BUILDING CHICAGO - LIVE AT THE CHICAGO HISTORY MUSEUM

Expert Panel Discusses John Zukowsky's Book at the
Chicago History Museum

A new and extraordinary addition to the great body of work about architectural history in Chicago is now available and should have a prominent place in every public and private collection. At just over 300 pages, John Zukowsky’s Building Chicago: The Architectural Masterworks, published by Rizzoli, covers the sweeping history of Chicago with fresh scholarly commentary and hundreds of images – many from the Chicago History Museum’s vast collection.
 
John Zukowsky, Lee Bey and Rolf Achilles joined the conversation on Thursday, October 20th, 2016 at the national launch of Building Chicago to discuss the evolving landscape of Chicago architecture in the 20th century. 

Rolf Achilles on what has influenced Chicago architecture …
“… Chicago was this amazing vacuum that just sucked everything up … It was also the fastest growing city in 1833. There were 350 people here and by 1900 it was 1.5 million. Well, that 1.5 million needed stuff that the 350 did not. So you have 70 mad years, and that’s what you can see … how architecture affects culture but culture affects architecture too.”
 
Lee Bey on his favorite architect …
“I like modernism … I like the work of Mies van der Rohe … obviously Crown Hall. I like late Mies … Hotel Langham now, the former IBM building … but I like the clarity … how rational the design is.”

John Zukowsky on Chicago and American Modernism …
“What’s interesting to me about Chicago modernism, and it’s true with American modernism … you always think of modernism as being just one solution … in reality it’s about 20 to 30 individual solutions. Every modern building has a different feel and a different look to it … and that’s the same when you look at buildings in Chicago … what I like about that is not just the discipline and rationalism but the variety of expressions that everybody else had around the country.”
 
Bey on growing the city …
“There are two Chicagos. There’s a central area … Cermak to North Avenue, the lake to Halsted and outside that there’s another Chicago where population loss is happening that we need to fix. We have to grow the city …. the central area is going to be taken care of … but we have to figure out the south and west sides of the city … how to get people there, how to grow the population…  put houses, buildings, factories, office buildings, the whole mix in this area.”

Achilles on why other cities have surpassed Chicago …
 “They are all using the Chicago tradition to get in to the future, and we’re not in the same way … it’s not the architecture that’s the problem. It’s the socio-economic state. It’s the politicians … those with a semblance of authority that can make the rules, and they’re not making very interesting rules … It’s like in the 1910’s and 1920’s, Chicago imposed a height limit on its buildings because they were scared you couldn’t get out of a building in a fire. Well, New York wasn’t afraid of that and surpassed Chicago. New York becomes ‘skyscraperville’ and Chicago is this ‘little stubby town in the prairies.’”
 
Zukowsky on who we will be talking about in 100 years …
“I’d include the classics [Louis Sullivan and Frank Lloyd Wright] … I’d put in pioneers of the 70’s and 80’s Bruce Gray … Stanley Tigerman … Richard Nickel … Harry Weese … Jeanne Gang … I think you’ll also be talking about other architects who built here …  We tend to forget about that especially in the 90's. Foreign architects and New York architects were building here … We’ll be talking about Norman Foster [and] the Apple store ... I think he’s a great architect … so it’s great to have something of his work here, no doubt about it.”

Our thanks to the generous sponsors Bulley & Andrews, Eli's Cheesecake, Rizzoli and the Chicago History Museum.

Listen to Entire Podcast HERE
Purchase Building Chicago HERE

STEVE SCOTT - GOOD TIMES AT THE GOODMAN

Ebenezer Scrooge, Bob Cratchit and Tiny Tim return for the Goodman Theatre’s 39th annual production of A Christmas Carol from November 19th through Dec 31st, 2016. According to Goodman Producer Steve Scott, who has directed three of those productions in his 36-year career with the Goodman, the holiday classic is a labor of love.

Scott’s directing talents are in high demand as well, currently directing at Eclipse Theatre and Redtwist Theatre in Chicago. He is a multiple Joseph Jefferson Award nominee and his work has been recognized with an After Dark Award, the Illinois Theatre Association’s Award of Honor and others.

