THREE SHOWS ONLY: PORCHLIGHT REVISITS COLE PORTER’S CAN-CAN AT RUTH PAGE CENTER FOR THE ARTS MARCH 6 AND 7, 2019

ChiIL Live Shows on our radar

PORCHLIGHT MUSIC THEATRE CONTINUES ITS “LOST” MUSICALS IN STAGED CONCERT SERIES, 

PORCHLIGHT REVISITS WITH 

COLE PORTER’S CAN-CAN, 

THREE PERFORMANCES ONLY AT RUTH PAGE CENTER FOR THE ARTS, MARCH 6 AND 7

The High Kicking Montmartre Musical Features Book by Abe Burrows and Stars Porchlight Veterans Keely Vasquez, Devin DeSantis, David Girolmo and Kayla Boye in the role 

Ben Brantley said "made Gwen Verdon a star."

Porchlight Music Theatre continues its “lost” musicals in staged concert series with Porchlight Revisits Can-Can, music and lyrics by Cole Porter and book by Abe Burrows with direction by Adrian Abel Azevedo, musical direction by Linda Madonia and choreography by Shanna VanDerwerker.  Porchlight Revisits Can-Can is presented for three performances-only Wednesday, March 6 at 7:30 p.m. and Thursday, March 7 at 2 p.m. and  7:30 p.m. at The Ruth Page Center for the Arts, 1016 N. Dearborn Street. Two-show discounted subscriptions and single tickets for $37 are available at porchlightmusictheatre.org or by calling the Porchlight Music Theatre box office at 773.777.9884. 

Set in Paris in 1893, it’s the story of Pistache, a café owner who decides to feature the then-scandalous and illicit dance, the Can-Can, on the stage of her establishment. Meanwhile, Aristide Forestier, a young, newly-appointed and over-zealous magistrate, decides to undertake a reform movement and sets his sights to clean up Paris, starting with a prohibition of the titillating dance. Will Pistache’s defiance of the law end her business—and her love life? Featuring the hit Cole Porter songs “I Love Paris,” “C’est Magnifique” and “It’s All Right with Me,” Can-Can is a romantic, dancing, musical classic.

Devin DeSantis & Keely Vasquez

The cast of Porchlight Revisits Can-Can includes: Devin DeSantis, “Aristide ;”  Keely Vasquez, “Pistache;” Kayla Boye, “Claudine;” Nik Kmiecik, “Boris;” Laz Estrada, “Theo;” Tony Cater, “Hilaire;” Ariel Triunfo, “ensemble/dancer;” Mollyanne Nunn, “ensemble/dancer;” Liz Conway, “ensemble/dancer;” Maya Kitayama, “ensemble/dancer;” Parker Guidry, “featured ensemble;” Isaiah Silvia-Chandley, “featured ensemble/assistant choreographer;” and David Girolmo, “Judge Paul Barriere.”

The production team includes: Adrian Abel Azevedo, director; Linda Madonia, music director; Shanna VanDerwerker, choreographer; Casey Wood, costume designer; Rachel West, lighting designer and Kaitlin Moser, stage manager.

ABOUT KEELY VASQUEZ, “Pistache”
Keely Vasquez returns to Porchlight, where she last was seen as “Gussie” in Merrily We Roll Along. Her Chicago theatrical credits include: Dee Snider's Rock and Roll Christmas Tale at the Broadway Playhouse, In the Heights at the Paramount Theatre and Hairspray at the Drury Lane Oakbrook theatre, as well as roles at Theatre at the Center, The Mercury Theatre and The Goodman Theatre. Vasquez spent eight years performing in Las Vegas with Barry Manilow and touring with him to more than 50 US cities, several countries and appearing on television shows such as "Ellen,” "The Today Show,” "Good Morning America,” "The Emmy Awards,” "The American Music Awards,” "Dancing With The Stars,” PBS' "A Capitol Fourth" and six DVD concert specials. She will next be seen starring in Next to Normal at Writers Theatre.

ABOUT DEVIN DESANTIS, “Aristide”
Devin DeSantis returns to Porchlight, where he last was seen as “Buddy” in Side Show. Chicago credits include “Prince Eric” in The Little Mermaid, “Tommy” in The Who’s Tommy (Paramount Theatre), “Dr. Frederick Frankenstein” in Young Frankenstein (Drury Lane Oakbrook), “Judas” in Godspell (Marriott Theatre), The Three Musketeers (Chicago Shakespeare Theatre) and “Matthew” in Altar Boyz (Broadway Playhouse).

ABOUT KAYLA BOYE, “Claudine”
Kayla Boye returns to Porchlight, where she was last seen in Billy Elliot, the Musical. At Porchlight she also has performed in Porchlight Revisits Little Me and New Faces Sing Broadway 1969. Recent Chicago credits include South Pacific (Drury Lane Theatre), Pippin, Mary Poppins (Mercury Theater Chicago) and Anything Goes, Gypsy and Mame (Music Theater Works, formerly Light Opera Works).

ABOUT DAVID GIROLMO, “Judge Paul Barriere”
David Girolmo returns to Porchlight, where he was last seen as the title role in Sweeney Todd. Broadway credits include War Paint and Candide. Chicago credits include work with Drury Lane Theatre, Chicago Shakespeare Theater, Porchlight Music Theatre, Marriott Theatre, Paramount Theatre, Ravinia Festival, Theatre at the Center, Candlelight Dinner Playhouse, Mercury Theatre, Mayfair Theatre, Metropolis Performing Arts Center and Oak Park Festival. Girolmo received a Jeff Award for Phantom and is a multiple nominee in both musical and play categories. Film and television credits include “Death of a President,” “ER,” “Crisis,” “Chicago P.D.” and “Empire.”

ABOUT PORCHLIGHT REVISITS
Continuing to forge its role as “Chicago’s Music Theatre,” Porchlight launched the exciting new series Porchlight Revisits in 2013; especially created for the die-hard music theatre aficionado. Each season, Porchlight Music Theatre shares with audiences the rare opportunity to visit three musicals that opened on the Great White Way but have since gone “unsung.” The finest music theatre artists in Chicago dust off these neglected treasures and, with script in hand and minimal staging, escort audiences to a world of Broadway long past. Previous Porchlight Revisits productions include: 
(2018/19) 1776
(2017/18) Do Re Mi, They’re Playing Our Song, Woman of the Year;
(2016/17) The Rink, Little Me, On a Clear Day You Can See Forever; 
(2015/16) Chess, Applause, Babes in Arms; 
(2014/15) Bells Are Ringing, City of Angels, Mack & Mabel and
(2013/14) Anyone Can Whistle, Golden Boy, Fade Out-Fade In.

