I love Sifl and Olly. Like all of my favorite things, I'm into them for awhile, then forget about them for awhile, then remember how much I love them, and on and on ad infinitum. It's why I haven't told you about them before. Please forgive me.
Sifl and Olly is the creation of Matt Crocco and Liam Lynch, friends since childhood. From my memory of having heard this story firsthand, it all began when Liam moved to England to study with Paul McCartney. While living there, the two would compose tapes where they would interview each other as different characters. The way it would work is like this: Using a four-track recorder, one person would record all the questions and reactions to the interviewee on one track, leaving pauses on the tape to allow time for the other person to answer. Then they would mail the tape to the other person. Then the other person would assume a character, without having ever listened to the tape before would sit down and improvise answers to the questions. The randomness of it all led to some very odd hilarity. (Incidently, this is a fun way of "writing" with friends.)
One day, Liam decided to act out some of the interviews using sock puppets, and Sifl and Olly were born. He mailed the tape to MTV and they said, sure, that looks like a show we'd produce (that particular week). It ended up running for two season on MTV, and a third un-aired season was released later on DVD. That 3rd season is the only season commercially available, but you can find many great clips from the first two seasons online.
Liam Lynch and Matt Crocco are an inspiring duo in that they create in their own spaces, and they just do what they find fun. If you've seen the Tenacious D movie or Sarah Silverman's "Jesus is Magic" film, you've seen Liam's directorial work. Both films got panned, but I'm a defender of the Tenacious D movie. They pulled off an impressive, classic rock musical that was true to form and filled with good music. Granted, the end felt too rushed. Still worth renting. Sarah Silverman is better enjoyed on her TV show and in viral videos, and I'm not blaming Liam Lynch over my not enjoying "Jesus is Magic."
I'm posting this Sifl and Olly video because (1) I'm smart and have just learned how to post videos, and (2) this video could pretty much count as a journal entry for me, since it's how I've felt at work for the last 2 days. The way Sifl stares into the camera is exactly how I've been staring into my computer screen. Enjoy.
Tuesday, June 3, 2008
Thursday, May 29, 2008
Bring John Dillinger to Work Month
For the last few weeks, the area right behind my place of work has been teeming with film crew from "Public Enemies", a film directed by Michael Mann and starring (among others) Johnny Depp and Christian Bale. The film is about John Dillinger, and since Dillinger was shot to death in the alley behind my work and Michael Mann likes shooting on location, this block seemed a logical enough place to shoot (both bank robbers and movies).
The film has obviously generated a lot of excitement a bustle around here, myself included, and everyone has so much to say about it. But to me the most exciting thing about it is the way they've completely redecorated the shops on Lincoln Avenue. It looks amazing and it feels like you're either walking around in 1934's Chicago, or in the John Dillinger quarter of Universal Studios, Florida. (Appropriate then that this is a Universal Studios production.)
Two nights ago I got an idea for a short video that can only be filmed in a circumstance like this. I busted my hump (I have one) to make it work, but ultimately it was just becoming too difficult to arrange, and the since the set is coming down this weekend, it will probably never see the light of day, unless they decide to film another authentic-looking John Dillinger movie on location at some point in the future while I'm living in Chicago.
Since I can't post links to hilarious videos that don't exist, I'll instead post the script I wrote below. I've included photos of the set as appropriate throughout the script. (The photos were taken over a week ago, so they are now a little out of date.)
The film has obviously generated a lot of excitement a bustle around here, myself included, and everyone has so much to say about it. But to me the most exciting thing about it is the way they've completely redecorated the shops on Lincoln Avenue. It looks amazing and it feels like you're either walking around in 1934's Chicago, or in the John Dillinger quarter of Universal Studios, Florida. (Appropriate then that this is a Universal Studios production.)
Two nights ago I got an idea for a short video that can only be filmed in a circumstance like this. I busted my hump (I have one) to make it work, but ultimately it was just becoming too difficult to arrange, and the since the set is coming down this weekend, it will probably never see the light of day, unless they decide to film another authentic-looking John Dillinger movie on location at some point in the future while I'm living in Chicago.
Since I can't post links to hilarious videos that don't exist, I'll instead post the script I wrote below. I've included photos of the set as appropriate throughout the script. (The photos were taken over a week ago, so they are now a little out of date.)
“The Authentic Plot Against John Dillinger”
Cast of Characters:
Melvin Purvis – Federal agent, in charge of the operation
Agent Zarkovich – Federal agent
Agent Madella – Federal agent
Agent O’Neil – Federal agent
Hugh Clegg – Federal agent
John Dillinger – Bank robber
Woman in Orange Skirt – Bank robber’s date
Opening titles over film noir-style music:
“The Authentic Plot Against John Dillinger”
Starring: Cast
Directed by Greg Wendling
Production Design by Nathan Crowley (“The Prestige,” “The Dark Night”, “Insomnia”)
Chicago
July 22, 1934
July 22, 1934
After a crime spree that lasted 14 months, spanned 11 states, claimed over $300,000 in cash and 16 human lives, the whereabouts of John Dillinger are finally known. Federal Agent Melvin Purvis, working under the direction of J. Edgar Hoover, has assembled a crack team of special agents to ensure that John Dillinger, Public Enemy Number 1, eludes the hands of justice no more.
