Windy City Performing Arts Winter Concert, A Rich and Wonderful Program

In three shows filled with heart, talent, and irrepressible mischief, the Windy City Gay Men's Chorus and Aria performed this weekend at Chicago's Senn Campus, and gave their richest, funniest, most emotional holiday show yet.  There was an eclectic mix of musical styles, several show-stopping solos, some alarmingly good showcases of individual talent, a "hot" brass-and-percussion ensemble, and a visit from a besotted special guest, whose martini-fueled, train-wreck of a number redefined raucous hilarity, and may have been the last word in drag (until, perhaps, March).


This year's program, titled "Sassy! Brassy! and Classy!", left audiences as fully satisfied as at a banquet, offering familiar dishes and exotic delicacies, spiced with effervescent staging, and topped off with sweet harmonies and strong vocal mixtures.  Director Stephen Edwards fashioned a wonderful show which, in spite of the  challenges and rigors of rehearsals, the choirs delivered nicely.

Another thing...I felt entirely safe in the comfortable surroundings of Senn Auditorium.  Mark was there all weekend, and the stage was filled with all of my friends who worked so hard to entertain us, with so much wonderful music beautifully performed.  I knew the same warmth I used to know looking at the lit-up tree in my boyhood living room, with all the other lights off, and the promise of good things...

The combined chorus kicked off with "Spirit of the Season" from "Polar Express", a lively number that  raised the house energy level, and set a tone of expectation for both the traditional and the contemporary.

The men moved right into "It's the Most Wonderful Time of the Year", a perennial classic (that we  break into occasionally when the pressures of the season become insane!)  The men's first set concluded with a beautifully harmonized, hushed version of "White Christmas", a song filled with nostalgia and hope, and still one one of the finest Oscar-winning songs ever. 


Aria took back the stage for a jazzy rendition of "The Holiday Season", at one point vocalizing without words in an amusing "ta-tee-ta" chorus.  Kay Thompson, a well-known actress, arranger, and godmother to Liza Minnelli, wrote this tune in 1963.

"Silent Night" always casts a breathless hush on an audience.  This version is one of the most exquisite I have yet heard.  Stephanie Dykes started with a strong baritone solo in German, with the combined chorus fading in for a melancholy rendition of the song.  Stephanie came back for a brief solo interlude, taking the song into a different key, before the chorus built in volume to a thrilling climax, at which it was impossible not to be moved.


The women lightened things up again with "The Holly and the Ivy" done in a calypso kind of beat, with great piano accompaniment and a fine solo by Valerie Silk Kremenak.


Then things got out of hand--in a great way.




Stephen breathlessly announced the appearance of a special guest!  While the chorus donned hats and grabbed their fur-lined music books in order to provide background vocals for this special soloist, we learned that the singer was none other than Mrs. Santa. 


In white silk elbow-length gloves, silver wig with a ridiculously small hat perched on top of his head, and a silky and flattering dress, Bill Howes, as Mrs. Santa, was wheeled out on a chaise lounge by two shirtless minions (Bill Marsland and Jason Spoor) sporting leather harnesses and hats, sucking on tootsie pops, and bringing continuous martinis to the hapless diva. 

The chorus followed their music gamely, while Mrs. Santa launched into an off-key riff that got appreciative howls of laughter from in-the-know audience members.  "O Holy Night" segued hysterically into everything from "Deck the Halls" to a wild-west version of "Sleigh Ride"; from a confused mix of "Frosty" and "Rudolph" to "Over the Rainbow"; from "Grandma Got Run Over by a Reindeer"; to Mozart's "Magic Flute", returning finally to "O Holy Night", before she was wheeled offstage. 


Howes tottered around the stage, goosing Director Edwards (who grabbed a drink himself), able to go from sublime to profane in one alcohol-riddled breath.  A singer has to be really talented to fashion a number so hilariously off-key and well-timed, and Howes really put on a show.  Even Michael Roberts, the Sign Language Interpreter,  seemed to be at a loss, remaining quietly hilarious, frantic to get it all spelled out. 

