REVIEW: World Premiere of Otherworld's GARTERS: A QUEER IMMERSIVE ROMANTASY PLAY A Perfect Pick For Pride Month

ChiIL Live Shows On Our Radar 

 OTHERWORLD THEATRE'S WORLD PREMIERE OF

GARTERS: A QUEER IMMERSIVE ROMANTASY PLAY

(18+)

From l to r Chloe Basset, Kylie Carrol, Bruce Holtman, Quinton Walker - Photo by Nadir Waxali

Evocative Theatrical Journey Explores Themes of Romance, Gender Identity, 

and Representation

GARTERS is thoughtfully crafted for mature audiences aged 18 and older; viewer discretion is advised. 

 

May 31 - July 7, 2024

Guest Review

by Dugan Kenaz-Mara

In Garters we follow the tale of the knight Sir Yvain on not his, not her, but their quest to retrieve a magical object for their king. Garters does an excellent job of exploring and explaining the nonbinary identity in a way that elucidates some of the struggles nonbinary people face. The play also uses a butterfly motif as a representation of gender and calls attention to the existence of the chimera butterfly - a naturally nonbinary animal - to easily lead people with no knowledge of gender identities into the conversation. If you’re looking for a performance during pride month, Garters is a perfect pick. 

Jenny Hoppes and Kira Nutter - Photo by Nadir Waxali

Before seeing the show, there are a few things to take note of. First, it is rated R for sexual content. There is a bed placed at the center of the audience, and despite being obscured slightly by a veil, the audience members closest to it are mere inches from actors getting intimate. In a similar vein, the rest of the audience is incredibly close to the action. The house is tiny, with approximately 23 seats in 2 rows, meaning the actors (and their swords) get fairly close. The ensemble also talks to the audience during transitions between acts. Finally, because of the close nature of the seats, accessibility may be a concern for some people. We noticed that the seats at the end of the back row were high up without a step, and the gentleman next to us had trouble getting to it. Of course, the front row is still a great option and asking others to move may have helped make an easier path to those seats, but it is still worth noting. 

Garters is a story full of fantasy tropes that features the plentiful twists and turns that come with the genre. There’s a sprinkle of murder, a dash of espionage, and more disguises than you can count. 

The plot has just enough fantasy worldbuilding to make you feel like you’re actually a part of the world. We learn slowly throughout the show of the secret connections between characters, the folk tales that the people of the land heard growing up, the different occupations and lifestyles in each region of the journey, and most importantly the existence and importance of magic in the world. I loved how the magic brought morality questions into the story that we don’t face in real life. After all, if you can’t rule a kingdom without magic, should you really rule at all?

Yvain played by Kira Nutter - Photographer Parrish Davis-Sauls

A definite highlight of the show was the stage combat. Thanks to the intimate space, all of the action was easily visible and the audience got to feel like they were in the heart of it. One fight involves the entire cast, and utilizes swords, staves, and a rope for clever combat that you don’t get to see often. 

An additional fun tidbit is that there was a raffia fan laid out on each seat for the audience to use. They could be used as actual fans if the theater got too hot, but were also perfect for hiding your face from an intimate moment or talkative actor. 

Otherworld Theatre Company, the premier sci-fi and fantasy live theatre production company in North America, presents their world premiere mounting of playwright Natalie Zutter’s GARTERS: A QUEER IMMERSIVE ROMANTASY PLAY, running May 31 - July 7, 2024 at the theatre’s storefront location at 3914 N. Clark St. Tickets ($27 with some pay-what-you-can tickets available for each performance) available at www.otherworldtheatre. 

Dugan Kenaz-Mara is a designer, photographer, educator, and recent graduate of 

Northwestern University.

L to r Jenny Hoppes and Kira Nutter - Photo by Nadir Waxali

Once, two girls disguised themselves as boys to train to become knights. Seven years later, an unconventional knight and a worldly whore fallen on hard times meet at a brothel in the middle of nowhere and embark on an epic quest. Inspired by the works of Tamora Pierce and Jacqueline Carey, GARTERS is an epic fantasy play about the limited roles available to women and nonbinary folks in quest stories, and what happens when they don’t get to be the hero but don’t want to be the damsel. Experience an evocative theatrical journey exploring themes of romance, gender identity, and LGBTQ+ representation, thoughtfully crafted for mature audiences aged 18 and older.

GARTERS performances will be held Fridays and Saturdays at 7 p.m., and Sundays at 2 p.m. Tickets are $27 and can be purchased at www.otherworldtheatre; there are a limited number of Pay-What-You-Can tickets available for each performance. 