(Fade in on FBI Detective Merle Purvis who stands on Lincoln Avenue with Agent Madella. It is approaching dusk. The street is fully decorated for the film “Public Enemies”, but modern day cars and tourists are everywhere, getting in the way of the camera. Our cast ignores everything modern, and focuses on the “authentic” 1934 feel of the set design)
PURVIS
We’ve got him. We’ve finally got him.MADELLA
So this is really the night, Agent Purvis? The night we bag Ole Johnnie Dillinger.PURVIS
You got it. This night in 1934 will go down in history. Dillinger is in that theatre now with his girl. She tipped us off. Say, where are the other federal agents?MADELLA
They should be here momentarily.(O’NEIL enters. He is eating a banana.)
O’NEIL
Hey boys, so tonight’s the night!PURVIS
Glad you’re here, Agent O’Neil. We’ve got to act fast.MADELLA
Hey, where’d you get that banana?O’NEIL
Over at National Food Store across the street. They’ve got all kinds of groceries there. See, look! Bananas, oranges, (Shots of the National Food Store.)
MADELLA
Sure is a wide selection for 1934.PURVIS
We can’t think about food now, boys. We’ve got to talk about the plan tonight.(Zarkovich enters, combing his hair.)
ZARKOVICH
Hey guys, we doin’ this or what?PURVIS
Agent Zarkovich, glad you’re here.O’NEIL
You look different. Did you get a haircut?ZARKOVICH
Yeah, I just got out of that barber shop over there.
ZARKOVICH (cont)
ZARKOVICH (cont)
MADELLAZARKOVICH (to Purvis)
So what’s the plan, boss?PURVIS
Hugh Clegg should be here any minute, and then we’ll go over it.ZARKOVICH
Here he comes now, out of that bakery. Let’s go have a look.CLEGG
Hello, gentlemen. I had to get a cake for my wife at this state of the art bakery. State of the art for these times anyway. 1934, that is.
MADELLACLEGG
Heck yeah. (Shots of the bakery display.) They’ve got all kinds of pastries, pies, cakes, jelly rolls..
ZARKOVICHPURVIS
Sure you will. Just after we get Dillinger. (to Clegg) He’s in the Biograph Theatre across the street.
CLEGG
What time’s he going to come out?PURVIS
About 10:40 pm.CLEGG
Well heck, we still got some time, fellas. Anybody mind if I do some quick window shopping at this haberdashery?(PURVIS looks at his watch and sighs.)
PURVIS
Okay.(The camera pans the window display at the hat store.)
PURVISMADELLA
Where are you going to get a cigar from, boss?PURVIS
At this cigar shop. See, they have all kinds of old liquor, cigars, cigarettes, magazines…(Shots of cigar store.)
ZARKOVICHCLEGG
Let’s head towards our posts.BYSTANDER (off screen)
It’s Johnny Depp!
(The men all break character to look in the direction of Johnny Depp. It's a false alarm.)MADELLA
Look at the attention to detail on these bricks. They look completely authentic to 1934. Because they are.
CLEGG
O’NEIL
O'NEIL (cont)
ZARKOVICH
ZARKOVICH (cont)
ZARKOVICH (cont)CLEGG
Stop jabbering, boys! Look! Purvis is lighting his cigar! Dillinger must be coming out of the Biograph Theatre!(We see Purvis lighting a cigar and waving to the men.)
ZARKOVICH
JOHN DILLINGER
Shoot him!
(They shoot in Dillinger's direction from across the street. Cars pass by, but we can just barely make out John Dillinger falling. The woman he is with, dressed in an orange skirt, runs away.)
JOHN DILLINGER
Oh no, you shot me. All I wanted to do was go inside the Biograph Theatre and enjoy the Iced Cold Air (shot of "Iced Cold Air / Cooled by Refrigeration" sign)...
JOHN DILLINGER (cont)
...and see “Manhattan Melodrama” starring Clark Gable, and William Powell, and Myrna Loy, and Leo Carrillo, and Nat Pendleton, and Isabel Jewell (shots of movie posters). A perfectly current film by 1934 standards.
JOHN DILLINGER (cont)(Dillinger dies.)
SECURITY GUARD (off camera)PURVIS
For a manhunt that lasted so long, it was all over so fast. Something tells me that for years people will remember this night in 1934 when John Dillinger was gunned down here, at the mouth of this alley, just next to the Mee Wong Chop Suey, adjacent to Drake’s Jewelry...
PURVIS (cont)
PURVIS (cont)
PURVIS (cont)-- Closing Credits --
!!!More Unscripted Authenticity!!!
Wednesday, May 21, 2008
Dance! Dance-Dance!
Above: My high school class dancing it up at Homecoming '95. (Theme: "Let's Get This Party Leo-started")
Nothing says warm weather more than the booming dance music one hears from the cars on one's block, driving by with windows down. Every summer comes with its own tunes, heaping more nostalgia on the brains of all of us. Of course, we don't realize how much nostalgia has been accumulating until years later when we hear the song again and are instantly reminded that in 1993 we got dumped in a Taco Bell drive-thru.
