A dazzling high-energy jukebox musical with history and astonishing talent, Black Ensemble Theatre's “Men of Soul” is sure to be a smash-hit! Brimming with electrifying artistry, the show brings to mind another long-running Chicago musical favorite “Million Dollar Quartet”, which features an array of 1950’s icons. “Men of Soul” shares the delicious romp through iconic American music history, featuring stunning replications of some of our most beloved performers and songwriters through virtuosic performances and upbeat entertainment!

“Men of Soul” celebrates the passion and power of musicians who triumphed over personal and social struggles to achieve success through song. Featuring a hilarious, spot-on, rousing rendition of Elton John’s “Benny and the Jets”, an incredibly energetic performance by Kyle Smith as Prince with “Purple Rain”, and including singing so remarkably similar to the original artist Ray Charles that I thought “Georgia On My Mind” was lip-synced! Dancing as only James Brown can in “Sex Machine”, crooning “On the Wings of Love” and “A Whole New World”, and rocking away to Billy Joel’s “My Life” and a medley of Bill Withers favorites such as “Lean on Me” and the unforgettable “Ain’t No Sunshine”, makes “Men of Soul” a summer performance to enjoy and remember!

I was especially impressed by the director and writer of “Men of Soul”, Daryl D Brooks. Seamless transitions, exciting lighting displays that incorporated the entire audience, and impeccable casting and musical direction brings this hilarious, high energy show to the pinnacle of success! Associate Director of Black Ensemble Theater, I look forward to the entertainment Mr. Brooks will bring the Chicago community in the future!

“Men of Soul” is the perfect summer show to bring friends and family to see, playing all through the month of August! Tickets can be found at www.blackensemble.org or by calling (773) 769-4451, with discounts for students, seniors and groups. Valet parking available.

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“The Waiting Room” is an insightful arrangement of relationships in tension with themselves and the outside world, pressed together in the arena of a government agency. Social outsiders, each carrying the weight of a broken soul mismatched with their partner or their environment, struggle to find themselves. This story exemplifies the “slice of life” genre, opening the door into private rooms and shining a light on social prejudices and inequalities.

This short film is the work of up and coming filmmaker Prabir R. Chowdhury, whose poetic style comes to fruition with the touch of a master in this refreshing story. Recognized by film festivals on three continents as a poignant, unique, and eye opening creation, the film reflects a multicultural outlook set in modern day Chicago. It follows a day in the life of foreigners - an African couple fielding the language barrier in a quest for legal status, an Indian man studying nervously for his driver’s license, and an Eastern European woman too busy to find the love she craves – as well as homegrown Chicagoans – a mismatched couple expecting a baby, a single mother juggling time and emotional turmoil, and a reclusive baby boomer whose paintings provide a wall to the outside world.

Chowdhury demonstrates a singular gift of crafting commonplace personal exchanges into life-altering moments of tensely heartfelt drama in this short film. Each person’s tale revolves and interchanges with the others to reveal the soul of the piece. Little truths culminate into an imprint on the film’s audience which may inspire a little more tolerance, and perhaps a little more interest in the human lives we touch. From the mundane to the magnificent, Chowdhury’s work inspires a confidence that leaves the audience wanting more from this talented writer, editor and director.

“The Waiting Room” is currently running the film festival circuit and will be released this fall. More information can be found on the film’s Facebook page at https://www.facebook.com/shortstorycollection.thewaitingroom, or on the production company’s website at http://www.mindframesets.com/movies/the-waiting-room/.

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“His Way – Sinatra’s Centennial Celebration” is really more of a tour de force of the unbelievably talented Ron Hawking. This recipient of the 2014 Chicago Music Award’s Lifetime Achievement Award has spent over a decade building and honing a repertoire of spot-on impressions of over a dozen of America’s most beloved singing stars of the 1950’s- 60’s.