Hedy played by Jenny Hoppes- Photographer Parrish Davis-Sauls

Written By: Natalie Zutter

Directed By:  Blake Hood

Cast: Kira Nutter (Sir Yvain), Jenny Hoppes (Hedy), Jerome Michael Jones (Varic), Lauren Miller (Lady Dagomar), Chloe Basset (Lady Clotilda), Bruce Holtman (Innkeeper), Quinton Walker (Bandit), and Kylie Carroll (Laundress)

Production Team: Abbey Schnell (Stage Manager), Parrish Davis-Sauls (Costume Designer), Blake Hood & Tiffany Keane Schaefer (Set Designers), Sam Campos (Fight Director), Becca Schwartz (Intimacy Director), and Jake Mayer (Media Designer), Schnell & Hood (Lighting Designers)

Dates: May 31 - July 7, 2024

Press Opening: Friday, May 31, 2024 at 7 p.m.

Schedule: Fridays and Saturdays at 7 p.m., Sundays at 2 p.m.

Location: Otherworld Theatre, 3914 N. Clark St.

Tickets: General Admission: $27 with a limited number of pay-what-you-can tickets available for each performance. GARTERS is thoughtfully crafted for mature audiences aged 18 and older; viewer discretion is advised.

Box Office: www.otherworldtheatre.

ABOUT OTHERWORLD THEATRE COMPANY

Otherworld Theatre Company (3914 N. Clark St.) was founded in 2012 to bring a theatrical experience to the science fiction and fantasy genre. The Company’s work celebrates the depth of human imagination by engaging spectators in high quality storytelling. Otherworld Theatre Company stages original works in its pay-what-you-can Chicago, Illinois venue, presents virtual programming online, and produces immersive Live-Action Role Playing events through its partner company, Moonrise Games. For more information: www.otherworldtheatre.org

REVIEW: Neo-Commedia VIVA LA MORT Via The Conspirators Well Worth The Visit at Otherworld Theatre

ChiIL Live Shows On Our Radar 

THE CONSPIRATORS PRESENT

VIVA LA MORT

MAY 16 - JUNE 9, 

AT OTHERWORLD THEATRE

It’s the Conspirators, but With Music! 

A Pop-Icon Returns to Her Hometown to Wreak Havoc on Her Aging Ex

A happy eighth marriage

Photo by Candice Conner, Oomphotography

(left to right) Liam Ouweleen, Libby Conkle

Directed by Wm. Bullion, Lighting by Mike McShane, Costumes by Kit Medic

Guest Review

by Dugan Kenaz-Mara

Viva la Mort was one of the most unique plays I have had the pleasure of reviewing. The show takes up a ton of space, despite being in such a small room. With a high-stakes story, a mood that changes from comedy to tragedy on a dime, and crazy features like killer wolverines and dancing lobsters, it’s a performance that’s sure to delight. 

The first thing that needs mentioning is the style. And not just any style, “The Style”. The Conspirators are known for their neo-commedia techniques: Punctuating every beat with a live percussionist, staring down the audience, and turning emotion up to 11. Most striking is their intense face makeup, which is used to evoke a heightened character in the way a Commedia dell’Arte mask does. I would describe this style as “how it would feel if mimes were allowed to scream”. With the heavy stylizing, it can be a bit tricky to wrap your head around the story at the beginning. On stage, there is always a lot going on, but once you recognize ‘The Style’, it fades into the piece and does a lot to heighten the experience, heightening both the chaos and the order in the characters’ predestination.

Mort sees Viva for the first time in decades

Photo by Candice Conner, Oomphotography

(front left to right) Andrew Bosworth, Libby Conkle, Justin Ly

(back left to right) Dakota Norman, Mitchell Jackson, Corin Wiggins, Eva Andrews, 

Lex Mann Turner, and Madison Rivers

I would recommend looking over the plot of Friedrich Dürrenmatt’s “The Visit” if you don’t know that play already. Since this show is adapted from it, I found that knowing the basic plot was fairly helpful in following the story through its many stylistic layers. 

One thing that caught me by surprise was the quality of the music in the play. Viva la Mort is presented as a play with music, and my preconception was that it would be worse quality than a musical where actors would be chosen specifically for their singing abilities. I was pleasantly surprised when the first solo song occurred. Then, at the top of act 2 when everyone jumped in for a jaunty tune (The Barbecue Song) I was sold. The audience was bopping along and the energy was soaring, easily transporting the viewers back to the world of the show. 

