ART BEAT: South Shore Arts will host an Artist’s Reception for “It’s Surreal Thing” Friday, February 21 from 6:00 – 8:00 p.m. At The Towle Theater in Hammond

Openings On Our Radar:

“It’s Surreal Thing”

 An Exhibit of Inked Imagery by Artist Jim Siergey

South Shore Arts in Northwest Indiana will host an Artist’s Reception for “It’s Surreal Thing”, an exhibit featuring the inked imagery of Jim Siergey, on Friday, February 21 from 6–8 p.m. at the Towle Theater in Hammond.   An Opening Night performance of Towle Theater’s production of “Erma Bombeck: At Wit’s End” follows at 8:00 p.m. to kick off the theater’s 2020 season. Both “It’s Surreal Thing” and “Erma Bombeck: At Wit’s End” continue through March 8.

Jim Siergey is an artist well-known in the underground art scene for over two decades.   It was on a grade school field trip to The Art Institute of Chicago where Siergey was introduced to Messrs. Magritte and Dali as well as Mssrs. Tanguy, Ernst, DuChamp and Man Ray.   According to Siergey, “These Surrealists became another perverse influence on my young life as I had already been tainted by TV viewings of the anti-establishment antics of The Marx Brothers and Bugs Bunny.   How could I be expected to look at anything logically or take anything seriously ever again?”



Before moving to Munster, IN a year and a half ago, he spent his previous lifetime in Chicago working as an illustrator, character animator and cartoonist.   His permanent record includes gigs for Time magazine, USA Weekend, The Field Museum, TV commercials, educational films and an animated Take Me Out to the Ballgame 7th inning stretch video for the White Sox’ Jumbo-Tron.   His comic strip “Cultural Jet Lag” ran for 20 years in many alternative press publications.   Paperback books, bubble gum cards, greeting cards and art gallery exhibits are other places where his work can be found.   Since moving to “The Region”, he has exhibited his work at the Promise You Art House in Highland and the Paul Henry Studios in Hammond as well as in group shows in Griffith and Crown Point.



The Towle Theater is located at 416 Sibley Street in downtown Hammond, IN 46320.   For information about the gallery to view the exhibit by appointment, call 219.937.8780.

Photo Credits: Jim Siergey

OPENING: Legally Blonde: The Musical at Northwestern’s Wirtz Center Feb. 14 to March 1, 2020

America’s beloved blonde law student takes the stage at Northwestern’s Wirtz Center

“Legally Blonde: The Musical” 

(complete with canines) 

opens Valentine’s Day

Northwestern University’s Wirtz Center for the Performing Arts presents “Legally Blonde: The Musical” Feb. 14 to March 1.

Elle Woods, Bel Air's favorite pink-clad blonde, and her equally stylish Chihuahua, Bruiser seem to have it all until Elle’s boyfriend dumps her to attend Harvard Law. Determined to get him back, Elle charms her way into law school, then discovers she has far more legal savvy than she ever imagined. 

Based on the popular 2001 movie, this musical comedy with book by Heather Hatch and music and lyrics by Laurence O’Keefe and Nell Benjamin is directed and choreographed by Christopher Chase Carter.

“‘Legally Blonde’ is just as relevant today because it is all about breaking down stereotypes,” said Chase Carter, known to Chicago audiences for his recent directing work for Theo Ubique Cabaret’s production of “Working” and choreography for Porchlight Musical Theatre’s production of “A Chorus Line.”

Chase Carter even believes Elle’s signature color “pink” is about breaking down stereotypes.  “For many people, pink is seen as soft, or for girls, but in this show, pink makes a statement,” Chase Carter said. “It’s power, it’s vibrant and bold, and it’s a symbol for breaking down stereotypes.”

In addition to plenty of pink, this production includes two campus canines: Atty, who plays Bruiser, Elle’s stylish Chihuahua and Shlomo, who plays Rufus, Elle’s manicurist and confidant’s dog. Bruiser’s pet parent is Caleb Whittaker, a Northwestern student, and Rufus’ pet parent is China Whitmire, house manager for the Wirtz Center for the Performing Arts.

“It’s always interesting working with animals,” Chase Carter said. “You can’t always communicate 100 percent of what you want them to do.” Despite the communication challenges, Chase Carter knows the canines add something very special to the cast. “Bruiser is Elle’s dearest friend, he serves as an important support system for her,” Chase Carter said.

“Legally Blonde: The Musical” opens Valentine’s Day, Fri., Feb. 14 and continues performances through March 1 on Thursdays, Fridays and Saturdays at 7:30 p.m. and Sundays at 2 p.m. in the Ethel M. Barber Theater, 30 Arts Circle Drive, on the Evanston campus.

Tickets are available now on the Wirtz Center website, by phone at 847-491-7282 or in-person at the Wirtz Center box office, which is located in the lobby of the Ethel M. Barber Theater.

Box office hours are Tuesdays through Fridays from 10 a.m. to 5 p.m. and Saturdays from noon to 4 p.m. The box office is closed Sundays and Mondays. 

The Virginia Wadsworth Wirtz Center for the Performing Arts annually mounts more than 40 productions in theater, music theater and dance. Undergraduate actors, managers and playwrights, alongside graduate actors, designers, directors and dramaturgs, collaborate on works both classic and contemporary for audiences of all ages. The Center adheres to and reflects the academic mission of the University, the curricular needs of the theater and performance studies departments and the educational priorities of communication students. It exists in service to the campus and the greater community of the Metropolitan Chicago area.

The Wirtz Center for the Performing Arts is a member of the Northwestern Arts Circle, which brings together film, humanities, literary arts, music, theater, dance and visual arts.  

