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It’s not often a theatre company tackles two Pulitzer Prize winning plays in one season, but Steppenwolf is doing just that. While you may grow a long white beard waiting to see the 2016 winner, "Hamilton," Steppenwolf has 2014 and 2015 covered with "The Flick" and "Between Riverside and Crazy." Playwright Stephen Adly Guirgis' work was last seen at the Steppenwolf in 2012 with "The Motherf@cker with the Hat." He won the 2015 Pulitzer for "Between Riverside and Crazy." 

"Between Riverside and Crazy" is largely similar to "The Motherf@cker with the Hat," in that it deals with issues of addiction and inequality. "Riverside" tells the story of Walter (Eamonn Walker) who's a retired cop with one of the last rent controlled apartments in a nice part of Manhattan. The catch is that he's hopelessly waiting for a settlement from the city because he was shot by another officer. Walter, or Pops, as he's called has a habit of taking in degenerates and trying to nurse them back to health. He forgives people of their sins and keeps company with thieves and whores, sound familiar? 

Guirgis' play couldn't come about at a more topical time. Though, when thinking of an ethics tale about a police shooting, most would have a different notion of how the author would address issues of race. Guirgis is unflinchingly realistic, with the point being that nobody is perfect. The space between right and wrong seems to be too narrow for this play, as are most instances in life. What he does well is set characters up to appear one way, only to cynically devolve into what we're conditioned to assume. 

Eamonn Walker impeccably leads this top-notch cast. He's able to embody the grizzled, but lovable character in such a natural way you'd think you've known him forever. Audrey Francis also stands out in her performance as Walter's former beat partner. She plays an unlikeable character with such sincerity that you almost forget she's not really on Walter's side. Lily Mojekwu is one of the show's best hidden gems. Her character, Church Lady, doesn’t enter until well into the second act, but her narrative propels the story to its conclusion. She's another character you want to trust, but if you've been in the real world long enough, you know better. 

Yasen Peyankov's production of "Between Riverside and Crazy" is a slow building, but highly rewarding theatre experience on the same level as "Clybourn Park." Good for the Steppenwolf for forcing unpleasant issues in the face of middle class audiences. While some may leave the theater feeling as if their world views are affirmed, others will leave questioning their own morals. 

Through August 21st at Steppenwolf Theatre. 1650 N Halsted St. 312-335-1650

The Factory Theater Company just opened their latest production, Dating and Dragons, in its adorable space in the heart of Rogers Park. The venue is very intimate but comfortable, nicely lit, colorful and in this summer heat - well air conditioned!

In Dating and Dragons, the lead character Jack and his friends are serious fantasy game players. They are best friends who sincerely enjoy their weekly game like a real family that does not welcome new members easily. With them, game night is not just tradition, it is religion. To mixed responses of his fellow gamers, Jack meets a cute girl at the video store he runs and although his friends try to advise him in the rules of dating, he soon finds that “rules” when it comes to love and sexual attraction just don't apply.

The play written by Mike Ooi is a light fun look at the lives of these young people and their fascination with becoming "actors" when they "act out" the different characters and their corresponding powers, like invisibility and flame throwing. A young Richard Dreyfuss-alike, Nick Freed is perfectly cast as Jack and is quite convincing as the love struck gamer who dances on the edge of reality and fiction.  

Personally, I never really understood the fascination and escape with games like Dungeons and Dragons which has SO many rules, until I saw this solidly written play.  

Paige, played by Savannah Rae, is the sole female member of this game-obsessed group of friends. Rae gets a lot of laughs throughout this funny production, shining brightly with her nerdy, physically comedic performance. 

Diane, the mysterious girl Jack falls for in real life, is played well by Rebecca Wolfe, sending off believable flirtation vibes. Diane soon experiences his gang of game hounds after only a few dates and attempts to join in a newbie (much to the dismay of an impatient staple in the group), slowing down the action while she learns the rules. In this case, meeting a gaming enthusiast group of friends too soon is akin to meeting a guy's parents too soon. It could go very well and cement a newly growing relationship or it could be the awkward end. 

