REVIEW: Noises Off at Windy City PlayHouse

Having just seen The Play That Goes Wrong, I was very excited to bring my 10 year old son to see what one could easily call its theatrical ancestor.  That show is Noises Off, which is playing at the Windy City Playhouse now through March 31.

Unfortunately, my son couldn't make it (darn you, procrastinated projects) but I got some friends together and we were able to attend the opening night.  The show was very funny and well worth seeing.

Noises Off , written by English playwright Michael Frayn, is a farce in 3 acts.  It's got a great premise and an even greater gimmick.  The premise is that a British troupe is putting on a farce called Nothing On.  We see the show three times- the first time at a very tense dress rehearsal the day before opening night:  at a show about 30 days into their run; and the very last set of performances at a theatre in the mythical town of Weston-SuperMare. We see the production and the relationships between the actors break down completely, and we see everything go wrong.

Backstage at the theatre things can get a little tense.  Photo by Michael Brosilow.

The gimmick is that the second show is seen from an entirely different perspective- backstage.  Typically, productions build a rotating set, and turn it around during the intermission. At Windy City, the entire audience picks up and moves to the back of the theatre for the second act, which is literally backstage.  This works really well, and you get a strong feeling of being where the action is.  The action moves back to the front of the theatre for the last act, which shows the play having come completely off the rail.

The production was great.  In a farce, the play and the stakes have to continue to wind up and ramp up.  If they don't, the play loses pressure, and instead of hilarious, it becomes silly.  (Or as Lloyd, the director says in the first act, this play is about doors and sardines, doors and sardines.) There's also lots of pants dropping.

What's a farce without somebody losing their pants?  Photo by Michael Brosilow

The director of the show Scott Weinstein manages to keep the pressure strong, the timing crisp, and the sardines a' plenty, and that brings lots of laughs.

 I thought all of the actors were great, but I wanted to make special mention of a few actors: Will Casey as the end stage actor Selsdon (think a poor man's Peter O'Tool from My Favorite Year) has a dim-witted charm that delights, and Rochelle Therrien as Brooke manages to "act" so poorly that it is hilarious without being bad, which is really threading the needle. 

Also notable were Amy Rubinstein as Belinda, the mother-hen actress who tries to solve everyone else's problems. Rubinstein is the founder and artistic director of Windy City, but she ably wears her acting hat here. Alexander Quinones as Tim did a fine job of being the put upon technical director/understudy (weirdly, in the video below, they have a different actor playing Tim.  Not sure if he dropped out or what, but Quinones does a fine job. 

Truthfully, there are no bad actors here-- everyone plays their part exceedingly well. And, considering that it was a British play done with British accents by an American cast-- there were no klunkers, accent wise.  Great job, dialect coach Kathy Logelin.

Here's a teaser video that is available also on the theatre's website:




My favorite act was the second act, backstage, where you see the shenanigans that go on.  In this production there's some very physical and delightful business that moves at a breakneck speed-- which is just the right speed for a farce such as this.  There's a bit where an actor has to jump up the stairs with his shoes tied, avoiding an actor coming down, and an errant whiskey bottle that seems to be all over the place.  They get everything right!

If you like to laugh, Noises Off would be a great date night choice for you!  There's also a bit of a fancy bar in the lobby, and drinks are allowed into the theatre-- drinks range from $6 on up (some of the cocktails are $12 or $14) so bring your credit card.   The theatre has thoughtfully supplied drink rails which are a big help.

SCHEDULE: 
 The show runs from January 9 – March 31, at the Windy City Playhouse, 3014 W Irving Park Rd.
Tickets range from $45-85 and can be purchased online at http://www.windycityplayhouse.com

Review: Spring Awakening Musical (Blank Theatre Company)

There is good news and there is bad news about the inaugural production of the Blank Theater Company.

The good news is that their first show, Spring Awakening, (playing through September 30 at the Frontier Theatre in Edgewater) is beautifully performed, choreographed, and directed in an intimate blackbox theatre that showcases the excellence of some promising young actors.

The bad news (at least for you) is that every remaining seat of their next set of shows is completely sold out (and they don't have the ability to extend.)  There is a waiting list, and you should get on it. Pronto.

My wife and I attended the show as a date night.