The show had quite a few sneaky pop-culture references in it, but didn’t try too hard to point them out, and the comedy in it was strange and intriguing. The performance struck a balance of being self-contained and consistent within the world of the story and going off the rails with the chaos. It never took itself too seriously and broke the 4th wall multiple times, including having a character talk to the percussionist. I loved how even these moments of being ‘out of the play’ were still impactful by highlighting how much work went into the play’s style. When everyone breaks character for a moment it emphasizes how heavily the actors are invested. 

The technical elements were similarly great for the space provided. I loved how drastically the set, costumes, and lights changed alongside the characters as their situation evolves throughout the performance. Viva’s costumes were definitely a highlight, constantly showcasing her personality and extravagance despite changing over and over again. 

VIVA!

Photo by Candice Conner, Oomphotography

Libby Conkle as Viva

Viva la Mort was a high-energy experience, sure to bring you laughter, excitement, and a healthy dose of questioning your morality, all at the same time. 

Dugan Kenaz-Mara is a designer, photographer, educator, and recent graduate of 

Northwestern University.

 Is there still love between us, after all these years?

Photo by Candice Conner, Oomphotography

(left to right) Libby Conkle as Viva, Andrew Bosworth as Mort

The Conspirators are proud to present Viva la Mort, written by Sid Feldman and directed by Wm. Bullion, at the Otherworld Theatre, 3914 N. Clark St., May 16 - June 9. Press opening is Friday, May 17 at 7 p.m. and the regular performance schedule is Thursdays - Sundays at 7 p.m. Tickets are $30 and may be purchased online with student and senior discounts available. Information and tickets can also be found at www.otherworldtheatre.org. 

Viva, a superstar singer, Michigander and pop-icon (whose career spans four decades), returns to her hometown and to her just-as-aging ex, Mortenson Miller. Is the return out of generosity or revenge? Content Warning: songs, style, and possibly killer wolverines. Performed—with songs!—in The Conspirators’ inimitable style. 

“Viva la Mort is a bit of a departure for us,” said director Wm. Bullion. “I mean, you WILL laugh, but you may also cry or be terrified!” “While most of our recent work has been clearly political and satirical in nature,” added writer Sid Feldman, “this piece appears on the surface to be more of a traditional narrative. It does have political implications—but they are more disguised.”

The cast of Viva la Mort includes Eva Andrews (she/her, Police Chief Finkle); Andrew Bosworth (he/him, Mortenson “Sonny” Miller); Libby Conkle (she/her, Viva); Amy Delgado (she/they, ensemble/swing); Mitchell Jackson (he/him, Mayor Finkle); Justin Ly (they/them, Fritz); Dakota Norman (he/him, Bishop Miller); Liam Ouweleen (he/him, Johnny/Konnie/Lonnie/Mort US); Madison Rivers (they/she, Howard); Mary Spencer (she/her, Ellen Howard Miller/Eleanor Miller); Madeline Torem (Beatrix/ensemble); Lex Mann Turner (he/they, Howard); Tess Vincent (she/her, ensemble/swing); Christine Watt (she/her, Viva US); and Corin Wiggins (they/he/she, High School Dean Finkle)

The production crew includes: Wm. Bullion (he/him, director); Sid Feldman (he/him, playwright, producer and style coach); Amee Binder (she/her, choreographer); Mary Spencer (she/her, music director); Tommi Zender (he/him, arranger); Duke Mushroom (he/him, arranger); Christine Watt (she/her, dramaturg); Eric Luchen (he/him, scenic designer); Jonathan Berg-Einhorn (he/him, assoc. scenic designer); Mike McShane (he/him, lighting designer); Kit Medic (they/them, costume designer); Sebby Woldt (they/them, sound designer), Leo Bassow (he/him, props designer); Libby Beyreis (she/her, Violence Consultant) and Matthew Bonaccorso (he/him, stage manager).

ABOUT WM. BULLION (Director, Artistic Director)

Wm. Bullion is a veteran tragicomedian, director and actor on the fringe of the Chicago theater fringe and beyond. Bullion is an emeritus member of The Factory Theater, for whom he directed Prophet$ and Born Ready. He started Sliced Bread Productions in 1988 and put up some solid work before it folded in 2008. He co-founded the Conspirators in 2016 and has proudly directed their oeuvre, including The Ineptidemic; Accidental Death of a Black Motorist; The Deckchairs, or Make the Titanic Great Again and The Resistible Rise of Herr Helmut Drumpf—but he was a fool to think starting another theater group in Chicago is a viable, sustainable idea. Yet, here we are, getting grants and making stuff for YOU.

ABOUT SID FELDMAN (Playwright/Style Coach, Producing Director)

Sid Feldman co-founded The Conspirators and has written plays, adaptations, screenplays, reviews and essays. He has produced plays, concerts and events for numerous organizations including New Crime and Sliced Bread Productions (also with Wm. Bullion).

