Displaying items by tag: Auditorium Theatre

[Reviewer’s Note: I’ve been reading a book whose main character is inveigled by Word of the Day; hence, I’ve striven to include as many unconventional and indecipherable words as possible. You’re welcome.]

This is the seventh year of the JINKX AND DELA HOLIDAY SHOW, composed each year by BenDeLaCreme and Jinkx Monsoon as a new, original production. DeLa is also the Director, Producer, Costume Designer (and most likely a whole bunch of other stuff) and she does it all in 4-inch heels!  Move over, Ginger Rogers.

Rivalling DeLa for multifaceted, multidisciplinary, multipurpose, and otherwise multiscious effectuality is Gus Lanza, who is backstage manager and merchandise mover-and-shaker, as well as moving and shaking onstage as Hunky the Elf. Last night poor Hunky had a bad cold and sneezed on everyone, but that never vilipended or misprized his sprightly performance. Working with him was a whole stockingful of elves: Chloe Albin, Mr. Babygirl, Jace Gonzalez, Ruby Mimosa, Derrick Paris, and Scott Spraags. The costumes were fabulous; no surprise, as they were designed by BenDeLaCreme, Mr. Gorgeous, and Nova Dobrev; assisting in their creation were Paris Original, Jamie Von Stratton and The Lady Hyde.

The first act was enlivened by a rousing rodeo around Beyonce’s “Texas Hold’em”, and the wonderful song “Secular” – a parody of Wicked’s “Popular” – expressing disgruntlement at all the religiosity circumfusing what should be just a party!

Each year the overall theme of the JINKX AND DELA HOLIDAY SHOW is that Jinkx and DeLa are coming together to put on a holiday show (logical, n’est ce pas?). And every year, that simple premise is blunged with some beloved holiday classic. This year the classic was Nutcracker, and the story developed from Jinkx finding a nutcracker in her Holiday Box to dancing and singing (and ….!) with the Nutcracker himself, whose outsize head (created by Erik Andor) had wonderful googly eyes. His other parts were wood which, as Jinkx found out, never goes soft! though splinters are a hazard.

Jinkx and DeLa shrink (a little bit of Alice in Wonderland thrown in there) and become tree ornaments until they fall off the tree and their clothes fall away, leaving them naked (no problem, they both have terrific tits!). This evolves into Jinkx being kidnapped by the Nutcracker, and for the remainder of the show they go through all sorts of contortions, trying to reunite.

Hunky the Elf always provided a marvelous interpolation, and Country Dancing Santa was a super supplement (even though his batteries kept wearing down), all of them eager to sing and dance with Jinkx and DeLa. I was particularly fond of Clayby (Clay Baby) Jesus.

The final song in the JINKX AND DELA HOLIDAY SHOW is traditionally an anti-holiday anthem, and this year was no exception: Everybody’s Traumatized by Christmas struck home with virtually every gay, lesbian, bisexual, trans, and otherwise queer in the audience (and quite possibly in the cast as well!).

The bad news is that the JINKX AND DELA HOLIDAY SHOW comes but once a year to Chicago (and more than 30 other cities!). But forewarned is forearmed. Now you know to watch for its reappearance on the Auditorium Theatre’s playlist next December … assuming, of course, the incoming administration doesn’t put an embargo on Drag Queen Festivities. They’d probably be wise to do so, as the show would be quite effective in waylaying innocent little boys with the joys of rhinestones even before their school operates on them.

Created & Written by BenDeLaCreme & Jinkx Monsoon

Director BenDeLaCreme

Choreographer Chloe Albin

Movement Direction BenDeLaCreme

Original Compositions Major Scales

Lyrics BenDeLaCreme, Jinkx Monsoon, & Major Scales

Music Production Markaholic & Keith Harrison

Starring BenDeLaCreme & Jinkx Monsoon

with Chloe Albin, Mr. Babygirl, Jace Gonzalez, Ruby Mimosa, Derrick Paris, Scott Spraags, and Gus Lanza as “Hunky the Elf”

Broadway In Chicago is thrilled to announce MEAN GIRLS – the record-breaking new musical comedy adapted from the hit Paramount Pictures film – is now playing at the Auditorium Theatre (50 E Ida B Wells Dr.) through December 1. Individual tickets ($33-$131) and a select number of premium tickets are on sale now and may be purchased at BroadwayInChicago.com. Group orders of 10+ are also available by calling (312)977-1710 or by emailing This email address is being protected from spambots. You need JavaScript enabled to view it.. Patrons can also participate in a digital lottery for a chance to purchase $25 tickets for each performance. In addition to the lottery, a limited number of day-of-show, in person $49 Rush tickets will be available for all performances. Click here for more info on Digital Lottery and In Person Rush.