ABOUT PORCHLIGHT MUSIC THEATRE AS RUTH PAGE ARTIST IN-RESIDENCE
Porchlight Music Theatre is proud to be a member of the vibrant Ruth Page Center for the Arts community and an Artist In-Residence. Central to the Ruth Page Center for the Arts’ programming is the Artists In-Residence program, which is designed to serve organizations looking for a home base while they grow or expand their artistic and organizational capabilities. The Center is committed to nurturing and assisting dance and other performing artists, allowing for exchange and collaborative relationships to develop within the artistic community. The Ruth Page Center for the Arts is a destination for quality performing arts, accessible to a wide community regardless of race, gender, age, education or disability. An incubator of artistic energy and excellence, the Ruth Page Center for the Arts carries forward the vision of its founder, legendary dance icon Ruth Page, to be a platform for developing great artists and connecting them with audiences and community.

ABOUT PORCHLIGHT MUSIC THEATRE
As Chicago’s home for music theatre, Porchlight Music Theatre enters its 24th season and its second as an Artist In-Residence at the historic Ruth Page Center for the Arts in Chicago’s Gold Coast. Porchlight Music Theatre is nationally recognized for reimagining classic productions, developing new works and showcasing musical theatre’s noted Chicago veterans and rising stars. Porchlight elevates the genre by providing intimate and powerful theatrical experiences of music theatre through the lens of the “Chicago Style.” Porchlight’s rich history includes the staging of more than 60 productions with 15 Chicago premieres and five world premieres. Through Porchlight’s “Off the Porch” new works program, the musicals of the next generation are developed and given a first audience. The School at Porchlight is Chicago’s center for music theatre training in the areas of performance, writing and appreciation including a youth summer “Make Your Own Musical” camp and a Saturday morning youth program. The company’s many accolades include 28 Black Theatre Alliance nominations and twelve awards, as well as a total of 151 Joseph Jefferson Award nominations resulting in 42 Jeff Awards including five consecutive Best Production awards for The Scottsboro Boys (2017), Dreamgirls (2016), Sondheim on Sondheim (2015), Ain’t Misbehavin’ (2014) and A Class Act (2013).

Porchlight Music Theatre continues its “lost” musicals in staged concert series with Porchlight Revisits Can-Can, music and lyrics by Cole Porter and book by Abe Burrows with direction by Adrian Abel Azevedo, musical direction by Linda Madonia and choreography by Shanna VanDerwerker.  Porchlight Revisits Can-Can is presented for two-nights-only Wednesday, March 6 at 7:30 p.m. and Thursday, March 7 at 2 and  7:30 p.m. at The Ruth Page Center for the Arts, 1016 N. Dearborn Street. Two -show discounted subscriptions and single tickets for $37 are available at porchlightmusictheatre.org or by calling the Porchlight Music Theatre box office at 773.777.9884. 

Porchlight Music Theatre is supported by generous contributions from Actors’ Equity Foundation, Bayless Family Foundation, Abe and Ida Cooper Foundation, Chapman | Spingola, Attorneys at Law, Gaylord & Dorothy Donnelley Foundation, Elegant Events Lighting, James P. and Brenda S. Grusecki Family Foundation, Harris Family Foundation, Hopsmith, MacArthur Fund for Arts & Culture at the Prince Foundation, Daniel and Genevieve Ratner Foundation, The Saints, Stuart Family Foundation and Topfer Family Foundation. 

The season program is partially supported by a grant from the Illinois Arts Council Agency, a state agency, and by a CityArts Grant from the City of Chicago Department of Cultural Affairs & Special Events. 

NEW RELEASE: Psychic Powers From Swedish Artist Small Feet Out March 29 on Barsuk Records

SMALL FEET PREMIERES “MASQUERADE” VIDEO VIA

FLOOD MAGAZINE

SOPHOMORE ALBUM WITH PSYCHIC POWERS OUT MARCH 29 VIA BARSUK RECORDS

EUROPEAN TOUR DATES CONFIRMED

“[Small Feet’s] guitar-driven refrains call to mind Band of Horses and Edward Sharpe and the Magnetic Zeros.”—The New York Times

“The group’s otherworldly sound comes from the music of leader Simon Stålhamre, an artist who knew exactly what he wanted when he left school at 15.”—NPR “World Café”

“immediately contagious”—Clash

“Quality Swedish folk pop trio led by Simon Stålhamre whose cracked tenor is a vessel for unsettling emotional truths.”—MOJO

With Psychic Powers, the sophomore effort from Swedish artist Small Feet, is due March 29 on Barsuk Records. In anticipation of the upcoming release, the video for the track “Masquerade” is premiering at FLOOD Magazine. 



“‘Masquerade’ deals with loneliness and alienation in the digital age,” notes frontman and songwriter Simon Stålhamre. “That has always been a recurring theme for me in my music and in life.” FLOOD Magazine adds, “The song’s delicate yearnings and shuffled rhythms are visualized through a conceptual music video that mirrors the lyrics’ frustrations. The clip takes a profound look at modern mating rituals, often reduced to little more than an exchange of staged photographs.”

Small Feet also recently premiered the first single from With Psychic Powers, “Let the Guys Down,” via Brooklyn Vegan.

Recorded over the winter of 2017-18 at Stålhamre’s own Studio Kvastis in Stockholm, the album marks a move in a more experimental direction from Stålhamre’s critically acclaimed debut full-length, 2015’s Far Enough Away Everything Sounds Like The Ocean, which received praise from The New York Times, NPR’s “World Café,” Clash, MOJO, KEXP FM and many more while earning Stålhamre positive comparisons to Neil Young and Jason Molina.
Small Feet is set to tour Europe throughout the spring in support of the new album, see below for a list of dates.

