CONVERSATIONS with Ed Tracy

Inspire. Educate. Entertain.

Conversations featuring authors and influential leaders in the arts, media and business.

COMFORT FOOD - A RECIPE FOR MOTHER'S DAY

I started to make a list of all the wonderful women I know to wish them a Happy Mother’s Day. Almost immediately, the list became so long that I began to question if I would, by omission, leave out someone very important.

So, not to forget anyone on my long list, you know that if you are reading, that I wish you a sincere and wonderful Mother’s Day.

To honor them and to those in my family, my daughter Amanda and her mom, Mary, my mother-in-law Diane, my wonderful sister and the mothers of my nieces and nephews on both sides of the family and the many nieces, some of whom are celebrating their first Mother’s Day this year, here follows a 2010 essay. 

COMFORT FOOD
A Recipe for Mother’s Day

Ed Tracy | May 9, 2010

In Memory of Helen E. Tracy |  1923-1989

In Memory of Helen E. Tracy |  1923-1989

Only someone as resourceful as my mother could unite an old Pyrex casserole dish with a brown cow cookie jar and make them work together. Both had a special place in my mother’s kitchen and were the source of an almost endless stream of delectable edibles in my youth. As I reflect on this Mother’s Day, and all the comfort and support all mothers provide for their family, I dug out that old casserole dish and admired it for a time on our kitchen counter.

While it is easy to list all the guiding values our mothers gave to us like how to act in public, right from wrong, even clarifying and elaborating what your father might have forgotten to tell you about how to treat a lady or what good girls do, try as I may, it will take me more than the 20 years since her passing to sort out all the good advice given simply from her nurturing spirit and love of life. The vivid memories of kindness to everyone she knew, and didn’t know, her emotional strength of will in trying times, and her patience and understanding of teenage rebellion all stand out. Her love of nature, art and music are the most cherished gifts to me. And then there was the love for home cooking. I mean, really good comfort food!

What's in the kitchen? “Plenty of everything,” she would say. Donuts, hot from the old tin pan bubbling with scalding hot Crisco oil almost every other Sunday. Sheets of rolled donut batter popping out a pile of perfect holes, many of which would never make it to the cooker. Every kind of homemade pie bursting with all the fresh fruits you can imagine -- and some I didn’t even know existed -- ready to eat almost every day, sometimes appearing overnight. And everything you can make from chocolate: chocolate chip cookies, chocolate cake with chocolate frosting, even fresh chocolate milk. I remember hovering over the frosting pan before it made its way to the sink hopeful that in addition to the two small spoonful’s of pure chocolate purposely left for me, it would somehow turn into a fresh pan of fudge on my way home from school the next day.

It is still a mystery to me that she did this while raising four kids eleven years apart, working full-time, volunteering for various community and women’s organizations, serving as transportation coordinator for many of our extra-curricular activities, seamstress, accountant and room inspector. I do not recall my mother ever missing a recital, concert or any other important public event we participated in. I am sure she did, I just can’t recall any now. She was one of those people who wanted to support just about everyone and everything that happened in our small Vermont town. She was the original Energizer Bunny.

It is now clear to me that a big part of all that nurturing spirit of my Mom and Dad from early morning to dusk was centered on supplying food for the family. No matter what season it was in Vermont, the next meal today and the one after that were important. Growing up on a farm we had fresh beef, chicken, eggs, milk, corn on the cob, carrots, peas and beets from a bountiful summer garden. Mom and Dad toiled over a large patch of raspberry bushes, an enormous asparagus bed and competed in the neighborhood challenge for the first radish of the season.

My parents would spend midsummer night’s together weeding and then preserving the crop for the winter so that sometime in late January, we’d dine on potatoes, corn and a big roast pork to the delight of my father who would remind us how lucky we were despite the twenty below weather. He always thanked her for the good meal. They’d wash dishes together often.

No holiday went by without more food for everyone to take home. My mother wanted to be sure if you entered our house hungry you left waddling through the door.

On the day before Mother’s Day 2010, I arose thinking about all the comfort food my mother must have served out of that Pyrex casserole dish. Even more was stored in that brown cow cookie jar on the kitchen counter. And then there were the school lunches, bake sales, neighborhood gatherings, meals for the families of friends in need and the vibrant memory of four unruly kids huddled around the small table in the kitchen with salmon pea wiggle or a hearty beef stew. Things just seemed to naturally come together in my mother’s kitchen. It was a place where every smell could keep you eagerly waiting for the call that “Dinner’s Ready!”

Of all the comfort food I long for most, I had not seemed to conjure up on my own my mother’s macaroni and cheese casserole recipe. Macaroni and cheese is a rather simple dish. However, whenever I made it, it was substantially different than my Mom’s. Long ago, my sister and I agreed to disagree on the two most important items in mother’s kitchen. That is when I received the casserole dish; she got the brown cow.

