Displaying items by tag: Buzz News Chicago

In the highly engaging, thought-provoking world premiere, “Assassination Theatre: Chicago’s Role in the Crime of the Century” by investigative reporter and author Hillel Levin, the audience is thrust into a very well-presented exploration into the murder of President John F. Kennedy. Offered as somewhat of an acted out documentary complimented by a series of haunting projected images, Levin takes a look at credible proof compiled over the years, whether physical, circumstantial or witness accounts, and makes a convincing argument that the key players involved were members of the Chicago mob.

Says Levin on how he stumbled upon, and then pursued, the story, “The origins of this show go back to 2007, when I wrote a story for Playboy magazine about the burglars who broke into the home of Tony Accardo, Chicago’s long-time mob leader. After the article was published, I was approached by Zach Sheldon, one of the FBI agents featured in the story, who asked, ‘Why don’t you do a real story about the mob?’ When I asked what that was, he replied, ‘How they killed JFK.” This prompted Levin to spend the next seven years in extensive research before concluding what Sheldon and other FBI agents determined. As Levin explains, “The assassination was kind of a theater, staged to put the blame on only one actor in what was, in fact, a much larger production.”

Michael Joseph Mitchell is very convincing as Hillel Levin, wrought with passion and conviction as more and more evidence is revealed. As the investigation unfolds Levin and Zechariah Shelton (performed splendidly by Mark Ulrich) bounce theories off each other, speculating, and furthermore perhaps ultimately proving, the mobs involvement. Ryan Kitley and Martin Yurek do a tremendous job in playing a multitude of characters as they are introduced and revisited in the story. As the story progresses, a flow chart is created of who’s who in the mob and how they connected with alleged gunman Lee Harvey Oswald and Jack Ruby. In this truly gripping docu-play, mind blowing evidence is brought forward, holes in the famous Warren report are exposed, motive is revealed as well as the means to pull off the crime of the century.

Levin kind of lets the government off the hook as far as any direct involvement they may have had in the actual assassination itself, which might be an unpopular theory to many conspiracy buffs. However, he does implicate the government in covering up the true facts of the crime in order to preserve the peace of the public and to prevent the possibility of war with the Soviet Union. Even after Levin’s very convincing evidence is presented, one might still wonder if such an assassination could have been pulled off without the inside intel of, say, the CIA. Nonetheless, Levin’s beautifully presented theatrical investigation peaks interest from beginning to end without the slightest lull whatsoever.

The argument made for a high-level conspiracy is substantial and far more believable than buying into the lone gunman theory that the media has provided via the government. Of course, Levin is not the first to point this out, nor will he be the last. We’ve seen similarities in other assassinations in that of Robert Kennedy’s, Martin Luther King’s, John Lennon’s, etc., etc. It is admirable that Levin takes such a stance. His investigative presentation is effective and hard-hitting and, at the very least, certain to leave audience members asking questions afterwards, perhaps urging them to research JFK’s assassination for themselves and other potential cover ups rather than opting for complacency and blind belief.   

Soundly directed by Kevin Christopher Fox, “Assassination Theater: Chicago’s Role in the Crime of the Century”, currently playing at the Museum of Broadcast Communications (360 N. State St.) through November 7th, is highly recommended. It is a well-acted, intelligent, quick moving, greatly comprehensible theatre presentation loaded with twits and shocking revelations that is sure to stir one’s interest. For tickets and/or more show information, visit www.assassinationtheater.com.

It was a warm, balmy night with no rain for Harry Connick Jr's sold out summer concert at the beautiful and romantic Ravinia Music Festival this year.

Connick played a dynamic two hour set which included all of the favorites you'd expect like songs from his "When Harry Met Sally" soundtrack. Among the many numbers in his very well-rounded set, he played "It Had to be You",  "Where or When" and "The Way You looked Tonight" along with several New Orleans' Jazz treats and three new songs from his upcoming album. 

Of the three new songs from his much anticipated October release which included “Trying To Matter”, and “I Like It When You Smile”, I enjoyed the adorable ode to his wife of thirty years, Jill Goodacre, “No One Does I Do Like We Do" the most. But his super sexy delivery on “I Like It When You Smile" will be a great hit single as well.

