The 12 Best Plays of 2011

These are the ten top plays of 2011 in Chicago that reflect excellent stage craft and flawless production values according to us at Chicagocritic.com.

1. An Iliad

An Iliad

By Denis O’ Hare & Lisa Peterson

Based on Homer’s The Iliad

Translated by Robert Fagles

Directed by Charles Newell

At Court Theatre, Chicago

One of the many remarkable things about Timothy Edward Kane’s riveting performance of Homer’s The Iliad is his nimble ability to both reach the depths of despair and the jubilation as the Poet who tells the story of the mythical ten-year Trojan War. Kane’s performance is a major theatrical triumph as he glides through 90 minutes of verbal dexterity that includes speaking in classical Greek, delivering Homer’s lines (translated by Robert Fagles), and adding modern references as extemporized comments to give contemporary relevance to the epic poem.

2.  Follies

Music and lyrics by Stephen Sondheim

Book by James Goldman

Directed by Gary Griffin

Kudos to the fabulous Chicago cast members and to director Gary Griffin for mounting a world-class production of Follies. Congratulations to Stephan Sondheim for his pastiche of Broadway show tunes from the Follies Era (Sondheim defines pastiche as “Fond imitations, unlike parodies or satires, which make comment on the work or the style being imitated.”) Lastly, to Chicago Shakespeare Theater for spending whatever it took to mount a costume and set rich production.  We can hope that each year, Chicago Shakespeare Theater will mount a seldom-done Broadway musical.

3. The Madness of George III

The Madness of George III

By Alan Bennett

Directed by Penny Metropulos

At Chicago Shakespeare Theatre

Although there are a lot of politics in this play, at its heart George III is about the human condition, the humanity of the “divine” monarch.  Four different doctors try to cure the ailment, all using the brutal medical practices of the time; three have no effect, but the fourth may (or may not – George says it was time that cured him).  It is a remarkable play; one is reminded of Lear – a fact that does not escape Bennett: he has the King and his men read a scene from the play during his recovery.  There is a plethora of powerful monologues and powerful moments.

4. The Real Thing

The Real Thing

By Tom Stoppard

Directed by Michael Halberstam

At Writers’ Theatre

But it is Stoppard’s characters that are so fascinating and really drive this play.  Henry is clever, flippant, glib, but moreover an absolute romantic.  He is obsessed with trite 60s pop music.  He does not listen to the angry, populist, buzzsaw music of his day.  He listens to sappy, romantic ballads from a better, simpler time, when there was a possibility that love, that “our energy would simply prevail.  There was no point in fighting – on our side or theirs.  We had all the momentum; we were riding the crest of a high and beautiful wave.”

5. My Fair Lady

Book & Lyrics by Alan Jay Lerner

Music by Frederick Loewe

Adapted from George Bernard Shaw’s

play Pygmalion

Directed & Choreographed by Jim Corti

Music direction by Shawn Stengel

At Paramount Theatre, Aurora

Leave it to Jim Corti to open the new Broadway series of musicals at the wonderful 1800 seat Paramount Theatre in Aurora with a major production of the finest Broadway musical ever- My Fair Lady! With a cast of 31 and a 22 member orchestra , Corti has established an exquisite standard of excellence for his new Broadway series. His production is a sumptuous, funny, witty and romantic take on Edwardian English society filled with colorful costumes, memorable songs and marvelous preferences.  Corti’s production is equal, if not a tad finer, than the major national tour that played in Chicago a few years ago.

6. The Pitman Painters

By Lee Hall

Inspired by a book by William Feaver

Directed by BJ Jones

At TimeLine Theatre

Hilarious yet poignant drama about artistic meaning an expression emerges as wonderful theatre.

“Art makes something possible that wasn’t there before.”

When told that there is no secret to art, Harry says: “If there’s not a secret—how come we don’t knaa what’s gannin’ on?”

They come to be known as the Ashington Group of pitmen painters. The eccentric group consists of George Brown (the officious William Dick), Oliver Kilbourn (Dan Weller in a emotionally strong fine turn), Harry Wilson (James Houton), Jimmy Floyd (the hilarious Steven Pringle) and the Young Lad who observes (Jordan Brown). These miners quickly embrace Robert Lyon’s lessons by putting their working class raw personal instincts on their canvasses.  Using Mike Tutaj’s video projections that illustrate actual works by the Pitmen Painters, we see each of their art works and we appreciate the critiques by Lyon and each other.

7. Sweeney Todd

A Musical Thriller

Music and Lyrics by Stephen Sondheim

Book by Hugh Wheeler

Directed and Choreographed by Rachel Rockwell

Music Direction by Roberta Duchak

Killer performances in musical thriller

If ever a play deserved a wildly enthusiastic standing ovation, it was the mesmerizing opening night production of Sweeney Todd at Drury Lane. For a moment, the audience sat silent, stunned, and then rose to its feet, almost in unison, to cheer performance and performers.

Why is such a murderous story so compelling? The same question might be asked about many of Shakespeare’s plays – most especially Hamlet and Othello. And the answer is the same: when a body of work is in the hands of a brilliant artist, the end result transcends the individual facts. The whole becomes far more than the sum of its parts. The result is a masterpiece, a Tony Award winner.

8. The Last Act of Lilka Kadison

The Last Act of Lilka Kadison

Abbie Phillips,

Hedi Stillman and Andrew White

Directed by David Kersnar

At Lookingglass Theatre, Chicago

Moving Holocaust love story depicts a spirited woman in her life defining moment

Told as a memory play from the 87 year old Lilith Fisher (then know as Lilka Kadison), we meet the tough-as-nails old lady living in a cluttered California apartment. Marilyn Dodds Frank gives a funny, yet poignant performance as the ghost haunted sickly Lilith. Her caregiver, Menelik Kahn, Pakistani immigrant (played with humorous aplomb by Usman Ally) tries to get Lilith to both take her meds and let him clear up her house from all the clutter. Lilith is feisty as she drifts into remembrances brought on by the ghost of her first love- Ben Ari Adler (the charmingly charismatic Chance Bone).

9. Porgy and Bess

A folk opera by George Gershwin, DuBose

and Dorothy Heyward, and Ira Gershwin

Directed by Charles Newell

Music and New Orchestrations by Doug Peck

At Court Theatre, Chicago

Brilliance of Gershwin’s score in terrific hands with Newell, Peck and a great cast with their re-imagined Porgy and Bess

It features George Gershwin’s magnum opus with stirring score that includes innovative synthesis of European orchestral techniques with American jazz and folk music idioms with elements of gospel and Jewish religious music.  The 1935 American folk opera has a controversial history and was ahead of its time yet George Gershwin’s score was never scorned. Based on DuBose Heyward’s novel, Porgy, the Gershwins and the Heywards spent time in the island based Gullah community off the coast of South Carolina researching the Gullah dialect – the sense of community including their African influences and superstitions. The result is a complex storytelling fueled by the rich Gershwin score that necessitates a superb cast of actor-singers.   That is exactly what Newell and Peck has achieved in their fabulous production of Porgy and Bess.