PERFORMANCE SCHEDULE
Tuesday, November 26                      7:00PM
Wednesday, November 27                1:00PM, 7:00PM
Thursday, November 28                    NO PERFORMANCES
Friday, November 29                          1:00PM, 7:30PM
Saturday, November 30                     2:00PM, 7:30PM
Sunday, December 1                           1:00PM

Direct from Broadway, MEAN GIRLS is the hilarious hit musical from an award-winning creative team, including book writer TINA FEY (“30 Rock”), composer JEFF RICHMOND (“Unbreakable Kimmy Schmidt”), lyricist NELL BENJAMIN (Legally Blonde) and original director and choreographer CASEY NICHOLAW (The Book of Mormon).

Cady Heron may have grown up on an African savanna, but nothing prepared her for the vicious ways of her strange new home: suburban Illinois. Soon, this naïve newbie falls prey to a trio of lionized frenemies led by the charming but ruthless Regina George. But when Cady devises a plan to end Regina’s reign, she learns the hard way that you can’t cross a Queen Bee without getting stung.

New York Magazine calls Mean Girls “HILARIOUS!” A smart, splashy new musical that delivers with immense energy, a wicked sense of humor and joyful inside-jokery.” Chicago Tribune said “Tina Fey writes FUNNIER, SMARTER, SHARPER satire than anyone else in the business.” People Magazine calls the show “FRESH, FUN AND INFECTIOUS – Jeff Richmond and Nell Benjamin’s songs keep the laughs coming!” The New York Daily News said Mean Girls “TICKLES THE EARS, EYES AND FUNNY BONE – the direction by Casey Nicholaw packs style, invention and red bull-force energy.” And, Entertainment Weekly calls it “ A MARVEL: DAZZLING & HILARIOUS!”

Mean Girls (Original Broadway Cast Recording), produced by Atlantic Records, is now available.

www.MeanGirlsOnTour.com
Follow the Mean Girls Tour on Instagram,  Twitter, Facebook and TikTok.

ABOUT BROADWAY IN CHICAGO
Broadway In Chicago was created in July 2000 and over the past 25 years has grown to be one of the largest commercial touring homes in the country. A Nederlander Presentation, Broadway In Chicago lights up the Chicago Theater District, entertaining up to 1.7 million people annually. Broadway In Chicago presents a full range of entertainment, including musicals and plays, on the stages of five of the finest theatres in Chicago’s Loop, including the Cadillac Palace Theatre, CIBC Theatre, James M. Nederlander Theatre, and just off the Magnificent Mile, the Broadway Playhouse at Water Tower Place and presenting Broadway shows at the Auditorium Theatre.

For more information, visit www.BroadwayInChicago.com.
Follow @broadwayinchicago on Facebook, Instagram, and TikTok #broadwayinchicago

It’s not too early to mark out January 11 and 12 and reserve tickets for a “Too Hot to Handle,” a unique holiday event to be staged at the Auditorium Theatre. For 17 years, Chicagoans have reveled in the glory of this dramatic adaptation of Handel, what reviewers describe as an “exuberant, jazz-gospel makeover” of the baroque master’s classic “Messiah.”

That doesn’t begin to describe it, rooted in Handel’s surpassingly beautiful work, from which it launches into exuberant explorations of Handel’s intent conveyed in jazz, blues, scat, ragtime, and other musical modalities from Black American culture. Originated by Marin Alsop nearly hree decades ago, it is both freeform and grounded, and I have not heard its power captured in recordings or videos—you have to be there.

Ordinarily performed sometime close to Mr. Luther King Day, this moving performance features world-class musicians filling the Auditorium’s historic stage with a chamber orchestra, jazz combo, a huge choir, and two gifted operatic soloists—soprano Alfreda Burke, and tenor Rodrick Dixon (both with well-regarded classic repertoires); along with chanteuse Karen-Marie Richardson, a Chicago-based alto (currently appearing Off Broadway in “Sleep No More” through September 29 .

Late last month, members of the company gathered atAmazing Space for a celebratory launch event to position the next rendition, with Dixon and Burke accompanied by another essential to “Too Hot to Handel,” pianist Alvin Waddles. There the announcement of a new addition was made: the appointment of George Stelluto as musical director and conductor going forward. Stelluto conducted the “Too Hot to Handel” performance with the Peoria Symphony in December, and has made conducting appearances at the Ravinia Festival, and with the Atlanta, San Diego and Milwaukee Symphony Orchestras, among many other engagements in the U.S. and internationally.

“Too Hot to Handel” comes highly recommended, with a word of advice: book your tickets now so you don’t miss a one of a kind event January 11 and 12, 2025.