Steve Scott joined the conversation on October 24th to talk about the summer and fall seasons, Bob Fall’s extraordinary contribution as artistic director and the theatre community’s support for Season of Concern. 

Listen to the podcast on
ITUNES     LIBSYN     STITCHER

Steve Scott on the 2016 - 39th Annual - production of A Christmas Carol ...
"It’s like coming back to an old friend … now a 39 year-old friend. Christmas Carol is perhaps the production we work the most on each year, so we’ve been celebrating this Christmas since January 1st of this year.ma It’s a great story. It’s nice to have new actors in the roles some years and to have returning actors come back … it really gets to you. As many times as I’ve seen it and have directed it, it still moves me."

Which one would you be?  Past, Present and Future ...
"Hopefully, present. I try not to concern myself too much with the past, and there’s nothing you can do about the future except to do what you can in the present, so I try to live each day as you live it and make it count."

On the influence of Robert Falls ...
"When Robert Falls started as Artistic Director in 1986, he brought a more complete vision to the Goodman and what we provided to our community in Chicago … what we had the capacity to do and what we should be doing in terms of large scale works … in terms of musical work … in terms of commissioning and building careers of playwrights. And also that we had a responsibility to the entire community, to reflect every facet of the Chicago community in what we were doing. When Bob came it really kind of energized us and marshaled the forces."

Impact of the 1992 Regional Tony Award ...
"Under (Bob Falls) direction now for 30 years, but at that point for 6 years, we had already done a number of really outstanding new work … had begun to receive national acclaim for the quality of the work we were doing. So it was kind of a steady growth … the awarding of the Tony Award jazzed us even more to see what else we could do. And the theatre has really mushroomed since the Tony Award."

On Bob Falls first production of Brecht’s Galileo in 1986
at the Art Institute Theatre ...
"It was the largest production that Goodman had ever done … a cast of nearly 30 … I remember one of the most fabulous sequences in the play was when Galileo was looking up into the heavens, Bob used the old dome that was in the middle of the theatre at that point as a projection screen. It was the first time I had ever seen a play in that space where I felt we’re not only seeing the play at a distance but we were kind of encompassed by the play."
 
Listen to the podcast on
ITUNES     LIBSYN     STITCHER

More on the Goodman Theatre HERE

DAVID H. BELL - LOOKING BACK. LAUNCHING FORWARD

If you are over a certain age, you already know about the 1940 film KNUTE ROCKNE – All American with Pat O’Brien as the legendary Notre Dame football coach who led his team to five undefeated seasons and the 1925 Rose Bowl championship. And, if you are under a certain age, you may be surprised that the film featured a young and future president named Ronald Reagan in the role of George Gipp who died at the age of 25.

Coming up, musical theatre audiences young and old in Chicago and South Bend can be part of the development process of ROCKNE a new musical at the Josephine Louis Theater of Northwestern University and at the Decio Theater at Notre Dame. The early November developmental workshop at Northwestern University is part of the American Music Theatre Project (AMTP) and the organization’s ongoing commitment to connect professionals and students in the development of new works for the musical stage. The workshop culminates in two free public reading performances on November 19th in Evanston and November 20th in South Bend.

David H. Bell, AMTP’s artistic director who co-wrote lyrics with Michael Mahler for this new adaptation and an earlier Chicago stage version, is directing this turn. Bell is a multiple Joseph Jefferson Award nominee -- 44 at this writing -- and has received the award 11 times.  He has served as artistic director at Ford’s Theater in Washington and has worked on Broadway, Off-Broadway, at Carnegie Hall, the National Theatre and many, many others.

David Bell joined the conversation on October 21st for an in-depth discussion about the challenges of developing new works for Broadway, the impact and accessibility of workshop programs for emerging artists and what’s ahead for the American Music Theatre Project. PODCAST

Chicago’s impact in musical theater…“Chicago is the national laboratory for new work. Chicago, in particular, has a real dedication to find grass root pieces and feed it. It is adventurous, nurturing and affordable, which is a good trio.”

