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Improvised Shakespeare Chicago – The iO Theater – June 28, 2019

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There appeared to be many repeat attendees at the performance. When the cast asked the audience for suggestions for a title for that night’s play, they were ready with a host of responses clearly thought out ahead of time. Otherwise how would you explain an immediate shout out of the chosen title – The Gift of the Gobbler? One doesn’t come up with that out of thin air in a split second.

So, given that the premise of the performance is not taking a named Shakespearean work and riffing off of it, which I would have known had I read that part of the promotion that said a “fully improvised play in Elizabethan style using the language and themes of William Shakespeare”, what makes this show Improvised Shakespeare? Nothing. That’s just to draw you in, which I’m glad it did.

So what made the product Shakespearean? Well, they used the word proffer a lot even though there weren’t any lawyers or courtroom scenes in the show.

There was a woman playing a man and men playing women and none of them were named Yentl or Tootsie.

There was British royalty, scheming, and a lot of rhyming, but no one named Hamilton.

Enough people died that it suggested either Shakespeare, George R.R. Martin, or Quentin Tarantino, but there wasn’t any nudity, so not Martin, and there weren’t any profanities or racial slurs, so not Tarantino.

Though many of the characters died on stage, none of the actors did, relying on their perseverance, skills and tricks of the trade (both short and long form improvisation “need a mechanism in place to relieve the audience of the excruciating pain of a scene that is not working”) to entertain and move the story forward.

As is often said, dying is easy, comedy is hard.

Tank and the Beez – Washington Square Park – June 21, 2019

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Husband and wife, Brian “Tank” (bass/harmonica) and Beth “Beez” (guitar) Blankenship, added Jeff Teppema (fiddle) and someone named Charlie (guitar) for the performance.

Tank and the Beez describe themselves as an old-time roots string band, which made me wonder whether their instruments are made out of onions, potatoes, carrots, or radishes.

They specialize in traditional blues, folk, and jazz tunes and, by their own account, read their lyrics off an old-timey iPad.

The group’s other concession to modern technology was Jeff tuning his fiddle off an app on his cell phone. His fiddle looked suspiciously like a violin, which led me to a nice article in Strings Magazine, which has nothing to do with theoretical physics.

Jeff pulled a shaker out for one song, but unfortunately, one of the band’s other frequent members, Amy Malouf, was not there to play her washboard.

Beez and Tank nicely took the lead on most of the songs, but Charlie had his moment in the shade on one tune. Even before that it struck me that he appeared to speak like a would-be ventriloquist, with slight movements of the lips, while his teeth remained glued together.

Charlie noted that the song he sang was written in B Flat, and suggested that it was a common key when it was written about a hundred years ago, as it made it compatible with the hum of the electric lights in use in the United States.

Though Charlie’s singing was not on par with Tank’s, or especially Beez’s, he acquitted himself quite well on the guitar, which he suggested was Middle English for out of tune, a possible homage, given the group’s brand of music, to Pete Seeger’s line that “when you play the 12-string guitar, you spend half your life tuning the instrument and the other half playing it out of tune.”

The Big Red Show – Venus Cabaret – June 17, 2019

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Watching Meghan Murphy, a.k.a. Big Red, wipe off the sweat, excuse me, glisten, between numbers made me wonder how many signature, low-cut, red dresses she must own in order to put on her show three nights in a row.

At least this night she had the foresight to bring a small towel on stage with her. Both she, and the bartender before the show, told us that he had to give her napkins the night before to stem the tide.

Seeing Murphy on a Monday added an extra level of entertainment, as the audience was filled with her show business friends who had the night off from their own gigs, and who were not shy about emitting a plethora of joyous sounds of appreciation throughout the evening to the amusement of all, including Murphy.

And Big Red is not shy about enjoying herself on stage, as when she calls extra attention to the length of a note she’s holding by turning around slowly, then looking at her watch, except she isn’t wearing a watch, and mugging her reaction to that faux realization.

Murphy plays the part, not only of actress and chanteuse, but also of storyteller and philosopher. When she told the crowd she doesn’t like people to try to fit her talents into a neat box, I half expected her to transform into a mime trying to get out of a box, though it’s hard to imagine her remaining silent, or keeping a straight face, long enough to do that.

She also played the part of music critic, taking the time to pause and humorously parse Heart’s All I Wanna Do Is Make Love to You in the middle of singing it. She didn’t invent this. I found a 2013 article online that forges the same ground. Still, when Big Red does it, it’s more fun, because, as embodied in her final song as Mama Rose, some people ain’t her.

How to Succeed in Business Without Really Trying – Music Theater Works – Cahn Auditorium – June 15, 2019

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Without conscious effort on my part, How to Succeed in Business Without Really Trying is the third (out of nine) Pulitzer Prize for Drama winning musical I’ve seen in the last eight months. This doesn’t rise to the level of seeing a baseball game in every major league stadium in one season, but it’s all I’ve got.

