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Blackhawks legend Marian Hossa deserves this incredible honorVincent Pariseon September 14, 2022 at 9:36 pm

The Chicago Blackhawks were lucky to have someone like Marian Hossa as a part of the organization for as long as he was. Although he was not a Blackhawk for life, he is one of the most important players in the history of the franchise.

On Wednesday, the team announced that they are going to retire his number 81 in Hossa’s honor. Obviously, having your number retired is one of the great honors that you can receive in your life as a National Hockey League player.

Hossa has already been inducted into the Hall of Fame because of his outstanding play. In addition to his amazing play as a defensive forward, Hossa was an absolute force as an offensive superstar.

In his career, he scored 529 goals and had 609 assists for 1134 points in 1309 games played. Looking at those gaudy statistics would make you think that he was all about offense so when you know how good he was defensive, it makes it even better.

The Chicago Blackhawks were fortunate to have Marian Hossa when they did.

Championship success came to Chicago with Marian Hossa as well. Before coming to the Blackhawks in 2009-10, Hossa had lost in back-to-back Stanley Cup Finals with the Pittsburgh Penguins and Detroit Red Wings respectively. He certainly followed that Cup around for a while.

When he got to Chicago, things changed. He won the Stanley Cup three times with his new team in 2010, 2013, and 2015. It was one of the greatest runs in the history of the franchise. It made him the greatest free agent signing in the history of Chicago sports.

He was so clearly the final piece of an elite core that had the potential to win multiple championships. Everyone did their part and it worked to perfection. Hossa was one of the biggest keys to all of that success. He should be so proud of everything he did.

The jersey retirement ceremony is going to come on November 20th against the Pittsburgh Penguins. It will be a great way for the team to honor him with another franchise that he played for in the building. Being there with guys like Jonathan Toews and Patrick Kane in the building will certainly be special.

Other great NHL teammates that he had back then like Sidney Crosby, Evgeni Malkin, and Kris Letang will be in attendance to watch as one of their former mates is honored like that. All of these legends will receive a similar treatment one day.

Hossa, as mentioned before, is well deserving of all of this. It is going to be a great night for this Blackhawks team as they honor one of their all-time greats while trying to build a team that can have similar success one day soon. 81 deserves to fly at the United Center forever.

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Blackhawks legend Marian Hossa deserves this incredible honorVincent Pariseon September 14, 2022 at 9:36 pm Read More »

Silver: Didn’t have right to take Suns from Sarveron September 14, 2022 at 10:40 pm

NEW YORK — NBA commissioner Adam Silver said Wednesday that he doesn’t “know how to measure” the punishment Phoenix Suns and Mercury owner Robert Sarver received for making racist and misogynist remarks compared to what would happen to a team or league employee, saying that he “doesn’t have the right” to take away Sarver’s team.

“There are particular rights here of someone who owns an NBA team as opposed to somebody who is an employee,” Silver said during a news conference at a midtown Manhattan hotel Wednesday afternoon at the conclusion of the league’s fall meeting of its Board of Governors.

It also came a day after the league announced Sarver would receive a $10 million fine and a one-year suspension in the wake of an ESPN story in November 2021 detailing allegations of racism and misogyny during Sarver’s 17 years as owner.

“The equivalent of a $10 million fine and a one-year suspension, I don’t know how to measure that against a job,” Silver said, “but I have certain authority by virtue of this organization, and that’s what I exercised. I don’t have the right to take away his team. I don’t want to rest on that legal point because of course there could be a process to take away someone’s team in this league. It’s very involved, and I ultimately made the decision that it didn’t rise to that level.

“But to me, the consequences are severe here on Mr. Sarver. Reputationally, it’s hard to even make those comparisons to somebody who commits an inappropriate act in the workplace in somewhat of an anonymous fashion versus what is a huge public issue now around this person. There’s no neat answer here, other than owning property. The rights that come with owning an NBA team — how that’s set up within our constitution, what it would take to remove that team from his control — is a very involved process, and it’s different than holding a job.”

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The NBA announced Sarver’s punishment Tuesday, along with releasing the full report conducted by the law firm Wachtell, Lipton, Rosen & Katz. The investigation found that during his time with the Suns and Mercury, Sarver used the N-word at least five times “when recounting the statements of others.”

It also uncovered “instances of inequitable conduct toward female employees,” the league said in its statement announcing the conclusion of the investigation and the punishment, including “sex-related comments” and inappropriate comments on employees’ appearances.

At several points Wednesday, Silver referred to the fact that he was aware of more than what was publicly shared in the report, and that shaped his views on the situation in a way he was unable to share due to a confidentiality agreement signed as part of the investigation.

“From a personal standpoint, I was in disbelief to a certain extent about what I learned that had transpired over the last 18 years in the Suns’ organization,” Silver said. “I was saddened by it, disheartened. I want to, again, apologize to the former and, in some cases, current employees of the Phoenix Suns for what they had to experience. There’s absolutely no excuse for it. We addressed it. I, of course, have been following what’s been said since we issued those findings. Let me reiterate, the conduct is indefensible.

“I will say, though, that what I have access to is a bit different than the public because, while we issued this report, in the process of doing the investigation, the outside counsel who conducted this review committed to confidentiality to anyone who wanted it, which was the vast majority of those who were interviewed, plus they looked at cell phones, something like 80,000 documents. So I have access to information that the public doesn’t, and again, I’m able to look at the totality of the circumstances around those events. … I think that puts me in a different position ultimately as the person who has to render the ultimate judgment about what is a fair outcome here.”

Silver was also asked multiple times about one specific line in the league’s statement announcing both the unveiling of the report and the suspension: “The investigation made no finding that Mr. Sarver’s workplace misconduct was motivated by racial or gender-based animus.”

When asked if he, personally, agreed with that statement, Silver only said “I accept” the findings of the committee that conducted the investigation. Of the five members on that committee, two were two Black men and two were women.

“I accept their work,” Silver said. “To follow what we believe is appropriate process here, to bring in a law firm, to have them spend essentially nine months on this, to do the extensive kinds of interviews they can, I’m not able to put myself in their shoes. I respect the work they’ve done, we’ve done.

“… The fact is I am given a factual record and then I make determinations based on that. I do accept what they found.”

Silver did say, however, that those findings were relevant in terms of determining the severity of Sarver’s punishment.