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REVIEW: The Merry Widow at the McAninch Arts Center in Glen Ellyn, IL

NEW PHILHARMONIC EXPANDS ITS OPERA PROGRAMING WITH 

THREE PERFORMANCES OF 

Franz Lehár’s “THE MERRY WIDOW” 

AT THE MAC JAN. 24-26

Pictured Katherine Weber (far R) with cast in Act I

All photos are by John Cebula Esq. 

Guest Review
By Catherine Hellmann

I am very much a City Girl. It takes a strong lure to get me to the suburbs, even though my elder daughter brags, ”Mom, there is always free parking!” But the long haul out to Glen Ellyn at College of DuPage (where, yes, there was indeed plenty of free parking) to the McAninch Arts Center on a dreary night to see The Merry Widow was worth the drive. 

The Merry Widow is an operetta by Franz Lehar which means it has spoken dialogue interspersed between songs; this production is sung in English but still has the supertitles above the stage so nothing is missed. All of these factors make the performance much more palatable to patrons who may not be “opera people.” 

Plus, it is a funny script and story. 

Set in Paris, Baron Zeta from the fictional country of “Pontevedro” is concerned that his troubled nation is going to go (sssh! Don’t say this word!) “bankrupt.” A plan is hatched to keep the money from a rich young widow in their principality. A “Cinderella story” is explained where a poor farmer’s daughter, Hannah Glawan, was wooed relentlessly by a very wealthy older man until she finally agreed to marry him. He died shortly after their nuptials, leaving her with millions. Hannah is pursued by all the eligible bachelors in Paris, who are more interested in her purse holdings than her. “It’s not me they’re in love with, it’s my bank account,” she laments.  

Pictured: Alisa Jordheim in Act II

Hannah’s old love was a boy from her childhood, now known as the Count Danilo Danilovitch. At their first reunion, he is upset that she married the old man. Hannah tells him,”When one is a woman and poor, one does what she has to do.” The Count actually still loves her, but feels that if he courts Hannah now, it will appear to be only for her money. I doubt this will be seen as much of a “spoiler” if I reveal that the two original lovers do wind up together at the end, and Pontevedro is saved! All’s well that ends well.

Adding to the humorous plot is the blatant affair the Baron’s wife, Valencienne, is conducting with a local Frenhman who is an officer. The Baron refers to his wife as “a symbol of virtue” as she repeatedly sneaks away with her lover, Camille de Rosillon. The Baron’s cluelessness is an amusing motif; Baritone Aron Wardell does a nice job as the foolish Baron. Valencienne (a lovely Katherine Weber) calls herself a “respectable wife,” but is anything but that description. 

Another funny, ongoing bit is the list of honorary titles given to the Baron by his embassy secretary, Njegus, played by Michael LaTour, who is also the Stage Director and Choreographer for this production! “Your Bigness,” “Your Vastness,” “Your Sageness,” and “Your Epicness,” he schmoozes. 

The show is set in the 1920s which allows the women to be decked out in gorgeous sequined flapper dresses. Their gowns are simply gorgeous. Thank you, Kimberly G. Morris, for the eye candy in wardrobe design. 

Pictured L-R: Allison Selby Cook, Brooklyn Snow, Erika Morrison, Katherine Weber

Other standouts are the petite but mighty soprano Alisa Suzanne Jordheim as the title character. She has the vocal chops to pull off this demanding role. 

Just last week, I was privileged to see the “Rising Stars in Concert” at the Lyric Opera and praised the brilliant Ryan Opera Center which trains young artists. The Count was played ably by baritone Jesse Donner, and he is a recent graduate of that program from 2017. His voice was not only gorgeous, but his acting was playful as well.

The New Philharmonic was conducted by Music Director Kirk Muspratt. “Cookies with Kirk” follows the performance with the gleeful cast rushing first to the lobby for sweet treats. Wow. I don’t get dessert at the Lyric...maybe the suburbs aren’t so bad…

Mark your calendars: In the spring, there will be two concerts At the MAC on April 18 and 19 celebrating Frida Kahlo. Written by Mexican composers, the works feature a soprano soloist with tenor Jesse Donner singing and a 100-voice chorus.  From June to August, there will be an “exclusive exhibit of Kahlo’s original artwork on loan from the Delores Olmedo Museum in Mexico City,” according to their press release. 26 pieces will be on display. It is the largest Frida Kahlo show in the Chicago area in 40 years. 

Timed tickets for the art exhibit are only $18 plus fees.  Call (630) 942-4000 for tickets. Only 30 untimed tickets are available each day of the exhibit. 

And, there is ample FREE parking. 

Catherine Hellmann is an Ohio transplant in love with the Windy City and all it has to offer...even if it involves traveling in the Chicagoland area. She has a daughter in the ‘burbs, another who goes to school in downtown Chicago, and her son lives in the college town of Ann Arbor.  

Pictured: Katherine Weber and James Judd in Act II

Pictured: The cast of “The Merry Widow” in Act I

Alisa Jordheim (Soprano), Jesse Donner (Baritone), Katherine Weber (Soprano) and James Judd (Tenor) Star in Staging by Michael La Tour, Stage Director of New Philharmonic’s Sold-Out Operas, “Die Fledermaus (2019) 

and “The Mikado” (2017) 

New Philharmonic, under the musical direction of Maestro Kirk Muspratt, opens 2020 with Franz Lehár’s popular operetta “The Merry Widow,” featuring a libretto by Viktor Leon and Leo Stein, at the McAninch Arts Center. Due to the growing popularity of New Philharmonic’s winter operas a performance on Friday, Jan.24 at 7:30 p.m. has been added to the regular two performance run. Other performances are Saturday, Jan. 25 at 7:30 p.m. and Sunday, Jan. 26 at 3 p.m. This operetta, staged by Michael La Tour, will be sung in English. A free MAC Chat will take place one hour prior to each performance.