The impact of Hamilton and big Broadway hits… “Unlike in the past when you would say ‘a high tide lifts all boats,’ now the money really goes to Hamilton … It’s the first time I’ve seen this experience where Hamilton really is dominating the market and actually in some ways making people reluctant to spend their discretionary dollars elsewhere … [it's] the weird phenomenon now of 'you’re only going to see one show a year' because that’s what you can afford to do rather than become a theater cohort and see whatever is available.”

On the increase in opportunities for young artists... “Starting in 1968, Broadway really didn’t know what it was so it was in the dark ages for a good 20 to 30 years. That’s when I was getting started and therefore ... there was not a lot of opportunity… Broadway was diminishing rather than growing, certainly not thriving, so the whole landscape was very, very different … The idea of direct apprenticeships wasn’t quite as prevalent as it is now … Right now you’re invited to have resident directors and assistant directors. There’s a whole hierarchical structure of how a young director can support a Broadway show… We have found new avenues to get things to Broadway. There’s much greater access to Broadway … We’re actually coming in a very healthy spate of opportunities that have been created for new artists wanting to interface with new musical work.”
 
Advice for aspiring musical theater students… “Ultimately we [AMTP] may say no, and it is a real gift not to take no from anyone. So if they don’t make it the first time, try again and try to be involved in a number of ways … Those who don’t allow themselves to hear no are the ones who make it in this business.”

PODCAST

FOR MORE INFORMATION
Northwestern University's American Music Theatre Project

PAUL MARINARO - BIRDLAND BOUND

If you have been around the Chicago music scene for the last decade, you surely have had the opportunity to enjoy the classic jazz tunes and standards from the Great American Songbook performed by Paul Marinaro. Perhaps you have seen him at Katerina’s back in the day, which in 2016 terms is only a few years ago, or at The Green Mill Jazz Club, Jazz Showcase or the magnificent Auditorium Theater. Any night with Paul Marinaro in the room is going to be a very memorable experience.
 
And coming up, a New York audience will have an opportunity to enjoy his dynamic musical talents at the debut of the Paul Marinaro Quartet at Birdland on Sunday, October 30th. We caught up with Paul on October 11th to talk about his musical career, the Birdland show, what’s coming up next, and a dog named Titus.

When asked to reconsider his tribute album Without a Song showcasing his father’s vocals from an old rehearsal tape …
“It was suggested to me that ‘your father, he was very special to you, but he wasn’t Nat King Cole … people aren’t going to understand what these old recordings are.’ I almost listened, and it’s because my father wasn’t Nat King Cole and people didn’t know who he was that I thought it was even more important … the concept of the album was even more important because it speaks to every man and woman who has ever had a dream but didn’t pursue it and thought that it didn’t matter.”
 
On what attracts him to certain songs ... “[They] don’t necessarily have to have lyrics that knock you over … If I’m going to approach a ballad, I have to connect to it somehow. That’s melody and lyric ... I use the term loosely because I don’t like labels, necessarily … but as a jazz-influenced vocalist, you look for material that has a strong harmonic sense because that’s where the musicians you surround yourself with are going to shine … that’s what they’re going to be able to put their stamp on.”

On Sinatra's singing style ... “Jazz singer? The best answer is, who cares … Sinatra was my gateway, through my father’s introduction to him and my own study of his massive body of work … At his best he was a highly influenced jazz singer in the sense that he used his voice in a way that would have been considered incorrect in the theater realm, in the classical realm.  He would hold a consonant if he thought it gave more meaning to the phrase … beautiful vocal production yet not perfect and there’s something human about that that makes you listen more closely to how he was trying to interpret the song.”
 
The influence of Katerina’s nightclub …“It was such an interesting realization for me because not only did I feel as if I was coming into my own, as who I wanted to be as a singer, I realized something else, though, that was very important, and that’s the audience. They always say ‘Know your audience and deliver to them,' and I would add that you have to understand who you are as a performer – who you want to be – and if you can, try to cultivate that audience; you need to know how to find that audience and cultivate that and keep them … that’s the audience you want to sing to … they have been very faithful to me, the audience I have built here, and they have always allowed me to do the songs I have wanted to do … allowed me to grow.”
 