In the spirit of full disclosure, I need to state that although I consider myself a competent cook, my sister has forgotten more about cooking, baking and feeding people than I will ever hope to know. She was the one paying attention all those years ago to our mother and grandmother, and she too is an accomplished professional businesswoman and mother of three. Unlike my sister, I have never successfully recreated my mother’s expert touch in pies, cakes, cookies or the famous macaroni and cheese, despite having all of the right ingredients at my disposal and the alpha Pyrex vessel she made it in. I was too busy eating.

I guess I always felt that there is magic in what mothers do for their children. Rarely do they even know what that magic is…or that it is happening.

Each year in the weeks leading up to Mother’s Day, I realize I could not possibly send cards or notes to all of those who have a special place in my life. I could not call them all personally or write everything I want to say on this very important day. The fact is I try to do that throughout the year. I miss the mark and get wrapped up into my own life some times, but like any good mother would do, they remind me often that they are there, thinking good thoughts and sending a prayer for me and my family. They have made me feel like a favorite son all of my adult life. They each know who they are and how much I love them.

And, on my special mother’s list this year are my daughter, who is the mother of my granddaughter, Allie Kate, the most wonderful miracle in our lives; my sweet and loving mother-in-law, who reminds me every day that I am her favorite – and only – son-in-law; and my sister, who made this Mother’s Day extra special for me.

You see, I went online and found a 1958 Pyrex Golden Hearts 2.5 Quart Cinderella casserole dish identical to my mother’s coveted workhorse. The description was “Just like new!” and it was surprisingly affordable. I made sure that it would be sent to my sister directly, perhaps in time for Mother’s Day, but that didn’t really matter, since she’s out of town. Once the sale was complete, I called her to tell her about my find and the rest of the story of how frustrated I was in not getting the recipe right all these years later.

Being the wonderful person that she is, my sister shared with me the secret of my mother’s recipe. With the “just like new” dish on its way to her home, I only wish I could see the look in her eye when the dish and cow are reunited -- a symbolic, yet significant gesture on her younger brother’s part to make a mother’s day complete. (I did not tell her that the brown cow cookie jar is a very available -- and a highly collectible and expensive item online, or that perhaps on a future Father’s Day, a cow cookie jar might find its’ way to me somehow.)

The rest of the story is really very predictable. I set off to buy the ingredients confident that I was on the verge of preparing the best macaroni and cheese in years. It was. And Mom would have been very proud. There’s plenty left for today.

What we call “comfort food” is really all about memory. My mother left this very casserole dish brimming with macaroni and cheese in the freezer a couple of days before she passed. On another Mother’s Day, 20 years ago today, our family enjoyed that meal together one last time. It is now a warm and heartfelt memory of other times when the most important thing we all wanted to hear was “Dinner’s Ready!”

Whether you are a mother, married to one, or have one you are celebrating with today, Happy Mother’s Day! To all the mothers who pass along their pride and love to their sons and daughters and never quite know if it really is making a difference, I can tell you that no matter what you may think, we’re watching, listening, learning and growing every time you say our name, look our way or do the magical things that mother’s do.

There is no greater gift than a mother’s love and no greater memory than the look in her eyes when you say to her: “I love you, Mom” or “I’ll do the dishes!”

Post Script - On or around Father’s Day in May 2013, a package arrived with a pristine brown cow cookie jar that has now been reunited with the alpha Pyrex casserole dish a gift from Denise. My sister, who I love very dearly, had taken one look at t…

Post Script - On or around Father’s Day in May 2013, a package arrived with a pristine brown cow cookie jar that has now been reunited with the alpha Pyrex casserole dish a gift from Denise. My sister, who I love very dearly, had taken one look at the online price for the item and decided instead to ship a month’s supply of cookies. ECT 5/11/2017

EVAN TYRONE MARTIN - JESUS CHRIST SUPERSTAR

Evan Tyrone Martin is truly blessed and thankful. Blessed, he says, to have been given the opportunity to perform the title role in director Ron Kellum’s brilliantly conceived production of Jesus Christ Superstar at the Paramount Theatre in Aurora. Thankful to be surrounded by an amazing cast of African-American actors who support each other in telling a universal story about a man who spread a message of peace, love and salvation. 

Martin grew up in a church family in Cleveland, inspired by his parents, grandmother and aunt who were singers. He went to Ashland University where he honed a commanding stage presence and vocal technique. In our conversation on May 4th, he reflects on the steady course he was on seven or eight years ago and of the structured plan he envisioned, then abandoned, in favor of a more free-spirited approach to his professional career. 