Chicago’s National Landmark Auditorium Theatre (50 E. Ida B. Wells Drive) proudly announces its 2024-25 performance season presenting a vibrant mix of contemporary and culturally significant dance companies, and the return of the Auditorium’s powerful Too Hot to Handel concert presentation.  Kicking off the season October 19 is the rousing return of Step Afrika!,  the first professional dance company dedicated to the tradition of stepping, now marking its 30^th Anniversary. Next, back by popular demand, Too Hot to Handel: The Jazz-Gospel Messiah, the lively jazz and gospel spin on Messiah by G.F. Handel, returns after a two-year hiatus for two performances commemorating the Martin Luther King Jr. Day holiday, January 11 & 12, 2025.  Then, fresh off the resounding success of its David Bowie tribute, Star Dust, presented at the Auditorium this past season, Complexions Contemporary Ballet returns to pay homage to another rock icon, the band U2, February 7. March 2025 begins with a full weekend of the stunning and visually opulent history, culture, music, and dance of Mexico with Ballet Folklorico de Mexico de Amalia Hernandez March 1 & 2, followed by one of the most eagerly anticipated cultural events of every Spring - the return of Alvin Ailey American Dance Theater, March 5-9.  The prominent NYC-based contemporary dance company Parsons Dance makes its full company Auditorium Theatre debut May 3. The season closes with two gems from Chicago’s own robust dance scene: South Chicago Dance Theatre – a contemporary company led by the darling of the Chicago dance world, Kia Smith – May 3- and the genre-bending Hiplet Ballerinas, whose unique combination of classical pointe technique and hip-hop propelled them to fan-favorite status on America’s Got Talent, close the season May 17.

“The Auditorium Theatre’s 2024-25 season is a joyful mix of beloved classics and exciting new productions,” says Auditorium Theatre CEO Rich Regan. “The returns of perennial Auditorium favorites like the newly revamped Too Hot to Handel, the jubilant Ballet Folklorico de Mexico de Amalia Hernandez, and of course the always dynamic Alvin Ailey American Dance Theater are interspersed with debuts by companies like Parsons Dance and the Hiplet Ballerinas. The season is packed with local, national, and international talent showcasing top performers in an incredibly diverse array of styles that befits the Auditorium’s reputation as The Theatre for the People.”

In addition, the popular Auditorium Philms Concert series, a new multi-media experience presenting iconic films brought to life with scores performed in concert by the Chicago Philharmonic, continues its inaugural 2024 season with the North American debut of Bram Stoker’s Dracula November 9; and the pop holiday fan favorite, Love Actually December 7. Single tickets for the Auditorium Philms series are now on sale, plus subscription packages with discounted tickets are available for as few as two films. Find out more information about the series at auditoriumtheatre.org/.

2024-25 SEASON OFFERINGS:

(In chronological order, all programming subject to change)

Step Afrika!
Saturday, October 19, 2024 | 7:30PM

Tickets: $29-$79

Celebrating its 30^th Anniversary season, Step Afrika! is the world’s leading authority on the artform of stepping. Step Afrika! blends percussive dance styles practiced by historically African American fraternities and sororities; traditional African dances; and an array of contemporary dance and art forms into a cohesive, compelling artistic experience. Performances are much more than dance shows; they integrate songs, storytelling, humor, and audience participation. The blend of technique, agility, and pure energy makes each performance unique and leaves the audience with their hearts pounding. 

Too Hot to Handel
Saturday, January 11, 2025 | 6PM
Sunday, January 12, 2025 | 3PM

Tickets: $39-$99

Back by popular demand, Too Hot to Handel, the jazz-gospel-rock-funk version of one of the most beloved pieces from the classical music canon, G.F. Handel’s oratorio Messiah, returns to the Auditorium Theatre for the first time since December 2022 to commemorate Martin Luther King Jr. Day. Too Hot to Handel: The Jazz-Gospel Messiah reinvents the original musical material from Messiah, using scat, backbeats, jazz and gospel vocals, and instrumental improvisation. New in 2025, George Stelluto, associate conductor of the Ravinia Festival and music director of the Peoria Symphony Orchestra, conducts and director Joan Curto returns to create an event that’s more theatrical than ever. A powerhouse 100-voice chorus is joined by a chamber orchestra and jazz combo made up of Chicagoland musicians, and gifted solo vocalists Alfreda Burke, Rodrick Dixon, and Karen-Marie Richardson and pianist Alvin Waddles.

Complexions Contemporary Ballet

Friday, February 7, 2025 | 7:30PM

Tickets: $39-$129

In the 2023-24 season, Complexions Contemporary Ballet brought the Auditorium Theatre house down with Star Dust, the rollicking tribute to rock icon David Bowie. Next season, the New York City-based contemporary dance company known for its unique mixture of methods, styles, and cultures, will return to pay homage to another rock legend, the band U2. Founded in 1994 by Alvin Ailey Dance alumni Dwight Rhoden and Desmond Richardson, Complexions Contemporary Ballet celebrates its 30^th anniversary this season.

