'Ghost' Isn't Quite Ghastly, but I Still Say "Boo" -- Chicago Theater Review

Theater Review

Ghost: the Musical

Oriental Theatre, Chicago

Thru January 19
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It's like deja boo all over again.

In the fall of 2011, I did a stint as a proofreader at a downtown Chicago ad agency specializing in retail sales circulars. When the assignment ended at Thanksgiving, I took advantage of my friend Paolo having been sent to London for work and put up in a corporate flat he said I could share.

So thanks also to my frequent flyer miles, I went to London (and also Paris) on the cheap, and while Paolo's days were spent working, at night we frequented West End theaters. We saw Michael Jackson's Thriller Live, Priscilla: Queen of the Desert and Ghost: The Musical.

At the time, Ghost was rather new in London—and yet to arrive on Broadway for an abbreviated run—and while the reviews I saw weren't glowing, they also weren't quite awful.

I can't say either Paolo or I were devotees of the movie Ghost, starring Patrick Swayze and Demi Moore, but it was a rather popular and somewhat storied film. So although there was another new musical in London—Matilda—that was garnering great reviews, the allure of the movie and seemingly passable reviews led us to buy discount TKTS for Ghost on what was my last night in London.

As soon as the lights came up for intermission, Paolo turned to me and said, “This is the worst musical I've ever seen.”

I couldn't disagree.

Cut to January 2014. For the last several months, I have been working at the same ad agency I was at in
late 2011. It is again a freelance proofreading stint, but has lasted a bit longer this time. And on Wednesday night, Paolo and I (and our friend Sarah) again saw Ghost, as a national tour of the poorly reviewed and quickly shuttered Broadway version.

Photo credits: Joan Marcus

And at intermission, Paolo turned to me and said, "This is still the worst musical I've ever seen." 

To be fair, although I can't readily think of a musical I thought was worse—perhaps Blood Brothers, which both Paolo and I despised on separate viewings in London—neither he, Sarah or I felt Ghost was unwatchable, leave-at-intermission bad.

It is a lousy musical, and all the more disappointing due to the pedigree of its creatives—Ghost movie screenwriter Bruce Joel Rubin wrote the book and some lyrics; the music & lyrics are credited to Dave Stewart of the Eurythmics and schmaltz-pop tunesmith Glen Ballard; the show has been directed since its London debut by noted British director Matthew Warchus, whose credits include the wondrous Matilda, which I saw while in London in 2013—but in an acute sense, Ghost wasn't awful to the point of making me angry.

There is no real depth or soul to any of the material onstage, but the performances from the non-Equity touring cast at Chicago's glorious Oriental Theatre were earnest, if not exceptional.

Katie Postotnik who plays Molly, the Demi Moore role from the film, is rather attractive and likable, and while her voice doesn't quite seem to have the tenor and timbre of a Broadway star, the songs she is given to sing don't do her vocals any favors.

In a show where the songwriting largely seems facile, the worst culprits are probably Molly's solo numbers. It's a shame that Stewart (who helped pen "Sweet Dreams (Are Made of This)" and other Eurythmics hits) and Ballard (co-writer of such hits as “Man in the Mirror” for Michael Jackson, “Hold On” for Wilson Phillips and “You Oughta Know” for Alanis Morrissette) couldn't produce more distinctive songs about sorrow and perseverance than the bland “With You” and “Nothing Stops Another Day,” respectively.

I would suggest that on some subversive evening, Postotnik substitute the Sondheim chestnuts “Losing My Mind” and “Not a Day Goes By” for the two tunes mentioned above, if only to see how it feels to sing songs that insightfully convey emotions, rather than merely reference them.

Complementing Postotnik is Steven Grant Douglas, sufficient but nothing special as Sam, the Patrick Swayze character. Granted, I was sitting way up in the balcony, but he didn't seem to bring anything distinctive to the role.

Nor for that matter did Robby Haltiwanger as his friend, Carl, who—well, I won't ruin a 24-year-old movie or even its miserly stage musical. But his smarm seemed to be lacking the proper amount of pretentious slickness.

As psychic Otta Mae Brown, the role that won Whoopi Goldberg an Oscar, Carla R. Stewart is rather fun, though pretty much acts exactly as you'd expect her too and veers to the edge of racist caricature. But if her songs were a bit better, she could really be the standout in this show.

Which is kind of like being the prize winning Shar Pei in an ugly dog contest.

But while Ghost the Musical is pretty much a dog of a show—and this review is actually kind compared to the bashing Chris Jones bestowed in the Chicago Tribune—it does have some interesting new tricks.

Echoing the world premiere London production, this version of Ghost uses more videography than any
musical I've seen, largely to establish scenery on the streets and subways of New York City.

Though at times, the video backdrops seem cheesy—and cheapen the experience of seeing live theater in a large downtown venue for up to $100 for prime seats; fortunately as subscribers, we paid about a tenth of that—but there were times when the videography was rather ingenious, particularly when it evoked a New York subway car in motion.

So while I wouldn't really recommend it to anyone—even readily-available discount tickets on HotTix will set you back over $50 including fees—Ghost isn't a complete abomination from beginning to end; it's just subpar, with even the movie's famed pottery scene being oddly short-circuited.

But the non-Equity touring cast doesn't make the show seem any worse than I recall it in London, and there's certainly nothing about the efforts of anyone onstage that I would criticize.