10. 42nd Street

Music by Harry Warren

Lyrics by Al Dubin

Book by Michael Stewart & Mark Bramble

Directed by Rachel Rockwell

Music direction by Doug Peck

Choreographed by Tammy Mader

At Marriott Theatre, Lincolnshire, IL

“Come and Meet Those Dancing Feet on the Avenue I’m Taking You to -42nd Street!”

Based on the 1933 film that saved Warner Brothers studio,  producer David Merrick , believing that the  1980 nostalgia craze, decided to mount 42nd Street on stage. Directed  by Gower Champion with music by Harry Warren and lyrics by Al Dubin, 42nd Street became an extravaganza not seen on Broadway in decades. From the show’s opening that featured 40 dancers to the terrific energetic show-stoppers, Merrick’ concept led to a run of 3,486 performances. People love tap shows! The 2001 revival of 42nd Street ran for 1524 performances followed by a successful national tour and several worthy regional productions at Candlelight, Drury Lane and Marriott in Chicago.

Kudos to Marriott Theatre for remounting 42nd Street! Great classical Broadway Musicals need to be produced every few years so that the next generation can enjoy the art form. Director Rachel Rockwell and choreographer Tammy Mader have mounted a slick, splashy, spirited production of the quintessential backstage  musical fable. 42nd Street is a pure 1930′s style musical about how an ingenue saved a major new musical just before the first preview.

Lykke Li

At the Vic Theatre, Chicago

Music that makes you fall in love with the pain love brings

About midway through Lykke Li’s set, when the cocaine starts to wear off, when your buzz is leaving you because you can’t afford the stupid amount it costs to buy a Bud Light and you forgot your flask, when you start to be able to see through the marijuana haze in your head again, you are left intoxicated only by her music.  And, really, that’s all you ever needed.  Lykke Li’s dark, ambient folk-pop cradles you in a loving, mournful embrace.  It’s music that makes you want to hold someone.  Just hold them in the dark with your eyes closed, losing yourself in the music and in the warmth of their body.

She walked onto the stage swathed in sheer black, with matching black drapes hanging from the rafters, drifting through the smoke and light like a raven: cunning, cocksure, alluring.  Immediately the deep thundering of bass toms filled the room, as if Glasvegas were playing a rave in Detroit.  The sound of electric organ floated through the air and an acoustic guitar brought an earthiness that grounded the otherwise largely electronic aesthetic.  Then Lykke Li opened her mouth and it sounded as if Fiona Apple met Joan of Arc on the stake.  Her pain isn’t the deeply damaged and broken pain of Apple; it’s the pain of constant disappointment, of hope and love being trampled by loss and lust.  She’s distilled the ambience of The Cure and Joy Division and combined it with the stadium sensibilities of the aforementioned Glasvegas, but kept her own pop sensibilities and self-identity.  Her songs may have a passing resemblance to other groups, but they sound like Lykke Li – make no mistake.

At one point the rest of the band walked offstage, leaving Li alone with an autoharp.  She started a song softly, immediately creating an intimacy with the audience; slowly, one by one, the rest of the band joined her, each adding their own presence in the soundscape.  By the end there was a conviviality that captured the entire venue.  The group followed this up with a fantastic, melancholy cover of “Unchained Melody,” made famous by The Righteous Brothers.  She held the entire room in the palm of her hand.  Indeed, it’s an apt cover: Phil Spector produced that song, using his ingenious Wall of Sound technique; Spector was clearly an influence on Li, as she creates that same Wall so well in each of her songs.  After that classic, everything but the drums dropped out and she danced animalistically, overwhelmed by primordial urgency.  The beat transitioned into a barnburner - pounding bass, immense, dance-floor convulsions, sex dripping from the ceiling.  “Like a shotgun needs an outcome,” she growls from a place so deep it seems to come from her loins, “I’m your prostitute, you gon’ get some.”  This is the most obviously salacious track, and comes closer than anything else to the sheer sexuality of Jeff Buckley – though in an utterly different way.  The juxtaposition of the intense sensuality of this piece to the mournful sentimentality of the tune that preceded it makes each song all the more striking.

Another part of her music that is absolutely arresting is the harmonies.  They are all beautiful, with some very much grounded in the pop vocabulary.  But far more often they ring out like Gregorian chants, resonating through the room like hooded figures reaching for the heavens. They are harmonies felt in your chest, augmented by the deep, full sounds from the drums and bass and organ.  These pious harmonies make one feel holy, enwrapped and enraptured by the sound of God.

At some point the band thanks the audience and walks off stage.  After much applause and aplomb, they slowly ease back in sight of the spectators.  “I don’t want to get the reputation of being easy,” Lykke Li bashfully grins.  “I love you, Chicago!  Do you love me?” she implores.  Cheers ring out.  “I know the perfect song for this,” and she launches into “Unrequited Love.”  “Oh, our love has been divided / Oh, my love is unrequited,” she mourns, the band offering harmonies that would make grown men weep, melodies learned from the saddest of country and bluegrass songs – and few songs are sadder.  Thanking the audience sincerely once again, the band float off, leaving their laments ringing through the air.

Highly recommended

For upcoming tour information, go to her site.

Summer & Smoke

By Tennessee Williams

Direted by Ryan Martin

At the Den Theatre, Chicago

Ask for Everything but Be Prepared to Get Nothing

Summer & Smoke actually started out as a Tennessee Williams short story by the name of “Oriflamme.”  He then fleshed it out into The Yellow Bird before starting a play titled The Chart of Anatomy, which ultimately became the piece we stage today.  All stories deal with the same core issue, which is the body/spirit dichotomy, and fulfillment of each side.  More than anything, it’s a morality tale, giving us a flawed, physical manifestation of each side of the dichotomy before a synthesis, of sorts.

But just because Williams wants to impart us with a (somewhat surprisingly religiously conservative) moral doesn’t mean he allows the story to suffer.  It’s compelling theatre.  Alma Winemiller (Eve Rydberg) is the daughter of Rev. Winemiller (Ron Wells) and Mr.s Winemiller (Judy Lea Steele), who’s had a breakdown and is now a “cross to bear” for the family.  She is, perhaps, the result of a woman seeking both spiritual and physical love but only being allowed the former.  Alma is hopelessly in love with her neighbor’s son, both of whom are named Dr. John Buchanan (Jr. and Sr. – played by Josh Odor and Norm Woodel, respectively); however, the young doctor is quite the libertine, and so Alma cannot, her being who she is and he being who he is, openly seek to court him.  He, likewise, fancies her, but also spends his nights with Rosa Gonzales (Cheyenne Pinson), whose father owns the casino down the way.

Alma is almost wholly focused on the fulfillment of the soul; while John is focused purely on the fulfillment of the body.  They both try to convince the other of the merits of their way of thinking; but as I said, they are both flawed manifestations of even their points of view: Alma gets a proposal, but turns it down because she cannot see herself, physically, with the man.  John takes pleasure in the corporeal, but also enjoys helping people.  And because it is Tennessee Williams, everyone speaks beautifully – even when they cannot speak correctly.