You can claim its the romantic songs that stick with you throughout your lifetime, but it's the dance song that trumps all other music in terms of its staying power. ("Love of a Lifetime" by Firehouse ain't got nothing on "3 a.m. Eternal" by The KLF) These are the loudest, the longest, and the most frequently played songs of our youths. They are the songs that the high school teachers let the DJs play at homecoming and prom to show they're hip. (Does "Paradise by the Dashboard Light" by Meatloaf count as a dance song?)
This summer's dance song is something very special. Not since the Cha Cha Slide Part II has a dance song been this danceable. It comes complete with instructions on what to do, moment by moment, so even someone like myself can dance to it. You can download this summer's song, "The Do-It Dance" by Tommy G and Kid Rasta, for free. Check it out.
Friday, May 16, 2008
"Wicked" - A (Fake) Theatre Review
What: "Wicked"
Where: The Oriental Theatre, Chicago, IL
When: Ongoing
Wallet-Impact: $25 - $147.50
Such attention has been paid to details of this show that from the moment you walk through the doors of the Oriental Theatre, nay, from the very moment you purchase your tickets, you know you are going to see a show called "Wicked."
Whether you spend $147.50 online (plus Ticketmaster's convenient charge of $12.50 per ticket and the building fee of $2.50 per ticket) or $25 at the drawing that takes place every day before the show, one thing is certain: You're about to see a pre-quel to "The Wizard of Oz."
The story is as good as any other story I've heard or read, in that words were put together into full sentences and lines of dialogue that communicated to me the storyteller's intended message. For the audience's convenience, there is no reading that needs to be done: Instead, the lines of dialogue are said aloud by the actors who have either done a fantastic job memorizing them, or they have found a brilliant way to conceal the ink on the palms of their hands.
Occassionally, the characters break into song, at which point we can hear the music of instruments simultaneously, playing in accompaniment of the melodies being sung by the actors onstage. It should be noted that unlike the lines of dialogue, the songs often having nothing at all to do with the action you see onstage. For example, one song, sung between two of the characters on it's surface seems to be about how much they like each other, when in reality, the staged events preceeding and following this song seem to indicate to the contrary. It might not make a lot of sense, but if you enjoy watching two ladies, one of them green, sing songs and dance onstage, then you could care less. And so could I.
Susan Hilferty has done an amazing job at the costume designing. She has not forgotten for one moment that each actor needs to be wearing a costume, and indeed one cannot help but notice that they are all fully costumed. Furthermore, the astute among us will not be able to go a moment without thinking, "Oh my goodness! That's exactly what an actor who needed clothes like that for their character would wear!"
It must be noted that Ms. Hilferty's work is greatly enhanced by the artistic clairvoyance of Kenneth Posner and his exquisite lighting design. The lights serve, at all times, to light both the stage and the actors, allowing us to see their costumes and where they are standing in relation to the other actors. (And to ourselves, of course! This is live theatre after all!) While Kenneth Posner for the most part did a superb job, there were several moments when he must have accidentally bumped the light switch, leaving us in total darkness -- from memory this occurred at least 4 times, including just before the show began, right before the intermission, right after the intermission, and again just before the curtain call. Several audience members (myself included) shrieked, a couple women went into labor, and at least three others (that I could see) got pregnant. Still in all, it is a long play, and one can hardly fault Mr. Posner for falling asleep here and there. (I'm getting sleepy just thinking about it!)
If you ask your friends who have seen this show, those who are not familiar with theatre will mention the amazing special effects. Indeed, there are some illusions that make good eye candy for the masses, but I could not be fooled into believing they were actually magic. There's a big wooden dragon that appears to be trained to move its mouth and wings, but it's actually controlled by an actor who is torturing it with a series of ropes and pulleys, and there's also a scene where a floating bubble is clearly suspended from the ceiling with 2 massive pipes dangling from the flyspace (a theatre term for the crotch of my pants).
In conclusion, you don't have to be a laid-off factory worker to enjoy "Wicked," but it certainly couldn't hurt.
Where: The Oriental Theatre, Chicago, IL
When: Ongoing
Wallet-Impact: $25 - $147.50
Such attention has been paid to details of this show that from the moment you walk through the doors of the Oriental Theatre, nay, from the very moment you purchase your tickets, you know you are going to see a show called "Wicked."
Whether you spend $147.50 online (plus Ticketmaster's convenient charge of $12.50 per ticket and the building fee of $2.50 per ticket) or $25 at the drawing that takes place every day before the show, one thing is certain: You're about to see a pre-quel to "The Wizard of Oz."
The story is as good as any other story I've heard or read, in that words were put together into full sentences and lines of dialogue that communicated to me the storyteller's intended message. For the audience's convenience, there is no reading that needs to be done: Instead, the lines of dialogue are said aloud by the actors who have either done a fantastic job memorizing them, or they have found a brilliant way to conceal the ink on the palms of their hands.
