CONVERSATIONS with Ed Tracy

Inspire. Educate. Entertain.

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

THE NICHOLAS BROTHERS "TAKE WINGS" AT BLACK ENSEMBLE THEATER

You probably know what “Break a Leg!” means to an actor, but what do you say to a dancer? If you are Rueben D. Echoles and Rashawn Thompson, who are portraying the legendary Nicholas Brothers on stage in Chicago next month, it’s “Take Wings!”.

They are headlining the highly-anticipated opening production of Jackie Taylor's Black Ensemble Theater’s 41st Season with My Brothers Keeper - The Story of The Nicholas Brothers. Written, directed, choreographed and starring Echoles as the younger Harold Nicholas with Thompson as Fayard Nicholas, the production has BE’s cultural center jump jivin’ night and day with a cast of 16 and the Black Ensemble Orchestra under the direction of Robert Reddrick.

They have been called the greatest tap dancers who ever lived and the most beloved dance team in the history of entertainment. Born seven years apart into a performing family, the brothers had front row seats to the talents of the great black Vaudeville acts of the day. A ground-breaking appearance at the Cotton Club in 1932, when the brothers were only teenagers, led to Hollywood a few years later and then to Broadway in the 1936 Ziegfield Follies. They would go on to headline in venues all over the world, in films and on television for over six decades.

During a break from rehearsals, we joined Rueben Echoles and Rashawn Thompson to talk about the creation and development of the show and what it is like to fill the shoes of these legendary entertainers.

Reuben on advancing the Black Ensemble Theater’s mission …
"We will eradicate racism by letting us all know that we have common things that bring us together, music is one of those things … And we are celebrating the greatness of who we are. When we are proud of who we are, other people can look at us and say the same and respect who we are.”

Reuben on the Nicholas Brothers dance style …
“In terms of choreography no one can duplicate what the Nicholas Brothers did. So, what I do is I watch carefully and then I use accents of the things that will remind people of the videos. We do a lot of tricks that they did but not as many. If they jump down ten stairs, we will jump down four because no one has been able to duplicate what they have done since then. And I just don’t think I want to risk it.”

Rashawn on the importance of the Black Ensemble Theater’s Education Program …
"I had a tough life growing up. When I came to the theatre it gave me a chance to speak my mind. It gave me a chance to talk and be heard because I felt I was not heard a lot as a child. In the theater, I was able to be as big as I want to be and everybody’s listening … I know that with me being a mentor … there’s a lot of kids like me … how I was … and I see it and pay attention to them. I understand how to work them through it … try to make it a little easier than it was for me.”

“Break a Leg!” or ...
Reuben: “We say “Take Wings!” because we literally need to fly on that stage.”
 

TICKETS AND INFORMATION HERE 
LISTEN TO THE PODCAST

CONVERSATIONS WITH MEDAL OF HONOR RECIPIENT TOM HUDNER

TOM HUDNER received the Medal of Honor for his actions in an attempt to save the life of his African American wingman Jesse Brown who had crash landed his plane on a desolate mountaintop during the Korean War.

I am posting, for the first time, a transcript of a taped interview about Tom Hudner's reflections on the action and Jesse Brown. The interview took place in Denver in 2007. As an introduction, I have included a brief overview of a conversation we had on the phone a few years ago.

A truly remarkable man.

TOM HUDNER

On March 29, 2014, I called and spoke to Tom Hudner. It was not a formal interview as we had had many of those in years past. He was, as always, soft-spoken, upbeat and engaging. Among the topics discussed was the Medal of Honor Society sponsored Leadership Development Program which has been expanding to schools across the country. Tom was particularly proud of the initiative that brings recipients of the Medal of Honor into schools through personal visits and internet programs.

Tom Hudner, a Korean War veteran, was the first recipient, by date, to receive the MOH after World War II. He remembers at an early inauguration, a duty officer only allowed him one ticket because his guest was not his wife. He said that only happened once and, thereafter, all recipients were invited to the Presidential Inauguration, but had to pay their own way.  (The number of living recipients then was perhaps five times greater than the current number of 76 living recipients.)

According to Tom, times have changed significantly. The recipients have been treated with extraordinary respect as they move from city to city for their annual conventions. The last major convention in Chicago was held in 2009 and attended by over 50 heroes.

Tom talked about serving on the policy development committees in the early days of the Medal of Honor Society which was formed in 1958. He has high regard for recent recipients like Sal Giunta, who he had a kinship with since, the oldest recipients he knew at the time had fought in World War I.

2007 CONVERSATION with Medal of Honor Recipient Tom Hudner– Denver, Colorado (This transcript has been edited for length and clarity.)