The Den brings this seldom-seen play to life admirably.  Rydberg and Odor are fantastic leading players, and everyone else on stage is also very strong.  The sets and costumes are well done, the lighting good – the production quality as sturdy as one could ask.  They clearly have a budget, and they clearly have the imagination to use that budget to the best of their ability.  The folks at The Den also know how theatre should be watched – with one or two drinks in you: there’s a bar with snacks, coffee, beer, and wine.  After all, going to a play sober is like having sex with a condom: it’s a close facsimile to the other act, but it’s still a pale representation.  (Which is not to say, of course, that one shouldn’t go to a play if sober, etc.)  It’s a nice space, with nice people helping you, and some great theatre to boot.

Highly Recommended

Will Fink

Reviewed on 9.16.11

For full show information, visit TheatreinChicago.

At The Den Theatre, 1333 N. Milwaukee Ave., Chicago, IL; call 773-398-7028 or visit www.thedentheatre.com; tickets $15-20; performances Thurs.-Sat. 8pm, Sun. 3pm; running time 2 hours 15 minutes with intermission; through Oct. 29.

John Hiatt and the Combo

At Ravinia Festival, Highland Park

Have a Little Faith in Me

John Hiatt is a well-known and accomplished songwriter.  He’s written songs for just about everyone under the sun, and a number of them have been hits – at least on the country charts (which, frankly, is where you want to hit: the country numbers bring in more cash than anything that charts on the pop top for sure).  And it’s well-deserved: he’s good.  As I rediscovered at Ravinia, he’s corny, but he’s good.

And, man, he is corny.  But that’s part of what makes his schtick enjoyable.  Most of the time it’s down-home, sappy, makes-you-grin corny – both in the songs and with the on-stage banter.  Only occasionally does the corn deliver a real clunker; like in his song about the flooding that hit Nashville and much of the southeast last year when he mentions kids bitching about no cable.  It’s a trope that got a few laughs, but in an otherwise dour-faced and really damn good song, it falls frail and seems such an easy and tired target.

But mostly the cornball stuff is comforting, somehow.  It’s like Mom’s home cooking: even when it’s not the best, it makes you feel like the world is all right.  Which is really what Hiatt is going for, mostly.  One of his biggest hits, Bonnie Raitt’s cover of his “Thing Called Love,” is apt: “Are you ready for the thing called love? Don’t come from you and me, it come from up above.”  Like, trashy cornball.  But then there are lyrics like “Now we can live in fear or act out of hope,” a genuine, insightful line – and clever, too.  And cleverness prevails in Hiatt’s oeuvre.  Even when it’s corny, it’s clever.  “You ain’t some icon carved out of soap / Sent down to clean up my reputation / Baby I ain’t your Prince Charming.”  And the corniness carries over into his live show – but, again, it’s more of a feel-good, comfort food sort of corny.  Like the chicken fried steak your grandma used to make: it’s so bad for you, but it tastes so good.

But that doesn’t mean every song is like that.  “Damn This Town,” a dark screed written from the perspective of Hiatt’s curmudgeonly childhood neighbor.  “They killed my brother over a poker game… Daddy stayed drunk and died insane / Damn this town I’m leaving.”  The song displays Hiatt’s knack for interesting and beguiling lyrics, with a few twists that really show off his talent.  And the solid blues / roots backdrop really brought it home.

Indeed, The Combo are all phenomenal musicians; Kenneth Blevins and Frank Swart fill out the rhythm section on drums and bass, respectively, giving each song a strong backbone.  Brandon Young, guitar tech-slash-harmonist, can follow Hiatt to the tee.  And Doug Lancio on lead guitar and mandolin was also solid, lending each song exactly what it needed, changing guitars almost every song to get the tone just right.

It being the ten year anniversary of 9/11, there was a tribute, of sorts, during the encore: the screens showed pictures of the day over which the band played a mournful song.  And when so many of these memorials ring utterly hollow – anyone see the Budweiser commercial with the horses bowing to the twin beacons? – it was a tasteful and really rather mild homage.

John Hiatt’s a lasting talent, and his live act is really something.  He’s a regular at Ravinia, so look out for him in the years to come.

Highly Recommended

Will Fink

Reviewed on 9.11.11

For full information, visit Ravinia’s website.

Alice’s Adventures Under Ground

By Christopher Hampton

Directed by Terry McCabe

At City Lit Theatre, Chicago

Never let reality get in the way of a good idea.

City Lit’s Chicago premiere of Alice’s Adventures Under Ground, by British playwright Christopher Hampton (most famous for Les Liaisons dangereuses but also the translator for Yasmina Reza’s Art and God of Carnage, recently at the Goodman), is a fast-paced trip through Lewis Caroll’s famous books.  However, it is not a straightforward retelling of the tales: rather, the play takes place through Carroll’s perspective, how he told the stories through his eyes, and includes interludes of his personal letters and notes.  This lends an interesting twist to otherwise very familiar territory.

And the five actors do remarkably well whizzing through various characters (Alice, of course, along with the Mad Hatter, the Red Queen, the Cheshire Cat . . . and so forth), making each one distinct – although the centerpieces are obviously Alice and Carroll himself.  Indeed, they whizz through so many characters that it is sometimes hard to keep track of exactly where they are in the story.  Familiarity with the original is certainly helpful here.  But not, I should add, essential.  Indeed, the actors do a good job drawing distinctions, so it quickly becomes clear who, what, and where.  Nick Lake was especially strong as Carroll, who couldn’t help but bring a smile to your face.  Indeed, the other three adults – Edward Kuffert, Morgan McCabe and Lee Wichman – all filled out the ensemble well; and Emily Garman as Alice did a steadfast job, and will only get more relaxed and better as the show goes on.

The set is simple yet deft, seeming to be a totally average English drawing room but with very clever hidden doors and small design elements that make it pretty outstanding.  The costumes were also very nice – although they did not change much, despite the changing of the characters.  This takes one aback first, but so long as one is paying attention, one comes not to mind so much.  The costumes did confuse things a bit, though, from time to time.

But what confounded the confusion was the pacing: everything went by very quickly.  It felt like the text had very little breathing room.  This may have simply been opening night jitters: the 90 minute running time was closer to 80 when all was said and done, so perhaps that extra ten minutes will give the story the time it needs to stretch its legs a bit.

This show reminded me – and I mean no disrespect by this – of a college production.  It felt very young, very determined; it’s a script that’s largely unknown, but has great potential, and some interesting themes; and the choices made by the actors and director are sure, even when they aren’t strong – and there is something to be said for that.  It’s a fantastic show to check out if you’re a student; it’s a great show to bring children to; and it would be a pleasure for those who know and love Carroll’s work.  The letters and notes of the interludes give new insights into the author, and actually lend the play some of its strongest material.  It is certainly a whimsical night out.