Stålhamre began writing the songs for With Psychic Powers in 2016 while on tour in the U.S. “By that time, I felt like I’d learned so incredibly much from the process with the first album and from other musicians and producers around me,” he explains. “Christopher Cantillo was a huge influence on me; besides playing drums in Small Feet he’s also a professional jazz musician. The way they work was very inspiring, they’re like blue collar-workers, getting in the studio early in the morning, doing 20 super tight takes…and then they’re done. Bam, thanks folks! Let’s record another album tomorrow morning! They have a way of unsentimentally just moving on, relying on their skills, talent and intuition rather than overthinking every detail. That is something I’ve learned a lot from.”
Stålhamre formed Small Feet with bassist Jacob Snavely and drummer Cantillo along with the help of producer and The Concretes’ drummer Dante Kinnunen. The band went on to record their debut record in a 16th century cabin in Stockholm, after which Stålhamre founded the Studio Kvastis label (which is releasing With Psychic Powers in Europe). “It’s been a dream to me ever since I hung out at Café Brevé a hundred years ago and heard the news that Robyn had started her own Konichiwa label,” Stålhamre explains about owning his own label. He continues, “with Studio Kvastis I feel for the first time ever that I have the possibility to kindle and finalize all my ideas.”

photo credit Lisa Mattisson

SMALL FEET LIVE
March 1                                                         Oslo, NO                                                         By:larm
March 2                                                         Oslo, NO                                                         By:larm
April 3                                                         Leipzig, DE                                                Horns Erben
April 6                                                          Nyon, CH                                               La Parenthese
April 7                                                          Zürich, CH                                                Gotthard Bar
April 9                                                     Manchester, UK                                            House Show
April 11                                                      London, UK                                            Sebright Arms
April 16                                                     Dortmund, DE                                                          FZW
April 25                                                     Solothurn, CH                                                Altes Spital

OPENING: BEST FOR WINTER, BEING A SHORT SHAKESPEARE ADAPTED FROM THE WINTER’S TALE AND OTHER WORKS AT THE EDGE THEATER OFF-BROADWAY MARCH 21 – APRIL 20

ChiIL Live Shows on our radar

IDLE MUSE THEATRE COMPANY ANNOUNCES CAST AND CREW FOR 

BEST FOR WINTER, 

BEING A SHORT SHAKESPEARE ADAPTED FROM THE WINTER’S TALE AND OTHER WORKS, 

MARCH 21 – APRIL 20, 

AT THE EDGE THEATER OFF-BROADWAY

 William Shakespeare’s The Winter’s Tale is Adapted and Directed by Evan Jackson in this Tale of Laughter, Survival, Transformation and What it Means to be Alive Right Now

Idle Muse Theatre Company proudly announces its first play of 2019, Best for Winter, being a short Shakespeare adapted from The Winter’s Tale and other works, adapted and directed by Evan Jackson, March 21 – April 20, at The Edge Theater Off-Broadway, a new space at 1133 W. Catalpa Ave. Previews are Thursday, March 21 and Friday, March 22 at 8 p.m. Opening night is Saturday, March 23 at 8 p.m. The performance schedule is Thursdays – Saturdays at 8 p.m. and Sundays at 3 p.m. with an added performance Wednesday, March 27 at 8 p.m. Industry nights are every Thursday performance with tickets for industry professionals at $10. 

Tickets are $10 for previews and $20 for regular performances and are on sale now at idlemuse.org or by calling 773.340.9438.

The ensemble of Idle Muse Theatre Company explores this classical fantasy with an impossible ending. Shakespeare’s story of human beings living in a world broken by the unforgivable acts of a man in power is the basis for this new adaptation focused on feelings and actions and as recognizable in 2019 as they were in the Bard’s time. 

“The Idle Muse Ensemble felt it was deeply necessary that we tell a story about being alive right now, both for our audiences and for ourselves,” said Artistic Director Evan Jackson.  “By definition, a play is a set of circumstances and story that have no choice but to find an ending – and you could say this is a play with no roadmap to get there.  At the same time, Idle Muse was formed in the belief that we can uncover truths about the human experience through the work of theatre.  That if we do everything we can to approach the work in good faith and live truthfully under those imaginary circumstances, then we can use the vehicle of a play to approach impossible questions.  So, we’re not looking to find forgiveness at the end of this story.  Maybe forgiveness isn’t possible for some things.  But maybe the act of finding the human part of what it is to be alive right now can be something like forgiveness.  Maybe something more important – something like hope,” continued Jackson.

The cast of Best for Winter, being a short Shakespeare adapted from The Winter’s Tale and other works features: Brian Bengtson*, “Leontes;” Mara Kovacevic*, “Hermione;” Erik Schnitger, “Polixenes;” Laura Jones Macknin*, “Camilla;” Elizabeth MacDougald*, “Paulina;” Brian Healy, “Florizel;” Kristen Alesia, “Perdita;” Michael Dalberg*, “Autolycus;” Sara Robinson*, “Antigonis;” Paula Hlava, “Mamillias;” Eric Duhon, “Shepherd;” Joel Thompson*, “Clown;” Watson Swift, “Cleomenes;” Morgan Manasa, “Time;” and Lauren Grace Thompson, “U/S Perdita/Cleomenes.”

The production team for Best for Winter, being a short Shakespeare adapted from The Winter’s Tale and other works features: Evan Jackson*, director; Heather Zink, calling stage manager; Shellie DiSalvo*, production manager and rehearsal stage manager; Laura Wiley*, echnical director, lighting design and projection design; Milo Bue, scenic design; Joshua Allard, costume design; Tristan Brandon*, dramaturgy and prop design; L. J. Luthringer, sound and music design; William Sidney Parker*, consultant; Kati Lechner, vocal coach and Sarah Scanlon, intimacy design.  

*connotes an Idle Muse Theatre Company Ensemble Member

ABOUT EVAN JACKSON, adapter and director

Evan Jackson is the artistic director and co-founder of Idle Muse Theatre Company.  He is an 18-year veteran of Chicago Storefront theatre as an actor, director, playwright and producer.  Jackson is a graduate of The Theatre School, DePaul University in Chicago, where he received his MFA in Directing Theatre.  At Idle Muse, he has directed 11 productions, including the company’s Jeff-recommended productions of Sherlock Holmes: The Final Adventure and The Lion in Winter.


