Displaying items by tag: Chicago

There has never been a better Broadway marriage of story and storyteller – until Lin Manuel Miranda’s Hamilton, three decades later, anyway – than Mark Twain’s The Adventures of Huckleberry Finn and songsmith Roger Miller. Floating between aching country ballads, soulful slave spirituals, and the side-splitting novelty tunes that made Miller famous, Big River brought an American classic about century-old America into the 20th century, earning seven Tony Awards in the process. And now through October 15, Theatre at the Center in Munster, Indiana, ferries Huck, Jim, and their story of friendship and freedom to today’s audiences, showing that the stories and the struggles of America haven’t changed all that much.

While Twain’s tale is titled for its teller – the author’s most famous creation – Huck Finn was the original Nick Carraway, in that he is best when playing narrator for the other characters and their quandaries. And in TATC’s production of Big River, James Romney’s Huck is just such a narrator. Romney’s work is fine – his voice is strong, his acting is as well, and he’s got boyish charm galore – but it’s when he allows the rest of the cast to shine that he’s at his best, supporting each of the people we meet along the Mississippi as they spin their yarns, share their pain, and make us chuckle.

The first people we meet are the orchestra, led by pianist and musical director, Bill Underwood. Part of the simple but gorgeous set, the group fits right into the rural riverside, playing guitars, mandolins, accordion, harmonica, and even the jaw harp. Their accompaniment throughout is just the right balance of polished and down home; they’re part of the set and part of the spectacle, bringing the surroundings to life without stealing the show.

Huck’s fellow townsfolk enter as the opening overture plays, each dancing and playing percussion – washboard, shakers, the tambourine. Liz Chidester’s stern Miss Watson is a favorite, a spinsterly hoot. And Kyle Quinlivan’s Tom Sawyer, who will reappear throughout, starts us off expecting a comical adventure, more puckish even than Huck as he leads the local lads in the energetic “We Are the Boys.”

Another member of Huck’s St. Petersburg is town drunkard and the boy’s old man, Pap Finn, played by Bret Tuomi. His swaggering, staggering rendition of the bluesy “Guv’ment” is the first real showstopper. Tuomi later retakes the stage as the King, a conman whose partner in crime, the Duke played by Jason Richards, struts and preens and malaprops his way into the townspeople’s pockets and the audience’s hearts, a highlight being a ludicrous Shakespearean soliloquy. Seeing grifters hoodwink the general populace for their own gain has never been so much fun – or, sadly, so timely.

But even as the cast entertains, the darkest side of humanity is always present. The ensemble cast playing slaves – slaves in Huck’s hometown, and those enslaved on down the river – give the show gravitas not just with their singing, but by their mere presence. Adhana Reid delivers a lovely hymn, “How Blest We Are,” while Camille Robinson provides a highlight in the reprise of “Waitin’ for the Light to Shine.” But early on, as Jim and Huck hear voices from the other bank sing the lament, “The Crossing,” Jim knows these are escaped slaves who’ve been recaptured simply from the sound of their voices. And because Jim tells us, we know this, too. And we hurt right along with him.

Blessed with a big, beautiful voice, and an even bigger and more beautiful presence, Jonathan Butler-Duplessis, as Jim, is the heart of this production, just as Jim is the heart of the book and the musical. Whether cleaning a catfish or chained to a cabin, whether telling of his daughter’s scarlet fever or telling tall tales to Huck aboard their raft, we feel for and with and through Butler-Duplessis’ Jim. This culminates in his rendition of Roger Miller’s finest gospel tune – and perhaps the finest tune Miller ever wrote – “Free at Last.” Shackled there on center stage, Butler-Duplessis shows us the sorrow this man has seen and hints at the hope that freedom may bring.

But perhaps for this writer, the most powerful moment comes at the end of the first act. As Huck joins the shysters in plotting their latest scheme in “When the Sun Goes Down in the South,” Jim returns to the show’s main theme, the yearning, churning “Muddy Water.” Jonathan Butler-Deplessis’ solo soars over his raftmates’ shenanigans, in a plea for freedom, for justice, for life. In 1800's Missouri or in modern times, there is injustice and there are those who stand against it. Yesterday and today, there is good and there is evil. And in that moment, I sure got the shivers as TATC’s Big River allows the good to rise above.

Big River is being performed at Theatre at the Center in Munster, IN through October 15th. For more show information visit www.theatreatthecenter.com. A Wonderful Life: The Musical begins November 16th.