The show was a one night only performance presented as part of the “Made in Chicago” music series hosted by the historic Auditorium Theatre. A masterpiece of architecture, the Auditorium Theatre has been a favorite of Chicago theatre goers since its opening in 1889. Beautifully gilded in gold and sparkling with hundreds of lights, the Auditorium has showcased nearly every major figure in entertainment in the last century. The theatre’s landmark status was celebrated on Chicago’s “Auditorium Theatre Day” on December 9, 2014, on the occasion of its 125^thanniversary.

Hawking does an admirable job of delivering remarkable and humorous impersonations of entertainers. He gave homage to Sinatra’s 100^th birthday by singing the birthday song to him while wearing the famous Sinatra black fedora. His swinging renditions of such favorites as “You Make Me Feel So Young” had the audience literally dancing in their seats!

Mixed in with the Sinatra hits were signature songs and jokes of beloved singers and actors such as Louis Armstrong, Tony Bennett, Dean Martin, and an especially good Jack Nicholson. These characters originated in other shows developed by Hawking such as “The Men and their Music” and “Home for the Holidays”, which, along with “His Way - A Musical Tribute to Frank Sinatra” are some of Chicago’s longest running and most beloved musical tribute shows. They have appeared over a thousand times at The His Way Theatre in Chicago’s NBC Tower.

While Hawking’s feel-good show brings to mind such family centered entertainment as is popular in Branson, Missouri, the show seemed more suited to a dinner theatre or bar than to the large space of the Auditorium. Given the benefit of multiple performances however, veteran performance crafter Ron Hawking could surely thrive in such an arena.

“His Way – Sinatra’s Centennial Celebration” starring Chicago’s own Ron Hawking may have come to the Auditorium for a one night special performance, but the “Made in Chicago” music series continues. Tickets to upcoming events in this series are available at AuditoriumTheatre.org by calling (800) 982-ARTS (2787) or in-person at the Auditorium’s Box Office (50 E. Congress Pkwy). Check out upcoming shows in this series here.

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A legend in her own right, Frederica von Stade graces the stage with poise and perfection in Chicago Opera Theater's "A Coffin in Egypt". A veteran mezzo-soprano, her performances, recordings and television specials have garnered her six Grammy nominations, a cascade of European awards and recognition, and even an award from President Reagan in 1983 in recognition of her significant contribution to the arts.

The story presented in the opera comes from a tale by revered American dramatist Horton Foote, who's often seen play "The Trip to Bountiful" exemplifies his recurring themes of family, community and the triumph of the human spirit.

Ricky Ian Gordon, award winning composer, crafted this opera specifically to showcase Ms. von Stade's virtuosity. The opera was commissioned by Houston Grand Opera, The Wallis Annenberg Center, and Opera Philadelphia.

Bringing together a wealth of skill and experience, unfortunately this show lacks a riveting climax. Essentially it is a monologue of a dying woman, ruminating on the memories and men that shaped her life. Sprinkled with a few strong songs, the majority of the music is asynchronous and wandering. The music stays mostly at the lower end of Ms von Stade's range, disappointing since her most beautiful moments are in the higher, longer notes where her voice is free and stunning. This is ironic and disappointing considering that this is supposed to be a piece to showcase her talent.

Although her emotions revolve constantly as she fixates on each memory, the lighting is too static and realistic to reflect, enhance or build her moods. The lighting did however enhance the boredom that grew until the curtain fell.

The set was charming however, reflecting the place and the lady's emotional turmoil with a simple and elegant design. Veteran scenic and costume designer Riccardo Hernandez met the challenge of being both scenic and costume designer for this production with success! Mr. Hernandez has also collaborated with the Goodman Theatre here in Chicago as well as in Paris, Norway, and the Moscow Art Theatre.

Chicago Opera Theater presents Ricky Ian Gordon's "A Coffin in Egypt" April 25 through May 3 at the Harris Theater (205 E. Randolph). Tickets are now on sale at chicagooperatheater.org.