There is a string of solid Chicago and regional theater credits on his resume and he spent some time in New York early on. Martin then appeared in RENT at Paramount a few years ago, received his Equity card and was off to the Arkansas Shakespeare Theater. But things slowed down after that. Auditions were scarce and he was not getting cast. Self-doubt began to seep in after more than a year of "radio silence." Looking back, Martin realizes that there was no backup plan to a performing career, so he pressed forward. 

His vigilance paid off when a door opened for another theatrical home at Porchlight Music Theatre. He  was encouraged to connect with Artistic Director Michael Weber, read and was cast in Sideshow and soon after Martin had caught the eye of directors Rob Lindley (Far from Heaven) and Brenda Didier (Dreamgirls). Those three roles last season earned Martin two 2016 Best Supporting Actor Jeff Award nominations for Sideshow and Far From Heaven.  To cap off a very productive period, the Chicago Tribune included Martin as one of its Hot New Faces of Chicago Theater for 2016. Coming full circle, Martin returned late last year to Paramount in the role of King Triton in Little Mermaid

If this all sounds like a busy schedule, consider as well that last fall he joined producer Michael Ingersoll and Angela Ingersoll for the Artists Lounge Live concert series at the Metropolis Performing Arts Center. The new show, entitled Unforgettable: Falling In Love With Nat King Cole, had a return engagement earlier this spring and future performance dates are already on the books.

There are many more layers of Evan Tyrone Martin's talents to see and hear at the Paramount where the cast and creative team have redefined the Andrew Lloyd Webber/Tim Rice score in the not-to be-missed production that seems uniquely connected to the faith-based family ministry in which he was raised.

Jesus Christ Superstar is now playing at the Paramount Theatre through May 28 - For tickets, visit: ParamountAurora.com, call: (630) 896-6666.

On his portrayal of Jesus Christ …
“It was really important to me, as an actor, for people to see him as this bright beacon that pushed forward despite the fact that he was being approached on all sides … to be quiet. He continued his message and it is kind of heartbreaking when you see that on stage … To see a man preaching such a simple seemingly harmless message met with such anger and aggression … That was really important for me to convey. I really wanted the audience to feel for this man.”

On the show’s message …
 “It can be so universal because it is about a group of people seeking truth and fighting against religious and political influence to really be able get to the bottom of their beliefs … who they are as a community and a race of people. I think having an all-black cast brings a phenomenal and interesting layer to the story because we are one of many races that have known oppression for a very, very long time … Taking this perspective on that very real element in this story makes sense, but I do believe in general that because this is an all-black cast does not make it a black production. There is still a universality that people can grab on to.”

Felicia Boswell plays Mary Magdalene and Evan Tyrone Martin is Jesus of Nazareth in Paramount Theatre's Jesus Christ Superstar through May 28, 2017. 

Following your passions …
“When I was younger and first moved to New York, I made very specific plans about how I wanted my career to go and in the last seven to eight years, I kind of let that go … I go where I am most passionate. I do the things I am most passionate about and let that tell me which direction to walk confidently in.”

His inspiration and support …
“Everybody in my family has been instrumental in my success as a performer … My grandmother, before she passed, one of her favorite things to do with me was sing and listen to music. Before my aunt passed, she was instrumental in telling me that I need to be educated. if it were not for her I would not have gone to college … Of course my mom and dad … sacrifice after sacrifice for 15 years to get me to rehearsals, pay for trips, get into college, stay in college even when they knew none of us could afford it … Having that amount of support behind you is invaluable … I could not and would not be where I am right now if it were not for my family.”

EVAN TYRONE MARTIN WEBSITE
PARAMOUNT WEBSITE  
TICKETS
ARTISTS LOUNGE LIVE

PODCAST
Production photo credit: Liz Lauren

 

DE USURIS - PETER PAN, NEVERLAND AND BEYOND BELIEF

Lots of musical theatre, large and small, all over town including Drury Lane's CHICAGO, Paramount's Jesus Christ Superstar, Lyric's My Fair Lady and Porchlight's Marry Me A Little. There are only a few chances left to see The Joffrey Ballet's Global Visionaries, Equus at Skokie Theatre, Waa-Mu's Beyond Belief and at Davenport's Cynthia Clarey, Colleen Raye and Sophie Grimm, and coming up, Bill Dyszel, who is featured in this week's Q & A.

Read More

BILL DYSZEL - THE INTERNET ATE MY BRAIN

Ever feel like you want to throw your cell phone away, but then realize you need to call someone to tell them where you are? Was the last time you ended an argument with a Google search around lunchtime today? How many pairs of shoes did Amazon send to you before you actually wore them?

If you are a keen social observer like Bill Dyszel, there is a good chance that you already know how amazingly dependent we are on the internet, that highway of information and practical applications that make life so easy we often forget to actually live it in real time. Dyszel, an accomplished opera singer who has written and is performing The Internet Ate My Brain at Davenport's Piano Bar and Cabaret on May 14th, is an expert on the topic. He is the author of a growing list of 20 books that includes Microsoft Outlook for Dummies, the popular series of self-help manuals that age like a fine wine with every new version. As we found out in our Q & A this week, in between the finer points of making our lives more efficient in his real job, Dyszel has developed his own special brand of musical commentary about the way we live our lives in the social media age.