On the debut at Birdland October 30th … “That’s the culmination of a dream. There are venues that you say their name and they hold weight. Birdland is one of those. I would say in the jazz world, I would go beyond that. It’s one of those names that just resonates with people. The owner, Johnny Valenti, runs a fantastic club. I have been a fan of Birdland since the first time I went there … he (Valenti) had heard about the album to my father. A big help there was Jonathan Schwartz, famous DJ, author and performer in New York … He was the first to play it in New York and he played it one afternoon, and it just floored me. … He played most of the album on his Sunday show, talked about me and each week he would play a little more ... and he started saying things like, ‘well, this guy’s website shows he’s only performing in Chicago … Paul, if you’re listening, why don’t you come to New York?’ So (Johnny) heard about it then … it took awhile … but, he leaned over one of the last times I was there to see Benny Green and he said ‘I have a Sunday in October. Do you want it?’ I said. ‘Yes.’ He said, ‘Well, I didn’t tell you the date.’ I said, ‘Yes. I’ll take it.’"
 
LISTEN TO THE CONVERSATIONS PODCAST  STITCHER  LIBSYN  iTUNES
VISIT PAUL MARINARO'S WEBSITE HERE
BIRDLAND JAZZ CLUB  HERE
JAZZ SHOWCASE VIDEO HERE
WINTER'S JAZZ CLUB

CRAZY FOR CROWLE - A CONVERSATION WITH MATT CROWLE

Matt Crowle, the multi-talented, award-winning veteran of musical theatre in Chicago for the past decade, has a backstory worthy of a Broadway musical all its own. Born and raised in Marshall, Michigan, where he discovered his love for ballet, tap, theatre and comedy at a very early age, Crowle eventually followed a calling to New York City, grinding through years of auditions, dance and voice classes and part-time jobs to make ends meet.  His first real break would come as a member of the touring company of Dr. Dolittle and stage time with Tommy Tune. And then came the Broadway megahit, Spamalot.

These stories are just part of the fascinating conversation we had on September 27th with Matt Crowle, the six-time Jefferson award nominated actor, choreographer and dance instructor. In a wide-ranging discussion, Crowle talks about who helped to shape his performance philosophy, recognizing talent, the importance of training, and, working with one of his best friends, Bill Larkin.

Matt Crowle received the 2015 Jeff Award for his performance as Hysterium in Porchlight Music Theatre’s production of A Funny Thing Happened On The Way To The Forum and is nominated twice in 2016 -- for his tour-de-force performance as Leo Bloom in Mercury Theater’s The Producers, and, for his choreography in the Drury Lane Theatre production of White Christmas. 

NEXT UP: Matt Crowle is merging all of his formidable talents and vast stage experience as director and choreographer of Drury Lane Theatre’s upcoming production of Crazy For You, running November 3rd though January 8th.

Matt Crowle on his New York miracle and unforgettable Spamalot audition:
"I was working at Ellen’s Stardust Diner and I got a call from Tara Rubin Casting saying we’d love for you to come in next week for Spamalot …  and to be honest, it was an eye-rolling moment because I thought 'you’ve seen me… there’s nothing left to do.' I talked to my mom and said ‘I don’t think I’m going to go. I have a shift that night.’ My mom said ‘So, you’re going to sling burgers around when you can audition for a Broadway show !?!’" 
 
"I almost didn’t make it … I was trapped on the N train, ran upstairs grabbed a cab and said ‘I will give you 50 dollars if you can get me to Chelsea faster than you should legally’ ... and he did …  I think I was the first to go, did the first song, went well, did the first of two scenes, went well, and that was when my mentor Bruce kicked me in the back of the head and said ‘you’re not done yet.’ ... So I launched into the second one and the associate director at the time, Peter Lawrence, leaned in after I finished and said ‘I am very, very glad you did that.’ … So that was at about 11 … and at about 11:15, I had a phone call that said if you want to join the Broadway company Spamalot,  you start in two days …  So I went in there, quit my job at the restaurant, and there you have it.”