It's not even impossible to perceive that occasional theatergoers with non-discriminating tastes might even adequately enjoy Ghost the Musical (though I also imagine those who love the movie might not want to mess with their recollect).

But as for Paolo and me, we're still haunted.

Superb Singing Makes for a Grand(age) 'Madama Butterfly' -- Chicago Opera Review

Opera Review

Madama Butterfly

by Giocomo Puccini
Original production direction by Michael Grandage
Revival direction by Louisa Muller

Lyric Opera of Chicago

Thru January 26

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I think I like opera more the less I go.

About a decade ago, already an aficionado of musical theater, I decided to explore opera and eventually became a full season subscriber to the Lyric Opera of Chicago for 5 seasons.

While I saw, and enjoyed, many magnificent works and productions, I never came to “feel” opera on an emotional level like I do with the best of Broadway, rock 'n roll and jazz. But getting to 8 operas a season was also a bit much, both in terms of effort and experience, and I think it may have been somewhat counterproductive in acclimating to the operatic art form.

In more recent years, I've gone to an opera or two each season, typically picking more dilettante-friendly operas by the likes of Puccini, Mozart, Verdi and Richard Strauss, plus the Lyric's lavish stagings of musicals like Show Boat and Oklahoma.

On Tuesday night, for the first time in the Lyric's 2013-14 season, I went to such an opera: Puccini's Madama Butterfly. Although this was somewhat chosen for me—my friend Paolo bought tickets for us to go as a birthday present—and I had seen it twice before at the Lyric, my memory is such that it felt new and exciting.

And entirely lovely, if not exactly uplifting. But then, most operas—which often tend to be melodramatic—do not end on a happy note.

I am not enough of an opera buff to provide much of a critical assessment, and this one still didn't quite get me in the gut, but I enjoyed everything I saw and heard.

While even from the upper balcony, it was hard to perceive Patricia Racette as a teenage Japanese girl—i.e. the titular Butterfly—her singing was exquisite (flawless as far as I could tell, and per Paolo, better than the star who sang the role during the production's October run at Lyric), as was Stefano Secco as Pinkerton, the U.S. Navy officer who marries and then desserts her as she yearns for him with an unwavering yen.

Although the story is rather simple—and the basis for Broadway's Miss Saigon—I appreciate Madama Butterfly as being an ideal opera for novices, not just due to Giocomo Puccini's lush score, but because unlike other operas I've seen, the libretto by Giuseppe Giacosa and Luigi Illica isn't cluttered or complicated by too many characters.

The current Lyric production is based on one originally staged by noted British theatrical director MichaelGrandage for the Houston Grand Opera, and employs rather minimalistic scenery. Though devoid of the splendiferous spectacle of more lavish productions—even of Madama Butterfly, which I can't specifically recall but which Paolo scenically prefers—I liked how this staging echoed the sense of simplicity and serenity found in Japanese art.

At a couple of junctures, the pacing got a bit too slow for my tastes, and given the relatively small cast of characters, Madama Butterfly doesn't have many of the vibrant choral pieces that I particularly enjoy. Still a handful of collective songs were powerfully rousing and Racette's take on Butterfly's aria near the beginning of Act II—"Un Bel Di" = one beautiful day—was wondrous, along with much else.

As I intimated above, this shouldn't be mistaken for a scholarly or expert review, but it is a recommendation.

Whether you're an avowed opera lover, a complete beginner or, like me, a dabbler, this rendition of Madama Butterfly should delight your senses and further your appreciation of the art form.

And especially as there were more empty balcony seats than I ever recall at the Civic Opera House, especially for a Puccini opera, the Lyric needs to expand—and lower the average age—of its audience base.

So if you have ever thought it might be nice to take in an opera, there's no need to—à la Butterfly—continue to wait for your ship to come in. The 4 remaining performances of Madama Butterfly should provide the perfect opportunity.  

An Appetizing Walk on the Mild Side of Las Vegas -- Travel Recap

Over the past weekend, I spent about 50 hours in Las Vegas, not counting time in the airport or transit.

Only a sum total of about 2.5 hours were spent gambling. (I wound up about $30 down, combining blackjack and football bets, but not the $5 I put on the Cubs to win the World Series nor the $200 I expect to collect in November.)

I didn't not hire any hookers, see any strippers, hang out with any hotties, rave out at any nightclubs, lay out by any swimming pools, get any massages or do any shopping.

I did not drink, except for a single glass of Riesling with one dinner, and I did not get less than 8 hours of sleep each of the two nights I was there.

I did not attend the Consumer Electronics Show or any other convention.

And unlike on past trips to Las Vegas, I did not drive out of the city to see the Hoover Dam, or Bryce and Zion Canyons in southwest Utah.

So I wouldn't blame you for wondering, as my friend Jordan asked when I told him I was there: 

"What the hell are you doing in Las Vegas?"

(To be clear, I am no longer in Vegas as I write this.)

Or even, "Did you have any fun?"

Well, to answer the last question, "Yes."

I enjoy Las Vegas, and have been there at least 5 previous times, but not since 2005. I don't like Vegas nearly as much as New York City or European destinations--and thus have not visited as often in recent years--but it felt like an opportune time for a return visit.

And though I've gone there, and practically everywhere else by myself, I was glad when my friend Dave said he would go with me.

But what did we do?