Looking at the handsome, fit 47-year-old Harry Connick Jr., it seems like just yesterday when I first met him and heard him play the piano 27 years ago!

I was living in New York City with my boyfriend, actor Steve Larson, who was a regular on "Third Rock from the Sun". Steve had a job bar tending at The Village Gate, the most revered Jazz Club in New York's Greenwich Village. Throughout its 38 years, the Village Gate featured such musicians as John Coltrane, Coleman Hawkins, Billie Holiday, Duke Ellington, Dizzy Gillespie, Bill Evans, Dave Brubeck, Dexter Gordon, Art Blakey, Woody Shaw, Miles Davis, Vasant Rai, Nina Simone, Herbie Mann, and Aretha Franklin, who made her first New York appearance there.

Every night while Steve was working I would sit at a small table with a five dollar bill on it drinking a glass of coke he kept refilling so that I looked like a patron. I’d watch musician after musician for free. It was a wonderful music education for me, and a full six years before I started my own band in Chicago. One night at the "Open Mic" when the usual crowd of older Jazz musicians would straggle in trying to sign in to get a slot to play, a young man dressed in a baby blue polyester tuxedo from head to toe walked in to play the piano. This was a bold move as kitschy, second hand clothing was not yet the rage back in 1987. Harry was still quite chubby with baby fat and had a few spots on his face. But when he played I remember thinking this kid must be some kind of prodigy - and I was right. His talent was jaw-dropping. 

The very young Harry Connick Jr. soon became a regular performer. I would always have a few singles on hand to tip Harry with when he played the open mic nights, and we talked briefly on occasion. I asked and found out he was Jewish on his mother's side and had been studying music seriously since he was five- years-old. Harry once said I "had a brilliant smile” and that he really appreciated seeing me there on open mic nights because he said I seemed to "listen to every note with my whole body". Years later when I saw his successful national debut and that he was marrying a super model, I almost didn't recognize him, so complete was his physical transformation into the  thin, handsome, and debonair performer we know him as now. I must have heard hundreds of musicians at The Village Gate during the four years I lived at The Ansonia on Broadway and 73rd from 1987-1991, but Harry Connick Jr. and the amazing guitarist who was also an unknown - Chris Whitley (now deceased) and David Bowie are the only ones I actually got to know and remember. 

At the riveting Ravinia concert, Connick Jr. also played the horn in a wonderful, "dueling banjos" type standoff with his crew of some of the best trumpet players alive today which was very impressive. I was unaware that he was a multi-instrumentalist. 

After three decades and millions of records sold and numerous Grammy awards Harry Connick Jr. is still going strong with his quality blend of old and new Jazz and Pop. Connick will also be returning to judge on "American Idol' and hopefully we will see him return to acting as well, because I really enjoyed his work in Hope Floats with Sandra Bullock and his run on the hit series, Will and Grace. 

"Everything I do is part of my passion," he said, explaining his diverse talents. "I do the things I like to do. It's sort of a bigger version of having more than one hobby. I love to play piano, sing, and act. I love to do all those things."

Similar to the interactive comedy hit “Tony and Tia’s Wedding” where actors stroll about the hall in character to mingle with audience members, Chicagoans can now enjoy what might just possibly be a new dinner theatre hit, “We Gotta Bingo”.  In “We Gotta Bingo”, housed at Chicago Theatre Works on Belmont Avenue, guests are thrust into the setting of a fundraiser to raise money for two Catholic churches to merge, the main event being bingo, where attendees actually participate and win cheesy prizes like hand-knitted toilet paper holders or a used clock radio from the 1980s.

Father Duncan, played admirably by Gary Smiley, hosts the event while fast talking and professional lottery ball caller “Lucky” Bucky (Merrick Robinson) calls out the numbers while also plugging his used furniture store and squeezing in as many one-liners as possible. Of course a stunning presenter is needed for an event of this nature, in this case it is Darla, who is played by Jessica Scott and simply nails the ditzy role.

Among the many characters milling about, my favorites may have been Rosa and Rudy, a stereotypical overly-exaggerated Italian couple played by Jane Allyson-D’-Arienzo and Jerome R. Marzullo. I love the way they interact with each other but even more so with the crowd. Rosa would frequently engage with women in the crowd to gossip and stir things up while Rudy, more reserved, made small talk mostly with the men in attendance. The shots they took at each other were hilarious and spot on.