We also found out that Bill Dyszel's manic, fresh and inventive style is perfectly suited for the intimate stage at Davenport's. The multimedia show, with musical director Beckie Menzie, is loaded with masterful parodies on a range of comic viewpoints about Amazon, Google, WebMD and a particularly hilarious take on selfies. Dyszel's New York performance was named a Top Ten show by Theater Pizzazz and won a coveted nomination for the Broadway World NY Cabaret Award for Best Musical Comedy.

We caught up with Bill Dyszel to pose a few questions in advance of the Davenport's appearance.

Q & A with Bill Dyszel

ET:
Is it safe to say that you straddle two very different worlds: by day, the mild-mannered reporter who dissects complex software upgrades so the rest of us don’t have to, and, by night, a kinetic, hilarious, dialed-up and tuned-in cabaret performer whose laser-sharp musical parodies and original material hit at the heart of our Internet-based world? Or, is there another Bill Dyszel that we do not see as often?
BD: There’s also the content marketing guy who creates lots of business communications material that sells stuff to big companies. It’s not as funny, but it pays better. Now and again there’s also an opera singer, a task that is much less serious than it often looks.

ET: How did the book writing project begin?
BD: I wrote for lots of computer magazines in the heyday of titles like PC Magazine and Computer Shopper, mostly doing product reviews, etc. I reviewed Microsoft Outlook in its first release, and kept covering it ever since.

ET: How much of a program like Outlook does an average person use? There are some obvious priorities, but talk about a couple of features that you were surprised more people don’t use.
BD: I doubt that most people use more than 10 percent of what’s in there. Part of that is because Microsoft used to add flashy new features every 2 to 3 years as a competitive practice. Some of those features stayed in the product, no matter whether they were widely adopted. Most people don’t use the task list much, but it’s a great way to stay on top of all the little chores we all need to do every day. I like the Notes feature, which is where you can keep random scribblings of things you’d like to remember. Microsoft wants people to use One Note for that, but I think the Outlook version is more helpful because it’s right there with your email.

ET: There does not appear to be a lot of IT in the opera world. How has your opera career influenced your musical interests now and what prompted the transition to the very unique and original style you have developed?
BD: It’s hard to say what influences what—do I prefer “legit” sounding music because I did opera, or the other way around? Hard to say. I do prefer performing music that incorporates good vocalism. I’ve also always enjoyed classical music comedians like Victor Borge and PDQ Bach, but I like extending that kind of humor to non-musical topics.

ET: You have performed TIAMB multiple times in New York and Skokie. How has the show been adapted to fit in the smaller and more intimate backroom at Davenport’s on May 14th?
BD: The approach is substantially similar, except that in smaller rooms like Davenport’s in Chicago or Don’t Tell Mama in New York, I have to rig my own tech and run my own cues. The show has some lecture/demo qualities, anyway, so it isn’t a problem. The smaller room also makes audience interaction easier, because audience members aren’t so far from the stage.

ET: Do you consider TIAMB a comedy show with music or a cabaret show with comedy?
BD: It’s comedy with music, the comedy comes first.

ET: Why?
BD: The show only achieves its goals if the comedic parts land right. The comedic material conveys the meaning of the show.

Bill Dyszel THE INTERNET ATE MY BRAIN

ET: There is an interactive element to the show. Can you give us an idea about what is in store?
BD: One goal of the show is to provide an experience that couldn’t be duplicated online. Much of that revolves around allowing audience members to interact with each other, face-to-face, in a way that they can’t online. I don’t want a performance that could be replaced by an online video. There are billions of those. This is about the unique value of live performance and live events involving live, in-person interaction.

ET: Conservatively, you have written over 100 songs and song parodies. What are two or three elements of a good parody?
BD: In my view, a good parody adds a new layer of meaning of the original material while also exposing an unexpected resemblance with the topic of the parody. I like to retain as much of the language and structure of the original material as I can, while creating a new meaning with the result. There is a tendency for people to write parodies so that they don’t have to write music. Sometimes that works, but I prefer parodies that honor the original material in some way. Those yield a much richer and compelling result.

ET: When you are doing your show, what are the three most important rules to follow?
BD:
1.       Relax—if the performer is having fun, the audience will, too.
2.       Respect the audience—The interactive segments allow audience members to express their opinions, and they should feel safe and respected in doing so.
3.       Check your fly.

ET: Any other careers we have failed to mention?
BD: I’ve done enough odd little things than I can’t remember them all—radio announcer, improv actor, Navy officer, filmmaker…That should probably be another show sometime.