Ballet Folklorico de Mexico de Amalia Hernandez
Saturday, March 1, 2025 | 7:30PM
Sunday, March 2, 2025 | 3PM

Tickets: $30-$120

For over 70 years, Ballet Folklorico de Mexico de Amalia Hernandez has brought the stunning and visually opulent history, culture, music, and dance of Mexico to audiences across the world. Founded by renowned choreographer, the late Amalia Hernández, Ballet Folklorico de Mexico is one of the most famous dance companies in the world. Performances include traditional Mexican dance, music, and costumes representing the entire history of Mexico from the pre-Columbian era through the Spanish colonial period all the way to modern day.

Alvin Ailey American Dance Theater
March 5-9, 2025 – Wed 7:30PM | Thu 7:30PM | Fri 7:30PM | Sat 1PM | Sat 7:30PM | Sun 3PM

Tickets: $39 - $149

Every year, Alvin Ailey American Dance Theater’s week of performances at the Auditorium Theatre –

the company’s artistic home in Chicago – is one of the can’t-miss cultural events of the Spring season. The 2024-25 performances will mark Alvin Ailey Dance Theater’s 56^th engagement at the Auditorium. In 1958, Alvin Ailey and a small group of young Black modern dancers took the stage in New York City and forever changed the perception of American dance and culture. Its 2023-24 season engagement launches April 17, 2024, featuring a mix of Chicago premieres and beloved classics by Alvin Ailey and current choreographic talent.

Parsons Dance
Saturday, April 12, 2025 | 7:30PM

Tickets: $30-$120

Celebrating 40 years since its founding, Parsons Dance, a contemporary dance company based in New York City, makes its full company Auditorium Theatre debut in 2025. Founded by esteemed choreographer David Parsons, the mission of Parsons Dance is to bring life-affirming performances and joy to audiences worldwide and, through education and outreach programs, to sustain an appreciation for dance. Parsons Dance embraces the power of diversity and inclusion to enhance awareness and empathy, engage with audiences of all ages, abilities and backgrounds, uplift individuals and bring people together.

South Chicago Dance Theatre
Saturday, May 3, 2025 | 7:30PM

Tickets: $39-$89

Chicago’s own South Chicago Dance Theatre is a cutting-edge multi-cultural dance that seamlessly fuses classical and contemporary dance styles while preserving historic dance work. Led by the indomitable Kia Smith, South Chicago Dance Theatre returns to the Auditorium Theatre for the third season in a row after the smash hit Memoirs of Jazz in the Alley – a world premiere work based on Smith’s memories of iconic Chicago jazz history – in the 2022-23 season, and New Horizons

featuring six world premieres from top local, national and international choreographers – this April 27.

Hiplet Ballerinas
Saturday, May 17, 2025 | 7:30PM

Tickets: $39-$89

Created by Artistic Director Homer Hans Bryant, Hiplet, a fusion between classical pointe technique, Hip-Hop and a variety of other dance styles, was specifically designed to make ballet accessible to all people. Based in Chicago, the Hiplet Ballerinas perform all over the world and became fan favorites on the 16^th season of America’s Got Talent. This performance of the genre-bending Hiplet Ballerinas who wowed Auditorium Theatre Audiences at Dance for Life in 2023, will mark the company's first solo evening performance on the Auditorium stage.

SUBSCRIPTIONS

Subscriptions for the Auditorium Theatre’s 2024-25 season are on sale now. Subscribers can create their own series by purchasing tickets for any three or more shows in the season and receive 10%-30% discounts on tickets in addition to other subscriber benefits including access to the best seats, exclusive access to added events, reduced fees, free ticket replacement and exchanges, special access to Fireside Chats with guest artists, and more! Subscriptions are now on sale atauditoriumtheatre.org, by calling 312.341.2300, or at the Box Office at 50 E Ida B Wells Drive in Chicago, IL. Click here for phone and in-person hours. Special ticket pricing is available for groups and students; please visit auditoriumtheatre.org for more information.  Single tickets go on sale starting May 15.

Special thanks

The Auditorium Theatre wishes to thank our 2024-25 season sponsors: the MacArthur Foundation, the City of Chicago Department of Cultural Affairs & Special Events, and the Illinois Arts Council Agency. The official hotel partner for the Auditorium Theatre is the Palmer House, a Hilton Hotel.

About The Auditorium Theatre

The Auditorium Theatre, located at 50 E. Ida B. Wells Drive in Chicago, is an Illinois not-for-profit organization committed to presenting the finest in international, cultural, community, and educational programming to all of Chicago and beyond as The Theatre for the People. The organization also is committed to the continued restoration and preservation of this National Historic Landmark that originally opened in 1889. For more information on the Auditorium Theatre and a complete listing of events at the Auditorium Theatre, please visit AuditoriumTheatre.org.

