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An Evening with Molly Shannon – Chicago Humanities Festival – Harris Theater – April 13, 2022

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As with Bob Odenkirk’s book-promoting appearance at the festival, Tim Meadows played the role of interviewer, unfortunately, as I would have liked more of Shannon, and less of Meadows asking the audience if anyone had any marijuana they could give him.

On the positive side, compared to the Odenkirk interview, there was a lot less profanity, a better venue, and a readable book as part of the package.

One similarity between the programs was the guest saying that it was really hard to write the book. Shannon said it about ten times., which was nothing compared to how many times she said “yeah” in response to Meadows.

Appropriately, given the requests for marijuana, I haven’t heard someone say “yeah” as much since I walked into the wrong party senior year of college, where every other sentence was “yeah man.”

Shannon’s other most frequent responses to Meadows, when she could get a word in edgewise, were “that’s funny” (even if it wasn’t), that’s great (even if it wasn’t), and I don’t know (even if she did?).

Then, like a phoenix rising from the ashes, when Meadows said they were out of time, Shannon stood up and started riffing, taking over the stage and disregarding the fact that they had to clear the space for the next presentation.

If only Meadows had told her time was up an hour earlier, and then sat back and enjoyed her energy with the rest of us.

Moulin Rouge! The Musical – James M. Nederlander Theatre – April 7, 2022

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I’ve been to the actual Moulin Rouge, or at least to the sidewalk right in front of it. I will always have fonder memories of that moment than my time spent shivering in the Nederlander Theatre (their ventilation system definitely works), while trying to recognize all 70 of the show’s songs, credited to 161 writers, each of whom receives a royalty payment proportional to how long their song is in the show and based on a cut of the revenue. Anything to pass the time.

As my mind wandered, I also wondered how many different colors were represented in the amazing array of costumes, and wish I had thought to count them. There are currently 120 Crayola crayon colors. More colors, even, than songs in the show, in case anyone asks you.

The other thing I did a lot of was stare at Libby Lloyd, playing the part of Nini, whose dance moves, for my money, made her the star of the show, or at least the most visible star, as the musical arrangements and the orchestra’s ability to seamlessly flow from one fraction of a song to the next, were noteworthy (ergo this note).

 

Chicago Film History: Seeing Selig – Chicago History Museum – March 23, 2022

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I thought I was there to see Zelig, you know the guy who used to show up in photos with Woodrow Wilson, Babe Ruth, and others, long before photobombing was a thing and Tom Hanks inserted himself into every wedding shot he happened to be in the vicinity of.

Okay, not Zelig, but I also was good with seeing Bud Selig, former Commissioner of Baseball, though I wasn’t sure what he had to do with film. Apparently nothing.

So, instead I learned, from Jeff Spitz, a Columbia College Associate Professor in Cinema and TV Arts, about William Selig and his Selig Polyscope Company, which, as it turns out, was a big deal in the early days of the motion picture industry, building Southern California’s first permanent movie studio, after starting out in Chicago.

If you have one more online experience left in you, watch Selig’s thirteen minute, 1910 version of The Wizard of Oz on YouTube, worth it, if for no other reason, for the humorously rudimentary special effects.

In addition to being the studio to produce the first films of Tom Mix, Harold Lloyd, and Fatty Arbuckle, Selig, in partnership with the Chicago Tribune, is credited with inventing the cliffhanger, in 1913, with the production of The Adventures of Kathlyn, which the paper gave front page coverage to. Where would we be today without cliffhangers? Maybe I’ll tell you next time.

Good Night, Oscar – Goodman Theatre – March 20, 2022

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Spoiler alert! In case you don’t know—I did—Sean Hayes was a musician before he was an actor or comedian, having studied piano performance in college, and working thereafter as a classical pianist. (It’s amazing the stuff you learn on the Internet when you have nothing else to do for two years.) He has musical chops.

What I didn’t know, but was glad to see, was how much time he must have spent studying all things Oscar Levant, so that he could emulate his tics and mannerisms as if they were his own. (After the performance I found and viewed on YouTube Levant’s final television appearance, as the mystery guest on What’s My Line, to confirm the accuracy of the depiction.)

Now, imagine Hayes playing Rhapsody in Blue while playing the quirky Levant at the height of his mental health issues and drug addiction. Chopsticks would be tough under those conditions.

This is the seventh Goodman show I’ve mentioned in my blog. Regulars may remember that I haven’t been too kind in regard to four of those prior productions. In my defense, they weren’t kind to me either. But this one had everything, including actual Levant insights like “There’s a fine line between genius and insanity. I have erased this line.”

DePaul Jazz Orchestra – Holtschneider Performance Center – March 13, 2022

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Having taken my usual aisle seat, I was appalled by the usher’s request that I move over one to allow room for a latecomer to sneak in. I just said no. (I’m good at that.) After all, I paid for the aisle. Not really, of course, as tickets were free and seats unreserved.

So, instead of sitting to my right, the only person in the room who sat down and then lowered his mandatory mask, sat to my left. After I gently poked him, he lifted the mask back up and left it there, so that, thereafter, I only had to put up with his occasional unsolicited commentary and attention-seeking slow clapping.

As for the excellent performance from the 17-piece band, the freshman trumpet player set the tone by wearing sunglasses during his big solo; the only musician wearing a mask was, unpredictably, the baritone saxophonist, whose solo belied any notion that the barrier would be an impediment; and, during his solo, the piano player made swing look easy, just like golf pros do during their swings, which I also can’t emulate.

A vocalist magically, and unfortunately, appeared for two songs. If I could have turned off his mic, I would have. But he couldn’t detract from an otherwise enjoyable concert, including the director’s background stories about the Duke Ellington and Count Basie bands, and all that jazz.