*   *   *   *

It was hard to top this, but the follow-up was terrific.  The brass section, with wordless vocalizations from Aria, performed a song I remember hearing a lot as a kid, but had almost forgotten, called "Bugler's Holiday".  (I was so happy to reconnect to this song--I felt like the guy in "Amelie" who has his long-lost treasure box returned to him; I had been trying so long to recall the name of this tune. ) I don't think it's strictly a holiday number, but it is appropriately bubbly with a great brass sound.  (Listen to a version of it here). 


The instrumentalists followed with an interlude of their own, "Sleigh Ride", which is more well-known.  Both this and "Bugler's Holiday" (above) were written by American composer Leroy Anderson, described by Oscar-winning composer John Williams  as "one of the great American masters of light orchestral music."


Aria's next, a Hanukkah Song called "We Are Lights" featured lovely solos from Anna Rose Li-Epstein and Katya Lysander, and incorporated a candle-lighting during the number. 

And, to finish the first half of the show, the chorus was led by soloist Libby Lane, who effectively belted "Judah and his Maccabees", a musical bible story of the origin of Hanukkah.  This number requires a strong, vibrant alto, and Lane gave an awesome and animated interpretation of the song. (Here's a version from the San Francisco Gay Men's Chorus, lead by Karen Hart, who wrote the song.)

Act Two was more emotional, more spiritual and even more amazing.  The Men's Chorus offered a quiet and powerful version of "Ave Dulcissima Maria", performed acapella with only a single bell as a regular punctuation, like a Gregorian chant.  This was rumored to be a troublesome, complex number for the singers, but from where I sat, it sounded perfect.  The piece was written in 2004 by Morten Lauridsen originally for the Harvard Glee Club. (Listen to Polyphony's version here).  Michael Vince, Ryan Johnson, and Anton Naess lent their beautiful voices in solos.


Aria came back for a suite of spiritual numbers, beginning with "December" in which the group's delicate voices perfectly captured the awesome solitude of a late winter afternoon, when the sky is all blue and pink from the setting sun.  The chilling soprano solos of Kim Duncan, Rafael Ramos, Beth Bellinger and Meghan Bennett gave the song a haunting quality.  "Hodie Christus Natus Est", "Gloria", and "Alleluia (from Songs of Faith)" recalled for me the brassy religious influence of the film scores of Miklos Rosza or the medieval beauty of "The Lion in Winter".  Paul Basler, who wrote "Hodie..." and "Songs of Faith", was pleased with the arrangement, as seen on YouTube!

Finally, "Pictures of a Season", a suite so wonderfully done that it almost requires its own post. I'll try to do it justice in summary.


"Pictures of a Season" was a set of familiar holiday compositions, arranged in such a way as to provide a depth of meaning, an emotional journey.

Starting with a plaintive phrase from "Do You Hear What I Hear?", which served as a refrain for the whole number, the brass and harp were effectively woven in between. There was a rousing version of "Born in Bethlehem", done as a 4-part round with hand-claps that got the crowd moving. Bobby Owens came in for a brief solo refrain of "Do You Hear", followed by another exciting number, "I Am The Lord of the Dance", fronted by lighthearted solos from Ray Lesniewski and Dan Craig. 

Before the climax of the choral piece, there was perhaps the most amazing solo work of all.  Madelyn Tan-Cohen, the always-reliable piano accompanist, was given the spotlight, and transfixed the crowd as she moved effortlessly across the entire keyboard and back again for a thunderous, delicate, amazing musical interlude.  Influences of Wyndham Hill and Debussy, hints of "Carol of the Bells", "Away in a Manger",  a bluesy version of "We Three Kings", and segments of "Noel" "Gloria in Excelsis", combined for a seamless rhapsody.  Madelyn, who quietly provides such great support for the vocals, here proved a tremendous talent in her own right. She received a well-deserved cheer from the crowd.

Finally, the chorus brought it all home, as the suite built in intensity to the full "Do You Hear", with full orchestral accompaniment and the entire choir giving it everything they had, to thunderous applause.



I hope this recounting of this very special concert will serve as a record of an event for some, a tribute to others, and an introduction to this special group to everyone else. 