ABOUT THE CONSPIRATORS

The Conspirators are a (still relatively new) theater and performance collective in Chicago dedicated to provoking thought and action through dynamic, immediate theater art. The Conspirators work exclusively in a style of neo-Commedia called “The Style”—a highly theatrical performance mode developed by movie stars Tim Robbins and John Cusack from the techniques of Ariane Mnouchkine, Commedia dell’Arte, Bugs Bunny cartoons and punk rock, as historically performed by New Crime Prod. (R.I.P.) and The Actors’ Gang. The company also offers Style workshops to interested performers of all calibers.

The Conspirators present the world premiere of Viva la Mort, written by Sid Feldman and directed by Wm. Bullion, at the Otherworld Theatre, 3914 N. Clark St., May 16 - June 9. The press opening is Friday, May 17 at 7 p.m. and the regular performance schedule is Thursdays - Sundays at 7 p.m. Tickets are $30 and may be purchased online with student and senior discounts available. Information and tickets can also be found at www.otherworldtheatre.org. 

For more show info, go to www.ConspireWithUs.org and follow The Conspirators on Facebook and Instagram.

 

(Conspirators_Viva_4) Viva’s newest video drop

Photo by Candice Conner, Oomphotography

Libby Conkle as Viva

Directed by Wm. Bullion, Choreography by Amee Binder, Lighting by Mike McShane, 

Costumes by Kit Medic

Photo Recap and Review: Good Kid at Thalia Hall, Chicago April 25, 2024

ChiIL Live Shows On Our Radar

U.S. - CANADA - EUROPEAN TOUR:

GOOD KID 

SOLD-OUT SHOWS IN SEATTLE, LOS ANGELES, DALLAS, WASHINGTON, NEW YORK, CHICAGO, AND MANY MORE CITIES

Guest Review and photos 

by Dugan Kenaz-Mara 

Good Kid was incredibly fun to attend, even as someone who did not know their music beforehand. They had a great stage presence and made fun banter with the audience, giving us insight into a lot of their history and the backstories behind their music. 

As a theater designer I was intrigued by the stage design. All of the elements worked really well together and made the environment unique. The lights were dynamic and the backdrop brought their style to life on stage. They also had moving hot air balloons that went up and down during the set and had projections on screens outfitted to look like speakers. These displayed pixel art versions of the band and their art and were also used to show lyrics when the audience was instructed to sing along with them during “tell me you know” and “Witches”. Especially observant audience members might have also noticed that the speakers were branded with ‘Mimi’s Tone Service’, which references their song Mimi's Delivery Service. 

During the entire show the crowd was enthusiastic, and the band knew how to keep the energy up. They had many bits that they brought us into, from hiding the setlist in a unicorn piñata to laying on the ground during a break between songs and bringing out a “Wheel of Chaos”

The wheel of chaos is spun each performance and includes options like playing their song “faster” faster every time they say the word ‘faster’, singing a Sea Shanty, and having a Beyblade battle. We were treated to a cover of All Star by Smash Mouth when the wheel landed on an option called “Get Shrek’d”. 

The band also had a super fun relationship with their opener - Adan Diaz. They brought him and his bassist out to cover a song, and they swapped drummers twice - once in the opener and once during the set. 

Good Kid was definitely worth seeing in concert. Their music was catchy and a few of their songs made it onto my playlists after the show. 

Thalia Hall, Chicago 4/25/24 Set list included:

• Down with the King

• First rate town

• Atlas

• Premier Inn

• Witches

• Ground

• Tell me you know

  
  

  Check out our full set of photos HERE

  
  

  Dugan Kenaz-Mara is a designer, photographer, educator, and recent graduate of Northwestern University.

Credit: Dugan Kenaz-Mara

The freshly JUNO-nominated indie outfit Good Kid recently unveiled their latest single, “Summer,” along with an enchanting animated music video by XrayAlphaCharlie. “Summer” finds Good Kid delivering another of their signature indie earworms, with singer Nick Frosst's clever lyrics and catchy hooks taking center stage on this irresistible indie-pop hit. We'll be out to shoot stills at their Chicago Thalia Hall show. Check back soon for our photo filled recap.

The new single came out ahead of the sold out U.S. Tour and the band’s highly anticipated EP, Good Kid 4 now out as of March 27th. Click HERE to stream. The band's previous single from the EP “Bubbly” had Billboard raving that it was “one of Canada’s hot new radio songs…right up there with Beyoncé.”