“The Merry Widow” is based an 1861 comedy play, “L'attaché d'ambassade (The Embassy Attaché) by Henri Meilhac and revolves around a rich widow, and her countrymen's attempt to keep her money in the principality by finding her the right husband. New Philharmonic’s production will be set in the audacious, stylish, fun and madcap 1920s. 

So many men, so little time. Hannah Glawari has all the money to save the bankrupt country of Pontevedro and all the eligible bachelors in Paris, but what she really wants is her long-lost love. Count Danilo, forbidden to wed Hannah when childhood sweethearts, has been charged with saving Pontevedro, but Hanna’s recent widow’s fortune has turned the tables. The most ravishing of operettas concludes with a party a la Café de Maxim’s complete with dancing girls.

“The Merry Widow” stars Alisa Suzanne Jordheim (soprano) as Hannah Glawari, Jesse Donner (baritone) as Count Danilo Danilovitch, Katherine Weber (soprano) as Valencienne and James Judd (tenor) as Camille de Rosillon; with Aaron Wardell (Baron Mirko Zeta), Evan Bravos (Vicomte Cascada), Matthew Greenblatt (Raoul de St. Brioche), Douglas Peters (Bogdanovitch), Brooklyn Snow (Sylviane), Reuben Lillie (Kromow), Allison Selby Cook (Olga), Ian Hosak (Pritschitsch), Erika Morrison (Praskovia), Lisa Kristina (Zo-Zo) and Stage Director La Tour in a cameo role as the clerk Njegus. They will be supported by a 20-person ensemble of chorus, grissettes and supers. 

The design team includes Kimberly G. Morris (costume/wig/makeup design), Elias Morales (lighting design), and Jon Gantt (projections design). Stage manager is Isabelle Rund. 

Tickets

New Philharmonic, under the direction of Maestro Kirk Muspratt, presents “The Merry Widow” at the McAninch Arts Center, located on the campus of College of DuPage, 425 Fawell Blvd., Friday, Jan. 24 and Saturday, Jan. 25 at 7:30 p.m. and Sunday, Jan. 26 at 3 p.m. Tickets are $59. For tickets or more information, call 630.942.4000 or visit AtTheMAC.org.

Bios
Alisa Jordheim (Hannah Glawari) has been seen at the MAC in New Philharmonic’s 2017 and 2018 New Year’s programs, New Philharmonic 2017’s “The Best of Broadway: Rodgers & Hammerstein and Andrew Lloyd Webber” and in the role of Yum-Yum in the New Philharmonic’s 2017 production of Gilbert and Sullivan’s “The Mikado.” ​ This past November she made her company debut as Clotilde in Pacini's “Maria, regina d'Inghilterra” with Odyssey Opera. Other performing credits include her acclaimed performance as Soeur Constance in Poulenc’s “Dialogues des Carmélites” at the 
Caramoor International Music Festival, Gilda in “Rigoletto” with San Diego Opera, Ninetta in “La gazza ladra” with Teatro Nuovo and concert performances including Mozart's “Exsultate, jubilate” with the Milwaukee Symphony and Mozart's “Mass in C Minor” with the Bel Canto Chorus. Honors and awards include recipient of a 2016 Sullivan Foundation Award and 2015 Sullivan Foundation Career Development Grant, winner of the 2015 Bel Canto Regional Artists Competition, and winner of the Edith Newfield Scholarship in the 2013 Musicians Club of Women Music Scholarship Competition in Chicago. Jordheim was recently featured in Fred Plotkin's "40 under 40: A New Generation of Superb Opera Singers" on WQXR, New York's Public Radio station.  

Jesse Donner (Count Danilo Danilovitch) was most recently seen at the MAC in New Philharmonic’s 2019 production of Strauss II’s “Die Fledermaus.” His just performed the role of Danilo in the St. Petersburg Opera production of “The Merry Widow,” and his other performances this season include his debut as Rodolfo in Union Avenue Opera’s production of Puccini’s “La Boheme,” a return to the Louisville Orchestra as the tenor soloist in Verdi’s “Requiem” and Handel’s “Messiah” and his concert debut with the New Jersey Festival Orchestra. Previous seasons’ credits include Toledo Opera’s Fall Gala Concert, featured soloist for Chicago Philharmonic’s “Concert for Peace,” the role of Ismael in Union Avenue Opera’s production of Verdi’s “Nabucco” and the role of Emporer Alteum in Cedar Rapids Opera’s production of Puccini’s “Turandot.” Donner was a resident artist at Lyric Opera of Chicago from 2014-2017. Honors and awards include the 2015 Luminarts Fellowship and the Bel Canto grand prize, the 2014 George Shirley Award for Opera Performance, a special encouragement award from the 2014 Metropolitan Opera National Council Regional Auditions, and 1st place in the 2012 Michigan Friends of Opera Competition. 

Katherine Weber (Valencienne) was seen earlier this season in New Philharmonic’s “Ode to Joy” concert. Other past performances with New Philharmonic include the roles of Rosalinde in Strauss II’s “Die Fledermaus” (2019), and Violetta in Verdi’s “La Traviata” (2017). Weber garnered acclaim in the title role of Chicago Opera Theater’s 2018 Chicago premiere of Tchaikovsky’s “Iolanta.” Other performing credits include soloist in Beethoven's “Mass in C,” Vivaldi's “Gloria” and Mozart’s “Requiem” with the Winona Oratorio Chorus and Orchestra and two seasons with Opera for the Young, in Madison, Wisc., where she toured in the title role in Dvořák’s “Rusalka” and Pamina in Mozart's “The Magic Flute.” She was featured soloist with the Florentine Opera and soprano soloist in Handel's “Messiah” at her alma mater, Viterbo University. Honors and awards include regional finalist at the Metropolitan Opera National Council Auditions twice (2017, 2015), recipient of the Award of Excellence and the Lew Cady Memorial Award (both from Central City Opera), the Bain Fellowship from Indiana University, and two-time winner of the Schubert Club Competition and four time encouragement award winner of the Metropolitan Opera National Council Auditions.