About physical comedy and streamlining simplicity:
"I had a knack at a very young age for falling down really well. I was doing prat falls for a very long time. My parents got a video camera … one day, when I played hooky from school all I did for the whole day was fall off from furniture or jump off of things and fall and then I’d go back and watch it in slow motion to see if it was believable enough."
 
"My mom found the tape. She was like ‘What were you thinking?!?!’ It was just before the night I had an opening in a show in high school. ‘And what if you had broken your arm !?!’ [I said] ‘I’m not going to break my arm. I know exactly what I’m doing. I’m a pro!’ … and she just rolled her eyes and said ‘Well, it’s your problem.’ 

“I think the first real exposure to physical comedy for me would have been Steve Martin. My mom and dad loved Steve Martin, listened to his stand up albums, watched Roxanne, The Jerk and, of course, Three Amigos. So much of my generation is about vulgar humor… But I thought clever always spoke to me. Clever and simple because it’s not easy. It’s not easy to weed out all the stuff you don’t need just to find that nugget, that gold nugget of truth and streamline simplicity … And then I was turned on to Keaton and Chaplin and went back over and over again saying, ‘What is it that makes it so perfect'"

Working with Bill Larkin 
"That rehearsal process [for Producers] was incredible because we had so much already from day one … Bill, as brilliant as he is, can be a bit awkward physically and he embraces this … There was a day when the director was trying to get him to lean on a wall a certain way. I felt like I was watching a Steve Martin or Buster Keaton comedy bit where he seriously didn’t know how to lean on the wall ... We had to take a break I was weeping … He’s such a natural, beautiful comedian … I adore him … He’s one of my dearest friends.”

The importance of training: 
“I try to impress upon my students and colleagues that you are never done training … In New York, everyone is always in class … always in voice lessons… always training … I didn’t notice that here so I’ve really tried to change that approach … All you have is your reputation and if you rely on that as opposed to committing to push forward with it you lose, and we all lose … Any time I talk to young performers I say ‘Be the best you can. Then get better.’”

Matt Crowle Website
Peninsula Players Theatre - Peter and the Starcatcher July 2 - 23, 2017

SUBSCRIBE & JOIN THE CONVERSATION

DOREEN SAYEGH - SHAKESPEARE 400 CHICAGO

"I think that Shakespeare really does live in this city, and it’s so clear to see in this year that you have the spirit of Chicago, the grittiness, the strength, the poetry of it really does meet this playwright in an incredible way. It’s why the largest celebration of Shakespeare’s 400-year legacy is happening in Chicago … because the city wants it." – Doreen Sayegh, Festival Producer, Shakespeare 400 Chicago  Listen to entire podcast HERE

In 1616, William Shakespeare shuffled off (his) mortal coil, reason enough 400 years later for an international celebration fit for a King!

In 2016, culminating years of preparation, the Chicago Shakespeare Theater has launched Shakespeare 400 Chicago, an ambitious program series that has brought together cultural and educational institutions, national and intentional theater companies, performing artists and scholars to present their own impressive contribution to the celebration.

Festival Producer, Doreen Sayegh, joined the conversation on August 26, 2016 to discuss everything that has been happening twixt wake and sleep, including what's coming up this fall and a treasury of everlasting “scholarly” joy called City Desk 400.

Doreen on the collective nature of the the festival:
“What has been amazing is that Chicago Shakespeare Theater has worked with 60 different institutions across the city to program 850 events in 2016 ... we have artists and institutions from all disciplines that are pulling together and reflecting on what Shakespeare means to Chicago … bringing in international perspectives, trying to show Shakespeare across the genres and forms … we even have a culinary strand where 38 different restaurants - 38 of Chicago’s greatest chefs- are interpreting Shakespeare’s titles.”

