Author: admin

Another Life Lesson Learned

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Those who know me know that I have a sometimes unhealthy need to follow instructions. The Ravinia Festival website said tickets for 2025 season concerts would go on sale at 8:00 am, which I took at face value. DUMB!

I didn’t find out until I logged in age 8:00 that you could get in the queue at 6:30. OOPS!

Needless to say, but I will anyway, there were a few people in line ahead of me, actually over 25 THOUSAND!

I use the term people loosely, as I’m sure many of them were secondary sellers (either living, breathing ones or sentient bots), which sounds much kinder, though it shouldn’t, than scalpers. (Interestingly, the term scalper is said to have arisen in the 19th century, as applied to railroad ticket brokers who sold tickets for rates LOWER(!) than face value.)

Rest assured, that is no longer the case, though I must add that I once got a nice price for a Boston Celtics game in the final year of the old Boston Garden by waiting until after the tipoff to make my purchase on the street, which had the added benefit of aggravating what had been a smug seller until he realized I wasn’t bluffing.

The secondary lesson here is not to schedule two things in one day, as the workman I had hired showed up at my door just as my computer pinged to tell me I had 15 seconds to make my purchase. Okay, actually 20 minutes, but I was already in a frenzy, so it seemed like 15 seconds. I believe that’s a corollary to Einstein’s Theory of Relativity.

Sunny Afternoon: The Story of the Kinks – Chicago Shakespeare Theater – Through April 27, 2025

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As I was entering the theater, the usher handing me my program pointed to a jar containing plastic bags with two little orange items in each and asked “Do you need earplugs?”, to which I responded “Do I need ear plugs?”, to which she responded “I’ve been told that the music is pretty loud.”

I hesitated for a moment, concerned that I might not be able to hear the dialogue with the plugs inserted, but quickly decided that I probably wouldn’t be able to understand the British accents anyway, so I might as well wear the protection, while also berating myself for not going to one of the open caption performances.

In retrospect, I probably only needed the plugs twice, the first time being near the beginning of the show when the lads are trying to determine just how loudly they should play the first five signature chords of You Really Got Me, which reminded me of the movie The Italian Job when Lyle gets “speakers so loud they can blow a woman’s clothes off.”

I have read that, not surprising, a lot of creative license is taken with events depicted in the show, but the story is kind of secondary anyway. I’ve seen the tropes before in other behind-the-scenes stories. More importantly, the cast treated us to a highlight show of 1960s Kinks, augmented by a raft of energetic dancing emblematic of that era.

The crowd, which was on its feet for the closing medley, would have been alright with the music continuing all day and all of the night.

Titanique – Broadway Playhouse – March 25 – July 13, 2025

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Titanique has been running in New York for almost three years and in Sydney for almost seven months, so it should come as no surprise that it has already been extended in Chicago, despite just opening.

As earlier written, I have followed the progress of the joint Porchlight Music Theatre/Broadway in Chicago production since it began rehearsing. Now that I’ve seen the official opening, I’ll share some additional thoughts.

The show is an event that starts rollicking even before the Celine Dion character, played with swagger by Clare Kennedy McLaughlin, in full Celine Dion accent, and then some, makes her first announcement to the audience. There were attendees in costume and a buzz in the air.

Maya Rowe (as Rose) and Adam Fane (as Jack), show no limits to their comedic energy and are able to turn on a dime to deliver with their singing.

I’ve previously noted that a lot of the show’s jokes elude me, and though I’ve now been educated about some of them, I still wish I could appreciate them in the moment.

This is especially true in regard to Rob Lindley’s ranting, eat the scenery, tour de force monologue as Ruth, which contained numerous references I didn’t understand, leaving me to ride the wave of the howling appreciation emitted by a large segment of the audience. The only thing missing was for him to start shouting “Auntie Em!!! Uncle Henry!!! Toto!!! It’s a twister!!! It’s a twister!!!” ala the guy in the tower in Airplane!.

This may not be a show for everyone (I’m pretty sure it won’t be playing the Kennedy Center in the foreseeable future), but the production values are first-rate and the whole cast is top-notch, frequently bringing down the house with their fabulous voices, even in the guise of an iceberg.