For Chicagoans that grew up in the 1980’s music scene, we remember favorite rock clubs such as The Thirsty Whale, Chances R and Dirty Nellies where spandex and rayon were the materials of choice and eye-liner on Aqua-net sprayed, long-haired guys was all the rage. For the glam rock scene, Chicago was always the minor league affiliate (Single A) to its Los Angeles big brother, where new bands seemingly broke out nearly every week. Almost grinding hair bands out akin to a factory assembly line, Los Angeles set the bar for rock bands all across the world, its clubs The Whiskey a Go Go, Troubadour and The Roxy stepping stones for the next big thing. In “Rock of Ages” the hilarious 1980's musical, we are taken to Los Angeles where the fictional Bourbon Room, one of the last rock hold outs, is under the threat of eminent domain as big money developers have other plans for the property.

Club owner Dennis (riotously played by Chicago favorite Gene Weygandt) runs The Bourbon Room with his sidekick and fellow rocker Lonny (Nick Druzbanski), who also serves as the play’s narrator. Realizing the club’s days are numbered, the two decide to go all out by bringing back Arsenal, a major band that got the start from The Bourbon Room, to play their final show with lead singer and egomaniac, Stacee Jaxx, who is off to pursue a solo career.

And what would an 80’s musical be without a cheesy love story? Bar back and aspiring musician, Drew, is instantly love struck when Dennis hires Sherrie (of course a hopeful actress) to be the club’s new waitress. From there we root for The Bourbon club, along with those protesting the new corporate development, and also for Drew and Sherrie to find love.

“Rock of Ages” is a fun time capsule filled with 80’s rock classics that includes Warrant’s “Heaven”, Journey’s “Don’t stop Believin’”, Twisted Sister’s “We’re Not Gonna Take It”, “Extreme’s “More than Words” and many, many more. Though a parody of the era, “Rock of Ages” is an entertaining tribute to an age in music that, though considered kitschy by some, left a major impact in the world of music. The musical makes several 80’s refences that can’t help but make us forty-to-fifty-somethings laugh, such as Drew’s date with Sherrie where he tries to romance her with a four-pack of Bartles & James wine coolers.

The show boasts as good of a cast as one could ask for. Adam Michaels as self-aggrandizer and vulgar lead singer, Stacee Jaxx, is absolutely hysterical in the role. His moments are plenty as he puts on full display his great knack for physical comedy along with some pretty raging vocals. And as one who has seen this production more times than I remember, I can say quite confidently that Nick Druzbanski may just be the best Lonny I have seen yet. Druzbanski really fires on all cylinders and is a comedic whirlwind, also contributing nicely with strong vocals, certainly deserving a Fogmaster 5000 for a performance nothing short of outstanding.

Notable vocal performances are aplenty in this production with both Cherry Torres as Sherrie and Russell Mernaugh as Drew impressing with their singing prowess in number after number. Both skilled singers as they are actors, Torres and Mernaugh also spark a wonderful chemistry and are able to deliver plenty of funny moments. Though many, other performances of note are Donica Lynn, who sings beautifully when called upon and Nick Cosgrove who nails the role of Franz, the flamboyant German son of developer Hertz, who draws a laugh in just about every scene he occupies.

“Rock of Ages” is silly fun. It’s a campy drive down memory lane. It’s highly recommended. It’s also part concert, as a live band plays from a stage upon the stage throughout the show, tasty guitar licks and all. For some, they will relive the highly memorable era, for others they will receive a tongue-in-cheek glimpse of a time when the Los Angeles rock scene churned out hair bands like Motley Crue, Poison and Ratt.

With Falls theatrical productions in full bloom, this is a must see.

“Rock of Ages” is being performed at Drury Lane Theatre in Oakbrook through October 15th. For tickets and/or more show information, visit www.DruryLaneTheatre.com.

Minita Gandhi’s autobiographical one-woman show is making its official world premiere as the final production of the 16^th Street Theater’s tenth anniversary season, but it’s already been subject to a huge number of raves. Developed at Silk Road Rising and Victory Gardens, earlier versions of Muthaland were performed at everything from the Raven Theatre and Lifeline on Chicago’s north side to the Oregon Shakespeare Festival, and more. It’s making was the subject of a feature in The Atlantic and a documentary called My Muthaland which won a regional Emmy. The play is about reconciling pride in one’s heritage with being subjected to the very worst aspects in that culture, and after receiving so much attention, the show absolutely lives up to its expectations.