What she loves about her job:
“I feel very lucky to be working on this festival …. to have incredible partners like Barbara [Gaines] and Criss [Henderson] who are inspiring and really daring …  who also took the chance on someone who’s young in their career to help them pull this together.  For me I’ve loved how much the city has come around this. I don’t think any of us imagined it. I think we hoped for it, and we weren’t sure what was going to happen, but you see all of these institutions and all of these audience members really excited about the idea that their city is uniting around a theme … that the theme has been universally celebrated for 400 years and still resonates in all of these different ways.”

On the diversity within the festival:
“Some theaters that we brought in are full of classically trained actors who have done Shakespeare all their life and do these beautiful interpretations. And some of them have conflicted relationships with Shakespeare but have taken a work of his and have used their own cultural lens and experience to produce something that matters to them and their community … to have both of those things under the same festival umbrella is incredibly exciting to me and sort of a gift to be able to see that.”

What Chicago audiences will take away from the festival:
“Audiences will have felt that their city is full of incredible cultural and creative organizations. I think that Shakespeare really does live in this city, and it’s so clear to see in this year that you have the spirit of Chicago, the grittiness, the strength, the poetry of it really does meet this playwright in an incredible way. It’s why the largest celebration of Shakespeare’s 400-year legacy is happening in Chicago … because the city wants it. My goal for the year has really been that everybody feels this festival in some way …. that something has reached them. I hope that people feel the spirit of Shakespeare in the city and excited about exploring the city.”

Listen to the podcast HERE
City Desk 400: HERE
More information on Shakespeare 400 HERE

SANDY SHINNER - SHATTERED GLOBE THEATRE

Shattered Globe Theatre presents True West

A Conversation with Producing Artistic Director Sandy Shinner

Shattered Globe Theatre kicks off the 2016-17 season, September 8th through October 22nd, with a revival of Sam Shepard’s Pulitzer Prize Award-winning American Drama True West at Theater Wit, 129 W. Belmont Ave.

Directed by James Yost, True West features Shattered Globe ensemble members Joseph Wiens, Kevin Viol, Rebecca Jordan with Rob Frankel.

Shattered Globe’s 26th season also includes the Chicago premiere of Meg Miroshnik’s Tall Girls in January 2017 and in April 2017, For Peter Pan on Her 70th Birthday, by Pulitzer Prize Finalist and Tony Award Nominee, Sarah Ruhl.

On August 18th, Shattered Globe’s Producing Artistic Director Sandy Shinner joined the conversation to talk about her career, True West and what’s ahead.

Sandy on why audiences resonate so well with True West:
“It’s the iconic story of the two brothers. Sam Shepard was exploring the idea of duality – that they could possibly be the same person …  I think he was trying to reconcile both those parts of his existence. The classic sibling rivalry since Cain and Abel has been the theme that everyone has always gravitated towards.”

About the cast of True West:
"Joseph Wiens is playing Lee. Joe has been in several shows at Shattered Globe recently and audiences in this last season were fascinated to watch him change from the kind-of-nebbishy high school math teacher in Animals Out of Paper to the redneck police detective in In the Heat of the Night. He made a transformation so that people didn’t even recognize him.

Kevin Viol, who has [also] been in several other Shattered Globe shows, is Austin. They are [together] a really interesting look on stage. Joe is really big and tall and kind of brawny. He’s the brother who has been living out in the dessert. Kevin is the successful screenwriter – glasses, more in the main stream – and so there’s a really distinct look between the two characters.

 Rebecca Jordan is playing the mother, and Rob Frankel, performing at Shattered Globe for the first time, is playing Saul Kimmer.

 James Yost is Co-Artistic Director at Interrobang Theatre Project. This is his favorite play ... As we built the season, we came up with three really personal plays for the season … for different reasons, and that is the theme for the season."

On the future of Shattered Globe:
“...to continue to strengthen Shattered Globe … to potentially add more shows to give more opportunities to the ensemble and to bring in new people… to make sure we work on new plays… to make sure we increase the diversity in the company, because I feel like if we’re performing for the City of Chicago, we should also be representative of the City of Chicago. New play development and diversity have always been what I am really passionate about.”
 