ET: Thank you for your service. What’s up next?
BD: I don’t think this piece is completely mature yet, it’s always growing. I may push more on developing the blog at TheIntenetAteMyBrain.com and expand that to see where it goes. With any luck, the blog and the show could feed into each other.

KATHLEEN RUHL - FOREVER YOUNG

If you want to know what it is like to sit around the table talking with the engaging Kathleen Ruhl, you have a couple of choices.

The first, of course, would be to listen to our spirited conversation about a life richly lived in the Chicago arts and education communities, all the while surrounded by a family steeped in medical science. Except, of course, her daughter, the Pulitzer Prize finalist and Tony Award nominee playwright Sarah Ruhl, whose brilliant career has now led to the Chicago premiere of the play that she wrote specifically for her, that being For Peter Pan On Her 70th Birthday. To say that she has pride for her daughter's accomplishments, Ms. Ruhl says, "would imply that I had anything to do with it." But then, she quickly notes, of course, that she did. She is her mother, after all. 

One thing is for sure: Kathleen Ruhl has been a colorful thread of the vibrant tapestry of Chicago's ensemble theatre community since arriving here in 1964 ... a much loved and highly regarded actor and educator who is in a role few ever have the opportunity to portray: herself. 

It all happens in the Shattered Globe production at Theatre Wit on Belmont, now extended through May 27th, which is the other way to join into the table conversation with her. The brilliant ensemble company of five actors (and a dog) reimagine a deeply personal and poignant time in their family, the passing of Kathleen's father and the subsequent wake ... a moving, intelligent and inspiring 90 minute piece in three movements. And in case you are wondering, Kathleen Ruhl is superb in a role that was, well, written for her.

There's much more in our delightfully, warm and thoroughly enjoyable conversation on April 17th that felt like a short trip to Neverland with Peter Pan.

On pursuing a PhD at 50 years old …
“It was great to be back in academia. I really loved it … I made a bigger world for me.”

On the play's 90-minute format …
“I like the 90-minute form and I like it because I have always felt that intermissions interfere with your immersion in the world of the play. So, I always feel sad that I have to leave the world and then come back to it again. I am all for that 90-minute form.”

Her daughter's inspiration ... 
“For me, the reason I think she wrote this for my 70th birthday is because that birthday hit me hard. All of a sudden, time seems limited and I feel that it very much tries to address that issue in ways that are comforting. I say ways because we have a lot of perspectives in the play on what happens after death.”

On growing up ... 
“The last line of the play is ‘before I go home’ which I take to mean, in the context of the play, to another world, 'I will stay a little while in the theater where you do not have to grow up.' The sense of growing up does not mean not taking responsibility. It means not becoming ossified … programmed like Dad’s hat … the grownup man’s hat.  Why would you wear it when it does not keep you warm? It is just a convention. Being an artist … being in the theater … retaining your playfulness is a way of staying alive.”

WEBSITE   TICKETS

Shattered Globe Theatre concludes its 2016-17 Season with the Chicago premiere of FOR PETER PAN ON HER 70th BIRTHDAY, written by Pulitzer Prize finalist and Tony Award nominee Sarah Ruhl for her mother Kathleen Ruhl, a Chicago actress who played Peter Pan onstage as a teenager and stars in SGT’s production. Now extended through May 27th at Theater Wit, 1229 W Belmont Tickets: 773-770-0333

ASHLEY WHEATER: GLOBAL VISIONARIES AT JOFFREY BALLET

For a moment, Ashley Wheater pauses to reflect on the journey that he has been on with the Joffrey Ballet for nearly 10 years.

It’s a short rehearsal break on April 19th during a very busy week, and yet he is thoughtful, generous and speaks passionately on a wide range of topics during our conversation. He calls the excitement generated by the superb debut of Christopher Wheeldon's Nutcracker last fall “incredibly gratifying.” However, his pride shines vividly through in acknowledging that the Joffrey dancers have had so many amazingly creative experiences this season. Like every arts organization, the Joffrey keeps evolving. “Art," says Wheater, “never stands still, and we keep moving forward.”

Things have been moving forward rapidly for the Joffrey Ballet when you consider the new take on Shakespeare’s Romeo and Juliet presented here last fall and in New York a few weeks ago, Wheeldon’s Nutcracker, the innovative Game Changers, and now, Global Visionaries, opening April 26th for a 10 performance run through May 7th at the Auditorium Theatre of Roosevelt University.

In our conversation, Wheater provides unique insight into the production development process, the world-renowned choreographers approach to the material and what’s ahead for the Chicago-based company that is raising the bar in the world of dance.