In 2009, Gandhi received word that her younger brother had agreed to an arranged marriage while visiting India. This befuddled her since they are first-generation Americans and had always rebuffed their parents’ efforts to get them to embrace that custom. Gandhi is a faithful Jain who speaks Gujarati and had enjoyed family trips to India before, but she found traditional attitudes toward sex and romance to be the most problematic aspect of her upbringing. Nonetheless, after learning her brother was okay with the match, and facing this reminder that she was nearly at the end of her fertile years with no prospective husband in sight, she decided to go to India in search of her own spiritual awakening. She brought along with her a copy of Eat, Pray, Love and yoga instructions, eagerly anticipating meeting her destiny in Bollywood rom-com style.

What ended up happening was something very different and horrible. But while the sexual assault Gandhi suffered naturally has a very prominent place in the show, her message is that it exists alongside other aspects of her life and heritage. Over the course of ninety minutes, Gandhi deftly mixes horror with levity and beauty, creating a rich portrait of herself as teenager, a theatre student, and a growing young actress. Director Heidi Stillman worked closely with her for years to craft a piece which is emotionally authentic throughout as Gandhi switches characters between herself and others. By the end, it is easy to feel like we know not only her, but also her parents, and how their lives in each country are intertwined.

Pulling off any one-person show, let alone one which requires such honesty about things that are deeply personal, requires an incredible amount of technical and physical finesse. Gandhi had Lanise Antione Shelly as her voice and movement coach, as well as Anu Bhatt as a co-choreographer. With just an accent and some gestures with her left hand, she embodies each of her parents as fully-formed and separate personalities. From their first appearance, we understand them to be deeply loving, albeit somewhat overbearing, and her relationship with them winds up being the heart of the play. Her description of an incident involving a vibrator is as hilarious as it is cringe-inducing and their acceptance of her acting career, to name just one thing they unexpectedly had to adjust to, is heart-warming. It is fitting that a play about heritage should so strongly foreground the parent-child relationship, especially when the relationship is one between responsible adults who are still learning from each other. Muthaland is a story that everybody in America who is aware of what they’ve chosen to keep from their ancestors’ culture can identify with in some way, and in refreshing contrast to a lot of other plays which make up the American theatre scene, it shows us what happens when a family we can admire encounters a crisis.

Highly Recommended

Muthaland is performed at the 16^th Street Theater in the basement of the Berwyn Cultural Center, 6420 16^th St, Berwyn, Illinois. Performances are Thursdays and Fridays at 7:30 pm and Saturdays at 5:00 pm and 8:00 pm through October 7. Tickets are $18-22, free parking is available in the lot at 16^th St and Gunderson. Visit 16thstreettheater.org.

The historic Gunder Mansion in Edgewater opens its doors for a unique theatre experience: a fifty-minute event consisting of five distinct plays, each unfolding in a separate room of the mansion and designed for an audience of one. The entire audience consists of only ten members; there are two tracks to choose from: “Personal” and “Up Close”, and there are two shows per night (7:30 PM and 8:30 PM).

The ten members of the audience are divided into two groups; each member will then follow a journey (either “Personal” or “Up Close”). Upon entering each room, a ten-minute play unfolds where the audience member becomes an active participant. So, what’s in the room?

It could be a fun TV show (“Iconic”, created and directed by Julian Stroop), a gothic fortune teller parlor (“The Guest”, written by Kaitlin Gilgenbach, directed by Molly Donahue), or just an ordinary room with an extra-ordinary person in it. Prepare to be surprised and amused, and throw caution out the door: this interactive play, as the show’s Experience Director Janet Howe put it, is the opposite of watching Netflix at home. It’s kind of like an amusement park where some rides are more fun than others, but, overall, the entire experience is highly enjoyable. You’ll even go home with a souvenir [of your own making].

The creative team behind “For One” (experience director Janet Howe, production manager Claire Chrzan) designed each play to revolve around the audience, so each room feels like a special customizable adventure. Dream-like, each play has no beginning and no end; once you’re in the room, you’re immediately drawn into the midst of action, so you might as well assume your designated role. The outcome is somewhat unpredictable, since actors play off the audience member’s words and actions. At the end, you’re often admired for your wonderful qualities and talents, and then politely kicked out. What a great chance to feel like a star, or at least like the most important person in the room. Lucky you.

About the venue: Gunder Mansion was built in 1910 for pharmaceutical company executive Samuel Gunder. It later was used by the Viatorian religious order. After many years of residing there, they sold the property in 1981 to the Chicago Park District for half the market value hoping to see it restored and used for the community. The Mansion was acquired by Edgewater Community Council; it was subsequently rehabbed and transformed into Cultural Center.

“For One”, the latest production by (re)discover theatre company is being performed through September 30th. For more show information visit http://www.rediscovertheatre.com/for-one/.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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