2024 TOUR DATES:

2024 NORTH AMERICAN TOUR DATES:

MAR 29 - Vancouver, BC - The Pearl [SOLD OUT]

MAR 30 - Seattle, WA - Crocodile [SOLD OUT]

MAR 31 - Portland, OR - Hawthorne [SOLD OUT]

APR 02 - San Francisco, CA - The Independent [SOLD OUT]

APR 03 - San Francisco, CA - The Independent [SOLD OUT]

APR 05 - San Diego, CA - Quartyard [SOLD OUT]

APR 06 - Los Angeles, CA - El Rey [SOLD OUT]

APR 07 - Los Angeles, CA - El Rey [SOLD OUT]

APR 09 - Phoenix, AZ - Crescent Ballroom [SOLD OUT]

APR 12 - Austin, TX - Empire Garage [SOLD OUT]

APR 13 - Dallas, TX - Ferris Wheeler [SOLD OUT]

APR 15 - Atlanta, GA - Masquerade (Heaven) 

APR 16 - Carrboro, NC - Cat's Cradle 

APR 17 - Washington, DC - 9:30 Club [SOLD OUT]

APR 19 - Brooklyn, NY - Elsewhere Hall [SOLD OUT]

APR 20 - Philadelphia, PA - Theatre Of Living Arts [SOLD OUT]

APR 21 - Boston, MA - Sinclair [SOLD OUT]

APR 22 - Brooklyn, NY - Elsewhere Hall 

APR 25 - Chicago, IL - Thalia Hall [SOLD OUT]

APR 26 - Detroit, MI - El Club [SOLD OUT]

MAY 10 - Toronto, ON - Danforth Music Hall [SOLD OUT]

MAY 30 - Waterloo, ON - Maxwell's 

MAY 31 - Montreal, QC - Le Studio 

JUN 01 - Ottawa, ON - The Bronson Centre 

 

2024 EUROPEAN TOUR DATES:

SEP 15 - Dublin, IE - The Academy

SEP 17 - Brighton, UK - CHALK

SEP 19 - London, UK - O2 Forum Kentish Town

SEP 20 - Bristol, UK - SWX

SEP 21 - Birmingham, UK - O2 Institute 2

SEP 23 - Nottingham, UK - Rescue Rooms

SEP 25 - Glasgow, SCT - Galvanizers SWG3

SEP 26 - Manchester, UK - Manchester Academy 2

SEP 27 - Leeds, UK - Stylus

SEP 29 - Amsterdam, NL - Paradiso Grote Zaal

OCT 01 - Cologne, DE - Gebäude 9

OCT 02 - Berlin, DE - Badehaus

OCT 03 - Hamburg, DE - Knust

The upcoming six-track EP also features the hugely popular single “From The Start'', which garnered 1 million streams in just 24 hours, and has since accumulated 24 million more. Known for their eclectic blend of J-rock, indie-rock, and pop-punk, Good Kid’s massive streaming success is not just a result from their propensity to create catchy songs, but innovative fan engagement alongside savvy, fan-favoring business decisions, have helped the band amass an extensive and devoted fanbase, only serving to further the hype for the upcoming EP.

“The band is coming away from the busiest touring year of our musical careers, and this 4th EP “Good Kid 4” is the product of that journey. Many of the songs on this album are about the experience of music itself and how it has impacted our lives immensely. We wrote songs about facing anxiety with your friends, and about dancing. We wrote songs about reaching your breaking point, and about the hotels we would stay in night after night which eventually blended into one, endless timewarp of beige hallways. We wrote a song about the Summer we never wanted to end, and the only song that we didn’t write went over so unbelievably well with our fans, we had no choice but to record our own version of it.

Good Kid 4 is our favorite EP yet, and it represents the best of our last two years as a band when everything started to make sense for Good Kid.” - David Wood, Guitarist.

Case in point, the band’s entire Discography is content ID free and DMCA free, meaning content creators on platforms like Youtube and Twitch are able to freely use their music without fear of copyright takedowns. This has only slingshotted Good Kid’s already impressive following through the pervasive use of their music by hugely popular content creators.

Youtube’s biggest creator Mr. Beast, who boasts a mind-boggling 237 Million subscribers, featured 7 Good Kid songs in a video, garnering over 231 Million views. This is but one of many examples of the band’s online reach, which also includes direct collaborations with notable personalities such as XrayAlphaCharlie, Julien Solomita, and Trash Taste.

“We are very involved in the content creator community,” shares bassist Michael Kozakov. “All our music is free to use in monetized Streams and YouTube videos, which has led us to developing relationships and friendships with some of the biggest eSports players and YouTubers. We are very open and excited to continue collaborations with content creators and e-sports brands, and want to develop our brand as the world’s most creator friendly band.”