ABOUT 2019 YEAR OF CHICAGO THEATRE

Idle Muse Theatre Company is proud to be part of the 2019 Year of Chicago Theatre, presented by the City of Chicago and the League of Chicago Theatres. To truly fall in love with Chicago, you must go to our theatres. This is where the city bares its fearless soul. Home to a community of creators, risk-takers and big hearts, Chicago theatre is a hotbed for exciting new work and hundreds of world premieres every year. From Broadway musicals to storefront plays and improv, there’s always a seat waiting for you at one of our 200+ theatres.



ABOUT IDLE MUSE THEATRE COMPANY

Idle Muse Theatre Company is a 501 (c3) non-profit charity organization that produces theatre that transports. Established in 2006 by theatre artists who were interested in exploring the relationship between individuals and worlds they inhabit and seeking to create production opportunities for themselves and other artists. In order to do this, Idle Muse created a “modern guild” of players, an environment where theatre artists of different experience levels and backgrounds could develop their craft and learn from each other. Visit Idle Muse virtually at IdleMuse.org and on Twitter (@IdleMuseTheatre), Facebook (/IdleMuseTheatre) and Instagram (@IdleMuseTheatre).

Idle Muse Theatre Company proudly announces its first play of 2019, Best for Winter, being a short Shakespeare adapted from The Winter’s Tale and other works, adapted and directed by Evan Jackson, March 21 – April 20, at The Edge Theater Off-Broadway, a new space at 1133 W. Catalpa Ave. Previews are Thursday, March 21 and Friday, March 22 at 8 p.m. Opening night is Saturday, March 23 at 8 p.m. The performance schedule is Thursdays – Saturdays at 8 p.m. and Sundays at 3 p.m. with an added performance Wednesday, March 27 at 8 p.m. Industry nights are every Thursday performance with tickets for industry professionals at $10. Tickets are $10 for previews and $20 for regular performances and are on sale now at idlemuse.org or by calling 773.340.9438.


Idle Muse Theatre Company is partially supported and funded by generous grants from The MacArthur Funds for the Arts and Culture at The Richard H. Driehaus Foundation.  

The Edge Theater Off-Broadway has paid street parking and is wheelchair accessible with complimentary assisted listening devices available. It is located near both the Red Line Berwyn and Bryn Mawr stops and is on the 36 Broadway bus route.

OPENING: HANDS ON A HARDBODY at REFUGE THEATRE MARCH 15 – APRIL 27 AT PRESTON BRADLEY CENTER

ChiIL Live Shows on our radar

REFUGE THEATRE PROJECT 2018 – 2019 SEASON CONTINUES WITH 

HANDS ON A HARDBODY, 

MARCH 15 – APRIL 27, 

AT PRESTON BRADLEY CENTER

Ten People Enter a Contest to Win a Truck, but Only One Can Win in this Chicago Premiere Inspired by True Events. Chris Pazdernik Directs with Music Direction by Jon Schneidman of Doug Wright’s Book with Lyrics by Amanda Green and Music by Trey Anastasio and Amanda Green

I'll be out for the opening/press night Sunday, March 17th, so check back soon for my full review. 

Refuge Theater Project is proud to announce the cast and production team for its second production in its 2018 – 2019 season, Hands on a Hardbody, March 15 – April 27, book by Doug Wright, with lyrics by Amanda Green,  and music by Trey Anastasio and Amanda Green, directed by Refuge Theatre Project’s Artistic Director Christopher Pazdernik and music directed by Jon Schneidman.  Hands on a Hardbody runs Fridays through Sundays at 8 p.m. at Mason Hall in the Preston Bradley Center, 941 W. Lawrence Ave. 

Previews are Friday, March 15 and Saturday, March 16 at 8 p.m. NOTE: There are no performances Friday, April 5 and Saturday, April 6 and added performances Monday, April 1 and Thursday, April 4. Preview tickets are $15, regular run tickets are $30 each and available at RefugeTheatre.com. 

Nominated for Best Musical by the New York Drama League and inspired by true events, the hilarious and hopeful Hands on a Hard Body is based on the acclaimed 1997 documentary of the same name by S.R. Bindler, produced by Kevin Morris and Bindler. Only one winner can drive home the American Dream and 10 hard-luck Texans all want the keys. Under a scorching sun for days on end, they will each fight to keep at least one hand on a brand-new truck in order to win it.

Hands on a Hardbody  marks the third collaboration between Director Christopher Pazdernik and Music Director  Jon Schneidman at Refuge. They previously worked together on the Jeff-Award winning High Fidelity and last season’s Jeff-Award nominated Spitfire Grill. New York Magazine said Hands on a Hardbody is “Hands down … musical theater heaven!” and The New York Times said, “You can hear the voice of America singing in this daring new musical.”

The cast of Hands on a Hardbody includes Alli Atkenson, “Kelli Mangrum;” Max Cervantes, “Chris Alvaro;” Katherine Condit, “Janis Curtis;” Derek Fawcett, “Benny Perkins,” Dan Gold, “Mike Ferris;” Jenna Fawcett, “Cindy Barnes”; Jared David Michael Grant, “Ronald McCowan;” Tim Kough, “JD Drew;” Molly Kral, “Heather Stovall;” Matt Patrick, “Frank Nugent;” Cathy Reyes McNamara; “Norma Valverde;” Roy Samra, “Greg Wihote;” Judy Lea Steele, “Virginia Drew;” Sebastian Summers, “Jesus Pena;” Anthony Whitaker, “Don Curtis/Dr. Stokes;” Jasmine Young, female swing.

The production team includes Christopher Pazdernik*, director; Jon Schneidman, music director; Ben Baylon, production manager; Mark Bracken*, technical manager; Ariel Triunfo, choreographer; Matt Dominguez*, associate director; Sean Mohler, stage manager; Evan Frank*, set designer/props master; Collin G. Helou* and Jennifer Kules, lighting designers; Isaac Mandel, sound designer/audio designer; Uriel Gomez, costume designer and Brendan Siddall, production assistant.

