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After thirty years of bringing Chicagoans some of the city’s finest theatre, Mary-Arrchie will be closing their doors after its current and final production, American Buffalo. In this sharply written piece by David Mamet, Mary-Arrchie co-founder and jack of all trades Richard Cotovsky is joined by Stephen Walker and Rudy Galvan, creating a strong cast fully capable of pulling off such a dynamically written script. And that’s exactly what they do.

Taking place in a rundown resale shop, owner Don (Cotovsky) along with his young hired help and “go-fer” Bobby (Galvan) have hatched a scheme to burglarize a nearby residence in the hopes of stealing a valuable coin collection. But when Don’s longtime pal Teach (Stephen Walker) gets wind of the “thing” he pushes to replace the kid with himself, a man of more experience. Everything happens in a single day as the three small time crook wannabees run through a gamut of emotions with each other in trying to get on the same page. Teach is pushy and talks the big talk but clearly has little experience while Don is more laid back and subdued, often influenced by Teach’s strong presence and facade of confidence. Slow-witted Bobby just wants in for some quick bankroll – or maybe just wants to be a part of something. As the plan progresses it snowballs back and forth until its inevitable unraveling – and the journey is nothing short of hilarious.

When entering the theatre, we are met with what appears to be an authentic resale shop. “Don’s Resale Shop” is printed backwards on the large picture window so as to face correctly for those to read on the outside. Worn shelves are filled with dented gas cans, ratty knickknacks, old toys and assorted vintage items. Power chords hang from the wall with other random merchandise for sale behind a battered counter that supports an antique cash register. Quickly immersed in the set’s genuineness, one really gets the feeling they are inside a dingy thrift store that could be located on any given Chicago street.    

Richly directed by Carlo Lorenzo Garcia, Mary-Arrchie’s American Buffalo offers incredibly talented performances, generally a given with this veteran theatre company. Delivering Mamet’s cutting and quick-fire dialogue with the true essence of how it was intended, Walker knock’s the role of Teach out of the park. Whether generating laughs with the simplest use of body language, convincingly overusing repetitive hood lingo or completely erupting like Mount Saint Helen, Walker rolls up his sleeves and puts forth a gutsy, no-holds barred performance that should long be remembered. All the while, Walker successfully displays his character’s vulnerability beneath the blanket of false self-assurance, making Teach believable, creating someone with whom we can really emphasize. Within moments of Walker’s first appearance where he loses his cool and takes out his frustrations out on a beat up refrigerator over something pretty insignificant, it is apparent we are about to take a pretty bumpy ride. 

Cotovsky, the seasoned pro that he is, also provides an outstanding performance going toe-to-toe with Walker on many heated, sometimes humorously nonsensical and profoundly funny dialogue exchanges. The two pair together like butter on toast, getting a nice occasional boost from Galvan who contributes many of his own well-timed lines. Like a freight train taking off, the production gets stronger and stronger as it progresses. The more we get to know the characters the more we can’t help but take a liking to each of them, regardless of the fact that they are small-time crooks bent on pulling off a caper that comically unstitches more and more the closer the job gets. 

Mary-Arrchie is going out on a high note with this must-see presentation of American Buffalo. The prestigious Chicago theatre company will certainly be missed and we can only hope to continue to see its talented players in future productions around the city. Jeff Award winner, Chicago theatre staple and all-around talent Richard Cotovsky was recently given the honor of having an Honorary Way dedicated in his name that can be seen at the theatre’s intersection of Sheridan and Broadway. An honor well deserved.

American Buffalo is playing at Angel Island (735 W. Sheridan) through March 6th. Honest, funny and thoroughly absorbing, it is with strong recommendation that I urge theatre lovers to catch this final production from this talented company in their apropos farewell. For tickets and/or more show information visit www.maryarrchie.com or call 773-871-0442. 