Beyond the digital realm, the band was recently nominated for Breakthrough Group Of The Year at the 2024 JUNO Awards and are soon to embark on their biggest headlining tour to date. Having already sold out over 90% of their North American dates, demand for tickets to their European and UK shows has been so overwhelming, that the band has had to upgrade multiple venues, several times, to accommodate the influx of enthusiastic fans. 

The upcoming tour comes on the heels of two previously sold-out US headline tours in 2022, two sold-out UK and EU tours as well as a 2023 Canadian tour supporting Grammy Award winning Portugal. The Man.

A jack-of-all-trades ensemble - musicians, programmers and storytellers, Good Kid has carved a unique path for their audience to follow suit. In essence, Good Kid's story is not just about music; it's about building a dynamic, engaging universe where fans play an integral role. With an unwavering commitment to joy, creativity, and inclusivity, Good Kid is more than a band — it's a thriving community of music enthusiasts shaping a unique and memorable experience together. Want more? Check out their site, HERE: https://goodkidofficial.com

REVIEW: Artist-In-Residence Luis Carreon, La Bestia at Chicago Magic Lounge Wednesdays Through September 28, 2022.

 ChiIL Live Shows On Our Radar

Chicago Magic Lounge Presents

Luis Carreon, La Bestia

Wednesdays Through September 28, 2022 

Guest Review

by Dugan Kenaz-Mara

Chicago Magic Lounge has once again astounded, mystified, and astonished us with another wonderful magic show by Artist-In-Residence Luis Carreon, La Bestia.

From start to finish, the experience was magical. Even as a returning guest, I enjoyed the lead-in to the main stage area and the history of magic that comes along with it. I could also tell that it was breathtaking for my friend who had never been to the magic lounge before. He was fooled multiple times and was exclaiming about how cool it was the entire way to our seats. 

Once we made it to our places, the staff were incredibly kind and the close-up magicians who came to the tables before the show were also great. The best part is how they were willing to play with us when we engaged them in bits. One table magician, while presenting a deck of cards, told us he was going to perform a card trick. When we responded that calling it a “card trick” was apt and questioned whether he had come up with that himself, he countered by telling us he had a team of writers who came up with it for him. It was fun to joke around with him and better still when it didn’t impede his flawless sleight of hand. 

Then, after already being blown away by the magic lounge’s environment, we were blown even further away by Luis Carreon’s performance. While he has a dramatic flair, his most notable feature is his humor. The show is full of pop culture references and he makes tons of jokes, including ones about his heritage and the stereotypes that come along with it. He engaged the audience throughout the whole show and even played a prank on one volunteer. 

I also loved his ability to improvise with what the audience gave him. Some audience members didn’t play along with his jokes and were contrarian, which he was able to turn into more bits to entertain the rest of the audience. On the other hand, there was an audience member who gave him a small heart-shaped chocolate, which he incorporated into his act alongside other heart-shaped props. 

The use of props was also really intriguing to me. He had some of the obvious magician things, like coins and decks of cards, but he also made use of random objects including a house key from a mesh bag of keys, a cardboard box, a stuffed animal with a sombrero, a picture frame, and a piñata. 

Overall, I would count this experience as a good one and would recommend it to anyone who has an interest in magic or is looking for a fun night of entertainment. 

Dugan is an actor, designer, and photographer studying theatre and psychology at Northwestern University. This summer you can find him on cast at Bristol Renaissance Fair for the 4th season, dancing, singing, performing street theatre, and juggling knives. Contrary to popular belief, he is not a time traveler.

Chicago Magic Lounge, Chicago’s home for close-up magic, continues its Artist-In-Residence series with Luis Carreon, La Bestia, Wednesdays at 7:00pm, July 6 – September 28, 2022. A Chicago Magic Lounge favorite, Carreon showcases his unparalleled skill and mischievous sense of humor in this brand new, Spanish-infused show. Tickets for all Chicago Magic Lounge shows are available at the box office, (312) 366-4500 or online at chicagomagiclounge.com..

 

What you see is not always what you get. Beneath Luis Carreon's suave and debonair exterior lies La Bestia (The Beast). In his one-man show, Luis combines his jaw-dropping magical skills, his Latin heritage, and off-the-wall comedy to share his real-life experiences, poking fun at stereotypes, cultural differences, and himself. 

 

Luis Carreon is a highly sought-after entertainer, performing magic across the country – from New York City's Monday Night Magic to House of Cards in Nashville to the World Famous Magic Castle in Hollywood, California. An award-winning and well-respected magician, Luis regularly travels the country teaching other magicians about the art of magic. He is also a regular performer, fan favorite, and co-founding company member of the Chicago Magic Lounge. 