Marcelle McVay, Dennis Zacek and Sandy Shinner celebrate 2001 regional theater Tony Award for Victory Gardens. 

Ed Tracy on stage with Sandy Shinner, Tom McCabe and Christopher Wells in a 1976 production of Sabrina Fair at the Mt Holyoke College Summer Theatre. Inset Above: Ed Tracy with Sandy Shinner for CONVERSATIONS on August 18th, 2016. 

Entire podcast HERE

CONVERSATIONS FTA - BONNIE KOLOC October 22, 2013

Since arriving on the Chicago music scene in the late 60’s, Bonnie Koloc has established herself as one of our most gifted and beloved singers, songwriters and visual artists.

On October 22nd, 2013, as Monroe Anderson and Ed prepared for the Chicago Conversations PBS television program on Old Town School, Bonnie Koloc joined a live edition of the show at the Hubbard Inn in which she discussed her extraordinary career, the challenges she faced with recording companies and includes an acapella performance of Amelia Earhart's Last Flight.

You can listen to the entire Conversations podcast HERE.
 
Bonnie Koloc on where she finds inspiration:
“From everywhere … because I’m very eclectic. I love lots of different things. I love classical music … I love jazz … I like anything that’s honest and true. I was very eclectic from day one and also had a voice that didn’t want to do one thing. I loved to use all of the colors of the voice and all the things that the voice could do. I’m really interested in music that is from the heart and honest.”

On the power of music:
“I truly believe in the healing thing of music. I believe that music is for everyone, not just people who might be born with a very good voice … it’s for all of us … Music helps us heal from all the bad stuff in our life and helps us celebrate that which is good.”

The importance of arts education:
“It’s a different way of thinking … it’s called creative thinking … solving problems in a different way. That’s why to be completely educated, to have a complete education, you have to have the arts in our school. Plus it saves a lot of the kids who, like myself, didn’t fit in or have to deal with all kinds of craziness in their life and can’t concentrate on the straight facts, but can learn through expressing how they feel and who they are.”

Watch Chicago Conversations PBS Special on
Old Town School of Folk Music "Music for Everyone."
Visit Bonnie Koloc's Website

ANDRÉ DE SHIELDS - CONFESSIONS OF A P.I.M.P.

André De Shields returns to Victory Gardens Theater August 26-28 for a production of his one-man show, Confessions of a P.I.M.P. 

On Broadway, De Shields originated the title role in The Wiz and had long runs in Ain’t Misbehavin', Play On! and The Full Monty -- Broadway performances that have earned him two Tony Award nominations and five Drama Desk nominations.

A multiple Chicago Jeff Award recipient, most recently for his show-stopping performance in Jungle Book, De Shields also received an Emmy Award for an NBC broadcast special on Ain’t Misbehavin’. During a break from rehearsals on August 15th, André De Shields talked about his show, an extraordinary 46-year career and what it is that keeps bringing him back to Chicago. 

André’s advice to young performers at the beginning of their careers:
“It is not easy … it is hard for everyone. But remember there are two things that are guaranteed, absolutely guaranteed, in this industry … now here comes the punch line … It’s not fame and fortune … it’s rejection and insecurity … but that’s the test because when you get hungry, and you will get hungry, philosophically hungry and carnally hungry, your stomach will growl for nutrition. When you get hungry, if you can make your meal of rejection and when you get lonely, and you will get lonely, because this narrow path you’re walking is yours and no one else’s … if you can make a companion of insecurity then the universe will conspire to help you because you both will have realized that you have chosen the correct path.”
 