Bob Odenkirk with Tim Meadows – Chicago Humanities Festival – Music Box Theatre – March 2, 2022

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Meadows interviewed Odenkirk in association with the latter’s release of a new book – Comedy Comedy Comedy Drama: A Memoir by Bob Odenkirk.

I love Better Call Saul, so I’m not anti Odenkirk. But . . . .

Odenkirk drops a lot of F-bombs. I’m not impressed.

Odenkirk thinks Sullivan’s Travels isn’t a very good movie. Not only is he wrong about that, but he also should know that it’s a much better movie than his new movie, Nobody, which nobody should bother seeing, except to enjoy Christopher Lloyd.

There were some high points to the program. Tim Meadows was very engaging. Giving several audience members stupid questions to ask Odenkirk worked. And Odenkirk’s closing by reading a “poem” about ice cream from his book put everyone in a good mood as they departed, and made me think about stopping at the Dairy Queen on the corner before heading for the car.

The ticket to the program included a copy of the book, which I’ll read, knowing that he has had an interesting journey and confident in the assumption that a good editor will have made it a better read than one might otherwise expect listening to Odenkirk’s articulation, or lack thereof, on stage.

Vivian Maier: In Color – Chicago History Museum – February 26, 2022

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Because I had failed to notice the full name of the exhibit before entering, it took me about 15 minutes before I realized why I wasn’t seeing any of Maier’s thousands of black and white photos. Shoot me.

The display is separated into seven parts – looking through (which could have been divided into looking out and looking in), straight on, from behind, up close, from afar, up, and down. Add strange and charm and you’ve got a raft of quarks.

The first shot that stood out for me was Canoes in the Chicago River (@1965-1974), a time before gentrification resulted in kayaks displacing the canoes.

Two Socks on a Clothesline made me wonder what Maier, rather than some curator, might have named it had she commercialized her work. How about something more profound, like Line Interrupted? And what about the fact that the socks don’t match? I’ll have nightmares about that.

I would have liked to grab Hippies in the Loop (April 1970) and take it home with me, as I’m sure I could find someone in the large crowd who I knew if I had more time and a magnifying glass.

Crossings: Mapping American Journeys – The Newberry – February 25, 2022

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If you like staring at old maps, this new exhibit is for you.

My favorite section included short descriptions about the journeys from the south of the Blues Travelers who created Chicago Blues, namely Robert Johnson, Muddy Waters, Howlin’ Wolf, B.B. King, Koko Taylor, and, surprisingly, in my mind, the Staple Singers (who, as wonderful as they were, were more known for other categories of music), while Willie Dixon was egregiously omitted.

Although I grant that Mavis Staples was inducted into the Blues Hall of Fame in 2017, Dixon, who wrote hit songs for Waters, Wolf, and Taylor, among many others, was one of the original inductees in 1980.

I thought about correcting the library’s error in judgment, but, perhaps fortunately, didn’t have a pen, as staff was already eyeing me suspiciously.

So I moved on to the poster promoting the opening of Yellowstone National Park in 1872, featuring Alice (whom Lewis Carroll introduced to the world seven years earlier) telling us about her adventures in this new wonderland. Still no pen, so couldn’t draw a mustache on her.

And don’t miss the “fun map” (its original designation, not mine) of US 40, promoting tourist attractions, and, I swear, telling the story of the Donner Party through a series of cartoons. Too soon?

Ray Johnson c/o – The Art Institute of Chicago – February 11, 2022

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Unbeknownst to me, before email took over my life, I apparently was a leading practitioner of mail art, which as far as I can tell, is just a pretentious way to refer to hybrid chain letters, and I easily could have been the icon that Johnson became had I had the foresight to tell people to forward my letters, rather than just throw them out, often without opening.

But maybe it’s not too late to establish my legacy. According to Wikipedia, “The Correspondence School was a network of individuals who were artists by virtue of their willingness to play along and appreciate Johnson’s sense of humor.” I’m not sure how that makes Johnson an artist, though a lot of the art I see does require, often unintentionally, a sense of humor to appreciate. In any event, if my readers would like to consider themselves artists, and elevate me to one, perhaps they could start The Blog School in appreciation of my efforts.

My favorite part of the Johnson exhibit was the stack of boxes, containing who knows what, though I think not Lilibet Snellings, author of Box Girl: My Part Time Job As An Art Installation, as they were too small. Still, I think it would have been more interesting if presented as performance art, with someone unpacking and then repacking the boxes on an Old Faithful-type schedule.

The Play That Goes Wrong (Take 2) – Broadway Playhouse at Water Tower Place – February 8, 2022

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No hitches this time. (My NDA prevents me from revealing what really happened in January.)

Though some of the action in the show loses a little when you know what’s going to happen (having seen an earlier production in December 2018), the fact that the performance is all about the humor, without any unnecessary regard to plot or character development, enables the excellent physical comedy to hold up on its own (kudos to the cast, set designer, and prop maker). Moreover, on one occasion, I, and everyone else in the audience, practically jumped out of their seats in reaction to a gag, even though the underlying premise took a second to process.

The theater was about half full, heavily weighted toward the front, which enabled me to have a row to myself, as it always should be. The theater took masking seriously, with an usher holding a sign that said “keep masks up.” On one occasion, during intermission, I saw the usher approach an audience member to tell that person to lift theirs. And though the play features some audience interaction, I’m quite sure (or am I?) that this particular moment was not in the script.

Bottom line – it was great to be someplace surrounded by laughter (not caused by me having toilet paper stuck to the bottom of my shoe).