This year's Alvin Ailey American Dance Theater 65th-anniversary engagement at Chicago's historic Auditorium Theatre held particular importance as it marked the company's first season after Artistic Director Robert Battle's departure. Battle was only the third person to lead the company in its 65-year history, following Alvin Ailey and Judith Jamison. During this transitional period, Matthew Rushing is serving as Interim Artistic Director. Despite these changes, the program offered a dynamic evening of dance, featuring both iconic works and innovative new pieces.

The performance opened with a vibrant expression of grace, patience, and elegance in Ronald K. Brown's "Dancing Spirit."  A dancer gracefully moves through a sequence of elegant arm extensions while standing in a spotlight upstage. Soon, other dancers join in, echoing the movements with slight variations. The pulsating African-diasporic soundscape fueled the dancers, clad in tie-dyed blue and white dresses and separates. They moved with a reverent, almost ecstatic joy. "Dancing Spirit" served as a potent reminder of the company's deep connection to its African American heritage and as a homage to Artistic Director Emerita, Judith Jamison.  The exceptional cast of dancers, Hannah Alissa Richardson, Deidre Rogan, Coral Dolphin, Jacquelin Harris, Solomon Dumas, Christopher Taylor, Christopher R. Wilson, Michael Jackson Jr., and Xavier Mack brought the stage to life with their extraordinary performances.  Throughout the performance, glimpses of the opening are interwoven into the choreography, leading to a jubilant finale. The music selection, featuring compositions by Duke Ellington, Wynton Marsalis, Radiohead, and War coupled with the lighting design by Clifton Taylor provided a rich and dynamic backdrop that complemented the dancers' artistry and passion.

Alvin Ailey American Dance Theater in Kyle Abraham's Are You in Your Feelings

Kyle Abraham's "Are You in Your Feelings?" marked an emotional shift in the performance, presenting a sexually and emotionally charged piece that contrasted with the regal opening. The dancers, dressed in jewel tones of indigo, ruby, emerald, citrine, and amethyst by costumer Karen Young, explored themes of vulnerability and self-discovery, navigating the complexities of finding and losing love. Abraham's choreography emphasized nuanced gestures and emotional authenticity, with the dancers expressing a range of emotions, including longing, frustration, jealousy, contempt, same-sex and self-love. Their performances featured voguing duckwalks, fluid body waves, and other sensual movements. The narrative was supported by modern music choices, including Erykah Badu's soulful "I'll Call U Back" and Jhené Aiko's tender "While We're Young," as well as classics like The Flamingos' "I Only Have Eyes for You" and Shirley Brown’s “Woman to Woman” and contemporary tracks such as Kendrick Lamar's "LOVE”.  The featured dancers included Caroline T. Dartey, Solomon Dumas, Samantha Figgins, James Gilmer, Ashley Kaylynn Green, Michael Jackson, Jr., Renaldo Maurice, Ashley Mayeux, Corrin Rachelle Mitchell, Chalvar Monteiro, Miranda Quinn and Deidre Rogan. Ultimately, this introspective work offered a profound glimpse into the emotional complexities of the human experience.

The program culminated with the iconic "Revelations," a cornerstone of the Ailey repertoire. Divided into three sections, “Pilgrim of Sorrow”, “Take Me To The Water” and “Move, Members, Move”, each section represents different aspects and experiences in the African American Southern Baptist worship. From the prayers for salvation in “Didn’t My Lord Deliver Daniel”, the baptism in “Wade in the Water,"  and the congregate of members in “Rocka My Soul in the Bosom of Abraham “ each section resonated with emotional depth. The dancers delivered powerful performances, their bodies embodying the struggle, resilience, and spiritual fervor depicted in the music.

Ailey once said in an interview. “I’m interested in putting something on stage that will have a very wide appeal without being condescending; that will reach an audience and make it part of the dance; that will get everybody into the theater. If it’s art and entertainment—thank God, that’s what I want to be.”   

The audience erupted in a standing ovation, a testament to the enduring power of this groundbreaking work.  Ailey's choreography remains a potent portrayal of the African American experience, weaving spirituals, and gospel music into a moving journey.

While Artistic Director Robert Battle's absence will certainly be felt, the company will navigate this transitional period with grace. The program's curation, showcasing established masterpieces alongside contemporary voices, hints at the stability of the company.

Celebrating its 55th engagement at the Auditorium Theatre, the Ailey company's return held a special significance for Chicago audiences. The historic venue, with its ornate architecture and rich acoustics, provided the perfect backdrop for these powerful works. The palpable energy between dancers and audience offered a potent reminder of the transformative power of live dance and the importance of artistic expression, especially during times of transition.