TOM HUDNER ON JESSE BROWN
FIRST IMPRESSIONS

Ed Tracy: Tell me about your first impressions of Jesse Brown… when you met. Describe who he was, what he was and some of the aspects of what he faced… the struggles he faced and the challenges he overcame.

Tom Hudner: I got my wings in August of 1949 and my first orders were to the Naval Air Station on Long Island. Shortly after I got there, the squadron I joined was decommissioned and I went to another squadron at the same station. It was only when I got my orders to this other squadron did I even hear of Jesse Brown. He had gotten his wings a year before I did but I didn’t know that there were any black naval aviators. When I arrived in the squadron, nothing was said even at that time that Jesse was in the squadron. So, it was a day or two after I got there when I was in the locker room getting ready for a flight when Jesse came in. I wasn’t startled, but I was a little bit surprised. He was very quiet. He just introduced himself. “I’m Jess Brown.”  Very low key. We had a few words that I really don’t remember and then I went out to the flight.

Of course, as in squadron life, we’d see each other on a daily basis. It was obvious from the very beginning that he was very well liked by everybody, but there was no deference in any way. He was just one of the guys. No thought whatsoever that he was black.

ET: Would you describe him?

TH: Well, as I remember he was probably about five ten or five eleven. Slender fellow. He was a track man so he looked like a sprinter. With a ready smile. He had a great sense of humor. He was the butt of a lot of jokes, and he joked about a lot of other people, too. I wouldn’t say that he was anybody special in the squadron except that not everybody was proud of the fact that he was there. Frankly, what made it better was he was a helluva good guy.

He was an ensign. He’d been an ensign for… I don’t think he’d been an ensign for a full year, so he was one of the lowest seniority guys in the squadron.  He was given the responsibilities of a young officer in his position… as the Navy emphasized, you did small jobs to increasing responsibility as time and rank goes on. He didn’t get his work done on a number of times, no more than anybody else, so the squadron CO would have to kick his butt to get his paperwork done and things like that. But he didn’t experience anything that the rest of us didn’t experience.

DATING AND MARRIAGE

TH: How long he was dating his future wife, Daisy, I don’t know, but apparently they had been dating quite a bit. So, when he got into the flight program, he got in as a non-officer and the Navy would not take married non-officers. As an officer, you could go through the program married. But, as a non-officer, you couldn’t.

He ran into the typical problems that blacks faced at the time. Being down there in the south, especially Pensacola, no matter where he turned, he was given a hard time by people. The fact that he was a Naval aviation cadet didn’t deter a lot of these people from saying anything. He experienced harassment a number of times while in uniform by shore patrol and others. 

The flight program was demanding. He started in 1947, got his wings in 1948. There was a lot of pressure on students at that time.

I don’t think his girlfriend, who came from Hattiesburg, could afford to come and see him at all. Whenever he had leave and did have a chance he drove back from Penscaola to Hattiesburg to see her. I don’t know how long a drive that would be but not too much effort.

He was under so much pressure. He finally married Daisy while he was in the training program, which was very definitely against regulations. But she, of course, gave him much comfort and solace. I’m sure that he attributed being with her as an anchor.

Jesse and I were not very close. He was an Ensign and I was a LTJG. At that time, there was a big difference between an Ensign and everybody else. He had very good friends who were my rank and were true friends. The difference, though considered minor, was a big one at the time.

Also, I was Naval Academy and had several Naval Academy friends before coming in there and these other fellows, they were our friends too, but I gravitated toward those I knew before. So, that is why I didn’t see Jesse more than I did. Plus, the fact that I was a bachelor and a couple of these friends were bachelors, too. We just didn’t mix at all.

ON THE MOUNTAIN

ET: Take us through Jesse’s crash and what you saw from above.

TH: In those days, for all takeoffs and landings your canopy was open. The canopy would slide back and forth on rails. When it was open, there was a little latch that would flip over onto the track. So, if you made a sudden stop, it would keep the canopy from going forward.

When he landed and the canopy was open, I presumed he had latched it open… it latches open automatically. But he hit with such force, that the canopy shut. So, we couldn’t see him in the cockpit. As soon as this happened, the flight commander left us to climb to a higher altitude, because this is a mountainous terrain… and to call for assistance presumably from the Marines because they were known to have helicopters in the area. So, several of us… three or four, so some other aircraft from other flights, came over for curiosity or however they could help.