Occassionally, the characters break into song, at which point we can hear the music of instruments simultaneously, playing in accompaniment of the melodies being sung by the actors onstage. It should be noted that unlike the lines of dialogue, the songs often having nothing at all to do with the action you see onstage. For example, one song, sung between two of the characters on it's surface seems to be about how much they like each other, when in reality, the staged events preceeding and following this song seem to indicate to the contrary. It might not make a lot of sense, but if you enjoy watching two ladies, one of them green, sing songs and dance onstage, then you could care less. And so could I.
Susan Hilferty has done an amazing job at the costume designing. She has not forgotten for one moment that each actor needs to be wearing a costume, and indeed one cannot help but notice that they are all fully costumed. Furthermore, the astute among us will not be able to go a moment without thinking, "Oh my goodness! That's exactly what an actor who needed clothes like that for their character would wear!"
It must be noted that Ms. Hilferty's work is greatly enhanced by the artistic clairvoyance of Kenneth Posner and his exquisite lighting design. The lights serve, at all times, to light both the stage and the actors, allowing us to see their costumes and where they are standing in relation to the other actors. (And to ourselves, of course! This is live theatre after all!) While Kenneth Posner for the most part did a superb job, there were several moments when he must have accidentally bumped the light switch, leaving us in total darkness -- from memory this occurred at least 4 times, including just before the show began, right before the intermission, right after the intermission, and again just before the curtain call. Several audience members (myself included) shrieked, a couple women went into labor, and at least three others (that I could see) got pregnant. Still in all, it is a long play, and one can hardly fault Mr. Posner for falling asleep here and there. (I'm getting sleepy just thinking about it!)
If you ask your friends who have seen this show, those who are not familiar with theatre will mention the amazing special effects. Indeed, there are some illusions that make good eye candy for the masses, but I could not be fooled into believing they were actually magic. There's a big wooden dragon that appears to be trained to move its mouth and wings, but it's actually controlled by an actor who is torturing it with a series of ropes and pulleys, and there's also a scene where a floating bubble is clearly suspended from the ceiling with 2 massive pipes dangling from the flyspace (a theatre term for the crotch of my pants).
In conclusion, you don't have to be a laid-off factory worker to enjoy "Wicked," but it certainly couldn't hurt.
Monday, May 5, 2008
The Greatest Stories Never Told... TOLD
Hey there, friends, I'm just spreading the word about a fantastic (literally) new show I'm involved in as a writer and performer. It's a fun show with lots of smart absurdity. It runs one more weekend -- this Saturday and Sunday (May 10 & 11) at 4:00pm at Gorilla Tango Theatre (1919 N. Milwaukee Ave -- just east of Western), right by the Western blue line stop. Tickets are $10. To purchase tickets call 773-598-4549 or visit www.gorillatango.com. Come one, come all!
The press release is below.
Robot vs. Dinosaur Presents
The Greatest Stories Never Told . . . TOLD!
Chicago, IL (April 2008): Robot vs. Dinosaur presents the world premier of their sketch comedy show, The Greatest Stories Never Told . . . TOLD! beginning April 26 through May 11, Saturdays and Sundays at 4 pm, at Gorilla Tango Theatre, 1919 N. Milwaukee Ave., Chicago 60647. Tickets are $10; to purchase tickets call 773-598-4549 or visit www.gorillatango.com.
The Greatest Stories Never Told . . . TOLD! is a whimsical look at stories of adventure, tall tales and fairy tales, blended together seamlessly into a unique piece that is a hybrid of sketch comedy and storytelling.
Three story lines are interwoven through the show as well as an eclectic mix of comic scenes that combined make for a multi-layered, engaging and fun theatrical experience. Audiences won't have time to blink as stories and scenes move from one fantastic world to the next, giving this show a more unified feel than a typical sketch comedy revue.
"We're trying to create a new kind of show here," says director Chris Othic, a five-year veteran of the Chicago comedy scene. "We tried to focus on story telling as a medium for our comedy writing. It's still sketch comedy, but we've written some fairly complex, narrative scenes and focused on the staging so that it feels a little more like a play. It's an interesting mix and I think audiences will love it."
"A large chunk of our material was performed in the 2007 Chicago Sketchfest, and we got a lot of positive feed back afterward," Othic said. "We've expanded on that material and we're really looking forward to bringing something new to the sketch comedy scene."
ABOUT ROBOT vs. DINOSAUR
Robot vs. Dinosaur originated in New York and was brought to Chicago by Joe Janes in 2007 when he assembled a roster of writers and performers that have a great deal of experience in the Chicago sketch comedy and improv scenes. The ensemble is a writer-centric group, whose goal is to write and perform original comic material that is eclectic, dynamically staged, and fun for audiences. Robot vs. Dinosaur members are Geoff Crump, Joe Janes, Joe Linstroth, Chris Othic, Nat Topping and Greg Wendling. To promote comedy writing in Chicago, Robot vs. Dinosaur also hosts Robowriters, a weekly writers workshop, every Saturday at 1 p.m. at Gorilla Tango Theatre.