As the curtain fell on "Revelations," one couldn't help but feel the joy of witnessing exceptional artistry and the hopeful anticipation of what the future holds for the Alvin Ailey American Dance Theater. This 65th anniversary program served as a poignant bridge between the company's rich legacy and the exciting possibilities that lie ahead.

Highly Recommended

When: Through Sunday

Where: Auditorium Theatre, 50 E. Ida B. Wells Drive

Running time: 2 hours, 25 minutes with two intermissions

Tickets: $40-$174 at 312-341-2300 and auditoriumtheatre.org

I’ve seen quite a lot of wonderful, entertaining dance productions in Chicago lately - creations that include music and modern dance set to the compositions of great artists like David Bowie, Sting and also beautifully staged to outstanding selections by lesser-known musicians that undoubtedly deserve more recognition. This past weekend I was able to catch a very impressive dance spectacle by MOMIX, the Washington, Connecticut based company known for their dancer-illusionists. With incredibly spot on music by a host of talented artists, MOMIX brought their interpretation of Alice in Wonderland to life for a one night only performance at Chicago’s Auditorium Theatre. ALICE, by Artistic Director Moses Pendleton, really stood out as being a tremendously alluring and engaging piece of dancing, mixed media and an ingenious presentation - a unique experience of both modern and classical music. 

MOMIX: ALICE utilizes ingenious props involving full-length mirrors held by the dancers while gazing into them, silken fabrics, which seem to breathe like they are alive and glow as the dancers writhe beneath them in stunning shapes and subtle movements, and a massive whimsical swing for Alice to glide on while set in a sunny field of wildflowers and green grass. There are twenty-foot high mechanical lifts and gowns, which propel Alice high up into other worlds set to the music of Grace Slick’s “Go Ask Alice-White Rabbit” and giant rubber balls, which are bounced in unison by the seven dancers and manipulated in such a way that is both graceful and comical. Massive blood red silken roses come to life like puppets with no visible puppeteer, ever so gently brushing back and forth against the heads and shoulders of two beautiful dancers in Act Two’s “Bed of Roses” . 

Although this production is not a child’s production of the play or film Alice in Wonderland, it is marvelously colorful for a vibrant visual experience and spectacularly graceful in its execution. I loved that the final message given during this open interpretation of Alice comes in the words “feed your head, feed your head,” which was applauded wildly by the audience.

MOMIX: ALICE is a true ensemble piece and when the faces of the dancers are covered it is difficult to tell them apart, because Pendleton has cast a very specific body type and height in order to keep all of the movements and stunts unique to MOMIX as uniform as possible, yet the quality of their dance still allows for the fierceness and sensuality of individual dancers to shine through. 

All of the dancers, regardless of their dance background or number of years dancing displayed the highest quality of dance movement, which, to me, happens when the expression of each gesture and movement extends all the way through to the fingertips - the very tips of the fingertips and toes in the most elegant and intelligent way. This type of extension and attention to detail and grace in the hands particularly gives the entire production a hypnotic and floating quality that is not often seen in modern dance.

ALICE has dark moments, humorous moments and sensual moments that take us through Alice’s personal discovery in growing as a little girl into a woman experiencing different planes of consciousness. All the while, the production never veers into the realm of clowning or erotica that might tarnish the incredible combinations of superb young dancers mixed with art worthy projections and very interesting and exciting musical choices. 

Artistic Director Moses Pendleton says it perfectly in the program, “We see Alice as an invitation to invent, to dream, to alter the way we perceive the world, to open it to new possibilities. The stage is our rabbit hole. We welcome you to drop in!”

During the after-show Q&A, which was very interesting, an audience member asked why MOMIX does not have a permanent home in Chicago like Blue Man Group. Their answer was two-fold – to bring the show to wider audiences around the world by touring, and to leave the audience begging for more. I agree that the comparison to Blue Man Group (as far as being a resident show) is right on the money. MOMIX: ALICE is full of such spectacular illusions, marvelous video projections of nature and other psychedelic artworks accompanied by the highest quality of dance, that it is worthy of having its own permanent stage and is entertaining enough to see over and over again.

I highly recommend MOMIX: ALICE when it (hopefully) returns to Chicago or any MOMIX production for that matter. 

Blade Runner Live? Don’t worry, it’s not a musical adaptation of Ridley Scott’s 1982 sci-fi classic. It’s the inaugural film in The Auditorium Theater’s new series, Auditorium Philms, in which five films will be live scored by the Chicago Philharmonic. Performances are scheduled throughout the year and include a special 35th anniversary presentation of Tim Burton’s Batman Returns as well as Francis Ford Copolla’s 1992 version of Dracula.