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A one-time performance by the touring Argentinian group, "Tango Buenos Aires" was as invigorating as it was eloquently graceful! Presented in the stunning, historical Auditorium Theater in Chicago's downtown, the theatre interior rivaled the beauty of the dancers. Built in 1889, and acquired by Roosevelt University some years ago, the theatre hosts a wide array of traveling shows from all over the world. Exquisitely gilded and brilliantly lit, the theatre holds over three thousand in its audience and commands a high standing among Chicago's illustrious theatres, with First Lady Michelle Obama residing as honorary chair.

The performance itself was rich in tradition as spinning couples traced the floor in group dances which were not only reminiscent of the history of the Spanish tango, but hinted at a worldwide similarity in communal expression through dance. The dances themselves paid homage to that legendary Argentinian lady Eva Peron, featuring the ballad "Don't Cry for Me Argentina," from the musical based on her life, and following her progression from young girl through her singular political career.

Highlighting the evening was a dance performed solely by the men, who became a part of the music through the rhythmic use of the boleador, a slingshot-like tool reminiscent of a lasso. The boleador is a tool traditionally put to use in Argentina to help in rounding up cattle. However in this instance, the men held one in each hand and swung them around quickly in the manner of a jump rope. As the end of the boleador reached the floor, the resultant tapping was masterfully used to create rhythms even as the boleador span around the men in dexterous patterns amazing to behold.

A beautiful event, rich in culture and refreshingly artistic, Tango Buenos Aires is an experience to remember!

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 Homeless at the turn of the century, New York City newsboy Jack Kelly is a big city boy dreaming of a life of small town contentment far from the struggle of the streets. But when newspaper magnates Joseph Pulitzer and William Randolph Hearst decide to raise the distribution price paid by the newsies, Jack finds his heroic nature pulled into rallying newsboys from across the city into the battle that ultimately became the beginning of the child labor movement.     

From real-life event to book, and then to a 1992 film starring Christian Bale and Bill Pullman, this production is surprisingly the first adaptation for the stage. Although initially intended for a short run off-Broadway, dedicated fans called “Fansies” pulled a twitter takeover to propel this show to a national tour.

A three ring circus comes to mind as three massive towers turn around the stage, crawling with strong young men singing their hearts out about love, ambition and the struggle of the streets. Fantasy and reality combine as projections flash across the screens, and the Tony award winning choreography fills the space with precision and gusto.

Although replete with high flying kicks, acrobatics and precisely executed spins, I found the dancing too pretty. The rough and grimy nature of these boys from the streets did not translate into the ballet moves sprinkled with Broadway flair. Perfection became boring, as no dancer stood out. This is a show on tour, however, and so compromises may have been made between choosing the touring cast versus the original Broadway cast.

Fans of the movie will notice some major changes in the characters as well as minor ones in the storytelling. Thankfully all of the major beloved songs such as “Carrying the Banner”, “King of New York”, “Santa Fe” “Seize the Day” and “Once and for All” are still featured in this adaptation and are more enjoyable than ever! Alan Menken teamed up with Jack Feldman to add a few more songs to their score, and won a Tony award for their work. The songs serve well in tightening up the story that occasionally drags in the film.

The biggest change in character is that of the reporter who brings the newsies’ strike to public attention. Played by Bill Pullman in the film, the reporter has been merged with Jack’s love interest and is now played by Stephanie Styles. The Disney influence shines through most strongly in this character, as she is the essence of the modern Disney princess, here trying to make her mark in the newspaper business, an insurmountable task in Victorian America. Spunky and sweet, this new banner carrier for Jack’s cause is a delightful change from the limp accessory tacked on as a love interest in the film.

Younger viewers will appreciate the perspective of Les, the littlest newsie, who has more guts than the biggest of them. Sassy and hilarious, Les, played alternately by reflects the current generation with perfection.