MORE ABOUT THE CAST & CREW
Joe Janes (Artistic Director): Joe is the Improv Program Coordinator for and a part-time faculty member of the theater department of Columbia College. He is a founding member of the WNEP Theater Foundation, Teatro Bastardo, and Robot vs. Dinosaur - Chicago. For Second City, he has been a member of the national touring company, a director of the national touring company, Second City-Detroit and Second City-Las Vegas, and has taught for the training center since 1997. He is a playwright and an Emmy award winning writer. You can find out about him at www.biteandsmile.blogspot.com.
Chris Othic (Director): Chris is a graduate of the Second City Conservatory and Writing programs and holds an MA in Theatre from the University of Central Missouri. Chris has recently directed the up-and-coming sketch group, Cell Camp, in their shows Mixtape and Holding Out for a Decent Hero. Chris was a member of Teatro Bastardo and Corporation Inc. and his writing/performing credits include Life is a Joke, News Bites, The Assistant Director's Cut and various other shows. He is a founding member of Robot vs. Dinosaur.
The Greatest Stories Never Told . . . TOLD! is performed by Geoff Crump, Jill Fenstermaker, Tim Heurlin, Mike Johnson, Kate Lambert, Nat Topping and Greg Wendling.
For more information or to schedule a review, please email Joe Janes at joejanes1065@comcast.net. For more information on Gorilla Tango Theatre, contact Kelly Williams, kelly@gorillatango.com.
-----------
Gorilla Tango Theatre (GTT) is a year-round theatrical venue where audiences of all ages can consistently go to see a wide variety of talented artists. GTT exists to provide artists with an opportunity to produce their work in professional environment. GTT was created by Second City- and IO-Chicago-trained Dan Abbate and boasts an 88-seat performance space. GTT Chicago is conveniently located at the intersection of Western and Milwaukee in Chicago's Bucktown neighborhood. Easily accessible by public transportation, GTT is steps away from the Western Blue Line stop and the #49 Western, #73 Armitage and #56 Milwaukee buses. Street parking is readily available. With shows for both children and adults, all GTT performances are on a rating system, similar to the one used in movie theatres. As of August 15, GTT is no longer BYOB and will be offering a variety of affordable beer, wine and malt beverages for purchase. Consult the website for rating information, tickets, and details.
www.gorillatango.com
1919 N. Milwaukee Ave., Chicago, IL 60647 – 773.598.4549
The press release is below.
Robot vs. Dinosaur Presents
The Greatest Stories Never Told . . . TOLD!
Chicago, IL (April 2008): Robot vs. Dinosaur presents the world premier of their sketch comedy show, The Greatest Stories Never Told . . . TOLD! beginning April 26 through May 11, Saturdays and Sundays at 4 pm, at Gorilla Tango Theatre, 1919 N. Milwaukee Ave., Chicago 60647. Tickets are $10; to purchase tickets call 773-598-4549 or visit www.gorillatango.com.
The Greatest Stories Never Told . . . TOLD! is a whimsical look at stories of adventure, tall tales and fairy tales, blended together seamlessly into a unique piece that is a hybrid of sketch comedy and storytelling.
Three story lines are interwoven through the show as well as an eclectic mix of comic scenes that combined make for a multi-layered, engaging and fun theatrical experience. Audiences won't have time to blink as stories and scenes move from one fantastic world to the next, giving this show a more unified feel than a typical sketch comedy revue.
"We're trying to create a new kind of show here," says director Chris Othic, a five-year veteran of the Chicago comedy scene. "We tried to focus on story telling as a medium for our comedy writing. It's still sketch comedy, but we've written some fairly complex, narrative scenes and focused on the staging so that it feels a little more like a play. It's an interesting mix and I think audiences will love it."
"A large chunk of our material was performed in the 2007 Chicago Sketchfest, and we got a lot of positive feed back afterward," Othic said. "We've expanded on that material and we're really looking forward to bringing something new to the sketch comedy scene."
ABOUT ROBOT vs. DINOSAUR
Robot vs. Dinosaur originated in New York and was brought to Chicago by Joe Janes in 2007 when he assembled a roster of writers and performers that have a great deal of experience in the Chicago sketch comedy and improv scenes. The ensemble is a writer-centric group, whose goal is to write and perform original comic material that is eclectic, dynamically staged, and fun for audiences. Robot vs. Dinosaur members are Geoff Crump, Joe Janes, Joe Linstroth, Chris Othic, Nat Topping and Greg Wendling. To promote comedy writing in Chicago, Robot vs. Dinosaur also hosts Robowriters, a weekly writers workshop, every Saturday at 1 p.m. at Gorilla Tango Theatre.
MORE ABOUT THE CAST & CREW
Joe Janes (Artistic Director): Joe is the Improv Program Coordinator for and a part-time faculty member of the theater department of Columbia College. He is a founding member of the WNEP Theater Foundation, Teatro Bastardo, and Robot vs. Dinosaur - Chicago. For Second City, he has been a member of the national touring company, a director of the national touring company, Second City-Detroit and Second City-Las Vegas, and has taught for the training center since 1997. He is a playwright and an Emmy award winning writer. You can find out about him at www.biteandsmile.blogspot.com.
