Judas Priest was Unleashed in the East once again last Saturday night. Well, at least east of Chicago, that is – Hammond, Indiana – home of The Venue inside of the Horseshoe Casino. Getting big time support from Thin Lizzy and Black Label Society, Judas Priest bulldozed their way through a two and a half hour set in what the band is calling the “Epitaph” tour – their final farewell. Sold out, The Venue proved it can handle even the mightiest of metal shows hosting a monster stage and laser light show and providing superb acoustics so that every bone-crushing crunch from the guitars were clearly heard as intended by the band.

Legendary frontman Rob Halford teams up with originals Glen Tipton and bassist Ian Hill on this tour along with Richie Faulkner on lead guitar and Scott Travis on the drums. While keeping the crux of the sound intact, Faulkner also brings his own style to the band, which is more on the young at heart side, to a band that could use a youthful infusion when it comes to the visual part of the performance. Even though Tipton seemed a bit fragile and Halford a bit less mobile, make no mistake about it – Judas Priest still gets it done. The fact of the matter is that the band flat out rocks with authority.

Halford showed off his high-pitched vocals with relentless fervor, sounding as good as ever, while his showmanship was still that of top caliber. Changing from one metal-studded jacket to another from song to song, Halford patrolled the stage with a mighty presence as the band took the audience on a memorable journey of metal nostalgia. Taking a stop or two on many of the band’s albums, Halford included a little history lesson with most and shared fond memories. The set list was vast and included such favorites as “Victim of Changes”, “Diamonds and Rust”, ‘The Sentinel”, “Heading Out to the Highway” and “The Green Manalishi”. The band also played “Breaking the Law” but let the crowd sing the words from beginning to end as Halford stood by directing and admiring loyal Priest followers.

With already more than a full night of music in the books, Judas Priest went into their first encore with a power-packed version of “The Hellion” and “Electric Eye” before bringing the Harley Davidson onto the stage for “Hell Bent for Leather” followed by “You’ve Got Another Thing Coming” led by a British and American flag clad Rob Halford. The band then took their bows to roaring applause and walked off stage only to return to do their party on classic, “Living After Midnight”.

We’ve heard the words “Farewell Tour” many times only to see a band resurface down the road. However, if the “Epitaph” tour (expected to run through 2013) is really it for this band from Birmingham, England, then they left on a powerful note. Producing metal since 1969, Judas Priest has influenced so many bands that since followed as well as generations of fans. To see them perform at the high level they have maintained for over four decades was nothing short of special.

When it comes to bringing Rogers and Hammerstein’s “The Sound of Music” alive on stage, of course the surrounding cast is utterly essential, but most important of all, the show would need a vibrant “Maria” who absolutely exudes true spirit and fun. Drury Lane’s Production of “The Sound of Music” has not only put together a brilliant surrounding cast from top to bottom, but has also struck gold with leads Larry Adams as “Captain Von Trapp” and Jennifer Blood as “Maria Rainer”. Not only are the two vocally right for the roles; their chemistry together is nothing short of magical, adding a very believable element to this timeless story of love for family and country.

It’s not always easy to bring classics to the stage since we already have such a preconceived notion as to what we expect from certain characters or are often saddled to such a familiarity to a particular role that we don’t want to stray away too far from what we’ve come to know. However, in this case, Drury Lane Productions has succeeded and then some.

To no lack of vocal prowess, the jury still seems to be out on Blood after her opening number, “The Sound of Music”, as it is not yet clear where this “Maria” will take us. But it doesn’t take long to find out. During her next song, “I Have Confidence”, her talents really shine at the same time her personality beams throughout the house and it is apparent she has captured the entire crowd. Each of the seven children is immediately likeable and, like the rest of the cast, more than vocally efficient. Patti Cohenour adds a tasty punch as “The Mother Abbess” boasting her incredible vocal range while Peter Kevoian is entertaining as can be as “Max Detweiler”.

The set design is stunning as the audience is taken inside the Abbey then into different areas of the Von Trapp mansion and its courtyard. One highlight has the stage transformed into the very festival in which the performing Von Trapp Singers escape from Nazi occupied Austria. So detailed is the setting that Nazi soldiers walk up and down the isle on the look out for any foul play, placing audience members into the festival itself.