In the coming weeks, I'll return to the personal stories of many of the members, the preparation for the March Broadway fund-raiser, and the road to the Gala Festival in Denver in July!  Stay tuned...

It's Concert Time, Coming Soon... And Quiet Time To Myself, Tonight

Tonight is the final rehearsal for the 2011 Holiday Concert performed by the Windy City Gay Chorus and Aria!

With 2 shows on Saturday, December 3 and one matinee on Sunday, December 4, the auditorium of Senn High School in Chicago's Roger's Park will be ringing with traditional beauty and camp humor.

Since September, I have heard Mark repeatedly rehearse the second tenors' portion of the concert. Now, I will finally have a chance to hear it all put together.  Also, the concert promises some visual treats, and a special appearance by "Mrs. Santa Claus".

Aside from the fact that I am somewhat biased by Mark's performing in the group, I have enjoyed every single program I have attended since June of 2010.  Once again, I look forward to being moved, surprised, and amused.  I'll have a review by Monday.

As usual on the night of the final rehearsal, I am on my own, relaxing in a room in Evanston, safe and warm on a chilly night. These year-end concerts allow me a chance to reflect back on the year that was.   2011 was often a strange and difficult year, and at other times it has been a year of discovery and enjoyment.  A sad and deteriorating family situation has occupied my thoughts. Career sometimes becomes an almost robotic series of tasks to complete.

To counter these things, meaning was sought in other, more fulfilling activities.  There has been the writing, and our trips to Chicago for theater, film, and immersion in a neighborhood that welcomes us.  Best of all was Italy, with Mark, for me a once-in-a-lifetime experience. 

I'll do a more thorough re-evaluation of the year, and how we survived it, in a retrospective later this month.

Did I mention the writing?   As an activity, writing has become even more essential than ever.  More than anything, the 2-plus-year activity of creating this blog has let me  define myself first and foremost as a writer. 

I hope folks are still visiting, and reading here.  Either way, it's still a record of a daily life, a personal exercise, a worthy journal. I see the writing becoming stronger.  I still get excited when I find a comment.

The blog continues to allow me to focus on other things, things that make life more interesting. 

Like the Windy City Performing Arts!  "Let the music play....."

Windy City Performing Arts, and Pride

The concerts of the Windy City Gay Men's Chorus and Aria are among my most eagerly awaited events of the year.  One year ago, Mark performed in his first concert with this group.  Last Saturday, he sang in his fourth, another wonderful, moving and hilarious revue called "Road Trip!"

Artistic Director Stephen Edwards used "Journeys" as his unifying theme for this year's concerts.  Last March the group took us on adventures around the world. For this, the Spring Pride show, the travel was close to home, as a way of demonstrating the beauty and strength of the contributions gay people have made all over America.

In its new venue, the Auditorium at Senn High School, the Chorus had a larger stage, with more room on the risers, leading to a more relaxed performance, and more room for their unique brand of comic mayhem.

The first act was more subdued, with songs that were like wistful reflections on our life's destinations as gay people, the possibilities still before us, and the meaning of home.  Act two was raucous and unbridled, a true road-trip, complete with sing-alongs, a touch of good-natured drag, Broadway satire, sailors and Texas Aggies, Muppets and Madames, freaks and a cheerful declaration of Pride.

The show distilled the hope that is the essence of every Road Trip, and in this case, the very special hope for lives of extraordinary journeys.

"You can take the color out of Colorado,
You can take the Mary out of Maryland...
As John Philip Sousa said
I can't march if I can't hear
The Boys in the Band..."

The sweet voices of the Aria Women's chourus kicked things off with their characteristic wordless vocal arrangement from the Republic of Georgia, "Satamasho", a song which children might sing while playing. A gentle plea from France followed, "Vois sur ton chemin"calling for us to take the hands of lost and forgotten children, to lead them to other tomorrows.  Next, a lovely, quiet version of "Rhythm of Life" from "Sweet Charity" reminded us of the powerful heartbeat of life.