Chris Othic (Director): Chris is a graduate of the Second City Conservatory and Writing programs and holds an MA in Theatre from the University of Central Missouri. Chris has recently directed the up-and-coming sketch group, Cell Camp, in their shows Mixtape and Holding Out for a Decent Hero. Chris was a member of Teatro Bastardo and Corporation Inc. and his writing/performing credits include Life is a Joke, News Bites, The Assistant Director's Cut and various other shows. He is a founding member of Robot vs. Dinosaur.
The Greatest Stories Never Told . . . TOLD! is performed by Geoff Crump, Jill Fenstermaker, Tim Heurlin, Mike Johnson, Kate Lambert, Nat Topping and Greg Wendling.
For more information or to schedule a review, please email Joe Janes at joejanes1065@comcast.net. For more information on Gorilla Tango Theatre, contact Kelly Williams, kelly@gorillatango.com.
-----------
Gorilla Tango Theatre (GTT) is a year-round theatrical venue where audiences of all ages can consistently go to see a wide variety of talented artists. GTT exists to provide artists with an opportunity to produce their work in professional environment. GTT was created by Second City- and IO-Chicago-trained Dan Abbate and boasts an 88-seat performance space. GTT Chicago is conveniently located at the intersection of Western and Milwaukee in Chicago's Bucktown neighborhood. Easily accessible by public transportation, GTT is steps away from the Western Blue Line stop and the #49 Western, #73 Armitage and #56 Milwaukee buses. Street parking is readily available. With shows for both children and adults, all GTT performances are on a rating system, similar to the one used in movie theatres. As of August 15, GTT is no longer BYOB and will be offering a variety of affordable beer, wine and malt beverages for purchase. Consult the website for rating information, tickets, and details.
www.gorillatango.com
1919 N. Milwaukee Ave., Chicago, IL 60647 – 773.598.4549
Thursday, May 1, 2008
Magic Chicago - A Theatre Review
When: First Wednesday of the month at 7:30pm
Where: City Lit Theater, 1020 W. Bryn Mawr, Chicago (located in the historic Edgewater Presbyterian Church)
Website: www.magicchicagoshow.com
Wallet Impact: $20
This review is long overdue (not that anyone's been twiddling their thumbs waiting for it), but on April 2nd I saw a great magic show.
Like many kids, I was fascinated by magic. I loved it all and wanted to try it all: close-up magic, big stage spectaculars, the "anti-magic" of Penn and Teller. (I have a small scar on my right hand from a magic trick gone awry in which my partner stabbed me.) There was a pizza place called Abracadabra which, if memory serves, was like dinner theatre with both live or televised magic-magic-magic being performed at all times. I forgot about magic for a long long time, until I expressed an interest in having a roving close-up magician at my wedding reception. (Lora really didn't want this, however, so it was not to be.) For my birthday this year, Lora made it up to me by looking into magic shows in Chicago.
You'd think that in a world-class city like Chicago you'd have options. There must be 7 magic shows playing all over the city on any given night, right? Not so. It turns out magic has gone the way of corporate gigs, and even if you work for a company who forces you to attend some kind of annual retreat, the chances of seeing some magic, up-close-and-personal, is slim to none. In the end, Magic Chicago was the only public magic show we were able to find in Chicago, and it runs only once a month!
The lack of selection and the infrequency of the performances had me a little concerned about the quality of the event. I was bringing friends, and I felt responsible for entertaining them. It's location also concerned me, because when you walk into the Edgewater Presbyterian Church, you do not have a sense of walking into a peformance space. When you enter, you feel more like you're walking into a public school than a church. The City Lit Theatre is on the second floor of the building, and only after you've paid your admission and walked into the room do you feel like you're in a performance space. The theatre seats about 60, so it's intimate enough that close-up magic works well in it, but the stage is large enough to accommodate some larger props. Both kinds of performance were done on April 2.
Magic Chicago is the creation of Benjamin Barnes and Robert Charles, who were inspired by the teachings of magician Eugene Burger. Burger experienced magic in 1950's Chicago, which was apparently a golden age for magic in this city that ended in the 1970's when magicians packed their lovely assistants in magical boxes and disappeared.
The format of Magic Chicago, at least on the night we were there, is not unlike what you would expect at a (smoothly-run) amateur night at a stand-up comedy club. Producer Benjamin Barnes MC'ed and introduced each of the five magicians who took the stage. For some reason, he never performed, and I kept wishing he would. In comedy clubs, the MC usually does a couple jokes before introducing the next performer, why not have the MC at a magic show do a little magic?
Having been involved in sketch comedy in Chicago, for better or worse, most of the audiences my shows tend to draw include a large percentage of other sketch comedy writers and performers. As an "insider", this can be both frustrating and helpful. For "outsiders", I doubt they're aware of this fact, but I wonder if it would effect their perception of the show if they did. I believe Magic Chicago may be in a similar situation, as it was acknowledged that many magicians were present that night. This fact added an air to the evening that felt a little unrefined, a dynamic which I liked, but that, for someone looking for a pure audience/performer experience may exude something less-than-professional.
The featured performers on April 2 were Bill Koch and Steve Vaught, plus three organizing members of Magic Chicago; Joe Diamond (Stage Manager), Jeanette Andrews (Artistic Coordinator), and Robert Charles (Producer). The diversity in types of illusions and presentation styles of these performers was an asset to the evening.