Truth should be at the heart of every good drama piece. Truth, honesty, a bit of realism, something that makes the audience connect with the story, or the characters. Terrence McNally's Mothers and Sons playing at Northlight Theatre in Skokie attempts to reach a truthful depth, but leaves audiences shrugging with indifference wondering what exactly to take away from the play.

Nearly twenty years after her son’s AIDS related death, Katharine (Cindy Gold) pays an unexpected visit to the New York apartment of his former partner, Cal (Jeff Parker), who is now married to another man and has a young child. Over the course of the play Katharine and Cal exchange stories, sass, and sarcasm as they awkwardly interact and attempt to reconcile. Katharine remains judgmental and curt throughout her visit to the apartment, portraying the stereotypical conservative, old fashioned, bitter woman well. Cal, on the other hand, attempts to be gracious and overtly friendly in the face of this judgmental woman. Things heat up when we meet Cal’s partner Will (Benjamin Sprunger) and their son Bud (Ben Miller). Katharine’s disdain for the household and the situation is apparent but predictable as are the interactions with the two men. The remainder of the play is both forced and at time self-righteous and does nothing to move the needle on the many themes it attempts to tackle.

At the heart of the play is a conservative, judgmental woman “challenged’ to accept that her son was gay and that a same-sex couple is raising a child. This theme might have been provocative ten years earlier, but now is played out. Mothers and Sons also touches on homosexuality, AIDS, same-sex marriage, same-sex parenting, loss of a child, loss of a husband, and tries its best to address all of them within the 90 minute run time. There are so many themes that we forget that the son was the driving force that brought this woman to this apartment. He is used more as a prop, much like the journal that was hardly mentioned - though we come to find was the reason for Katharine’s visit. What’s more is the themes and how the play chooses to address them are not profound or thought provoking. Nothing is said that the audience doesn’t already know, or even what the characters don’t already know, which borders on the preachy versus clever. And these themes don’t do anything to change the characters or bring them closer together. At one point, Will’s character is so offended that he asks Katharine to leave, though she stays, shares a self-indulgent “woe-is-me” story that highlights her selfishness more, and suddenly Cal is embracing her as if he understands her after all these years. This sentiment is entirely lost on the audience. Will, the character who was ready to throw the woman out, is suddenly calm, cool, and collected. The young boy offers cookies and milk to everyone, refers to this strange woman as grandma and they all sit around and all but sing Kumbaya. And that is where the play ends. 

Isn’t that truth? That in a matter of a single awkward visit, a selfish, self-loathing, gay-hating conservative becomes accepting of gay marriage, same-sex parenting, and her son’s death? And that her son’s former partner who felt the cold sting and shun of this woman would be so moved as to invite her into his home and his family? It isn’t truth. It’s trite and contrived. Call me a cynic, a millennial, jaded, what have you. The truth might be that people like Katharine still exist in the world, but would someone really be swayed in such a short amount of time? Was it out of sheer loneliness on her part and pity on his end that these two characters accepted one another and will move forward? Mothers and Sons did not offer us this depth, so it’s hardly worthy of such deep analysis.

Truthfully, there isn’t much one could take away from Mothers and Sons. You could reach and say it was a profound dialogue about how the definition of family continually changes and evolves. You could speculate that people in mourning can come together to find comfort and support in one another. But Mothers and Sons does nothing to challenge the audience or the characters, or create a worthwhile dialogue in today’s world.

Directed by Steve Scott, Mothers and Sons runs through February 27th. Tickets are available at http://www.northlight.org/.

Christian Gray and Jim McCance pair up once again for another Jeeves adventure, this time in Margaret Raether’s latest adaption from the stories of P.G. Wodehouse “Jeeves At Sea”. Gray, who was simply tremendous in his last First Folio appearance in “The Madness of Edgar Allen Poe”, this time plays the lovable, but somewhat dim-witted Bertie who has come to rely on the wisdom of his ever faithful manservant Jeeves (McCance), who faithfully provides sound advice never daring to crack the slightest of smiles. Paired to perfection, modestly said, McCance and Gray are nothing less than terrific together.