The play has extra meaning for us, because we saw it on Broadway in New York, with Lea Michele and Jonathan Groff in it, before they were television stars and household names.  While I knew the theatre was small (approximately 50 seats), and I was expecting it to be good, I really had no inkling that the performers would shine so brightly.

Get the Broadway Soundtrack to
Spring Awakening  on Amazon

AN ADAPTATION OF A CONTROVERSIAL PLAY FROM THE 1890'S

The play itself is a musical adaptation of Franz Wedekind's first play, written in 1891, and first performed in 1906 in Berlin.  The show, set in a 19nth century German school, is about sexual repression and tension and both the rise of sexual desire (hence awakening) and the lack of knowledge that kids have about sex and their own bodies.    In today's snapchat, bikini-wearing, pornhub universe, these teenagers seem unspeakably naive and unknowledgable.

A great scene is the opening one, where Wendla, a young girl appears before her mother in a short skirt that she has outgrown.  Her mom complains that she should put on more proper clothes.  Wendla says, "But this dress makes me feel like a fairy princess among the flowers.  The mother says, "You are in full bloom, dear."  She later demands to know where babies come from, and her mom tells her a man and a woman have to love one another.  This serves her in poor stead later when [SPOILER ALERT!] she has sex with the main character Melchior, gets pregnant, and then dies from a botched abortion (or in German code, anemia.)

Wendla (Haley Bolithon) comforts Melchior (Jeremiah Alsop) photo by Nick McKenzie

There are many great performances in this show, with special shoutouts to Jeremiah Alsop as Melchior and Sam Shankman as Moritz.  Moritz is a D student on the verge of failing his classes who is so addled by his thoughts of girls and breasts that he can't concentrate on the classics, and Melchior is a young brilliant intellectual who knows more about sex than all his classmates combined, but has no practical knowledge to back it up.  These young men have great chemistry as friends, and both of them bring great intensity to their work that makes a lot of their stage time mesmerizing.

Herr Knochenbruch (Mike Weaver) and Fraulein Knuppeldick (Lisa Savegnago) question Melchior (Jeremiah Alsop)
about the author of an inappropriate essay.  Photo by Nick McKenzie

 Also great were the adults (who played all of the parents and teachers) Mike Weaver and Lisa Savegnago.  They bring a great priggishness to the show and unwittingly set up a lot of the tragedy that occurs during the show.  They play a lot of characters and do a good job differentiating them.  I also want to shout out Haley Bolithon as Wendla and Claire Latourrette as Ilsa, both of whom do great justice to their characters.  I have called out these people, but the whole cast was top-notch.  There was an understudy on the night we saw the show (I know, understudies in a 50 seat theatre!) and I truly couldn't tell who it was.

Ilse (Claire Latourette) surprises Moritz (Sam Shankman)  photo by Nick McKenzie.

The set design was simple, as were the music orchestrations, played by a company of 4. They are constantly present, but not part of the scene.  (At one point I got a little thrown off, because the drummer seemed to be asleep, although I am pretty sure that they just had their eyes closed and were concentrating.)  But I started to wonder....

I also need to point out the choreography, which is avant-garde but filled with appropriate tics and sudden movements.  The choreography from the original show as by Bill T. Jones, and I remember thinking it was amazing how the avant-garde has become commercial.

The cast of Spring Awakening sings "Touch Me."  You can see some of the choreography here.  photo by Nick McKenzie

WHAT'S NEXT FOR BLANK THEATER COMPANY

See on Amazon.

There is a lot of tragedy in the show, including a suicide, a botched death, an expulsion, bullying, etc.  Somehow, they manage to end the show on a promise of hope rather than in the tragedy of youth.  It's a good message, and especially timely for today's era of #metoo, #itgetsbetter, and #grabherbythepussy.

I spoke briefly to the director after the show, who said that they would explore the possibility of a remount or an extension if they could, but they are also focusing on their next show, Blackbird by David Harrower, which will come out Spring 2019. If you want to find out more, or to support his new theatre company, visit them online at https://www.blanktheatrecompany.org/

Hedwig and the boundaries of transgression

PLEASE NOTE:  this post contains adult content not typical of the rest of my blog. If that kind of stuff is offensive to you, you should probably skip the post.   There's nothing objectionable per se, but I am discussing transgressive behavior, and I do mention porn. Scroll down to read.  Thanks!

This is the Broadway program, not
ours, but ours didn't have an image.

