Billy Elliot: The Musical

Nearly five years after making its landmark debut at London’s Victoria Palace Theatre in the historic West End, Billy Elliot: The Musical continues to charm audiences on both sides of the pond. Having grown into a global phenomenon in such a short period of time, the production has been already made a splash in Sydney, Melbourne, New York, Seoul, San Francisco, Toronto; gathering nearly every theatrical award possible along the way. Most recently, the show has come to reach the heartland, committing to a near year-long engagement at Chicago’s Oriental Theater. As Billy Elliot’s time in Chicago begins to wrap up, audiences race to experience the thrill and excitement only provided by such a caliber of show as this.
    With a score composed by none other than Elton John himself, Billy Elliot presents an otherwise tired plot with style and flare, and further stirs the emotions of audience members in this refined version of the “coming of age” plot structure. Highlighting the troubles of a young boy whose passion for ballet in a coaling mining community makes him a minority figure, the musical remains true to the film after which it is based. Themes of identity, sexuality, political upheaval, and angst are all present throughout the 2.5 hour masterpiece; themes which halted the production’s initial journey to the United States. While audiences in New York found the show to be both compelling and fresh, audiences in Chicago were less than welcoming during weeks following the midwest premiere. A bulk of the complaints were centered around a scene in which Billy’s best friend, played by Dillion Stevens and Jack Broderick, dresses up in his mother’s dresses, and further encourages Billy to do the same. Another main source of hesitation revolved around the language used throughout the production. Taking place in a rural coal town, the language used is both harsh and offensive, however true to the nature of the region. Even the young actors can be seen spouting off an f-bomb here and there! Despite a less-than-ideal reaction from heartland audiences, the show continued to build a following, until eventually going to sell out 3 months in advance.
    The robust and zany Emily Skinner anchored the production’s cast in Chicago playing Billy’ dance instructor, Mrs. Wilkerson, despite her having to leave in September 2010 after being offered the role in the Broadway production. She was replaced by so-so actress Susie McGonagle soon after, the mere writing of her name stirring about memories of the uncomfortable noises coming from her tap shoes as she bounced around the stage. While not terrible, McGonagle proved more of an actress than she did a dancer, unless you consider “clunking” around while winded to be dancing, in which case she was beyond fabulous!
    Perhaps the most notable performers in the show, as expected, were the four young men who portrayed Billy on a nightly basis. A demanding role to say the least, these boys defined the balance between athlete, artist, and entertainer, and further took responsibility for the show’s momentum at most times. The role of Billy calls for its actors to be on stage, either dancing and/or singing, for a majority of the night. As seen with the Broadway cast, this fact is often the cause for youngsters to opt out of the role after a just few short weeks. To help prevent this problem in Chicago, producers cast a 4th Billy to join the already talented group of performers. In particular, a young man from Mexico named Cesar Corrales, stunned audiences with his vigor and pacing, and further earned himself three standing ovations a night, on average, for his work. Corrales opened in front of Elton John on opening night in April, impressing the living legend after the first ensemble number. I’m sure we’ll be hearing much more about Cesar Corrales as he uses his time post-Billy to hone his skills even further at Canada’s National Ballet School.
    Set amidst a politically-torn coal mining community, the musical provides miraculous commentary for the union crisis fueled by Margaret Thatcher and her cabinet during the 1980s. The music in the show reflects this time period beautifully. Many songs in the show boast her name, and even symbolize her to be a monster during the Act I finale. With this, a cartoon monster version of her head grazes the auditorium as the cast bashes her and her policies. It is truly a great moment in musical theater history.
    While Billy Elliot: The Musical is now leaving Chicago, an unexpected two months earlier than booked, the show embarks on a national tour fit for a show of this standing. Over the next year, audiences nationwide will have the privilege of seeing this ingenious spectacular firsthand, and further finally join the movement we’ve all been buzzing about for the past year.