Likely inspired by the success of Chicago Symphony Orchestra’s live scored film events, The Auditorium’s new series offers a unique way to enjoy classical music performance. In many ways, Hollywood film composers have kept the spirit of classical music alive, or at the very least made orchestra music more accessible to the masses. And who doesn’t sometimes put on their favorite film scores to get some work done?

The Chicago Philharmonic brings a small troupe of performers to the grand stage of The Auditorium, but however small they’re just as mighty. The score leaps off the stage and into the highest rafters of the enormous, gilded hall. Huge shows of percussion give an audience the feeling that the score is as big of a character as either Harrison Ford or Daryl Hannah. A musician also doubles as the vocalist, bringing a three dimensional element to the action-packed score.

Auditorium Philms creates a new hybrid movie theater-going experience. They’re blending the traditional theatre model (including a short intermission) with the “Imax” type rollercoaster ride audiences seem to clamor for with every passing superhero movie. The pandemic further cemented people’s love for not just film, but for also the sense of community that certain films create. Think ComicCon.  Blade Runner, Batman, etc there’s a fan-base that loves to cosplay and generally get to know each other. This series will provide a perfect place for film, theatre and music lovers to “nerd out” among like-minded folks.

Auditorium Philms run throughout 2024, check out the schedule here.

I really enjoyed this unique program of ballet created and choreographed by Dwight Rhoden (formerly of Alvin Ailey) and Desmond Richardson and performed by Complexions Contemporary Ballet company that features an interesting combination of the music of Johann Sebastian and Carl Philipp Emanuel Bach along with the prolific rock icon, David Bowie. The choice to use music of classical composers, Bach, Vivaldi and Beethoven for the first half of this program before diving into the wonderful music of David Bowie was interesting and effective. 

At the sold out, one night only Chicago performance of ‘Stardust: From Back to Bowie’ at Auditorium Theatre, the audience seemed anxious to absorb the quality of this highly trained company's talents while waiting for the David Bowie portion of the show to begin.

I have to say that David Bowie's music was a perfect choice for this beautiful and rare company to perform as they chose to cast many wonderful dancers of all races, genders and sizes, which was refreshing to see rather than the more traditional ballet productions that feature dancers of virtually the same structured dimensions. This marvelously diverse company danced with precision, grace and a high-level of artistry and it was just a pleasure to watch them in action.

I’ll admit I was mostly drawn to see this production because of the use of David Bowie's music, so the second half of the show that featured exquisitely executed dancing to the compositions from the man behind Ziggy Stardust really resonated with me. Bowie’s complex, expansive, modern, and often gender-bending music was a seamless match made in Heaven with these exiting dancers and choreography.

It was in the Bowie portion of the performance that, to me, the dancers all seemed to really come alive, including their facial expressiveness, as some were allowed to or chose to lip sync during their interpretive solos, with each dancer taking turns playing the Bowie lead role. The moment Bowie’s music hit the audience’s ears is when the show really burst into life.

Although the classical, Bach-driven first half of the program was well done, the excitement, DRAMA and exquisite storytelling of the Bowie segment begs the question, why aren't more high-quality ballet dance companies using Bowie's music and/or other modern popular musician’s music to dance to? Bowie’s portion of the show was absolutely inspirational. I saw many child dancers in the audience and could tell they were encouraged and inspired by the use of male and female leads to portray Bowie himself. 

I highly recommend this beautiful and astonishing production by a very unique and well-trained company for audiences of all ages. 

“Sugar Hill: The Ellington/Strayhorn Nutcracker,” is a revelation, an absolutely delightful spectacle that may open for you a world of riches in music, choreography, and costumes—it did for me.

Just as the 1892 Tchaikovsky “Nutcracker Ballet” is a holiday dream told in dance, so is this new Americanized (and to me, much more accessible) version, having its world premiere at Chicago’s Auditorium Theatre through December 30. 

It is rooted in a 1960 holiday jazz album by Billy Strayhorn and Duke Ellington, whose reinterpretation of Tchaikovsky's ballet classic is filtered powerfully through bluesy and swinging jazz, while holding substantial elements of the Russian composer’s original.

Muata Langley, one of the sumptuously trench-coated Hooligans.

The libretto and concept is by Jessica Swan, who has created a work for this century, and the ages—with direction and choreography by Tony nominees Joshua Bergasse and Jade Hale-Christofi. “Sugar Hill” features more than 30 dances in four scenes, each distinctive and substantial, expressing the music while advancing the adventurous story.

Strayhorn/Ellington’s 1960 “Nutcracker Suite” had just nine numbers, so “Sugar Hill” has infused the work with many other Strayhorn and Ellington pieces, including Strayhorn’s “Take the A Train,” which receives a show-stopping performance in dance, the whole production backed by a seventeen-piece jazz orchestra, conducted by Harold O’Neal and associate conductor Rob Cookman, both of whom also play piano during the show.