We went on a date night recently to see Hedwig and the Angry Inch.  It was a date night at the lovely Oriental Theater, currently on tour and starring Euan Morton as Hedwig, formerly Hansel, a transsexual singer who has had a botched operation (hence the Angry Inch) which is also the name of his/her band, and is now in a liminal state of being simultaneously man and woman physically as well as emotionally and is stalking his former lover/babysittee as he became a national rock sensation.

I'm sad to report that I didn't like the show very much, although I thought it was well acted and well played.

 Morton prances around the stage with a lot of energy, has some funny one-liners, as does his now husband, Yitzkak, who is played with a very comic sad sack quality by Hannah Corneau.  And the band all does what they do just great.

But the show itself failed in allowing me into the story, and as a result, I was just kind of uninterested in what was going on.  I said to my wife after the show that I felt like I was at a rock concert where I didn't know any of the songs.  There was a lot of energy, but without a connection, it signified nothing.

Some of that has to do with the architecture.  The Oriental Theatre seats 2200 and I was way up in the balcony.  I could imagine feeling more involved in a tiny theatre, where the actor was in front of me, sweating on me, getting me involved, where I could get immersed in the show. Part of that was the overly loud sound, the relentless strobe lights, and the set design, which was great for filling this giant theatre with everything except for true connection.

Some of it has to do with me.  I can't like every play that's out there, and for whatever reason, I didn't connect/care too much about the story.  I'm sure others had a different reaction.  The place was full and people were laughing and cheering at the end. I guess I'm just not a Hedwigian.

Tim Curry as Frank N. Furter in Rocky Horror.

On the way back from the theatre, my wife and I had a great conversation about transgressive musicals.

When I was a kid, the thing that turned you on to "alternative lifestyles" was Rocky Horror.  It broke the norms of sexual behavior, and as a teen that was what was exciting and forbidden.  It opened up (for me) a whole new exciting world that I knew nothing about.  I think for the era before me, it might have been Hair that did the same.  I think Hedwig was the transgressive musical of the 90's.  And maybe 50 Shades was it during the 2000s?  (Although as far as I know it is not a musical. Which is a transgression in and of itself!)

Anyway, we started talking about what was going to be transgressive now, when transsexualism and BDSM are mainstream, when Burlesque is available just about everywhere, and when all sorts of lascivious pleasures are available to anyone with half a brain and the gumption to say that they are over 18.

And the fact that kids who are watching hardcore porn have a very misleading idea of what sex is, should be, can be, and what their roles are within it.

Not sure what's transgressive now, but from my experience last night, Hedwig wasn't it.

If you've got a pointer to transgressive musicals/media of 2017, please let me know!  (I will not accept urine-soaked video of Donald Trump as an answer!)

Find out more about Hedwig and where it's touring to  HERE

REVIEW: Spymonkey's The Complete Deaths

I had the chance to see a great production recently at the Chicago Shakespeare Theatre.  It's only there through December 11, so if you want to see it, you need to hustle!

Photo by Ludovic des Cognets
provided by Spymonkey

The show is by Spymonkey, a British troupe of clowns/physical comedians.  If you've been to Las Vegas, you may have seen their work, as they created all of the comedy numbers in the Cirque du Soleil show Zumanity.  They are known for their wacky physical theatre, their crazy costumes, and their off-kilter situations and characters.

 The show is directed by Tim Crouch, who performed earlier in the year the remarkable show I, Malvolio. I reviewed that show a couple of years ago when I saw it in NY for my other blog Clownlink.  In that review  I suggested that Crouch was great, but he could take the show from an 8 to a 10 by taking a clown workshop.  Apparently, he took my advice, as he is now working with Spymonkey.  I would very much like to know if it affected his own show.

This show has as its concept the idea that the company Spymonkey (composed of four members Toby, Aitor, Petra, and Stephan) will move away from comedy to create a Great Piece of Theatre by taking all  75 of Shakespeare's onstage deaths and putting them into one show.

Photo by Ludovic des Cognets
provided by Spymonkey

It's a fantastic concept, even though one of the other performers wanted to do a bubble show instead. Toby, the rather bossy auteur, sets the tone, telling people that if they were there to see some slapstick buffoonery, they were going to be disappointed.  (Shortly after that he thanks a latecomer for bringing some new energy into the room)

As part of the set, there's a giant count-down timer, counting down each death, and every time somebody dies a buzzer goes off.  They actually have a judge/clock keeper on stage that does the honors, and as far as I know she never watches the show.  (This is part of Tim Crouch's influence-- in some of his other plays, there are random people cast in the show each night.)  There's also a number of set pieces, including a fantastic sausage making/machine that would look right at home at a production of Ubu Roi.






