Music

A Beautiful Noise – Cadillac Palace – November 19, 2024

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There’s a lot to like in this show about Neil Diamond’s life. If you’re a fan of his music, as I am, there’s lots of that, with a rocking band.

And Nick Fradiana sounds just like Diamond. According to Broadway.com, Fradiani “spent a year and a half analyzing videos on YouTube and absorbing Diamond’s voice (speaking and singing), mannerisms and general aura.”

Hard work is great, but it’s not as good a story as when Stephanie J. Block won a Tony as Cher after she found her voice while wearing a teeth-whitening device,

Diamond’s first two wives play a big part in the show. Hannah Jewel Kohn as his second wife, Marcia Murphey, grabbed the spotlight with her rendition of Forever in Blue Jeans, while lighting up the stage throughout with her dancing and non-stop motor, even when she was “just” part of the outstanding chorus, which was backed by great choreography and a couple of very clever entrances that looked like magic.

I also really liked Kate Mulligan’s spirited turn as record producer Ellie Greenwich, but wouldn’t have minded a little more background on the woman who had her own impressive list of big time songwriting credits, which earned her a place in the Songwriters Hall of Fame with Jeff Barry, who also played a part in Diamond’s career, but not in the show.

The real Greenwich and Barry can be seen in Bang! The Bert Berns Story, a highly-rated documentary, promoted on IMDB as “music meets the mob,” about another character in the play who merits more attention.

The energy in the house started dragging a little at a point in the second act when the psychoanalysis that constitutes the framework of the show went on too long, while the audience craved more music.

But all was forgiven when the cast led the audience in the mandatory reprise of Sweet Caroline.

 

New Faces Sing Broadway Now – Arts Club of Chicago – Nov. 12, 2024

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It’s been four and a half years since I wrote about a Porchlight Music Theatre New Faces Sing Broadway Now event at the Arts Club. The world has taken quite a few turns since then, but one thing hasn’t changed. Once again, Artistic Director Michael Weber managed, I suspect on purpose, to pick people for the trivia contest who may have wandered into the wrong party, two of them admitting that someone else had filled out their entries, which, of course, makes it a lot more fun to watch, as audience aficionados squirm in their seats and admonish their neighbors when they anxiously start to shout out answers prematurely.

The other audience participation moments occur during the two sing-along songs, always my least favorite part of the evening, but intriguing this time as I wondered how people would handle the yodel in the song Popular, from Wicked. Fortunately, they didn’t even try to insert it, lest I find the need to insert my ever-ready ear plugs.

For the rest of the evening, the cast of 10 (plus host Adrian Aguilar, whom I singled out after the recent ICONS Gala), narrowed down from a pool of 700(!) according to Weber, showed off their skills in 18 tunes, most of which I’d never heard before, from a group of current Broadway shows, most of which I haven’t seen.

Apropos of a collection of “New Faces,” the hit of the evening probably was Lorenzo Shawn Parnell’s rousing rendition of Gotta Start Somewhere, from Back to the Future.

Chicago Live – Navy Pier – September 21, 2024

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I heard that they moved the Sunday performances indoors because of the rain. I wished they had done that on Saturday because of the heat – 90 degrees and blazing sun less than 24 hours before the autumnal equinox. Don’t wait, buy your new winter getaway home in Chicago while they last.

Last year I saw a dozen different acts and planned to do much the same this time around. I wanted to see Black Ensemble Theater and Dee Alexander again and catch Second City, which I haven’t gone to in years, even though I can tell you, from personal experience, that comedy is hard and outdoor comedy in front of mobile audiences, near impossible.   

After enjoying the Porchlight Music Theatre presentation that highlighted their forthcoming 2024-25 season, I began my quest for shade, to reenergize, before my next selection. (Unlike Superman, I don’t get my strength from the sun, just my Vitamin D, and I’d already gotten my required dosage for the day, based upon the new portable body monitor I’m envisioning but haven’t yet invented.)  

Unfortunately, going inside the building that once upon a time (1945-1965) housed the University of Illinois Chicago campus (or as it was known at the time, no joke, Harvard on the rocks) brought no relief, as I was now subjected to overexposure, not to the sun, but rather to children, suburbanites and toxic aromas from fast food restaurants, more burden than anyone should have to bear. 

Same time next year.    

Porchlight Music Theatre’s ICONS Gala – Ritz Carlton – September 22, 2024

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If you get invited to a brunch event at the Ritz, go. The food is great.

This was my 5th in-person Porchlight ICONS Gala (plus one online during the height of Covid), but only the second one that was a Sunday brunch. As honoree Raúl Esparza might have heard said when he played Fagin in last year’s New York City Center Encores! production of Oliver! (please excuse all the exclamation marks – they’re not mine), “please . . . , I want some more.

And, as usual, I can say the same about the entertainment Porchlight provided, a dozen songs from shows in which Esparza has appeared, flawlessly performed, if you ignore, as everyone chose to except those of us required to faithfully journal the event, the problems with a microphone that plagued one of the artists throughout, despite repeated attempts by hotel staff to replace the offending device. Rest assured, the problems didn’t detract from the audience’s enjoyment, as the performers efficiently dealt with the issues.