The play is performed at First Folio Theatre’s home, the Mayslake Peabody Estate in Oakbrook, where it doesn’t take much too imagine a “Jeeves” presence to exist.  

The story takes place aboard a yacht that is anchored off the coast of Monte Carlo, which is owned by Lady Stella Vanderlay, to whom Bertie has proposed to on multiple occasions. Miss Minerva Pilbeam is Stella’s paid companion and is secretly doting over Jeeves, while Stella is having too much fun as the object of affection of several suitors to fully commit to a lovesick Bertie. Kate McDermott nails the role of Lady Stella as the roaring 20’s saucy socialite.   

But alas, a mystery has unfolded when Bertie’s best friend Sir Percival Everard Crumpworth (Andrew Behling) confesses that he may have murdered someone while being blind drunk the night before – worse yet, he believes it might have been a visiting German prince. Once German heavy Count Otto von Dietrichstein (Joe Foust) starts sniffing around the yacht in search of Percival, a plan is quickly put into action.

Throughout the mystery, which is fun in itself, many humorous situations arise based on several Three’s Company-like misunderstanding’s where one is caught with another at the wrong moment or something is only partially overheard. Alison C. Vesley’s superb direction along with a funny script, timely physically comedy and impeccably delivered dialogue thanks to the show’s collection of talented actors, make “Jeeves At Sea” a charming production that flows seemingly effortlessly through and through.  

This fourth Jeeves installment of Wodehouse’s delightful tales is a thrilling ride from beginning to end with just the right doses of humor and intrigue, but best of all is the genuine connection that is felt by audience members between Jeeves and Bertie, leaving one with the feeling of excitement for what Jeeves adventures may be in store for the future.     

Yet another strong First Folio effort, “Jeeves At Sea” comes highly recommended. Catch “Jeeves At Sea” through February 28^th at the Mayslake Peabody Estate located near 31^st Street and 83 in Oakbrook. For tickets and/or more play information visit www.firstfolio.org or call 630-986-8067.  

When Black Sabbath formed in 1968, who would have guessed they would be playing a farewell tour 48 years later? In fact, after their notorious partying throughout the mid-1970s, who would have thought they’d all still be alive? But here they are, circling the world once more with a collection of Sabbath hits to satisfy their most hardcore of fans, and then some. Only original drummer Bill Ward sits on the sidelines, much to the dismay of Sabbath fans, thanks to a dispute between the famed band members. In the meantime, Ozzy Osbourne along with guitarist Tony Iomi and bassist Geezer Butler take to the stage Tommy Clufetos, Ozzy’s solo drummer. The tour, simply called The End kicked off in Omaha on January 20th. 

Black Sabbath is not only responsible for countless bands in the metal genre as a true pioneer in their music field, they have also survived in many ways most bands could not. One of the few bands that maintained their success level after changing lead vocalists - Ronnie James Dio in 1979 then Ian Gillan in 1983 – Black Sabbath remained in the forefront of heavy metal and even found moderate triumph when switching to more unknown singers (Glenn Hughes, Tony Martin) before reuniting with Dio in 1992 for the Dehumanizer album. After bringing back Martin for two albums in the mid-nineties, the band found big success once again touring alternately with Osbourne and Dio. In 2013 Black Sabbath released their first album with Osbourne since 1978’s Technical Ecstasy, a release that received critical acclaim, modestly titled 13.  

With dates scheduled through September, Black Sabbath’s second stop on their new – and final – tour was Chicago’s United Center. With crowd pleasing support from The Rival Sons, Sabbath started off their set by kicking into the powerful self-titled song “Black Sabbath”, a song that features the dreaded devil’s fifth. Naturally the band threw their most notorious hits into the mix  like “Iron Man”, “N.I.B.” and “War Pigs”, but most impressive was their use of lesser played songs over the years like “After Forever”, “Fairies Wear Boots”, “Under the Sun” and a song they haven’t played live since 1978, “Hand of Doom”. 