The Sound of Music

While Hollywood’s use of the “filmed musical” is an ongoing practice, recent endeavors fail to reach the standards set by the classic musical films made popular in the 1940s, 50s, and 60s. In particular, The Sound of Music stands as a beloved family classic nearly 50 years after its initial release. The music, setting, and characters all combine to fuel this intertwined love story unraveling amidst the Nazi occupation of Austria in the last glory days of the 1930s. Now, as the iconic Julie Andrews struggles to hold a single note after a botched throat surgery in 1999, we learn to treasure films such as this. While her abilities may be limited in the present, The Sound of Music acts as recorded evidence for a caliber of talent we rarely find anymore.

About a Boy - A novel by Nick Hornby

No man is an island. Nick Hornby comments on the human condition and the need for companionship in his bestselling novel, About a Boy. Following the intertwined stories of “cool bachelor” Will Freeman and Marcus Brewer, a tragically awkward middle schooler just trying to cope, the novel reminds readers that “growing up” is a process we go through several times throughout the course of our lives, and further that leaning on each other is inevitable. As Will targets single mothers to date, Marcus finds interest in girls for the first time. This is just one example of their mirrored experiences. With this, they are able to build their friendship and seek advice on similar issues. Charming, smart, heart-warming, and beyond witty, About a Boy will likely live on to achieve more than simply a “best seller” credit.

Spice Girls - Spiceworld (1997)

Perhaps one of the most commercially successful pop albums of all time, the Spice Girls’ Spiceworld treats listeners to a colorful sampling of nearly every musical genre, mixing music from all over the world with the certain “jam factor” we’ve come to expect from the iconic girl group. As a followup to their 1996 album, Spice, which consisted primarily of manufactured “filler” tracks, this album proudly boasts an entire collection worthy of radio play. In fact, Spiceworld would ultimately go on to sell 20 million copies worldwide, and further support four singles and a film deal for the group. An unapologetic guilty pleasure at best, the success of Spiceworld reminds us that even 13 years after the initial SPICE movement, “Spicemania” is far from dead.

Weeds: Season Six Finale

Weeds. A show once centered around a suburban housewife who sold pot to fellow soccer moms in the aftermath of her husbands death, pushed boundaries on Monday as the show ended its sixth, and probably finest, season to date. A featured player in Showtime’s weeknight lineup, Weeds ended its season with some of the highest ratings the series has ever seen, and with good reason!
    The episode begins precisely where last weeks episode left off. Nancy Botwin, played by the deliciously zany Mary-Louise Parker, has returned to the motel room of the reporter who convinced her to share her 5-year story with him as a way to preserve a record just in case her luck were to run out in the near future. As she arrives at the dingy room, however, she is greeted not by the reporter, but rather by estranged Estaban and Guierrmo, both of whom appear angry yet oddly reserved considering the circumstances surrounding Pilar’s murder in the closing of season five. Having been on the run for upwards of four months, one would expect more emotion from all parties involved in the reunion. This finally happens as Nancy cracks one final joke before a gas-soaked rag renders her unconscious.
    After being stowed in the trunk of a Mexican mob car, Nancy realizes that the road to Denmark may no longer be an option. With both Silas and Shane awaiting her next set of directions, Nancy’s ability to ruin everyone’s plans proves true yet again, and further continues a cycle which has been seen in every season finale thus far. From isolating the boys at the end of season one, burning the family’s “McMansion” in hopes of starting over at the end of season three, or even escaping to Mexico at the climax of season four, Nancy Botwin’s role as “the bad mother” appears to be set in stone, while her internal struggles as she realizes that she’s ruined her children’s lives resinate well with the audience. We root for Nancy Botwin, secondary only to the judgement we place on her during each episode. While resourceful and scrappy to a flaw, one could observe that Nancy Botwin continues to dig her own grave in this episode. Rather than fixing the larger problem at hand, Nancy continues to think short-term, making her solutions only temporary. Alas, the stage has been set for season 7!
    With a climax occurring at a busy airport amidst TSA personnel, the finale of season six is sure to keep you invested in the plot. Some of the best moments of the episode are found when Nancy deals with TSA officials after having just been kidnapped. While she speaks to the officers, the overwhelming desire to signal for help is seen over and over again. Nancy Botwin is just a sentence away from her freedom; a thought which will leave you yelling at your TV set things like, “Signal for help!” and “Oh my God, what are you doing?!”.
    On an ending note, this season successfully broke the impression that the series was doomed after the departure of Celia Hodes, played by the America’s stepchild Elizabeth Perkins. While lacking a secondary female lead, the season played out both balanced and purposeful.
    Season seven of Weeds is set to air this summer on Showtime, with some 13 episodes having been ordered already.