“It was relevant,” Silver said. “I think if they had made findings that, in fact, his conduct was motivated by racial animus, absolutely that would have had an impact on on the ultimate outcome here. But that’s not what they found.”

Silver also said that at no time during the investigation did he discuss the prospect of Sarver voluntarily agreeing to sell the Suns.

“Robert Sarver and I spoke several times along the way, and I allowed the investigation to unfold,” Silver said. “We didn’t prejudge it.”

The investigation into Sarver, and his punishment, have been compared to how the NBA handled the situation involving former LA Clippers owner Donald Sterling in 2014, when Silver suspended Sterling for life in the wake of audio recordings of Sterling making racist comments.

Silver, however, doesn’t agree that the two situations should be compared to one another.

“I think what we saw in the case of Donald Sterling was blatant racist conduct directed at a select group of people. While it’s difficult to know what is in someone’s heart or in their mind, we heard those words.

“… In the case of Robert Sarver, I’d say, first of all, we’re looking at the totality of circumstances over an 18-year period in which he’s owned these teams, and ultimately we made a judgment, I made a judgment, that in the circumstances in which he had used that language and that behavior, that while, as I said, it was indefensible, is not strong enough. It’s beyond the pale in every possible way to use language and behave that way, but that it was wholly of a different kind than what we saw in that earlier case.”

As far as Sarver’s penalty itself, the $10 million fine was the maximum the league was allowed to hand down. The one-year suspension, on the other hand, could have been longer, Silver said, but that it was ultimately his decision to make it a full calendar year.

He also went on to say that Sarver had, in conversations with Silver, taken “complete accountability and seemed fully remorseful.”

Silver added, however, that Sarver will be “on notice” moving forward.

“In terms of future behavior, there’s no question he’s on notice,” Silver said. “He knows that. I also think, though, if you look at the chronology of the report, most of this activity goes back, most of the inappropriate activity goes back many years.

“But you know, every day is a new day. It’s not as if we’ve closed the book. We’ve closed the book on these historic incidents. But anything going forward, I don’t think there’s any question that he will be scrutinized in terms of his behavior and speech.”

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Silver: Didn’t have right to take Suns from Sarveron September 14, 2022 at 10:40 pm Read More »

Conductor Mina Zikri leads the Oistrakh Symphony of Chicago, Lira Ensemble, and the Northbrook Symphony into a vibrant, family-oriented performance season

If you’ve spent any time immersed in Chicago’s classical music scene, you know that one of its hardest working and visionary leaders is conductor Mina Zikri, the founder and music director of the Oistrakh Symphony of Chicago, resident conductor of Chicago’s Lira Ensemble, and music director of the Northbrook Symphony.

Born in Cairo, Egypt, Zikri was in Germany in 1999 when he met then-Music Director of the Chicago Symphony Orchestra, Daniel Barenboim. Soon after, Zirki followed Barenboim to Chicago to work with him and attend the School of Music at DePaul University. The city has been his home base ever since, even as his career continues to take him around the world; each season he returns to Egypt as a guest conductor for the Cairo National Symphony, and he recently returned from a European tour as an assistant conductor with Barenboim’s West-Eastern Divan Orchestra.

In 2005, Zikri was exploring conducting and working on his Master’s degree in violin performance at DePaul, when he noticed that his peers were struggling to find stable employment in their field. That inspired him to start Oistrakh—taking the name of 20th century virtuoso Russian violinist David Oistrakh—and create new opportunities for musicians in the Chicago area. “This was a time when simply orchestras were closing and things were getting a bit hard for classical music,” he said. “The level of training of young musicians was getting very high, but the market couldn’t really take that many good musicians. A conductor is usually a leader, so I decided to start my own group and try to fund it one way or another out of sheer determination.”

At that point he met with Donald Casey, the Dean of DePaul’s University School of Music, to request some resources to help him get his orchestra off the ground. “In an unprecedented move, he actually approved it,” Zikri said. “For several years, in an unofficial capacity, we were basically performing and getting stage management help from the university.” 

Along with fostering emerging talent, Oistrakh seeks to revolutionize the experience between orchestra and audience, and enhance individual relationships with classical music. Zikri feels this is especially important in an era where society is facing unprecedented global challenges and the 24/7 news cycle has deepened divisions along political lines. “At this time there are so many political problems, economic problems, and environmental problems that people sometimes forget something very important about art; it’s something we can agree and disagree about without needing to fight. . .  it’s the one thing that separates us from being animals and it’s the one thing that can truly unify us.” He brings that perspective to his work with Lira Ensemble as well, which seeks to foster cultural exchange through the preservation of traditional Polish music, song, and dance. 

In step with their mission, Oistrakh creates concerts designed for audiences of all ages, often blending in popular genres and working with guest collaborators. They also take special care to center Chicago’s youngest generations of music fans, performing in Chicago schools, and offering week-long in-school instructional programming with Music Inspires! And parents and teachers take note: Oistrakh performances are at no charge for students.

That dedication to Chicago’s youth springs to life at the upcoming Oistrakh Symphony Fall Concert at DePaul’s Gannon Concert Hall on September 18, where Zikri will lead the orchestra in Mozart’s Symphony No. 30 in D Major K. 202 and Hayden’s Cello Concerto No. 2 in D major Hob. Vllb: 2, which will feature 16-year-old cellist Jan Vargas Nedvetsky as a guest soloist. And on October 16, Zikri will conduct the Northbrook Symphony as it kicks off its new season with a family concert titled “Mozart’s Magnificent Voyage” featuring Classical Kids Live!, which tells the story of Mozart and his son, Karl.

“If we’re going to focus on a young audience, we want to present a young musician from time to time as an example of how music can become more than just a profession, it could become a way of life.” Zikri says. “If I’m a high schooler or middle schooler, and I come to a concert where the soloist is 14 or 15, that will definitely have an impact on me; not necessarily that I’d want to become a musician, but seeing someone that focused and disciplined in a specialized field could open many channels in how I think about myself and what I want to do in the future.”

To get tickets to Oistrakh Symphony of Chicago Sept 18, 2022 , visit  http://www.oistrakhsymphony.org/.

For tickets to Lira Ensemble Sept 14, 24, and 25, 2022, visit https://liraensemble.org/.