"Everything Possible" was unexpectedly moving, a song that might be sung by a parent to a gay child, filled with love and encouragement for us to be who we are, and pursue the path that feels right to us.  It is a song many of us wish, in fantasy, that our parents had sung to us when we were children.

Mark appeared then, in a small ensemble, for "The Road Home", an emotional double-whammy after "Everything Possible", a song that might be sung by a grown child who cannot return home, and is looking for a new road, an new place to belong.  The beautiful vocalizations suggested, to me, the men's chorus used in the mountain scenes of "The Deer Hunter".

The Men's Chorus assembled then for a trio of Old-English melodies by Ralph Vaughn Williams from "Songs of Travel". 

And in a thrilling departure, the Chorus tore through a wildly rhythmic and energetic "Wedding Qawwali" by Slumdog Millionaire's A.R. Rahman.  This was the most difficult piece of the evening, and it was put over wonderfully, with subtle support from a drummer and guitarist.  The song was also  fascinatingly interpreted by the group's agile Sign Language performer.

After Intermission, we got some lighthearted pieces that many remembered from their childhoods, the Muppets' "Movin' Right Along", and "Ease On Down The Road" from "The Wiz".  With that, the road trip was underway!

"You can't take the sissy out of Mississippi
He's there and he's going to stay!..."

Aria came back with that staple of '60's Easy Listening radio, "Route 66", followed by an homage to the open road, "Wide Open Spaces".

A quartet of especially zaftig good sports hammed it up in size 12 pumps and "Maude"-style dresses for a round of "Let's Get Away From It All". 

What's a road trip without a sing-along in the car?  So, the group decided that the Lesbians would rock out to Four Non-Blondes' "What's Up" ("I said hey---What's going on?"), and the Gay Boys would channel their inner Cher ... with four of her biggest hits. All of these were presented with projected lyrics, and the audience had a blast.

In an Oscar-worthy departure for the Men's chorus, "The Aggie Song" from "Best Little Whorehouse...", almost had me convinced that these were all horny young football players on their way to get "made" at that famous Texas establishment......

"You can't kick our asses out of Massachusetts

Or subtract the ten percent from Tennessee

Utah could never be the beehive state

If the hairdressers went absentee..."

Not to be outdone, Aria offered their own special Broadway number, a version of "There is Nothing Like A Dame" from "South Pacific", that worked extremely well, without changing a word of the song!

Perhaps in the funniest, most original number, a bitchy and inclusive Pride anthem that might have been written by the Steel Magnolias or Golden Girls themselves, the Men's Chorus belted "Color Out of Colorado", from the 1996 Broadway comedy revue "When Pigs Fly", parts of which I have been quoting throughout this piece:

"Chicago without chic

Would be boring in a week

And you cant have New York City without.................Queens!!"

And to keep the energy and hilarity high for the finale, the whole Company joined, in home-made costume, for "Freak Flag", from the Broadway musical "Shrek".  In it, Pinocchio is afraid others will discover he's not "a real boy", and everyone from the Three Pigs to the Wicked Witch convince him to "let your freak flag fly", that being a "freak" is not so bad, and can be celebrated.

It was a special evening of two concerts. Our friends Jillian and Phillip joined us for the first show, and their presence and show of support meant a lot to us.  Especially poignant for Mark was that his youngest son came home from college for the weekend just to attend the show.  He loved it.

So now, the group is off for the summer (barring any special-request appearances) and will re-group again in September to rehearse for the ---dare I say it???---Holiday Concert.

Another Bravo to my friends of the Windy City Performing Arts.

"You need us

To make the U.S.A.!!"

A Thrilling Voyage with Windy City Performing Arts

This past Saturday, the Mayne Stage Theater in Chicago's Roger's Park rang out with the sounds of sea voyages, sailors, world-wide ports of call, drinking songs, lullabyes, humor and poetry, the inexorable flow of the River, and solace for a troubled time.

Chicago's Windy City Performing Arts, comprising The Windy City Gay Chorus (WCGC) and the women's chorus Aria, successfully culminated two months of hard work, comradeship, and a lot of sly fun.  Finally, after hearing Mark rehearse his tenor part since January, the numbers came together with the full choir, and the sound was effortless, pleasing, and exciting.