The death's continue apace, and luckily for us there is a fair amount of buffoonery in accomplishing them.  I don't want to spoil the show, but by the end of the first act over 50 people are dead, and there's a hilarious and quite bloody version of the classic clown gag The WasherWoman.

There's also some really powerful and moving moments, such as the death of Cinna the poet, who is murdered by a blood-thirsty mob for having the same name as one of the conspirators against Caesar.

The fly, as drawn by Chris Riddell for a very funny card game
that they sell as merchandise at the show.

Another great stage device was using a video camera to film a puppet show and they show the burning of the puppet.

In case you were wondering, those deaths include (according to the program) 23 stabbings, 12 sword fights, 5 poisonings, 2 throats cut, 1 smothering, 3 by natural causes, 4 by wounds, 2 explosions, 2 heartbreaks, 3 mob killings, 2 beatings, and 3 others through miscellaneous causes.

And one of them (and as it turns out a central one) is the death of a black, ill-humoured fly.  I was particularly amused by the Fly-Cam that appears throughout the show.

All in all the show is very funny, and I don't think you need to be so familiar with Shakespeare to enjoy it. There are moments of great absurdity, and there are moments of great importance, and sometimes they are at the same time!  I guarantee it is nothing that you have seen before.  I think it would make a great date night show.

Photo by Ludovic des Cognets
provided by Spymonkey

On a completely side note, the views from the theatre of the city and of the water and of Navy Pier are astonishing.  Don't miss going to the restroom, which has a beautiful view of the Chicago skyline.

Tickets are available online at https://www.chicagoshakes.com/plays_and_events/deaths  or by calling the theatre box office at 312.595.5600 Tickets start at $42.


If you miss the show, Spymonkey's shows are available to stream at Vimeo On Demand, along with their other productions, including Stiff, Cooped, Moby Dick, and Oedipussy.

Audience Notice: Recommended for audience members ages 16 and up. Death is messy. This show features adult content, including brief nudity, profanity and (of course!) depictions of violence, from decapitation to death by lack of sleep.

REVIEW: Stomp in Chicago!

We saw STOMP last night.  It's going to be at the Broadway Playhouse in at Water Tower Place through January 1, 2017.

DISCLOSURE: I received free tickets to attend this event in order to write about it.  My review of the show is not influenced by the freeness of the tickets.  I take my credibility seriously, and so should you!

The show is stellar.  It's been performing on stages pretty much continuously since it opened in 1991. They currently have 4 productions of the show-- a NY show, a London show, a North American tour, and a European tour.  They've won numerous awards, been on lots of television shows, and have won the hearts of just about everybody who's ever seen it.

For those who have been living under a rock, STOMP is a percussion show that features 8 performers who bang, hit, slide, and otherwise play on just about everything on stage that ISN'T a percussion instrument.  A small sample of what they use in the production include matchboxes, brooms, wooden poles, Zippo lighters, hubcaps, mini-basketballs, plastic tubes, garbage cans, and shopping carts, just to name a few. The performers are immensely skilled, and can pull complex rhythms from just about anything.

Here's a video of the show.  PLEASE NOTE: The performers in the current show are different than the ones in the video.  Many of the acts/numbers however, are the same.

As you can see from the above video, not only are their rhythms great, their teamwork is also wonderful.  They are so in synch with one another that even though they are playing really complicated counterpoints and rhythms , they all manage to stop, start, and switch it up multiple times in one number without missing a (pardon the pun) beat.

The performances here are filled with virtuosity and humor.  It's clear these guys (and girls) have been doing the show for a long time, and are expert at it.  The interaction between characters and the audience is fantastic.

The show has virtually no words, although there is some grunting.  There is a fair amount of call and response from the audience. and our audience was so into it that there was an extended encore.

This is a definite crowd-pleaser kind of show, and I believe that your crowd will be pleased.

It's great for kids of all ages, although probably 6+, as there are LOTS of loud noises that might frighten or startle a less experienced child.  This would also make a great date night.