This show is highly enjoyable and an easy watch. The story is cute, the characters interact well and the humorous dialogue rolls evenly, providing some much needed levity during such crazy times. Dating and Dragons is truthful, light and fun just in time for those seeking some pleasurable summer entertainment.  

The real lesson here, is that love is not a "game". D and D also reminds us to put fantasy aside when you find yourself depending too much on your friend’s advice and "dating rules". Don’t resist acting from your own real human gut, or you may have already lost the game due to lack of your own self confidence in the "real world". 

Dating and Dragons is being performed at The Factory Theater through August 13th. The theatre is located at 1623 W Howard Street. For more show info visit www.thefactorytheater.com.  

In one of William Shakespeare’s most popular works, A Midsummer Night’s Dream has been performed widely across the world, this summer finding a temporary home at First Folio Theatre (Mayslake Peabody Estate in Oakbrook). Celebrating twenty years of the company’s annual Shakespeare Under the Stars Production, theatre goers are treated to a comedy that is acted out to perfection. Not only do we get a myriad of fine acting performances, the colorful costumes and imaginative set lend greatly to a magical night out when coupled with the fact that the stage is surrounded by the vast night sky, a backdrop of thick trees and happy picnickers beyond the first few rows of seats. 

A comedy that features mischievous faeries who live within the forest, the play focuses on the events leading up to the marriage of Duke Theseus and Hippolyta, an affair taking place just on the edge of Fairyland. With interconnecting plots, the story unfolds of Hermia who is in love with Lysander despite her father Egues’ arrangement that marry Demetrius. Infuriated, Egues calls upon Athenian law to which Hermia would face death if she chooses not to wed the suitor hand-picked by her father. At the same time Demetrius is loved by Helena but her offerings are rejected. Naturally, Oberon, the king of the faeries and Titania, his queen, cannot help but meddle with the four lovers and mistakes are made.

The story also follows a colorful band of laborers, or “mechanicals” as referred to by the fairy, Puck, who are to perform a play about Pyramus and Thisbe for Theseus’ wedding. The mechanicals too are manipulated by the faeries ultimately performing their play so poorly that it is mistaken for a comedy – one of the highlight’s of this charming production. 

Steve Pebbles as the over-confident and highly zealous mechanical, Bottom, and Sarah Wisterman as Hermia are certainly scene-stealers beautifully translating Shakespearean humor to that of today’s. Both Pebbles and Wisterman display a knack for comedic line delivery along with the perfect touch of physical humor that really opens the door wide open for this comedy to breathe at just the right pace. But as much as Pebbles and Wisterman stand out, the play is not without other tremendous performances including Michael Joseph Mitchell in the dual roles of Theseus and Oberon, Tony Carter as Demetrius, Sydney Germaine as Puck and Ali Burch as Helena. In all, we get a very strong cast that delivers, skillfully playing off each other in bouts of impressive exchanges filled with passion and humor. 

Hayley Rice finely directs this classic comedy that deals with the muddle and complications that relate to love. Rice opts for dual casting for the roles of Titania and Hippolyta as well as Theseus and Oberon, avoiding confusion by creating a fairy world that takes place in modern day, thus sneakers, sunglasses and a boom box as opposed to buckled shoes and sixteenth century instruments. The twist works to separate the characters and creates an entertaining group that could easily be found at Paisley Park, but it does away from the fairy-tale period that we have come to identify A Midsummer Night’s Dream. 

A fascinating production that has just the right amount of laughs, fantasy and trickery, First Folio’s A Midsummer Night’s Dream is a memorable summer event that keenly interprets Shakespeare for today’s audience thanks to its outstanding direction and role execution by this talented cast. 

Audience comfort is also considered. Mosquito repellent candles are strategically placed throughout the first few rows where padded seats are lined with blankets to share. Attendees can also choose to bring their own lawn chairs or blankets and sit wherever they like. With a show start time of 8:15 pm, First Folio invites guests to enter the grounds at 6:45 pm should they like to picnic or simply take in the atmosphere. Quaint, family-friendly and enchanting, A Midsummer Night’s Dream is being performed on the grounds of Mayslake Peabody Estate in Oakbrook Wednesday through Sunday until August 14th. Tickets are a bargain at from $29-$39 with children under thirteen at just $10. FOr tickets and/or more show information, visit www.firstfolio.org.