The Music Theater Works pre-show talk discussed all nine winners, but, as for this production, notably, Ken Singleton as J. Pierrepont Finch was terrific (though nobody could ever top Robert Morse, who took the part from Broadway to the movies without getting replaced by Vanessa Redgrave or Audrey Hepburn, or having his voice dubbed by Marnie Nixon), and the recorded voice of the book was done by . . . wait, wait, don’t tell me, oh right, Peter Sagal, a role previously performed for Broadway revivals by Walter Cronkite and Anderson Cooper.

Playwright Abe Burrows was one of the recipients of the award for How to Succeed in 1962, which is interesting because his Guys and Dolls was originally selected as the winner in 1951, but, rumor has it, because of his troubles with the House Un-American Activities Committee, the trustees of Columbia University vetoed the award (and none was given that year). They must have been concerned that the difficulty in finding a location for the Oldest Established Permanent Floating Crap Game was meant as propaganda to symbolize the predicted fall of capitalism.

As with the crap game, the lure of easy money finds its way into How to Succeed, which famously features a treasure hunt as a marketing ploy. In that spirit, if you can name the other eight Pulitzer winning musicals, six of which I’ve seen, without resorting to the internet, you win a year’s free subscription to this free blog (restrictions may apply).

Printers Row Lit Fest & Chicago Blues Festival- June 8-9, 2019

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In case you were wondering, the Lit in Printers Row Lit Fest refers to literature, not to the new Illinois law permitting recreational marijuana starting January 1, 2020. But maybe next year it will be both.

One of the attractions of the Lit Fest for me in the past has been the Flash Fiction writing contest held by the Mystery Writers of America. Again, in case you were wondering, the Flash in Flash Fiction refers to fiction written quickly, not fiction written about Barry Allen of DC Comics fame.

There was no contest this year. The Mystery Writers didn’t even have a tent. Or perhaps they did and it was flapping so quickly in the breeze that no one could see it.

And this year there was only one program each day that interested me. On Saturday, it was James Geary amusing the audience with a discussion of his book Wit’s End: What Wit Is, How It Works, and Why We Need It.

As part of his presentation, he held a pun contest, with the winner receiving a copy of the book, and the losers presumably being sent to the witless protection program.

On Sunday I heard WTTW critic Hedy Weiss interview music director Jermaine Hill, and stars Monica West (Marian the librarian), and Geoff Packard (Professor Harold Hill) about the Goodman Theater’s upcoming production of The Music Man. I introduced myself to Hedy and spoke with her for about 15 minutes before the program, which I’m sure she also will mention in her next blog.

On the way to the Lit Fest Sunday, I stopped by the Chicago Blues Festival to listen to Erwin Helfer do his wonderful thing on the piano. Heller plays on Tuesday nights at the Hungry Brain, which seems like a good name for a place to go after a Lit Fest.

Life on Paper – Jackalope Theatre – June 3, 2019

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As any theater goer knows, “Ueber die Anzahl der Primzahlen unter einer gegebenen Grösse (usual English translation: “On the Number of Primes Less Than a Given Magnitude”) is a seminal 9-page paper by Bernhard Riemann published in the November 1859 edition of the Monatsberichte der Königlich Preußischen Akademie der Wissenschaften zu Berlin.”

While I didn’t go to Life on Paper to learn more about the famous (to some) Riemann hypothesis that all nontrivial zeros of the analytical continuation of the Riemann zeta function have a real part of 1/2, I wasn’t scared off by it and a part of me was curious to see how a discussion of it might be worked seamlessly into the dialogue.

And, while I enjoyed listening to a brief exchange about prime numbers and infinity, those of you whose eyes glaze over at the mere mention of a mathematics problem will be relieved to know that the play is not about a series of intricate equations on a blackboard any more than the play Proof is, but rather is a discussion about life choices and a character study of two people thrown together by fate.

Fate, alas, was not on the side of an understudy who had the misfortunate of setting into motion, during a scene change, a series of events that caused a lamp to break on stage. But, given the infinite number of possible outcomes that might have ensued, I’m happy to say that she and everyone else recovered beautifully from the mishap.

I actually found enjoyable, and not distracting, this one-act play’s numerous scene changes in the dark, as they were accompanied by excellent musical selections piped in through the theater’s sound system, though I wish I had paid closer attention as to how the lyrics may have complemented the script or illuminated the storyline.

The Mushroom Cure – Greenhouse Theater – June 2, 2019

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Adam Strauss’s one man show opens with a portrayal of him trying to decide between an iPod and an iriver (a South Korean MP3 player I never heard of before). His well-timed, articulate, and frenzied conversation with himself artfully sets the stage for the show’s comedic inspection of his obsessive compulsive disorder.

Because the show is in a theater, not a club, and is not billed as a standup routine, though it certainly has elements of one, it is sometimes difficult for the audience to know how it should react to Strauss’s abuse of the fourth wall. I found this troublesome only in the sense that there were moments when I felt like the audience didn’t give him the interaction he sought or appreciation he deserved, perhaps debating with themselves as to whether it was appropriate to respond.

Strauss has an engaging personality that makes it easy to sympathize, and frequently emphasize, with his story, for, although most of us probably have not spent 11 hours trying to cook up a foul-tasting psychedelic hallucinogen from mail-order cacti, who hasn’t double or triple-checked that they locked a door or berated themselves at times for indecisively failing to act.

