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Credit Claims For Kansas Performing Arts And Entertainment Professionals: Attorney Advice For Financial Success – Hedy Weiss: Theater Reviews ‘Rock of Ages’ captures 1980s music and decadence in the US

Sex (a lot of it). Love (the quest for it). decline (plural). Of course, rock and roll – the driving musical force behind it all.

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That, in a nutshell, suggests the themes at play in “Rock of Ages,” the funky, feverish, hard-driving (and definitely not for kids) musical now storming across the stage at the Mercury Theatre. A big, bold and very talented cast, along with an exceptional band, captures the tumultuous beat of a decidedly “rocky” decade.

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The show was written by Chris D’Arienzo and brilliantly directed by Tommy Novak, with stunning musical direction by Linda Madonia, dynamic arrangements and orchestration by Ethan Popp, and highly charged choreography by Laura Savage. This shamelessly uncensored musical (it ran in its Broadway incarnation from 2009-2015) is wild and brilliant. And occasionally it even plays pranks on the audience as its story unfolds.

The show primarily takes place in the late 1980s at the Bourbon Room, a popular club on the Sunset Strip in West Hollywood. And it features two dozen songs originally performed by Styx, Bon Jovi, Pat Benatar, Journey, Twisted Sister, Poison, Speedwagon, Steve Perry and others.

Serving as Bourbon’s high-energy, fast-talking, often sarcastic host/emcee is Lonnie (Michael Metcalf), a man with big hair and plenty of attitude who frequently breaks through the “fourth wall” to make direct connections with Mercury audiences. The person is .

But the real star of the show is Drew (David Moreland, a great actor with an absolutely soulful voice). Drew is a talented young singer who hasn’t made it professionally yet and is stuck cleaning bathrooms in Bourbon to earn a living.

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Enter Sherry (Kayla Marie Shipman, a talented actress/dancer/singer), a beautiful young woman from Kansas who moves to Hollywood in hopes of starting an acting career. Drew is immediately attracted to her but is too shy to fully pursue her, even though they are clearly connected. Then comes Stacee Jaxx, (Donovan Hoffer, no doubt the brilliantly egotistical, sex-and-drug-addicted Arsenal bandleader). Soon he and Sherry are having wild sex in the bathroom of the Bourbon room. They are seen by a distraught Drew. But when he finally performs at the Bourbon Room, he is discovered by a record producer who offers him a contract.

Lost in every way, Sherry ends up at a nearby strip club owned by a woman she calls her mother (a wonderfully warm and knowing performance by Sharryse Hamilton). Sherry again has a daring and unpleasant sexual encounter with Stacey, and is caught in the act by Drew. And even if there is more to go forward, it will not be revealed here.

Running as a subplot throughout the show is an urban renewal effort for the neighborhood planned by hard-nosed German developer Hertz (masterfully captured by Jeff Diebold) and his reluctant son Franz (Aaron, in a hilariously quirky turn). Davidson), he wants to return home and open a candy store. When Hertz announces his plans to demolish the Bourbon Room and the surrounding area to rid it of excesses of “sex, drugs and rock and roll,” he receives a chilling protest from the mayor’s exasperated Regina (Festy Veronica Garza). City planner.

Throughout, a large chorus of enthusiastic singers and dancers take on multiple identities. The show is expertly enhanced by the work of scenic designer Bob Knute, lighting and digital visual media designer G. “Max” Maxin IV, costume designer Bob Kuhn and sound designer Stefanie M. Senior.

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All in all, this is a very energetic, vividly realized and decidedly uncensored show that thrives in the intimate space of Mercury. For those longing to see a true “rock of the ages” in history, this is the show to watch.

“Rock of Ages” runs through Sept. 10, Chicago, 3745 N. Southport Avt will be held at the Mercury Theatre. For tickets visit mercurytheaterchicago.com.

Sign up for our morning letter to get all our stories delivered to your inbox every weekday. Niall Horan gives new meaning to the saying “let’s take this show on the road”. Prior to the release of his third studio album,

, featuring “Heaven” and “Meltdown,” is set to arrive on June 9, the singer has announced a 2024 world tour with stops in North America, Europe, Australia and New Zealand.

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“There’s nothing better than watching the crowd sing back to you with all the emotion on their faces and knowing they’re attaching the song to something meaningful in their lives,” Horan said in a statement. “For me, that’s always been the greatest songwriting thing.”

The North American leg of The Show Live on Tour kicks off on May 29, 2024 at Hard Rock Live in Fort Lauderdale, Florida and ends on July 31 in Phoenix, Arizona at the Talking Stick Resort Amphitheater. Stops between stage shows include New York’s Madison Square Garden, Toronto’s Scotiabank Arena and Inglewood’s Kia Forum. Horan also performs in Philadelphia, Buffalo, Nashville, Cincinnati, Kansas City, Ridgefield and more.

General sale ends Friday, June 2, at 1:00 a.m. local time. Starting at 10:00 via the official Niall Horan website.

Lewis was billed as his opener alongside Capaldi, but the entire tour was canceled in 2020 due to the pandemic.

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It’s been a long time. Can’t wait to see you all. CITIES AND DATES COMING TOMORROW AT 9AM PT! https://t.co/QD3toWSDy0 pic.twitter.com/ZCQZgrQev0 — Niall Horan (@NiallOfficial) May 21, 2023

Niall Horan The Show 2024 North American Tour Dates May 29 — Fort Lauderdale, FL @ Hard Rock Live

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It felt intentional, and the experimental Baltimore quartet kicks off their show Thursday night at The Truman with an energetic banger. As if preparing the crowd for the two hours of psychedelic and lushly aired rock music that was to come, they honed a more laid-back sound on the recent Time Skiffs, now one of the coolest and best albums from the legendary indie band. ever produced.

After a digital buzz that aptly heralded their arrival, Deakin – the stage name of Joshua Dib, the rarest member in years – began belting out “Wide Eyes” from 2012’s “Centipede Hcd”. Unlike the recorded version, a shimmering synth-filled confection, this performance was propelled by Deakin’s menacing guitars that matched his low rumble. The track is one of those fronting the multi-instrumentalist, a task usually left to bandleaders Avey Tare (David Portner) or Panda Bear (Noah Lennox). The message this night was clear: Animal Collective is at its best with every member.

Time Skiffs marks their first record in six years, featuring childhood friends and all four founding members, and that fact wasn’t lost on the fans who eagerly packed the stage. “Dick! Deck! Dick!” As the night began, there was a rousing response to the joyous sight of seeing everyone back on stage.

As the opening song evolved into a live jam session that blossomed into “Chores,” the wonderfully insane track from the classic 2007 album Strawberry Jam , the crowd began to move with the excitement that accompanies a long-awaited reunion.

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“Kansas City did not disappoint,” Portner told The Pitch by phone Friday while preparing for that night’s show at the Rose Music Hall in Columbia, Missouri. “We’re always blown away by the enthusiasm of the crowd these days.”

Playing Kansas City for the first time since 2013, Animal Collective put on a rousing, life-affirming show through a mix of old classics, unreleased tracks and highlights that already sounded like new standards. Like any good concert, the feeling in the room Thursday night was one of connection — a shared sensation of energy that radiated from the stage to the crowd and back to the stage. That was pretty much the intention.

Portner explained during our call that the band doesn’t try to hold anything back on stage, feeding off each other and the crowd. Sometimes, he said, playing a song is like “floating in the atmosphere,” coming from within himself and his connection with others.

Such a relationship has become more important for the animal collective and for everyone after the last two years of lockdowns. It doesn’t seem that long ago, Portner said, that the band members were

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