James Judd (Camille de Rosillon) was most recently seen at the MAC in the September “Ode to Joy” concert and in the role of Alfred in New Philharmonic’s January 2019 production of Strauss II’s “Die Fleidermaus.” He has sung with the Los Angeles Opera Orchestra, the Buffalo Philharmonic Orchestra, the Western New York Chamber Orchestra, and The AIMS Festival Orchestra. Judd’s past operatic roles include Monostatos in Mozart’s “Die Zauberflöte,” Ferrando in Mozart’s “Così fan tutte,” the title role in Mozart’s “La Clemenza di Tito,” Asgar in the U.S. premiere of Hajibeyov’s “Arshin Mal Alan” and Claude in the world premiere of Nettles' “The Fall of Stag Lee.” He has performed at the Rocky Ridge Music Center in Estes Park, Colo., where he won their prestigious concerto competition. Judd also sings with many professional choruses, including the Chicago Symphony Chorus. Judd holds a Master of Arts in Vocal Performance at The University of Iowa as well as Bachelor of Music in both Education and Vocal Performance from SUNY Fredonia.

Michael La Tour (Stage Direction/ Njegus) has worked professionally as an actor, singer, dancer, mime, clown, designer, choreographer, director and producer. He is on staff at The Ryan Opera Center of The Lyric Opera of Chicago as a master teacher and stage director (Mozart’s “The Magic Flute,” Mozart’s “The Marriage of Figaro,” Verdi’s “La Traviata, Strauss II’s “Die Fledermaus,” Presgurvic’s “Romeo et Juliette”). His most recent work seen by MAC patrons was New Philharmonic’s 2017 sold out production of Gilbert and Sullivan’s “The Mikado.” Other directing credits include Kentucky Opera (Puccini’s “La Boheme,” Bizet’s “Carmen,” Presgurvic’s “Romeo et Juliette”) and Opera Moda (Mechem’s “Tartuffe,” Adamo’s “Little Women,” Hoiby’s“A Month in the Country”). With Peter Amster, he has co-directed and choreographed “Side By Side By Sondheim” for Pegasus Players, Hwang’s “M. Butterfly” for Apple Tree Theatre (After Dark Award for choreography) and the grand opening of The Harris Theater in Millennium Park. 

Pictured Center: Alisa Jordheim surrounded by cast members Matthew Greenblatt, John Kouns, Danius Grablaukas, Reed Pence, William Ortega, Ben Adair, Matthew Byerly and Evan Bravos

About New Philharmonic

New Philharmonic, the only professional orchestra based in DuPage County, Ill., has inspired classical music enthusiasts in Chicago and the suburbs for more than 40 years. It continues to thrive with the goal to give innovative treatment to both classic compositions and modern works while striving to make the music accessible to new audiences and youth through a variety of educational efforts. The orchestra was honored with the Illinois Council of Orchestras’ 2017 ICO Award for Professional Orchestra of the Year. Today, under the direction of Kirk Muspratt, named 2018 Conductor of the Year (Professional Orchestra) by Illinois Council of Orchestras, New Philharmonic consists of more than 60 professional musicians and performs more than a dozen concerts a year, reaching more than 7,500 from the greater Chicago area annually. 

About the MAC
The McAninch Arts Center (MAC) at College of DuPage is located 25 miles west of Chicago near I-88 and I-355. It houses three indoor performance spaces (the 780-seat proscenium Belushi Performance Hall; the 236-seat soft-thrust Playhouse Theatre; and the versatile black box Studio Theatre), the outdoor Lakeside Pavilion, plus the Cleve Carney Museum of Art and classrooms for the college’s academic programming. The MAC has presented theater, music, dance and visual art to more than 1.5 million people since its opening in 1986 and typically welcomes more than 100,000 patrons from the greater Chicago area to more than 230 performances each season. 

The mission of the MAC is to foster enlightened educational and performance opportunities, which encourage artistic expression, establish a lasting relationship between people and art, and enrich the cultural vitality of the community. Visit AtTheMAC.org or facebook.com/AtTheMAC for more information.

Support for New Philharmonic is provided in part by Brookdale-Glen Ellyn; ST|G|P Sullivan Taylor | Gumina & Palmer, P.C., the Illinois Arts Council, a state agency; WFMT 98.7 FM, WDCB 90.9 FM and the College of DuPage Foundation. This production of “The Merry Widow” is supported by an anonymous Soloist Sponsor.

Established as a 501(c)(3) not-for-profit charitable organization in 1967, the College of DuPage Foundation raises monetary and in-kind gifts to increase access to education and to enhance cultural opportunities for the surrounding community. For more information about the College of DuPage Foundation, visit foundation.cod.edu or call 630.942.2462. 

Programs at the MAC are partially supported through a grant from the Illinois Arts Council Agency. 

