A Night at Mr. Kelly’s Exhibit – The Newberry – April 16, 2024

Posted on by admin

I’ve never read or seen The Accidental Tourist, but accidentally joined a tour of the A Night at Mr. Kelly’s exhibit at The Newberry (running through July 20) when I unknowingly burst into the back of a gathering just as the docent began her spiel.

I think the last time I did something like that was in Luxembourg City in the mid 1980’s when I had the good fortune to stumble upon the back of the pack of a group of American college students (not my status at the time) being shown around the walled city.

Alas, I remember nothing about Luxembourg City, other than the McDonald’s where I grabbed an orange juice. Nevertheless I’m sure that experience didn’t include stories about Barbra Streisand’s signature being forged for patrons because her hand got tired, the building burning down just as Lainie Kazan was about to sing Smoke Gets in Your Eyes and the audience being handed their checks as they fled the establishment. Also, where else can you see Lenny Bruce’s bar tab.

I saw Woody Allen at Mr. Kelly’s the night of my senior prom and the docent confirmed for me that such parties were accommodated, no fake IDs required. Woody is not mentioned in the exhibit, though, again, the docent confirmed that he appeared at the club several times and his lack of inclusion in the exhibit was not related to later accusations against him, the only person purposefully excluded being Bill Cosby.

The exhibit makes a point of the diversity in Mr. Kelly’s performers and audience members often not found at other clubs of its era, but, I might add, also not in today’s tour group.

Chicago Sings Broadway Pop II – House of Blues – April 15, 2024

Posted on by admin

I wasn’t even at the venue yet and already was having a good time as I walked past the post office and saw the long line of last-minute tax filers, of whom I joyously was not a member, nervously double-checking their precious cargo with only 45 minutes before closing to get their valued postmarks.

The annual Porchlight Music Theatre spring event once again hit all the right notes and was an even better experience than last year’s first exploration of Broadway Pop.

The food, which was excellent, was easier to obtain this year, set out on a buffet table so that we didn’t have to huddle near the door to the kitchen to intercept staff as they emerged with trays of appetizers that were voraciously attacked and emptied within seconds. It also allowed for something other than finger food, which sounds cannibalistic. As a side note (like almost everything I write), we ate off bamboo plates, a first for me, for the full panda experience.

The performances were, as always, first rate. I’ll mention a few. Billy Rude, whom I last saw in Pump Boys and Dinettes, once again put his rock ’n’ roll talents on display with a rousing rendition of Johnny B. Goode, currently featured in the stage musical version of Back to the Future.

Nik Kmiecik also broke out his axe in Pinball Wizard (Tommy), a turn that only lacked a Pete Townsend-like demolition at the end, problem due to budget constraints and the fact that he needed it again later to lead the audience in a participatory rendition of Sweet Caroline (A Beautiful Noise), as is the custom with this classic, perhaps more so than with any tune outside the Star Spangled Banner.

The dancers made me dream of what it must be like to be flexible, but, my one disappointment, which carries over from last year, was that there was no tapping. I recovered from that psychological trauma thanks to the great mood that pervaded the room.

The star of the night for many was Kelly Felthous, whose The History of Wrong Guys (Kinky Boots) put her singing and comedic talents on full display. She even threw in a dance split in the middle of the song for no discernible reason other than she could. Bonus points for that.

Blommer Chocolate Company Factory Visitation – April 9, 2024

Posted on by admin

In celebration of the fact that I didn’t blind myself staring at the solar eclipse yesterday, I decided to visit, for the first time, the soon-to-close Blommer Chocolate Company Factory (RIP) and purchase some souvenir bites (as in something to be immediately consumed, not put on a shelf with inedible memorabilia).

Alas, although the factory doesn’t officially close until the end of May, and there was still a delicious aroma in its environs, the store that was there already has shut down operations, or so the security guard told me after I spent 15 minutes pounding on the door, though I thought I detected a small chocolate smudge near his mouth.

Unsated and downtrodden, I was only a half mile into the long, lonely trek home when I serendipitously happened across the home of the Doughnut Vault, where I was told that all they had left that day was EXACTLY what I wanted (and needed)!