While all four singers brought talent and joy to the stage, I want single (double?) out two of them. First, Adrian Aguilar, whom I last saw as Tommy DeVito in Jersey Boys, for not taking even a moment off, displaying his showmanship at all times, in every little movement and facial expression, whether he was singing or reacting to others.

Second, Ava Stovall, for her rendition of Maybe This Time (Cabaret), which, justifiably, brought the biggest round of applause from the audience.

My only complaint is that I would have liked to have seen a full-out dance version of Let’s Do the Time Warp Again (Rocky Horror Picture Show), because the song is just not the same without the choreography.

During his interview by Paul Lisnek, Esparza was down-to-earth, engaging and humorous, treating us to his voice and mannerism impressions of Stephen Sondheim; his memories of starting out in Chicago in the worst production he’s ever been in; and his opinion about the movie Evita (not a high one) and what he went through in the context of playing Che (Evita) in the national tour his own way.

 

Through Ella’s Eyes – Logan Center for the Arts – August 17, 2024

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In celebration of Ella Fitzgerald’s 107th birthday, the Chicago Jazz Philharmonic put on a show.

I didn’t know that number was one of the big ones, like 50, 75, 100, as this was my first time at someone’s 107th birthday party.

At that, I almost didn’t make it in time, what with all the street closures for the DNC, which apparently stands for Drive No Cars.

After arriving, I wish I had been late enough to miss the opening “aren’t we all wonderful” speeches.

I could have used those extra minutes, en route, to further gaze in awe at the in-progress Obama Presidential Center, perhaps the ugliest building I’ve ever seen.

But, since it isn’t yet completed, there’s still hope. I would suggest that they hire some graffiti artists to work on the outer walls, like the city did a few days ago to paint murals on the CTA trains.

The highlight of the first half of the concert was the opening number, A Lost Panorama. It was followed by Tributary, which I wish had flowed in a different direction. For me, the three featured woodwind players lacked sax appeal.

After intermission, the second half started with a “lively discussion” between conductor/arranger Orbert Davis and long-time jazz critic Howard Reich about Fitzgerald. Though I came for music, not talk, I enjoyed the conversation.

That said, my biggest disappointment about the program was the insertion of too much banter throughout, so much so that the finale, which I was highly anticipating, It Don’t Mean a Thing (If It Ain’t Got that Swing), ironically got cut.

The other interruption to my enjoyment of the wonderful orchestra was the constant encouragement by Davis, and vocalists Bobbi Wilson and Margaret Murphy-Webb, to applaud. Jazz musicians are so needy.

I like to show my appreciation, but really, is there a need to applaud after every five second solo? I had to soak my hands in Epsom salts when I got home.

I will, nevertheless, single out three people from the orchestra – John Moulder on guitar, Leandro Lopez Vary on piano, and Zara Zaharieva, who is now officially my all-time favorite female Bulgarian violinist, not just for her skills, but also for the enthusiasm she evidenced throughout the evening.

Fascinating Rhythm: Gershwin and Friends – Grant Park Music Festival – August 14, 2024

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In 1916, The Georgia Tech football team, coached by John William Heisman (after whom a trophy, not for sportsmanship, would be named), beat Cumberland College 222-0. It is said that one of the Cumberland backs, after fumbling the ball in the backfield, yelled at a teammate to pick it up, whereupon the teammate yelled back – “you dropped it, you pick it up.”

Byron Stripling, conductor of the Grant Park Orchestra for the evening, told a story, he swore was true, of a concert where a man in the front row started snoring. Stripling stopped the music and asked the man’s wife to wake him, the wife responding “you put him to sleep, you wake him up.”

True or not, it made this wide-awake audience laugh, as did his introduction of himself, “for those who did not know,” as Wynton Marsalis, helping to exhibit why Stripling is a quadruple threat, as he also sang, scatted and played a mean trumpet while leading a night of beautiful music.

My enjoyment actually started at the morning rehearsal, sitting in the choral seats behind the orchestra, where I uncovered the secret of how horn players prepare when they aren’t playing – texting, emailing and reading on their cell phones.

I also got to see three union reps quietly storm the stage to inform Stripling that it was break time, whereupon the orchestra was asked to vote whether they wanted to first finish the song they were working on. (Democracy in action.) They did, though the harp player, with nothing to do at that point, and situated near the exit, snuck off.

As Jim Rupp, the drummer for the Cleveland Jazz Orchestra and the Cleveland Pops Orchestra, was brought in to do his thing for the concert, the regular percussionists spent a lot of time out of sight, mentally preparing for their highlighted moments that included a whistle blow and a single strike of the triangle. Good thing all the sound shields in front of them were in place.

Jazz pianist Bobby Floyd was also brought in to wow us, as was vocalist Sydney McSweeney, who earned a standing ovation from the audience shortly before Stripling politely kicked a confused orchestra off the stage, thereby averting another visit from their union reps, to finish the program with Rupp and Floyd in a jam session of, appropriately, Summertime, wherein he held a note so long on his trumpet that I researched, wrote, edited and rewrote this whole blog before he moved on.