1. Ate Well - On Friday night, Dave and I had the best steaks either of us recall tasting, at CUT, a steakhouse by Wolfgang Puck located at Palazzo (connected to the Venetian).

These were ribeye steaks made of American wagyu beef, which comes--if I got this right--from steer sired by mating Idaho-bred cows with Japanese counterparts.

Although I had also read great things on Yelp about an appetizer called Bone Marrow Flan, we found this to be nothing special, nor the potato puree we got as a side dish.

But the steak was outstanding, and slices of various types of bread were terrific.

And, at least for me, this wasn't the culinary highlight.

Ever since I first visited the Bellagio, around this time in 1999, I've been intrigued by Picasso, an upscale restaurant featuring numerous paintings and other artworks by Pablo Picasso upon its walls.

It has been awarded 5 Diamonds by AAA every year in its existence and is considered one of the best restaurants in Vegas.

I don't consider myself a gourmand, but I appreciate the creativity--and taste--of cooking at the highest levels. And I am intrigued by Vegas being a place where you can eat concoctions by myriad top tier and/or well-known chefs. Joel Robuchon, Bobby Flay, Mario Batali, Jean Georges Vongrighen, Puck and many others all have outposts in LV.

Admittedly, I only know the name Julian Serrano due to his connection with Picasso, but unlike the other superstar chefs he is on-site in the kitchen every night (despite also having a namesake restaurant at the new Aria resort).

I have eaten at a handful or two of "world-class" restaurants (including Charlie Trotter's and Alinea in Chicago), yet won't deny that if ever faced with having to choose a "last meal," I would choose a great slab of baby back ribs, Chicago-style pizza or even a char cheddar Polish from Poochie's over anything I ate at Picasso or a comparable restaurant.

But including the sensational food, setting, scenery and service, it may well be the most exquisite meal I've ever eaten (or ever will). Picasso's pricey prix fixe--i.e. set price--menu options didn't appeal enough to Dave to be worth the splurge, but he joined me at the beginning and end of the meal and appreciated the sumptuous setting (before heading to a Bellagio snack bar for chicken wings he said were quite good).

Not only were there Picassos on the wall within a beautifully-appointed restaurant, but staring across the Bellagio pond at the Paris's faux Eiffel Tower, we had a bird's eye view of the Bellagio's trademark fountain show (from behind).

And everything I ate from the 5-course degustation menu--lobster salad, a scallop, seared foie gras, lamb and a chocolate fondant cake, plus tons of sensational break--was "OMG!" good.

I could try to describe each course, but would waste many more paragraphs simply saying that everything was absolutely delicious.


Many experiences one looks forward to this much can only disappoint, but abetted by outstanding, friendly service at every turn, this one didn't.

If this post was merely a review of the meal, my headline would be:

'Picasso' Paints a Culinary Masterpiece 

(I should give a shout out to my waiter, who was terrific, but I don't recall his name.)

On Sunday, we had a terrific brunch at the Aria Buffet, where I consumed eggs, waffles, bacon, French toast, prime rib, maki (sushi), crab legs, salmon, cupcake, apricot rugelah, various other sweets and Bananas Foster.

And even a more mundane breakfast on Saturday at a cafe called Tropical Breeze within our hotel, the Flamingo, turned out to be terrific with my order of Banana Caramel French Toast.

Other food highlights include a Kouign Amann from the Vegas outpost of Bouchon Bakery--long an NYC favorite of mine and affiliated with the Vegas location of Bouchon, from another famed chef, Thomas Keller--a Pain au Raisin at Paris, Ben & Jerry's ice cream and a hot dog made from Kobe beef at the Haute Doggery.

Dave and I have frequented gourmet hot dog stands in Chicago--Hot Doug's, the Chicago Dog House--and in wanting a quick lunch upon arrival on Friday, it was fortuitious to stumble upon the Haute Doggery right outside the Flamingo.

2. Saw Shows - Along with eating at Picasso, my primary desire for this trip to Las Vegas was to see The Beatles LOVE, a Cirque du Soleil show featuring recorded Beatles classics.

It had opened at the Mirage in 2006, so I'd never seen it, and though Dave had seen it twice, he was happy to do so once again.

I wouldn't say I quite LOVEd it, but did like the show and am glad I saw it.

Any show featuring Beatles songs played at high volume can't be bad, and I always appreciate the impressive aerial acrobatics of Cirque du Soleil. But I think I might just as much have enjoyed a completely different set of Beatles classics woven together with entirely different acrobatics.

While I know that CdS doesn't feature linear storytelling, the show teased enough with Beatles biography and a quasi-cogent theme of seeking LOVE to make me wish both strains were a bit more acute.

Any Beatlemaniac is likely to enjoy LOVE, but I'd rank it below seeing Paul McCartney live, taking in a top-notch Beatles tribute band (my favorite is American English) or watching A Hard Day's Night or even just classic Beatles clips.

We saw LOVE on Saturday night at 9:30, after my Picasso dinner. There was no pre-planned Friday show, especially as we wanted the steak dinner at CUT more than catching a 7:00 show, which was surprisingly the curtain time for more than a few.

So that ruled out Mike Hammer, a magician at the downtown 4Queens and a childhood friend of a co-worker of mine. And though I'd read good things about Absinthe, a Cirque-type show at Caesar's Palace, when we checked at Tix4Tonight (a ticket discounter with several Vegas locations), no tix were available.