André shares a special moment with (Dreamgirl)Donica Lynn:
“In one of my Cabaret performances in New York I chose to sing ‘And I am Telling You I’m Not Going’ from a male’s perspective, but I didn’t change the pronouns ... and what I learned about that song is that it has very little to do with gender per se … the essence, the heart of that song is ‘I don’t want to be free.’ I shared that with Donica Lynn and with Doug Peck and during their (Dreamgirls)performance they sent a Facebook message to me and it was a photograph of that part of the music with a huge lip imprint of red lipstick from Donica and it meant the world to me ... because apparently she used that doorway as one of the means to get into that song. And when you hear that song with the emphasis on ‘I don’t want to be free’ it really changes what that song is about … it’s not about the man… it’s not about the woman… it’s about the human condition. ‘I don’t want to be alone. I need a companion’ … and that’s that message I was talking about earlier about rejection and insecurity.  We need company … we need ensemble … we need community in this industry. Otherwise we can’t rise.”
 
André on the ‘power of effective storytelling’: 
“If the story is told effectively then it will transcend the problem and transform the life of an individual … it will transcend the problem and alter the government … it will transcend the problem and change the world into the place you want it to be and you need it to be.”

Entire podcast HERE

André De Shields Website HERE

"... it was a photograph of that part of the music with a huge lip imprint of red lipstick from Donica and it meant the world to me ... because apparently she used that doorway as one of the means to get into that song. " André De Shields August 15, 2016

CONFESSIONS OF A P.I.M.P August 27, 2016 with Denise McGowan Tracy and André De Shields

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ARNIE BERNSTEIN - SWASTIKA NATION

Acclaimed non-fiction author and historian, ARNIE BERNSTEIN, joined the conversation at the Skokie Theatre on May 25th to discuss his book Swastika Nation, which explores Fritz Kuhn and the 1930s
Bund movement in the United States.
 
Arnie Bernstein on what he wants readers
to take away from Swastika Nation: 
 
“That it happened here… that a major Nazi movement happened here but that it was put down. People spoke up and spoke against it. There’s a wonderful story in this book about a town in Connecticut where they tried to establish one of these Nazi camps and the town fought back and forced them out. That’s really it … I mean at the end of the day yes, these elements exist … I mean we’re in Skokie for god’s sake. I went to Niles West the year of the Nazi march … I was there the day they were supposed to march at the city hall and boy were people waiting for them there that day … looked like it was going to be a lot of fun … but they wisely turned tail and ran … so it can happen here, but we can put it down. We have the freedom of speech, and that’s the difference between here and Germany. They didn’t have freedom of speech”

"Arnie Bernstein's balanced perspective on a wide range of topics is refreshing and knowledgeable, equal parts historian and commentator." Ed Tracy, host of Conversations with Ed Tracy

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JAMES FRAZIER - GOLD STAR FAMILIES CONVERSATIONS MAY 25, 2016

JIM FRAZIER is a Gold Star Family member in Illinois who leads Gold Star Survivor Outreach efforts. This conversation was recorded on May 25, 2016 as part of our Skokie Theatre series in advance of the City of Chicago Memorial Day ceremony and parade. The wide-ranging discussion is centered on the important work being done to support Gold Star Family members in Illinois and across the country.
 
Jim Frazier on grieving:  
“I have discovered the message that I will drill as much as possible to the families I talk to … who are 'stuck', and that’s the most common … getting stuck because of what they’re afraid of. If you say to a grieving family ‘it’s time to move forward,’ they will get very angry with you because their thought is … ‘if I move forward than I have forgotten about my loved one … I’m supposed to forget about them? I’m never going to forget about them’. What’s difficult to explain is that you can heal without ever forgetting them … healing to me means that damage no longer controls me.”
 
Jim Frazier on how to help Gold Star families:                          
“Today in our society, we’re not afraid to walk up to that veteran and say thank you for your service, and that’s fine, but what do you say to someone who’s wearing one of these? It’d be nice if everyone knew what it was. It’s a little gold star with a purple background … this is given by Congress and it means you lost a loved one in combat. When you meet a family or an individual that’s got one of these … thank them for the sacrifice of their loved one … ask the name of the loved one because there’s nothing better I like than when somebody uses my son’s name because then it tells me that I’m not the only one remembering him … somebody else is remembering him too… and then say 'tell me something about Jake' and shut up. That’s all you gotta do.”

PODCAST HERE