Broadway x 3 – July 31, August 6, August 12, 2024

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Three different annual Broadway-related concerts, put on by three different groups, in the span of 13 days, and nothing unlucky about it.

The Grant Park Music Festival opened with Broadway Rocks!, which opened with the overture from Tommy. I would have been satisfied with that alone, but the orchestra and a trio of singers kept the energy going through another dozen selections, closing with Don’t Stop Believing (Rock of Ages).

Six days later Porchlight Music Theatre (PMT) wrapped up its Broadway in Your Backyard 12-concert summer series in Washington Square Park (I also saw them June 27 at Seneca Park), opening with, appropriately, Another Op’nin’, Another Show (Kiss Me Kate) (which sent me off into “what if” land, wondering about what the the reception would have been if Mel Brooks had titled the song from The Producers Another Op’nin’, Another Flop, instead of just Opening Night) and closing with Aquarius/Let the Sunshine In (which was actually the opener in Hair). These things are important.

Then, another six days later, it was back to Millennium Park for Broadway in Chicago, put on by, wait for it, Broadway in Chicago, featuring songs from 16 shows coming to Chicago (starting today with Back to the Future). Some of the shows have been here before, like Come From Away, Les Miserables, Moulin Rouge and the pre-Broadway run of Tina, but the biggest hits of the night were a couple newcomers, Kimberly Akimbo and Titanique (produced by PMT), both of which brought waves of laughter and enthusiastic applause from an audience that packed the park from front to back.

Finally, I would be remiss if I omitted the fact that two songs were included in both otherwise divergent Millennium Park Concerts, the always crowd-pleasing Proud Mary (Tina) and the always crowd-engaged Sweet Caroline (A Beautiful Noise), which closed the last of the three nights.

Broadway Rocks! – Grant Park Music Festival – July 31, 2024

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Robbie Ellis of WFMT emceed the pre concert talk, featuring conductor Lucas Waldin for the first 10 minutes before he had to leave to prepare for the concert.

Then the program went off the rails. Ellis and his other two guests, neither of whom I have any clue about, started comparing jukebox musicals to elements of Harry Potter. Half the attendees, myself included, had no idea what they were talking about.

Then, just as I was ready to bail, Ellis turned the discussion to a jukebox musical coming to town in 2025. Without going into detail, let me say that I, and the Porchlight Music Theatre (co producer of said show, Titanique, with Broadway in Chicago) Board of Directors sitting next to me, let our presence and enthusiasm be known, leading to a short dialogue with Ellis, who praised Porchlight, leading to cheering from the crowd.

It was then on to the concert itself, which consisted of a wonderful array of songs, energetically performed, and more costume changes by Lakisha Jones and Chloe Lowery in 90 minutes than I make in a year.

It was two shows in one, as a woman sitting three rows in front of me relived her youth throughout, while the man who appeared to be her husband sat stoically next to her, apparently no longer excited by her singing and chair dancing to the music.

2 Pianos 4 Hands – Northlight Theatre – July 27, 2024

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Two pianos, four hands, and a hundred twenty minutes of entertainment.

Years ago, when I first saw this show, I had not yet started my adult piano lessons, so, although I enjoyed it, obviously enough to see it again, a lot of what I heard and saw I took on faith, given that the piano teacher I had for two years as a child had the pedagogical skills, though not the charisma, of someone who might have studied with Harold Hill at the Gary Indiana Conservatory, gold medal class of ’05.

This time around I could appreciate everything even more, though I missed the overhead mirror that the earlier production used to help the audience better see the pianists’ hands at work.

Adam LaSalle and Matthew McGloin are both accomplished musicians, who also displayed excellent acting chops while inhabiting several characters each, along with the main roles as they aged from childhood prodigies to adults.

McGloin, in particular, showed off a range of physical movements that highlighted the action in a story where there really is no action other than at the keyboard.

Another ability that both men portrayed was to play below their obvious talents, as occasionally required by the story.

The final classical duet of the night was spotless, even to the point of my inability to decode any subtle signals they were giving each other from across the room, behind their respective instruments.

Scheherazade – Grant Park Music Festival – July 26, 2024

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Just as he had two nights earlier in conducting a stirring rendition of Beethoven’s Symphony No. 5, Eric Jacobsen wore red socks with his black tuxedo, the latter of which directed me toward the paronomastic pursuit of linking it with the tales from Scheherazade’s One Thousand and One Nights, though I suspect Jacobsen did not wear different tails each night.

And, just as he had a week earlier, when conductor Anthony Parnther had put the pressure on him by announcing that he would be playing the violin part in the theme from Schindler’s List originally performed by Itzhak Perlman, concertmaster and 1st violin Jeremy Black provided the audience with a memorable experience.

A final word about Scheherazade. Even if the music weren’t beautiful, how could you not like a composition whose final movement is described in the program as concluding with The Ship Goes to Pieces on a Rock, which gives me the chance to plug a musical comedy about a ship that goes to pieces on an iceberg (I guess it’s not too soon), Porchlight Music Theatre’s upcoming spring 2025 Chicago premiere of Titanique, presented in association with Broadway In Chicago.