We decided that $23 for a 9:30pm LA Comedy Club show at Bally's offered an appealing combination of price, time and location (Bally's is across from the Flamingo).

This is basically a comedy club with revolving comedians, and our headliner was a guy named Ben Morrison, a Jewish--he told us--comedian from LA whose credits include Last Comic Standing and Punkd.

He was enjoyable if not brilliant, which can also be said for three opening stand-ups, including Jack Jr. But as hoped, it proved to be a comfortable, low key venue in which to take in a performance on our first night in town.

3. Walked Around - As mentioned, we stayed at the Flamingo, which I feel is perfectly located in the middle of the strip.

This allowed us to easily wander to other casinos, whether for shows, dinner or just to check them out. On the Strip we got to The Quad (formerly Imperial Palace), Harrah's, Venetian/Palazzo, Wynn, Bally's, Planet Hollywood Hotel, Paris, Bellagio, Mirage, Aria and Cosmopolitan, some multiple times.

We took a cab to the Hard Rock Hotel, had a nice walk back to the Strip and took a bus to & from downtown Las Vegas, where we walked down Fremont Street and gambled within the Fremont Hotel and Golden Gate.

Many of the big hotels have shopping centers as part of their complex, and the ones at Venetian and Aria are architecturally impressive, though we didn't do any actual shopping. I particularly enjoyed the old school charm of downtown Vegas.

4. Gambled - I only play Blackjack and Dave's game is Craps. At each, we prefer tables with $5 minimums, which are nearly extinct in modern Vegas.

Most tables on the strip seem to start at $15, with a few $10, though the Margaritaville casino within Flamingo did have one $5 table that I eventually played.

On Friday afternoon, we did play for awhile at $15 minimum tables at the Venetian—after finding even higher options at Wynn and the Palazzo—and certainly there was nothing wrong with the plush environment. And don't get me wrong, I enjoy the opulent décor of the modern resorts, particularly the ones that mimic Venice or Paris, etc., and this kitschy and/or hip design often carries through to the casino floors (those in Aria and Planet Hollywood seemed particularly modernistic).

But for gambling more our speed, our Saturday afternoon trek to downtown Vegas was clearly the best bet.

Between the $5 blackjack minimum tables with ready seating, allowing my money to last longer—craps tables had a $3 minimum—and the tenor of the dealers and other gamblers, I really preferred the vibe downtown to that within the posher strip casinos.

We took the 301 bus from in front of Paris down to Fremont Street, which is covered for a 2-block stretch, but we were far too early for the Fremont Street Experience light show. We wandered into the Fremont Casino and had some lunch at Lanai Express, akin to a Panda Express. The disparity between my Saturday lunch and dinner wasn't lost on me.

I then played blackjack, at a table with 3 smokers, but somehow it seemed proper; there is no smoking in the Strip casinos. David settled in at a craps table and we stayed put for awhile, until I opted to venture down to the Golden Gate, supposedly the oldest casino in Las Vegas, dating back to 1906.

I played some more blackjack and especially enjoyed the old school feel, including displays of classic
slot machines and photos of the casino's history.

The bus ride back to the Flamingo was a bit of an experience, with a woman screaming and supposedly hitting the bus driver. We didn't see it since we were seated on the bus' top level.

In addition to the table games, we had fun placing bets in various Sports Books (mostly at the Flamingo). Beyond the $5 I put on the Cubs at 40-1, I also bet the Tampa Bay Rays to win the World Series at 20-1. Dave bet the Rockies at 60-1 and Royals at 40-1.

And with it being an NFL football weekend, we bet the two games on Saturday and early one on Sunday. I won 2-of-3, getting lucky that the Saints got a late touchdown to beat my 9-1/2 point spread. I also won on the 49ers, but lost on the Colts +7 vs. the Patriots.

It was also fun watching part of the games in the Sports Books or on screens within the casinos. So although we didn't do a ton of gambling, nor win or lose enough to make it notable, we did enough to add to the experience of being in Vegas.

5. Enjoyed Our Stay - I had booked the trip through Travelocity and got a pretty good deal that included round-trip airfare on Spirit Airlines out of O'Hare and two nights at the Flamingo for $535. So perhaps it was understandable but nonetheless annoying to keep getting hit up for additional charges. 

Spirit charges $45 per checked bag and $50 for each carry-on. Luckily, I avoided the latter by downsizing on the way to the airport to a bag my mom had that was small enough to count as a free personal item.

Spirit also charges for anything you might want to eat or drink—though not egregiously—and because we didn't pay $18 each to specify our seats, Dave and I did not sit together on the return flight.

Upon arriving at the Flamingo around Noon, we were informed that there was a $25 fee for early check-in—we opted to come back later—and couldn't avoid being assessed a $20 per person “Resort Fee” that I can't really explain.

The outbound Spirit flight had a squeaky wheel that produced a highly annoying loud grinding noise upon elevation and landing, and my sink at the Flamingo had an incredibly slow drain.

But other than these petty annoyances, everything about the air and hotel worked out really well.

The flights were on-time and smooth, rooms large, beds comfortable, etc.

And as I noted above, the Flamingo is ideally located, making it easy to walk to the Venetian, Bellagio, Bally's, Paris, Aria and more.

It certainly isn't the most lavish of Strip hotels, but the room I stayed in would easily cost $500 per night in New York or a European capital.