The set props were as basic as they should be for the metal icons – stacked amplifiers lined up behind the musicians and an overhead jumbo screen for the benefit of those with farther seats from the stage. It wasn’t until the last few songs that pyrotechnics were used, allowing fans to devote their focus entirely on the band and its music. While Iomi and Butler’s riffs were as punctual and deadly as ever, Osbourne struggled with his range often dropping out when attempting to hold a note or singing a key or two below the song as we know it. And so what. Osbourne’s performance was still inspiring. The now 67-year-old singer had command of the crowd since walking onto the stage, getting the arena to clap, cheer and shout simultaneously as had had been doing since the 1970s, but most of all he seemed to be having the time of his life – and that’s the Ozzy we all have come to know and love.

Black Sabbath played just one song of their latest release 13, “God is Dead?” though “The End of the Beginning” might have been the more desired choice off that album. Still, it was played with the flavor and power we can only except and Black Sabbath song to be played. Surprisingly, the band did not play anything off Ozzy featured albums Sabbath Bloody Sabbath or Sabotage, and not so surprisingly Never Say Die. Still, no complaints on their set list, as it was both fulfilling and played with the ass-kicking punch as only Butler and Iomi can deliver. Sabbath chose to incorporate a heavy dose of the Paranoid album, reaching into it for six of their set’s sixteen songs. 

After rattling off a blistering version of “Paranoid”, the final number on the 13 Tour and finale for Sabbath’s previous Omaha date, Osbourne and company left the arena of screaming fans with an earth-shaking effort of “Children of the Grave”. 

For metal lovers, seeing Black Sabbath perform is a must. For Sabbath lovers, you can’t really see them enough no matter what incarnation but especially with Ozzy himself at the helm. Fortunately, if you missed the United Center show, the band will return on September 4th at The Hollywood Amphitheatre in Tinley Park for their final goodbye to Chicago.  After all, this is The End.

Set List United Center January 22nd Show 

Black Sabbath

Fairies Wear Boots

After Forever

Into the Void

Snowblind

War Pigs

Behind the Wall of Sleep

N.I.B.

Hand of Doom

Rat Salad

Iron Man

God Is Dead?

Under the Sun

Dirty Women

Paranoid

Children of the Grave

What drew me to this play is the powerful message around civil rights and the negative impact it had on the children of activist. Sunset Baby is about a women named after Nina Simone whose parents were a part of the Black Panthers. After her mother passes away, her father comes back into her life after what seems to have been a long stint in prison. playwright Dominique Morriseau, who landed the Edward M. Kennedy Prize for her previous work, Detroit '67, comes back with another fine effort Sunset Baby a story of generation gaps and healing old wounds.

As I walked closer to the stage at Timeline Theater, I saw large signs of many individuals who have contributed to the civil rights movement such as Audre Lorde, Bell Hooks, Malcolm X, Tupac Shukar, Nina Simone, and DeRay Mckesson who works with Black Lives Matter. The short descriptions of these individuals were informative and appreciated and also helped set the tone for this play.

The plays opens up with Nina, played by Anji White, getting ready to go hustle and make some money with her boyfriend, Damon (Kelvin Roston Jr.). As she is getting ready, she gets a buzz from downstairs thinking it was him but it is instead her estranged father Kenyatta (Phillip Edward Van Lear). Nina blames her father for the addictions her mother had which ultimately led to her death. What is uncovered through this encounter is Kenyatta's desire to locate unsent letters from Nina's mother, Ashanti X, while in prison. 

Although the play had a lot of ups and downs to keep the audience busy, I still left wanting more. There could have been more about the political activism around Kenyatta. I believe more details should have been explored a bit more as well as character development. The acting itself was very strong. Phillip Edward Van Lear's demeanor throughout the play was calm as Kenyatta but when he talked about his experiences, he did a great job of appearing physically agitated, making his role even more believable.