The chorus members have opened their arms wide to Mark, who timidly auditioned exactly one year ago.  He was quickly accepted and is now considered a vital member of the chorus, providing his conscientious effort, perfect attendance (!), humor, and friendship.  

Our inclusion among this amazing group of talented, diverse and, yes, mischievous performers has given both of us a sense of excitement and belonging that goes missing in our quiet, remote suburban existence.  I am honored to be a welcome presence at their events, not a "groupie", and I thank all of the terrific people who I am proud to consider my friends.

This weekend's program, "Bon Voyage", combined an unlikely mix of weighty  compositions,  international pieces, popular melodies, and camp.  The theme of the show was The Sea and World Travel.  Stephen Edwards, the Artistic Director, believed in these selections, and shaped the mix into a breezy and energizing two hours. 

In a good stage move, Aria performed most of its numbers first, followed by the WCGC, minimizing the number of regroupings that created some pauses in the last two programs.  Aria's opening set brought a spiritual dimension to tunes about anchored souls, sea lullabies, and the mysteries of rivers. 

Next there was an unusual Serbian piece, a bawdy jingle about women going to the bathouse to kiss ("Niska Banja").

To lighten things up in a more familiar vein, a small combo of two trumpets, a clarinet, and drum joined the grand piano in a lively "Boogie Woogie Bugle Girl of Company B."  (Amusing side-note: the original song, a hit for the Andrews Sisters  and later a huge success for Bette Midler, was written for a 1941 Abbott and Costello comedy called "Buck Privates".  The song was nominated for an Oscar!)

And it wouldn't be the Gay Chorus without some good-natured drag, featuring that uninhibited good sport Carlos Rios as Princess Pupule and her Papayas.

Their set ended with a reflective reading of a  poem and musical interpretation of it, "Still I Rise" by Maya Angelou.

In an interlude during Aria's set, a select ensemble of performers (Mark among them) sang "Passage" from a segment of Walt Whitman's "Leaves of Grass" (the one that contains the phrase
"O Captain My Captain").  The theater was still during this quiet and powerful tribute to Abraham Lincoln .  The "ship" refers to America, and "Captain" is Lincoln himself. 

The men took the stage for a rollicking medley of travel tunes beginning with the Oscar-winning melody from "Around the World in 80 Days" (1956).  A lighthearted barbershop quartet crooned "Old Cape Cod", followed by the 1930's art-deco stylings of "Allegheny Moon" in a nice solo by David Harvey.

The boys traveled to France for an impossibly fast version of "Vive L'Amour".  I smiled in amusement at the talented sign language interpreter (G. Michael Roberts), who gamely kept up with the
ever-increasing tempo until I thought his hands would just fall off.

Homesickness, tranquility, and lusty drinking were captured in the next trio of songs. One of them, "Shenandoah", I heard was so difficult for the group to get the numerous starts timed properly, that it was almost cut from the show.  I'm glad it wasn't...it was well done!

A fun couplet of songs by the unusual pairing of The Beach Boys and Enya was performed by a limber quartet as they amused the crowd with their "shipboard" tableaux.

Then the guys triumphed in their most complicated number, the famous Sailor's Chorus from Wagner's Opera "The Flying Dutchman".  This familiar tune was difficult to memorize as most members of the chorus speak no German.  Caleb Dubson's brief, strong solo punctuated this song, which exuded much energy, and obvious pride in knowing it was being delivered right.

For the finale, both choruses joined for an uptempo, contemporary version of Simon and Garfunkel's "Bridge Over Troubled Water."  In a way, the lyrics spoke to the challenges and anguish experienced by many of the members as they established themselves in an often hostile world, and the number held special meaning for this group whose members provided love and support to one another. I can't see how anyone would fail to be moved by this fitting climax to a marvelous show.

A Smash: Windy City Gay Men's Chorus at the Mayne Stage

This is a tribute to a group of talented, high-spirited guys from all over Chicagoland.  The Windy City Gay Men's Chorus (along with the women's chorus Aria) offered a fine holiday program three times this weekend in the a hidden-gem venue in Rogers Park called the Mayne Stage.  I was fortunate to attend both Saturday evening and Sunday afternoon. Thanks to Mark and his effort, I got to be a part of it, and received the warmest possible welcome. 