Pictured in Act III: Foreground L-R:  Erin Perry, Crystal Chandler. Lori Fimoff, Lisa Kristina, Molly Chesna, Kaitlin Tienen, Sara Solis; Background: Ben Adair, Reed Pence and Meghan Smeenge

New Philharmonic, under the musical direction of Maestro Kirk Muspratt, with staging by Michael La Tour, opens 2020 with Franz Lehár’s popular operetta “The Merry Widow,” libretto by Viktor Leon and Leo Stein, at the McAninch Arts Center, 425 Fawell Blvd.,Glen Ellyn, Ill. Performances are Friday, Jan. 24 and Saturday, Jan. 25 at 7:30 p.m. and Sunday, Jan. 26 at 3 p.m. Tickets are $59. For tickets or more information, call 630.942.4000 or visit AtTheMAC.org. 

All photos are by John Cebula Esq. 

REVIEW: The National Ballet Theatre of Odessa's Romeo and Juliet at Harris Theater

THE NATIONAL BALLET THEATRE OF ODESSA BRINGS BALLET MASTERPIECES “SWAN LAKE” AND “ROMEO & JULIET” TO CHICAGOLAND THIS JANUARY

Guest Review: 
by Flo Mano

The National Ballet of Odessa, is recognized as one of the most prestigious institutions of classical ballet and boasts an extremely varied repertoire, carrying the honor and the task to preserve the precious heritage of the great Russian ballets.

‘Romeo and Juliet’ was performed at Chicago's Harris Theater this past Sunday, with 55 of Ukraine's most talented and brightest ballet stars, presenting the most passionate and romantic love story of our time. With the music of Sergei Prokofiev, composed in 1935, this ballet is based on William Shakespeare's timeless tale of tragic love. This ballet has been conquering the hearts of viewers around the world. This full-length, lavish production included costumes and sets brought from the Ukraine.

The main disappointment lies in Mikhail Lavrovsky's choreography, which is mostly monotonous. The various characters swaying and flailing their arms isn't enticing. The contrast was stark between dancers' high emotion and threadbare moves, even if performed nicely by high-level dancers. 

Olena Dobrianska, as the beautiful, princess Juliet and Sergeii Dotsenko, as the handsome, towering Romeo were visually striking. Yet, Lavrovsky's various duets for the couple lacked originality, often structurally a repetitious pattern of the two dancers starting widely apart, racing together and embracing, racing back apart, and then repeating the movement, with a few dramatic lifts. These frailties are all the more obvious given the soaring qualities of Sergei Prokofiev's great score, one of the most hypnotic in all of ballet. 

There are some virtues. The sword fighting and stage combat was strategically on point with theatrical and artistic blocking. The dancers are also attractive and sharp. The cast is buoyant and energetic, though most of the secondary players are given little to do. 

While Lavrovsky fails to deliver in key scenes, he deserves credit for tinkering with the ensemble dancing, injecting echoes of brisk, lively folk dance into the crowd festivities and crafting an especially eerie spectral corps of mourners.

Since 2017, the Artistic Director of The National Ballet Theatre of Odessa, Ukraine is the People’s Artist of Ukraine, Elena Baranovskaya. Production is by Garri Sevoian.

The ballet company consists of the best performers, all graduates of prestigious Ukrainian and Russian choreography schools. Many talented artists have danced with the Odessa National Opera Company in its different periods and many of them have been soloists in major international companies.

Flo Mano is a CPS elementary teacher/librarian, hairdresser, and theater/film fanatic who catches hundreds of Chicago shows annually. She volunteers at numerous film venues and theaters.

THE NATIONAL BALLET THEATRE OF ODESSA BRINGS BALLET MASTERPIECES “SWAN LAKE” AND “ROMEO & JULIET” TO CHICAGOLAND THIS JANUARY

Acclaimed Ukrainian Ballet Company To Perform “Romeo & Juliet” at Harris Theater for Music and Dance, January 19, 2020 and “Swan Lake” at the North Shore Center for the Performing Arts in Skokie, January 21, 2020

The National Ballet Theatre of Odessa, is proud to announce two performances coming to Chicagoland in January 2020.  Featuring 55 of Ukraine’s top performers, “Romeo & Juliet” will be performed at the Harris Theater for Music and Dance, 205 E. Randolph St. in Chicago, Sunday, Jan. 19, 2020 at 3 p.m., and “Swan Lake” will be performed at the North Shore Center for the Performing Arts in Skokie, 9501 Skokie Blvd., Tuesday, Jan. 21, 2020 at 7:30 p.m.. “Romeo & Juliet” tickets are $55 - $85 , and are available by calling the box office at 312-334-7777 or through www.harristheaterchicago.org. “Swan Lake” tickets are $38 - $68 and are available by calling 847-673-6300 or by visiting www.northshorecenter.org. 

“Romeo & Juliet” is a ballet performed in two acts, set to the music of composer Sergei Prokofiev, choreographed by Michael Lavrovsky, directed by Elena Baranovskaya and produced by Garri Sevoian. The fullscale production is based on the WIlliam Shakespeare’s tragedy of the two doomed young lovers. The principal dancers are Olena Dobrianska as “Juliet” and Sergii Dotsenko as “Romeo.” 

Drury Lane Cabaret Room Hosts For the Love of Broadway: An Evening with Klea Blackhurst February 14-15, 2020

ChiIL Live Shows on our radar

The Cabaret Room at Drury Lane welcomes 

New York theatre and cabaret star in

For the Love of Broadway: 

An Evening with Klea Blackhurst 

February 14-15, 2020

Celebrate Valentine’s Day weekend with New York musical theatre and cabaret star Klea Blackhurst as she returns to Drury Lane for her Cabaret Room debut in  For the Love of Broadway: An Evening with Klea Blackhurst. For the Love of Broadway runs for two performances: Friday, February 14 and Saturday, February 15 at 7:30pm in Drury Lane’s elegant and intimate Cabaret Room located at 100 Drury Lane in Oakbrook Terrace.