Strengthened by this fortuity, I now have started making plans for viewing the August 23, 2044 solar eclipse, which may require a sojourn in Great Falls, Montana if I want the full experience.

In the meantime, the new Blommer R&D Center is scheduled to open in the fall.

Solar Eclipse – April 8, 2024

Posted on by admin

It was August 21, 2017 when I saw my last partial solar eclipse, which, thanks to the cloud cover that day, turned out to be the most boring four minutes of my life, not counting a short blind date I went out on in college.

I saw a total eclipse in the movie A Connecticut Yankee in King Arthur’s Court. That one at least had Bing Crosby.

I also should mention that I saw a total lunar eclipse some time after midnight on December 30, 1982. I was by myself on a beach in California and mostly it was just dark, so if I needed an alibi for some reason, I was out of luck.

This time, instead of trucking down to the Adler Planetarium as I did last time for an experience that reminded me of the people in Independence Day gathered on a Los Angeles skyscraper rooftop to welcome the extraterrestrials right before, oops, the carnage began, I decided to head for the park across the street for today’s cloudless 94% experience.

It was a good-sized crowd, many of whom appeared to be enjoying any excuse not to be at work. I was prepared to avoid looking at the sun, but someone shared their Eclipse Shades, so I partook.

As anticipated, there was a diminution of bird chatter for a few minutes at the height of the event, along with a chill breeze that felt like the draft in a haunted castle when Count Dracula enters, which made sense given the somewhat darkened skies.

The Band’s Visit – Writers Theatre – March 23, 2024

Posted on by admin

Here I go again, being heretical.

The Writers Theatre production of The Band’s Visit was highly recommended, across the board, except by me. I am, however, willing to recommend it, especially now that the run is over.

I’ve not seen other versions, so I have nothing to compare it against. I’m told I should see the original movie, that it would help me to better understand the play. I probably will, as I had high hopes for the show, but should that be necessary?

On Broadway, it won the Tony award for Best Musical, but the competition was Frozen, Mean Girls and SpongeBob SquarePants, enough grains of salt to fill a shaker.

I thought the action was disjointed, harmed by multiple subplots, that, from my perspective, went plotz.

And, though I usually have no problem with nontraditional casting, it made no sense to have a woman portray a man, telephone guy, in an underplot that could have used a burial plot.

I would like to praise the lead, Sophie Madorsky. Hers was by far the most interesting character and she easily held my attention, except, in a couple scenes, when I was distracted by a large screen behind her showing a live video of her movements, for no apparent reason.

I did leave the theater on a high note, literally and figuratively, provided by The Concert, for me the best part of the show.

Mrs. Doubtfire – Nederlander Theatre – March 3, 2024

Posted on by admin

Mrs. Doubtfire is fun. Rob McClure isn’t Robin Williams. But vice versa. McClure is one of those Broadway stars we often don’t get to see in Chicago unless it’s in a pre-Broadway tryout, which can be disappointing (I think back to when I saw Nathan Lane and Bebe Neuwirth in a easily-forgotten production of The Addams Family) or the performer is somewhat past their sweet spot in terms of Broadway demand (too many examples to mention), having been replaced by the next generation of ubertalent.

Speaking of the next generation, Giselle Gutierrez, a sophomore in college, as Lydia Hillard, displayed a voice and stage presence that will undoubtedly take her to Broadway some day.

McClure has more energy at age 41 than I had at age 17. When he isn’t acting (with his real-life wife as his stage wife), singing, dancing (in a variety of styles, with an awesome ensemble around him), nailing jokes, and doing at least eight or ten different voices, he’s busy getting in and out of the Mrs. Doubtfire mask, wig and costumes, and sharing the process with the audience, so that I can confidently say that he puts his pants on one leg at a time, but quickly, and without falling on his face.

The show has a somewhat checkered past, having started previews three days before all Broadway productions were closed for a year-and-a-half due to Covid, and then shutting down again for two months after only a month of performances due to more Covid concerns. McClure finally got enough stage time to get nominated for a Tony Award, but the show had lost all its momentum and didn’t last long on Broadway, which led to McClure’s interest in doing the national tour, to our great benefit.