A subtle yet effective character change lies in the casting of Angela Grovey as Jack’s ally and cabaret singer Medda Larkin. Played by Ann-Margret in the film, Ms. Grovey gives this role an entirely new flavor reminiscent of Queen Latifah’s boisterous role as the entertaining prison matron in the 2002 film “Chicago”. A breath of fresh air in this period tale, I instantly felt Ms. Grovey was speaking to the audience, bringing us in to the story as if it were our own. Her vibrant presence, strong voice and comic wit invite the audience into the surprisingly modern struggle.       

Broadway in Chicago presents Disney’s “Newsies” through January 4, 2015 at the Oriental Theatre. Tickets range from $40-$130 and are available by calling 800-775-2000 or online atwww.BroadwayInChicago.com. For more information on the show visit NewsiesTheMusical.com/Tour, Facebook.com/Newsies and Twitter.com/Newsies.

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Four strangers are quarantined together as the Black Plague sweeps through London. They must struggle through personal and social prejudices as they try to survive being cooped up together for weeks. Fear of contamination and imminent death from the agonizing plague, hope of escape, and sexual strain haunts their daily confinement. Will the fittest survive not only the plague, but each other?

Director Jeffrey Clark Stokes has brought a team of newcomers and old hands returning to the stage to create his directorial debut. The highlight of the cast is Caroline Phillips, the young actress playing Morse, a strange girl who sneaks into the boarded-up house and has a profound effect on the wealthy owners’ lives. Her belief in each moment is governed with a direct simplicity and a strong voice, bringing bewitching contrasts of innocence and depravity to this ravaged setting.

A fresh look at a small space, the audience is in effect taken into the quarantined room and has the chance to experience the ghastly confinement through all-around, staggered seating, bringing actors and audience close together. Stripping away any semblance of presentation, a tension-filled realism is achieved as these family-like relationships tauten and wind around themselves.

A brilliant score by DePaul student David Samba ushers us into this hellish house utilizing murmuring winds, groans and repetitive dripping and tapping. The score emphasizes Wallace’s poetic wordplay and grotesque imagery, which startles, horrifies, and repulses even as it invites a closer look into the physical agonies of life in the Black Plague era.

Ghost Light Productions’ One Flea Spare runs July 13-25 at 7:30pm at The Den Theatre, 1333 N. Milwaukee Ave, in Chicago’s Wicker Park neighborhood. The show runs 2:10 with a 10 minute intermission. Tickets are available at www.brownpapertickets.com.

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The Scottish city of Glasgow wallows in economic depression, as this laborer’s family struggles through the hardships of basic survival. “All we’ve done wrong is to be born into poverty,” the father says in comforting the overworked wife wrapped in his arms. A crash look into the real housewives of Glasgow circa 1930, overcrowded and unsanitary apartments, unfaithful relationships, being unemployed and broke, rebellious teenagers, and human rights verse human cruelty clash in this epic three-act play at Edgewater’s Raven Theatre.

A complex tale of interweaving lives, Robin Witt impeccably directs a strong cast in the creation of this fast-moving family drama, sure to be a summer hit! Touching on many modern issues, this story carries its audience through a roller coaster of fears and tenderness: the joys of raising children, the sorrows of disaster befalling loved ones. Family, even society, pull together as economic struggles break them apart.

Especially touching is the graceful performance of Lori Myers playing Maggie Morrison, the matriarch who leads her family through this desperate saga. She clings to love although gossip, fighting, rejection, and illness nearly break her heart in two. A masterful portrayal, Myers carries the show with a touch of genius, inviting the audience to share her trauma and rejoice in her triumphs. 

Great talent work in Chicago, nowhere more so than in this production.  A slice of life, featuring excellent costuming by Kate Murphy and ingenious audio effects by Victoria Deiorio contribute to making this charming production an evening that leaves its audience with hope and enjoyable entertainment.

Griffin Theatre Company’s Men Should Weep runs July 5 to August 10 at 7:30pm at the Raven Theatre Complex, 6157 N Clark St in Chicago. The show runs 2:40 with two 10 minute intermissions. Tickets are available at www.griffintheatre.com or by calling 866-811-4111.

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