As we left the theatre and took the bus back, all the noises around us - the cars streaming by the bus stop, the little noise the bus stop makes, the horses clacking away in the background-- all started to organize themselves into an amazing STOMP-rhythm of their own.

We had a great time at #stomp! What a fantastic show! I hadn't seen it in a while, and it was so full of energy and virtuosity! @broadwayinchicago. As we are waiting for the bus, all the sounds around us are organizing into a rhythm!

A photo posted by Adam G (@kafclown) on Nov 20, 2016 at 6:00pm PST

TICKET INFORMATION

Tickets for STOMP at the Broadway Playhouse at Water Tower Place are on sale now. A select number of premium tickets are available for many performances. Tickets range from $39-$84.

Group tickets for 10 or more are available by calling Broadway In Chicago Group Sales at (312) 977-1710.
Tickets are available at all Broadway In Chicago Box Offices (24 W. Randolph St., 151 W. Randolph St., 18 W. Monroe St. and 175 E. Chestnut), the Broadway In Chicago Ticket Line at (800) 775-2000, all Ticketmaster retail locations and online at www.BroadwayInChicago.com.

DATE NIGHT IDEA: Xanadu at the American Theater Company

American Theater Company's production of "Xanadu."
Image by Michael Brosilow. 

Now through July 17, the American Theater Company will be presenting the classic camp musical Xanadu. 

 It's the first production of its Legacy season, presented as a tribute to ATC's late Artistic Director PJ Paparelli, who was a huge fan of this camp classic, which is based on the 1980 Universal Pictures film, also called Xanadu. 

The production has music and lyrics by Jeff Lynne (of E.L.O.) and John Farrar (of British group The Shadows, and producer of Olivia Newton-John's work) and the book is by playwright Douglas Carter Beane.

Xanadu takes place in Venice, California in 1980. Struggling artist Sonny Malone seeks to create his own version of the American dream by renovating an abandoned warehouse into a venue for world-class entertainment – a roller disco!  He manages to succeed with the help (and hindrance) of some Greek deities. A hilarious and modern update of the 1980’s camp classic, Xanadu celebrates the artist’s muse, even when it comes from the most unlikely of places.

We saw this when it was on Broadway and it was a very fun (and funny) musical.  If you are a fan of the 1980's, of camp, and of roller-skating, then this will be a sure fire winner for you.

Here's the promo video for your perusing pleasure:

The Sirens in American Theater Company's production of "Xanadu."
Image by Michael Brosilow.

Single tickets for Xanadu range from $48-$58. Student tickets are available for $15 with valid student ID in-person at the Box Office. More information and tickets are available by visiting the ATC Box Office at 1909 W. Byron Street, by calling 773-409-4125 or visiting www.atcweb.org. 

Xanadu Performance Schedule

Regular Run: June 7–July 17: Tuesday–Saturday evenings at 8 p.m. with matinees on Saturdays and Sundays at 2 p.m.

Review: Othello:The Remix

I saw the Q Brothers production of Othello The Remix and it was absolutely fabulous!

The Q Brothers are actual brothers from Chicago who re-create masterworks (primarily of Shakespeare, but they recently did A Christmas Carol!) They call these productions add-raptations, because they primarily add rap music into the story, and along the way combine it with dance, comedy, soul, music, and just about everything else they can pull out of their hats.  They've got four or five of them under their belt including The Bombity of Errors,  Funk It Up About Nothin', and I <3 Juliet, Christmas Carol, and Othello.

Othello was originally commissioned by the Globe Theatre of London, and has played Chicago Shakespeare once before to sold out shows.  This limited run (show ends May 8) is probably going to do the same so you should get your tickets early.  The word of mouth on these shows is phenomenal!

For this show, they've moved the action to an Empire-style locale (but remember, they wrote this before Empire even started!)

Othello is a hot rap artist with all kinds of juice. (Think Kanye)  He's on tour with his crew when he falls in love with a soul singer named Desdemona (Think Adele).  He's got a couple of his boys who also write/rap/ and hope to make it big in their own right (Iago, a rap purist with a punk/metal edge and Cascio, who would be right at home in a boy band.)  The show then follows Shakespeare's trajectory pretty well, right up until the tragic tragic end.