Sunset Baby will be at Timeline Theater from January 21st through April 10th. Visit http://www.timelinetheatre.com/sunset_baby/ for more details on obtaining tickets to see this powerful cast. 

The dialogue flows so smoothly one might forget they are sitting in a play. Veteran Chicago area actor Stef Tovar, who also founded the Route 66 Theatre Company in 2008, leads the charge in this play full of emotional interchanges combined with sharp humor. 

Route 66’s No Wake, currently running at The Greenhouse Theater Center in Lincoln Park, tells the story of a divorced couple Edward (Tovar) and Rebecca (Lia D. Mortensen) who are brought back together due to the suicide of their daughter, Sookie. Rebecca is now remarried to Roger (Raymond Fox) while Edward is kind of drifting along through life. As Edward and Rebecca spend more time together wondering what happened to their daughter and how they really lost her long before she killed herself, the situation becomes much more complex as past feelings come in to play and an attempt to mend the past is made. 

Directed by Kimberly Senior, No Wake explores the grieving process, which is understandably different for everyone. Countless questions on what could have been differently can be asked and scenarios traveled. In this case, taking on blame for negating their child the ability to develop coping skills weighs heavily on Edward just by simply buckling and giving Sookie toast with butter when she demanded before falling asleep rather than saying “No”. Giving your daughter toast at her command might sound trivial, but writer William Donnelly does a great job of finding these possible seeds of later behavior into a world where grieving parents desperately seek cause for such a tragedy, making the story quite realistic. Though the subject matter falls on the macabre side, the show is not without well-timed humor and even sports a very funny scene when Roger confronts Edward, suspecting that he and Rebecca did more than just reminisce about their daughter the night before. 

Thanks to a very finely acted and well-written story, it is easy to get lost in the dialogue and empathize with each of the three characters. The set, though simple, creates the prefect surrounding for these skilled actors to have at it. Tovar gets stronger and stronger as the show progresses, reminding theatre goers why it is always a joy to watch him in action. At the same time, Mortensen and Fox dish out lines with precision, zip and realism, completing a trio who flow together without a hitch in perfect unison.

The fact that we are presented with three such truly well-acted performances is reason alone to catch No Wake before its runs ends, but when you add its intriguing story and engaging topic matter this show is propelled onto the list of must see plays. 

No Wake is being performed at The Greenhouse Theater Center through February 7th. For tickets and/or more show information visit www.Route66Theatre.org.          

Marriott Theatre’s current production is chancy business. For a venue that theatre lovers have come to depend on for family entertainment over the years – wholesome G through PG rated shows such as “Mary Poppins”, “The King and I”, “9 to 5” and “Elf”, just to name a few, Executive Producer Terry James has decided to raunchy things up a bit by bringing in a much more adult-themed production in “Spring Awakening”. Not in Marriott’s subscription package, “Spring Awakening” is running for just over two weeks, and we have to wonder how receptive its normal crowd of theatre goers will be. Filled with f-bombs, simulated sex scenes and dark story lines, “Spring Awakening” will certainly take some of Marriott’s regular audience members by surprise if they attend without researching the play first. 

A rock musical with music by Duncan Sheik and a book and lyrics by Steven Slater, the story takes place in Germany sometime during the late nineteenth century where a classroom of children are the focus as they learn about their own sexuality and question what they have been taught by authority figures, whether it be teachers or their own parents. Under rigid instruction from their teachers, the children often stand clad in school uniforms surrounded in a light fog in front of a large blackboard, giving one the feeling that stage band could break in to “Another Brick in the Wall” at any moment. Unfortunately, this show is not nearly as musically memorable as it strains to make any impact in that department, falling far short of shows one might suggest it is akin to as “Rent” or “American Idiot”.