On the Miraculous Mandarin and choreographer Yuri Possokhov …
Béla Bartók’s score was specifically written for dance. It is quite a dangerously, dark tale ... Yuri has this deep, theatrical flare to his choreography. He grew up in the Bolshoi. He was a principal dancer there, a magnificent artist. He has shown us a very different way of using movement to tell narrative story. It is incredibly gripping.”

Unique staging …
“When we did the collaboration with Cleveland, we did it at Severence Hall … the orchestra and the company on stage together … the logistics of how much space we could find within the confines of an enormous orchestra. The impact was monumental. We have brought it to Chicago at the Auditorium Theatre … We have the fantastic Chicago Philharmonic conducted by Scott Speck … We have raised the pit and built the floor out into the auditorium … The audience will feel like they are really close, both to the music and the action of the dance.”

Developing Episode 47 and Alexander Ekman ...
“Alex wanted to come in and workshop with the company and see what would come out of that dialogue, between Alex and the company. And it really is the entire company. He has them doing a lot of improv … He asked the dancers what it is about their work, their career and what they do every day that brings them joy. And so they are all open to their own interpretation of what is joy in their work. … The one thing about Alex’s work is that he is deadly serious about how it is executed. … His timing is incredible.”

Mammatus and Annabelle Lopez Ochoa ...
“We presented Mammatus (“Formation of Clouds”) in 2015 and it was part of a non-subscription program, so we only had a handful of performances. Coming back to it, we’re able to dig deeper, the company understands it better. … Annabelle, like Alex and Yuri, is a fearless choreographer with very clear ideas. … She started working with the company, took this huge group of people, and made it really evolve and gave stunning parts to everyone in it. … You can look at it as this incredible flood of blackbirds. There is aggression to it, but there is also an incredible beauty to it … All of this amazing push, and then, at the end of the work, two people seem to float within the clouds.”

Understanding multiple layers…
“Our dancers want to understand the work at all the multiple layers. If we are going to do these works, we have to understand them … both in their choreographic language and also in their musical language. All too often we leave the musical phrasing out of things, which I do not agree with. … Whether it's this contemporary program we are doing ... whether it's opening our season next year with Giselle, one of the greatest romantic ballets of all time … whether it’s George Balenchine's Four Temprements, or Jerome Robbins|Philip Glass work Glass Pieces, there is so much in the repertory for the company. What I have found is that every single year they raise the bar because I raise the bar, and I think collectively, we really love the work we are doing here.” 

WEBSITE  BIO 
PODCAST ON ITUNES  
ABOUT CONVERSATIONS

MORE ABOUT
GLOBAL VISIONARIES TICKETS

The Miraculous Mandarin (Chicago Premiere)
Choreographed by Yuri Possokhov
In collaboration with The Cleveland Orchestra, San Francisco Ballet Resident Choreographer Yuri Possokhov has created a new work specifically for The Joffrey Ballet: The Miraculous Mandarin, a magnificent tale of a girl forced to act as a decoy by thugs, luring a wealthy mandarin to his tragic fate. Set to Béla Bartók’s 1926 score, Possokhov reimagines this story ballet for seven dancers to explore the tragic, dark passions between men and women.

Episode 47 (World Premiere)
Choreographed by Alexander Ekman
Brimming with Alexander Ekman’s trademark originality and humor, Episode 47 explores the feeling of joy through dance to serve as a remedy to our uncertain times. Incorporating movements based on improvisation, Ekman sets this large ensemble work to a modern mix of music including the Grammy-nominated Brad Mehldau Trio’s bluesy Since I Fell for You; Django Django’s psychedelic dance hit, First Light, Tiga’s pop hit Shoes and Moby’s LA5.

Alexander Ekman once again brings his unique vision to the Joffrey with the world premiere of Episode 47, April 26 - May 7 at Auditorium Theatre. More Video | Big Foot Media.

Mammatus
Choreographed by Annabelle Lopez Ochoa
This powerful, abstract piece features 20 dancers in a series of ensembles and duets set to contemporary composer Michael Gordon’s Weather One. A minimalist stage, equipped with tree branches lit with LED lights, sets the scene while dancers represent surreal insects and birds through organic movements to explore the nonlinear essence of nature and turbulent cloud formations.

Musical Director Scott Speck and Chicago Philharmonic
Images and profiles courtesy of Joffrey Ballet and The Silverman Group, Inc.


The Joffrey Ballet’s Global Visionaries opens Wednesday, April 26th for 10 performances through May 7th at the Auditorium Theater of Roosevelt University, 50 East Congress Parkway. For the full schedule or to order tickets, call 312.386.8905 or visit Joffrey.org.

ED KROSS - SHOOTING FROM THE HIP

You have seen Ed Kross. Everywhere. Dozens and dozens of times. Maybe on a cruise ship with Second City. Or during the three-year run of I Love You, You're Perfect, Now Change at Royal George, as the Tin Man in Wizard of Oz at Chicago Shakes, a tap-dancing monkey in Jungle Book at Goodman Theatre, or as the quirky studio host in I Love Lucy Live on Stage at the Broadway Playhouse.