Guys and Dolls – Music Theater Works – March 30, 2025 (closing night)

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Guys and Dolls opened on Broadway in 1950. Now I’ve finally seen it on stage for the first time. Of course I’ve seen the movie. But seeing this wonderful, live presentation has helped erase the painful memory of Marlon Brando as Sky Masterson. I look forward to the rumored forthcoming remake of the film, directed by Rob Marshall, who brought home the bacon with Chicago in 2002, which should further cleanse my palate.

Cecilia Iole, Jeffrey Charles, Callan Roberts and Kristin Brintnall were all terrific in the lead roles. And Cary Lovett as Nicely-Nicely was a treat, as were all the supporting players, the band, the choreography and the dancing.

The show also reminded me of how great a writer Abe Burrows was. Before Burrows won the 1962 Pulitzer Prize for Drama for How to Succeed in Business Without Really Trying, he kinda, sorta won the 1951 award for Guys and Dolls, except, under pressure from the House Un-American Activities Committee, the Trustees of Columbia University capitulated and decided not to give the award to him that year. Fast forward to today and Columbia is once again viewed by many as agreeing to things they shouldn’t, to avoid rockin’ the boat.

Titanique Tech Run – Broadway Playhouse – March 23, 2025

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There was no The Show That Goes Wrong moment, so, as far as I could tell, the tech part of the rehearsal went fine.

I’m sure the cast was grateful to have a a group of people before whom they could strut their considerable skills.

And, for the most part, the attendees, unsurprisingly, seemed to be more clued in than I to the show’s references, even though I had already seen the designers’ run as previously described in an earlier post. I clearly am not the target audience.

For example, I caught allusions to Wicked, Chicago and Peter Pan, but didn’t catch them to, well, I don’t know, as Donald Rumsfeld would say.

I got some help from the Millennial sitting next to me, but even she had no explanation for some of the material.

There were a couple moments when I thought I alone, based on no reaction around me, got a joke, but maybe I was chasing windmills, which may become even tougher to do if they are outlawed.

I’ll have more to say after going to opening night, but, in case the author/director has nothing else to do and is reading this, I want to suggest, and others agreed with me, less eggplant. In putting the show together, he must have had a Steve McQueen in The Magnificent Seven moment, that is “It seemed to be a good idea at the time.”

Native Pop! – The Newberry – Mar 20–Jul 19, 2025

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I’m somewhat mystified by The Newberry subtitling its Native Pop! exhibit “How Indigenous people have shaped popular culture.”

I say that because the first thing you see when entering the exhibit is a huge poster depicting a struggle between The Incredible Hulk and Black Snake that was created for a protest movement opposing the Dakota Access Pipeline. While significant, this seems far afield from the shaping of pop culture.

(Coincidentally, a day before the exhibit opened, a North Dakota jury found Greenpeace liable for approximately $660 million for defamation, trespassing and other infractions in a case involving the protests against the pipeline.)

The poster is an example of ledger art, which was the adaptation from painting on animal hides to painting on paper (accounting ledgers being one of the most common sources of paper) after the near extermination of the bison herds.

On a lighter (or lightsaber) note, Star Wars is a major pop culture touchstone for Native communities. The Newberry will be presenting the Navajo Language version of Star Wars: A New Hope on May 3rd.

When it came to Star Wars, there literally and figuratively was a shaping of pop culture, as Princess Leia’s well-known coif was inspired by the Hopi squash blossom or butterfly whorl hairstyle, depictions of which are shown next to a photo of the esteemed leader of the Rebel Alliance.

The last item to particularly catch my attention was the Dakotah Scrabble set, including a dictionary. My independent research tells me that it is was created in 2006 (many decades after the original Scrabble, so again, not shaping) as a way to keep the language from dying out. The language already doesn’t have the letters F, J, L, Q, R, V , and X, so who knows what it may lose next.

Titanique – Porchlight Music Theatre/Broadway in Chicago – Broadway Playhouse – March 25-May 18, 2025

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This is the third musical I’ve seen that is based on a ship that sunk, previously having attended Poseidon! An Upside Down Musical and Ernest Shackleton Loves Me, but having missed, I think fortunately, Eastland: A New Musical.

I’ve attacked Titanique as I would have any long-term school project if I had ever done a long-term school project.

I went to the cast meet and greet, where I heard a couple of the show’s songs and some background from the director/co-author, Tye Blue, but mostly met and greeted a variety of cheese and crackers.

Then I watched the movie Titanic for the first time, clearing my calendar for an entire weekend to have time to do so.