*Denotes Refuge Theatre Project company member

ABOUT CHRISTOPHER PAZDERNIK, DIRECTOR

Christopher Pazdernik is a director/choreographer with "a near encyclopedic knowledge of musicals" (Newcity).  He recently directed Refuge’s The Last Session and is best known for the critically acclaimed production of High Fidelity (Jeff Awards for Best Director and Best Production of a Musical) also at Refuge Theatre Project, where he also serves as artistic director. With Porchlight Music Theatre, Pazdernik is a proud artistic associate, and serves as company manager and casting associate. He has directed and choreographed many Porchlight Revisits productions including The Rink, Anyone Can Whistle, City of Angels, Applause and Do Re Mi; served as associate director for Porchlight’s Merrily We Roll Along and has co-curated the Porchlight New Faces Sing Broadway series.  Recent other credits include Carrie (Ohio Northern University), Wicked City (Chicago Theatre Workshop), Planted (Chicago Musical Theatre Festival), Make Me a Song (Eclectic Theatre Co.) and Story of A Story (The Untold Story) (Underscore Theater Co.). He is also a frequent cabaret director and curator including Broadway's Cult Classics at Davenport's Piano Bar and the His & His series at Pride Films & Plays. An openly HIV+ artist, Pazdernik was a 2016 Windy City Times 30-Under-30 honoree for his contributions to Chicago's LGBTQ community. He currently serves on the Ambassador Committee for the AIDS Run/Walk Chicago and as chairperson on the Community Advisory Board for Howard Brown Health, one of the nation’s largest LGBTQ organizations.

ABOUT JON SCHNEIDMAN, MUSIC DIRECTOR

Jon Schneidman is a two-time Jeff award-nominated music director, pianist and songwriter based in Chicago. He has been studying and playing music since he was seven years old, and has performed on stages all throughout the United States. As a music director, Schneidman’s work has covered a vast array of styles, from country and rockabilly, to rock and grunge, to hip-hop and rap, to musicals and easy listening, to everything in between. His knowledge and understanding of such diverse genres has afforded him the opportunity to work on varied projects such as cover bands, rap albums, circus acts and beyond. Schneidman is currently working on his first solo album.

ABOUT 2019 YEAR OF CHICAGO THEATRE

Refuge Theatre Project is proud to be part of the 2019 Year of Chicago Theatre, presented by the City of Chicago and the League of Chicago Theatres. To truly fall in love with Chicago, you must go to our theatres. This is where the city bares its fearless soul. Home to a community of creators, risk-takers and big hearts, Chicago theatre is a hotbed for exciting new work and hundreds of world premieres every year. From Broadway musicals to storefront plays and improv, there’s always a seat waiting for you at one of our 200+ theatres. 



ABOUT REFUGE THEATRE PROJECT

Refuge Theatre Project strives to foster a broader, more accessible theatre community. They promote the production of under-produced, under-appreciated musical theatre in traditional and non-traditional theatrical spaces creating a unique, affordable, only-in-Chicago theatrical experience.

Refuge Theater Project is proud to announce the cast and production team for its second production in its 2018 – 2019 season, Hands on a Hardbody, March 15 – April 27, book by Doug Wright, lyrics by Amanda Green, and music by Trey Anastasio and Amanda Green, directed by Refuge Theatre Project’s Artistic Director Christopher Pazdernik and music directed by Jon Schneidman.  Hands on a Hardbody runs Fridays through Sundays at 8 p.m. at Mason Hall in the Preston Bradley Center, 941 W. Lawrence Ave. Previews are Friday, March 15 and Saturday, March 16 at 8 p.m. with opening/press night Sunday, March 17 at 8 p.m. NOTE: There are no performances Friday, April 5 and Saturday, April 6 and added performances Monday, April 1 and Thursday, April 4. Preview tickets are $15, regular run tickets are $30 each and available at RefugeTheatre.com.

OPENING: Chicago Premiere of YEN at Raven Theatre March 21 – May 5, 2019

ChiIL Live Shows on our radar
Chicago Premiere!

Raven Theatre Presents

YEN

By Anna Jordan

Directed by Elly Green

March 21 – May 5, 2019

PHOTO CREDIT: Artwork by Jake Fruend.

I'll be out for the press opening March 25th so check back soon for my full review. 

Raven Theatre is pleased to continue its 2018-19 season with the Chicago premiere of Anna Jordan’s drama YEN directed by Elly Green. This savage, unrelenting play about growing up, opening the windows and letting in the light will play March 21 – May 5, 2019 on Raven’s intimate 55-seat West Stage, 6157 N. Clark St. (at Granville) in Chicago. Tickets are currently available at www.raventheatre.com or by calling (773) 338-2177. 

YEN will feature Jesse Aaronson, Tiffany Bedwell, Reed Lancaster and Netta Walker.

London, right now. Two practically feral teenage brothers live alone in their filthy flat with a dog named Taliban, perpetually bathed in the blue glow of their screens: playing video games, watching porn, waiting for the occasional visit from their detached mother, and surviving. But when a strange neighbor girl barges through the door, the boys’ little blue world begins to change color.

Comments Artistic Director Cody Estle, “Anna Jordan’s YEN has had successful productions in both London and New York. It is an intense drama of a dysfunctional family which explores the consequences of two teenage boys being forced to grow up on their own in a childhood essentially without boundaries. I’m looking forward to introducing Jordan’s writing to our audience and the overall Chicago theatre community. I think this will be a memorable production in our 2018-2019 season.”

The production team for YEN includes: Joe Schermoly (scenic design), Alexis Chaney (costume design), Claire Chrzan (lighting design), Aaron Stephenson (sound design), Leah Hummel (props design) Sam Hubbard (fight choreographer), Eva Breneman (dialect coach), Giulianna Marchese (dramaturg), Lynn Baber (casting director), A.J. Roy (assistant director), Cole von Glahn (production manager), Jeremiah Barr (technical director), Jessie Howe (scenic artist), Alex Beal (master electrician), Alex Meyer (stage manager) andAlyssa Maldonado (assistant stage manager).

Cast (in alphabetical order): Jesse Aaronson (Bobbie), Tiffany Bedwell (Maggie), Reed Lancaster (Hench) and Netta Walker (Jennifer).

Understudies: Lizzie Bourne, Nate Elfant, Anastacia Narrajos and Brandon Nelson.