Grant Park Music Festival – 2024 Festival Season 
Highlights Presentation – February 22, 2024

Posted on by admin

Even in winter, with the glass doors closed the Pritzker Pavilion stage at Millennium Park is warm and cozy. As is my wont, I hung out near the back, near the food, in a spot probably inhabited by a percussionist during a summer concert.

As to the hors d’oeuvres, who decided long ago that kabobs were the way to go at such events? They’re really not finger food. Eating off a stick just doesn’t measure up to eating off the bone. They don’t slide easily off the holder, perhaps because they’re usually too dry unless you dip them in some messier than tasty sauce, and you risk impaling the inside of your mouth with the sharp end. But the wine and cheese were good.

The program was better. Christopher Bell, Director of the Grant Park Chorus, walked around in a natty hat, looking a lot like a Truman Capote impressionist, and gave us a rare insight to a normally well-guarded secret, of which we were not sworn to secrecy, so here it is.

During last year’s Chicago Nascar event, Bell became aware of, and fascinated by the fact that, a driver of the same name was competing in the race. One thing led to another, and Nascar will be sponsoring this year’s 4th of July concert and Chicago’s Bell will be wearing (this part’s the usual non-reveal) a special Nascar racing suit with the number 1 on it (also with, I assume, some red, white and blue).

Two musicians from the orchestra performed beautifully (sorry, I didn’t get their names), separately, one playing the double bass and one the marimba.

Carlos Kalmar spoke about his upcoming final season as the orchestra’s conductor, aided by some recorded selections from this year’s lineup, and one that was inserted accidentally, not that any of us would have noticed had he not pointed out the faux pas. He was very pleased to tell us that his final concert will include a Vienna children’s choir directed by his daughter.

After the bassist played a second short piece to close the program, and the audience rose to clap, I made my quick exit (first one to the coat rack!), walking past Kalmar, who was standing in the wings. I expressed my surprise that my departure had been greeted with such applause, which brought a smile to his face, so I guess we’re buddies now.

Anything Goes (Take 2) – Porchlight Music Theatre – February 16, 2024

Posted on by admin

I raved about Anything Goes when I saw it on opening night. It was even better the second time around, so I felt the need to expand upon my earlier praise.

Emma Ogea graced us with her beautiful voice again, and this time she seemed even more comfortable in her role as Hope Harcourt, settling in while she continues to attend Columbia College!

I am continually amazed (I’m apparently a little slow) at the new talent coming out of our local schools and performing like veterans. Among the rest of the cast, Logan Becker also is a student at Columbia and Rachael Dec just graduated Northwestern last year. Gabriel Solis has three other plays under his belt and probably hasn’t even started high school yet.

Among the more veteran performers, Luke Nowakowski (as Billy Crocker) impressed me even more than I already was with his vocal range.

Ciara Hickey was a treat and I now realize I saw them perform at Chicago Shakespeare Theatre’s 2022 It Came from Outer Space, which I loved.

Steve McDonagh (Moonface Martin) gets to ham it up big time, and does so very successfully.

Jackson Evans (Lord Evelyn Oakleigh) still gets to display some wild dance moves, but they tightened his choreography up a little to allow him to shine even more.

And last, but never least, there isn’t much I can say about Meghan Murphy that I haven’t said many times before, but I would suggest that she has taken what was already a star performance and upped her game even more, if that’s even possible, with what seemed like an increasing array of facial reactions and physical gestures that could be their own highlight film.

Meghan has been nominated six times for a Jeff Award, but never won. I ‘m guessing that this will be the seventh time and the charm.

2024 GRAMMY Awards – Los Angeles – February 4, 2024 (Guest Blogger – Samme Orwig)

Posted on by admin

The atmospheric river that hit Los Angeles County did nothing to dampen the spirits of those attending the 66th GRAMMY Awards. Armed with storm ponchos and umbrellas, we made our way into the Premiere Ceremony at noon – before the rain began – and settled in for the three-hour, YouTube-streamed program where many of the lesser-known, but equally-important, performers, receive awards in 80 or so categories, such as Best Album Notes, Best Americana Performance, Best Remixed Recording (whatever that is?) and Best Large Jazz Ensemble Album.