As my final preparation, I attended the designers’ run at Porchlight’s rehearsal space, which confirmed for me that, except for two songs, I am unfamiliar with Celine Dion’s music (though familiarity is not necessary to enjoy the show).

The other thing I learned was that Titanique contains pop culture references about which I also am totally clueless. After the performance, I believe I heard one of my fellow attendees mention Dynasty (of which I’ve never seen even a single minute of the boot or reboot) as the basis for an allusion in the show.

Despite my ignorance, I was rapt by the performances and somewhat controlled insanity on stage (more on that after seeing the actual show), albeit somewhat embarrassed by the fact that everyone around me was laughing hysterically, even while I occasionally sat mystified, though entertained (I didn’t always understand Robin Williams or Jonathan Winters either).

Chamber Music Immersive – Chicago History Museum – May 12, 2025

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This was the first of what the Chicago History Museum hopes will be a series of regular events in the future. I hope they are successful in putting it together. It was wonderful, though there really shouldn’t have been any nuts on top of the chocolate brownies, even though they were easily scraped off.

Violinist Philippe Quint put the program together and took the role of master of ceremonies, along with his featured role as a terrific musician. Christopher Guzman provided flawless work of the piano and the excellent cellist was either Calum Smith or Calum Cook, depending on whether you believe the program listing or his bio as principal cellist at the Lyric Opera.

Clarice Assad appeared to perform her composition of The Last Song (for voice and piano), which allowed me to hear Brazilian scat for the first time. I want more.

On the down side, in an attempt to tie the concert into the museum’s current exhibit Dressed in History: A Costume Collection Retrospective, Quint brought in five members of The Joffrey Ballet to act as “super models” (his term) for various garments. Most of the outfits were, at best, meh, and it was a terrific waste of talent, though mercifully short in duration. I had been hoping for actual dance. Quint might as well have used people from cousin Jeffrey’s ballet.

Circus Quixote – Lookingglass Theatre – February 26, 2025

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My hope that the reopening of Lookingglass Theatre, featuring the world premiere of Circus Quixote, would lead me on a quest to see more of their productions, turned out to be an impossible dream.

Upon entering the building, the first thing that struck me was the spare feeling of the “vibrant new lobby,” as described by the architects.

If not for the juggling instruction going on in one corner, I might have thought that I had wandered into the wrong place.

The play itself wasn’t quite as monstrous a show as the theater’s production of Frankenstein in 2019, but I was ready to leave within the first 30 seconds, thereafter gritting my teeth and performing mental gymnastics to help me endure until intermission.

There were some laughs (not as many for me as for a few others in the sparse crowd – relatives of the cast?), though I feel like much of the humor must have been lost to me in translation. I did understand the sophomoric use of belching, but wasn’t particularly amused. If you’re going that route, go bigger.

Some of the choreographed scenes were lame, though not so the horse fantasized from a rocking chair.

The interactions with the audience struck me as inappropriate and somewhat desperate, as, all in all, I felt like I was watching a long-form improv show that was playing off of a suggestion to incorporate windmills into a scene.

Betrayal – Goodman Theatre – February 22, 2025

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A review I read before going to see Betrayal said that Pinter’s “plays famously include long pauses and silences that can feel interminable to audiences if not handled with care.”

Had I not read that review, I wouldn’t even have noticed any such delays. As it is, maybe one or two. Certainly never enough of an interlude to grab a snack in the lobby. Credit to the director and cast? Or difference of opinion as to what qualifies? I don’t know.

Before seeing the production, I was thinking that maybe I made a mistake in not pursuing an acting career, specializing in Pinter. Given a long enough gap between lines, I might have had time to recall my dialogue, or sneak a peek at crib notes on my sleeve, before my turn arose.

Moreover, the anguish in my expression as I tried to remember what to say might have been interpreted as, or confused for acting.

As an audience member, I could use long pauses when watching Shakespeare, as they would give me time to figure out, or look up on my phone, what I had just heard. Of course that would lead to interminably long shows, which was not a problem in this 75-minute production.

Helen Hunt and Robert Sean Leonard were the draws, and they were fine, but, frankly, not special enough to induce a recommendation from me. Fortunately, however, though the play is considered a drama, there were some good laughs, because I just didn’t care about the characters.

An interesting side note about this play with a backward timeline is that the audience wasn’t sure that it was over until a minor character walked onto the stage alone to take the first bow.