Location: Raven Theatre West Stage, 6157 N. Clark St. (at Granville), Chicago

Dates: Previews: Thursday, March 21 at 8 pm, Friday, March 22 at 8 pm, Saturday, March 23 at 8 pm and Sunday, March 24 at 3:30 pm
Press performances: Monday, March 25 and Tuesday, March 26, 2019 at 7:30 pm

Regular run: Friday, March 29 – Sunday, May 5, 2019
Curtain Times: Thursdays, Fridays and Saturdays at 8 pm; Sundays at 3:30 pm.

Tickets: Previews $32 ($29 if purchased online). Regular run $46 ($43 if purchased online). Seniors/teachers $41 ($38 if purchased online). Students/active military and veterans $15. Every Thursday is “Under 30 Thursday,” when patrons under age 30 can purchase tickets for $15. Single tickets and subscriptions for the 2018-19 Season are currently available at www.raventheatre.com or by calling (773) 338-2177.

Touch Tour/Open Captioned performance: Sunday, April 21 at 3:30 pm. Touch tour begins at 2:15 pm.

Group tickets: Groups of 10 or more are $30 per person for Thursday and Friday performances and $35 per person for Saturday and Sunday performances. Student groups are $15 per person.

Plan Your Visit:

Free parking is provided in a lot adjacent to the theatre – additional street parking is available. Nearest El station: Granville Red Line. Buses: #22 (Clark), #36 (Broadway), #151 (Sheridan), #155 (Devon), #84 (Peterson).

About the Artists:

Anna Jordan (Playwright) is a London-based playwright, director and acting coach. Awards include the Bruntwood Prize for Playwriting 2013 for YEN, Shortlist of Susan Smith Blackburn Prize for YEN, Best Fringe Production for Chicken Shop at Park Theatre (West End Frame Awards) and Overall Winner / Audience Choice Award for Closer To God (Off Cut Festival). Writing credits include: We Anchor In Hope (Royal Court Theatre – Beyond the Court), A Serious Case of the Fuckits (Royal Central School of Speech and Drama), YEN (Royal Exchange / Royal Court), Chicken Shop (Park Theatre London), Freak (Assembly Studios / Theatre503), Stay Happy Keep Smiling (Soho Theatre), Bender (Old Red Lion) and Fragments (Riverside Studios). Her plays have also been performed internationally. Anna is Artistic Director of Without a Paddle Theatre. As a director she has worked at the National Theatre on NT Connections play Tomorrow I’ll Be Happy, as well as directing numerous productions at new writing powerhouse Theatre503. She also directed Crystal Springs at Eureka Theatre in San Francisco. She works frequently at London drama schools including RADA, LAMDA, Central, Arts Ed and Italia Conti. Anna is currently working with Headlong, The Royal Exchange, The Royal Court and Frantic Assembly.

Elly Green’s (Director) is a Chicago-based director, originally from the UK. She recently directed In the Canyon by Calamity West for Jackalope Theatre and You for Me for You by Mia Chung for Sideshow Theatre. Other credits include: The Woyzeck Experiment (Goodman Playwrights Unit), Pillars of the Community, The Night Season, After Miss Julie (Strawdog), The Woman in Black (Wildclaw), No More Sad Things (Sideshow), The Distance (Haven), The Woman Before (Trap Door), Happy (Redtwist) and Rabbit (Stage Left), Unwilling and Hostile Instruments (Theatre Seven) and The Tomkat Project (Playground & NY Fringe). Her Assistant Director credits include: Henry V (Chicago Shakespeare Theatre), Proof (Court Theatre), Oedipus, Mrs Affleck, Her Naked Skin (Royal National Theatre, London). She is an ensemble member with Sideshow Theatre and Strawdog Theatre, and an Associate Artist with Stage Left Theatre. Elly trained in the UK at Birkbeck College, LAMDA and the National Theatre Studio. More info at www.ellygreendirector.com

About Raven Theatre

Raven Theatre tells stories of today and the past that connect us to our cultural landscape. Through its plays as well as its educational programming, Raven is committed to serving our communities’ needs through the arts.

Raven Theatre Company is funded in part by the Alphawood Foundation, The MacArthur Fund for Arts and Culture at Prince, Polk Bros Foundation, Elizabeth F. Cheney Foundation,S&C Electric Company Fund, The Gaylord and Dorothy Donnelley Foundation and the Illinois Arts Council, a state agency.

Handel’s Masterpiece ARIODANTE Now Playing at Lyric Opera of Chicago Select Dates Through March 17, 2019

ChiIL Live Shows on our radar

ARIODANTE 

Now Playing at Lyric Opera of Chicago

Six performances March 2 - 17

by George Frideric Handel

Sung in Italian with projected English translations

**This production includes mature themes**

Provocative Baroque drama about abuse and complicity

in a bold, updated staging 

New coproduction and Lyric premiere of Handel’s masterpiece

The Lyric Opera of Chicago premiere of George Frideric Handel’s Baroque masterpiece Ariodante opens Saturday, March 2 at 7:30pm in a provocative new coproduction. There are six performances March 2 through March 17 at the Lyric Opera House, 20 N. Wacker Dr., Chicago. Tickets start at $39, and are available now at lyricopera.org/Ariodante or at 312-827-5600. 

VILLAINOUS POLINESSO LUSTS AFTER GINEVRA, BUT SHE LOVES NOBLE ARIODANTE, WHO LOVES HER IN RETURN.

Sometimes opera takes you to completely unexpected, dramatically powerful places.

That’s certainly the case with the Lyric premiere of Handel’s Ariodante, on multiple levels. Some of its thrilling arias might be familiar from concerts or recordings, but the full Baroque masterpiece is terra incognita for many (even though it was wildly popular when Handel, the German expat living in London, was composing multiple Italian operas). Still, there is inviting familiarity in the bouncing beat and virtuoso vocal writing in this new-to-Lyric opera.

The original plot of Ariodante is full of Shakespearean twists, disguises, mistaken identities, wrenching misunderstandings, and eventual reconciliation (not unlike Much Ado About Nothing). Ginevra and Ariodante love each other and are about to be wed with the blessing of her father, the King of Scotland. Polinesso covets Ginevra and uses her lady-in-waiting, Dalinda (who loves Polinesso), to trick Ariodante into believing Ginevra is unfaithful and provoke his apparent suicide. Ariodante’s brother Lurcanio, meanwhile, loves and is shunned by Dalinda, and blames Ginevra for his sibling’s seeming demise. Eventually Ariodante turns up alive, Polinesso is vanquished, and the “right” couples are united. 



