unblinking like the girl who makes magic information from each other for future black- silence, whether of isolation or insurmount-at the end of Tarkovsky’s “Stalker.” mail, sullenly expressing their most sullen able death? thoughts, is a dank gem not unlike theSometimes ill wishes are the ones that single-take setpieces of Roy Andersson’s Zvyagintsev’s decors and locations and lowcome true: Alyosha overhears a brutal black-comic death rattles. The men rush gray skies and selfish faces and clinicallyargument one dusk. “Next thing you know, their starchy meal as if confined to an overt precise framings and lightly lyrical camerahe’ll be draft age. Better start getting used prison, rather than behind the bars of an movements are where he is at his mostto it. Well, what did you think, you could pull average workday. Their trays of food are profound: he’s an adept of shifting moodthe ol’ hump-and-dump, and move on? visibly disgusting, down to one man looking via elemental, geometric means that mostShit everywhere and leave the woman to at the bits he’s picked from his entrée, then viewers won’t notice. “’I’ll change; I won’tclean it all up? No. I’m moving on too. That’s continuing to chow without pause. repeat the mistakes that led me to thisequality for you.” Alyosha exits. Disappears. disillusionment; I will begin anew,’” is howAs distant as the terrible, ordinary image That stand-by quote from Antonio Gramsci’s he verbalizes the fate of his figures. “Theseof a faded, torn months-gone “Missing” “Prison Notebooks” comes in handy here: are the thoughts of people who blame othersflyer on a derelict lamppost. “The crisis consists precisely in the fact that for their fiascos. In the end, the only thing the old is dying and the new cannot be born; you can really change is yourself,” heZvyagintsev asserts that “Loveless” is a in this interregnum a great variety of morbid continues, “Only then will the world aroundlatter-day “Scenes from a Marriage,” with his symptoms appear”: where are we in this you glow once more; perhaps only a terribleemotionally cruel, incognizant middle-class bedraggled noose of a tale? It takes a while loss can allow this to happen… These days,couple aping the hurts and hates of Ingmar for Zvyagintsev to tip his hand that we’re it’s every man for himself. The only wayBergman’s grueling 1973 masterwork. “Our watching a moment other than the eternally out of this indifference is to devote oneselfpost-modern era is a post-industrial society moldering now: it’s 2012, indicated by a to others, even perfect strangers, like theinundated by a constant flow of information radio news bulletin that reports outside an volunteer search coordinator who combsreceived by individuals with very little interest in Obama-Romney debate, “candidate Jill Stein the town looking for the vanished child, withother people, as anything else than a means to has been arrested.” (There’s a dry hack of a no promise of reward, as if it was his life’san end,” he grumps in a director’s statement. laugh there after the mid-February release by true purpose. This basic task imbues hisZvyagintsev’s characters speak of impending the Mueller investigation of yet another layer every action with meaning. It is the onlyapocalypse, embracing the prospect, even, of onionskin about Russian interference in the means of fighting dehumanization and thewith dour complacence. “Russian orthodox 2016 presidential election.) world’s disarray.” “Loveless” exists, and assharia law” is shrugged as a description of such, it’s an elegant sign of hope rather thandaily obstacle. News radio speaks of suicide But is the future—of Russia, of these broken of despair, a wholly cinematic jewel far moreand alcoholism and Putin. characters, of America—the never-ending shattering than a mere emblem of its maker’s quicksand of a never-ending now, a caco- stern words.An extended take of two co-workers con- phony of catastrophes, or a brooding glidespiring against their employer and gnawing toward solipsism and shouting and ultimately, “Loveless” opens Friday, March 2 at the Music Box. MARCH 2018 Newcity 51