Recommended

Will Fink

Reviewed on 9.7.2011

For full show information, visit TheatreInChicago.

At City Lit Theatre, 1020 W. Bryn Mawn Ave., Chicago; for tickets call 773-293-3682 or go to www.citylit.org; tickets $18-$25; show times Friday & Saturday at 8pm, Sunday at 3pm, through Oct. 9.

JEFF AWARDS – 2011 Equity Wing Award Nominations

Lyle Lovett and His Large Band

But Texas Wants You Anyway

God damn I like Lyle Lovett.  He’s a real craftful songwriter.  His songs are funny, bitter, poignant, satirical – sometimes all at once.  They are a celebration and satirization of the decadent and depraved segments of our society through joyous absurdity.  He’ll cut a record with some of the funniest songs you’ve ever heard, and right next to ‘em will be stuff to make you bawl your eyes out.  And live, he’s even better.

This particular night he opted for a career-spanning set, as one would expect from such a prolific and longevitous talent.  He did include “It’s Rock & Roll” from his most recent album, Natural Forces, but he made sure to include favorites like “Church,” “If I Had a Boat,” and “My Baby Don’t Tolerate.”  Which, by the way, is a damn sight live.  The album cut is fun, but it’s sort of straight – I mean, it’s a country-blues number with a wicked grin, but it sounds produced and a little stiff.  But the Large Band really cut loose, and made this a walloping, hard-hitting, take-no-prisoners track that rocked from here to Tuscaloosa.

“That’s Right (You’re Not From Texas)” is another favorite.  I mean, for all involved: not only is it a favorite of mine, and of “fans,” so to speak, in general, but it’s clear that Lyle loves it, too.  It exemplifies perfectly the pride native Texans take in their state – of all stripes.  It ain’t just hicks and rednecks down there love their state.  Plenty of smart people, intellectuals, hippies and left-leaning individuals still love it, too.  And why the hell not?  It’s got a hell of a history with some distinguished individuals in it.  Especially when it comes to music.  There are few states that could claim an influence as large as Texas’ in that realm: Buddy Holly, Willie Nelson and Bob Wills were all born there, just to name a few.  This song is an anthem for all Texans, though – the ones who vote red and the ones who bleed blue; the ones who drive pickups and the ones who ride bikes; and certainly the ones who enjoy a well-smoked brisket.  It’s a song for Molly Ivins and for Kay Bailey Hutchison.  Which moreover exemplifies the unifying potential that country music – hell, all music – has.  It’s a song making fun of urban cowboy apparel, of wearing your clothes wrong (according to Texans), but it’s also inclusive: you’re not from Texas, but Texas wants you anyway.  The brilliance of this song is pretty impressive.  And god damn if your first inclination when you here it isn’t to stand up and start dancing, no matter where you are.  It is a classic and fantastic Western Swing song.

On the other hand, there’s a song like “She’s Already Made Up Her Mind,” about a wife who tells her husband she’s thinking of going home.  He doesn’t want her to go, but… “she’s already made up her mind.”  “So my friend carry me down to the water’s edge, And then sail with me to the ocean deep, And let me go easy down over the side And remember me to her.”  It is heartbreaking.  And it is wonderful.  The melody is calming and sorrowful and chilling.  “North Dakota” is another one in the same vein: after the band finishes playing it, you just sit there, stunned and moved to sadness.  They executed these songs so well.

There was also a touch of old-fashioned bluegrass, with everyone vacating the stage save Lyle, fiddle player Luke Bulla and mandolin player Keith Sewell, with Leland Sklar (an absolute legend, who’s played bass in the studio on most of the best records from the past 40 or 50 years, including ones by Dolly Parton, James Taylor and Warren Zevon).  The quartet played some very fun bluegrass, and Sewell’s harmonies were both tight and classic.

The set was expansive, the music fantastic, the execution dead-on.  There were very few complaints to be had.  The drummer, Russ Kunkel, was occasionally too rock and not swing enough.  If I’m honest, it annoyed me sometimes: he played in the style that you hear on every 80s pop record, which I’ve never cared for.  But he occasionally really brought it home, so I can’t complain too much.  Buck Reid, on the steel guitar, looked so straight, but played so dirty.  He was outstanding.  Really, no one in the band was anything less than grand.  If I listed everyone that impressed me, I’d list every person on stage.  So I guess I’ll just say that Lyle Lovett is a musician who is accustomed to surrounding himself with talented people, and will not make an exception to that rule, especially at a venue so clearly near and dear to his heart as Ravinia.  He’s been (almost?) every year since 1995.  So chances are, he’ll be back next year.  I’d just go ahead and set that time aside right now.

Highly Recommended

Will Fink

Reviewed on 8.21.11

For more information, visit the Ravinia website.

By David Henry Hwang

Directed by Leigh Silverman

At the Goodman Theatre, Chicago

Smart, complex and very funny comedy depicts the difficulties for American doing business in China

David Henry Hwang is having an impressive run this summer in Chicago with the Silk Road Theatre Project’s fine production of Yellow Face and now the world premiere of the expert comedy Chinglish at the Goodman Theatre.  This intelligent, telling and quite funny comedy has already been picked for a fall production on Broadway. Hwang is doing his bet work in years especially with Chinglish.

This is a hilarious take on the challenges of doing business in a culture world’s apart form our own. There is much happening in this work requiring our full attention.  At first glance, Chinglish seems to be a comedy based on the language barriers and cultural oddities that separate American and Chinese cultures.  Since the Mandarin Chinese language has 80,000 characters and each word has a different meaning depending on the vocal tone of the speaker and since American and Chinese idioms are almost impossible to translate, Chinglish is rich in funny translations nicely displayed as super-titles.

The work starts out with Daniel Cavanaugh (the empathetic James Waterson) giving the introduction to his seminar geared to teach Americans how to do business in Chicago. He uses problems in translations to illustrate the language and cultural divides that threaten American success in Chicago. The laughs abound.

Flashback to the time when  Cavanaugh traveled to Guiyang, China to solicit business  for his Cleveland sign company. Cavanaugh hires and Australian, Peter Timms (Stephen Pucci who speaks fluent Mandarin besides English) to be his translator/consultant. Timms has 20 years in China as a teacher. He teaches Cavanaugh the cultural eccentricities of the Chinese pointing out how “guanxi” – a social concept that requires  comfortable personal and business relationships between the Chinese and the Americans before business can be conducted. Peter states that guanxi takes time to establish.

The humorous early scenes with Timms/Cavanaugh and the Chinese officials sets the tone fueled by language/cultural differences. Perception and face  add depth to the humor and plot lines.  Cavanaugh receives mixed signals from the Chinese and from Timms as he turns to Xu Yan (Jennifer Lim) as an alternative. She uses seduction to move her agenda forward. But is Xu Yan really trying to help the American or is she merely wanting sex with him?

This complex yet quite funny work depicts cultural differences that include our American view of romantic marriage versus the Chinese view that marriage is an institutional partnership. That difference allows Xu Yan to use Cavanaugh to enhance her husband’s career.