And with the low-minimum Margaritaville casino, natural habitat featuring flamingos, pelicans, parrots and a plaque commemorating Bugsy Siegel out back, fine breakfast cafe in the Tropical Breeze, and more, the Flamingo is a hotel that I would recommend, and happily stay at again. Not that I feel any need to get back to Las Vegas anytime soon.

Dave and I both enjoyed ourselves sufficiently, and I did a few things I've long wanted to, but 50 hours turned out to be plenty.

I even said to Dave on Sunday, “If we were staying tonight, what would we do?”

Other than a couple of other shows that caught our eye, he really had no idea and neither did I.

So I got my fill of Vegas without much damage, enjoyed LOVE and had a dining experience I'll never forget. Or actually, two. 

So even though not much happened in Vegas that had to stay there—or did it?—am I happy I went? 

You bet.

With 'High Hopes,' Springsteen Meets Mine -- Album Review

Album Review

Bruce Springsteen
High Hopes
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Although I always have High Hopes whenever a new Bruce Springsteen album is announced, given the Boss' smorgasbord approach to his so-named latest release—including cover songs, outtakes and tunes long part of his live canon—I didn't expect this would be a record to rank with his masterpieces, nor even exceed most of his 21st century output.

But, except for the bulk of Human Touch, there has never been a Springsteen album I haven't found enjoyable and worthwhile—even Working on a Dream was pretty solid beyond the title song and cover art—and this continues with High Hopes.

No, it is not Born to Run or Darkness on the Edge of Town, nor even The Rising or Magic. If you are not a Springsteen fan, this is not the album you should start with.

But while all the songs were written awhile ago and have never made their way onto a studio album, despite lacking the thematic cohesion that earmarks Bruce's best records—including 2012's Wrecking Ball—High Hopes is by no means a "throwaway" album.

Some Springsteen fanatics might begrudge the fact that 6 of the album's 12 songs are already familiar, thanks to renditions heard in concert, on official or bootleg live recordings or via YouTube clips. This serves to make High Hopes not truly sound like a "new" album, and it also lacks the vast sense of hidden treasure that accompanied archival releases like Tracks, disc 3 of the Essential Bruce Springsteen or The Promise.

But—after several streaming listens ahead of the album's official release on Tuesday—I really like it.

Sure, there are the songs I've heard before—"American Skin (41 Shots)," "The Ghost of Tom Joad" (electrified, with Tom Morello's staggering guitar solo's), "The Wall" and 3 covers that also aren't entirely new for Bruce: the title song, "Just Like Fire Would," "Dream Baby Dream"—but they all sound good and many are souped up from past renditions due to the participation of Rage Against the Machine's Morello, who toured Australia last year with the E Street Band when Steven Van Zandt was off filming Lilyhammer in Norway.

And while I'm still acclimating to the previously unheard songs, and not yet finding any of them to be tunes I'd want swapped out for "Badlands" or "Backstreets" the next time I see Bruce live, all of them are pretty strong and, honestly, better than most of what passes for new rock music these days.

They may not be as operatic or anthemic as the songs that made Springsteen a superstar, but "Harry's Place," "This is Your Sword," "Heaven's Wall," "Frankie Fell in Love," "Down in the Hole" and "Hunter of Invisible Game" are all quality works that were obviously not lightly selected from the Boss' vast backlog.

I particularly like rousing "Heaven's Wall," which infuses gospel as it rocks, and the fun "Frankie Fell in Love," which works in Einstein and Shakespeare sharing a beer, but the others are sounding good as well.

I've read some other reviews that decry Morello's guitar stylings—he plays on several tracks—as not meshing with the sound of the E Street Band. I haven't noticed this at all and appreciate how he has brought some new vitality; I wouldn't mind seeing Springsteen and him collaborate on truly new material.

So far, High Hopes—understandably given the cover songs and the way it was cobbled together—hasn't had me overtly dazzled by the lyrics (except for "American Skin" and "The Ghost of Tom Joad").

And I don't foresee that I or anyone—including the Boss himself—will ever cite High Hopes as one of their very favorite Bruce Springsteen albums.

But having created a legendary legacy by the time he was 35, I'm impressed by how strong Bruce's work has continued to be in the 21st century. In fact, I don't think any other rocker has ever been as prolific, passionate and just plain great past the age of 50—both on record and even more so on stage—as the now 64-year-old Boss.

If you're hoping for this album to be a bold, brilliant artistic statement to equal Springsteen best work, you're apt to be disappointed. But if you can be contented with a group of high-quality songs that sound good, fit adequately well together despite their disparate origins and make for an enjoyable listen—repeatedly—meet the new Boss, same as the old Boss. 

Especially with the ability to hear it for free—here for now and on Spotify upon official release—there is no reason not to check out High Hopes, which has sufficiently met mine.

The Chicago Dining World Tour: Aloha Eats Provides Hawaiian Treats

Aloha Eats

Hawaiian

2534 N. Clark, Chicago

773.935.6828

Website

What I ate: Pork Katsu w/Katsu sauce, macaroni salad, white rice

Throughout 2013, as I ventured to local eateries of varying ethnic and cultural cuisines as part of my Chicago Dining World Tour, I planned on visiting a Hawaiian restaurant.

And I thought it would provide a nice excuse to get to Roy's, an upscale Hawaiian fusion restaurant whose North State Street outpost was one of several nationwide locations (including several in Hawaii).