After a game or two of bingo, guests are served dinner (catered by Giordano’s) that includes salad, bread and lasagna. Vegetarians should know to mention they prefer a meatless option ahead of time so that they too can be accommodated. Later, yummy lemon bars and brownies are distributed to all the tables.  

This is the perfect theatre experience for someone who enjoys drinking a couple beers and getting a bit rowdy as crowd chants are often invoked by the characters and one-liners become much funnier than they probably really are. It’s festive and it becomes a more of a collaboration between audience and actors as the comfort level grows throughout the evening, as guests chime in and actors respond. If you want to sit back and quietly watch a show, this is not the event for you.

Bingo, beer, Italian food and plenty of laughs – for what more could one ask?

We Gotta Bingo is currently playing at Chicago Theatre Works (1113 W. Belmont) and tickets are at a reasonable $49. For tickets and/or more show info, visit www.wegottabingo.com.

Over 40 years ago, Pippin made its debut on Broadway and now it is back and in Chicago for the next few weeks. Pippin is the story of a young prince on his somewhat Faustian journey to find purpose in life, as told through the mysterious performance troupe lead by the Lead Player as our narrator.  In this touring revival, the performance troupe is set in a circus which brings the magic of the big top to the show.  

Overall, I found the show truly a spectacular, spectacular with the chaotic excitement on stage befitting a Baz Luhrmann film (of which I am also a fan!).  The combination of acrobatics by Gypsy Snider, Fosse style choreography by Chet Walker and stunning costumes designed by Dominque Lemieux all in the circus tent set by Scott Pask creates a production that will be sure to wow everyone in the audience.

The original production was directed and choreographed by Bob Fosse and it was wonderful to still see his stylistic influences throughout this show. Appreciating the difficulty of Fosse choreography, I was impressed with the dancing in the show. It was taken to a whole new level with the choreographic updates and addition of high flying and jaw dropping acrobatics and stunts which you have to see to believe.

This show breaks down the 4^th wall with the actors addressing the audience directly, and calling out the fact that they are in a show. Sasha Allen in the role of the Lead Player was fantastic and her powerful singing gave me chills more than once during the show.  In the role of Pippin, Sam Lips was a star. He was a strong lead with a fantastic voice and personality that drew the audience in. My favorite actor of the show was hands down Adrienne Barbeau as Berthe, Pippin sassy grandmother.  In the song “No Time as All” she will thrill and truly shock and surprise you – a surprise which I will not ruin for those who are heading out to see the show!

The show is funny and thrilling with plenty of good one-liners and jokes that get the audience laughing and (warning parents!) some scenes that get a pretty racy! At the same time, it has a much deeper and darker plot that speaks more to real life than your typical happy go lucky musical.  In an all around well-executed show, the performance troupe takes us on a journey of seeking greatness and meaning in a world where there is no clear path. Through a series of compromises shrouded in doubt and confused all the more by the influence of the Leading Player we watch Pippin settle for ordinary over extraordinary in the end, seemingly happy with his ultimate decision.

I can highly recommend this show as a great breakaway from your traditional Broadway production that will thrill you, give you the chills, and also make you stop and reflect on the challenges of real life.  It is playing at the Cadillac Palace Theater through August 9^th.  Get your tickets before the final curtain falls and the lights are all turned off on Pippin in Chicago!

Although the idea of two gay friends, Hunter and Jeff, sitting down to write their own musical for a competition deadline in three weeks’ time may seem a little bit dated, these performers including Matt Frye, and Yando Lopez do a great job of making the piece seem vibrant and current. Hunter and Jeff who love watching their reality TV like the Bachelor and "procrasturbating" introduce two of their gal friends to help them fill out the cast with Susan (Neala Barron) and Heidi (Anna Schutz). The group decides to take things they’re actually chatting about daily and eventually come up with a play about their own lives and trying to get into the playwrights festival. This is the theme for [Title of Show] now playing at Rivendell Theatre.

Long story short, they end up getting thrilled with an invite to enter into the Fest and eventually a short Off-Broadway and even shorter Broadway run all of which is exciting and mind blowing for the friendly foursome. As it happens it brings about the usual problems with managing who gets credit for what and who is the most important or likable part of the show. 