Then someone said, “He’s waving at us.” Jess had managed to open the canopy… and we could see him. He was waving at us to let us know that he was alive. The flight commander came back on our frequency and said that helicopters were on the way. I don’t know when it was said, but it would be as long as a half an hour before they could be there. In the meantime, smoke was coming out of the cowling back along the fuselage. That’s when I thought by the time he gets here the smoke could turn into flames.

Our flight leader was still not on our channel, so I don’t think I even called for permission to go in. I just… when the time came, I just said “I’m going in.”

ET: He wouldn’t have given you permission to go in anyway…

TH: No.

ET: Was there any buzz on the radio after you made the decision to go in?

TH: I don’t remember any comments on the radio. There may have been some, but I don’t remember any. It was not at all negative on the frequency. I don’t know how many were on at the time, but no one said “Don’t do it.”  So, I’ve always said, no one told me not to.

AT THE CRASH SITE

ET: So Jesse is out of his gloves and parachute. He has been trying to get out of the cockpit on his own. His hands are frozen. What are the conditions?

TH: There is about twenty inches of snow on the ground. Not constant, but it was knee high. The weather was clear. I don’t remember there being much wind at all but it was cold.

I had a blue knit cap that sailors wear. They call them Watch caps. I used to carry one of those in my flight suit in case I got stuck. He had taken his helmet off and that was on the floor of the cockpit. So, I pulled the watch cap over his head and I had a white Navy scarf and wrapped that around his hands but it didn’t do much good since his hands were so frozen.

The fire subsided. Hydraulic fluid or possible oil dripped on the hot pipes and plumbing that went up through into that part of the airplane. It diminished as time went on. There was almost no wind, but what wind there was blowing the smoke back up the fuselage but not into the cockpit. I was waiting for the helicopter. Frankly, for lack of anything better to do, I was throwing snow on the fuselage, under the cowling, which did almost no good.

ET: Do you recall Jesse saying anything about Daisy at this time?

TH: One of the few things he said to me… he just said, “If anything happens to me, just tell Daisy how much I love her.” There was no time for small talk, so we didn’t talk.

ET: How soon did the helicopter come?

TH: It was about a half an hour. The helicopter pilot got the word that there was a plane down. The helicopter was an Sikorsky H03. There are pictures of them. One of the smallest. Not a bubble canopy, but spheroid. A lot of glass or plastic in the front of it. Maximum capacity was 3: pilot, copilot and crewman. The pilot took off with a crewman to help get Jesse out of the cockpit. When he heard afterwards that there were two of us on the ground, he had to turn around and go back and let the crewmen off. He was going in there all by himself. He didn’t know what the circumstances were. The planes went down is about all he knew.

ET: So, that trip back took even more time for him to get there.

TH: Oh yes. That had to add at least fifteen minutes to it. I don’t know if I told you this, but when we left Norfolk, VA on the way over to Korea, the day we got underway, we went up on deck, there are six helicopters there with a Marine detachment , so there were 10 pilots and supportive enlisted personnel. We took them all to Korea from there which was the better part of two weeks.  We left the first of September and didn’t have our first flight until the 10th of October.

These Marines were riders. They couldn’t fly well and ward room. When you go through several time zones no one can sleep. We still had our work to do but these guys didn’t… what I’m leading up to is that after being on the ship for the better part of a month, the rescue pilot came and saw the only black face in naval aviation in the cockpit. I don’t recall if he said anything to Jesse. Jesse was comatose at the time. In and out of consciousness. He was very calm, but we think that he was in shock. I sometimes wonder how he could have been talking at all.

ET: Was he saying anything that made sense?

TH: I don’t remember that he did. There was so little conversation between the two of us. I didn’t spend much time in the cockpit. It was difficult. Very hard to get up there. I went back to my plane to give a status report. My radio was still working. Some said I shouldn’t have turned it off but I conserved the batteries so the radio would work longer.

ET: Were there enemy patrols in the area?

TH: I am told by some who were flying in the area that there were, but they were not close and I saw no evidence except a single set of footprints… tracks in the snow. The snow and getting up a couple of times to check on Jessie is all that I did. I was just trying to encourage him to stay long enough to help Jessie. Jessie said virtually nothing while Charlie and I were trying to figure out what to do… in the back of our minds, I think, knowing there is nothing we can do.

ET: Once the axe comes out… you can’t chop steel with an axe.

TH: Charlie was naïve just asking for an axe.

ET: So, at one point Charlie looks at you and says, “Tom it’s getting dark.”