 

Carreon has made numerous television appearances, domestically and internationally. He has been featured on the Univision Evening News and was a semi-finalist on Tengo Talento, Mucho Talento, the Spanish language equivalent of America's Got Talent.

Luis Carreon, La Bestia will be presented on Wednesdays at 7:00pm, July 6 – September 28, 2022. Tickets are priced $45 (Main Floor) and $50 (Front Row). 

Also Happening at Chicago Magic Lounge

Music & Magic

Mondays at 7:00pm

Tickets: General Admission $25

The Showcase

Tuesdays at 7:00pm

Tickets: Standard: $35; Front Row: $40

Artist-in-Residence Series

Wednesdays at 7:00pm

Sean Masterson’s Message in a Bottle, Now through June 29, 2022

Tickets: Standard: $45; Front Row: $50

The discovery of a message in a bottle makes the past present in Sean Masterson’s very visual and highly deceptive show. Sleight-of-hand magic is seamlessly woven into the true tale of the 19th century battle to decide America’s #1 magician.

In 1912 theatrical impresario Michael B. Leavitt published his 700-page memoir dishing the untold story of this jealousy-fueled battle between his clients, the magic greats Alexander Herrmann and Harry Kellar. Recently, Sean Masterson procured a signed edition of Leavitt’s memoir at auction and together with his research of Harry Houdini’s original archives at the Library of Congress in D.C., he has found the thread that nearly tells the whole tale. All Masterson needs now is a message in a bottle.

The Signature Show

Thursdays-Sundays at 7:00pm, Fridays and Sundays at 10pm

Tickets: Front Row $80, Premium Main Floor (main floor banquette and main floor cabaret) $70, Standard (rail and elevated banquette) $60, Mezzanine $50 

The Signature Show was conceived in 2015 as an homage to the historic, Chicago magic bar scene. Experience close-up magic right at your table during the cocktail hour, followed by an hour of stage magic featuring masters of their craft performing feats of prestidigitation and sleight of hand. Guests who purchase Premium tickets (Front Row, Main Floor Cabaret, Main Floor Banquette) are invited to an exclusive performance of close-up magic directly after the main stage show in our 43-seat close-up gallery, The 654 Club.

Tickets for all Chicago Magic Lounge performances are available at the box office, (312) 366-4500 or online at chicagomagiclounge.com. Chicago Magic Lounge is a 21+ venue. Ages 16+ allowed to ticketed shows with a legal guardian. 

For the health and safety of our staff, guests and community, you must be fully vaccinated to enter the premises. Ticket holders will be asked to present proof of vaccination status upon arrival.

For a complete schedule of performances and more information about Chicago Magic Lounge, resident and guest performers, and more, please visit chicagomagiclounge.com.

REVIEW: Chicago's Blue Man Group Takes The Stage For Live Shows Again

ChiIL Live Shows On Our Radar

Back In Blue: 

Chicago's Favorite Indigo Entertainers 

Return to Open Run at 

Briar Street Theatre

Photo by D. Kenaz-Mara

GUEST REVIEW:

By Dugan Kenaz-Mara

The Blue Man Group is back and it’s as wonderful as ever! After 15 or so months off from performing, The Blue Man Group has brought all of their loveable antics back to Briar Street Theater and has reignited the joy of seeing live theater. And they do it all safely too! Everyone was required to wear a mask and any audience member drawn onto the stage was given a face shield before interacting with the Blue Men. 

Photo by D. Kenaz-Mara

Before the show even starts you get a fun experience! From the moment you enter the lobby, you might notice classical paintings lining the walls with a little extra blue thrown in. From there you’ll pass a giant blue face perfect for photo ops, before entering the actual theater bathed in blue light. Then the pre-show looping text helps set the chaotic funny mood for the upcoming show. How many twinkies does a Blue Man eat in his life? What bout the amount of toilet paper used in a day in the US? These questions and more are answered (sarcastically) before the show even starts. 

Photo by D. Kenaz-Mara

When the show begins, the audience is bombarded with spectacle after spectacle. From paint drums to musical pipes to Cap'n Crunch, there’s never a dull moment. I especially loved the design elements that went into making the show. The lighting design brought tons of colors to the black stage and out into the audience, the instruments and props were all super creative takes on normal items, and the set was able to change in an instant using their multitude of screens. In addition to that, all of the actors were fabulous too. The Blue Men were able to effortlessly connect to the audience without using words. From subtle gestures to knowingly blank stares, the Blue Men really tapped into human emotion which the viewers were able to recognize easily. They even brought that energy into their props, breathing life into instrumental pipes and controlling people using their signal light wands. 