The Magicians:
Bill Koch is a mature performer for an 18-year-old. His attitude is smooth and gregarious with a great sense of humor, and he wears a big grin throughout. At this point his magic is a little more polished than his patter, but this is probably more an effect of his youth than his capabilities. At the beginning of his straightjacket-escape routine, as a seemingly uncomfortable audience member tightened the strap between his legs, his mother (in the audience) reminded him aloud that she wanted grandkids. It's not a stretch to imagine Bill in 5-10 years wearing one of those headset microphones and pacing the stage like a motivational speaker in front of a captivated crowd of 5,000. Judging by his performance style, that seems to be the direction he wants to go.
One of the highlights of the evening featured Bill doing a card trick for one half of the audience, while Joe Diamond did the same trick for the other half. They both reached the "Is this your card?" part at the same time, and both were wrong. It was soon discovered that they had each picked the card for the other half of the audience. The effect was remarkable, as was the way the heads in the audience turned in opposite directions at the same time.
Joe Diamond had the most effective trick of the night, with a mind-reading illusion in which two audience members were each instructed to write the name of a random individual on a piece of paper they then folded up and held in their hand--one woman chose a celebrity, the other chose a personal acquaintance. Appearingly without looking at the paper, he was able to guess on his own (without seeing the papers) the name of each individual. The audience was audibly impressed.
Jeannette Andrews did a silent performance piece set to music, which she had recentlty crafted and was performing for the first time. It was a nice change of pace from the rest of the performances, but not all the kinks had been worked out, and there were a couple times when her magician's secrets were almost revealed. Also, some of the props she was working with were difficult to see from the back of the theatre. It was refreshing to see a female magician, however, and her concept was clever.
Perhaps it is his pleasant and unassuming demeanor, but Steve Vaught was the magician you could most easily imagine at a child's birthday party. He was the only performere who did more traditional magic tricks with rings and rope, but these familiar tricks were each done with a unique comic twist that kept them fresh and interesting. To explain the joke would completely kill it, but his take on the solid/linking metal rings was hilarious. Essentially he was doing smart and subtle comedy while the magic was happening in the background. Steve alone was worth the price of admission.
Whether you're into magic or not, Magic Chicago is a safe bet for an entertaining evening. But you only get one shot a month. I'll definitely be going back.
Where: City Lit Theater, 1020 W. Bryn Mawr, Chicago (located in the historic Edgewater Presbyterian Church)
Website: www.magicchicagoshow.com
Wallet Impact: $20
This review is long overdue (not that anyone's been twiddling their thumbs waiting for it), but on April 2nd I saw a great magic show.
Like many kids, I was fascinated by magic. I loved it all and wanted to try it all: close-up magic, big stage spectaculars, the "anti-magic" of Penn and Teller. (I have a small scar on my right hand from a magic trick gone awry in which my partner stabbed me.) There was a pizza place called Abracadabra which, if memory serves, was like dinner theatre with both live or televised magic-magic-magic being performed at all times. I forgot about magic for a long long time, until I expressed an interest in having a roving close-up magician at my wedding reception. (Lora really didn't want this, however, so it was not to be.) For my birthday this year, Lora made it up to me by looking into magic shows in Chicago.
You'd think that in a world-class city like Chicago you'd have options. There must be 7 magic shows playing all over the city on any given night, right? Not so. It turns out magic has gone the way of corporate gigs, and even if you work for a company who forces you to attend some kind of annual retreat, the chances of seeing some magic, up-close-and-personal, is slim to none. In the end, Magic Chicago was the only public magic show we were able to find in Chicago, and it runs only once a month!
The lack of selection and the infrequency of the performances had me a little concerned about the quality of the event. I was bringing friends, and I felt responsible for entertaining them. It's location also concerned me, because when you walk into the Edgewater Presbyterian Church, you do not have a sense of walking into a peformance space. When you enter, you feel more like you're walking into a public school than a church. The City Lit Theatre is on the second floor of the building, and only after you've paid your admission and walked into the room do you feel like you're in a performance space. The theatre seats about 60, so it's intimate enough that close-up magic works well in it, but the stage is large enough to accommodate some larger props. Both kinds of performance were done on April 2.
Magic Chicago is the creation of Benjamin Barnes and Robert Charles, who were inspired by the teachings of magician Eugene Burger. Burger experienced magic in 1950's Chicago, which was apparently a golden age for magic in this city that ended in the 1970's when magicians packed their lovely assistants in magical boxes and disappeared.
The format of Magic Chicago, at least on the night we were there, is not unlike what you would expect at a (smoothly-run) amateur night at a stand-up comedy club. Producer Benjamin Barnes MC'ed and introduced each of the five magicians who took the stage. For some reason, he never performed, and I kept wishing he would. In comedy clubs, the MC usually does a couple jokes before introducing the next performer, why not have the MC at a magic show do a little magic?