About the performance itself, I must congratulate the brilliant Artistic Director for leading this fun-loving (and often playfully unruly, I assume) group through two sets of complex, unusual, beautiful music and a number of familiar tunes and a couple of comic set-pieces. 

And the chorus members, all of them, pored their voices and bodies into each number. Each one looked handsome in his black tuxedo.  These musical men sang their hearts out for each other as well as for the pleasure of their appreciative audiences.  The camaraderie was evident in the somber sacred choral pieces, in the well-known songs like "Do You Hear What I Hear" and "Grown-Up Christmas List", and especially during the campy interludes, in which they got to let their guard down and have fun.

Let me just say that to mention any one by name would be to exclude someone else.  So, no names... You were all fabulous....and if I didn't get to tell each one individually how much I loved your unique contributions, consider this a private bravo.

As I looked at both groups, men and women, it was intriguing to think that upon that stage were 80 personal stories of pain, self-discovery, and acceptance.  No matter how intense the stories might have been, they all led each one to this moment on this stage, all of their lives bringing them together in this effort.  It was the stuff of a great novel... I think this notion first came to me during the first Russian Orthodox piece, as the voices swelled from the stage to embrace me with warmth and comfort.

Some audience members wept during the traditional Hebrew "Bashana Haba'ah", a story of the circle of life.

Best of all were the cheers, and laughter, during the "Boogie Woogie Hanukkah"; and again in Act Two during the mock NPR broadcast from KWIR in Morality Falls, and the silly, sexy story of the Krampus, Saint Nicholas' evil assistant from hell....

Of course, it wouldn't be a gay chorus without a nod to the opera, even a giddy one, as a jazzy version of "Jingle Bells" gave way to a slow, soprano aria solo of the carol, complete with feather boa.

An encore of "Silent Night" was led by the only woman in the men's chorus, and whose mellow baritone held the crowd.

The show was paced perfectly, as more traditional fare blended easily into novelty numbers, and popular songs followed fascinating international tunes.  The lyrics to some of these world-songs, dense and difficult to memorize, were handled triumphantly through the coordinated effort of the chorus.

Even if I had the heart to do so, I cannot say that I could list any criticisms about the show.  It was emotionally, and aurally, wonderful.

Special good cheer is directed to the sign-language interpreter, whose delicate and expressive fingers were an art form alone, and who used his face and body to slyly interpret the meaning of the songs. And the accompanists, especially on piano, violin, flute and bongo drums, were professional and often amazing. 

The Mayne Stage is a wonderful concept in local urban theater, with a cabaret-style auditorium, great acoustics, and an appropriately sophisticated cafe and staff to run it.  We will be back often.

After the show, Mark and I attended a celebration with the choir members.  We both made lasting friends that evening, among a wonderful community of generous and artistic people, discussing everything from music and singing, to school teaching and cooking, from books and theater, to the nasty weather and travel to balmier climes.  The more energetic continued their singing around a friendly piano.

You can be sure I will be at the next concert in March.



A Variety of Holiday Songs, With Interesting Origins

The Windy City Performing Arts' "Holiday Express" (see yesterday's post, Friday Journal #2) combined deep emotion with freewheeling humor.  I'll be back for the Sunday Matinee, and later will provide a lighthearted review.


The show offered a perfectly blended variety of songs from around the world.  Learning about the meaning and origins of many of them provided additional enjoyment to the show.


With the help of the Program Notes, here are some of the more intriguing brief stories behind a few of the numbers:


The show kicked off with "Harambee", a Kwanzaa tune performed by the Women's Chorus.  The word means "let's pull together" in Swahili.  There are seven core principles of Kwanzaa: Unity; Self-determination; Collective work and responsibility; Cooperative economics; Purpose; Creativity; and Faith.  The song was layered in seven sets to honor these principles.