Many productions of “The Sound of Music” have come and gone and some have stood out more than others. This current production is one that stands at the top. A perfect holiday treat or a family night out, “The Sound of Music” at Drury Lane in Oakbrook is a memorable experience that you can enjoy over and over again.

Though so many stories come to life via stage productions, there are just a handful that come across better than imagined. The needed ingredients to pull this off would be a strong cast – top to bottom - with dynamic leads, imaginative props to go along with a detailed set, colorful costumes and staying true to the original story. “Mary Poppins” has all of this and more.

Now playing at the Cadillac Palace through November 6^th, “Mary Poppins” is one of the biggest musical successes to emerge from London or New York in recent years. With all the songs we’ve come to know while growing up like “Practically Perfect”, “Chim Chim Cher-ee”, “A Spoonful of Sugar” and “Supercalifragilisticexpialidoious”, “Mary Poppins” is musically fun and holds several dance numbers that are as colorful as they are creative.

Of course you couldn’t have a successful run of “Mary Poppins” without the right “Mary Poppins” or “Bert”. Though there will never be another Julie Andrews or Dick Van Dyke, the production finds gold in Rachel Wallace and Nicolas Dromard, both who seem made for the roles. Dromard is charismatic as can be as the jolly, dancing chimneysweeper and Wallace brings with her every attribute necessary in playing the perfect “Mary Poppins”.

The show also has some unique visuals such as “Bert” walking up the side up the stage only to continue by walking upside down across the top. And of course the crowd is also awed when “Mary Poppins” flies overhead. “Mary Poppins” fans or not, attendees will be treated to an evening filled with stunning dance sequences, tremendous vocal display, eye-catching sets and, of course, the classic story itself.

Tickets are reasonable, starting at just $25. For more information visit www.BroadwayinChicago.com.

1893 brought forth one of Chicago’s greatest accomplishments in the Columbian Expedition World’s Fair. At the time, the gargantuan fair was one of the most stunning spectacles the world had ever witnessed. The site took place on Chicago’s South Side and contained a brilliant collection of monstrous white buildings designed by renowned architect Daniel P. Burnham, who went on to take a chief role in creating The Plan of Chicago. Frederick Law Olmstead’s beautiful landscaping connected the magnificent structures with rich greenery from around the world, peaceful lagoons and streaming canals. It was a rich time for not only Chicago, but also for an America that wanted to outdo the Paris Exposition held just a few years prior. Many things were introduced at the World’s Fair such as the zipper, Cracker Jack, Shredded Wheat, phosphorescent lamps, spray painting and probably the most notable of all, The Ferris Wheel, which was made solely to top Paris’ Eiffel Tower. 

However, no one at the time had any idea that the fair’s top billing would later go to a certain H.H. Holmes who used the fair to lure unsuspecting victims to his nearby hotel, otherwise known as his “Murder Castle”. Herman Webster Mudgett, a.k.a. H.H. Holmes, was in the murder business well before the World’s Fair, but it was during those very six months in which it was open to the public that his hideous nature would reach its pinnacle. 

Rooms for rent was a popular commodity during the fair and Holmes’ tiny ad in the local paper brought plenty of travelers his way. Holmes was also selective in who he rented to, mostly choosing lone tourists or people that wouldn’t exactly be missed very easily. The hotel, located on the corner of S. Wallace Street and 63rd, was filled with trap doors, and rooms that would lock from the outside to prevent escape once Holmes would emit deadly gas into the air from hidden pipes. Holmes also had a walk in vault that he used to gas victims to death after tricking them into grabbing documents from within. But possibly most disturbing of all, was Holmes’ tortures chamber located in the building’s basement where a variety of medical instruments were often used in the worst ways and vats of acid could be found to dispose of the mangled bodies.

Now you can relive the horror.

