Cubs pitcher Marcus Stroman claims the team can contend in 2023 with the right moves

Marcus Stroman was brought in by the Chicago via free agency last offseason on a 3 year deal worth $71 million dollars. Stroman himself has lived up to his contract so far, even though he’s spent some time on the IL, with a 3.76 ERA and a 2.1 WAR through 22 starts. Stroman claims the Cubs are close to contending next season so long as they make some moves.

I think we’re close,” Stroman said. “A lot of that’s out of my control. Hopefully, we make a few moves. I think we have a great core group of guys, great young guys coming up that are going to make great contributions throughout a full year. But yeah, if we add a few pieces, I think we can compete in the division right away.

While the Chicago Cubs have been pretty unlucky when it comes to injuries this season. Stroman’s comments ring true. Chicago cannot stand pat this offseason, ever since the teams title in 2016 the fans are hungry for another one. The Cubs haven’t made it past the NL wildcard round since 2017, it’s time for another run and what better time than with an absolutely monster free agent class on deck this offseason.

Who Could the Cubs target?

Reports are already surfacing before the seasons end that the Cubs are already looking into this great upcoming free agent class. Superstar SS Trea Turner has expressed interest in signing with Chicago and the interest is mutual. Carlos Rodon has also expressed interest in signing with the Cubs this offseason. Adding Turner and Rodon to the fold would be huge for the Cubs, especially with the recent rule changes for the 2023 season in effect, having Trea Turner’s speed up the middle would do wonders for Chicago defensively. The Cubs should do everything they can to reunite the former college teammates once more.

Carlos Rodon is a more realistic target in terms of adding pitching for Chicago this offseason and certainly a valuable one. Although the Cubs MUST do their due diligence on the rest of the market for starters this offseason because some serious names could become available. Names such as Jacob DeGrom and Justin Verlander. I don’t see billionaire Steve Cohen and the Mets letting DeGrom walk but still, if any of these superstar hall of fame level pitchers become available the Cubs must throw their hat in the ring.

The effect of adding some punch to the Cubs rotation

Let’s just say the Chi Cubs add one of the top level arms this offseason to their rotation. Chicago would instantly reap the rewards, not only because they would be adding a superstar pitcher to the mix but it would seriously expand their depth. Something Chicago seriously struggled with this year. Guys like Keegan Thompson, Adbert Alzolay, and Adrian Simpson could all be multi inning relievers out of the pen. Then Hayden Wesneski (providing he doesn’t make the team out of spring training),Javier Assad, and Caleb Kilian are only one call away at Triple A Iowa.

The skinny

It is absolutely vital that Chicago makes some moves this offseason. If they do, barring another injury curse upon the team, Chicago should be in much better shape for contending in the 2023 season. They’ll have all the makings of a world series team. The perfect blend of star power, young guys, veteran experience, and a manager that the team respects and wants to play for. Hopefully all these “potential” ingredients are a winning recipe for the north siders in 2023 and the Cubs can get back to their winning ways.

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How do you solve a problem like Dolly Levi?

If you’re half-a-millionaire Horace Vandergelder of Yonkers, New York, the answer is: You don’t. Dolly solves you. She’s a schemer, a chaotician, a socialite and a BS artist par excellence, an ardent redistributionist, a frankly miraculous dance instructor, and — by her own gleeful admission — a world-class meddler. When she sets her sights on marrying grumpy old Vandergelder (albeit with the stated intent of taking his half-a-millionaire fortune and spreading it around), it takes him nearly two and a half hours, a dozen or so songs and enough hijinks to fill a stuffed whale to realize just how lucky he is. What a wonderful “problem” to have.

But for anyone mounting a production of “Hello Dolly!”, the Dolly problem is a bit more real: Do you have someone who can pull off the part? (Cue “Funny Girl” klaxons.) It’s a role that, from the beginning, has been designed for larger-than-life divas. From Carol Channing and Barbra Streisand to Bette Midler and Bernadette Peters, Dolly has worked best when housing an outsized personality. What to do then when there is no such personality to be had? What is Dolly when she’s just more of a down-to-earth (if still thoroughly fabulous) human being?

That’s the question that hangs in the air throughout director Denis Jones’ “Hello Dolly!” at the Marriott Theatre in Lincolnshire.

Actress Heidi Kettenring brings a veteran performer’s comedic chops and a lovely, strong singing voice to the show’s titular role, but her Dolly is undeniably a slighter presence. While Dolly exerts her usual push and pull on Vandergelder (David C. Girolmo) and Co., she doesn’t exert the same kind of centrifugal influence on the audience. Kettenring’s lively, intimate performance rings especially true in the musical’s few moments of real melancholy — but it also emphasizes how, even with a solid, well-acted and well-sung performance at its center in place of a bonafide star turn, “Hello Dolly!” just sort of falls flat.

That flatness isn’t for lack of trying. The entire cast is game, and there’s fun to be had as Vandergelder’s two clerks, Cornelius Hackl (Alex Goodrich) and Barnaby Tucker (Spencer Davis Milford), set off from boring old Yonkers for a secret day of fun in New York City. The two, of course, immediately run into their boss, and tomfoolery abounds.