"Salvation is Created" was a somber, gorgeous Russian Orthodox liturgical song.  As performed by the Men's Choir, it recalled "The Deer Hunter's"  sense of community and strength.  Composer Pavel Tschesnokoff created over 400 of these sacred choral works as well as 100 secular pieces.


From Spain, "Riu Riu Chiu" refers to the sound of the nightingale, in a song about Christ's bringing atonement to humanity through his humility.


"Noel Nouvelet" has lyrics that may have appeared around 1492 and Columbus' voyage, but the melody was not discovered until hundreds of years later.  The words Nouvelet and noel both refer to "news", and it's likely that Nouvelet was shortened from "nouvel ans", or New Year, when carols were traditionally sung most frequently.


"Do You Hear What I Hear" is an established seasonal classic, with one of the most beautiful and hopeful melodies I have heard.  As the chorus built in intensity and made the song soar, I was fascinated by its genesis.  Although assumed to be a sentimental song to the baby Jesus, lyricist Noel Regney (who wrote the song with his wife Gloria Shayne Baker) explained the the song was a prayer for peace, written in 1962 at the height of the Cuban Missile Crisis.


Mel Torme and Bob Wells wrote "The Christmas Song" (Chestnusts roasting on an open fire...) during a blistering hot summer in 1944!  Lyricist Wells simply jotted down some words (Jack Frost nipping, Yuletide carols, dressed like eskimos) to try to keep cool.  He never realized he was beginning a lyric to what is considered to be the most-performed Christmas song.  They completed the carol in forty minutes.


Wild comic relief (filled with campy double entendre) was provided by "The Krampus", a song about the lesser-known companion to Saint Nicholas, an evil counterpart, a devil-like character.  Krampus is  a mythological being popular in Austria, Hungary, and nearby areas.  The narrator invited us all to Google "Krampus"!  His image is popular on greeting cards.

Perhaps the most famous, and beautiful, of the holiday songs is "Silent Night".  The first time it was performed, in Germany, it was played on a guitar, as the local church organ was rumored to have broken down.  Tonight's version was specially arranged for Windy City Performing Arts by Lanny Allen.

To paraphrase a memorable phrase from "Howard's End", I wish you all a season filled with "music and meaning".

A New Holiday Music Show, Featuring Mark-- Friday Journal Part 2

Mark and dozens of our friends will be back on stage this Saturday night and Sunday afternoon.  Like an agent in proud anticipation of opening night, I feel the brisk excitement in the winter air of Andersonville this evening, as the final rehearsal gets underway. I am relaxing happily in a coffee shop in this friendly Chicago neighborhood, surrounded by a diverse crowd of Friday-night writers, readers, lovers and eccentrics, while a block away the chorus-members practice in an old church auditorium.  What a fertile environment to be creative! 

A celebration in music both cheerful and quietly beautiful will fill the newly renovated Mayne Stage in Rogers Park this weekend.  "Holiday Express", a program of a decidedly international flavor, will be performed by  Windy City Performing Arts, which combines the women's choir Aria with the lusty Windy City Gay Men's Chorus. I have listened to Mark rehearse his tenor portion of the show for several weeks.  Soon, I will get to hear the full-bodied harmonies of all the old standards, Gregorian chants, humorous ditties and traditional songs from many countries.

This has been a year for many of us to spread our wings creatively.  Being a part of his experience with the Windy City Performing Arts has been inspiring.  I applaud all of you who have put yourself out there as writers or performers, and wish you success in whatever manner of personal expression you choose in the coming year!  Next week I will be back with a review of Holiday Express! If any of you happen to be in Chicago this weekend, why not come out for a great show?



Windy City Gay Chorus' Terrific Summer Concert Made Me Proud...

"Summer Lovin'"

This past Saturday I attended both shows of the Windy City gay Men's Chorus Pride Concert, "Summer Lovin'".  I loved every minute of each show!  For me, there was more than just my enjoyment of the music in the presence of this cohesive and talented group (along with Aria, their Lesbian co-chorus).  That's because I was so proud to see Mark in his Chicago musical performance debut!