TH: Charlie turns to me and says, “Tom, it’s getting dark and I can’t fly… I don’t have the instruments to fly at night. I’m going. It’s up to you what you want to do, but I’ve got to get outta here.” It wasn’t a matter of being chicken or anything… it was just the reality. Frankly, Jesse may have been dead at the time he said it. I said we don’t have the equipment to get you out of here. We’re going back to get something. I don’t know… he didn’t say anything but I don’t know if he even heard what I said to him. My only hope is that…looking back on it, that he knew he wasn’t alone at the time he passed. No matter what the circumstances, we don’t want to be alone at that time.

ET: I know how difficult this is to bring back. I cannot tell you how much I appreciate the time you’ve spent today talking about this.

TH: Jess got his wings just about the time that President Truman issued the executive order to desegregate the Armed Services. The Navy had the reputation of being the most segregated due to the particular nature of the Navy. The posts aboard ship. Not being able to get away. He came into the Navy on active duty as an officer into a recently desegregated Navy. Just because of the proclamation, the Executive Order, didn’t mean that anybody felt any differently about it  It isn’t that he ran around the ship and said “…because of this executive order you have to treat me differently.” He wasn’t that way at all.

Jesse was somebody that showed right from the day we met his reticence to force himself… or break anybody’s personal zone. He didn’t even offer to shake hands at first.  He didn’t want anybody to say that they didn’t want to shake hands with him. He was very respectful. He didn’t have any attitude, hauntiness, subservience. He was just one of the guys. Just from his attitude again, everybody did truly like him.

I ran into people years later who were in the squadron before I got there who spoke very admiringly of Jesse. It was pretty obvious that if he had stayed in the Navy, which I do not believe were his intentions, he’d have been a leader. Whether he would have been the first black Admiral, I don’t know.

He was a decent person. He could have been a son-of-a-bitch to the stewards and the others, but he wasn’t. The stewards hovered around him which is a very natural reaction. I don’t think he went out of his way… never got friendly with enlisted personnel. He was an officer.

Although Jesse was only an Ensign, because of his breaking through this big, big barrier to become a Navy aviator, he was really a role model. Everyone respected him and he was certainly headed for better things. He was accepted at Ohio State University. After he served his time, his intentions were to become an engineer or maybe even an architect. Whatever, he’d have done, he would have been fine.  

ET: When you returned, what was the mood back on the ship knowing that Jess was gone?

TH: There was a big void. He wasn’t just one of the guys who happened to fit in. He’s the type of guy, not to dramatize it, but lights would shine when Jesse came in. He was not a back slapper either. He’d come in unobtrusively. He’d play acey deucey with a lot of the guys. He was well liked.

Before we deployed, he had a hard time as a new Naval aviator with a new wife. He couldn’t find any housing. I’m guessing that he looked up to fifteen miles away for a house or room to rent and everyone said just missed it or too late. There was a black enlisted man pay officer who somewhat befriended him. He found a place for him near Providence. So, it was not just a few miles off the base. He had to go that far up. In the non- segregated New England. Think about what it would have been anywhere in the South.

But he was philosophical about it. A lot of the new squadron mates were helpful to him, but there was a limit to what they could do, too.

I was always a little disappointed that the Navy didn’t make more of Jesse Brown. There was such an emphasis on bringing blacks in. If Jesse had been just an ordinary guy who got caught in something, but he was a guy at a very low level rank wise who was an inspiration, not only to the other blacks but everyone who knew about him. But, they didn’t do more about it.

Throughout my career, I always heard about the Tuskegee Airmen, but I learned that there were more than one Tuskegee Airmen and Jesse was just one guy.  As I met some of them, they had never heard of Jesse Brown.

I think the word is getting around. Part of the heritage of the naval aviators is the story of Jesse Brown.

www.conversationswithedtracy.com

 

 

 

 

WOMEN IN SONG

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This week we feature CONVERSATIONS with four women who are bringing people together on stage and in the studio - Jeannie Tanner, Cynthia Clarey, Colleen Raye and Sophie Grimm. Lots of great entertainment to look forward to in the weeks ahead in Chicago.

 

 

JEANNIE TANNER “WORDS AND MUSIC” - ALBUM RELEASE SHOW - FEBRUARY 27th

Award-winning vocalist, composer and trumpeter Jeannie Tanner performs and records original music with her band the Jeannie Tanner Quartet, plays at Chicago’s top jazz clubs and has been deemed a “triple-threat” who “probably couldn’t play or write an unmusical phrase if she wanted to,” by Chicago Tribune’s longtime columnist and jazz critic Howard Reich.

Jeannie debuts her latest album next month; a songbook collection of American style music featuring 12 of Chicago’s finest vocalists. “Words and Music,” showcases Jeannie’s breadth of talents as a songwriter and musician and the unique styles of each of the collaborating vocalists. Jeannie joined the CONVERSATION to talk about her latest project and what to expect from the release party.