I had no idea what to expect Sunday night when I went to Soldier Field to see Guns N’ Roses. I really didn’t. I knew what I had hoped to see in what is now the highest grossing tour in 2016 but was still a bit skeptical seeing as the band has been on the outs for such a long time. Reviews of the band’s “Not In This Lifetime” reunion tour have been mixed, some claiming that Slash had been carrying the show, implying the other band members were merely present as symbols of yesteryear so that as much of an original lineup could be put together as possible to warrant such a major occasion that could fill stadiums. That’s not what I saw – not even close. Yes, Slash was amazing in himself, but I saw a band that collectively charged the stage and played with an enormous amount of continuity, energy, confidence and precision. I saw a band where EACH member contributed as much as the next in what turned out to be a very special event – the event one can only hope for when throwing around the words “Guns N’ Roses reunion”. 

Having seen the band four times between the Appetite for Destruction and the Use Your Illusion releases, it is apparent that Guns N’ Roses now has access to a much larger and complex stage show where pyrotechnics and jumbo screens assist in presenting the band’s vision like never before. But of course you can’t have a successful reunion run without the music. There’s no denying the band has the catalog of material to please their hungry fan base, but let’s be honest – it’s been a long time since the band has played together and we now live in a world where comeback tours often recycle band members and thrust them on stage whether they can still perform or not. Guns N’ Roses is not one of these bands. While Slash wailed away on his Les Paul, effortlessly ripping through riffs and solos, bassist Duff McKagan also showed he was still in peak form even laying out impressive lead vocals on Iggy Pop’s “Raw Power”, a song the band covered on The Spaghetti Incident. McKagan patrolled the large stage area bleeding the Guns N’ Roses arrogance we have come to know, projecting the epitome of rock n’ roll attitude.

To me, I had little doubt that the instrumentation would be there, I was most curious if Axl Rose would still be able to gel with the others (and them with him) and, frankly, if his voice would hold up. Within minutes of the show, any doubts I may have had completely vanished. Axl was nailing it – and then some. With an incredible energy level that had him running all over the stage and grinding out his famous rock moves, Axl’s vocals were spot on and possibly even more powerful than ever before. His stage presence was dominant. He controlled the crowd. Who knows what goes on behind the scenes but all signs pointed to the three original members expressing great enjoyment as they played with each other – and this while playing at an optimum level. 

The still youthful band, both musically and physically fit, was rounded out with Richard Fortus, who has been playing guitar for Guns N’ Roses since 2001 and was a presence in his own right, drummer Frank Ferrer (since 2006) who gives Matt Sorum a run for his money, longtime keyboardist Dizzy Reed and newbie Melissa Reese who manned a second keyboard.

Like a locomotive, the band’s sound was delivered with force from the get go when they opened with “It’s So Easy”. In a set that lasted somewhere in the neighborhood of two hours and forty-five minutes, Guns N’ Roses tackled a plethora of favorites including “Mr. Brownstone”, “Welcome to the Jungle”, “Civil War”, “Sweet Child O’ Mine”, “Coma”, “Estranged”, “Live and Let Die” and “Rocket Queen”. The band also played a handful of material from their critically acclaimed 2008 release Chinese Democracy, going into the title track along with “This I Love” and “Better”. 

In what could only be interpreted as a tribute to Prince, the entire stage filled with billows of purple smoke just after an inspiring performance of “November Rain”. Duff also sported the symbol of Prince on his bass. Nice touch, fellas.  

Theirs was a set that never let up. After one gratifying selection after another the band finished up with “Nightrain” before returning for an encore with “Don’t Cry”, The Who’s “The Seeker” and a ramped up “Paradise City”. 