Lit LIT TOP 5 Our Wastelands A Conversation With 1 Daniel Borzutzky and Barrie Jean Borich Nate Marshall. Seminary By Toni Nealie Co-op. Winner of the National Book Award for Poetry, DanielNewcity MARCH 2018 Queers are the most American of industry collapse. The factories, smokestacks, Borzutzky reads and discusses Americans because they successfully slag and landfills of the Far South Side and “Lake Michigan,” poems about reinvent themselves, says Barrie Jean the accompanying environmental damage of an imagined prison camp on Borich. In her new lyric narrative “Apocalypse, heavy industry were my known world. I have the lakeshore. March 14 Darling,” her father-in-law marries a woman always been aware that those South Side following a six-week courtship. By contrast, places were workplaces, though I don’t 2 “They Can’t Kill Us Borich had thirty-one years of partnership think I understood as a child that the clean Until They Kill Us.” and twenty-one years of “gay marriage” before and beautiful places of the city, the places I Women and Children First she wed legally. She questions infatuation, yearned for, including the North Side lakefront Bookstore. Poet and cultural attraction and nostalgia and confirms that neighborhood where I live now, were critic Hanif Willis-Abdurraqib weddings are the beginning, not the end, of dependent on those places and would not in conversation with Jessica love-as-commitment stories. Set in Chicago’s exist without them. Could this broken land Hopper. March 21 steel region, “Apocalypse, Darling” spins T. S. ever be restored? Can we forgive the past Eliot’s poem “The Wasteland” into a query and recover from damage? 3 “The Radium Girls.” about environmental degradation. Author of The American Writers “Body Geographic,” “My Lesbian Husband: The family are my spouse’s relations and my Museum. Kate Moore follows Landscapes of a Marriage” and “Restoring spouse is the most obvious “Darling.” There is the women, “the shining girls,” the Color of Roses,” Borich has won a the question of familial affection and forgive- who worked with radium. Lambda Literary Award, an IPPY and the ALA ness and who, and what—and even what Stonewall Book Award. She is on the faculty parts of what—do we choose as “darling” to March 18 of DePaul University, is editor of “Slag Glass us. Who and what we love and choose to City” and was a co-organizer of Chicago value, regarding both land and people, have 4 “Bizarre Romance.” Writers Resist. She discusses, via email, her always been central questions for me as an Women and Children love of the Midwest, being an essayist in the artist—but they have become more important First Bookstore. Audrey Trump era and being queer in America. than ever in today’s political climate. Niffenegger and illustrator Eddie Campbell read and sign What apocalypse? Which waste-lands— You ask: “Is love… an accident, a decision, “Bizarre Romance,” stories geographic and of the heart? Which or just an arrangement we make with about love. March 20 darling? hope?” What’s it like to be a lesbian in The primary apocalypse is the Calumet region the Trump era? 5 David Mamet. Fine Like being any progressive person in the Arts Building. Pulitzer of Chicago and northwest Indiana, where I prize-winning playwright, screen- Trump era who feels her most beloved worlds writer and director David Mamet grew up, a landscape devastated by industrial- discusses “Chicago,” his first are being trampled. I am half-mad with novel in two decades. March 1 ization, then economic ruin with the steel52
distraction and rage, but it’s hard to know how is separate from “Make America Great Again.” movement was a relatively sudden andmuch of that I can attribute to being a lesbian. Nostalgia and backlash rule our times. surprising experience of America welcoming.Perhaps another question for this list is “what That sea change was astonishing to me and tois it like to be an essayist in the Trump era,” You wrote that you’ll never understand many queers of my generation, because wewhen fact is under fire, intellectuals are seen the hatred and revulsion toward gay did not expect to see such shifts in our lifetime.as enemies, and ambiguity is suspect. I did not couples. The legalization of marriage I have always celebrated the queer culture has unraveled the codified aspect now, that made my adult life and simultaneously write this book surely, but has the hatred and revulsion demanded acknowledgement that this life is during the ramped up again? an American life. The current regime in America Trump era. The Apparently yes. Though more likely all that wants to reinstate old ways of being “normal” story hap- hatred was just hiding out in basements, and “other,” but this is one of those ships that pened during waiting to leak out through Twitter and is never going to fit back into the bottle. the Bush era Breitbart and on the streets of Charlottesville. and I wrote it I despair at the realization that any of us Your work is largely about relationship in the Obama believed we had vanquished that hatred. to place, to geography. What do you find era, with some I regret every second of what now seems