This is your ninth album. What makes this one stand out from all the others?

This new album stands out from my other records because it focuses on my songwriting, not my singing. Each song is one of my original compositions and the two-disc album features 12 of Chicago’s finest vocalists singing my words and music: Alyssa Allgood, Rose Colella, Elaine Dame, Kimberly Gordon, Paul Marinaro, Tammy McCann, Jeff Meegan, Typhanie Monique, Andy Pratt, Abigail Riccards, Michele Thomas, Amy Yassinger. “Words and Music” is the first album I’ve recorded that I’m not singing on any of the tracks, and there are nineteen songs on two discs. As a composer, it is a dream come true.

How would you classify the style of music on the album?

This new album is a collection of my original songs and the music is an eclectic mix. It ranges from the Great American Songbook to New Orleans-style jazz; bossa nova and retro 1960s Rat Pack Swing to percussive Afro Cuban rhythms, gospel and soulful ballads, to shades of adult contemporary pop.

 Was it difficult to coordinate all of the various artists?

Actually, no. Everyone was super excited to be a part of this project, and really made themselves available for phone calls, prep meetings, recording sessions and now, performing live, in concert, at the upcoming album release. The whole process has been, and continues to be, totally collaborative and really reflective of the supportive nature of Chicago musicians.

 Do you have an “Ah Ha” moment you can share?

I have several “Ah Ha moments”… The first was when Abigail Riccards recorded a rubato version of the song I wrote for her, “Endless Joy” (the tune is about the happiness of having children). It was unrehearsed, and she and Dan Murphy, who played piano on the album, just nailed it in one take. We were all holding our breath as they were recording… and at the end, I was speechless… we all were… because it was so beautiful. So when they were finished, Abby looks at us and says, “Was that okay?” (Like, do we need to do it again?) And we all said, “Uh, no - that was perfect!”

The second was with Typhanie Monique’s tune, “Be Strong.” I wrote it for her, specifically for this album. She mentioned that she had been listening to a lot of early Etta James, and Little Jimmy Scott. So I wrote the tune keeping those artists in mind, and in passing said to Dan Murphy (Music Director, arranger and co-producer on the album - as well as playing piano), “Can you write a string arrangement sort of reminiscent of ‘At Last?’” Just this past week, I listened to the two songs for the first time, back to back and was astounded that we had captured the whole vibe of “At Last.” And, with Typhanie’s amazing vocal performance on “Be Strong,” it really was an “Ah ha” moment of, “Wow, we did it!”

How did the collaboration with these established artists influence the final performances?

By allowing every artist to have the freedom to interpret my music in their own unique style, the heart and soul of every performer can be felt on this album. The songs reflect the true spirit of this project - creative, collaborative energy with a lot of love.

What can the audience expect on February 27th?

The audience can expect to have a great time! February 27th is going to be an exciting evening of entertainment, featuring 12 of Chicago’s finest vocalists, on stage - for one night only. They will be singing my original music, accompanied by a full band with a horn section and a string quartet. It will be a multi-media concert experience, to be enjoyed at one of Chicago’s finest music venues, the City Winery.

JEANNIE TANNER “WORDS AND MUSIC” - ALBUM RELEASE SHOW
Monday, February 27th
City Winery Chicago
1200 W Randolph St.
Chicago, IL 60607

Doors Open: 6:30 pm
Show: 7:30 pm

More Information: HERE
Tickets: HERE 
Jeannie Tanner's Website: HERE 

 

COLLEEN RAYE and SOPHIE GRIMM – THE BEST IS YET TO COME - JANUARY 27th

Seasoned entertainers, vocalists and mother daughter duo Colleen Raye and Sophie Grimm take to the stage at Skokie Theatre to salute the First Ladies of Song in the upcoming show, The Best is Yet to Come. Raye and Grimm will be exploring the trail blazing female songwriters from Tin Pan Alley and The Great American Songbook including classics from Ann Ronell (Willow Weep For Me), Billie Holiday (God Bless The Child) and Betty Comden/Green (Just In Time, The Party’s Over, Never Never Land). We caught up with Sophie to hear more about the show and her musical influences.

Sophie joined the CONVERSATION to give us a preview of their upcoming show. 

Music has obviously played a big role in both of your lives. What influence has your mom had on your career?