I've never eaten at Roy's, and having heard nothing but good things, have wanted to try it for awhile.

But when I mentioned my desire to eat Hawaiian food to my friend Dave, who has accompanied on many of my "Sethnic dining" excursions, he reminded me that I had eaten with him--a couple years back--at a Hawaiian restaurant in his neighborhood called Aloha Eats.

And when an opportune night came around, spending $12 to once again eat at Aloha Eats vs. a likely $60 at Roy's not only appealed to my budget, but seemed to portend a possibly more authentic glimpse into Hawaiian dining.

So Dave and I went to Aloha Eats, at 2534 N. Clark, for a bit of Hawaiian food on a rather chilly Chicago night.

Although more standard soft drinks are available, the restaurant--run by a Hawaiian native--imports Aloha Maid canned juices from the islands. (Another patron inquired and was told the drinks weren't otherwise available in Chicago.)

I ordered Pineapple Orange--two of my favorite flavors--and enjoyed it very much.

It's been a few weeks since our dinner, so I forget what Dave had to drink, but I know his meal was a Mini Plate of Hawaiian BBQ Chicken = boneless and skinless chicken marinated in our home-made teriyaki BBQ sauce then grilled on a flattop grill.

As a mini plate, his chicken came with 1 scoop of rice and 1 scoop of macaroni salad (vs. the standard 2), and a smaller portion of chicken.

But it was still fairly sizable and as something that Dave has commonly enjoyed, he did again. 

I selected my dinner entree from the menu section titled Plate Lunch, whose selections are served all day & night and come with 2 scoops of rice and 1 scoop of macaroni salad (substitute either side or all sides for fries).

What I got--as I had on my prior visit to Aloha Eats--was: Pork Katsu = Boneless slices of pork breaded with premium Japanese bread crumbs, fried, and chopped into smaller pieces. Served with our home-made sweet and tangy Katsu Sauce (or Brown Gravy instead on request).

I got the Katsu sauce, which is delicious, as were the strips of fried pork.

Perhaps not the healthiest choice, but much tastier and more enjoyable than a different type of fried pork I recently had at a Haitian restaurant.

The macaroni salad and rice were also good.

Having never been to Hawaii, I don't know what types of meals are commonplace there, but have to assume Katsu is, as Aloha Eats also offers Chicken and Tofu versions.

And I was somewhat surprised to learn how popular SPAM is in Hawaii, as numerous SPAM selections can be had at Aloha Eats, including SPAM Musabi (Hawaiian hand-rolls: a thick block of warm rice lightly seasoned with our teriyaki sauce, topped with a hot topping, and wrapped in a belt of nori (dried Japanese seaweed) and SPAM Saimin (a noodle soup).

I asked the (non-Hawaiian) girl working the counter about this and was told that Hawaiians eat the highest amount of SPAM per capita, with most having grown up on it. There are, I was told, SPAM banks in Hawaii, in case other foods wind up in short supply.

Well, in addition to having never been to Hawaii, I've never in my life eaten SPAM.

While I hope to one day remedy the former, I don't feel any great need to resolve the latter. Even though a patron sitting next to us insisted that a SPAM dish was terrific (his wife also remained skeptical).

And though I still want to get to Roy's, Aloha Eats provided, yet again, a tasty entrée into perhaps more pedestrian, but nonetheless terrific, Hawaiian cuisine.

The Chicago Dining World Tour: A Nearby Location for Haitian Placation

Kizin Creole

(formerly Chez Violette)

Haitian

2311 W. Howard, Chicago

773.961.7275
Yelp page

What I ate: Pate (appetizer), Fried Plantains, Griyo, Pineapple Cake

Although it is rather unique and was ultimately satisfying—if not quite sensational—Kizin Creole isn't a place I'd suggest going on a first date.

Or even with anyone particularly particular.

Located in a low-lit storefront on the south side of a rather nondescript section of Howard St. between Ridge and Western, it isn't easy to find. I drove past it, back and forth, as least four times, despite knowing the address.

Of course, it didn't help that the sign—which still says Chez Violette, the restaurant's former name—also was unlit.

As far as I could tell, there is no parking lot nor street parking on any stretch of Howard near the restaurant. I parked on a side street across Howard, and waited about 5 minutes until it was safe to cross.

The restaurant is surprisingly large and has several nice pieces of (presumably Haitian) art, but maintains a bit of a scattershot, unfinished feeling.

Though there were only two other tables in use when I arrived, it took a good while to be greeted and service throughout my meal was rather slow.

And while I enjoyed the recorded Haitian music that accompanied my meal, even if one's companion didn't mind the musical stylings, it's possible they might not relish the volume at which it was played. 

So it was probably for the best that I visited Kizin Creole alone on a Friday night, with no time constraints and an understanding that some small-operation-ethnic-restaurants may not always dazzle with their “production values.”

I was served by a friendly waiter who helped guide me to two appetizers. One was Pate, not to be confused with pâté.

This was a "savory and flaky Haitian patty flavored with a blend of Caribbean spices. Choice of Proteins available in Chicken. Beef, Vegetables."

I chose beef. Although the shell wasn't really like that of an empanada--part of many Caribbean and Central/South American cuisines--the concept was similar. And it tasted very good.

So did the Fried Plantains, or as it said on the menu and my receipt, Bannann Peze.

These came in a choice of salty or sweet, and though I don't recall having specifically selecting salty, that's what I got.