Tickets, priced $75-$85, are now on sale through the box office at (630) 530-0111 or online at www.DruryLane.com.

Celebrate the season of love with Broadway tunes and stories in the romantic Cabaret Room at Drury Lane! Listen and laugh along to the lyrics of Cole Porter, Ira Gershwin, Oscar Hammerstein, Dorothy Fields, and a few contemporary surprises, too. After starring in several Drury Lane productions (the title role in Hazel and Mama Rose in Gypsy), Klea makes her Cabaret Room debut in celebration of love and Broadway. Don’t miss this leading lady whose “pipes belt out…with enough force, mastery and sheer force of will to blow half the traffic on the Eisenhower Expressway back to the city.” –Chicago Tribune

The Cabaret Room at Drury Lane offers a special small plates menu including a shareable charcuterie and cheese platter, bacon wrapped dates, specialty cocktails, and desserts. Doors open one hour prior to performance time, leaving plenty of time for guests to take advantage of this delectable menu. Gold Circle tickets include front row table seating at $85, and General Admission table seating is $75. There is a $25 food and beverage minimum per person.

For more information or to make a reservation, call the Drury Lane Theatre box office at (630) 530-0111 or visit www.DruryLane.com. 

Klea Blackhurst is an actress, singer, and comedienne known for her award-winning tribute to Ethel Merman, Everything The Traffic Will Allow. Most recently, she appeared Off-Broadway with Hayley Mills in the comedy Party Face at City Center Stage 2. She starred in Hazel during its world premiere production at Drury Lane in Chicago, as Dolly Levi in the highly acclaimed Fiftieth Anniversary production of Hello, Dolly! at The Goodspeed Opera House, and as Miss Lemon in The Nutty Professor, which premiered in Nashville, directed by legendary comedian Jerry Lewis and featuring a score by Marvin Hamlisch and Rupert Holmes. Klea also played Rose in Drury Lane Chicago’s production of Gypsy, garnishing rave reviews in 2012. 

On television, she has appeared in Ryan Murphy’s Pose and The Knick on Showtime. She spent two seasons as former prosecutor Shelby Cross on the IFC Channel comedy series Onion News Network. She’s done the requisite Law and Order: SVU, spent a week on Sesame Street, and was a musical guest on The Rosie O’Donnell Show. Theatre credits include: in New York – A Tree Grows In Brooklyn, Bingo, By Jupiter, Radio Gals, Oil City Symphony; Regionally – Ragtime, Call Me Madam, Chicago, The Great American Trailer Park Musical, Red Hot and Blue, and Anything Goes. Klea’s albums are on the Ghostlight Records label. She’s featured on “Jule Styne in Hollywood” on PS Classics; the original cast recordings of Bingo and Radio Gals; “Lost in Boston IV,” “Unsung Irving Berlin,” and “The Best of Off Broadway.” Klea is a Distinguished Alumna of The University of Utah and created the 4-week master class Klea Blackhurst’s Old School, a practical application of the American Musical Theatre.

Also playing at Drury Lane
Now playing on the Drury Lane stage is the magical musical for all ages Disney and Cameron Mackintosh’s Mary Poppins  (November 15, 2019 – January 19, 2020) followed by the Regional Premiere of the beautifully captivating Gershwin musical An American  in Paris  (January 31 – March 29, 2020).   

Drury Lane Theatre’s 2020/2021 Season runs April 2020-March 2021 and includes two Tony Award-winning musicals—the unforgettable Evita, based on the life of Argentinian First Lady Eva Perón, and the treasured Rodgers and Hammerstein musical The King and I. Drury Lane’s 66th season also includes the empowering tale of female friendship Steel Magnolias; Forever Plaid, an ode to the best of the 1950’s; and the family-friendly dance spectacular Irving Berlin’s Holiday Inn. Subscription packages including all five spectacular productions start at only $170 and are on sale now. Subscribers also receive priority seating, dedicated theatre entrances, and a discount at the onsite Lucille Restaurant. For more information, visit DruryLaneTheatre.com/Subscribe. 

The performance schedule for all productions during the 2019/2020 and 2020/2021 Seasons is as follows: Wednesdays at 1:30 p.m., Thursdays at 1:30 p.m. and 8 p.m., Fridays at 8 p.m., Saturdays at 3 p.m. and 8 p.m., and Sundays at 2 p.m. and 6 p.m. Student group tickets start as low as $40 and Senior Citizens start at $55 for matinees. Dining and show packages are also available. For individual ticket on-sale dates and ticket reservations, call the Drury Lane Theatre box office at (630) 530-0111 or Ticketmaster at (800) 745-3000 or visit www.DruryLane.com. 

About Drury Lane Theatre   
Built from scratch. Built in Oakbrook. Built for you. 

Founded by Anthony DeSantis over 60 years ago, Drury Lane remains a family-run organization under the leadership of President Kyle DeSantis. Drury Lane Theatre continues as a major force in the Chicagoland theatre scene, producing world-class theatre in collaboration with some of the nation’s leading actors, directors, and creative minds. Drury Lane Theatre produces the highest quality theatrical experience that immerses and supports our artists and audiences in the exploration of what it means to be human and to experience the transcending power of the performing and visual arts. Drury Lane strives to create an environment in which every individual or group is welcomed, respected, supported, valued and able to fully experience and participate in this transformative art form. 

The theatre has staged more than 2,000 productions and has been nominated for over 360 Joseph Jefferson Awards. Drury Lane proudly employs thousands of professional actors, musicians, designers, and crew members to entertain upwards of nine million audience members and counting. 