My mother inspires me every day with her love of life and incredible work ethic. She has a producer's mind with the creative ability to write entire shows that really connect with an audience through laughter and musical magic. You know that magic that happens when you as an audience member feels completely in the present and satisfied with it just by smiling and tapping a toe to someone singing or playing a song FOR YOU? She helps me every day with her presence in my life, whether physical or in her vibrant spirit. As for my career, I love to say that my family is in business with one another (show business) because I find it special and fulfilling, knowing my sister and brothers are living the dream in every day reality (a creative and striving one) - makes me feel they are achieving creativity (and professionally, on top of that!) and that makes me feel they are happy, making me happy.

Has your musical focus always been on Tin Pan Alley and the Great American Songbook?

I have loved the American Songbook my entire life because the art of jazz music meeting story and sung lyrics is something I love to listen to and create myself. Growing up in a musical family, however, has led me to love all music and live entertainment for that matter. The more we can get more people in a room to have a great time with music or live entertainment, the better in my eye.

Who’s the comedian?

I get so much of my humor from my family, but although I believe my mother would definitely say her strength is in the torch song, she can swap jokes with the best of them. If you're talking about who's the clown, now, I can definitely take that title.

COLLEEN RAYE and SOPHIE GRIMM – THE BEST IS YET TO COME

Friday, January 27th
Skokie Theatre
7924 Lincoln Ave
Skokie, IL 60077
8 pm

More information: HERE
Tickets: HERE
Sophie Grimm's Website: HERE
Colleen Raye's Website: HERE

 

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CYNTHIA CLAREY IN PORCHLIGHT MUSIC THEATRE’S
THE SCOTTSBORO BOYS OPEN FEBRUARY 3rd

Acclaimed opera singer Cynthia Clarey makes her Chicago theater debut at Porchlight Music Theatre in The Scottsboro Boys. Although not singing in this production, her character plays a pivotal role in the true-life story of nine African American teenagers accused and put on trial in Memphis for a crime they did not commit. Cynthia has traveled the world as an opera singer working with such notables as Peter Brook, Trevor Nunn and Sir Simon Rattle while also performing as a Chicago Cabaret Professional at many notable venues including Davenport’s Piano Bar and Monday Night Live at Petterino’s with Denise McGowan Tracy and Beckie Menzie

Tell us about your character and how she fits into the story?

I play The Lady in The Scottsboro Boys. There is no real description of who she is, but she plays a significant role in the civil rights message of the piece.

How does preparing for The Scottsboro Boys differ from your other professional pursuits?

Over the years, I have seen several Porchlight shows and have been very impressed by the professionalism of the company. Since joining the cast for Scottsboro Boys, I realize how much goes into their productions and how wonderfully they schedule and handle the cast, which is a very talented group of actors and singers. The rehearsal period is very compressed for a challenging show like this, so, we are putting a lot into a short amount of time.

How is it all coming together?

I am very excited to be part of this production, particularly right now with what is going on. I grew up in the South, and this piece is a revelation for me. I am really looking forward to the run.

PORCHLIGHT MUSIC THEATRE
PRESENTS
THE SCOTTSBORO BOYS
February 3rd – March 12th, 2017
Stage 773
1225 W. Belmont
Chicago, IL 60657

More Information: HERE  
Tickets: HERE 

Check out The Scottsboro Boys First Rehearsal Video: HERE

WILD BEN HOLLIS

As it turns out, BEN HOLLIS has been having an on-going conversation with all of us for almost four decades.

He is the co-producer and original host of WTTW's WILD CHICAGO, and many other Emmy Award-winning programs, that feature his engaging interview style and zany humor, all mixed with unbridled excitement. A consummate storyteller, his focus is squarely on people and places, which is ultimately the point of his shows: to appreciate and learn a little bit more about ourselves and everything around us.

His near-legendary persona – that of the ever-vigilant explorer in pith helmet and khaki shorts with run and gun reporter microphone in hand – places him in a class all by himself.  Hollis is smart, well read, spiritual, worldly and yes, hysterically funny, both on and off camera, about whatever topic he’s talking about … including his real-life experiences, which are front and center in his next project.

We caught up with Ben on January 9th as he was making final preparations for his upcoming solo show “How the Beatles Nearly Ruined My Life and How David Bowie Saved It” debuting later this month at the Skokie Theatre. The new live stage venture is a long time in coming, unexpectedly interrupted a year ago with, well … brain surgery!

As you will hear on this episode of CONVERSATIONS, Ben’s life took a dramatic turn last January when he was diagnosed with arteriovenous malformation (AVM), a rare and life-threatening condition if left untreated. That medical journey, and the road to the new show, are among the many topics covered in our conversation.

As his ever positive and optimistic attitude will attest, we have only begun to scratch the surface of the many talents that Ben Hollis brings to the stage... and we are truly blessed that he is still here to tell the tale.

