stages have been superior to a lot of other venues. Musical acts are a dime a dozen, but great bands like Santana really rise to the top in talent. They provide the music to which people love to dance. They put a smile on your face. In short, Santana is a super group on every level.

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.

Delbert McClinton may not be a household name, but he should be. A singer-songwriter, harmonica player, pianist and guitarist, we are talking about a gifted musician who has been active in the music scene since 1962 and is showing no signs of slowing down some fifty-five years later. It is even rumored McClinton taught John Lennon how to play harmonica. The Texas native is a multi-Grammy Award winning singer, earning one for his 2006 release Cost of Living, an album where each track is infused with McClinton’s unique vision and is as impressive as the next. In a career that has been nothing short of remarkable, McClinton has recorded with several big-named artists including Bonnie Raitt and Tanya Tucker with whom he landed his highest-charting single “Tell Me About It” in 1992.

McClinton’s music is exceptional in the fact that it bridges the gaps between Blues, Rock and Country. At nearly seventy-seven-years-old, he still plays his music with the energy of a much younger man and entertains with the best of them. Inducted into the Texas Heritage Songwriters Hall of Fame in March 2011, I highly recommend music fans who have not yet seen this talented artist to do so – and you can next week. Currently on tour for his latest effort Prick of the Litter, Delbert McClinton will be performing at City Winery Chicago on Wednesday August 9th. The wine and music will be flowing that night for sure.

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.

The summer concert season kept rolling at Ravinia with Stephen Stills and Judy Collins. The manicured lawns were graced with the musical talents of two folk singers that started their careers a half century ago. As they went along through the course of a ninety-minute set they presented their own style of serene music for everyone to hear.

Concert-goers were allowed a dry spell long enough to enjoy a good show. The humidity was starting to fade into night as people munched on short rib tacos and sipped wine from Ravinia’s restaurants. The well-groomed crowd mostly decked in white pants and khakis were preparing themselves for a time to remember.

Kenny White started out the evening with a solo piano show. He tickled the ivories for a short warm up to set the tone for the evening. Calm and mellow was the mood for this outing. The opening act was brief, but filled with soft tones that were easy on the ears.

Then came the time for the main act and the legendary artists came out together as if they owned the world. The first song for the evening was the Traveling Wilburys' hit song “Handle with Care”. It was a great way to start off the show and get the crowd’s attention. After nearly fifty years since these two performed together live, Collins and Still fell back into it as if it were meant to be.

Stills had some guitars with him that were not just for an everyday player. Two mid-fifties Fender Stratocasters made their way into the hands of the guitar legend and he was more than worthy to play them. His sound was smooth and pristine. His solo capabilities were incredible and he could even up with any guitar great out there. His voice was crystal clear and very pleasant to hear.

Stephen changed guitars after almost every song. He went back and forth between one of the Strats to a Gretsch Stephen Stills Signature model and a few Martin acoustics. He told a story about buying one smaller bodied Martin acoustic while on tour. He joked how if you are traveling North in Minnesota in February that your musical career was just about over with. After a good laugh from the audience he continued by saying he bought the guitar to perform for the evening.

A white light came up from behind Collins and lit up her hair as if she were an angel. Her voice was refined and her guitar abilities were excellent. Her instrument of choice was a Martin Judy Collins Signature Model. She strummed chords on the beautiful twelve-string while providing some incredible vocal harmonies. She is truly just a stunning woman to see and hear.

The two pulled out some songs that made the crowd very happy as toes tapped and bodies swayed. Judy brought out a bigger hit “Both Sides Now”. The mellow upbeat song was an excellent choice for the set list that put a smile on so many faces. Stills played the classic rock anthem “Carry On”. The CSN masterpiece was like a shot in the arm of adrenaline. After all, they were being entertained by one of their heroes.

Stephen started to strum out the chords to a song that turned out to be a high point for the evening. Once lyrics came out, “There’s something happening here…” the crowd started to applaud with excitement. The Buffalo Springfield song “For What It’s Worth” was heard through the venue and everyone knew the words. The show would not have been the same without the iconic protest song about the Sunset Strip curfew riots.

It came time for an encore and they saved the best for last. “Suite: Judy Blue Eyes” written for Judy Collins was a reason that a lot of people attended the show. The torch song was first unveiled for the public at Woodstock in 1969 and it brought this crowd to their feet. Singing along with every word it made the evening complete.

The show ended and everyone started to make their way back to their mode of transportation. The fountain outside the main entrance was lit up in every spectrum of the rainbow. As the colors changed a few raindrops started to fall. Thankfully it held out just long enough for this perfect evening.

Ravinia Festival in Highland Park provided the setting for this great concert that was brought together from the love felt within two musicians. Stephen Stills and Judy Collins graced the grounds with their unbelievable talent and performed a mellow musical set for its well-behaved onlookers. It was a night to remember.

‘S wonderful. “An American in Paris” was the surprise hit of 2015 on Broadway. It is of course the stage adaptation of Vincent Minnelli’s 1951 Best Picture winner of the same name. With familiar songs by George and Ira Gershwin, it would be hard not to be charmed.

To appreciate this “new musical”– you need to go back to a simpler, post-war era. Musicals were essentially plotless vehicles for stars like Gene Kelly and Judy Garland to showcase their talents. If some of the songs sound recycled here, that’s because they were. Often Cole Porter, Irving Berlin and the Gershwins repurposed their songs for multiple films. If it’s not broken, don’t fix it.

The stage musical devised by Craig Lucas and Christopher Wheeldon is fairly standard. While it may not be a reinvention of the wheel, it artfully pays homage to Vincent Minnelli’s lush style. Wheeldon’s ballet-flavored choreography is beautiful. The playfulness is tres Francais. Sometimes when a show hits the road, the production has to sacrifice some visual elements for the sake of portability. Not the case here. It’s impressive how well the vivid set pieces and projections travel. Visually, this “American in Paris” is stunning.

Sara Esty in the role as Lise evokes the spirit of a young Leslie Caron who starred in the original. Esty has been with the production since its conception at the Theatre du Chatelet in Paris. Though, her dialogue is sparse, she’s a lithe dancer and thoroughly adorable. Her co-star McGee Maddox takes up Gene Kelly’s role as Jerry Mulligan. What he loses in convincing line delivery he more than makes up for with impressive dance.

If you’re asking yourself, why “An American in Paris” or why now? Why not is a good answer. This show endures because it casts a heartwarming spell over audiences from varied generations. It may not be the most poignant musical, but for the nostalgia lover or Francophile this is sure to bring a smile to your face.

Through August 13 at The Oriental Theatre. 24 W Randolph. Broadway in Chicago