There are two memorable roles as a bank manager on-camera opposite Tom Hanks, in Road to Perdition, and George Clooney in Oceans Twelve. Among his over 60 commercial appearances, Kross makes a copy machine selfie and shares a microphone with a dancing mini-wheat.

It is safe to say that Ed Kross is a natural born comic, actor, singer, and dancer. And while it was always part of the plan to pursue a theater and on-camera acting career, Kross says the key for him was to keep busy and apply some basic improv principles to his own life: be present, get out of your head, know the rules, learn skills, stay sharp and be sure to strive for balance in your life. 

These days, as we found out in our conversation on April 14th, the witty Kross delivers a more serious turn as a police officer struggling with PTSD in the new Amazon Prime web series Patriot, a role that is on the other end of the acting spectrum from his early days aboard the Norwegian Epic with Second City.

Take an improv class …
“Even if you are not going to be an improviser or if you do not think you are funny, it teaches you to be present in the moment and to get out of your head … I am a big fan too of not following a linear path as far as training. Even if you are not a dancer, take a dance class. Take something just to move and get your body going. Take an improv class even if you are a dramatic actor because it may open up some parts of you that you had no idea you had. Take a pottery class … For Pete’s sake, take a class!”

On Being a Triple Threat …
“Thank you, that is very nice of you to say. I think I am more of a jack of all trades, master of none, type of guy but if you want to say triple threat, my mother will be thrilled.”

On Getting Noticed …
“Looking back I realize how hard it is when you are starting … That is why I always say take a class, do a play, keep yourself fresh because you never know who will be in the audience that night. Do good work. I honestly believe cream rises to the top.”

Working with the Wiz in Jungle Book …
“I understudied André [De Shields] and went on three times for him … let me tell ya, when people are expecting the Wiz and they get this kid from Brookfield, Illinois … I am not saying it was bad but people are always disappointed when there is any understudy on.  I mean I was even disappointed when I was on …  André won a Jeff for Jungle Book. He was so ridiculously good … We did eight shows a week and he busted his butt. I never saw him give any less at the Wednesday matinee than he gave on Saturday night. That is old school pro. When I went on for him, he sent me flowers. This guy is the real deal.”

On Building your Skillset …
“Skills can be learned … ear prompter, teleprompter, tap dancing and juggling can be learned. Learn some skills and I think the more skills you have the more you can work.”

Knowing your Strengths …
“I certainly love doing drama as much as doing comedy but it is about knowing your strengths. I am not going to kid myself. I have been a goof since day one. It is fun to flex some other muscles but I know where my bread is buttered.”

CARL BECKER & SON - CRAFTING MUSIC WITH PAUL BECKER

Becker violins and cellos -- and the family that makes them -- have a long and storied history. The craftsmanship involved in a "Becker" is an art form all to itself, developed and handcrafted with techniques passed down from generation to generation. Four generations, to be exact. When you ask PAUL BECKER about the extraordinary value and longevity of these instruments, he says, in the proper hands, they only improve with age … and can be immortal.

A visit to the new West Hubbard Street location of the Becker shop in Chicago will give anyone a greater appreciation for the artistry involved in creating these fine instruments. Handcrafted to exacting measurements, each has its own tonal identity, sized to fit the artist and adjusted to their own particular requirements. It is hard to imagine the patience and precision necessary for this highly-detailed work that has kept Paul Becker busy since he got his first bench in the family shop at 13 years old.

What has happened in the decades since was the topic of our conversation when we took a tour of his shop. We brought a 100 year old violin -- a Tracy family heirloom -- for show and tell to see whether or not there may still be some music in it and we discovered more about the Becker family’s extraordinary contribution to creating and preserving their craft.

Why instruments are invaluable …
“Well it is art … Art has a beauty. It produces a human voice. It recreates not just a beauty to look at but a beauty to listen to.”

On the intricate detailing and craftsmanship …
“Everything on a violin is important … ten hundredths of an inch, not one hundredth of an inch ... The measurements are incredibly important. This is much finer than a human hair. You cannot see these moves, yet, you will know those moves … anyone will hear those moves … any musician will feel those moves.”

How to create that special sound …
“I am dealing with engineering, chemistry, psychology, hearing … I mean the hearing part is an amazing thing … being in touch with how what I hear makes me feel is what creates that special sound.”

The inspiration behind a musical masterpiece …
“What I am looking for is an instrument that inspires the musician so they want to practice and find that violin … another corner that is in it … a sound or feel they did not have prior. I am looking for that in my work and if I can inspire a musician, then I am more likely to get that masterpiece of a performance from them.”

