Archive for January, 2012
Savvy theatergoers know Next Theatre in Evanston offers provocative and artistically adventurous work without fail. Next, which celebrated its 30th anniversary last season, is a company that, along with Steppenwolf, Wisdom Bridge and a host of small, storefront troupes, put Chicago Theater on the national map in the 1980s.
Though housed in modest quarters at the Noyes Cultural Center, Next has always had outsize ambitions, choosing works by gifted playwrights and mounting top-flight productions. Its latest, “The Girl in the Yellow Dress,” is a smart, erotically-charged drama in which language fuels intense interactions between an English tutor and her French-Congolese student.
Celia is an Englishwoman in her 20s, living in Paris and offering English lessons, we assume, to help cover expenses. When we learn her family is quite wealthy, her motives become more mysterious. Pierre is a handsome black man who says he wants to master English because it “is the language of the world,” a place that seems foreign and closed to him.
So far, all seems quite innocent and reasonable. But, as the one-act drama unfolds, this initial facade falls away and the audience is plunged into the realm of psychodrama. By the second scene, Pierre begins his seduction of Celia who, at first, uses the rules of English grammar for self-protection and to keep him at bay.
She keeps quizzing Pierre on English’s convoluted verb constructions like the conditional and subjunctive tenses. The lessons, however, are a mere pretext for verbal foreplay. As they trade life stories, Celia and Pierre strive to make a human connection but differences of race, class and gender intrude.
South African playwright, Craig Higginson, has written an intelligent and lively drama full of revealing twists and turns. “Girl” was a praised and much-talked-about entry at the 2010 Edinburgh Festival.
The two-person cast delivers convincing performances. While Austin Talley moves capably from hesitant student to silky seducer, it is Carrie Coon who captures Celia’s complex personality most convincingly. Director Joanie Schultz ably finds the wit amid the tension in Higginson’s script and keeps the action taut and gripping.
A special tip of the hat goes to scenic designers Jacqueline and Richard Penrod whose Paris flat looks like a million bucks and is the perfect bachelorette pad. Next’s second play of the season is a winner. If sharp dialogue and intriguing characters are your preferred theater fare, rest assured that “The Girl in the Yellow Dress” delivers.
The play runs through February 26th. Tickets can be ordered at www.nexttheatre.org or by calling the theater office at 847/475-1875, ext. 2.
The Chicago Jazz Ensemble has had only 3 music directors in its 47-year history. Bill Russo, an esteemed jazz composer/arranger, who played in Stan Kenton’s orchestra in the 1950s, was the first director.
Russo founded the CJE in 1965 which, since its earliest days, has been the jazz orchestra in residence at Columbia College. Jazz fans and all Chicagoans owe Columbia a large vote of thanks for its continuous support through thick and thin economic times. Only the Jazz Showcase has been around the jazz scene longer.
The 17-member band built its repertoire around classic jazz performers with an early emphasis on Stan Kenton, Duke Ellington and later, Benny Goodman and Miles Davis. The band also featured many of Russo’s own compositions.
When Russo died in 2003, trumpeter Jon Faddis (regarded as the stylistic heir to Dizzy Gillespie), was chosen as his successor. Faddis raised the quality of CJE’s musicianship. He expanded the playbook with more contemporary jazz works and new commissions and arrangements from such giants as Frank Foster, Slide Hampton and young lions Ed Wilkerson and Jim Gailloreto.
Acclaimed drummer Dana Hall became the third director last season. A busy sideman, he has appeared on more than 20 albums including his 2009 debut album as a leader, “Into the Light”. He has put his own mark on the ensemble this season with two new features: concerts that feature the playbook of more recent jazz giants and alternating smaller ensemble outings with the regular big-band concerts.
Last month, Hall led a driving performance by a quintet that paid tribute to drummer and mentor to many, Art Blakey (1919-1990), titled “Buhaina’s Delight” (Blakey’s Buddhist name). Hall said of Blakey, “He kept the music happy.”
Hall opened with a ferocious roll of rimshots and tom-toms. Like Blakey, his playing during the rest of the concert was emphatic and often upfront but appropriately subdued in trio settings. I regretted that the set included several, more recent, arrangements by Wayne Shorter but overlooked works by pianist, Horace Silver, an important member of Blakey’s Jazz Messengers.
Hall’s experiments with programming are worth supporting. The CJE’s next outing by the full ensemble is this Friday (January 20th) at the Harris Theater. It features two of jazz’s most promising young stars: bassist Christian McBride and vocalist Meshell Ndegeocello paying tribute to one of jazz’s larger-than-life figures, bassist/composer Charles Mingus (1922-1979).
I hope to hear McBride play such Mingus classics at “Better Git It in Your Soul” and “Goodbye Pork Pie Hat”. Ndegeocello will perform much later songs Mingus composed in collaboration with Joni Mitchell.
Another Hall innovation is two noontime “Listening Room” sessions prior to Friday’s concert. McBride will perform on January 18th and Ndegeocello will be featured on Thursday. I heartily support this attempt to present the artists in a more intimate atmosphere that allows for listener interaction.
These are not easy times for jazz and particularly large ensembles like The Chicago Jazz Ensemble. Institutional and government funding has been cut. Yet its mission to honor the music’s pioneers and maintain our link with jazz history, is more important than ever.
All attenders of the Green Mill Lounge, Jazz Showcase and Jazz at Symphony Center should add Chicago’s own Preservation Jazz Band to the list. The musicians are among Chicago’s top jazz performers and Hall is injecting the troupe with a shot of high energy and imagination.
To purchase tickets and see the remaining schedule of CJE performances, go to www.chicagojazzensemble.com.
While on the subject of jazz, I recommend a new book about a heretofore unexplored side of the music. “Blue Notes in Black and White: Photograph and Jazz” by Benjamin Cawthra (University of Chicago Press). This highly-readable book is based on the idea that “photographs not only show stories but also shape them.”
Cawthra, a historian, writes with elan about the vital role jazz photographs played in capturing African American culture during a time of tumult, from the swing era of the 1930s to the rise of black nationalism in the 1960s.
Over the past two decades, I became very interested in the work of these great photographers —especially William Gottlieb, Herman Leonard and William Claxton—from seeing small shows of their work. I wanted to know more about the people behind the lens. We now know the fascinating story, thanks to Cawthra.
His book is an in-depth look at the multiple contributions of these artists: capturing now-legendary performers live at club dates, helping record labels sell magazines and albums, crafting musicians’ public images to further their financial and political goals.
I learned a lot about jazz history and the important partnership these two art forms forged during a key period in the music and black culture. It’s good to see these photographers finally getting their due.