Amazingly, Cavanaugh’s past troubles as an Enron executive gives him favorable status with the Chinese since they admire unscrupulous businessman – especially large-scale business crooks.

This fast-paced comedy revolves (literally on David Korins fine set) using easy to read Super-titles to express the meanings of the spoken Mandarin. Credit Candace Chong translations back and forth from English to Mandarin to add spice to the production.  The skilled actors speak Mandarin/English and they land their comedy with spot-on timing. The work gets us laughing as it vividly deals with the peculiarities of each culture.  With Chinglish, we learn a little about the challenges of doing business in China and we get a few hardy laughs along the way. Hwang has a clever hit with Chinglish. Translators provided!

Highly Recommended

Tom Williams

Talk Theatre in Chicago podcast

Date Reviewed: June 27, 2011

Jeff Recommended

For full show information, go to the  Chinglish page at TheatreinChicago.

At the Goodman Theatre, 170 N. Dearborn, Chicago, IL, call 312-443-3800, www.goodmantheatre.org, Tuesday thru Thursday at 7:30 pm, Fridays at 8 pm, Saturdays at 2 & 8 pm, Sundays at 2 & 7:30 pm, Thursdays matinees at 2 pm, running time is 2 hours, 10 minutes with intermission, through July 24, 2011

JEFF NON-EQUITY AWARDS PRESENTED FOR THE 2010 – 2011 SEASON

Redtwist’s “Man from Nebraska” and The Hypocrites’ “Cabaret”

Take Top Production Honors

Chicago, IL.     At its 38^th annual celebration of Chicago’s non-union theatre scene, the Jeff Awards honored 27 award recipients for excellence Monday evening at the Park West. The event, emceed by Circle Theatre’s Kevin Bellie for the second consecutive year, featured production numbers by the nominated musicals and presentation of awards, two of which were delivered by robots. The robots, created for Sideshow Theatre Company’s “Heddatron,” earned their creators an award for Robot Design and Engineering in the Artistic Specialization category, shared with Izumi Inaba, who received an award for makeup design for “Cats” at Theo Ubique Cabaret Theatre in association with Michael James.

Top honors for outstanding play and musical went to Redtwist Theatre for Tracy Letts’ “Man from Nebraska” and The Hypocrites’ unique take on “Cabaret,” which featured actress Jessie Fisher as the traditionally male Emcee, garnering her the award for Principal Actress in a Musical. “Man from Nebraska’s” lead, Chuck Spencer, took home the honor for Principal Actor in a Play. The coveted Ensemble award went to “Shakespeare’s King Phycus” by The Strange Tree Group in association with The Lord Chamberlain’s Men.

In the Principal Actress in a Play category there was a tie between Caroline Neff, for Steep Theatre’s “The Brief History of Helen of Troy” (who was also nominated in the same category for “Port,” with Griffin Theatre Company) and Nicole Wiesner for her performance of a schizophrenic role in Trap Door Theatre’s “The First Ladies.” Principal Actor in a Musical honors went to Andrew Mueller as Huck Finn in Bohemian Theatre Ensemble’s “Big River.” Director of a Play also yielded a tie, with the awards going to James Palmer for Red Tape Theatre’s “The Love of the Nightingale” and Jimmy McDermott for Strange Tree’s “The Three Faces of Dr. Crippen,” which also earned a New Work award for playwright Emily Schwartz.

Lifeline Theatre continued its winning streak in the New Adaptation category with the award to Robert Kauzlaric for “Neverwhere.” In the Director of a Musical category Matt Hawkins was honored for “Cabaret, and Brenda Didier for Cats.”  Brenda Didier added to her laurels for Choreography for “Cats” and Theo Ubique scored again for Music Direction with the award to Austin Cook for his work on “Some Enchanted Evening: The Songs of Rodgers and Hammerstein.”

Among the companies represented, The Hypocrites walked away with the most awards (6) – 5 for “Cabaret,” followed by Theo Ubique Cabaret Theatre in association with Michael James with 5. Reflecting the growing depth and breadth of Chicago’s non-union theatre scene, the awards were presented to a larger number of companies than usual.

The gala evening was presented by the Joseph Jefferson Awards Committee under the leadership of Glenn Z. Hering, Chair, and produced by Douglas Bradburd, Non-Equity Wing Chair. The Jeff Awards has been honoring outstanding theatre artists annually since it was established in 1968.  With 50 members representing a wide variety of backgrounds in theatre, it is committed to celebrating the vitality of Chicago area theatre by recognizing excellence through its recommendations, awards, and honors.  The Jeff Awards fosters the artistic growth of area theatres and theatre artists and promotes educational opportunities, audience appreciation, and civic pride in the achievements of the theatre community.  Jeff members evaluate over 250 theatrical productions and hold two awards ceremonies annually. Originally chartered to recognize only Equity productions, the Jeff Awards established the Non-Equity Wing in 1973 to celebrate outstanding achievement in non-union theatre. The next Jeff Equity Awards Ceremony, honoring productions presented under union contracts, will be held on Monday, November 7, 2011, at Drury Lane Oakbrook in Oakbrook Terrace.
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COMPLETE LIST OF 2011 Non-Equity Jeff Award RECIPIENTS:

Note the “X” is Tom Williams’pick and the BOLD is the winner

PRODUCTION – PLAY

“A Delicate Balance” – Redtwist Theatre

“Lobby Hero” – Redtwist Theatre

“Stage Door” – Griffin Theatre Company

“The Love of the Nightingale” – Red Tape Theatre

“Man From Nebraska” – Redtwist Theatre X

“The Master and Margarita” – Strawdog Theatre Company

PRODUCTION – MUSICAL

“Big River: The Adventures of Huckleberry Finn” – Bohemian Theatre Ensemble

“Boojum! Nonsense, Truth and Lewis Carroll” – Chicago DCA Theater, Caffeine Theatre, and Chicago Opera Vanguard

“Cabaret” – The Hypocrites

“Cats” – Theo Ubique Cabaret Theatre i/a/w Michael James X

“The Pirates of Penzance” – The Hypocrites

DIRECTOR – PLAY

Louis Contey – “The Master and Margarita” – Strawdog Theatre Company

Zeljko Djukic – “Baal” – TUTA Theatre Chicago X

Keira Fromm – “Lobby Hero” – Redtwist Theatre

Jimmy McDermott – “The Three Faces of Doctor Crippen” – The Strange Tree Group

James Palmer – “The Love of the Nightingale” – Red Tape Theatre

Robin Witt – “Stage Door” – Griffin Theatre Company

DIRECTOR – MUSICAL

Brenda Didier – “Cats” – Theo Ubique Cabaret Theatre i/a/w Michael James X

Sean Graney – “The Pirates of Penzance” – The Hypocrites

Matt Hawkins – “Cabaret” – The Hypocrites

Jimmy McDermott – “Boojum! Nonsense, Truth and Lewis Carroll” – Chicago DCA Theater, Caffeine Theatre, and Chicago Opera Vanguard