For me, rejecting his offer to the audience to try the concoction he said was cactus juice, which he stirred up on stage, was not one of those times, as he gave no indication that there might be chocolate syrup available to add to it.

At the end of the show, Strauss asks that anyone in the audience who, after listening to him, thinks they have OCD, raise their hand six times, eliciting a nice laugh. But, as with trying the cactus juice, no one did. In the lobby afterward, however, I told him I had been tempted to raise my hand twice. I only told him once.

MSI After Hours – Wired to Wear – Museum of Science and Industry – May 31, 2019

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I was hoping to see the museum’s exhibits come alive as in one of the Night at the Museum movies, but, upon second thought, the simulated tornado in the Science Storms exhibit, for example, might have brought the party to a crashing halt, and the adventure just wouldn’t be the same without Robin Williams.

The museum’s new Wired to Wear exhibit is fascinating. It’s described as “smart clothing and devices designed to extend the human body’s capabilities and make us healthier, stronger and safer.” Although I have my doubts that the dress that barks like a dog when someone gets too close to the wearer will catch on, there are a lot of interesting innovations that are likely to result in useful options for the disabled, the professional athlete, and the idle rich searching for a Halloween costume.

In addition to the new exhibit and access to all the others at the museum without having to fight off busloads of school children, this adults-only party offered microscopic veggie sliders, generous-pour bartenders, and access to a live podcast of WBEZ’s Nerdette, featuring two of the Wired to Wear inventors.

If you listen to the podcast once they post it, you’ll likely get a digitally-cleansed version, so you won’t be able to appreciate the fact that the guest tech nerds couldn’t figure out that you have to hold the microphone near your mouth when you’re talking so that the audience can hear you, and you probably won’t hear me yelling from the audience “can’t hear you”, an act that didn’t get me kicked out, brought a murmur of appreciation from a part of the audience, and caused one of the guests to use the microphone properly for two seconds, before once again holding it as far away from his mouth as humanly possible.

Perhaps clothing with a built-in amplifier would be more useful than clothing that barks like a dog.

Chicago Philharmonic & Cirque de la Symphonie – Harris Theater for Music and Dance – May 26, 2019

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If you suffer from coulrophobia, this performance was not for you. But Vladimir Tsarkov Jr. is more than a clown. He’s also a juggler, able to keep numerous balls moving in numerous directions, which led me to discover that there is a system of notation for juggling called siteswap. I always thought it was called accounting.

Tsarkov also aided Alina Sergeeva perform her quick-change costume routine, which is a mildly entertaining trick, but a potentially very useful skill if you’re running late, or if you’re trying to avoid airline baggage fees by wearing all your clothes.

On the other hand, the strap aerialist and the members of the strength and balancing act wore very little clothing in order to show off their ridiculous abs, which were more like cases than six packs.

Watching the Cirque de la Symphonie perform, after having also seen the Cirque du Soleil recently, made me wonder whether Ringling Bros. and Barnum & Bailey could have survived if it had renamed itself to sound more French. After all, the Cirque de la Symphonie is based in Georgia, the one in the United States, not the one that used to be part of the Russian empire, even though three of the six performers I saw are Russian.

All the routines are performed in front of the Philharmonic and synchronized to its music. If any of the acts aren’t your thing, you can always just close your eyes and listen to the music, which, if you are at all squeamish, you might want to do anyway during the aerial stunts, especially when Christine Van Loo is letting herself drop from near the ceiling, protected from hitting the floor only by the suspended silk she is clutching and her incredibly strong, sinewy (49 year-old!) muscles, unaided by ever having been bitten by a radioactive spider (as far as I know).

A Chorus Line – Porchlight Music Theatre – May 24, 2019

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Here’s a multiple-choice quiz. A triple threat is a football player skilled in running, passing, and kicking; a 2019 movie described on Rotten Tomatoes as an “adrenaline fueled and gritty action thriller”; or a performer who can act, sing, and dance.

Of course it’s all three, but the changes in football over the years have eliminated that triple threat and there’s no chance of me ever seeing a mixed martial arts movie. But the Porchlight MusicTheatre’s stage is filled with theatrical triple threats for its production of A Chorus Line, where the adrenaline is flowing and the dancers do a lot of kicking, albeit without a football, because, after all, they are part of a chorus line.

I was at a Porchlight reception two days earlier where I was told by a Board member that the show was sold out for the rest of the run. except for one seat on one night. I’m thrilled to say that that one seat turned out to be right in front of me, a cosmic apology for having placed the tall guy in front of me at West Side Story three nights earlier.

As a result, my biggest problem was deciding where to focus my attention throughout the show, given that there are often 16 people on stage. So I did the only thing that made sense. I spent a lot of time watching Taylor Lane, as Judy Turner, because she’s the granddaughter of a friend of mine.

She didn’t disappoint, and demonstrated even more acting skills after the show by pretending to be excited when I introduced myself and a couple friends to her, going so far as to request that we have a photograph taken with her to show her grandfather, though perhaps she’s really just a secret fan of my blog.