Ben Hollis on brain surgery ...

“I was the happiest brain surgery candidate I think anybody’s ever seen. I’m sure that those doctors and nurses and orderlies thought I was out of my gourd. Folks, imagine watching me with my pith helmet on the gurney being wheeled in there going ‘Woo hoo! This is the wildest journey I’d been on!’”

The gift of laughter …

“I’ve been given gifts. We’ve all been given gifts and talents … let me bring them fully to bear and trust that it’s the right thing to do … and that somehow it’s going to help other people too. Even if helping other people is only making you laugh and smile for an hour and a half, that’s not nothing.”   

Jack Brickhouse’s influence on his career …

“Jack Brickhouse, Cubs announcer for many years on WGN, always used to say early in the broadcast ‘Put down your worries. Put your feet up and just be with us for a couple hours. You don’t have to worry about anything else’ ... As a kid, you hear that and you go ‘what a bunch of malarkey’ … [But] Jack was so right … that’s exactly what we get from a movie or watching a ball game. The older we get maybe the more we pile up in our brains. If I can lighten anyone’s load, I am there to serve.”

What to expect in his upcoming show at the Skokie Theatre …

“A lot of what people are going to take away is joy in remembering their own life story. It’s going to appeal to a lot of Boomers in particular … it’s really the story about how music saved my life ...  The Beatles nearly ruined it. Bowie saved it by giving me another chance.”

HOW THE BEATLES NEARLY RUINED MY LIFE AND HOW DAVID BOWIE SAVED IT

TWO SHOWS:
January 21   8 pm    January 22  2 pm

Skokie Theatre
7924 Lincoln Ave
Skokie, IL 60077
Tickets: $22 Online or Call: 847-677-7761

Ben Hollis Links
WEBSITE: Video Production
BUY: Rent-a-Friend  

 

CONVERSATIONS FTA - CHRIS JONES - NOVEMBER 19, 2013

CHRIS JONES
author of
Bigger, Brighter, Louder: 150 Years of Chicago Theater as seen by "Chicago Tribune" Critics
University of Chicago Press (October 4, 2013)

Chris Jones, chief theater critic and a Sunday culture columnist for the Chicago Tribune, joined the conversation at the Hubbard Inn on November 19, 2013 to discuss his new book. 

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Also featured in this episode of CONVERSATIONS FTA (From The Archives) is a performance by World War II veteran JUDY BRUBAKER, who played the role of Ms. Leach in the original Chicago cast of Grease in 1971.

CHRIS JONES on Claudia Cassidy and Richard Christiansen ... “The Tribune had two critics who held the job for most of the 20th century … one of them was Claudia Cassidy and one was Richard Christiansen. … They were very different critics. One was largely despised by the people she covered and one was largely beloved by the people he covered. One was known for vitriolic prose – horribly nasty prose in some cases, by today’s standards anyway – and one was known for a certain courtly gentlemanly understanding. And yet, both of them at their different periods of time, seemed to give this city what it really needed.

PODCAST   LIBSYN   STITCHER  ITUNES

BUY THE BOOK: HERE
READ MORE ABOUT GREASE HERE

NEW YEAR. NEW OUTLOOK.

During a light-hearted conversation this week, a friend told me that their first 2017 resolution was to complete all of their unmet 2016 resolutions. On some level, that is how we may all feel about making these kinds of commitments to ourselves.

I decided to take a different course in 2017 and it doesn’t involve reexamining whatever I didn’t get done last year. I’m scraping the “New Year’s Resolution” timetable in favor of a new improved path. In truth, I have been following something like this for several years, but as these few weeks are a time for reflection, I realized that I was being hard on myself and ultimately on others around me.

Over the years of trying to achieve my resolutions, if I was confused or sad, I would eat, so the diet resolution was compromised. Although I walk daily, the fact is that I may never again exercise as much as I should. So then the guilt starts to seep in. And then there’s the addiction to sugar, something my late friend John Callaway told me about several years ago. I dismissed it at the time, but it is very real.

Particularly to people of a certain age ... of which I am, as it turns out, one.

I never thought that I would become a person of a certain age, but now that I am one, I’m quite happy about it. I wish that I could do all the things to excess that I used to do, but I can’t. My system won’t allow it and, frankly, all of those excesses were, well, excessive.

So, the conversation continues. Over the past year, we have explored life through the eyes of actors, artists and entrepreneurs. We heard how art, music, dance and theatre is created … what the important steps are in developing new work … learned about musical comedy, character development, long-running success and explored all the various forms of social media that allow us to communicate with each other, even if we don’t want to communicate with each other.