I pretty much love plantains of any ilk, be they fried, sweet, salty, etc., and I sufficiently enjoyed what I got, but felt the plantains--which were more solid than soft--could have used some kind of dipping sauce.

The waiter indicated that there was no standard sauce or dip they had to accompany the plantains, but offered and brought some pork gravy I would use with my entree.

Other than providing something a bit wet to soften up the plantains, this wasn't much of a solution.

I was also a bit perplexed by the--as warned by the waiter--extremely spicy Haitian cole slaw that came with the plantains. Now normally, if you asked me how spicy I like things on a scale of 1-to-10, I would say about 4. I like some flavor but not disintegrating my taste buds.

Well, this cole slaw went to 11. And I just had a tiny taste. 

If Haitians or other patrons of Kizin Creole enjoy it, more power to them, but it didn't do me much good.

Shame, too, because I usually enjoy cole slaw and theoretically would have wanted to try a Haitian rendition.

Even more inedible--for me--cole slaw came with my main course, which was Griyo = Fried Pork seasoned and marinated cubed pork shoulder fried to perfection. Served with choice of side, Haitian slaw and a small salad. 

I got the Griyo with rice & beans, which not being too overpopulated by kidney beans (which I don't really enjoy), were rather tasty.

The pork wasn't bad, but a bit bland. The cubes weren't deep fried like Chinese sweet & sour pork, but without much apparent batter were somehow fried to the point of being hard on the outside and relatively soft on the inside.

Employing the gravy, the pork was edible, but not really incredible. The rice & beans made my entree worthwhile--and some leftover pork made for a decent second meal--but the griyo is probably not something I would order again.

For a beverage, I chose something that was listed on the menu as Fruit Juice, and on my receipt as Ji Grenadya with Milk (it can also be made with water).

I ordered the Passion Fruit variety and the result was rather similar to the Jugos en Leche I had had at La Parrilla, a Colombian steakhouse. As I said then, the result was something between a milkshake and smoothie, and rather delectable.

I was probably full enough not to need dessert but was intriqued by Gato Ayisyen = Pineapple Cake. This wasn't on the menu but cited to me by a waitress who seemingly had taken over for the waiter (or was at least assisting him).

Pineapple is one of my very favorite of all flavors and the cake was surprisingly moist for a rather solid looking hunk.

I didn't finish it all, but it went well with the leftovers I would consume on a subsequent night.

All in all, Kizin Creole fit in well with the (unwritten) manifesto of my Chicago Dining World Tour, which involves discovering and trying local restaurants representing different cultures, the more unique or exotic the better.

It was explained to me that Kizin Creole is under new management from the former Chez Violette, so while they seemingly have some wrinkles to iron out, I hope they do. This is the type of mom & pop-seeming establishment I enjoy supporting, so I look forward to a return visit--with some alternate menu choices--somewhere down the line.

Even if again, all by myself. 

A Self-Indulgent Recap of 2013 (and the best of all the rest)

2013, for me, feels like it was a really good year.

I say this without any emphatic evidence, overt rationale, measurable successes or demonstrable self-improvement.

I did not land a terrific job, and while I am grateful for the 7 months I did work, a supposedly permanent job turned out to be temporary, an exciting freelance opportunity turned out to be fleeting & unfulfilling and the contract role I'm currently in doesn't offer much in the way of creative challenge or professional development.

I did not find true love, or at least it didn't find me.

I did not lose weight, even though I should have.

I did not write a book, play or movie, and really didn't create anything tangible. 

I did not move up in the world, or even increase my net worth, which likely still remains in the red.

On a personal and professional level, I experienced a number of disappointments, and don't mean to imply that 2013 was all a bowl of cherries. Or even Frosted Flakes.

I remained incredibly chagrined by the state of the world, including ongoing nonsense in Washington, and not at all coincidentally, on Wall Street. I believe the system might be irrevocably broken, and the employment marketplace--despite the misleading shrinking unemployment rate--remains in shambles.

I am pessimistic of anytime soon, if not ever, securing steady work that makes thorough use of my talents.

Photo credit: AP Photo/Charles Krupa

Heck, the only real highlight of a brutally dismal year in Chicago sports--the Blackhawks winning the Stanley Cup, in exceedingly dramatic fashion--happened entirely while I was in Europe. Hence I didn't see a single minute of the Finals. (Live, that is; I subsequently watched the final 2 minutes.)

Still, as I sit here on New Year's Day, just two days removed from a medical test that revealed no issues of imminent concern but reiterated the need to shape up, and also--arising on the way to the hospital for said test--a car problem that required $736 for repairs I cannot name, I can't help but feel good about the past 12 months.

And with healthy cynicism ever-present, I am looking forward to what 2014 brings.

Before I get to travel and entertainment and culture and dining and this blog and whatever else I pursue to pretend my life has a purpose, let me start thanking the family and friends who truly comprise the highlight of this year...and all others.

I'll never be the person with the most friends, or even relatives with whom I'm close. But over the course of the year, I have gotten together with a number of relatives and at least a couple dozen different friends, some recent, some dating back 40 years.

All cherished. 

I have shared one-on-one meals with about 15 different people, several as part of my Chicago Dining World Tour "Sethnic dining" excursions (more on that below).

And I hosted seven Movie Nights, each attended by a good smattering of family & friends.