like compelling about the Midwest? important so much magical thinking. The arc of history I am a lifelong urban Midwesterner, and so sections may bend toward justice, but clearly, we see what I find compelling is the sense of existing in written when now, our progress is far from a linear arc. my formative place. I love the Great Lakes as we thought the much as I love any natural landscape. I love the gains of that You write: “It’s a mess, but America was flatness. I love the history and remnants of the period were made here. And some of what America prairie. And I love every beautiful and ugly thing unquestionably made are people like Linnea and me— about Chicago, even when I complain about permanent. seen by some, unseen by others.” How the city’s many flaws. I love the deep rust color do you want to be seen? of slag—that waste product of the steel industryAt Chicago Writers Resist, you read a I want to be seen as one of many kinds of that I think of as the color of my family history.moving piece about your gender-fluid Americans, and one of many kinds of femmes,spouse’s experience trying to use the lesbians and cis queer women. One of my “Apocalypse, Darling” by Barrie Jean Borich,bathroom. Some people are trying to students once described me as “fabulous Mad Creek Books, an imprint of The Ohiorestrict a basic human need. What is tattooed femme” and really that feels to me State University Press, 112 pages, $18.95motivating this? like my truest gender designation.I don’t know what motivates hatred except Barrie Jean Borich reads April 23, 6pm atto say that it always becomes more visceral Despite my own ambivalence about the legal Seminary Co-op, 5751 South Woodlawn,when oppressed groups start demanding category of marriage, the marriage equality (773)752-4381 and DePaul University, May 10.freedom. And don’t think the bathroom issueLive at The Book Cellar LINKS HALL’S ANNUAL B E N E F I T PAR T Y & Kristie Booker The Kates!! MARCH 2018 Newcity THAW“Blooming Into Life” March 9 and 31, 7pm 5-YEAR ANNIVERSARY March 1, 7pm WITH CONSTELLATION Shavonne HoltonTed Larkins COMMUNITY CELEBRATION “Dating Daddy” DANCE PERFORMANCES“Get To Be Happy” March 10, 6pm LIVE BANDS March 2, 7pm ART INSTALLATIONS Christian PiccioliniAnca Szilagyi, “Daughters of the OPEN BAR & FOOD TRUCKSAir” and Gint Aras, “The Fugue” “White American Youth” March 14, 7pm special performances by March 3, 6pm Kelly O’Connor McNees WALKABOUT THEATERJomny Sun LOW DOWN BRASS BAND “Undiscovered Country” MOVEMENT REVOLUTION DANCE CREW“Everyone’s a Aliebn When March 15, 7pm Ur a Aliebn Too” MARCH 31 / LINKS HALL & CONSTELLATION March 3, 7pm at Everybody’s Coffee Tallgrass Writer’s 3111 N. WESTERN AVE / 6-11PM Guild Readings Luis Alberto Urrea VIP LOUNGE: 5PM / AFTER-PARTY: 11PM-1AM March 16, 7pm TIX: $50-400 / www.linkshall.org“The House of Broken Angels” March 6, 6pm at Sulzer Library Essay Fiesta! SPONSORed by: Bianca Marais March 19, 7pm“Hum If You Don’t Know the Words” Local Author Night March 6, 7pm featuring Pam Canington,Tell Me A French Story Greg Hickey, Kevin Theis,with Miss Mathilde Kirk Landers and Jean Iversen March 21, 7pm Storytime in French and English March 8, 11am Anne K. ReamJohn Darnielle “Lived Through This” March 22, 7pm“Universal Harvester” March 8, 7pmGo to our website for event details, book clubs and more!Your Independent Book Store in Lincoln Square!4736-38 N. Lincoln Avenue, Chicago773.293.2665 • bookcellarinc.com 53
Music Whose Nick Moss/Photo: Mariusz Skiba MUSIC TOP 5 Blues 1 Justin Timberlake. United Center. The Politics of Race Fellow megastars Lorde and Pink and Rhythm play arena shows this month, but Timberlake’s latest album, “Man of By Robert Rodi the Woods,” intros a career-altering frontiersman persona, so he gets theNewcity MARCH 2018 Chicago is justifiably renowned as a But with roots in the late nineteenth century, nod. March 27 great blues town, and it’s a singular the blues is a more recent phenomenon, one. This is the city that professionalized and is a product not of cultural specificity 2 Tyler the Creator. Aragon the blues—expanding its lonely solo- but of cultural collision—that of disenfran- Ballroom. Rap’s ballsiest agent or-duo wail into a full-band roar—and chised Africans, freed from the yoke of provocateur revealed his surprisingly urbanized the sound by adding throbbing, slavery, who found themselves still rootless sensitive side on 2017’s “Flower Boy.” crackling amplifiers. Almost any Chicago- and hopeless in a country that couldn’t Will the tenderness translate to his live an—even those who’ve never set foot forgive them for being a living rebuke to