The acting is phenomenal.  The first song set the scene, and I was worried, because while the raps were clever and set up the situation, I was afraid that's all it was going to be.  My fears were allayed however.  All of the actors (there are 4 performers) play a multiple of roles, including wives and girlfriends, the Oil sheik mafiosi record producer, the dweeby lighting designer, and much more.  All of the guys surprise and amaze with their characterizations and ability to act and portray their distinct characters while rapping, dancing, and doing everything else.

An interesting choice was Desdemona, who never appears on stage, we just hear her sultry voice.  This choice creates a few donut holes in the middle of her scenes, but the performers make it work.  And the symbolism when Othello, moved my Iago's manipulations, kills her out of rage, is simply powerful.

Above it all there is a fifth character, the DJ, who mixes the music and sound for the show live on stage and does a great job of keeping us all in it.

Overall, I can't recommend this show highly enough.  Go see it if you can!

Here's a video montage of the show.

Tickets are available at Chicago Shakespeare  The show runs through May 8.

Find the Q Brothers online at http://qbrothersofficial.com/ 
(Interesting side note:  their family also owns Merz Apothecary in Lincoln Square and does fine men's grooming products as The Q Brothers.  Who knew?)


EDITOR'S NOTE:  AS PREDICTED, THE SHOW HAS SOLD OUT. BETTER LUCK NEXT TIME.

DATE NIGHT: The World On A String: Harold Arlen Revue

This Tuesday we'll be attending the opening of a new musical revue right near our house (in the Edgewater neighborhood) City Lit Theatre company is producing the world premiere of a Harold Arlen song revue. The revue, entitled I've Got the World on a String: Harold Arlen's Songs of Love and Loss, features 23 of Arlen's most famous songs.

NOTE: This is the start of a new occasional feature on Dadapalooza, where I review and feature cultural events that would be perfect for Date Nights. A lot of the cultural reviewing I've been doing has been kid-friendly, but I've been wanting to review and bring to your attention great cultural and culinary opportunities for you and your spouse to re-connect as adults. This may be even MORE important than finding great cultural things for your kids! So drop the kid off with your in-laws, hire a babysitter, and let's get to DATE NIGHT! PS--If you've got an idea for a great date night in Chicago, let me know, and I'll check it out. Thanks for reading!

In case you were unaware, Harold Arlen was one of the most popular song composers of the 20nth century.  He wrote for Broadway, film (including The Wizard of Oz), vaudeville, and for musicians around the world.  Many of his songs are now jazz standards.


 I've been a fan of many of his songs for a long time!

Here are just a few of the songs that will be featured in the revue:

• Ac-cent-tchu-ate the Positive
• As Long as I Live 
• Between the Devil and the Deep Blue Sea 
• Down with Love 
• Fun to Be Fooled 
• I Love a Parade 
• If I Only Had a Brain 
• It's Only a Paper Moon
• I've Got the World on a String 
• Let's Fall in Love 
• Lydia the Tattooed Lady 
• Over the Rainbow
• Stormy Weather
• That Old Black Magic

Arlen wrote the music for all these songs, and collaborated with many top lyricists including Yip Harburg, Johnny Mercer, Ira Gershwin, and Ted Koehler.

The show, which is set in a Manhattan bar in the 1940's, features 3 men and 3 women (and 1 piano player, of course.)  It sounds like a great concept, and I'm looking forward to connecting with my wife in an adult way over these wonderful classic songs.

After you see the show, you'll definitely want to read more about Harold Arlen, and probably listen to him as well (or maybe even before you see the show!)

I highly recommend the following books and albums (available from Amazon):
(These are good places to start)


INFORMATION

DATES:  March 4- April 10, 2016
The show has a slightly complicated schedule:
    Tuesday, March 8 7:00 PM (OPENING)
    Fridays & Saturdays at 7:30 pm
    Mondays March 21, 28 and April 4th at 7:30 pm
    Sundays at 3:00 pm  *No Show Sunday, March 27th*
    Final two performances April 9th and 10th will be at 5pm

WHERE: CityLit Theatre Company, 1020 W Bryn Mawr, Chicago, IL 60660
City Lit Theater is located on the second floor of the Edgewater Presbyterian Church at the corner of Bryn Mawr and Kenmore.

COST:  Tickets are $29 each, with discounts for Students, Military, and Seniors.

MORE INFO:  Call the box office 773-293-3682 or visit http://www.citylit.org