Aqua

    Located in Streeterville at 225 N. Columbus Drive, Aqua is one of Chicago’s newest and most-anticipated residential towers in recent memory. Boasting an unprecedented 82 habitable floors, the building has already become a fixture in the Windy City’s skyline, and further stands as an example of where architecture is venturing to as we creep closer and closer to 2011.
     Designed by the world-renowned Jeanne Gang, and winner of the highly-esteemed international 2010 Emporis Skyscraper of the Year Award, Aqua’s influence is both reputable and far-reaching, not to mention attractive to potential tenants. In fact, prior to opening, all units in the tower were spoken for. It wasn’t until the current financial crisis that condos were available for purchase. Gang’s design, the only project to he headed by a female-run firm, breaks the building up into three main sections: a hotel in the bottom 1/3 of the building, spacious apartments in the center, and nearly 260 condos on the building’s top floors. The views from these highly-sought units are said to be some of the best in the city, rivaling other buildings closer to the lake shore.
    From the street, Aqua is truly a feast for the eyes. With its fluid design, the exterior of the building resembles a ripple effect, much like a puddle after a stone has been thrown into it. This design is both captivating and refreshing, not to mention picture-worthy! Upon walking past the building, it isn’t uncommon to see tourists gawking at the structure’s architectural assets. It’s hard to believe that the core of the building is a simple rectangle! The design calls for varying balcony lengths to adorn the building’s exterior, which in turn creates the wave-like quality the building has come to be known by. After its initial opening, the tower received criticism from potential buyers in regards to the balconies. It is uncommon to find a unit with exactly the same size balcony as another due to design requirements, meaning some residents have less access to the outdoor views which made the building famous in the first place. Another questionable series of events revolved around the completion of the proposed hotel in the bottom section of the tower. Many feared investors would pull out as funding for the project froze in 2009, however PR representatives for the tower insist a deal is being pursued with Radison Blu, with the terms of operations being hammered out over the coming months.
    Another noted feature of this one-of-a-kind mixed-use tower is the interior design elements implemented by the legendary Robert Pope. Standards such as high-end fixtures, thick and cozy granite countertops, and rich wood elements strewn throughout each unit are just a few worth mentioning. It has been said that much of the building’s design influence tips its hat to Lake Michigan; a common theme for many nautical-theme buildings in the immediate area.
    Whether you are in the market, or simply appreciative of architecture, Aqua is worth checking out! It is probable that this unique building will surely ingrain itself into the visually-understood representation of Chicago in the coming years!