performances? We’ll find out together. in a blues club—can rattle off a list of our its dream of manifest destiny. Singing and biggest blues legends: Muddy Waters, playing the blues was a means of trans- March 2 and 3 Buddy Guy, Bo Diddley, Howlin’ Wolf, forming melancholy and despair into Koko Taylor. We’re born with their names something communal—of providing both 3 Bob Weir and Phil Lesh. already lodged in our frontal lobes, a kind context and catharsis. Every performance Chicago Theater. The Grateful of highly localized race memory. is an offering, and the originators of the Dead brand (or is it now a secular blues sang for any ears that would hear religion?) makes its bid for continuing But residency isn’t race, which is the them. This includes all fellow sufferers; relevance in the age of digital downloads point under consideration. Or at least it which surely means, all of us. with two of the founders teaming up to has been since I commented, at a recent keep on keepin’ on. March 10 and 11 gathering, that March seemed more than The genius of the blues has always been usually abundant in serious, grade-A, its simplicity, its form being as stringent 4 They Might be Giants. The Vic. sandblast-your-soul blues musicians, and as that of a haiku: twelve bars, over which Music’s merry pranksters tour their offered up as examples Albert Cummings, three chords—tonic, fourth and fifth— twentieth studio album, “I Like Fun,” and Nick Moss and Joanne Shaw Taylor— play out in the same basic sequence every their smirky, too-smart-for-their-own- only to have an acquaintance sniff in time (I-IV-I-I / IV-IV-I-I / V-IV-I-I). Once good cleverness suddenly seems heroic dismissal, “Carpetbaggers.” you’ve learned the form, you can make in our era of banner-waving ignorance. it your own. In fact, you can spend a I was surprised by the slur—directed, lifetime making it your own. March 17 I instantly twigged, at the glaring white- ness of the trio—but in retrospect, I This apparent paradox—freedom within 5 Partha Bose, Indranil Mallick. shouldn’t have been: a sensitivity to restriction—can trigger intellectual Old Town School of Folk Music. what we’ve come to call “cultural appro- consternation. I’ve never seen this Two Indian virtuosi (Bose plays the sitar, priation” has become a hallmark of the expressed better than in this passage Mallick the tabla) offer a ravishing postmillennial era. In general I approve, from Ian McEwan’s novel, “Saturday,” antidote to ubiquitous western musical but that’s because I’ve considered the in which the protagonist, a successful, forms. March 29 term to refer to the wholesale adoption of highly rational surgeon reflects on the ancient traditions by populations entirely career choice of his blues-musician son: unconnected to them—say, earnest suburbanites’ flirtation with sweat lodges, “… [I]s there a lifetime’s satisfaction in or the Gentile hipsters who go all-in for twelve bars of three obvious chords? the Kabbalah. Perhaps it’s one of those cases of a54
microcosm giving you the whole me want to suggest to anyoneworld. Like a Spode dinner plate. accusing him of inauthenticity,Or a single cell. Or, as Daisy says, “You go and tell him he’s alike a Jane Austen novel. When carpetbagger.” His sheer physicali-player and listener together know ty, as much as his guitar prowess,the route so well, the pleasure is allows him to lead from behindin the deviation, the unexpected while still maintaining absolute dominance over his band (whoseturn against the grain. To see a vocals are largely handled by theworld in a grain of sand.” tremendously evocative MichaelGranted, blues musicians have Ledbetter). In the video for “Fareexpanded their palette in recent Thee Well,” his guitar playing manages to be both supernatu-decades—including the three rally fleet and preternaturally chill;I’ve spotlighted for March, all he opens the tune with wide,of whom are better known forso-called “blues rock,” which is encompassing, liquid chords thatbasically guitar-driven rock ‘n’ roll he reshapes with just a flick of hiswith heavy blues influences (bent wrist; and when he gets to his solo, he’s no less athletic thanand “worried” notes, “shuffle” his colleagues, but with a greaterrhythm, and so on). But they show of grace and finesse. Ifstill hew closely to the genre’s you don’t think the knockabout,twelve-bar foundation. down-and-dirty blues can beAlbert Cummings has shared a elegant, you haven’t listened tostage with both B. B. King and Moss. He should be in exemplaryBuddy Guy, and walked away form at FitzGerald’s this month,unscathed. But if there were given that the gig is a