Brenda Braxton as Mother Sugar with her cat butlers.

Like the original “Nutcracker Ballet” the story of “Sugar Hill” centers on a poor little rich girl dreaming of adventures beyond the straight-laced confines of her home. But this little girl is Lena Stall, whose wealthy Black parents live on the Upper West Side; and her dreams take her to the 1930s Sugar Hill district in Harlem, where she experiences exciting music and characters. Nutcracker traditionalists will feel at home with the fine balletic performances by some of the greatest dancers, and mice, cats, dogs and the Nutcracker are all there.

Producers David Garfinkle and Dr. Ron Simons intended to preview this show in New York City in November. Instead, our city is blessed to enjoy this world premiere at Chicago’s historic Auditorium, a perfect setting for what I am certain will prove to be a ravishing cultural event of great import. “Sugar Hill” runs through December 30 at Chicago’s Auditorium Theatre.

It’s a truth universally known that the holidays aren’t always a great time for everyone. Holiday traditions and expectations can often leave us feeling emotionally void or overwhelmed, particularly with how bleak 2023 has been for so many. But in every darkness there is joy to be sparked and light to be found, if one is willing to look for it. This holiday season I discovered a shining light in the The Jinkx & DeLa Holiday Show at Auditorium Theatre. 

The Jinkx & DeLa Holiday Show is an internationally acclaimed holiday variety show returning to Chicago following the massive success of their previous holiday tours. Co-written, co-created, and starring global drag icons and RuPaul’s Drag Race stars BenDeLaCreme and Jinkx Monsoon, fans braved the winter cold to witness a fabulous spectacle, whip-smart comedy, and creative song parodies embodying and cleverly critiquing holiday traditions. 

The holiday show harkens back to classic comedy variety shows that used to dominate television and stage. Jinkx and DeLa are an iconic and dynamic duo, with quick and witty banter and humor that is conflict free, a rarity in today’s comedic world. Even more impressive is that the show is entirely helmed by the queens themselves, with BenDeLaCreme in the producer and director’s chairs.  Too often, queer and drag stories are written and produced by people outside of the community. The Jinkx & DeLa Holiday Show and BenDeLaCreme Presents are reminders why authentic queer storytelling is not only necessary but should be widely celebrated. BenDeLaCreme says, “With all the hatred, darkness, and misinformation flying around our world today, it is an honor and a privilege to spend the holidays with tens of thousands of audience members each year, creating joyous community spaces where we can gather strength through laughter and celebration. Whether you consider it the most wonderful time of year or the most troubling, we’re here to tell you… you’re right! So let’s make it our own.” Monsoon adds, “It’s been a wild year, so let’s end it wildly. DeLa and I strive to entertain while we enlighten and enliven. The Jinkx & Dela Holiday Show is not only a moment of respite, but also of community, at a time where we need our chosen family and community most of all. So add us to your holiday plans, or let us BE your holiday plans— either way, you’re welcome to join us.”

The Jinkx & Dela Holiday Show is a shining light within the darkness, and truly a magnificent experience. The Auditorium Theatre audience were loyal followers of Jinkx and DeLa, many having seen their 2023 show in multiple cities on their tour, while others were back for their yearly tradition of seeing the iconic duo perform. In talking with Jinkx and DeLa, we learned this year’s holiday show changed the formula of the variety show, pairing the usual sweet vs. spicy duo as a united front, emphasizing the core message of togetherness and unity amidst an ever divisive and polarizing world. At the end of the show, the stars beseeched the audience to carry the joy, laughter, and love exuded and felt throughout the show out into the dark world; to spark that light within others and be the light so needed in the darkness. With everything that has happened in 2023, and the last few years,  Jinkx and DeLa have channeled their worry, frustration, and anxiety into a beautifully crafted show filled with lightness, and have created an enduring and worthwhile holiday tradition sure to be enjoyed for years to come.

Though the tour only visited Chicago for one night, this show is sure to become a staple in Chicagoland, only growing and getting better with time. One of the prevailing themes of this year’s variety show was that while our traditions anchor us to the holiday season, we can consistently look within ourselves and our communities to create new traditions or adapt and grow our old traditions. And most importantly, if we cannot find a light within the darkness, we ourselves can be the light for those around us. I cannot wait to add The Jinkx & Dela Holiday Show a must-see holiday tradition and I’ll see you all there in 2024.

This year’s tour will run through December 30 across the US, UK, and Canada with the show that proves they’re still the reigning “queens of Christmas'' (Entertainment Weekly). Tickets are available at JinkxandDeLa.com.