Richard Jones’s production moves the story from medieval times to an isolated, religiously fundamentalist Scottish island in the 1970s. Polinesso is an outsider from the mainland who penetrates this closed community in preacher’s clothes, wreaking terrible havoc on several relationships and the fabric of the village itself through acts of abuse and manipulation. Rather than ending with the reconciliation and redemption traditional in 18th-century opera, this production of Ariodante takes an intriguing detour that will resonate with contemporary audiences.

Puppets representing Ginevra and Ariodante pantomime scenes that reflect the community’s expectations and misperceptions of the central couple in this production, replacing ballet sequences used to close each act in the original opera.

Baroque opera “is radical theater,” says Anthony Freud. “Ariodante deals with abuse and complicity.” Lyric’s general director calls this production of Ariodante “a clear, immediate, powerful telling of the story that will defy preconceptions about Handel’s Baroque formality. Our production reflects many contemporary issues. Handel’s masterpiece may be over 280 years old, but is startling in its topicality and intensity.”

The creative team drew inspiration for this production of Ariodante from the dark indie film Breaking the Waves, and also the plays of Strindberg and Ibsen. There are similarities to Carlisle Floyd’s Susannah, in which an innocent young woman in Appalachia is seduced by an itinerant preacher. There are also traces of Benjamin Britten’s Peter Grimes in the community turning against one of its own. 

Lyric’s splendid cast inhabits the complex characters while singing the daunting score to great effect. Mezzo-soprano Alice Coote takes on the title role, with soprano Brenda Rae (Lyric debut) as Ariodante’s betrothed, Ginevra. Soprano Heidi Stober portrays the vulnerable Dalinda, manipulated by the evil Polinesso, played by countertenor Iestyn Davies. Bass-baritone Kyle Ketelsen is the King of Scotland. Tenor Eric Ferring portrays Lurcanio.  and tenor Josh Lovell portrays Odoardo (the latter two are Ryan Opera Center artists). 

Acclaimed Baroque specialist Harry Bicket conducts, and Benjamin Davis (Lyric debut) is revival director. The production is designed by ULTZ (Lyric debut), with lighting by Mimi Jordan Sherin. Michael Black is chorus master, Lucy Burge is choreographer, Finn Caldwell is puppetry director and designer, and Nick Barnes is puppetry designer (the latter three are Lyric debuts).  

Don't miss your chance to experience this critically-acclaimed premiere — view the trailer here and find out for yourself why critics are praising its "tight, compelling story and rich, well-developed characters" (Chicago Sun-Times).

ARIODANTE IS "QUITE MOVING" (CHICAGO TRIBUNE)

In a small town rife with rumors, who can you trust? The highly anticipated U.S. premiere co-production of Handel's Ariodante opened Saturday night and critics are raving. With only five more performances, Ariodante must close March 17. See what people are saying about this Lyric premiere:

"Vocally, visually and dramatically arresting"

"Clarity and rhythmic verve from the Lyric Opera Orchestra and Chorus"

"An opera penned nearly three centuries ago can resonate profoundly with modern times, when staged as tellingly as this"

"★ ★ ★ ★" (out of four) 

–Chicago Tribune

"Unexpected and intriguing"

"The casting for this production could hardly have been better"

"Many vocal high points"

"★ ★ ★ ½" (out of four)

–Chicago Sun-Times

"Dazzling vocal pyrotechnics"

"A daunting tour de force"

–Stage and Cinema

What happens when someone your town trusts is actually the villain? For Ginevra and her beloved Ariodante, things may never be the same. Lyric is proud to produce the company premiere of this important Baroque masterpiece from the composer of Messiah which marries stunning vocalism and riveting drama. 

Making its U.S. debut, this critically-acclaimed Lyric coproduction from Director Richard Jones updates the story to 1970s Scotland, where a close-knit, fundamentalist community provides the thought-provoking backdrop. The Toronto Globe and Mail says, "The decisions Jones has made to update and deepen the resonances of the opera work beautifully both to preserve the integrity of the original and add to it touches and textures that only a modern audience can appreciate…If you needed one example to demonstrate why modern staging and perfectly realized music from the past need each other, this was it." 

Don't miss this highly anticipated Lyric premiere that critics are calling "dramatically complex... deliciously interesting" – (The Toronto Star). 

5 REASONS YOU CAN'T MISS ARIODANTE
Handel’s Baroque masterpiece is currently playing Lyric, and there are so many reasons you can’t miss it. Here are just a few: 

1. It’s a Lyric premiere. Believe it or not, this rare gem by the composer of the beloved Messiah has never been performed on Lyric’s stage.

2. The cast is truly world-class. Our dream team of opera superstars have voices ideally suited to bring Ariodante to life.

3. It's the U.S. premiere of a production that earned rave reviews. TheToronto Star called it "deliciously interesting" and the National Post praised its "inspired and meticulous staging."

4. Handel’s music is exhilarating. You will fall in love with a score that exudes both passion and elegance.

5. It's not just great music, it's great theater. This story of true love plagued by obstacles in a small town is just as universal today as it was when the opera first premiered.

Save your seats today for Ariodante, on stage March 2-17, and experience this delightful and innovative production for yourself.

VANS PARTNERS WITH RECORD STORE DAY TO RELEASE WAX TRAX! DOCUMENTARY SOUNDTRACK ON RECORD STORE DAY 2019

Chi, IL Live Shows on our radar

RECORD STORE DAY LIST LAUNCH EVENT SLATED FOR HOUSE OF VANS CHICAGO 

ON FEBRUARY 28

MULTI-CITY WAX TRAX! EXPERIENCE TO FEATURE SCREENING, PANEL DISCUSSION, 

AND LIVE Q&A AND PERFORMANCE BY MINISTRY OF WAX TRAX! ERA SET

Here at ChiIL Live Shows we grew up with Chicago's punk and industrial music scene in the ‘80s and ‘90s. The story of Wax Trax! is not only an award winning doc with kickass music, but a vital piece of counter culture history that's left a lasting impact on generations. Don't miss this. 