CD releaselingering doubts as to his right to show for his new release, “Fromcarry on their legacy, just have a the Root to the Fruit.”listen to the way he attacks thehoariest blues-tune cliché of all: Joanne Shaw Taylor is an outlier in that she’s British—removing herthe opening line, “Woke up this from the blues’ fermenting groundmorning / And found that you geographically (but not culturally,were gone.” It’s in “Where Did I given the constant cross-pollina-Go Wrong” on his 2004 debut tion of musical influences acrossalbum, and he rips into it withsuch supercharged vigor that you the Atlantic since at least the 1950s). But it’s abundantlywonder how this dude got tosleep in the first place. He hurtles evident she’s got the genuine,past irony and right into universal- hardscrabble, low-down bluesity: “I searched all over the house bonded to her DNA. When she/ And the only thing I found / Was covers Frankie Miller’s “Jealousy”a note that said you left me, baby (whose structure is teasingly/ Girl I can’t believe you’re gone.” close to the twelve-bar form), her face-melting fretwork is incontest-The elongated growl on that“can’t” is enough to make the hair ably virtuoso; but it’s her voice—aon your wrists stand up, and also gorgeously jagged contralto thatserves as another indication that sounds like concrete eroding intothis is someone who maybe isn’t rubble before your eyes—thatgoing to take abandonment lying conveys the harrowing, exalting duality of the blues. “Jealousy /down. And when Cummings It’s thick as mud / It’s in my veinsblazes into his absolutelydemonic guitar solo, you under- / It’s in my blood / And jealousy /stand that no matter how much It’s plain to see / That I love youa head start his ex might have— more / Than you love me.” Hershe can be on a plane halfway to rendering of those final twoIndia by now—if he hops on his measures is like a serrated bladegoddamn axe at full sonic power, through cheesecloth.he can be at the arrivals gate in That’s the blues. No appropria-New Delhi to greet her with a tion; just association, of the“Baby, WTF?” Everyone in most brutal and beautiful kind.Cummings’ band is capable ofequally dervish-like intensity—as MARCH 2018 Newcitythey amply show on their new Joanne Shaw Taylor: March 6,release, “Live at the ’62 Center”— 8pm at City Winery, 1200 Westand for a blues neophyte, they’re Randolph; $18-$25.an outstanding example of how Nick Moss Band: March 16,the genre can make feeling badfeel so very, very good. 8:30pm at FitzGerald’s, 6615 Roosevelt Road, Berwyn; $15.Nick Moss has the kind of Albert Cummings: March 25,imposing presence that makes 8pm at SPACE, 1245 Chicago Avenue, Evanston; $15-$27. 55
Stage STAGETOP5 A model of the set of 1 Plantation. Lookingglass Lyric Opera’s “Faust” designed by Theatre Company. “Thaddeus and Slocum” scribe Kevin DouglasJohn Frame/Photo: John Frame pairs with director David Schwimmer for this comic exploration of America’s thorniest subject: slavery. Opens March 3 2 Kingdom. Broken Nose Theatre. The story of an entirely LGBTQ African-American family that lives in the near-literal shadow of Orlando’s magical kingdom, as they struggle to create a life together that captures a little bit of that same magic. Opens March 5Newcity MARCH 2018 What Price, things and combining all these different 3 Dontrell, Who Kissed A Soul? mediums,” Vita Tzykun, the set and costume The Sea. First Floor Theater. designer of Lyric Opera’s production, tells Dontrell Jones III decides it is his A Divine Trio of Designers me. “I think my generation of creators isn’t duty and destiny to venture into Extract New Life From trying to get away from its origins, we’re the Atlantic Ocean in search of an “Faust” At Lyric Opera trying to bring it back to the innovative art ancestor lost during the Middle form it always has been.” Passage, but his family isn’t ready to By Aaron Hunt abandon its prized son to the waters Lyric’s brand-new co-production with of a mysterious and haunting past. Many retirement-age Baby Boomers are Portland Opera promises to do that. With being forced into a second career rather director Kevin Newbury championing an Opens March 7 than taking that cruise around the world. extraordinary design team, there is a How many wonder, “What wouldn’t I give to production ahead that honors both the 4 Hang Man. The Gift Theatre. have the chance to do it over again, making opera and the audience, inspired by fine Stacy Osei-Kuffour’s darkly different decisions?” Generation X-ers may artist John Frame’s body of work. But how comical, heartbreaking play uses be wondering how their lives would have does the