For tickets to Northbrook Symphony October 16, 2022, visit https://www.northbrooksymphony.org/.

This content sponsored by Oistrakh Synphony of Chicago

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Conductor Mina Zikri leads the Oistrakh Symphony of Chicago, Lira Ensemble, and the Northbrook Symphony into a vibrant, family-oriented performance season Read More »

Season of the witch

Karla Galván fell in love with performing when she was five, appearing in a public celebration of a Mother’s Day performance her mother had put together. “She’s like, ‘OK, mija, you’re going to dance,’” Galván remembers. “And so I danced to this song and I’ll never forget the adrenaline of the nerves going on stage, the nerves backstage, when you’re like, ‘Oh, it’s almost my turn.’ And then you cross that threshold. The stage back then looked huge with a full house of parents and students, and all these eyes were on me.”

Her love of performing flowered at Carl Schurz High School, where she was part of the drama and speech team. “We were the only school [in the speech competitions] that had Latinos on their teams.” But her dreams were almost dashed by the cost of being a theater student at Columbia College. “You know what?” Galván recalls her mother telling her. “I can’t afford to pay that. That’s way too much.”  

But her mother had a solution. Galván recalls her mother’s words: “’What I can do is, I can send you to Mexico and learn as much as you can in Mexico City.’” Galván then adds, “My mom found a school in Mexico City and she said, ‘You know what? I’m going to send you there for a year.’” 

Bruna la Bruja Bruta9/17-10/16: Sat 8 PM, Sun 7 PM, Teatro Tariakuri, 3117 W. 63rd, teatrotariakuri.org, $35

That year in Mexico was the making of Galván. She studied Method acting with Mexican actress Natalia Traven, a veteran of both the Mexican film industry and Hollywood. (She most recently appeared as a leading character in Clint Eastwood’s 2021 film Cry Macho.) “I was fortunate,” Galván says. “Natalia Traven is a very important person to me because she’s the one that actually took her love and emotion and informed me as a creator.” 

After a year of studying in Mexico City, Galván returned to Chicago to break into the theater scene. “Every time I would go and audition, I would always get, ‘You sound great, but we need more Caucasian.’ I’ve literally been told that ‘You need to work on your accent.’ If I get cast, I am the maid, or I am the ex-con, and I would think, ‘Wait a minute. I know Meisner technique. I have learned Strasberg!’”

Finally, Galván reached the conclusion that the only way she was going to get work was if she started her own theater company. 

“I was young, and stupid, and naive,” Galván laughs, “I was 24, 25.” She started her company in 2003 and decided on the name Tariakuri. “Yes,” Galván laughs. “Tariakuri is difficult to pronounce. I get it. And even my own husband says that. But there is meaning behind that word.”

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She named her theater in part in honor of one of her mother’s favorite performers, the Mexican singer Amalia Mendoza, nicknamed “La Tariácuri.” Mendoza, who died in 2001, was known for her highly emotional renditions of rancheras and boleros. She often cried as she sang. Galván jokes that her mother always said she was “a crybaby, too”—so much so that her mother jokingly compared her to Mendoza. But Tariakuri has another meaning. Tariácuri was also the leader of the Purépecha people, one of the last Indigenous tribes in Mexico. Galván is Peruvian and Mexican; the name Tariakuri honors her Mexican roots. 

Tariakuri opened its first doors on 18th Street “right off Ashland” in Pilsen in 2004, and Galván produced shows there for four years. Her focus was on performing shows in Spanish by Mexican playwrights. She also favored doing comic plays with a family appeal. “It is teatro pelado and carpa,” she explains. “It has a slapstick, raw quality.” 

One of her first shows was Drácula Gay, an extended comic monologue by Mexican playwright Tomás Urtusástegui about a gay vampire talking about how he got his fangs out. She produced another show based on the music of the popular writer and performer of children’s songs, Francisco Gabilondo Soler, and a play about traveling theater troupes in Mexico, Tiempos de Carpa by Manuel Bauche Alcalde.

But the rising costs associated with the gentrification of Pilsen made it harder for businesses like hers to stay open. “I couldn’t keep afloat,” she says sadly. “It was heartbreaking. I was so upset. You close your business, your baby.”

After her first venue closed, Galván says, “I just got a regular job and was miserable for seven years. I was a medical biller, working collecting debts from patients. And then I also managed a dollar store. It wasn’t pretty.”

During this same time her husband, who was undocumented, returned to his home country, Mexico, so he could apply to be a documented immigrant. Galván was left alone, working part-time in a hospital, living off of savings, and taking care of her infant daughter. And feeling herself slip into depression. 

Galván realized she really missed performing. “I called a good friend of mine, Javier Salas, and I said, ‘Javier, please tell me you have something for me. Anything, please. I need to do something. Is there any production going on?’”

As it happened, Salas was doing a play, Las Vírgenes prudentes [by Jesús Cotta] and he needed to cast the lead. Galván tells me, “The play is about three sisters that all get knocked up in the town. And I played Apollonia, the godmother who has to figure out how to cover this whole thing up. It’s a funny story.”

Galván brought her daughter to all the rehearsals (“Because I didn’t have anybody to deal with her”), and, as it happened, her husband received his documentation paper to come back to the U.S. in time for the play’s opening night. 

“And that’s when it all started again for me,” Galván enthuses. She revived her theater, moved into a storefront in Marquette Park, and then . . . “I started producing, producing, producing. I’ve done so many productions I already thought about. I redid a lot of my productions, a lot of everything, and I haven’t stopped since then.”

Her current production is a solo piece, Bruna la Bruja Bruta (which Galván translates as Bruna the Stupid Witch). It’s being presented as part of Destinos, the fifth Chicago International Latino Theater Festival, produced by the Chicago Latino Theater Alliance (CLATA). Galván stars as Bruna—“I haven’t been on stage with a main character in ten years”—and is being directed by Traven, her old acting teacher from Mexico City. The play was written by Galván’s old friend Urtusástegui. “I went to [Traven],” Galván explains. “Not only because she’s such a good director, and she’s a good teacher; I needed somebody that still has that sparkle of true Mexico because she lives there [in Mexico City].”

“Bruna is a single mom. She talks about being a single mom, and her three little witches, and how she survived with her three little witches. We’re talking about a witch that’s lived more than 200 years, so long that she has seen everything that’s going on in the world—feminism, machismo, Salem and the witches. And it does it all with comedy. I want to say it’s similar to John Leguizamo’s Latin History for Morons.”