Guns N’ Roses “Not In This Lifetime” tour certainly lives up to the hopes of their many fans. It’s what fans knew the band could still be. Musically, the tour is fulfilling and visually, it is stimulating. It is the complete package. No shortcuts or cutting corners here. What fans get is an exciting, full blown Guns N’ Roses experience. I’m just glad Chicago made the band’s shortlist or tour stops. Great music, stage show and musicianship aside, not to worry, the band still carries a healthy “Fuck You” brashness after all these years – an important ingredient in G N’ R’s recipe for success.           

Alice in Chains provided strong support for Guns N’ Roses for their Chicago stops and is highly deserving of their own rave review. Though Soldier Field may be the last stop for Alice in Chains as opening support, Guns N’ Roses will continue to take heavy-hitting acts along with them on the road with Lenny Kravitz, The Cult and Wolfmother scheduled on later dates. 

So what’s next after a successful reunion tour? That’s what everyone seems to be asking while hoping the answer is simply to make a new album and tour the shit out of it. Guns N’ Roses is back.    

I have been a fan of Chick Corea ever since I picked up a Return to Forever album sometime around 1983. Twenty-three years or so later, I was finally able to see him perform – the venue being Ravinia Festival. Corea has been involved in the Jazz scene for fifty years or more and at seventy-five-years-young, he can keep up with someone half his age. 

Starting off the triple bill on the evening of July Fourth was Ms. Lisa Fischer and Grand Baton. Theirs was a Jazz on the mellower side though some interesting cover material was chosen to perform. I have never heard Led Zeppelin’s “Rock and Roll” played in such a manner before. They also covered two different Rolling Stones songs, “Jumping Jack Flash” and “Gimme Shelter”. Arrangements on these particular songs were quite different than the originals as you might imagine. I must say Fischer’s voice was quite good. Her intonation was amazing. She and her band seemed to drop the word love in every song, very refreshing. After watching her performance, I can only conclude that Ms. Fischer appears to be a peaceful spirit in human form. 

The second set was the headlining act, the Chick Corea Trio. Always surrounding himself with talented musicians, Christian McBride was on bass and Brian Blade on drums. Both complimented Chick’s piano playing very well. McBride was a very fluent soloist on upright bass and was somewhat reminiscent of Stanley Clarke in terms of chops, while maintaining his own identity. Brain Blade was equally astounding to say the least. Chick seems to have a knack for finding some of the best players around. I’m sure his reputation attracts the attention of some fine players who line up at the chance to share the stage with such a musical legend. Throughout the entire set Corea played a grand piano. Corea’s chops were so fluid, it’s hard to believe a man of that age still has the hands to pull that off. Fans were in awe during the whole set.

Then it was big band time. It was interesting to see Corea in the two different settings. Bass, drums and twelve horns accompanied Chick on the final set of the holiday evening. Corea called out the names of every song and gave credit to the person who did each particular arrangement. If you love horns, it was Heaven. He even touched on a Return to Forever song, making it sound like a fresh new song. Each of the horn players had at least one featured solo, as well. Trumpets, trombones, saxophones and even flute solos were of the highest caliber. Corea didn’t hold back on the last set either. I felt he got better as the night went along, almost as though he may have just been warming up.

Jazz is almost a lost art form. I have said that before. It is so nice to see music still being performed by real musicians. The only issue I sometimes have with Jazz audiences is that they applaud after every solo. I guess this is a tradition but I would prefer they would wait until the end of the song. Still, they are usually deserving of the recognition it’s just that sometimes you miss the start of the next solo because of the applause. 

Take the opportunity to go see some live Jazz before all the great ones are gone. Ravinia is still to host some amazing Jazz acts this season. The tradition continues, but the real guys are all getting up there in age. At seventy-five, Chick Corea is at the younger end of the age spectrum.

Amazing times can be had at a live production. Summer concerts can be especially nice; the sun is setting, the crowd is excited, and the opening act is about to take the stage. This particular musical presentation couldn’t have gone much better. 