team function, with an artist who absurdity to explore racism, sexuality been different without their latchkeys. Even has no experience in opera as production and the parts of American history a Millennial could look up one day and think, designer, a costume and set designer whose we would all like to forget. Opens “This can’t be my life. I want a do-over.” childhood was immersed in the opera world, March 8 and a baritone enjoying a major operatic An aged Faust kept his nose to his work career while also gaining a foothold in the 5 hang. Remy Bumppo for his entire life, denying himself the field of multimedia design as projection Theatre Company. Language pleasures of a rounded existence. He designer, all sitting at the table together? breaks down in the face of raw wanted a do-over. He sold his soul to a With overlapping disciplines and disparate emotion when an unnamed woman devil in exchange for a rebirth as a young, experiences, who calls the shots? Whose must make an unspeakable decision vital suitor to a larger life. Who can help storytelling is told? about the fate of another human but connect with the fable of Faust? being. Opens March 26 “I was very intrigued when Portland Opera’s Gounod’s opera lyricizes Faust’s journey in general director Christopher Mattallano such a stunning way that it hasn’t been out contacted me, asking if I’d be interested of the repertoire since its 1859 premiere. in working with them in designing some- As is always the case with a classic, honing, thing,” sculptor, photographer, composer reimagining and weighing a world-weary and filmmaker John Frame says of his work against a new world order is necessary journey into opera with “Faust.” “I very easily to keep it dynamic. “When opera originated said, ‘Sure.’ I did my own type of research in the Baroque period, it was known as the which was to track back as far as I possibly cutting-edge form, experimenting with new could the Faust stories and how they were introduced. One of the interesting things to me was that a lot of the early productions were in fact puppettheater pieces. And it56
makes sense. There’s a kind of Punch and retaining my aesthetic as the core, the thread impersonates Christopher Van Horn as Mephistopheles, Frame readily complied.Judy simplicity about the structure of the plot that runs through the production.” As he sculpted, he filmed the work in stop- motion animation, which will be projectedin terms of it just being a triangle between Tzykun’s life is grounded in the opera world. “I from backstage. Van Horn, merged with the miniature, will emerge full-blown onto the stage.Mephistopheles, Faust and Marguerite. grew up in a very artistic household,” she says. Baritone, multimedia artist, composer and“Chris called again and said, ‘We’ve got the “My father was a set and costume designer, so director David Allen Moore (who received acclaim for his Jude Fry in Lyric’s “Oklahoma!”budget and we want to do “Faust” with you.’ there was a tradition of being a fine artist. My in 2013) left behind his country and CajunI said, ‘I’m not sure.’ I’d never done this before, mom and grandma were pianists for the ballet music roots and youthful passion for electronic corps at the opera house, and I studied ballet music for the opera house. The equipmentobviously. Now that it was getting serious I required for video creation didn’t fit in a with the ballerinas. I spent my childhood in the world-traveler’s suitcase. “In the late 2000s,wanted to talk in more detail. He sent me a laptop computers became fast enough tocontract specifying what would be expected opera house either dancing ballet or attending process video. Some exciting new softwareof me. I was on the verge of saying ‘No’ since ballet or opera performances. I’ve known the was coming out. Not long after that, Pico opera world since I was a baby.” projectors came out. I started to learn thethere were so many things associated with video software. This was where I wanted to go all along. My experience as a performer playsthat contract that I simply didn’t know how to a big role in my multimedia designs. Whendo. Then I talked with Kevin Newbury, chosen She hesitated to attach to the project, never I’m creating video for music, I’m thinking very having been in a situation where someone deeply about the harmonic shifts, the phrasingto be the director, and we had a really good and the larger dramaturgy of the work.” else’s work would inform the design. But sherapport from the outset.” (Newbury directed Casting the character of Faust as an artistLyric’s production of “Bel Canto” in 2015 and wanted to work with Newbury again, which brings the multidisciplinary elements of thewill helm “Fellow Travelers,” also opening this kept her interested while the team connected. production full circle. There is always an uproar “Kevin is excellent in facilitating dialogue. He of excitement around a new production of anmonth as a part of Lyric Unlimited at the opera in the standard repertoire. We are gifted always comes to the table with the motto the culmination of these fantastic artist’s studyAthenaeum Theatre.) of Faust, the questioner, Faust who looks back ‘the best idea wins.’ He’s a very ego-free and says, “This isn’t my life. I want a do-over.”“Kevin had suggested Vita as the costume person,” Tzykun says. “Everybody on ourdesigner,” Frame continues. “He’d worked team is ego-free. We respect each other’swith her several times and really liked her. work, so the discussions are very interesting.”I called her and during that discussion I With further contact, her openness to workingdiscovered she’d also directed and done with Frame blossomed. Tzykun’s creativeset design. She was completely steeped in partner, David Adam Moore, came on asthe world of designing for the stage. I said, projection designer. Newbury, Tzykun, and‘You really should be the set and costume Moore were given permission to play withdesigner and I could be the production Frame’s rough-hewn miniature sculptures likedesigner.’ It gave her a lot of responsibility Tonka Toys. When called upon to create newfor the technical aspects of the design that pieces, including a miniature sculpture thatI simply didn’t know the answer to, while MARCH 17 | 21 | 23 | 25 CHICAGO PREMIEREFELLOWTRAVELERS AN OPERA BY GREGORY SPEARS LIBRETTO BY GREG PIERCE BASED ON THE NOVEL FELLOW TRAVELERS BY THOMAS MALLONFORBIDDEN LOVE. POLITICAL INTRIGUE. ULTIMATE BETRAYAL. MARCH 2018 NewcityLYRICOPERA .ORG | 312.827.5600 All performances take place at the Athenaeum Theatre 2936 N. Southport Ave, ChicagoPerformed in English with projected English texts.Lyric Unlimited presentation of Fellow Travelers generously made possible by Lead Sponsor The Wallace Foundation, with additional support from the Lauter McDougal Charitable Fund, Mary Patricia Gannon,Kenneth R. Norgan, Robert Kohl & Clark Pellett, and Philip G. Lumpkin. Lyric Unlimited was launched with major catalyst funding from The Andrew W. Mellon Foundation and receives major support from theCaerus Foundation, Inc. 57
By David AlvaradoLife is BeautifulNewcity MARCH 201858
2018 Schedule Logan Center Family Saturdays Sat, Jan 6, 2-4:30pm Visions of Peace: Past, Join us for fabulous and fun family programs on the first Saturday of each month Present and Future October 2017–June 2018! Sat, Feb 3, 2-4:30pmSouthside Legends: Untold Stories Explore your child’s artistic curiosity with hands- Sat, Mar 3, 2-4:30pm on art workshops designed to stimulate creativity Animation and Imagination and play. Workshops designed around engaging Sat, Apr 7, 2-4:30pm themes are led by local artists, art organizations, and Kidpreneurs: Children Making Creativity into Business UChicago students. Sat, May 5, 2-4:30pm These interdisciplinary workshops are exciting for Sweet Home UChicago the entire family, offering activities from music to Sat, Jun 2, 2-4:30pm Going Global: Exploring arts and crafts for youth ages 2-12. Come learn something new and bring friends! Creative Traditions Appropriate for families with children ages 2-12. *Themes may be subject to change. Registration is encouraged at tickets.uchicago.edu MORE INFORMATION Call the Logan Center Box Office at 773.702.ARTS or visit arts.uchicago.edu/loganfamilysaturdays. Free admission and free parking in the lot on 60th and Drexel.LOGAN CENTER 915 E 60TH ST AT DREXEL AVE Logan Center Family Saturdays programming is made possible through the support of the Reva and David Logan Foundation, Michael and Patricia Klowden, and friends of the Logan Center, as well as partnerships with local and national arts organizations and performing artists.
1 23MADE YOU LOOK1 MARISOLC NEW RESTAURANT/BAR PINDELL 2 HOWARDENA 3 THE MCA IS MCAChicago.org/Look OPEN LATEA 2014.22 | Photo courtesy of the artist and #MCAMadeYouLookCHEF JASON HAMMEL WHAT REMAINS TUESDAY & FRIDAY TO BE SEEN FEB 24–MAY 20 Howardena Pindell | Free, White and 21 (still),marisolchicago.comMuseum ofChris Ofili |The Sorceress’ Mirror (detail), 2017Photo: Callie Lipkin 10AM–9PM Contemporary Art1980 | Videotape (color, sound) | Collection Museum of Contemporary Art Chicago, gift ChicagoGarth Greenan Gallery, New York of Garth Greenan and Bryan Davidson Blue, ©MCA Chicago
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