Galván did much of her rehearsing with Traven in Mexico City. “I just came back from Mexico a week ago, and it is very humbling. [As a Mexican American] I am so different from [Mexicans]. I know I am a breed of my own in the United States. It’s really weird. Here, we are welcomed, but not welcomed. And in Mexico, we’re welcome, but we’re not welcome. So we’re right there on the border. It is a very difficult [balance], but you know what? I survived it. I’m still surviving it.”

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Season of the witch Read More »

Conductor Mina Zikri leads the Oistrakh Symphony of Chicago, Lira Ensemble, and the Northbrook Symphony into a vibrant, family-oriented performance seasonJamie Ludwigon September 14, 2022 at 7:46 pm

If you’ve spent any time immersed in Chicago’s classical music scene, you know that one of its hardest working and visionary leaders is conductor Mina Zikri, the founder and music director of the Oistrakh Symphony of Chicago, resident conductor of Chicago’s Lira Ensemble, and music director of the Northbrook Symphony.

Born in Cairo, Egypt, Zikri was in Germany in 1999 when he met then-Music Director of the Chicago Symphony Orchestra, Daniel Barenboim. Soon after, Zirki followed Barenboim to Chicago to work with him and attend the School of Music at DePaul University. The city has been his home base ever since, even as his career continues to take him around the world; each season he returns to Egypt as a guest conductor for the Cairo National Symphony, and he recently returned from a European tour as an assistant conductor with Barenboim’s West-Eastern Divan Orchestra.

In 2005, Zikri was exploring conducting and working on his Master’s degree in violin performance at DePaul, when he noticed that his peers were struggling to find stable employment in their field. That inspired him to start Oistrakh—taking the name of 20th century virtuoso Russian violinist David Oistrakh—and create new opportunities for musicians in the Chicago area. “This was a time when simply orchestras were closing and things were getting a bit hard for classical music,” he said. “The level of training of young musicians was getting very high, but the market couldn’t really take that many good musicians. A conductor is usually a leader, so I decided to start my own group and try to fund it one way or another out of sheer determination.”

At that point he met with Donald Casey, the Dean of DePaul’s University School of Music, to request some resources to help him get his orchestra off the ground. “In an unprecedented move, he actually approved it,” Zikri said. “For several years, in an unofficial capacity, we were basically performing and getting stage management help from the university.” 

Along with fostering emerging talent, Oistrakh seeks to revolutionize the experience between orchestra and audience, and enhance individual relationships with classical music. Zikri feels this is especially important in an era where society is facing unprecedented global challenges and the 24/7 news cycle has deepened divisions along political lines. “At this time there are so many political problems, economic problems, and environmental problems that people sometimes forget something very important about art; it’s something we can agree and disagree about without needing to fight. . .  it’s the one thing that separates us from being animals and it’s the one thing that can truly unify us.” He brings that perspective to his work with Lira Ensemble as well, which seeks to foster cultural exchange through the preservation of traditional Polish music, song, and dance. 

In step with their mission, Oistrakh creates concerts designed for audiences of all ages, often blending in popular genres and working with guest collaborators. They also take special care to center Chicago’s youngest generations of music fans, performing in Chicago schools, and offering week-long in-school instructional programming with Music Inspires! And parents and teachers take note: Oistrakh performances are at no charge for students.

That dedication to Chicago’s youth springs to life at the upcoming Oistrakh Symphony Fall Concert at DePaul’s Gannon Concert Hall on September 18, where Zikri will lead the orchestra in Mozart’s Symphony No. 30 in D Major K. 202 and Hayden’s Cello Concerto No. 2 in D major Hob. Vllb: 2, which will feature 16-year-old cellist Jan Vargas Nedvetsky as a guest soloist. And on October 16, Zikri will conduct the Northbrook Symphony as it kicks off its new season with a family concert titled “Mozart’s Magnificent Voyage” featuring Classical Kids Live!, which tells the story of Mozart and his son, Karl.

“If we’re going to focus on a young audience, we want to present a young musician from time to time as an example of how music can become more than just a profession, it could become a way of life.” Zikri says. “If I’m a high schooler or middle schooler, and I come to a concert where the soloist is 14 or 15, that will definitely have an impact on me; not necessarily that I’d want to become a musician, but seeing someone that focused and disciplined in a specialized field could open many channels in how I think about myself and what I want to do in the future.”

To get tickets to Oistrakh Symphony of Chicago Sept 18, 2022 , visit  http://www.oistrakhsymphony.org/.

For tickets to Lira Ensemble Sept 14, 24, and 25, 2022, visit https://liraensemble.org/.

For tickets to Northbrook Symphony October 16, 2022, visit https://www.northbrooksymphony.org/.

This content sponsored by Oistrakh Synphony of Chicago

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Conductor Mina Zikri leads the Oistrakh Symphony of Chicago, Lira Ensemble, and the Northbrook Symphony into a vibrant, family-oriented performance seasonJamie Ludwigon September 14, 2022 at 7:46 pm Read More »

Season of the witchKerry Reidon September 14, 2022 at 8:24 pm

Karla Galván fell in love with performing when she was five, appearing in a public celebration of a Mother’s Day performance her mother had put together. “She’s like, ‘OK, mija, you’re going to dance,’” Galván remembers. “And so I danced to this song and I’ll never forget the adrenaline of the nerves going on stage, the nerves backstage, when you’re like, ‘Oh, it’s almost my turn.’ And then you cross that threshold. The stage back then looked huge with a full house of parents and students, and all these eyes were on me.”

Her love of performing flowered at Carl Schurz High School, where she was part of the drama and speech team. “We were the only school [in the speech competitions] that had Latinos on their teams.” But her dreams were almost dashed by the cost of being a theater student at Columbia College. “You know what?” Galván recalls her mother telling her. “I can’t afford to pay that. That’s way too much.”  

But her mother had a solution. Galván recalls her mother’s words: “’What I can do is, I can send you to Mexico and learn as much as you can in Mexico City.’” Galván then adds, “My mom found a school in Mexico City and she said, ‘You know what? I’m going to send you there for a year.’” 