H.H. Holmes is believed to be America’s first serial killer and Rosemont’s Screams in the Park is doing its part in keeping his memory alive. With a haunted house themed around Holmes “Murder Castle”, we are led through creepy dimly lit hallways reminiscent of the historic hotel. Eerie pictures decorate the walls with many causing double takes as though something may have moved within its frame. As the maze continues, we walk into one frightening room after another not knowing if anything might jump out towards us at any given second. Each room is unique from the other with some exhibiting scenes as imagined directly from Holmes evil hotel and others displaying their own original theme of gore and horror. Screams from other guests are often heard from other rooms adding to the excitement. Ghosts of past victims walk frantically about and H.H. Holmes himself instructs guests to walk through a frightening stretch of pitch black void. 

Thrills, chills and plenty of excitement will certainly be had at Rosemont’s Screams in the Park. The haunted house is by far one of the more original fright factories I have seen in some time. It is quite obvious that tons of thought, effort and precision went into each detail of the house from the moment you walk into the house to the moment you escape with your life. With more heart stopping scares than the “Saw” films combined, this is the perfect Halloween event.

The walkthrough takes a good 20-30 minutes and the price, which includes parking, is very reasonable at $20. “Screams” is open most nights in October from 7pm through 11pm. For more information on this scare fest, visit www.screamsinthepark.com.

When Blue Man Group invaded Chicago's Briar Street Theatre some 15 or so years ago, I would say it safe to say that no one expected the show to still be running strong to this day. But here we are in 2011 and Blue Man Group is still attracting new fans just as easily as years past and is healthily bringing back previous attendees with regularity. That said, Blue Man Group is still on top of their game. 

As with many longtime running shows, Blue Man Group is guilty of reinventing itself on occasion. Their latest metamorphosis keeps the ideal of the classic Blue Man Group intact, holding onto many show staples in which fluorescent paint is splattered with a most unique display of percussion and where objects are caught in each other’s mouths across the stage then transformed into distinctive art. Now enter the digital age. In the newest version of Blue Man Group, the creators have implemented the technology of smart phones, and without giving anything away outside the fact that three gigantic cellular devices are lowered above the stage, I’ll just say that the recently added props are brilliantly used with the originality and innovation one would expect from a show known for its inventiveness.

Of course comedy is also prevalent in Blue Man Group. It’s not easy to describe how three funny subtly-expressive, blue faces who appear to be in constant discovery mode can be, so I’ll just cop out with the cliché phrase, you have to be there. Volunteers are also selected from the audience for a variety of fun skits and there is a section in the first few rows that come with a plastic poncho to each seat to protect from the splattering paint and food – yes, food. 
The show comes to a climactic end in which the audience is covered in tissue dispensed from giant rolls in the rear of the theatre before humungous balls are batted around to heavy beats and dazzling lights. 

Blue Man Group has always been a fun show that one could see over and over again, but now that show just got even better.

It was one of this summer’s most beautiful nights – balmy, but not too humid, warm, but with a perfect light breeze and clear enough to see a host of stars overhead. Ravinia’s lawn was filled with picnickers – some which did things simple with just a blanket, maybe a chair or two, a few snacks and a bottle of wine, and some who set up grand displays with candlelit tables, dining ware, goblets and a feast large enough to feed a small army. Of course this occurs on most nights at Highland Park's Ravinia, but this was not most nights – this was Tony Bennett’s birthday - his 85th!

To get things started, Tony’s daughter, Antonia Bennett came out to do a short set. The tall redhead quickly proved that she was not riding on her father’s coattails, showing off her own dynamic voice.

The entire crowd took to their feet as Tony Bennett then took the stage in his white lounge jacket, blue tie and blue slacks. As Tony went into song, the cheers accelerated and the cries of "I love you, Tony" and "Happy Birthday, Tony" were heard. Looking robust, tanned and as healthy as an ox, Tony played a variety of favorites including "The Best is Yet to Come", "The Way You Look Tonight", "I Left My Heart in San Francisco" and "Fly Me to the Moon", which he dedicated to the people on the lawn.

Tony was indeed the legend we know him as. His voice was strong and his timing was that of perfection. Smiling his way through the energized set, the crowd erupted in a handful of standing ovations to honor the great star. Antonia even joined her father for a duet in which the two exchanged a few dance moves.