Opening the show was blues legend, Charlie Musselwhite. The talented musician came out blowing the harp and he gave it all he had. His entire performance was just fantastic, warming up the crowd on a chilly summer night. The audience was certainly amped and ready for the “Space Cowboy”, as the seats and picnic area were already well occupied for this amazing guitar man. 

The Steve Miller Band then took over and hit the crowd right between the eyes with “Jungle Love”, “Take the Money and Run”, and “Abracadabra”, and that was just for starters. If Miller’s performance wasn’t thrilling enough, the place really exploded with excitement when Charlie Musselwhite was invited out to join in on a few bluesy songs. They did a few old cover songs from Little Walter and Freddie King. It was a very memorable time for everyone. 

Longtime fan, Ron Marten says, “I became a fan in 1976 when I was six-years-old. My mom had just bought an 8-track player and joined Columbia house. She was stiffed with this 8-track that was the selection of the month, Fly Like an Eagle. At that time, I was really into the "Space Intro". She couldn’t send it back now. It was part of my nursery rhymes.  We ended up playing the hell out of it.”

Miller’s set continued on with more hits; hit after hit after hit! The night couldn’t be better for any true fan of Steve Miller. He performed very well and his sound is always top notch.  Highland Park was truly fortunate to get an act like this playing in their backyard. 

One fan, however, seemed disappointed during an intro the song "Wintertime". “That was the Window!” he shouted. He turned about to his friends and joined in singing, “In the wintertime ……….”. His mood couldn’t be ruined. 

Steve Miller brought out all of his classics that he could including “Serenade”, “The Joker”, “Fly Like an Eagle”, and closed his triumphant set out with another favorite “Jet Airliner”. Not a single fan in the crowd could be disappointed with the set list. Seeing this man live is like flipping on a radio. Instantly the ear candy is something you know and it hits you hard. 

Ravinia Festival in Highland Park is the place to be to see a live act and who could possibly be better than Steve Miller?                    

One of the world’s most popular musicals has found a temporary home at Marriott Theatre in Lincolnshire. And you should see it! Celebrating five Tony Awards, including Best Musical, the 1964 hit takes on a most interesting chapter in the life of Don Quixote while spending time in prison as he awaits a hearing with the Spanish Inquisition. Based on one of 17th century Spanish writer Miguel de Cervantes’ most famed characters the 1959 teleplay I, Don Quixote set the stage for what has become one of the most successful musicals to date. Often referred to as a play within a play, Man of La Mancha focuses on Quixote, an imprisoned writer who has turned away from the harsh realities of the world such as battle, crime and poverty and decides rather to view the world as he wants to see it where a prostitute, Aldonza, can instead be a his beloved Dulcinea, a battered cane can be a mighty sword or a cooking pot can be a prized helmet – a victorious trophy. 

Music Director Ryan T. Nelson and six-time Jeff Award director Nick Bowling take on this long-time prolific musical, splendidly piecing together a production that engages throughout and profoundly touches the heart. It is together with the powerhouse acting performance of Nathaniel Stampley, that this production goes over and beyond, becoming an instant Marriott classic and a show that will long be remembered for its superb acting and gripping storytelling. Stampley brilliantly seizes the lead role, which is really two leading roles, as the passionate writer who has defied the Spanish Inquisition along with the imaginary knight he has become in his imagination. 

Stampley is an actor you can easily root for. Magnetic and captivating, Stampley is a tour de force, capturing the character’s subtleties while becoming a dominating presence when called for, particularly during his breathtaking rendition of the production’s famed song “The Impossible Dream”, which led to a much deserved extended applause that only escalated to a higher volume every time the cheers began to die down.  

Stampley gets solid support from actress Danni Smith who delivers a memorable performance of her own, the two skillfully playing off each other to generate the much needed connection to make this show work. Richard Ruiz is also excellent as Quixote's trusty sidekick, Sancho. As all Marriott shows go, we are treated to a very gifted ensemble, as well. 

Director Nick Bowling does add a twist to the original by having the story take place in modern times. Simply said, it works. As Bowling explains, “We put the story in modern day with the notion that there are inquiries still going today and there will always be inquisitions.” Bowling’s underlying tones are powerful and serve as a wake up call for some while everyone can still enjoy a masterful musical that can be as heartwarming as it can sad and often humorous in just the right spots. 