P. Marston Sullivan – “Big River: The Adventures of Huckleberry Finn” – Bohemian Theatre Ensemble

ENSEMBLE

“Boojum! Nonsense, Truth and Lewis Carroll” Chicago DCA Theater, Caffeine Theatre, and Chicago Opera Vanguard

“Cats” Theo Ubique Cabaret Theatre i/a/w Michael James Ubique X

“Shakespeare’s King Phycus” The Strange Tree Group i/a/ w The Lord

Chamberlain’s Men

“Some Enchanted Evening: The Songs of Rodgers and Hammerstein” Theo Ubique Cabaret Theatre i/a/w Michael James

“The Master and Margarita” Strawdog Theatre Company

“The Pirates of Penzance” The Hypocrites

“The Three Faces of Doctor Crippen” The Strange Tree Group

ACTOR IN A PRINCIPAL ROLE – PLAY

Luke Hamilton (Sherlock Holmes) – “Sherlock Holmes, The Final Adventure Idle Muse Theatre Company

Andrew Jessop (Jeff) – “Lobby Hero” – Redtwist Theatre

Chuck Spencer (Ken Carpenter) – “Man from Nebraska” – Redtwist Theatre X

D’wayne Taylor (Mr. Zero) – “Brutal Imagination” – Caffeine Theatre

Ian Westerfer (Baal) – “Baal” – TUTA Theatre Chicago

ACTOR IN A PRINCIPAL ROLE – MUSICAL

Alex Balestrieri (Dodgson / New Baker) – “Boojum! Nonsense, Truth and Lewis Carroll” – Chicago DCA Theater, Caffeine Theatre, and Chicago Opera Vanguard

Andrew Mueller (Huckleberry Finn) – “Big River: The Adventures of Huckleberry Finn” – Bohemian Theatre Ensemble X

Benjamin Sprunger (Robert) – “Company” – Griffin Theatre Company

Jeremy Trager (Lewis Carroll) “Boojum! Nonsense, Truth and Lewis Carroll” Chicago DCA Theater, Caffeine Theatre, and Chicago Opera Vanguard

ACTRESS IN A PRINCIPAL ROLE – PLAY

Brenda Barrie (Eva/Brenda) – “Memory” BackStage Theatre Company

Mechelle Moe (Terry Randall) – “Stage Door” – Griffin Theatre Company X

Caroline Neff (Charlotte) – “A Brief History of Helen of Troy” Steep Theatre Company

Caroline Neff (Rachel) – “Port” – Griffin Theatre Company

Joy Thorbjornsen- Coates (Fonsia Dorsey) – “The Gin Game” – Lincoln Square Theatre

Nicole Wiesner (Marie) – “The First Ladies” – Trap Door Theatre

ACTRESS IN A PRINCIPAL ROLE – MUSICAL

Jessie Fisher (The Emcee) – “Cabaret” – The Hypocrites

Jennifer T. Grubb (Jacky Samson) – “Oh, Boy!” – City Lit Theater Company X

Anita Hoffman (Miss Mona Stangley) – “The Best Little Whorehouse in Texas” – Circle Theatre

Lindsay Leopold (Sally Bowles) – “Cabaret” – The Hypocrites

ACTOR IN A SUPPORTING ROLE – PLAY

Brian Parry (John) – “Shining City” – Redtwist Theatre

Vance Smith (Lenny) – “The Homecoming” Mary-Arrchie Theatre Company

Jon Steinhagen (Big Daddy) – “Cat on a Hot Tin Roof” – Raven Theatre X

ACTOR IN A SUPPORTING ROLE – MUSICAL

Courtney Crouse (Tom Sawyer) – “Big River: The Adventures of Huckleberry Finn” – Bohemian Theatre Ensemble

Noah Sullivan (Sheriff Earl Dodd) – “The Best Little Whorehouse in Texas” – Circle Theatre X

ACTRESS IN A SUPPORTNG ROLE – PLAY

Nora Fiffer (Maggie) – “After the Fall” – Eclipse Theatre Company

Lorraine Freund (Mother Superior) – “Agnes of God” – Hubris Productions

Darci Nalepa (Steph) – “reasons to be pretty” – Profiles Theatre

Sarah Pavlak (Agnes) – “Agnes of God” – Hubris Productions X

Amanda Powell (Rosemary) – “Brainpeople” – UrbanTheater Company

ACTRESS IN A SUPPORTING ROLE – MUSICAL OR REVUE

Kate Harris (Fräulein Schneider) – “Cabaret” – The Hypocrites

Patti Roeder (Penelope Budd) – “Oh, Boy!” – City Lit Theater Company

Bethany Thomas – “Sweet and Hot: The Songs of Harold Arlen” – Theo Ubique Cabaret Theatre i/a/w Michael James X

Dana Tretta (Marta) – “Company” – Griffin Theatre Company

NEW WORK

Emily Schwartz – “The Three Faces of Doctor Crippen” – The Strange Tree Group

Robert Tenges – “People We Know” – the side project

Tom Willmorth – “Shakespeare’s King Phycus” – The Strange Tree Group i/a/w The Lord Chamberlain’s Men X

NEW ADAPTATION

Christina Calvit – “Wuthering Heights” – Lifeline Theatre X

Robert Kauzlaric – “Neverwhere” – Lifeline Theatre

Carla Stillwell – “Tad in 5th City” – MPAACT

CHOREOGRAPHY

Kevin Bellie – “The Best Little Whorehouse in Texas”- Circle Theatre

Brenda Didier – “Cats” – Theo Ubique Cabaret Theatre i/a/w Michael James X

Marissa Mortiz – “Cabaret” – The Hypocrites

Myah Shein – “The Love of the Nightingale” – Red Tape Theatre

ORIGINAL INCIDENTAL MUSIC

Mikhail Fiksel – “Neverwhere” – Lifeline Theatre

Chris Gingrich, Henry Riggs, Thea Lux, and Tara Sissom – “That Sordid Little Story” – The New Colony

Josh Schmidt – “Baal” – TUTA Theatre Chicago X

MUSIC DIRECTION

Steve Carson – “Sweet and Hot: The Songs of Harold Arlen” – Theo Ubique Cabaret Theatre i/a/w Michael James

Austin Cook – “Some Enchanted Evening: The Songs of Rodgers and Hammerstein” – Theo Ubique Cabaret Theatre i/a/w Michael James X

Nicholas Davio – “Big River: The Adventures of Huckleberry Finn” – Bohemian Theatre Ensemble

Ethan Deppe – “Cats” – Theo Ubique Cabaret Theatre i/a/w Michael James

Andrea Velis Simon & Myron Silberstein – “Boojum! Nonsense, Truth and Lewis Carroll” – Chicago DCA Theater, Caffeine Theatre, and Chicago Opera Vanguard

SCENIC DESIGN

William Anderson – “Dead Letter Office” – Dog & Pony Theatre Company i/a/w Chicago DCA Theater X