Record Store Day and Vans, the original action sports brand rooted in art, music and street culture, are teaming up to release a special edition soundtrack for the award-winning music documentary Industrial Accident: The Story of Wax Trax! Records on Record Store Day, April 13, 2019.



The album, which features previously unreleased songs by Wax Trax! artists, (see track listing below) will be available at independent record stores across the United States and Canada. To coincide with the album launch, Vans will kick off a multi-city Wax Trax! experience featuring screenings of the film, live Q&A, and a performance by Ministry of a Wax Trax! era, early 90's set. 

On April 13, House of Vans Chicago located at 113 N. Elizabeth St., Chicago, IL will kick-off the first of six stops. Tickets to the Vans and Wax Trax! Events will be available through independent record stores on April 13. Partner record stores and ticket information to be announced soon.

“The story of Wax Trax! is a perfect example of the incredible importance and influence that independent record stores have not only on the music scene by selling records, but also on our culture by helping people find a home where they can express themselves through music,” said Carrie Colliton, co-founder of Record Store Day. “There’s no better day than Record Store Day to release this album with Vans, an iconic brand in the world of indie record stores.”

Wax Trax! was an influential Chicago record store and label that helped give rise to punk and industrial music of the ‘80s and ‘90s. It also served as a lifeline for people outside of the mainstream by fostering and encouraging a safe place for artists and outsiders. The soundtrack includes artists closely aligned with the label and music scene including Ministry, My Life With The Thrill Kill Kult, The Young Gods, Pankow, KMFDM, Revolting Cocks, FRONT 242, Mussolini Headkick, Laibach and Chris Connelly.

Watch the trailer for Industrial Accident: The Story of Wax Trax! Records HERE

“Wax Trax! is a story of artistic freedom, creativity and social acceptance of sub-culture through music,” said Brooke Burt, Senior Manager for Lifestyle Brand Marketing for Vans. “We are proud to partner with Record Store Day to release an album and celebrate a story that pays homage to the ongoing influence of independent record stores and pushes the boundaries of music genres.”

In addition to featuring music from the soundtrack, the film delivers insightful interviews with family members, former employees and musicians who worked with or were heavily influenced by Wax Trax!, including Al Jourgensen, Dave Grohl, Trent Reznor, Paul Barker, Ian MacKaye, Steve Albini, Jello Biafra and others.

As an added dimension of collaboration between Vans and Record Store Day, House of Vans Chicago will host the RSD 2019 List Launch on February 28, 2019 at noon CST.

The announcement scheduled will showcase the highly anticipated limited-edition release titles coming to record stores and will be followed by a panel discussion with artists from the Wax Trax! Soundtrack moderated by Nik Carter host of SiriusXM’s Feedback on the Volume Channel 106.

Listeners can tune-in to a special Record Store Day list launch special on SiriusXM’s Volume channel on February 28 at 7 PM ET.

Panelists include:

Paul Barker - Former Ministry bass player from 1986-2003, member of Revolting Cocks, Lard and Pigface, as well as many other bands

Chris Connelly - Former Ministry keyboard player from 1987-1991, member of KMFDM, Revolting Cocks and Pigface, as well as many other bands

Julia Nash - Director of Industrial Accident: The Story of Wax Trax! Records, and daughter of late Wax Trax! Co-founder Jim Nash

Rick Wojcik - Owner of Dusty Groove in Chicago. Rick spent much of his teenage years, (and his teenage dollars), at the Wax Trax! store, and that has a strong influence on his own Chicago record store, Dusty Groove.

Carrie Colliton – Co-founder/organizer of Record Store Day.




TRACK LISTING FOR Industrial Accident: The Story of Wax Trax! Records SOUNDTRACK:

1: MY LIFE WITH THE THRILL KILL KULT - “A Daisy Chain 4 Satan” (Acid and Flowers Mix)
2: REVOLTING COCKS - “Animal Nation”
3: THE YOUNG GODS - “Envoyé!”
4: PANKOW - “Me and My Ding-Dong”
5: MINISTRY - “Tonight We Murder (Original Version)”
6: KMFDM - “Vogue (Apart Version)”
7: FRONT 242 - “Headhunter (Live NYC)”
8: MUSSOLINI HEADKICK - “Your God is Dead”
9: LAIBACH - “Leben-Tod”
10: FINI TRIBE - “I Want More” **CD Only**
11: Mystery Track - Previously Unreleased **CD + Deluxe Only**
12: Mystery Track - Previously Unreleased **CD + Deluxe Only**
13: Mystery Track - Previously Unreleased **CD Only**
14: CHRIS CONNELLY - “Shipwreck”
15: MICHAEL WELLS/GREATER THAN ONE - “Untitled" **CD Only**



For more information about Record Store Day, please visit www.recordstoreday.com

About Record Store Day
Record Store Day, the organization, is managed by the Department of Record Stores and is organized in partnership with the Alliance of Independent Media Stores (AIMS), the Coalition of Independent Music Stores (CIMS) and promotes independent record stores year-round with events, special releases and other fun things.

 Record Store Day, the global celebration of the culture of the record store, takes place annually in April. Record Store Day 2019 is April 13.

 Record Store Day Sponsors:
ADA, Caroline, Crosley Turntables, D’Addario, Dogfish Head Brewery, Furnace Record Pressing, Glowtronics, InGrooves, Music Business Association, MVD Entertainment, The Orchard, Redeye Distribution, Sony Music, ThinkIndie, Traffic Distribution, URP Distribution, Vans, Vinyl Styl, WEA

About Vans
Vans®, a VF Corporation (NYSE: VFC) brand, is the original action sports footwear, apparel and accessories brand. Vans® authentic collections are sold in 84 countries through a network of subsidiaries, distributors and international offices. Vans®has over 2,000 retail locations globally including owned, concession and partnership doors. The Vans® brand promotes creative self-expression in youth culture across action sports, art, music and street culture and delivers progressive platforms such as the Vans Park Series, Vans Triple Crown of Surfing®, Vans Pool Party, Vans Custom Culture, and Vans’ cultural hub and international music venue, House of Vans.

Vans Presents: Industrial Accident: The Story of Wax Trax! Records Experience Events

4/13: Chicago

4/15: Brooklyn

4/17: Toronto

4/19: Austin

4/22: San Francisco

4/23: Los Angeles

Vans, “Off The Wall” Since ’66

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