Art and Hype

Chicago’s Art Institute, while housing some of the most precious works of art in the world, is home to some of the most worthless, overly-hyped paintings in America today. In particular, Grant Wood’s American Gothic is perhaps the most notable work featured in this category of art. It isn’t uncommon to see large crowds gathered around the piece at the Art Institute, standing in awe of the pretentious painting while muttering disconnected observations pertaining to its meaning and beauty. The painting is of a man and his wife, both farming types, standing in front of a cottage in what appears to be rural Kansas. That is all!  There is nothing really there to invite the viewer in, or even speak to anything other than “life on the farm”. While the detail in the painting is quite skillful, the content of the piece leaves little to take home with at the end of the day.
    The main concern with this painting revolves around the fact it leaves no room for the imagination to direct the experience of the viewer. It is a painting of a couple in front of a cottage, and that’s it! Nothing else! There is not space left to read into the piece without sounding like you’re trying a tad too hard. To give this painting any depth would be like giving depth to something like a cotton swab. No matter how you look at it, the fact remains that it is still a cotton swab. American Gothic, while pretty to look at, offers little to any true appreciator of art. Hype is hype, and a painting of a farmer remains a painting of a farmer. How does art like this become so popular?
   

American Gothic: Humor in Art

    Perhaps one of the most iconic paintings in American history, Grant Wood’s American Gothic has sparked critical debate from its unveiling in 1930. This brilliant piece, currently housed at Chicago’s Art Institute on Michigan Avenue, captures the stereotypes surrounding life in rural communities, and further uses simplistic composition as a way to comment on “small town living” in a satirical, yet incredibly realistic fashion. The painting, an oil piece on beaverboard, is by far one of the most visited paintings at the Art Institute of Chicago, not to mention one of the most parodied paintings of all time!
    Simple, meaningful, and rather humorous, American Gothic depicts a rural scene featuring a farmer and his daughter standing in front of their farm’s cottage. Despite popular belief that the woman in the painting is the farmer’s wife, the artist insisted otherwise prior to his death in 1942. The farm’s cottage, particularly the unique window featured on the second floor, is the true focal point of the piece, while the “simple folk” are merely featured in the painting. Much attention can be drawn to the faces of the family; unattached, disinterested, and slightly confused expressions mirroring the suggested troubles seen with rural people in terms of fitting in with modern society.
    Themes revolving around labor, society, and gender roles are all present in the piece, varying widely depending on the lens one chooses to view the painting with. In essence, the nature of the painting is quite subjective, and could potentially change with each viewing of the piece. This is one of the most attractive qualities of American Gothic, and further brings unprecedented value to what is perhaps one of the most humorous art works of the 20th century.

Black Dogs - A Novel by Jason Buhrmester

    Chronicling the misguided adventures of four Baltimore underachievers in the early 1970s, Black Dogs skillfully fabricates a comedic explanation for what is perhaps the most famous heist in rock and roll history. The actual heist, which took place in 1973, targeted rock band Led Zeppelin, and further amounted to over $200,000 being stolen from the band as they wrapped up their 1973 tour in New York City. The novel, while not a serious read by any means, offers a refreshingly entertaining glimpse into the rock scene of the 1970s, not to mention an all too accurate portrayal of the dynamics of friendship and brotherhood specific to the 18-30 age demographic. While short in length, the novel’s smart approach to storytelling adds dimension to narrative aspects often overlooked in literary works. A highly-focused subject, character traits which mirror friends we all have, and the classic suspense of crime are just a few areas in which the novel truly excels. Historical context, in part, greatly contributes to this “unspoken” sense of something greater. While simply a story about a heist and the events leading up to it, the relation to rock history places the story on a timeline which remains relevant today.
    As the novel begins, we are introduced to Patrick Sullivan, a character who is lost yet entirely centered at the same time. Much of the story’s bulk is focused on the events which occur after Patrick and his goof-ball friends attempt, and quickly fail at, robbing a house. Having dodged any legal connection to the crime, Patrick must cope with his partner, Alex, having been captured and sent to jail. Needing money to free his friend, Patrick and his friends set their eyes on a new goal; they will rob Led Zeppelin, and further go down in history forever for doing so.
    Unfolding in a series of ill-fated robberies and petty crimes, the characters in the novel are introduced to a colorful variety of personalities as they strive to complete their objectives. The leader of a Christian motorcycle club, an ethically-questionable district attorney with a suspected drug problem, and a criminally-wise club funk band are just a few mentionable faces the boys encounter along the way; each providing comedic credibility to author Jason Buhrmester, whose imagination proves seemingly endless despite the non-fictional subject matter of the novel itself.
    While the heist is the central focus of the novel, much of the reader’s enjoyment will come by reading the context in which the event took place. The action, which unfolds as plans never follow through as hoped, is both constant and investable. In fact, it is impossible for one not to support the mediocre bandits as they continue on despite all odds being placed against them. A good laugh indeed, this novel will deliver to anyone willing to read it despite one’s prior knowledge of rock and roll history. Witty, entertaining, and highly-suspenseful, this novel is a good read; one suitable for travel and/or light reading in between works of greater depth. Buhrmester will heist your afternoon with his novel; a piece fueled by intriguing content and his ability to tell a proper story.
   