Bruna la Bruja Bruta9/17-10/16: Sat 8 PM, Sun 7 PM, Teatro Tariakuri, 3117 W. 63rd, teatrotariakuri.org, $35

That year in Mexico was the making of Galván. She studied Method acting with Mexican actress Natalia Traven, a veteran of both the Mexican film industry and Hollywood. (She most recently appeared as a leading character in Clint Eastwood’s 2021 film Cry Macho.) “I was fortunate,” Galván says. “Natalia Traven is a very important person to me because she’s the one that actually took her love and emotion and informed me as a creator.” 

After a year of studying in Mexico City, Galván returned to Chicago to break into the theater scene. “Every time I would go and audition, I would always get, ‘You sound great, but we need more Caucasian.’ I’ve literally been told that ‘You need to work on your accent.’ If I get cast, I am the maid, or I am the ex-con, and I would think, ‘Wait a minute. I know Meisner technique. I have learned Strasberg!’”

Finally, Galván reached the conclusion that the only way she was going to get work was if she started her own theater company. 

“I was young, and stupid, and naive,” Galván laughs, “I was 24, 25.” She started her company in 2003 and decided on the name Tariakuri. “Yes,” Galván laughs. “Tariakuri is difficult to pronounce. I get it. And even my own husband says that. But there is meaning behind that word.”

Did you know? The Reader is nonprofit. The Reader is member supported. You can help keep the Reader free for everyone—and get exclusive rewards—when you become a member. The Reader Revolution membership program is a sustainable way for you to support local, independent media.

She named her theater in part in honor of one of her mother’s favorite performers, the Mexican singer Amalia Mendoza, nicknamed “La Tariácuri.” Mendoza, who died in 2001, was known for her highly emotional renditions of rancheras and boleros. She often cried as she sang. Galván jokes that her mother always said she was “a crybaby, too”—so much so that her mother jokingly compared her to Mendoza. But Tariakuri has another meaning. Tariácuri was also the leader of the Purépecha people, one of the last Indigenous tribes in Mexico. Galván is Peruvian and Mexican; the name Tariakuri honors her Mexican roots. 

Tariakuri opened its first doors on 18th Street “right off Ashland” in Pilsen in 2004, and Galván produced shows there for four years. Her focus was on performing shows in Spanish by Mexican playwrights. She also favored doing comic plays with a family appeal. “It is teatro pelado and carpa,” she explains. “It has a slapstick, raw quality.” 

One of her first shows was Drácula Gay, an extended comic monologue by Mexican playwright Tomás Urtusástegui about a gay vampire talking about how he got his fangs out. She produced another show based on the music of the popular writer and performer of children’s songs, Francisco Gabilondo Soler, and a play about traveling theater troupes in Mexico, Tiempos de Carpa by Manuel Bauche Alcalde.

But the rising costs associated with the gentrification of Pilsen made it harder for businesses like hers to stay open. “I couldn’t keep afloat,” she says sadly. “It was heartbreaking. I was so upset. You close your business, your baby.”

After her first venue closed, Galván says, “I just got a regular job and was miserable for seven years. I was a medical biller, working collecting debts from patients. And then I also managed a dollar store. It wasn’t pretty.”

During this same time her husband, who was undocumented, returned to his home country, Mexico, so he could apply to be a documented immigrant. Galván was left alone, working part-time in a hospital, living off of savings, and taking care of her infant daughter. And feeling herself slip into depression. 

Galván realized she really missed performing. “I called a good friend of mine, Javier Salas, and I said, ‘Javier, please tell me you have something for me. Anything, please. I need to do something. Is there any production going on?’”

As it happened, Salas was doing a play, Las Vírgenes prudentes [by Jesús Cotta] and he needed to cast the lead. Galván tells me, “The play is about three sisters that all get knocked up in the town. And I played Apollonia, the godmother who has to figure out how to cover this whole thing up. It’s a funny story.”

Galván brought her daughter to all the rehearsals (“Because I didn’t have anybody to deal with her”), and, as it happened, her husband received his documentation paper to come back to the U.S. in time for the play’s opening night. 

“And that’s when it all started again for me,” Galván enthuses. She revived her theater, moved into a storefront in Marquette Park, and then . . . “I started producing, producing, producing. I’ve done so many productions I already thought about. I redid a lot of my productions, a lot of everything, and I haven’t stopped since then.”

Her current production is a solo piece, Bruna la Bruja Bruta (which Galván translates as Bruna the Stupid Witch). It’s being presented as part of Destinos, the fifth Chicago International Latino Theater Festival, produced by the Chicago Latino Theater Alliance (CLATA). Galván stars as Bruna—“I haven’t been on stage with a main character in ten years”—and is being directed by Traven, her old acting teacher from Mexico City. The play was written by Galván’s old friend Urtusástegui. “I went to [Traven],” Galván explains. “Not only because she’s such a good director, and she’s a good teacher; I needed somebody that still has that sparkle of true Mexico because she lives there [in Mexico City].”

“Bruna is a single mom. She talks about being a single mom, and her three little witches, and how she survived with her three little witches. We’re talking about a witch that’s lived more than 200 years, so long that she has seen everything that’s going on in the world—feminism, machismo, Salem and the witches. And it does it all with comedy. I want to say it’s similar to John Leguizamo’s Latin History for Morons.”

Galván did much of her rehearsing with Traven in Mexico City. “I just came back from Mexico a week ago, and it is very humbling. [As a Mexican American] I am so different from [Mexicans]. I know I am a breed of my own in the United States. It’s really weird. Here, we are welcomed, but not welcomed. And in Mexico, we’re welcome, but we’re not welcome. So we’re right there on the border. It is a very difficult [balance], but you know what? I survived it. I’m still surviving it.”

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Season of the witchKerry Reidon September 14, 2022 at 8:24 pm Read More »

Beyond the mustache

Larry Yando has been a prominent presence on stages in Chicago and beyond for many years, including as Ebenezer Scrooge in the Goodman’s annual production of A Christmas Carol (this year marks his 15th outing). He plays Hercule Poirot in Agatha Christie’s Murder on the Orient Express at Drury Lane Theatre through October 23. (Read Kimzyn Campbell’s review here.) This interview has been edited for brevity and clarity. 