Under Dolly’s watchful eye, Cornelius falls madly, and mutually, in love with Vandergelder’s ex-fiancee-to-be, Irene (a really stupendous Rebecca Hurd); the same goes for Barnaby and Irene’s excitable shop assistant Minnie Fay (Amanda Walker).

Meanwhile, Dolly is also working on behalf of Vandergelder’s niece Ermengarde (Emily Ann Brooks) and her intended, Ambrose Kemper (Michael Turrentine), in a scheme for Vandergelder’s approval that somehow finds the young lovers entering a polka contest at the Harmonia Gardens, New York’s fanciest restaurant.

The cast, led by Kettenring, gleefully taps into the show’s inherent silliness. A relatively minor song, “Motherhood,” becomes a madcap whirligig of action and delightful faux-patriotic gobbledygook. It really hits the spot even when the traditional showstoppers like the title song or “When the Parade Passes By” breeze by pleasantly but not very memorably.

One element working against the show is its staging, which tries to make the best of Marriott’s in-the-round space with disappointing results. The immediacy and dynamism that comes with the setup is lost on a show that’s so stodgy and old-fashioned. “Hello, Dolly!” seems to demand a proscenium — preferably a proscenium stuffed with big fancy sets.

Jones’ minimalist set dressing (set design by Jeffrey D. Kmiec) leaves his performers ample room to move but does little to set the mood. This was exacerbated by technical difficulties on the night this reviewer attended. Concerns for actor safety meant that hydraulic platforms, which added levels (and presumably some oomph), to the staging were not used.

Jones’ choreography fares better and delivers some moments of inspired no-frills innovation. The dancing waiters are legitimately thrilling — and, when they welcome Dolly back into the fold, there is a real pathos to it.

Dolly Levi is not an overpowering force of nature. Sshe’s simply their dear, beloved friend who’s been gone too long. And they’re glad she’s back. For tonight, at least, their Dolly Levi problem is solved.

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NEW YORK — Michelle Obama is planning a six-city tour this fall in support of her new book, “The Light We Carry: Overcoming in Uncertain Times,” with a stop at her hometown’s Chicago Theatre in December.

The tour is set to begin in mid-November in Washington. D.C. and end a month later in Los Angeles.

“I’m looking forward to making some new connections — and of course, seeing some familiar faces from the last tour,” the former first lady said in a joint statement Wednesday released through her publisher, Crown, and tour promoter Live Nation.

“This book means so much to me — it’s a collection of perspectives and practices I’ve used to keep me afloat amid uncertainty. On this tour, I’ll be sharing some personal stories and lessons that have helped me along my path, and I can’t wait to tell you more.”

Obama will open at the Warner Theatre in Washington on Nov. 15, the publication date for her book. She will then travel to Philadelphia’s The Met on Nov. 18, Atlanta’s Fox Theatre on Dec. 3, the Chicago Theatre on Dec. 5 and San Francisco’s Masonic on Dec. 10, before closing at the YouTube Theater in Los Angeles on Dec. 13.

The venues have seating capacities ranging roughly from 2,000-6,500. The settings are far bigger than for most book events, but smaller than Obama’s stops on the first leg of her tour for the 2018 memoir “Becoming,” when she appeared at the United Center in Chicago and other arenas holding 15,000 or more.

“Becoming” was a near-instant million seller and went on to sell more than 17 million copies worldwide, making it the most popular book in modern times written by a former White House resident.

As with “Becoming,” Obama will speak at each city with guest moderators, to be announced later. Oprah Winfrey, Tracee Ellis Ross and Sarah Jessica Parker were among those who joined her for “Becoming.” In partnership with Live Nation, Obama will also set aside tickets at each venue for a select number of community members.

Fans can begin registering from Wednesday through Sept. 26 through Ticketmaster’s Verified Fan Platform. Any unsold tickets will be available to the general public starting Sept. 30.

Photos: Michelle Obama launches book tour at the United Center in 2018

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Jamere Dismukes, a Rich East grad, took over the program at the relatively new consolidated Rich program this spring.

Back then he said it was “the right opportunity at the right time. It was a no-brainer for me when it was offered.”

Dismukes, who was coaching at Rich East when that program ended, spent the last two seasons at Hyde Park. He left the powerful Red-South/Central to return home.

Now, just four months later and having never coached a game at Rich, Dismukes is leaving again.

The young coach is taking over the program at Homewood-Flossmoor. Expect some backlash. Dismukes had already made a splash at Rich, bringing in transfers and doing his best to breathe some life back into the Big Dipper Holiday Tournament.

It’s likely that Dismukes made promises to the players and to the administration at Rich. There will be hurt feelings , but it’s understandable that a young coach, especially one from the south suburbs, would see Homewood-Flossmoor as a destination job.

The H-F spot is likely one of the best in the state. Marc Condotti recently stepped down after eight years as head coach. Condotti won five regionals with the Vikings and finished with more than 20 wins in six seasons. But Homewood-Flossmoor always had a ton of talent transfer away.

That’s a problem all over the suburbs, from Hillcrest to Joliet to Oswego. Can Dismukes keep the top players at H-F? Only time will tell.

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