As classy as Tony was, his band certainly held their own and more. Featuring greats such as Harold Jones on drums, Gary Sargent on guitar, Marshall Wood on stand up bass and Lee Musiker on piano, this was a performance to cherish – a performance, and picture-perfect setting, that made a magical evening.

Comedian Jim Gaffigan triumphantly returned to his native state Indiana, this time taking on a full house at The Venue, located inside the Horseshoe Casino. Touching on all subjects from the urgency and awkward process of getting a drink at a crowded bar to his famous bit on Hot Pockets, Gaffigan had the crowd laughing nonstop from beginning to end.

With a healthy combination of material that included a healthy dose of King Baby as well as new stuff and old, Gaffigan was sure to incorporate his high-toned side commentary of the ignorant or offended audience member with every opportune moment. "Oh really, Jim. The baby and diarrhea joke already?" "My girlfriend is allergic to tuna, Jim. How offensive."

All subject matter was open game for Gaffigan, who even targeted Extenz (penis enlarger) spokesman Jimmy Johnson. "Do you think they called him to do the spot originally as a joke?" "Do you think they were going to try Dick Butkus, too?" Gaffigan went on taking shots at Subway’s watery tuna fish, praised his overweight self for being the "skinny guy" at McDonalds, and challenged the bar back who is unable to hand him a beer in a busy bar. "Ok, you just carried five cases of beer up a narrow staircase but you are not qualified to hand me one?"

As far as working out goes, Gaffigan told the audience he would just prefer to wear black. Still, funny as ever, for most, Jim Gaffigan’s humor was the perfect remedy to the doldrums of a monotonous workweek even if just for a couple hours. Do yourself a favor and keep a lookout for his show the next time around and mark it on your calendar as a "must see".

In 1971 the original production of "Grease" was performed right here in Chicago at what was the Kingston Mines Theatre, located in an old trolley barn in a Lincoln Park neighborhood. We all know what happened from there. Broadway made it a sensation and Hollywood made it one of the most famous movies in history. After all, who doesn’t know a song or two from "Grease"? Now, 40 years after it first hit the stage, "The Original Grease" returns to the city in which it was based, bringing its slicked back hair and leather jackets to the American Theatre Company.

Though the story line is basically the same as the familiar Hollywood version, the original production is much raunchier, proudly taking on an R-rating, making "fuck" the word of the night. Much of its humor is crude, but positively funny, and sexual innuendo is found at the right moment with great consistency.

"The Original Grease" takes the audience to the 50^{th reunion of Rydell High (loosely based on Taft High School) - the class of 1960. We are taken back in time for a stroll down memory lane by the aged alumni to witness the time of their youth firsthand. Though the high school name is fictional, the play takes place in Chicago’s Northwest Side in which many references are made to nostalgic city locations such as Foster Beach, Polk Bros and Carson’s. Director PJ Paparelli and co-creator of "Grease", Jim Jacobs, do a terrific job in reconstructing the pop culture giant, making it more specific to Chicago as it was originally intended to be. The era is beautifully depicted through thoughtful costume design, hairstyles and the good use of period slang and phrases. Captured also, so brilliantly in this production, is the youthful rebellion - and innocence - of the iconic era.}

The play’s cast is as energetic as they are talented. The dancing is fun and there is no shortage of catchy songs. The show also includes new songs made specifically for this production "how Big I’m Gonna Be", "Tattoo Song" and "Comin’ at Ya". But worry not, while "Foster Beach", the original version of "Summer Nights" is played, classics like "Greased Lighting", "Beauty School Drop Out" and "Look at Me I’m Sandra Dee" are also heard.

Adrian Aguilar and Jessica Diaz brightly shine in the leading roles of "Danny Zuko" and "Rizzo" nailing both characters to perfection, while also getting a major boost from the incredibly strong supporting cast including stand out performances by Patrick De Nicola "Sonny", Tony Clarno "Kenickie", Sadieh Rifai "Jan" and Jessie Fisher "Frenchy". Great casting here, as it was easy to believe the tight bonds of friendship that existed amongst this group of friends.