Emily McClanathan: You’ve played a variety of roles on stage that are already well-known from literature, film, or history—Scrooge at the Goodman Theatre, Scar in The Lion King national tour, and Nixon at Writers Theatre. What’s your approach when you’re playing a famous character on stage? How do you make the role your own?

Larry Yando: I don’t think I approach it any differently than I would any other role. The first thing I do is try to understand why this particular playwright wrote this particular play. I start with what the playwright’s take is on that character, whether he’s famous or a totally fictional character. 

But when there’s source material to pull from, I like to know as many intricate, intimate details about a character that I can. I read as much of the source material as possible, but I always keep in mind that we’re not doing the source material, and we’re not doing another person’s idea of Scrooge, Nixon, Scar, or Poirot. We’re doing this particular playwright, so I think you have to always return to what serves this playwright’s vision. 

Also, some actors are very good mimics. I’m not really a good mimic, so I don’t even attempt it. What’s more important to me is the content of this human being, not the form. Sometimes the form is slightly important because the audiences need to believe that you’re playing Nixon or believe that you’re Scar in that movie they saw a long time ago. It’s a balancing act, for me, of just enough hints of something familiar or iconic about the character. And then, I treat it like any other role and assume that what will make this particular event unique is it being filtered through Larry Yando, as opposed to another actor. 

What attracted you to the role of Hercule Poirot, and what has the process of developing this role been like?

I love British mysteries and British crime drama, so, for Poirot, I’d been aware of him for a very long time. In the books, he’s immaculately described. He’s a bit self-absorbed and very vain, so I already had all that information in my head.

Did you know? The Reader is nonprofit. The Reader is member supported. You can help keep the Reader free for everyone—and get exclusive rewards—when you become a member. The Reader Revolution membership program is a sustainable way for you to support local, independent media.

Murder on the Orient Express was adapted by Ken Ludwig, a playwright who writes farces normally. Now, I believe that nothing is ever all funny or all tragic; there’s always both. I think that’s what human beings are, and I think that’s what every great character in a play is. What I love about Poirot is, in this particular story, he does not remain above this particular crime, and he is deeply affected by it. This is a major, unusual, specific, extraordinary case for him that changes him irrevocably—and that, to me, is what happens in great plays to great characters, so I latched onto that. And then, it’s just like doing King Lear—he makes one mistake, one thing happens in the beginning, and he’s haunted forever. 

My process is not trying to be funny, not trying to imitate previous Poirots, but digging deep within myself to find something large enough that would haunt you for the rest of your life, because that’s what I think this play is about for Poirot. 

And yes, there’s a Belgian accent, which is basically French. What’s funny is that Poirot is constantly correcting people that he is not French, he’s Belgian. There are, of course, some requirements when you play a famous character. They usually have to do with form, what people expect to see, and you have to decide which ones are important to you and help you find the human being behind this iconic character, and which ones you can drop. 

I do not think you can drop the French accent; I do not think you can drop the mustache. He’s also an “odd little man,” as described by Agatha Christie and other characters all the time, in all the books. I can’t be a little man—I’m not little—but I certainly can be odd. I certainly can have a mustache, and I can have the French accent. So, it’s about picking the iconic traits that feed the character, feed the dramatic action, and feed the three-dimensionality, and not worrying about those characteristics that don’t matter. Just trust the audience will go with you because you’re being honest, and you’re exposing something that reflects them in some way, like any great play. 

Murder on the Orient Express Through 10/23: Wed 1:30 PM, Thu 1:30 and 8 PM, Fri 8 PM, Sat 3 and 8 PM, Sun 2 and 6 PM, Drury Lane Theatre, 100 Drury Lane, Oakbrook Terrace, 630-530-0111, drurylanetheatre.com, $69-$84 ($5 discount for seniors Wed and Thu matinees)

Murder on the Orient Express is one of the most popular Agatha Christie novels and has been adapted many times for film and TV. Why do you think this story has such enduring appeal?

In our American culture, film is a very powerful medium. I remember the 1974 film vividly; I loved it, and I’ve seen it about 40 times. Once a film adaptation happens, at least in America, I believe it reaches many more people, and then people will go read the book. 

Also, in my opinion, it goes to what I said interests me about playing Poirot—it’s an unusual case for the lead detective. It affects him in a different way, and it affects him in a way that all of us can relate to—having to make a difficult decision in our lives and living with it forever, and never knowing if it was the right decision. I believe—with a film, with TV, with theater—when an audience is faced with something that goes very deep into their own history and their own lives, that stays with them. 

Could you tell me more about Ken Ludwig’s stage adaptation? Why do you think this story works well on stage? 

I know Ken Ludwig as writing Lend Me a Tenor—farcical stuff. Agatha Christie’s Poirot series are not farces; you must take them seriously or you won’t find the comedy when you read the books. They’re very funny, but what’s brilliant about all the Poirot stories—or any good British mystery—are the hysterically odd, funny, recognizable characters, with a very dark vein of evil running underneath the entire story. She’s brilliant at making those two things exist side by side. And those two things, side by side, are what always excite me about any good play. 

What I love about this adaptation is that it absolutely has all the comic possibilities because of these extravagant characters, and people get to laugh. Then, at the center is a very conflicted witness to something tragic and potentially evil and wrong. I think Ken Ludwig got both elements in the play, and that’s why I think it works on stage because, to me, that’s what theater is, that tug-of-war between two very opposing forces. The audience gets to be surprised at every turn, because you don’t know which one of those two extremes is going to rear its head at any given moment. 

Finally, I have to ask about Poirot’s iconic mustache. On a scale from 1 to 10, how large of a mustache does your Poirot wear? 

I would say my mustache for this production, on 1 to 10, would be a 7, maybe 8. It’s enough to call attention to itself, and it’s impeccably groomed—because it could be no other way with Hercule—and it doesn’t obliterate anything else on the stage. It’s believable and slightly extreme. I really love having it, because all of a sudden, you go, “Now I am complete.”

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Beyond the mustache Read More »

Cookies, dancing, Louder Than a Mom

No war but Cookie War! This afternoon’s Garfield Ridge Farmer’s Market includes a special competition by neighborhood bakeries, including Weber’s, Pticek’s, Talerico-Martin, and Borinken, to see who can reign supreme with the best tasting sweet treat of the season. The market is hosted in the parking lot of the Mayfield Banquet Facility (6072 S. Archer), starting at 4 PM and running until 6 (although some of the farmer vendors stay out a little later). Hit the southwest side for a dash of sugar. (SCJ)

Did you know? The Reader is nonprofit. The Reader is member supported. You can help keep the Reader free for everyone—and get exclusive rewards—when you become a member. The Reader Revolution membership program is a sustainable way for you to support local, independent media.