Keeping Up With The Jones' Is Overrated

    A film by American Beauty director Sam Mendes, Revolutionary Road tells the story of a young married couple, Frank and April Wheeler, who have recently settled down in a Connecticut suburb in order to raise their two children in the type of picturesque neighborhood they swore they’d never live in. Sadly, however, the couple, portrayed by Leonardo DiCaprio and Kate Winslet, soon realize that the “American Dream” they sought to attain does not come without its many sacrifices. Set in the late-1950s, the film captures the struggle one faces as they’ve lost sight of the person they once were, and further paints an uncomfortable portrait of America’s middle-class; one which looks past the iconic white picket fence to reveal a world overcrowded with personal longing and missed opportunity.
    Appearing in a much-anticipated onscreen reunion, Titanic stars Leonardo DiCaprio and Kate Winslet prove once again that chemistry is an essential element for proper filmmaking. The two truly shine in this film, and further bring a certain relatable layer to their characters. The audience becomes emotionally involved with the film as the young couple struggles to maintain their relationship despite having grown to desire different things out of life. For the first time in recent memory, however, DiCaprio’s performance proved more convincing that of Winslet. A series of scenes in the film are based around arguments to which DiCaprio commits to beautifully, and with well-seasoned skill. Without restraint, DiCaprio transforms into a desperately conflicted man; a man so enraged by his wife he nearly beats her, only to walk away in the end having realized that he is not fighting with her at all, but rather with his own disappointment for their situation. The performance was mature, pleasantly raw, and 100% believable at all times. Winslet, on the other hand, was unable to deliver a performance that would compete with that of DiCaprio’s. While a very skilled actress indeed, Kate Winslet’s inability to master the art of movement limited her performance in the film, and further made for awkward onscreen moments between she and DiCaprio. She has the tendency to plant herself in one place to deliver her dialogue, and rarely responds to the movements of others. This specific quality took away from the potential of the couple’s numerous marital spats featured in the film. Winslet did, however, portray the essence of a regretful housewife quite well in this film. As April Wheeler is forced to “keep house” all day and look after the couple’s children, the audience begins to realize that April, in fact, resents her children and the restraints they have placed on her life. While never said, this quality contributed greatly to the overall uncomfortable tone of the film. Honest in nature, but nevertheless uncomfortable overall. This is definitely not a situation we strive to experience!
    The most profound message in the film is delivered during a dinner party scene which takes place at the Wheeler’s home. Their neighbor, Mrs. Givings brings her son whom she introduces as “not well” in the head. While the man is clearly insane, he begins to call out each person in the room for living a life they hate, and further for having become exactly the type of person they despise. In essence, they must now hate themselves. It becomes clear in that moment that the insane man is actually the healthiest person in the room.
    Although a stunning film in every sense of the word, the film’s sincere beauty is truly felt as you leave the movie theater. As you reflect on the film’s all too true portrayal of suburban hardships and outdated gender roles, it becomes impossible for one not to question their own direction in life. At what point do we give in and settle down? Does settling down mean we can’t pursue our goals anymore? What constitutes happiness? With that said, this film will deliver (and deliver). 
   