Despite its less-than-charged or lack of unforgettable musical numbers barring a crowd pleasing, gut-punching “Totally Fucked”, the show is not without fine acting efforts and talented vocal performances, particularly by its two leads, Patrick Rooney and Eliza Palasz. Palasz quickly shows her aptitude as a singer in the show’s opening number “Mama Who Bore Me” and impresses along with Rooney in their first-act duet “The Word of Your Body”. There are also many well-choreographed and finely executed dance pieces by the ensemble throughout the show, which IS something that can be counted on in a Marriott Theatre production. Also featured in the show are Marriott favorites Brian Bohr, Nate Lewellyn and Kevin Gudahl, all of who performed wonderfully along with local talents Callie Johnson and Hollis Resnik. There is certainly no shortage of ability in this production. 

Based on Frank Wedekind’s 1891 play of the same name, this somewhat slow-moving production centers on confused youth, the questioning of what we are told as kids, the lack of what we are told and the great distance that can often be present between a parent and their child. It is about growing pains, being misunderstood and dealing with the choices we have made – or having parents deal with their children’s choices as depicted so grimly in the show’s center act when Wendla (Palasz) gets pregnant, partly in thanks to the poor information given to her by her mother on how children are conceived. But the musical also delves into the joys of trying things for the first time, like creating new relationships or having sex.  

Though certainly not the central point of this production, it was enjoyable to see the performing band as they surrounded each end of the stage as opposed to enjoying their musicianship while out of sight from the audience. 

“Spring Awakening” is being performed at Marriott Theatre through January 31st. For tickets and/or more show information visit www.MarriottTheatre.com.           

American Theater Company starts the year with a world premiere by author Dan LeFranc, directed by Joanie Schultz. "Bruise Easy" is a modern day retelling of Electra, set in the seemingly vapid world of southern California. 

When Tess (Kelly O'Sullivan) returns to her childhood home to find her estranged brother Alec (Matt Farabee) smoking weed on the driveway, she's mortified. In a series of somewhat unanswered questions, we're given a glimpse into a family torn apart by imperfect parents. Scenes are punctuated by a group of masked "neighborhood kids" who serve as the Greek chorus. With a short running time of 85 minutes, stand-up Tess and screw-up Alec trade barbs and acts of uncomfortable sexual tension. 

LeFranc's script is troubled though. While the gimmick of the Greek chorus is at first interesting, it ends up becoming a major distraction and overall pretty useless as a storytelling device. The author tries to communicate his heavy-handed message about suburban ambitions through this technique, which instead should be more apparent in the dialogue between Tess and Alec. 

"Bruise Easy" is missing a lot of crucial pieces and leaves viewers without any specific answers. LeFranc fails to develop his characters' narratives, which is a shame because O'Sullivan and Farabee are both really riveting performers to watch. 

The dialogue never quite gives us what we want. What happened to their mother? Why is Tess even there? What's the deal with the house? Why can't they go in? Instead, a lot of emphasis is placed on reminding us that it's 2005. Unfortunately many of the ways we're reminded come off as forced. Putting audiences in a certain time period involves more than dated pop culture references. 

LeFranc would certainly benefit from either adding more to the script or subtracting the elements that don't work, and clarifying the hazy details. There's just too much dead air here. It's apparent the author knows a lot more about these characters than he's letting on. He seems more concerned with the idea that it's a Greek tragedy set in California than he is the actual lives of the characters. 

Director Joanie Schultz's vision for this show also tends to stand in the way. There's an MTV circa-1995 aesthetic that really doesn't match the tone of the script. "Bruise Easy" has an anti-establishment theme running through it, but it's not as cheeky as the interlude graphics and pop music wants it to be. There's a lot going on here, and narrowing what exactly LeFranc wants his audience to leave with will benefit this play in subsequent productions. 

Through February 14th at American Theater Company. 1909 W Byron Street. 