I loved the song, 'Die, Vampire Die’ about managing all of the negative, "bloodsucking" thoughts that weigh on you mentally and emotionally when you are trying to create something new. 

Neala Barron as the "corporate by day, creative by night' - part time actress - has the funniest and most well-rounded performance in this piece. Matt Frye as Hunter is also very funny and really makes the most of his character.  

Lovers of the musical theater genre will adore this peppy, fast moving production and see themselves reflected in all the characters' struggles to be recognized and stand out including the sole musician, a very funny role for a pianist with just a few choice lines. 

The reason this show still works and is timely despite coming out in 2008, is that even today with all of the new opportunities for performers to write and star in their own projects for the  many contests held online and on national TV, is that for everyone eventually realizes that a little bit of success is just not enough.

Just appearing in a show on Broadway will not make you and your friends "stars". Nor will it secure you financially in any way for the rest of your lives. There is also a funny number in the show where the cast counts out all of the "loser” musicals that made it to Broadway and flopped. 

Yet it is essential that actors still persist in taking over their own careers and write their own projects or they run the risk of playing bit parts their entire lives without ever realizing their full potential as writers and creators, always working the "day job" and waiting helplessly for the phone to ring with a magical call from their agents.

Well-directed, this 90 minute piece flows at a quick, funny pace.

All actors should be actor/writers, that's the best message of this show, not to let the fear of criticism cripple you from putting out your own work and maintaining loyalty to the friends who help you get your work out. Because, after all the success and thrill ride for each project is over, you still need to get up and keep writing and creating something new for yourself with your friends close by your side. Never give up and never let the pressures of making a name for yourself eclipse the importance of the daily life you are actually living because in the end you may find the journey itself really was the whole play!

[Title of Show] is playing at Rivendell Theatre through August 16^th.

With back-to-back sold out performances, Steely Dan triumphantly returned to Ravinia Festival in Highland Park where their smooth, jazzy and blues influenced rock echoed through the park, causing even the farthest picnickers from the stage to get up and sway to the music. Fronted now by just Donald Fagen (keys and vocals) and Walter Becker (guitar), the two co-founders who met at Bard College and put Steely Dan into action in 1972, the "the perfect musicalantiheroesfor the Seventies", as Rolling Stone Magazine once called them, rolled through each song with expected precision and the same good time feel that fans have become ever familiar with over the years.

Accompanied by what Becker proudly hailed as his “all-time favorite Steely Dan forever band”, the ensemble included a complete horn section, additional keys and guitar, a trio of background singers who impressed more and more with each number, drummer Keith Carlock and Freddie Washington (no, not the one from Welcome Back, Kotter) on bass. The highly talented Carlock and Washington kept the rhythm flowing at a perfect pace allowing the other members to effortlessly glide in and out over their rock-solid foundation. Becker and Fagen allowed band members to highlight their skills, not only during a full on introduction but also in many of the songs. For example, saxophonist Walt Weiskopf, amongst others, would occasionally walk from their designated area to front center stage and rip out some amazing riffs.  

The band started the night out with the Oliver Nelson cover “Teenie’s Blues” before Becker and Fagen walked onto the stage to the loud cheers of the pavilion audience and joined in for their first crowd pleaser “Black Cow”. As the show progressed, Steely Dan went on to play many of their classics including “Hey Nineteen”, “Godwhacker” “Babylon Sisters”, the Joe Tex cover “I Want To (Do Everything for You)” and “Peg”. Fagen’s vocals and keys were as sharp as ever – even his occasional piano flute thingy playing was entertaining. The band also played a very inspired version of “Dirty Work” with backup singer Carolyn Leonhart taking over on leads vocals on the track made famous by former member David Palmer.

Trying to enhance the mood of the evening even more so, Becker interrupted the music to address the crowd for several minutes, rambling on about this and that and encouraging everyone to grab their partners on the way home and pull over in the woods for some after show romancing.  

Closing out the set, Steely Dan went into what might be considered the band’s biggest hit “Reelin’ in the Years” where Carlock added to the song by going into a blazing drum solo. After a two minute absence the band returned to the stage to finish the night off with “Kid Charlemagne” with Fagen and Becker walking off immediately afterward, Fagen waving and Becker in an exaggerated strut, where the remainder of the musicians provided exit music to the tune of Nelson Riddle’s “The Untouchables”.