Summer isn’t over yet, so there’s still time to shake what you got in the great outdoors. SummerDance closes out its season today 4:30-7:30 PM at the Museum of Science and Industry (just south of the parking lot off of the Science Drive exit from DuSable Lake Shore Drive). This free all-ages event offers dance lessons, followed by an all-out community dance party. No reservations required, but you can check for weather updates (and get ideas for more free events) at chicagoparkdistrict.com. (KR)

The realities of the last few years have turned a lot of us to be more considerate of our own mental health. But how does being more aware of your physical body connect with an overall sense of well being? Practicing mindfulness can help you manage stress and become more resilient, and tonight’s workshop Body Aware: Bringing the Body into Mental Health is designed to help us rediscover the mind-body connection and learn movement practices that can help both body and spirit. The workshop is led by licensed clinical professional counselor, author, and dance therapist Erica Hornthal. Registration is at Eventbrite for this online event, which starts at 7 PM. (SCJ)

Louder Than a Mom features both amateur and professional storytellers riffing on themes touching on true-life family experiences. Tonight’s event is also geared toward supporting reproductive rights as organizers will set aside time for reps from groups like A is For to talk shop. It all starts at 7:30 PM at Martyrs (3855 N. Lincoln). (SCJ)

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Cookies, dancing, Louder Than a Mom Read More »

Conductor Mina Zikri leads the Oistrakh Symphony of Chicago, Lira Ensemble, and the Northbrook Symphony into a vibrant, family-oriented performance season

If you’ve spent any time immersed in Chicago’s classical music scene, you know that one of its hardest working and visionary leaders is conductor Mina Zikri, the founder and music director of the Oistrakh Symphony of Chicago, resident conductor of Chicago’s Lira Ensemble, and music director of the Northbrook Symphony.

Born in Cairo, Egypt, Zikri was in Germany in 1999 when he met then-Music Director of the Chicago Symphony Orchestra, Daniel Barenboim. Soon after, Zirki followed Barenboim to Chicago to work with him and attend the School of Music at DePaul University. The city has been his home base ever since, even as his career continues to take him around the world; each season he returns to Egypt as a guest conductor for the Cairo National Symphony, and he recently returned from a European tour as an assistant conductor with Barenboim’s West-Eastern Divan Orchestra.

In 2005, Zikri was exploring conducting and working on his Master’s degree in violin performance at DePaul, when he noticed that his peers were struggling to find stable employment in their field. That inspired him to start Oistrakh—taking the name of 20th century virtuoso Russian violinist David Oistrakh—and create new opportunities for musicians in the Chicago area. “This was a time when simply orchestras were closing and things were getting a bit hard for classical music,” he said. “The level of training of young musicians was getting very high, but the market couldn’t really take that many good musicians. A conductor is usually a leader, so I decided to start my own group and try to fund it one way or another out of sheer determination.”

At that point he met with Donald Casey, the Dean of DePaul’s University School of Music, to request some resources to help him get his orchestra off the ground. “In an unprecedented move, he actually approved it,” Zikri said. “For several years, in an unofficial capacity, we were basically performing and getting stage management help from the university.” 

Along with fostering emerging talent, Oistrakh seeks to revolutionize the experience between orchestra and audience, and enhance individual relationships with classical music. Zikri feels this is especially important in an era where society is facing unprecedented global challenges and the 24/7 news cycle has deepened divisions along political lines. “At this time there are so many political problems, economic problems, and environmental problems that people sometimes forget something very important about art; it’s something we can agree and disagree about without needing to fight. . .  it’s the one thing that separates us from being animals and it’s the one thing that can truly unify us.” He brings that perspective to his work with Lira Ensemble as well, which seeks to foster cultural exchange through the preservation of traditional Polish music, song, and dance. 

In step with their mission, Oistrakh creates concerts designed for audiences of all ages, often blending in popular genres and working with guest collaborators. They also take special care to center Chicago’s youngest generations of music fans, performing in Chicago schools, and offering week-long in-school instructional programming with Music Inspires! And parents and teachers take note: Oistrakh performances are at no charge for students.

That dedication to Chicago’s youth springs to life at the upcoming Oistrakh Symphony Fall Concert at DePaul’s Gannon Concert Hall on September 18, where Zikri will lead the orchestra in Mozart’s Symphony No. 30 in D Major K. 202 and Hayden’s Cello Concerto No. 2 in D major Hob. Vllb: 2, which will feature 16-year-old cellist Jan Vargas Nedvetsky as a guest soloist. And on October 16, Zikri will conduct the Northbrook Symphony as it kicks off its new season with a family concert titled “Mozart’s Magnificent Voyage” featuring Classical Kids Live!, which tells the story of Mozart and his son, Karl.

“If we’re going to focus on a young audience, we want to present a young musician from time to time as an example of how music can become more than just a profession, it could become a way of life.” Zikri says. “If I’m a high schooler or middle schooler, and I come to a concert where the soloist is 14 or 15, that will definitely have an impact on me; not necessarily that I’d want to become a musician, but seeing someone that focused and disciplined in a specialized field could open many channels in how I think about myself and what I want to do in the future.”

To get tickets to Oistrakh Symphony of Chicago Sept 18, 2022 , visit  http://www.oistrakhsymphony.org/

For tickets to Lira Ensemble Sept 14, 24, and 25, 2022, visit https://liraensemble.org/

For tickets to Northbrook Symphony October 16, 2022, visit https://www.northbrooksymphony.org/

This content sponsored by Jamie Ludwig at Chicago Reader

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Conductor Mina Zikri leads the Oistrakh Symphony of Chicago, Lira Ensemble, and the Northbrook Symphony into a vibrant, family-oriented performance season Read More »

Beyond the mustacheEmily McClanathanon September 14, 2022 at 7:04 pm

Larry Yando has been a prominent presence on stages in Chicago and beyond for many years, including as Ebenezer Scrooge in the Goodman’s annual production of A Christmas Carol (this year marks his 15th outing). He plays Hercule Poirot in Agatha Christie’s Murder on the Orient Express at Drury Lane Theatre through October 23. (Read Kimzyn Campbell’s review here.) This interview has been edited for brevity and clarity. 