Tom Burch – “No Exit” – The Hypocrites

Alan Donahue – “Neverwhere” – Lifeline Theatre

Bob Knuth – “The Philadelphia Story” – Circle Theatre

Ray Toler – “Cat on a Hot Tin Roof” – Raven Theatre

LIGHTING DESIGN

Kevin D. Gawley – “Neverwhere” – Lifeline Theatre

Jared Moore – “No Exit” – The Hypocrites

Jared Moore – “The Pirates of Penzance” -The Hypocrites

Keith Parham – “Baal” – TUTA Theatre Chicago X

Eric Van Tassell – “The Ghost Sonata” – Oracle Productions

COSTUME DESIGN

Matt Guthier – “Cats” – Theo Ubique Cabaret Theatre i/a/w Michael James  X

Branimira Ivanova – “Wuthering Heights” – Lifeline Theatre

Elizabeth Powell Wislar – “Neverwhere” – Lifeline Theatre

Alison Siple – “Cabaret” – The Hypocrites

SOUND DESIGN

Katherine M. Chavez – “Cat on a Hot Tin Roof” – Raven Theatre

Mikhail Fiksel – “Neverwhere” – Lifeline Theatre  X

Kevin O’Donnell – “No Exit” – The Hypocrites

Miles Polaski – “The Love of the Nightingale” – Red Tape Theatre

Stephen Ptacek – “Dead Letter Office” – Dog & Pony Theatre Company i/a/w Chicago DCA Theater

ARTISTIC SPECIALIZATION

Glen Aduikas, Rick Buesing, Mike Fletcher, Salvador Garcia, Stuart Hecht, David Hyman,Terry Jackson, Don Kerste, Bruce Phillips, Al Schilling, Lisi Stoessel,Eddy Wright – Robot Design & Engineering – “Heddatron” – Sideshow Theatre Company

Aly Renee Amidei – Hair & Makeup Design – “The Master and Margarita” – Strawdog Theatre Company

Michael Buoninconto – Wig Design – “Cats” – Theo Ubique Cabaret Theatre i/a/w Michael James  X

Izumi Inaba – Makeup Design – “Cats” – Theo Ubique Cabaret Theatre i/a/w Michael James

Kimberly G. Morris – Puppet Design – “Neverwhere” – Lifeline Theatre

Brett Schneider – Magic Design – “The Master and Margarita” – Strawdog Theatre Company

Claire Yearman – Fight Choreography – “The Love of the Nightingale” – Red Tape Theatre

STATISTICS

In the Season ended March 31, 2011, the Jeff Awards Committee judged the opening nights of 146 non-Equity productions from 62 producing organizations. Of these, 62 productions were “Recommended” by the opening night judges and became eligible for nominations in all categories..

Total Nominations for 2010 – 2011 Season – 106

Total Categories – 23

Total Number of Companies receiving nominations – 32

Total Number of Awards – 28 (including 4 ties and 1 double Award in a non-competitive category)

MULTIPLE RECIPIENTS – COMPANIES

The Hypocrites – 6

Theo Ubique Cabaret Theatre i/a/w Michael James – 5

Lifeline Theatre – 3

Redtwist Theatre – 3

The Strange Tree Group – 3 (one i/a/w The Lord Chamberlain’s Men)

Bohemian Theatre Ensemble – 2

MULTIPLE RECIPIENTS – PRODUCTIONS

“Cabaret” – 5

“Cats” – 4

“Neverwhere” – 3

“Big River” – 2

“Man from Nebraska” – 2

MULTIPLE RECIPIENTS – INDIVIDUALS

Brenda Didier – 2

The Vaccines – Live at the Fillmore, Detroit

Not What I Expected from The Vaccines

For those of you not familiar (and I’m assuming the vast majority of our readers fall into this category), the Vaccines are an up-and-coming London band who formed less than a year ago and blazed onto the scene, releasing their first single just six months later; their debut album, on the Major Label Columbia, comes out next week in America, though it’s been out in the UK since March (those limey bastards get everything first!). So, the pace at which they’ve risen to fame has left some people unsure of how they feel about the band – including, up until last night, me. This was never the case with headliners Arctic Monkeys, who also rose to fame at nosebleed-inducing speed, but unequivocally by pure grass roots: they were selling out London’s Astoria and had everyone in the place singing all the lyrics to all their songs before they were even signed, let alone released a record (not counting the self-released “Five Minutes With…” single). The Vaccines aren’t doing that (they did sell out The Flowerpot – after they were signed), but that’s hardly a criticism: no one had done that before Arctic Monkeys, and whether it happens again is anybody’s guess, though it sure seems far-fetched.

But the distinction is an important one: Arctic Monkeys were able to waft above the hype machine, prove that all the knob-loving the NME was publishing was a reaction to the streets after-the-fact, rather than an attempt to make something out of a nothing band. The Vaccines don’t have this luxury – deserved or no. They have to deal with criticism amounting to: “You’re only here because of who you are, not what you do.” They’re four posh boys from London, so there’s the whole “Daddy’s money lets you fool around in the music business” thing (The Strokes, Vampire Weekend & LCD Soundsystem, anyone?); and guitarist Freddie Cowan is the younger brother of Tom from The Horrors, so there’s that “in,” as well, never mind that the bands are on different labels, have different managers, and, to my knowledge, have never played together.

And then there’s the music. The music is simple. I mean, like, really simple. Almost everything is I-IV-V. If you didn’t know any better, you’d think that singer/rhythm guitar player Justin Young only knew the chords C, F, and G, and just moved a capo around to change keys. But you’d be wrong. Because that’s the point. Oh, Justin Young knows plenty of other chords, he just chooses not to utilize them – because those are the only chords he needs. Almost every song rips through the air like a teenager on amphetamine for the first time. It is unapologetically simple – no, beyond that. It’s pure. It’s like they boiled down the essence of guitar rock going back to Buddy Holly, through the Troggs, into the Ramones, My Bloody Valentine, and Weezer and wound up at the Libertines. And yet they are none of the bands mentioned above. They are – dare I say it? – the purest thing in rock and roll right now. And I’m not going on “Meet the Press” tomorrow to walk back that statement, even if it will give me a better shot in the GOP primaries.