One of their specialties is keeping the audience on the edge of their seats. When watching the show you never know when you specifically might be singled out. The pre-show announcements called out specific audience members, and the show stopped to call attention to people arriving late. There were also many points in the show where the Blue Men would venture out into the audience (sometimes via the aisles and sometimes climbing right over people’s heads) to pick an audience member to go on stage and help in the performance. But if you don’t get singled out you’ll still have the chance to participate. There are many moments scattered throughout the show where audience members will get to stand up, dance, scream out, and catch things thrown from the stage.

Photo by D. Kenaz-Mara

In the end, watching Blue Man Group was an exhilarating show and I would recommend it to anyone who loves to have fun and wants to have the experience of a lifetime. 

Dugan Kenaz-Mara is an actor, designer, and photographer studying theatre and psychology at Northwestern University. Contrary to popular belief, he is not a time traveler.

Blue Man Group Chicago. Photo credit Caroline Talbot Photography

Theatrical phenomenon Blue Man Group has made its long-awaited return to Chicago’s Briar Street Theatre! A dynamic combination of art, music, comedy and technology, Blue Man Group encourages audiences to reconnect with their inner (and outer) child in order to see the world through a new perspective.  

“For more than 20 years, Blue Man Group has established itself as one of the top entertainment destinations in Chicago,” said Mary Grisolano, Managing Director of Blue Man Group. “We are absolutely thrilled to return to the stage and welcome new and returning audiences to the Briar Street Theatre.”  

Blue Man Group originally debuted at the Briar Street Theatre in Chicago’s Lakeview neighborhood in 1997. Three bald and blue men explore today’s cultural norms with wonder, poking fun at the audience’s collective quirks and reminding them how much they all have in common. The show is continually refreshed with new music, stories, custom instruments and state-of-the-art technology.   

Blue Man Group Ticket Information

Blue Man Group Chicago ticket prices range from $49 – $89. Tickets can be purchased by visiting www.blueman.com. A full show schedule and pricing can also be found at www.blueman.com.  

Special rates are available for groups of 10 or more, varying from $57 – $70 per person. For groups of 10 or more, email chicagogroups@blueman.com to request information.  

2021 Performance Schedule: 

August  

Thursday, August 26 at 8 p.m. 

Friday, August 27 at 8 p.m. 

Saturday, August 28 at 5 and 8 p.m. 

Sunday, August 29 at 2 and 5 p.m.  

September 

Wednesday, September 1 at 8 p.m. 

Thursday, September 2 at 8 p.m. 

Friday, September 3 at 5 and 8 p.m. 

Saturday, September 4 at 5 and 8 p.m. 

Sunday, September 5 at 5 and 8 p.m. 

Wednesday, September 8 at 8 p.m. 

Thursday, September 9 at 8 p.m. 

Friday, September 10 at 8 p.m. 

Saturday, September 11 at 5 and 8 p.m. 

Sunday, September 12 at 2 p.m. 

Wednesday, September 15 at 8 p.m. 

Thursday, September 16 at 8 p.m. 

Friday, September 17 at 8 p.m. 

Saturday, September 18 at 5 and 8 p.m. 

Sunday, September 19 at 2 p.m. 

Wednesday, September 22 at 8 p.m. 

Thursday, September 23 at 8 p.m. 

Friday, September 24 at 8 p.m. 

Saturday, September 25 at 5 and 8 p.m. 

Sunday, September 26 at 2 p.m. 

Wednesday, September 29 at 8 p.m. 

Thursday, September 30 at 8 p.m. 

  

October 

Friday, October 1 at 8 p.m. 

Saturday, October 2 at 5 and 8 p.m. 

Sunday, October 3 at 2 p.m. 

Additional fall and holiday performances will be announced at a later date. 

  

About Blue Man Group 

Blue Man Group is a global entertainment phenomenon, known for its award-winning theatrical productions, iconic characters and multiple creative explorations. Blue Man Group performances are euphoric celebrations of human connection through art, music, comedy and non-verbal communication. Since debuting at New York’s Astor Place Theatre in 1991, the live show has expanded to additional domestic residencies in Boston, Chicago, and Las Vegas, an international residency in Berlin, and multiple North American and World tours, reaching more than 35 million people worldwide. Blue Man Group is universally appealing to a broad range of age groups and cultural backgrounds, and continually injected with new music, fresh stories, custom instruments and sensory stimulating graphics. Blue Man Group is owned and operated by Cirque du Soleil Entertainment Group. For more information, please visit www.blueman.com.