While the old notion to move the ball down the field is still present, I am eager to get others on the team to help improve the game. In this new year, I have a new outlook -- more positive, assertive, with sights fixed on building a bigger base and having more fun, all the time.

That’s what I want to talk about this year and I hope we can have many more conversations along the way.  

 

DE USURIS

 

MR & MRS PENNYWORTH now playing at Lookingglass Theatre through February 19th WEBSITE  TICKETS

THE TALL GIRLS - SHATTERED GLOBE The world-premiere of Meg Miroshnik's new play at Theater Wit in previews beginning January 12 WEBSITE TICKETS

BEN HOLLIS

 

 

BEN HOLLIS - How The Beatles Nearly Ruined My Life and David Bowie Saved It Skokie Theatre
Sat, Jan 21 - 8 pm; Sun, Jan 22 - 2 pm. TICKETS    

SKOKIE IDOL begins January 28, 2017 WEBSITE
 

 

 

 

 

 

 

THE SCOTTSBORO BOYS - Porchlight Music Theatre Opens February 3rd at Stage 773. WEBSITE  TICKETS

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Winter’s Jazz Club is Chicago's newest jazz room in Streeterville. Abigail Riccards, Paul Marinaro WEBSITE Howard Reich READ

 

 

 

 

Chicago's Theater Week is coming in February. WEBSITE

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Frank Sesno's Ask MoreWEBSITEBUY

 

 

 

Winston Groom's El Paso – From the best-selling author of Forrest Gump

WEBSITE - BUY

 

 

 

 

Building Chicago by John Zukowsky should be in everyone's collection. Listen to our live program from the Chicago History Museum HERE

Thanks for joining the CONVERSATION!

Perhaps you received a personal email earlier this year … or read Myrna Petlicki’s feature article in March announcing the debut of CONVERSATIONS with Ed Tracy at the Skokie Theatre … or have listened to our podcasts on topics ranging from serious conversations about comedy with Matt Crowle and Bill Larkin to the career of The Wiz himself, Andrè De Shields.

Read More

AMERICAN BLUES THEATER - IT'S A WONDERFUL LIFE: Live in Chicago!

No holiday season is complete without a visit back to Bedford Falls with George and Mary Bailey, Bert and Ernie, Mr. Potter, and an angel named Clarence. Frank Capra’s classic film, It’s A Wonderful Life, is the timeless and endearing story that tells the importance of one life to lives of others.

A holiday tradition not to be missed, and 15 years in the making is, It’s A Wonderful Life: Live in Chicago! The American Blues Theater's production is a show for the entire family, set on stage in the style of a 1940’s radio broadcast with an original score, Foley sound effects and holiday songs. There’s something to comfort everyone here … right down to the milk and cookies served by the cast.  

The production is directed by Wendy Whiteside, Producing Artistic Director since 2010, who has played the role of Mary six times over the years. In that time, the Joseph Jefferson Award recipient and nominee has led a remarkable period of artistic growth and professional recognition for the 37-member Ensemble whose mission is to explore the American identity through the plays it produces and the communities it serves.

Wendy Whiteside, and Foley artist and designer, Shawn J. Goudie, joined the conversation on December 8th to tell us more about their wonderful lives in Chicago … and Bedford Falls.
  PODCAST

Wendy on directing a live radio play …

“Most important thing when you tell a story live on stage is to be present in the moment … We direct our actors to be in the moment with this audience as well as the listening audience at home. Sometimes the actors will break the fourth wall and look into the audience … and sometimes they will direct the entire piece into the mic and close their eyes and imagine they have an audience member at home in their pajamas on the couch with hot cocoa.”

 What It’s A Wonderful Life means to her …

 “… Every season I am reminded of how important every single soul is to the present time we are living in.”

 Shawn Goudie "The Foley Guy" ... 

“It is such a wonderful art form and a lot of it, in fact, does still occur in films and radio as well … but you just do not think about it as much … It is easier for a one-person show to run things on an app but if you have the ability and the tools to do it … there is nothing like the crispness of that live sound.”

Live sound effects demonstration …

SG: Clarence leaping off the bridge to save George, and George subsequently jumping off to save him.

CUE FOLEY - WATER EFFECTS


ET: I feel like I’m right at home in my bath tub.

ITUNES      LIBSYN      STITCHER

2017 SEASON - The American Blues Theater presents It’s A Wonderful Life: Live in Chicago! from November 16, 2017 to January 6, 2018  at the Stage 773. WEBSITE BOX OFFICE: (773) 327-5252

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