Having been involved in sketch comedy in Chicago, for better or worse, most of the audiences my shows tend to draw include a large percentage of other sketch comedy writers and performers. As an "insider", this can be both frustrating and helpful. For "outsiders", I doubt they're aware of this fact, but I wonder if it would effect their perception of the show if they did. I believe Magic Chicago may be in a similar situation, as it was acknowledged that many magicians were present that night. This fact added an air to the evening that felt a little unrefined, a dynamic which I liked, but that, for someone looking for a pure audience/performer experience may exude something less-than-professional.
The featured performers on April 2 were Bill Koch and Steve Vaught, plus three organizing members of Magic Chicago; Joe Diamond (Stage Manager), Jeanette Andrews (Artistic Coordinator), and Robert Charles (Producer). The diversity in types of illusions and presentation styles of these performers was an asset to the evening.
The Magicians:
Bill Koch is a mature performer for an 18-year-old. His attitude is smooth and gregarious with a great sense of humor, and he wears a big grin throughout. At this point his magic is a little more polished than his patter, but this is probably more an effect of his youth than his capabilities. At the beginning of his straightjacket-escape routine, as a seemingly uncomfortable audience member tightened the strap between his legs, his mother (in the audience) reminded him aloud that she wanted grandkids. It's not a stretch to imagine Bill in 5-10 years wearing one of those headset microphones and pacing the stage like a motivational speaker in front of a captivated crowd of 5,000. Judging by his performance style, that seems to be the direction he wants to go.
One of the highlights of the evening featured Bill doing a card trick for one half of the audience, while Joe Diamond did the same trick for the other half. They both reached the "Is this your card?" part at the same time, and both were wrong. It was soon discovered that they had each picked the card for the other half of the audience. The effect was remarkable, as was the way the heads in the audience turned in opposite directions at the same time.
Joe Diamond had the most effective trick of the night, with a mind-reading illusion in which two audience members were each instructed to write the name of a random individual on a piece of paper they then folded up and held in their hand--one woman chose a celebrity, the other chose a personal acquaintance. Appearingly without looking at the paper, he was able to guess on his own (without seeing the papers) the name of each individual. The audience was audibly impressed.
Jeannette Andrews did a silent performance piece set to music, which she had recentlty crafted and was performing for the first time. It was a nice change of pace from the rest of the performances, but not all the kinks had been worked out, and there were a couple times when her magician's secrets were almost revealed. Also, some of the props she was working with were difficult to see from the back of the theatre. It was refreshing to see a female magician, however, and her concept was clever.
Perhaps it is his pleasant and unassuming demeanor, but Steve Vaught was the magician you could most easily imagine at a child's birthday party. He was the only performere who did more traditional magic tricks with rings and rope, but these familiar tricks were each done with a unique comic twist that kept them fresh and interesting. To explain the joke would completely kill it, but his take on the solid/linking metal rings was hilarious. Essentially he was doing smart and subtle comedy while the magic was happening in the background. Steve alone was worth the price of admission.
Whether you're into magic or not, Magic Chicago is a safe bet for an entertaining evening. But you only get one shot a month. I'll definitely be going back.
Wednesday, April 30, 2008
Chillax, Austria
It's horrible. This case of the Austrian guy who forced his daughter to live in a dungeon for 24 years and fathered seven children with her.
But now Austria's all worried that this man is going to destroy their image? Wasn't Hitler from Austria? What kind of number has he pulled on the Austrian reputation?
Considering that Hitler is probably the most famous modern historical bad guy, Josef Fritzel's impact is on Austria's reputation is less than a $9.95 late fee for skipping a credit card payment on a $8,940 debt. Hasn't anyone told Austria that it takes two late fees before your credit card is cancelled?
I think Austria's concern about it's ruined reputation is more a sign of the Austrian spirit than the wrongdoings, no matter how awful, of one incestuous slavemaster. Look at all the crap that comes out of the United States. Do we ever worry about our reputation? (Let me rephrase that...) Does our government ever worry about our reputation? We're just business as usual here. With Austria up in arms about the national impact of the crime of one lone sick dude, they're starting to look like micromanaging control freaks. "Sie actions of sees man veel not deshtroy sie reputation of sie mahzhaland!" (Cough--fascists--cough.)
Austria, trust me, let this one slide. The dude abides.
But now Austria's all worried that this man is going to destroy their image? Wasn't Hitler from Austria? What kind of number has he pulled on the Austrian reputation?
Considering that Hitler is probably the most famous modern historical bad guy, Josef Fritzel's impact is on Austria's reputation is less than a $9.95 late fee for skipping a credit card payment on a $8,940 debt. Hasn't anyone told Austria that it takes two late fees before your credit card is cancelled?
I think Austria's concern about it's ruined reputation is more a sign of the Austrian spirit than the wrongdoings, no matter how awful, of one incestuous slavemaster. Look at all the crap that comes out of the United States. Do we ever worry about our reputation? (Let me rephrase that...) Does our government ever worry about our reputation? We're just business as usual here. With Austria up in arms about the national impact of the crime of one lone sick dude, they're starting to look like micromanaging control freaks. "Sie actions of sees man veel not deshtroy sie reputation of sie mahzhaland!" (Cough--fascists--cough.)
Austria, trust me, let this one slide. The dude abides.
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