As a second tenor and one of the taller members of the group, Mark stood in the back row of the risers.(He beamed at me once he found me in the third row, sporting a highly visible orange silk shirt!)  Our great friend Jillian came to the first show and cheered louder than anyone there.


Through the rehearsal period that started after his audition last March, I was there to hear his stories about learning the music, the choreography, the personalities of his fellow choir-mates, and his uncertainty about assimilating, feeling he had few opportunities to socialize during  the demanding and complicated practices.


Last Friday, at the dress rehearsal, Mark and four of his fellow "newbies", were each presented with a yellow rose as they were serenaded by the veterans in the group.  It was a touching show of support.  At that point, Mark was "in" and there to stay, and that made the experience that much sweeter.

While I listened to each show, I had a rare sensation of feeling safe, content, as though everything was as it ought to be in our world.  The music, and the people making it, made me completely happy.

REVIEW:

This diverse group of men delivered a lively first act which combined some show tunes and popular standards.  The stage movement during the opening medley from "Grease" was charming, and very deftly done, considering the risers on the intimate stage were very narrow (the little auditorium at the Center on Halsted held about 150 people).


Keeping to a '50's theme, this was followed by a harmony-filled "Under the Boardwalk". 


After that nice warm-up for the group as well as the audience, the guys launched into a terrific arrangement of "Aquarius/Let the Sunshine In", complete with flowers, tambourine, and audience interaction.  Neither Mark nor I knew until the start of rehearsals that this would be performed, and recalling our unforgettable experience last fall at Broadway's revival of "Hair", this number held special meaning for us. 


Aria took the stage and performed a set on their own. Listening to their opening number, a vocal exercise without lyrics, I was intent on seeing the faces of these highly diverse women, and imagining the varying roads each had to travel to finally converge at this spot on this night.  Most poignant was a member who was unable to participate in the stage movement, being blind; yet she sang her best, and smiled. A favorite moment occurred in a very sweet number called  "Big Dogs, Whiskey and Wild Wild Women", when half of the performers held up their (toy) dogs.


Another favorite was the finale to "Spring Awakening" titled "Song of Purple Summer".  The entire group painted a portrait of love and growing up, seasons changing, and a fond looking-back.  A gem.


At the end of the first set was a complicated rendition of Queen's "Somebody to Love".  The sound was thunderous, even though a piano and a percussionist were the only accompaniment.  The movement and the many vocal  "parts" came together into a swaying completeness.  Stephen, the musical director, demanded precision and drilled the group well.


Act 2 was more somber, more socially conscious, and extremely moving.  An original slide show was produced by lighting designer Alison (Ali) Hecimovich, which juxtaposed images of anti-gay protests with pictures of people in support of gay issues with placards for inclusiveness, gay marriage, and gay families.  The virulent "christian" and conservative messages, many with children holding up signs promoting hate, gave way to grace, and even humor, when the rainbow came into view. 


"This Marriage" was close to a sacred sound, very understated, with complex harmonies.  The crowd, hushed, then witnessed a duet from two young and diminutive tenors, convincing in their love for each other, in a number from the musical "The Full Monty".


Another wonderful song of love came in the form of "When I Fall In Love", made so famous by Nat King Cole and others.  Mark and the rest of the group were visibly moved by this piece, and the audience responded in kind.


Our new friend (and new chorus member) Greg did a solid interpretation of "Make Them Hear You" from "Ragtime".  The lyrics stirred feelings of solidarity and of holding steadfast to one's beliefs, in keeping with the more activist theme of this set.

The finale, "Upon This Shining Night" was, as Director Stephen told us, a song of hope.  It was a graceful finish to a wonderful evening of music.  Both times, the audience was on its feet.

Here's the mission statement for the Windy City Gay Chorus:

“Windy City Gay Chorus endeavors to be an exceptional men’s chorus with a reputation for performing outstanding music of a variety of styles. Our music shall entertain, enlighten, uplift, enrich and educate a diverse audience as it reflects the human spirit and experience, particularly the gay experience. We seek to support, empower, represent and challenge the gay and lesbian community as a whole through our excellence in music, our commitment to equality and justice for all people and through the portrayal of our lives.”