The New Colony and Definition Theatre Company’s collaboration “Byhalia, Mississippi” opens up with a young white trash couple from the play’s titled town who are about to have their first child. The dialogue between the family is witty and sharp and you immediately feel like you are in the South. Overdue by two weeks, their baby is being stubborn as hell. Finally, he arrives – and he is black. With Byhalia’s racial narrow past, you can imagine that this is when the mood in the story drastically changes. 

"Byhalia Mississppi" highlights many issues in racial relations especially found in the underlying comments many of the characters made. The couple, played by Liz Sharpe and Evan Linder, are very powerful and work well together. Linder also wrote the play - and it is very well written. There were times in which I felt uncomfortable as an audience member not only because of the topics being discussed but also by the overly dramatic acting of Mr. Linder, which, in retrospect, may have been called for to make his character “Jim” more believable. Remember, it is the South so I imagine they were using his excessive animation as an angle. Regardless, it was still distracting at times. 

Besides bringing important racial and class issues to light, what I love about this play is that the theatre will be hosting a world premiere conversation on Monday, January 18th which is MLK day. The play will be premiering in seven cities across North America and the audiences will connect afterward to have a discussion. I have never heard of this before and I think it is well worth the two-hours of time to try and attend. 

When reflecting on this play, I can't help but realize how far we have to go in regards to racism in this country. As an aunt of biracial nieces, I wonder what their world will be like. Will they struggle with their identity in having to choose one race over another? Will it even matter? My hope is no, but what I do know is that we have the power to make a difference now. 

Catch the “Byhalia, Mississippi” at The Den Theatre now through February 14th. It is sure to strike up conversation about racism in America and, at the same time, leave you wanting to say "y'all." For tickets and/or more information visit www.thenewcolony.org.

Melissa Thodos the creator of Sono’s Journey and her designers, which premiered at the Auditorium Theatre Saturday, did a wonderful job telling the story of Sono Asato, a dancer who broke age and race barriers from the time she was just fourteen years old. At that same young age, Sono Asato was the first dancer of Japanese descent AND the first American to join the Ballet Russe de Monte Carlo. 

I loved the way Thodos chose to use a narrator to tell the story of Asato’s life and used real pictures from Sono's life. I overheard one audience member saying during intermission, the narration really helped the audience understand and empathize with Asato’s life journey without making us guess or make assumptions based solely on the dance and music for each vignette – a very correct observation. 

I loved the costumes and lighting, which created a dreamy effect. The dancers were superb in bringing Sono Asato’s unique and trademark hand gestures and delicate yet earthy and natural style of dance to life. Asato’s hands were especially beautiful and expressive resembling the grace and power of mudras of ancient meditation statues. 

I found it very interesting that when Osato was refused work abroad with her ballet company, it was a female theater company owner and old friend who welcomed her back to Broadway “dance shows" in order to keep making money dancing to survive. 

I also loved the vignette which included how her parent's originally met and fell immediately in love when her father Shoji was sent to photograph her beautiful mother for a performance portrait.   

Osato, now ninety-six-years-old, and still a delicate beauty, was brought onstage in a wheelchair and it was announced that Mayor Rahm Emanuel had declared that day, January 8th to be SONO ASATO DAY in Chicago. Sono Asato looked radiantly beautiful as she received her flowers and a roaring standing ovation for her groundbreaking, door opening bravery and exceptional dance performances in the classic works, Sleeping Beauty, Pillar of Fire and The Beloved.

I felt very much honored to be there in Sono Asato's presence that night during the Mayor's announcement. I felt privileged to add my enthusiastic applause and shouts of "Bravo!" for her and the delightful show "Sono’s Journey".

Dance enthusiasts and appreciators will have two more opportunities to see Sono's Journey this winter: February 20th at the North Shore Center in Skokie, and March 5th at the Harris Theater in Chicago, as part of Thodos Dance Chicago's new "Chicago Revealed" Winter Concert series. This particular production is a beautiful piece of work that everyone should experience.