Wonderfully acted with a slew of talented vocal performances, Man of La Mancha is a sure summer hit that is sure to make theatre goers cheer, feel and emphasize with and for a man who dares to dream the impossible dream and fight the unbeatable foe. 

Man of La Mancha is being performed at Marriott Theatre through August 14th. Tickets range from $50-$55. For more show information visit www.marriotttheatre.com.               

In 2003, a little show called One Tree Hill hit the WB and its theme some “I Don't Want to Be” was quickly burned onto mix CDs by denim mini skirt, tie-belt, fedora wearing teen in the country. That theme song was sung by Gavin Degraw who stirred up a bit of early 2000 nostalgia as he performed at Ravinia with The Fray on June 25th.

Ravinia was packed to the brim to see the piano playing artists. Every seat in the Pavilion was taken, with swarms of people crowding over the railing to try and catch a view of the stage. I wouldn't have thought the headliners would have drawn such a large crowd with lawn seats running at $40 apiece and the heat climbing to just over 90 degrees at sunset. But with every grassy nook taken by late twenty, early thirty-somethings casually sipping drinks while they weren’t legally allowed to drink when the artists first debuted, I found myself pleasantly surprised. 

Gavin Degraw opened the evening, playing some of my own favorites from his many albums including “Chariot,” “I’m in Love with a Girl,” “Not Over You,” and his most notable “I Don't Want to Be.” His set played for nearly an hour and a half and he could have played until the gates closed without argument from the audience. The Fray didn't play as long. In fact, their set had more covers than originals. “How to Save a Life,” the band’s second single and the song that propelled them to worldwide fame in 2005, was the only song that seemed to resonate with the crowd. The only other song that the audience seemed to know of theirs was “Over My Head,” and without many other top 40 Billboard topping songs to note, The Fray paled in comparison to Degraw’s soulful set. But the pairing between the singer-songwriter and American rock band went together like red wine and cheese. Both of the artist’s songs were tailor-made for dramatic TV moments. The next time the duo come to Ravinia their sets should be accompanied by a large movie screen with TV clips from early 2000 shows. Think The Fray providing theme music to dramatic scenes on Scrubs and Grey's Anatomy, Gavin Degraw playing over sappy moments on One Tree Hill, The OC, Gilmore Girls. It would probably draw double the audience and it would certainly double the Y2K nostalgia.

Ravinia is just getting their summer season going and has an incredible line-up with shows through September that span dozens of interests, musical eras, and genres. Visit www.ravinia.org for schedule and tickets.

It was a triple bill of Mary Chapin Carpenter, Indigo Girls and Shawn Mullins a cool Friday night in June, the perfect atmosphere for some hot music. And though the showed started early at, 6:30 PM, there was already a surprisingly good-sized crowd on hand well before the activities were to begin. For those of you who have not experienced Ravinia Festival in Highland Park, the park contains a massive picnic area that surrounds the pavilion where the stage is held. Some stay in the lawn area until the headliner hits the stage, others remain in the picnic area and just enjoy the ambience while listening to the concert to the speakers set up throughout. This show was no different. 

The first thing I noticed when I first heard the Indigo Girls over twenty years ago was their vocal harmonies, an interesting blend. Amy Ray has a very deep voice for a female singer and Emily Saliers has the higher and much more versatile voice. This makes for an interesting vocal blend. My only issue with this is the repetition of this formula on every song though I am not that familiar with their catalog of work in its entirety. I found that even though their sound is quite unique, after a couple songs their sound could get a bit predictable. Having said that, the crowd certainly approved of what they heard, many of them singing along and dancing in place.

The Indigo Girls were backed up by three other performers, a multi instrumentalist, a violinist/vocalist and a singer/guitarist. Even with the augmentation of the line up, I still found a lot of their songs have few variables to the band’s overall sound. The tempo and harmonies were just extremely similar from song to song.