We were there to root for Chicago and Chicago-adjacent musicians such as Laura Strickling and Daniel Schlosberg (nominees for #92, Best Classical Solo Vocal Album), Jessie Montgomery (#94, Best Contemporary Classical Composition, which she won!), Pacifica Quartet, and most of all, Third Coast Percussion, a four-man ensemble marking its seventh trip to L.A. as GRAMMY nominees.

Did it matter to us that Third Coast Percussion was up against classical fan favorites Yo-Yo Ma, Emanuel Ax, and Leonidas Kavakos? No! And it didn’t matter to the Recording Academy voters, either; they chose Roomful of Teeth (love the name) for #90, the Chamber/Small Ensemble GRAMMY.

With a measure of humble disappointment, and rain paraphernalia in hand, we made our way through a downpour to the vast Crypto Arena (formerly Staples Center), where the pop production emceed by the gifted and upbeat Trevor Noah was about to begin. This made-for-TV show does not disappoint. Some of the icons performing this year included Billy Joel, Miley Cyrus, and Dua Lipa, whose lively opening act, “Training Season,” was choreographed in and through a huge cube-shaped jungle gym that dancers lifted, rotated, and carried across the floor. Note to self: my workout routine is impossibly dull.

Some of the finest moments, though, tapped into history. There was Joni Mitchell, making her GRAMMY show debut at age 80!; Stevie Wonder recounting Tony Bennett’s enduring influence; Luke Combs talking about Tracy Chapman’s 1988 hit “Fast Car.” And we were schooled in the history of Memphis Soul when award #77, Best Album Notes, was announced. The winner? Writers Robert Gordon & Deanie Parker, for Written In Their Soul: The Stax Songwriter Demos.

The duo’s concise comments, scripted to fit within the 45-second time limit, represented less an acceptance speech and more a narrative of Stax Records and the phenomenal years of research that went into this project. But … had Gordon and Parker written a second, equally compelling acceptance script, just in case Written In Their Soul won award #78, Best Historical Album? Yes, they had! (For more history on this project, Stax Records, and Deanie’s career there, see this New Yorker article.)

As great as everything was, something was still missing, so I created a few more award categories. They are:

Long Overdue Award: Miguel Zenon, who finally won his first GRAMMY Award after 12 nominations (Best Latin Jazz Album).

Vivacious Energy Award: For the way boygenius members Julien Baker, Phoebe Bridgers, and Lucy Dacus bolted up to the podium to claim their first GRAMMY. And then returned to the stage, still overjoyed, to pick up their second.

There’s Nothing Wrong With Being Perfectly Charming Award: To singer-songwriter-guitarist-cellist Laufey (it’s pronounced LEY-Vey, y’all), singing “From the Start.” See for yourself.

Best Riff on Classic Rock Tunes Award: Brandi Clark’s “Dear Insecurity,” whose first few measures evoke the seemingly impossible combination of “Don’t Stand So Close to Me” and “Desperado.”

Most Complementary Back-Up Band Award: SistaStrings, which performed the role of expert House Band to anyone needing string orchestration.

Best Grammy Moment Award, No Contest: Tracy Chapman and Luke Combs singing Chapman’s “Fast Car” together.

Dan Friedman: Stay Radical – The Art Institute of Chicago – February 2, 2024

Posted on by admin

When modernism just isn’t enough, why not radical modernism, of which Friedman was apparently the father. But that was years ago, so I looked up ultraradical to see how far things have gone. The second definition of that involves the complete surgical removal of organs in a body cavity, so I’m glad he didn’t go there. What would that design look like – a blank canvas?

When asked, the security guard standing ten feet away from the door to the Architecture and Design room where the exhibit was housed didn’t know where the exhibit was, so I dared to be great and read the sign next to the door, which informed me.

I liked Friedman’s work, in particular the Gallimaufry and ICA Street Sights posters, Deep Sea Meltdown (a startling replica of my hall closet) and Tornado Fetish (an even more startling replica of my brain in the morning).

Friedman was said to have scavenged streets for materials and displayed them at home, using his apartment as a lab, recycling at its best.

And, just when I thought I had seen it all, I read that he was inspired by the futuristic decor of the Jetsons. If I could have snuck his Asteroid Lamp under my coat, I would have considered it. I wasn’t worried about the security guard noticing.