Let me put it this way: the Vaccines have one song, a real thumper by the name of “If You Wanna,” and in the whole song there are about eight lines – that’s all. You know what other song has that number of lines? “Oh, Boy.” Did I just compare The Vaccines to Buddy Holly? Yeah. And it’s apt. Now, I’m not saying that Justin Young is the brilliant lyricist that Buddy Holly was – Holly’s untouchable, in a big way; but this band is attempting to recapture and modernize the essence of a figure like that. They’ve been criticized for writing simple songs about love and loss, like that’s a bad thing. “There’s a reason [those subjects] are tried and tested,” Young told Rolling Stone. Nobody’s crucifying Buddy Holly for writing “Peggy Sue,” which is one of the simplest (yet most delicious) songs ever. So why criticize Young? Because people aren’t hip to the “simplicity as purity” concept. Get it confused with the “simplicity as stupidity” thing or just aren’t used to something quintessential with Lady Gaga being as grandiose-yet-banal as possible. As a sidebar, Lady Gaga writes simple lyrics trying to be edgy and meaningful; Justin Young writes simple lyrics to be simple: there is no façade. Although he is not without pretension, popping off a French phrase and mentioning F. Scott Fitzgerald in the band’s first single and album opener, “Wreckin’ Bar (Ra Ra Ra).” “Pretty girl wreckin’ bar, ra ra ra ra yeah, you are!” thunders Young in the first few seconds of the song. What does it mean? Who cares, it sounds great! Upon further inspection of the song, it sounds like a geek tryna pick up a hot mess of a girl at a bar (“Les femmes, les bars; c’est pas une joie!”, “Let’s go home I think we oughta, I know you’re your mother’s daughter”); or maybe a guy-friend getting a girl away from a goon trying to go home with her (“Watch out, man, that door’s a-closing, this is what you get when you turn your back, a clear, blue sky turning dirty black!”). God knows. But it’s a hell of a tune.

The Vaccines at SXSW; from WeAllWantSomeone.org

The band playing live is a sight, as well. Justin Young has a face with well-cut features, chiseled, strong chin, dark, brooding eyes and a well-coifed head of hair, wearing a striped, fitted polo; Freddie Cowan, the lead player, is tall and gaunt, brown structured curls emphasizing his pale sheen, with a sleek white jacket over a black shirt; Arni Hjövar is the odd-ball, with long, stringy, blonde hair, jeans and a tee-shirt, booming on the bass and grinning; and the drummer, Pete Robertson, who’s about as tall as a minor-league redwood, is hunched over the drums, beating animalistically on the set like a true troglodyte, mop of brown hair bouncing up and down. He’s definitely the most animated of the group. The drummer is also – and this always should be but so often isn’t the case – the bedrock of the band. Without Robertson, it’d just be three guys up on stage flailing their arms. His backbeats are various, shifting constantly from one line to the next, always tying in with themselves, not to mention the rest of the music. “If You Wanna” is a perfect example of this: it’s about 98% downstrokes on the rhythm guitar, some shimmer and depth with the lead, and solid roots on the bass – all very simple and straightforward; but Robertson makes the song with his drumming, changing from rimming the snare, which lends the first half of the verse a quiet, desperate sound, to thundering toms of defiance for the second half. It’s that change – along with the frantic-yet-sturdy rock beat and his howling harmonies in the chorus – that brings the whole song together and makes it something substantial when it might have been hot air.

Everyone is doing something different with their instruments: the drums are from the slightly more esoteric side of rock (not as far-out as Keith Moon or Ginger Baker, but tipping the hat to them); the bass is the putty that seals the rhythm together with thick, full root notes from a P-Bass and an Ampeg; the lead guitar is a brittle single-pup Strat (the same guitar Buddy Holly played), drenched with Fender reverb and shoegaze; and the rhythm guitar brings the sound together with the tinny, thin shimmer of Young’s Danelectro ’57 through the classic Vox AC-15, the same amp the Beatles used. For some reason the lo-fi crackle of that Danelectro unifies the aesthetic of the sound.

The entire ethos of the Vaccines seems to be simplicity. The songs, the sound, even the look: Freddie Cowan has about one pose, and he uses it for every guitar solo. You’ll recognize it instantly from their appearance on “Later…With Jules Holland” – he does the exact same thing, every time. But, taken in the context of the band, it’s not a bad thing; in fact, it’s almost an inside joke, a wink to those who are picking up what they’re putting down. Especially since it’s an archetypical “I’m soloing with my hips, so all you sweet things in the audience can swoon at my thrusting, massive playing” rock pose. It’s great.

Since their album doesn’t come out in the States till next week, and I was being a good boy and didn’t download it illegally (the temptation was there, believe me – but I decided surprise might be better), I heard a number of songs I hadn’t before last night, and there wasn’t a single dud in the set. Every song was, if not iconic rock and roll, something that would get the kids moving with lyrics that’ll make them love being young and alive. Why the number of kids dancing was so low in Detroit is beyond me. I think it’s because people discount the opener. They’re sullen. They view them as something to get through before the headliners come on stage. This is a big mistake, because it’s closing yourself off to something new. One band I’ve been listening to constantly over the last few weeks is a band that opened for the Cribs (another favorite of mine) a year ago: a band called The Dead Trees; their album King of Rosa has been on my turntable to the exclusion of some of my regulars (not including Shaved Fish, because nothing can stop me listening to “Cold Turkey” right now). They’re a band I had never heard of and didn’t know anything about before that night. I imagine this is the situation lots of fans of Arctic Monkeys will face, especially in America where the Vaccines haven’t even scratched the surface (though they were on Letterman recently), and the Arctics are not anything resembling a household name themselves. Anyway, they played most of their debut album, leaving off a couple of the slower songs but replacing them with b-side to single “Post Break-Up Sex,” called “We’re Happening,” a slow-burner about rich kids’ nights with an insistent chorus consisting of Young repeating “We are happening,” deadpan, as if he were trying to convince himself.

Some songs I’d heard before surprised me, too. “Blow It Up,” the recorded version of which is kind of uninspiring and is easily the weakest of the four singles they’ve released, became a heavy, high-energy stomper, even though they didn’t pick up the song’s tempo at all. The kick drum boomed over the sound system, the excitement of the band to be in Detroit (we happy few who feel that way!—“I went to a Tigers game today. It was fun! I think you were losing,” said Young, sheepish yet proud) bubbled up through the song. Set closer “Nørgaard,” which saw Justin Young put down his guitar, grab the mic and stalk around the stage like a caged animal looking for a route of escape, is a short & simple thrash number, pure punk in the “Janie Jones” / “Blitzkrieg Bop” variety; yet its lyrics are closer to the 50s & 60s heartthrob strain: “Her mind’s made up, she don’t wanna go steady, she’s only 17 so she’s prob’ly not ready! A-M-A-N-D-A Nørgaard.” Now, that said, I don’t think Buddy ever had his eye on a 17-year-old Scandinavian catwalk model, but like I said – modern times, you know? Also, these are posh kids from London; and they’re smart about it: they sing about what they know. (And I know if I were a posh kid from London, I’d have my eye on a Scandinavian catwalk model.) And they definitely reference that iconic age used so many times in the old songs (“Well, she was just 17 – you know what I mean!”); that’s no accident. The Vaccines write music for the young, yet they transcend their influences, taking something from each time period.

It’s true that the simplicity spiel will only get them so far, but why would one assume that their next album will be identical to the first? Lord knows the Arctics sound more like Sabbath than Arctics ca. 2005 (although they hinted where they’d be going with “Perhaps Vampires is a Bit Strong, But…”). So, yes, a band does need to show the ability to grow before they can truly be considered great. But the Vaccines put on a really fun show with some really good tunes, and in an age where pop music is veering into the absurd, they bring it back down to the guitar-pop-driven ground.

Highly Recommended

Will Fink