"The Original Grease" should be seen by all "Grease" enthusiasts and would also be fully enjoyed by those who had never seen the live production or film. Playing through June 26th at the American Theatre Company, "The Original Grease" returns to its Chicago origin triumphantly. For tickets or more information, visit wwwACTWEB.org or call 773-409-4125.

Dangerous stunts and rubber-like contortionists are only part of the fun when it comes to the most recent version of Cirque Eloize, but as the phrase goes, "there’s so much more". And there is. Directed by Jeannot Painchaud, Cirque Eloize iD grabs artists from all over the world to bring to life a unique reality consisting of urban street dancing to electronic and hip hop music, aerial acrobatics, romantic themed choreography, stunning bicycle feats, in-line skating, stilts, juggling, hypnotic lighting effects and an exclusively designed trampoline display using their "trampowall".

There are no language barriers present at Cirque Eloize iD, as everything is carefully set to music, body language and human emotion, making words an unnecessary function – yet each message is precisely conveyed to the audience.

Cirque Eloize is energetic and youthful, and, above all, is mind-blowing. From the show’s beginning to its end, "oohs" and "aahs" are heard throughout the theatre with regularity along with the more enthusiastic outbursts of "Cmon!", "I don’t believe it!" and "Did you see that?" Still, as high energy and exciting as Cirque Eloize iD is, there is also a fair share of beautifully executed romantic acts comprised of graceful dance movements, soft lighting and other variations of skillfully dangerous stunts, giving the show a balanced flow from sequence to sequence.

Cirque Eloize iD is playing at the Cadillac Palace Theatre at 151 W. Randolph in Chicago through Sunday, May 8^{th. For tickets or more information visit www.BroadwayInChicago.com or call (312) 977-1710}

The first thing that strikes one as they enter the theatre is the massive set. With a spacious hotel lobby taking up the entire main stage, check-in counter and switchboard on one end, a stairway takes us to the second floor where several rooms stand side by side, each framed with doorways though the doors and walls are transparent, giving the audience a bird’s eye view into each unique setting. Every room is decorated differently from the other, hinting towards each occupant’s personality. As theatre guests take their seats, activity is already taking place on the stage, presenting the daily goings on of hotel life from a man reading a newspaper, a clerk operating the switchboard, and people walking to and fro throughout the lobby or from room to room.

An aging hotel in the early 1970’s, we can see watermarks, missing fixtures and other signs of dilapidation. The tenants consist of a motley assortment of characters including prostitutes, assorted drifters and a handful of other folks with tough stories. However, despite their differences in background and current situations, a family-like bond has been created. Hard news hits when the news breaks that the Hotel Baltimore is set to be demolished and life as they recently knew it must change. Jon Michael Hill wonderfully plays "Bill Lewis" the hip hotel clerk who finds himself in the center of everything and who is just as much a part of the family as the boarders.

A gentle ghost from a past era, perhaps the 1930’s, also resides in the hotel. Donned in a 'Palm Beach" suit and fedora pushed forward over his eyes, he quietly takes pleasure and interest in everything that happens. The ghost subtly watches on and glides from room to room and lobby, adding the feeling that grand days once took place in the Hotel Baltimore as opposed to that which takes place in its current run down state.

The set is tremendous, but the hauntingly accurate wardrobe direction also plays a large part in bringing the 1970’s alive, taking viewers somewhere in between "The Electric Company", "Cooley High" and "The Mary Tyler Moore" show.

With a strong cast filled with Steppenwolf ensemble veterans Kate Arrington, Alana Arenas, Yasen Peyankov, James Vincent Meredith and Molly Regan, there is no shortage of fine acting. "Hot L Baltimore" also brings in other super talents such as Allison Torem, de’Adre Aziza, Namir Smallwood and Sean Allen Krill (one of me personal faves) amongst others, which turn an already strong cast into a spectacular one.

"The Hot L Baltimore" has it all – funny, revealing, moving and visually stimulating. Written by Lanford Wilson and directed by ensemble member Tina Landua, this show falls into the "must see" category. "The Hot L Baltimore" is playing at Steppenwolf through May 29^{th. For tickets or more information visit www.steppenwolf.org.}