Loyola University Chicago
2015 Illinois Family Business of the Year
Small Family Business of the Year
Carl Becker & Son Ltd.
WEBSITE

Paul Becker of Carl Becker & Son talks about a 100 year old violin at his shop in Chicago. March 24, 2017

DE USURIS - PETER, PAUL AND MARRY ... AH, MARY!

This week we feature a CONVERSATION with Paul Becker, the fourth generation in his family to make Becker violins and cellos. During the tour of his shop, we learned about the extraordinary precision required in making Becker instruments. Shattered Globe presents the Chicago premiere of Sarah Ruhl's For Peter Pan on Her 70th Birthday at Theatre Wit, while Porchlight Music Theatre's Marry Me a Little begins previews at Stage 773 and, Nicole Armold and Matt Crowle are stepping in time on Southport to Mary Poppins at the Mercury Theatre

Read More

ELAINE DAME - YOU'RE MY THRILL

There is no one you could name who is anything like Elaine. Dame, that is.

After years of playing concert and club dates all over town and in New York, Elaine Dame is recognized as one of Chicago's most gifted jazz singers and vocal coaches. And she gives back, as we found out in our lively conversation at Winter’s Jazz Club on March 31st, where she’s helping owner Scott Stegman expand programming for the hot new venue in Chicago’s Streeterville neighborhood.

Raised in a family that appreciated music, art and culture, she recalls her parents urging her to sing and take piano lessons. Her grandmother, who passed away recently at 101 years young, was an extraordinary influence in her life, taking her to concerts, theatre and sharing a deep appreciation for art. There was also a long line of spiritual influence at play: her grandfather, a Protestant minister, followed several generations of ministers before him.

The intermingling of music, art, faith and all the encouragement paid off. A flute became the instrument of choice, with choral singing and theatre close behind. Professional aspirations, spurred on by band and choir directors who still proudly come to see her perform, pulled her far away from the small town of Stevensville, Michigan where she spent most of her formative years – first to Pepperdine, then classes at UCLA and then to the Theater Repertory Program at California State Northridge.

In the mid 90’s, after a four-year investment in Chicago’s busy theater scene, things seemed to be stalling a bit. That’s when she discovered Julia Cameron’s The Artist’s Way, an insightful guide to understanding creative potential. The transformation that began all those years ago ultimately helped her to develop a much more centered life, and to recognize that jazz singing, and coaching vocal jazz technique, was her true calling.

Her spiritual compass took a meditative turn as well. Elaine Dame is now a practicing Buddhist. There’s much more to hear in our captivating and enlightening program recorded at Winter’s where she is preparing for her April 25th show – Elaine Dame Sings Ella with the Chicago Jazz Orchestra All Star Quartet.

The impact of The Artist’s Way … “It is an incredible book for anyone who wants to be more creative in their life … I always recommend it to my students … When I did this book not only was it an incredible experience creatively but spiritually it was intense. I had not before or since had that kind of spiritual experience. I felt like I was in this strange zone, in the flow … stuff just comes to you … serendipity … sounds so ‘woo woo’ and I am not a ‘woo woo’ kind of a person but it really did set me on this path. The book dispels the myths about what it means to be an artist … that artists are broke or crazy ... Most artists I know are very well-adjusted, lovely people with families and this is their job … We each have our own blocks … psychologically … when it comes to doing creative things and this book allows you to explore all the myths in your head.” 

Music as therapy … “Thank God for music. It has always been a way for me to relax and meditate … for my brain to slow down and focus on one thing.” 

Skat facts … “You have to study it. It is a language. It is an art form ... You cannot just pretend to be good at it … Initially you have to start just by experimenting … basically stream of consciousness kind of stuff … and imitation … When you first start you imitate the people you love … Once you get passed that and figure out if you have an ear for it … playing around can only get you so far so you have to start studying harmony. It is an ongoing, challenging thing … to break down the way the harmony is moving … what the scale means to that c7 chord and be able to sing that scale … and have a way to get to that next scale … teach them how to do that ... guide tones and all that … You have a map that you can use but you obviously have to be a great listener and move with what is happening. It is a beautiful thing when it works out.”

On practicing Buddhism …“I chant every day and it helps me stay positive. It helps me have what the Buddhists call a high life condition which means one filled with passion, compassion, wisdom, joy and all that good stuff. We all have challenges and should look at them as opportunities … It helps a lot in the music business.”

Coming up at Winter’s Jazz Club … “I am doing an Ella Fitzgerald tribute at Winter’s. It will be her 100th birthday on April 25th... She, more than any other artist, is someone I am obsessed with. It is going to be with Chicago Jazz Orchestra. It is an incredible group and we will have a lot of fun. Hopefully the audience will too.” PODCAST

ALL RIGHTS RESERVED

Copyright 2014-2024

Roxbury Road Creative, LLC

Powered by Squarespace