OPENING: DUKE ELLINGTON’S SOPHISTICATED LADIES AT THE RUTH PAGE CENTER FOR THE ARTS, JANUARY 24 – MARCH 6, 2020

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PORCHLIGHT STARS DONICA LYNN, DONTERRIO JOHNSON, LORENZO RUSH JR. AND MORE CELEBRATE ONE OF AMERICAN MUSIC’S MOST IMPORTANT COMPOSERS IN 

DUKE ELLINGTON’S 

SOPHISTICATED LADIES 

AT THE RUTH PAGE CENTER FOR THE ARTS, 

JANUARY 24 – MARCH 6, 2020

Tony Award-Nominated Entertainment Featuring Music by Duke Ellington, Direction and Choreography by Brenda Didier and Florence Walker Harris 

and Music Direction by Jermaine Hill

Porchlight Music Theatre’s 25th Anniversary Mainstage season continues with Duke Ellington’s Sophisticated Ladies, January 24 – March 6, 2020 at The Ruth Page Center for the Arts, 1016 N. Dearborn St. Featuring music by Duke Ellington, concept by Donald McKayle, direction and choreography by Brenda Didier and Florence Walker Harris, and music direction by Jermaine Hill. Previews are Friday, Jan. 24 and Saturday, Jan. 25 at 8 p.m., Sunday, Jan. 26 at 2 p.m. and Industry Night, Monday, Jan. 27 at 7:30 p.m. Press Opening Night is Tuesday, Jan. 28 at 7:30 p.m. The regular run performance schedule is Thursdays at 7:30 p.m., Fridays at 8 p.m., Saturdays at 3:30 and 8 p.m. and Sundays at 2 p.m. with weekday matinees Thursday, Feb. 6 and 13 at 1:30 p.m. and added performances Tuesday, March 3  – Thursday, March 5 at 7:30 p.m. and Friday, March 6 at 8 p.m. Tickets are $39 - $66 and are available at PorchlightMusicTheatre.org or by calling the Porchlight Music Theatre box office, 773.777.9884.

A celebration of the artist many consider one of the most important composers in the history of American music, this stylish salute to “the Duke,” Duke Ellington, will transport audiences on a high-stepping, dynamic journey through the life and times of this great showman. From his early days at Harlem’s legendary Cotton Club through growing successes at Carnegie Hall, on Broadway, in Hollywood and around the world, this elegant, Tony 

Award-nominated entertainment features a treasure trove of Ellington’s biggest hits, including  "Mood Indigo,” "Take the "A" Train,” "I'm Beginning to See the Light,” "Hit Me With a Hot Note and Watch Me Bounce,” "Perdido,” “It Don’t Mean a Thing,” "In a Sentimental Mood,” "Satin Doll” among many others. 

The cast of Porchlight Music Theatre’s Duke Ellington’s Sophisticated Ladies includes: Lorenzo Rush, Jr^, “The Raconteur;” Lydia Burke+, “The Danseuse;” Donterrio Johnson^, “The Jazzbo” Donica Lynn+, “The Chanteuse;”  Eustace J. Williams^,“The Danseur;” Molly Kral+,“The Soubrette;” John Marshall, Jr^,“The Hipster” with Shantel Cribbs +, Madison Piner+, Jenna Schoppe+ and Terri K. Woodall+;“Sophisticated Ladies” and Chuckie Benson^, Tristan Bruns^, Kaimana Neil^ and Joey Stone^;“Sophisticated Gentlemen” and Ariel Dorsey+, “swing/Sophisticated Lady.” 

The Sophisticated Ladies band includes Jermaine Hill^, conductor/keyboard; Marcel Bonfim^, bass; Jonathan Golko^, reeds 2; bass; Darius Hampton^, reeds 1; Justin Kono^, percussion; Stephanie Lebens+, trombone and Sam Wolsk^, trumpet.

Duke Ellington’s Sophisticated Ladies’ production team includes:  Brenda Didier+ and Florence Walker Harris+, co-director and co-choreographer; Jermaine Hill^, music director; Angela Weber Miller+, scenic designer; Denise Karczewski+, lighting designer; Robert Hornbostel^, sound designer; Caitlin McCarthy+, properties designer; Theresa Ham+, costume designer; Kevin Barthel^, wig designer; Matthew McMullen^, stage manager;  Jackie Robinson+, assistant stage manager; Mary Zanger+, assistant stage manager; Joaquin Gomez^, assistant stage; Sean Michael Mohler^, assistant stage manager; Austin Kopsa^, assistant stage manager swing; Samantha Treible+, wardrobe supervisor; Rachel West+, master electrician; Matthew Chase^, sound design assistant; Jamie Davis+, soundboard engineer and Catherine Allen+, production manager. 

Cast and crew key:
^ he/him/his      + she/her/hers     * they/them/theirs

ABOUT BRENDA DIDIER, director and choreographer
Brenda Didierreturns to Porchlight where she recently directed A Chorus Line and has directed and choreographed Billy Elliot, The Musical, In The Heights and Dreamgirls among others. Didier is a multiple Jeff Award recipient in both direction and choreography, and the recipient of After Dark Awards, BroadwayWorld awards and the National Youth Theatre award. She is the proud owner and artistic director of the Lincolnshire Academy of Dance, celebrating its 20th season. Other credits include work at the Goodman, Chicago Shakespeare, Second City, Marriott Theatre, The Paramount, Theatre at the Center, BoHo, Mercury Theatre Chicago, Theo Ubique Cabaret Theatre, Stage Left, Six Flags Great America, Busch Gardens Virginia, Cirque Shanghai at Navy Pier, T-Mobile’s national commercial “Home for the Holidays,” The Kenny Rogers Christmas Tour and the University of Illinois, University of Wisconsin and Carthage College.