Emily McClanathan: You’ve played a variety of roles on stage that are already well-known from literature, film, or history—Scrooge at the Goodman Theatre, Scar in The Lion King national tour, and Nixon at Writers Theatre. What’s your approach when you’re playing a famous character on stage? How do you make the role your own?

Larry Yando: I don’t think I approach it any differently than I would any other role. The first thing I do is try to understand why this particular playwright wrote this particular play. I start with what the playwright’s take is on that character, whether he’s famous or a totally fictional character. 

But when there’s source material to pull from, I like to know as many intricate, intimate details about a character that I can. I read as much of the source material as possible, but I always keep in mind that we’re not doing the source material, and we’re not doing another person’s idea of Scrooge, Nixon, Scar, or Poirot. We’re doing this particular playwright, so I think you have to always return to what serves this playwright’s vision. 

Also, some actors are very good mimics. I’m not really a good mimic, so I don’t even attempt it. What’s more important to me is the content of this human being, not the form. Sometimes the form is slightly important because the audiences need to believe that you’re playing Nixon or believe that you’re Scar in that movie they saw a long time ago. It’s a balancing act, for me, of just enough hints of something familiar or iconic about the character. And then, I treat it like any other role and assume that what will make this particular event unique is it being filtered through Larry Yando, as opposed to another actor. 

What attracted you to the role of Hercule Poirot, and what has the process of developing this role been like?

I love British mysteries and British crime drama, so, for Poirot, I’d been aware of him for a very long time. In the books, he’s immaculately described. He’s a bit self-absorbed and very vain, so I already had all that information in my head.

Did you know? The Reader is nonprofit. The Reader is member supported. You can help keep the Reader free for everyone—and get exclusive rewards—when you become a member. The Reader Revolution membership program is a sustainable way for you to support local, independent media.

Murder on the Orient Express was adapted by Ken Ludwig, a playwright who writes farces normally. Now, I believe that nothing is ever all funny or all tragic; there’s always both. I think that’s what human beings are, and I think that’s what every great character in a play is. What I love about Poirot is, in this particular story, he does not remain above this particular crime, and he is deeply affected by it. This is a major, unusual, specific, extraordinary case for him that changes him irrevocably—and that, to me, is what happens in great plays to great characters, so I latched onto that. And then, it’s just like doing King Lear—he makes one mistake, one thing happens in the beginning, and he’s haunted forever. 

My process is not trying to be funny, not trying to imitate previous Poirots, but digging deep within myself to find something large enough that would haunt you for the rest of your life, because that’s what I think this play is about for Poirot. 

And yes, there’s a Belgian accent, which is basically French. What’s funny is that Poirot is constantly correcting people that he is not French, he’s Belgian. There are, of course, some requirements when you play a famous character. They usually have to do with form, what people expect to see, and you have to decide which ones are important to you and help you find the human being behind this iconic character, and which ones you can drop. 

I do not think you can drop the French accent; I do not think you can drop the mustache. He’s also an “odd little man,” as described by Agatha Christie and other characters all the time, in all the books. I can’t be a little man—I’m not little—but I certainly can be odd. I certainly can have a mustache, and I can have the French accent. So, it’s about picking the iconic traits that feed the character, feed the dramatic action, and feed the three-dimensionality, and not worrying about those characteristics that don’t matter. Just trust the audience will go with you because you’re being honest, and you’re exposing something that reflects them in some way, like any great play. 

Murder on the Orient Express Through 10/23: Wed 1:30 PM, Thu 1:30 and 8 PM, Fri 8 PM, Sat 3 and 8 PM, Sun 2 and 6 PM, Drury Lane Theatre, 100 Drury Lane, Oakbrook Terrace, 630-530-0111, drurylanetheatre.com, $69-$84 ($5 discount for seniors Wed and Thu matinees)

Murder on the Orient Express is one of the most popular Agatha Christie novels and has been adapted many times for film and TV. Why do you think this story has such enduring appeal?

In our American culture, film is a very powerful medium. I remember the 1974 film vividly; I loved it, and I’ve seen it about 40 times. Once a film adaptation happens, at least in America, I believe it reaches many more people, and then people will go read the book. 

Also, in my opinion, it goes to what I said interests me about playing Poirot—it’s an unusual case for the lead detective. It affects him in a different way, and it affects him in a way that all of us can relate to—having to make a difficult decision in our lives and living with it forever, and never knowing if it was the right decision. I believe—with a film, with TV, with theater—when an audience is faced with something that goes very deep into their own history and their own lives, that stays with them. 

Could you tell me more about Ken Ludwig’s stage adaptation? Why do you think this story works well on stage? 

I know Ken Ludwig as writing Lend Me a Tenor—farcical stuff. Agatha Christie’s Poirot series are not farces; you must take them seriously or you won’t find the comedy when you read the books. They’re very funny, but what’s brilliant about all the Poirot stories—or any good British mystery—are the hysterically odd, funny, recognizable characters, with a very dark vein of evil running underneath the entire story. She’s brilliant at making those two things exist side by side. And those two things, side by side, are what always excite me about any good play. 

What I love about this adaptation is that it absolutely has all the comic possibilities because of these extravagant characters, and people get to laugh. Then, at the center is a very conflicted witness to something tragic and potentially evil and wrong. I think Ken Ludwig got both elements in the play, and that’s why I think it works on stage because, to me, that’s what theater is, that tug-of-war between two very opposing forces. The audience gets to be surprised at every turn, because you don’t know which one of those two extremes is going to rear its head at any given moment. 

Finally, I have to ask about Poirot’s iconic mustache. On a scale from 1 to 10, how large of a mustache does your Poirot wear? 

I would say my mustache for this production, on 1 to 10, would be a 7, maybe 8. It’s enough to call attention to itself, and it’s impeccably groomed—because it could be no other way with Hercule—and it doesn’t obliterate anything else on the stage. It’s believable and slightly extreme. I really love having it, because all of a sudden, you go, “Now I am complete.”

Read More

Beyond the mustacheEmily McClanathanon September 14, 2022 at 7:04 pm Read More »