With the night was a clear and balmy seventy-eight or so degrees and the music sending fans on a mellow journey down memory lane, Steely Dan provided a night of memorable entertainment that fans can only hope will return next season.    

For upcoming Ravinia show information, visit www.ravinia.org. 

This year is the 15^th anniversary of New Dances, a series brought to life by Thodos Dance Chicago.  New Dances is forum designed to foster and support dance artists in the creation of new works, an often challenging and expensive ordeal. In addition to providing support for dancers and choreographers, it also incorporates upcoming lighting and costume designers, all from the Chicago area, bringing together a comprehensive line up from emerging talent in the Chicago dance community. Over the past 14 years, New Dances has lead to artists receiving fellowships for graduate dance studies, starting their own companies and having their work commissioned across many professional settings.

With 9 pieces, this 15^th anniversary show had a great variety that could entertain even the most dance illiterate. There were two performances of New Dances at the Atheneum Theater, July 18^th and 19^th.  With a small cast of dancers, the curtain dropped after each piece and the house lights came on, giving the audience a chance to discuss their thoughts on each piece throughout the show.

A few of the earlier pieces, heavily rooted in the contemporary style of the Thodos Dance Chicago company, shared many common characteristics (even a few of the same exact moves) which made me a little nervous about potentially seeing 9 pieces that were all too similar. While each was extremely well executed and beautifully performed, it felt like too much of the same for my tastes.

Luckily things took a huge stylistic turn with “All You Need Is”, choreographed by Taylor Mitchell.  The cast of 8 dancers, adorned in simple black pants and black and white striped tops performed a French inspired piece centered on the theme of love. The work was visually stunning, combining great staging and strong choreography with hundreds of small red paper hearts being strewn around the stage in coordination with the movement and music.  It combined very traditional, ballet inspired moves with a quirky twist that reminded me of watching an old silent movie. It brought the audience to life with laughter and love.

Another of my favorites was “Miriam” choreographed by Brian McGinnis. Set to original music, this piece was made up of a solo and two duets each unique but flowing together wonderfully. The first duet portrayed a couple in the midst of an affair but with a charmingly hilarious story. The song features singers who couldn’t stop laughing, and their silliness translated into the dances with great eccentric elements to the movement. The second duet seemed to ebb and flow around the stage with an effortless grace that made your heart feel light; an excellent contrast to the other duet and it rounded out the piece nicely.

The final of my top list was “Something To Do With Five”; a smooth, mellow, contemporary performance by 5 male dancers choreographed by Jessica Miller Tomlinson. The lighting, costumes, music and movement all elicited this thought of molasses, sweet tea and summer nights.  The piece used creative lighting, and interesting staging as a compliment to the dancers and the movement. Throughout, there were great moments but the ending was so original, it left a great final impression. With the five men lined up at the front of the stage, the red velvet curtain fell to just inches over their head, the lights dropped to a simple backlight and the a hush fell for the final moments of the piece.

While there were some great dancers and excellent choreography, a surprising standout of the whole performance was the lighting design. The unique lighting added an amazing dimension to all of pieces and really brought it all together.

For fans of dance, or those interested in expanding their scope of dance performances, New Dances is a great show. And who knows, you may catch the first time showing of a piece destined to international fame!

While you may have missed New Dances this year, you can still catch Thodos Dance Chicago at other performance this year. For more on Thodos Dance Chicago and future performances by the company check out thodosdancechicago.org.

Throughout the years, we have seen all kinds of homages to Elvis Presley whether it be Elvis impersonators, biographical films, Elvis night at U.S. Cellular Field and, of course, theatrical productions. Of these few tribute samples, some are serious and sensitive while others more tongue-in-cheek. “All Shook Up”, a musical using the music of Elvis, is definitely the latter. Now playing at Theatre at the Center in Munster, Indiana, “All Shook Up” is a story about an Elvis-alike roustabout who comes across a square town where the tightly-wound mayor has unjustly imparted laws against innocent activities such as kissing in public and dancing or the interracial mixing of partners. Though the plot line is as silly as it gets with unlikely, but still predictable love stories breaking out everywhere, it is hard not to be entertained by the music alone.