ABOUT FLORENCE WALKER HARRIS, director and choreographer
Florence Walker-Harris made her Porchlight Music Theatre debut with The Scottsboro Boys and Duke Ellington’s Sophisticated Ladies marks her Porchlight directorial debut. Walker-Harris is the artistic director at Studio One Dance Theatre and trained in a variety of dance disciplines including Classical Ballet, the modern technique of Lester Horton, Kather, the Dunham technique, Jazz (strongly influenced by Mr. Frank Hatchet,) traditional Haitian folklore, African, Tap and Hip-Hop. She holds a Bachelor of Science in Sociology & Black and Latino Studies from the State University College at Oneonta in New York, and a Masters degree in Human Services Administration from National Louis University.

ABOUT JERMAINE HILL, music director 
Jermaine Hill is a Jeff Award-nominated music director, actor, singer and arranger.  At Porchlight, most recently, he was the music director for the critically acclaimed Memphis. Other credits include Too Heavy for Your Pocket (TimeLine Theatre), The Music Man (Goodman Theatre), The Total Bent (Haven Theatre), Nell Gwynn (Chicago Shakespeare Theater), and Ragtime (Griffin Theatre). He has performed with Haven Theatre, Erasing the Distance, Onion Labs and appeared in an episode of Chicago Med. He is an assistant professor of theatre and music director at Columbia College Chicago, an ensemble member of Griffin Theatre and a graduate of Ithaca College and the New England Conservatory of Music.

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 the home for music theatre in Chicago now in its 25th season, 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.” The 2017–2018 year marked a milestone for Porchlight as the company became an Artist In-Residence at the historic Ruth Page Center for the Arts in Chicago’s Gold Coast. Porchlight’s rich history includes the staging of more than 70 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 the launch of a youth summer “Make Your Own Musical” Camp in 2017. The company’s many accolades include 30 Black Theatre Alliance nominations and 12 awards, as well as a total of 167 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).

The 2019 – 2020 25th Anniversary Season is dedicated to the memory of long-time Board Member George K. “Kim” Sargent. 

Allstate is the principal sponsor for community outreach for Sophisticated Ladies. 

Porchlight Music Theatre is partially supported by generous contributions from the Abe and Ida Cooper Foundation, Actors’ Equity Foundation, Allstate, Bayless Family Foundation, Michael Best & Friedrich LLP, Chapman | Spingola, Attorneys at Law, the Gaylord & Dorothy Donnelley Foundation, Elegant Event Lighting, Elevate Energy, James P. and Brenda S. Grusecki Family Foundation, Harris Family Foundation, Hearty Boys, Hopsmith, A.L. and Jennie L. Luria Foundation, the MacArthur Fund for Arts & Culture at the Prince Foundation, the Pritzker Traubert Foundation, Daniel and Genevieve Ratner Foundation, The Saints, the Stuart Family Foundation, and the 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. 

CLUTCH SPECIAL GUEST ON THE US DATES OF VOLBEAT’S REWIND REPLAY REBOUND WORLD TOUR APRIL/ MAY 2020

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CLUTCH SPECIAL GUEST ON THE US DATES OF 

VOLBEAT’S

REWIND REPLAY REBOUND WORLD TOUR

April 4th to the 15th and May 5th to the 13th 2020

Clutch announce April and May 2020 US tour dates as Special Guest of Volbeat’s Rewind Replay Rebound World Tour. The first leg of the tour starts on April 4th in Tempe, AZ at 98KUPDUFest and finishes April 15th in Atlanta, GA. The second leg of the tour starts May 5th in Youngstown, OH and ends in New York, NY on May 13th. The Picturebooks open each show.

Clutch has some interesting history with Volbeat. Back in 2011 Clutch successfully supported Volbeat on their mainland European dates. Most recently Neil Fallon was invited by Michael Poulson to share vocal duties on Volbeat’s recording of the track “Die To Live” and to join the band at the video shoot for the song in Boston, MA. 

“It’s a catchy straight-ahead rocker of a song and I am flattered to have been asked to participate” says Neil Fallon. Tim Sult very favorably remembers the 2011 tour with the band. “We had such a great time touring Europe with both Volbeat and The Picturebooks, it was only natural that we do it in the US.”

Tickets go on sale Friday, January 17th at 10 AM EST via www.pro-rock.com.

April 04 | Tempe, AZ | 98KUPD UFest
April 05 | Las Vegas, NV | The Pearl
April 07 | Denver, CO | Mission Ballroom
April 08 | Independence, MO | Silverstein Eye Centers Arena
April 10 | Irving, TX | Toyota Music Factory
April 11 | Beaumont, TX | Ford Arena
April 13 | Nashville, TN | Municipal Auditorium
April 14 | Knoxville, TN | Civic Coliseum
April 15 | Atlanta, GA | Coca-Cola Roxy
May 02 | Hershey, PA | Giant Center ^
May 05 | Youngstown, OH | Covelli Center
May 06 | Columbus, OH | Schottenstein Center
May 09 | Milwaukee, WI | Eagles Ballroom
May 10 | Grand Rapids, MI | Deltaplex
May 12 | Baltimore, MD | UMBC Event Center
May 13 | New York, NY | Pier 17

^ Special guests Gojira & The Picturebooks; Clutch will not be supporting on this date 

Follow and listen to Clutch’s Spotify playlist HERE.

CLUTCH:
Neil Fallon - Vocals/Guitar
Tim Sult - Guitar
Dan Maines - Bass
Jean-Paul Gaster - Drums/Percussion
 
For more information, check out the band’s website:
www.pro-rock.com

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