Shawn Mullins opened up the night with an acoustic guitar, his own voice and an accordion player. This exceptional baritone singer had a really folky vibe that was a great warm up for the crowd. The pavilion had a lot of empty seats still at that point as concert goers milled about the grounds, but the people that were watching his act really appeared to enjoy his music. Mullins’ sense of humor was also very refreshing.

The act of the night in my opinion was the one in the middle, Mary Chapin Carpenter. She had a typical five-piece band line up, drums, bass, keys and guitar. Backing vocals were provided by the bass and keys players. Now, I don’t know why, but Carpenter is a performer I can honestly say slipped under my radar. A real veteran, her performance was amazing, as Carpenter played a great variety of material - and played it to perfection. If I were to label her music I would say folk….no, country….no, Rock and Roll….all of the above. I hate categories because of their limiting definitions anyway.  I like variety and her portion of the show was a great example of that. I really thought Mary should have been the headliner after watching her, but the Girls have a very strong following. It’s not right to say a certain performer is better than another, so I won’t go there. Rather, I simply found Carpenter the performer of the night.

The Indigo Girls is still an act worth seeing. I think maybe branching out a bit may be in their best interest. Their fans would probably disagree, that’s okay. Their following is very loyal, and this could be partly due to their social position…just a couple girls doing it on their own for the most part. I should probably listen a little more clearly to the lyrics, that is probably where the variety of their material lies. I’m sure it is also somewhat difficult to provide a lot of different tempos and rhythmic variations when you play without a live drummer. Heading into the show, I wasn’t sure what their lineup was going to be since I have mostly seen Amy and Emily play as a duet.

The Indigo Girls closed the show with “Closer to Fine”, the song that really put them on the map. The crowd was probably louder than the Girls were at times during that song. That’s what it’s all about really anyway, communication. If you can get an audience to respond like that, mission accomplished. So, to sum it up my criticism of the lack of variety was clearly only in my eyes. Their audience didn’t view it like that. I guess for me Bob Dylan is the same way. To the average listener, many of his songs sound the same. Am I comparing The Indigo Girls to Bob Dylan? I guess in a way, their appeal is in the same vein. Just simple songs played with their own particular flavor. Folk music is what it says it is, music of the people. The people responded, that’s all that really matters, not the opinion of one critic. 

I thoroughly enjoy the Windy City Playhouse and it appears they did a renovation since I was there last. The seats are comfortable and a full bar is a fantastic feature to any theater, if you ask me. In addition, the staff are incredibly friendly and very caring. I will definitely try another play here but I have to say, This, left little to be desired. 

This explores the ups and downs of life from a group of five friends in their upper thirties. The set opens up in Tom (Steve O'Connell) and Marrell's (Tania Richard) New York apartment. They are hosting friends Jane (Amy Rubenstein) and Alan (Joe Zarrow). It is quickly discovered that Jane is a widow and Marrell is looking to set her up with her French friend, Jean Pierre, who is played by Brian Gray. As this group of friends reminisce about the college days they had spent together we gradually care less and less about them as there is nothing about them that is really likable or pulls us in. Over magnifying the problems and "tough" life decisions of this privileged and highly educated collection of characters (yawn), playwright Melissa James Gibson falls short in creating individuals we want to identify with. This tends to drag and never really comes around, refusing to engage its audience.      

I found the plot to be a bit predictable; maybe because it has been done before. I had a hard time connecting to this group of self-centered characters and found many of them to be a bit over the top. However, the best part of this play is Joe Zarrow. He played his witty character, Alan, perfectly and added just the right amount of comical relief when necessary. The only other plus besides Zarrow's performance, was in Katie-Bell Kenney's well-crafted set design to which we find ourselves peering into a believable apartment complex.   

Even though I didn't enjoy the play as much as other treasures at Windy City Playhouse, I'd still recommend taking the time to see it for yourself, if for any reason to support this wonderful theatre that has a great track record of hitting its mark. This is being performed at Windy City Playhouse (3014 W Irving Park Rd) through August 28th. Tickets range from $25-$45.