David Sajewich plays our hero Chad, the leather jacket clad bad-boy drifter with greased back hair who hops from town to town via his motorcycle with the purpose of challenging authority by infusing fun and excitement into boring and restricted communities. Sajewich is very funny in the role, ever so naturally delivering spot on physical comedy and one hilarious line after another. He also sings several Elvis classics with a good deal of enthusiasm, his vocals finding suitable range for each number despite not having the most powerful of voice. In the show’s opening number, “Jailhouse Rock” we quickly realize Sajewich will not be attempting to sound like Elvis Presley opting to use his own singing voice (writer or director’s choice?), leaving a small amount of disappointment for those who had hoped the story’s character so obviously designed around Elvis would kind of sound like him, if even in a comical way.

Like Abba’s music in Mamma Mia! or Green Day’s in American Idiot, the music of Elvis Presley is transformed into massive stage numbers with changing leads, large choruses and big time dance choreography. It was also refreshing to see such an obscure choice of Elvis Presley songs used for this production rather than only the obvious choices. “All Shook Up” included favorites like “Don’t Be Cruel”, “Love Me Tender”, Can’t Help Falling in Love”, "A Little Less Conversation” and “It’s Now or Never” but also added lesser known songs (at least outside the Elvis world) such as “Follow that Dream”, “C’mon Everybody”, “Devil in Disguise” and a heartfelt rendition of “If I Can Dream”.

Outside of the campy over-the-top story that is on the borderline of ridiculousness, despite its borrowed storylines from Shakespeare’s "Twelfth Night," "As You Like It" and "A Midsummer Night's Dream", “All Shook Up” includes several likeable characters that are fun to watch and listen to, especially Bethany Thomas (Sylvia) with her gutsy and very impressive singing voice. Callie Johnson also shows off her comic and singing ability as tomboy motorcycle mechanic Natalie Hallow who is crushing hard on Chad while Justin Brill as the geeky, love stricken Dennis is also enjoyable to watch. Matthias Austin gets some of the biggest laughs as Natalie’s square turned rocker father Jim, as deserved, but Sharriese Hamilton (Lorraine) might just have the best comic timing of the bunch.

Cheesy story and all, “All Shook Up” is a very entertaining show with great music, charm and lots of very funny moments. It’s always nice to see the music of Elvis passed on to new generations and this show is a perfect tool for doing so, as it is a production suitable for all ages alike.    

The rock n’ roll hit Broadway musical “All Shook Up” is being performed at Theatre at the Center through August 16^th Wednesdays through Sundays, including weekend matinees. For tickets and/or more show information, visit www.theatreatthecenter.com. 

Although a muggy night, the crowd arrived in force at Ravinia.  Chicago natives, the Plain White T’s made their Ravinia debut this past Saturday night.  A pop-punk band since 1997, it’s surprising that these gentlemen have only now just graced this stage.  It was evident that their signature tracks, in their pop-punk style are the back beat in the lives of so many. “1234” and “Hey There Delilah” raved in echoed singing voices, and dancing couples waved across the grass and over the hills of Ravinia.  Know that their most recent album, released earlier this year “American Nights” is another great summer album to rock with your windows rolled down. Their new single “Rhythm of Love” got the crowd up on their feet.  Tunes like “Stay” and “Heavy Rotations” are high energy with new beats, great heat, and are easy to sing along to.  For the love of the music, and for the heart, take a look at this soon to be your favorite new album.

Another album release coming out this year in August, introduces us to a new side of Rob Thomas, the headlining act for the evening.  Known for being a part of Matchbox 20, and for his hit song with Santana “Smooth”, this pop prince is roaming his way toward country.  The crowd was on their feet for most of the heated show (as Rob, changed his shirt half way through). Old and new tracks, “Lonely No More,” “Boom Shake” and even a remix of “Let’s Dance” brought cheers for Rob and his band, and sing-alongs from the crowd.  The first single “Trust You” from his new album “The Great Unkown” was an introduction to all the great things to come.  You only get “One Shot” to make a night at Ravinia, Rob heated up the stage and set fire to the release of his upcoming album.

Check out upcoming Ravinia shows at www.Ravinia.org.

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.

Tw@birunjibaby