Tegan & Sara - Sainthood

   Imported from Calgary, Alberta, Canada in the late 1990s, indie pop-rock duo Tegan & Sara are far from music industry rookies. With their newest album Sainthood launching last fall , the sisters have been touring in support of the record for nearly a year, and have no plans of stopping in the near future.
    For any true Tegan & Sara fan, the sound on their new albums poses many questions and concerns, while it is still receiving praise in a similar fashion. Sainthood’s sound is much more “poppy” when compared to what T+S listeners are used to, and also relies on an odd repetitive theme to help instill the message intended. Tracks like “Alligator”, a pop-dance explosion inspired by Miami culture in the 1980s is a great dance track, however it lacks the the deeper content which the sisters are known for in each of their songs. Another track which perpetuates the theme of repetition is called “Hell”. The first single off the new album, “Hell” made Tegan & Sara history for being their first single ever to receive national radio airplay. The track is a pop-rock dream; one filled with electric guitars and numerous keyboards alike. While this track is rather radio-friendly, it sounds nothing like the Tegan & Sara we’ve known and loved since 1998.
    When looking to past albums like So Jealous and The Business of Art for answers, one only grows more confused as to the origin of the band’s new sound. Pop music sells, and we can assume the girls are ready to give in. After nearly a decade of writing acoustic-folk songs and wiccan-punk melodies, the sisters are clearly looking for something new and fresh.
    As we look to the band’s past work for inspiration, we find the song “We Didn’t Do It”, a folk-rock song discussing the girls’ inability to “sell out” to the industry and their fans. In reality, the name of their new album should  be, We Did It (For the Money). While there is nothing wrong with making a dollar in this industry, it is another thing to change your sound entirely! If you are a seasoned Tegan & Sara fan, you probably won’t take a liking to this otherwise great record. If you are looking for something fun, catchy, and different, this album may be for you! 


Celine Dion - Taking Chances World Tour: The Concert

    An album chronicling the 7th highest-grossing concert tour of all time, Celine Dion’s Taking Chances World Tour: The Concert certainly delivers in ways unheard of for the eccentric pop icon. Often noted for her cheesy, over-the-top performance style, this album captures Celine Dion in a light which would surprise even the most harsh of critics. If anything, the woman can sing! And that she does in this two hour recording; a show featuring her most-beloved classics, interspersed with several new tracks supporting her latest English-language album, Taking Chances. 
    The album kicks off with an upbeat cover of Cyndi Lauper’s I Drove All Night, on which Celine’s vocals are clearer than ever. Typically, Dion’s voice comes across rather strained, and physically uncomfortable; however, this recording is noticeably different. Having been nearly twenty years since she broke into America’s music scene, her voice has matured in many ways, particularly when it comes to the range in which the bulk of her notes are delivered. Once a tad forced, Celine now belts out even her most ambitious hits with both refinement and mastery. Her version of All By Myself features an extended high tone which throws the crowd into a frenzy. While clearly winded from the feat, Celine finishes the number with yet another extravagant extended note. As the next song begins, the remaining goosebumps on your arms act as a reminder of precisely the caliber of entertainer Celine Dion is.
    Another great feature to this album is the number of new tracks being introduced by Dion. Mostly the product of trying to fit into an industry she no longer relates to, a majority of the new songs are modern day pop covers, many of which are styled like the music of Skakira and Delta Goodrem. While not the flashy love ballads we’ve all come to expect from Dion, the additions showcase her abilities as a working performer; one who will experiment in order to find herself a new audience.
    The “Queen of Love” has really outdone herself with this now-essential collection of live performances. The quality and clarity of the album is truly a rare find for any arena-recorded live event. Celine Dion will surprise you with this installment of her career, and further prove to even the most dedicated Celine Dion critics that image cannot possibly speak to one’s true talent. This album is a must for any true fan of pop music, as well as anyone indifferent to Celine Dion!