Plus I enjoyed using Facebook to share the articles I posted here, interact about music, movies and more, and offer the more-than-occasional inane comment.

Certainly, as this blog should convey, I derive plenty of pleasure and nourishment from entertainment, and over the past week I posted my picks for the Best Albums, Concerts, Plays, Musicals and Movies I enjoyed in 2013.

While I rue that there aren't more new musical artists who excited me, any year that sees the unexpected return of David Bowie and terrific concerts by Bruce Springsteen (who I saw at London's Wembley Stadium), The Rolling Stones, Paul McCartney, Pearl Jam (at Wrigley Field), Leonard Cohen, Elton John, Brian Wilson, Bob Seger and more has to be considered a pretty good one.

I won't reiterate what I wrote in my Best of 2013 posts, but in addition to the genres I covered, I wanted to cite the following:

Television - I don't watch many of the most highly acclaimed shows--e.g. The Walking Dead, Breaking Bad (I started Season 1 and intend to watch more)--but my favorites were The Good Wife, Person of Interest and Orange is the New Black. HBO's documentary on Stephen Sondheim, Six by Sondheim, was absolutely terrific; I've long been a fan and still learned a lot.

Books - I only read 8 books in full during 2013, but enjoyed them all. These include Bruce (by Peter Carlin), Inferno (Dan Brown), Never Go Back (Lee Child), The Art Forger (B.A. Shapiro), Joyland (Stephen King), Trust Your Eyes (Linwood Barclay), Brilliance (Marcus Sakey) and likely my favorite, Six Years by Harlan Coben. (Links go to my reviews.)


Jazz - I love hearing great saxophonists, and tremendously enjoyed Chicago concerts by Ravi Coltrane and Joshua Redman. I also really liked the shows I saw while in Krakow, Poland, at the Harris Piano Jazz Bar and La Muniaka. And I wish I had gotten to Davenport, Iowa just a bit earlier so as to have heard more of Bix Lives, that city's annual tribute to native son Bix Beiderbecke.

Misc - I caught a good stand-up comedy show by Joel McHale of TV's The Soup and saw an excellent bluegrass performance by mandolin virtuoso Sienna Hull and her band.

In addition to large-scale rock concerts, I saw and sometimes even met personal favorites like Grant Hart, Ash, Willie Nile, Dave Davies and the best Beatles' cover band, American English.

I had the thrill of hearing Harry Belafonte speak in honor of Martin Luther King Jr., heard and met Paul Rusesabagina, the real-life hero of Hotel Rwanda, and may well be the only person to have my picture taken in 2013 with both him and My Big Fat Greek Wedding star Nia Vardalos, who spoke at the Skokie Public Library about safe adoption practices.

Among many outstanding theatrical performances I saw in 2013 were those by well-known stars such as Jimmy Smits, Rhea Perlman, Michael Shannon, John Mahoney, Chelcie Ross and Cathy Rigby, plus others of local and national stage renown.

Art and Museums - The Art Institute of Chicago had three excellent exhibitions this year, on Picasso, Fashion & Impressionism and Art & Appetite, while I also enjoyed the Museum of Science & Industry's Peanuts exhibit. On a smaller scale but also enjoyable, the Kenosha Public Museum also had a nice exhibit on Charlie Brown and friends.

Also quite a pleasant surprise was the Lake County Discovery Museum, including their vast postcard archives. And the Chicago History Museum had some worthwhile exhibits on a February visit.

I toured Frank Lloyd Wright's Robie House in Chicago's Hyde Park, and his Stockman House in Mason City, Iowa, where I stayed in a marvelously-refurbished hotel he had designed, the Park Inn. Also in Iowa, I visited museums or attractions pertaining to Buddy Holly, John Wayne, Meredith Willson (The Music Man composer), Bob Feller, Herbert Hoover, puppeteer Bil Baird and others.

On my trip to Europe, I saw many other fabulous museums, including the National Gallery in London, the Belvedere, Kunsthistorisches and Secession Building in Vienna and the Museum of Modern Art inside the Pompidou Center in Paris. Plus numerous astonishing churches, palaces and more.

Sports - It was a rather dismal year for the Cubs and White Sox, but I got to 10 games between them, including at least one won by a walk-off homer. I didn't go to any Blackhawks games, but enjoyed watching them during their initial winning streak and then in the playoffs (until being in Europe kept me from seeing the Stanley Cup Finals.

I don't know if this counts as "Sports," but having not been able to attend a performance of the Spanish Riding School in Vienna, I wandered up to Wadsworth to see the Tempel Lippizans.

Dining - I certainly had my share of good meals in 2013, many in service to my Chicago Dining World Tour blog series. All told I made it to 48 area representing different ethnic cuisines--actually more, but only wrote about one place per culture.

I still have a number of recaps to write and may explore a few more ethnicities in 2014, upon which point I'll post a summary of where I went with links to all. And a friend of mine is exploring how to turn my blog series into an e-Book.

But a few particularly terrific places that come to mind include Irazu (Costa Rican), Ay Ay Picante (Peruvian), Staropolska (Polish), Nonno Pino's (Italian), Ras Dashen (Ethiopian) and Jilly's (French).

Travel - In June, I went on a 2-week trip to Europe that included London, Krakow, Vienna, Budapest and Paris. It was pretty incredible, even a visit to the worst place in the history of mankind, Auschwitz.

It would take about 10 more paragraphs to sketch upon some of the highlights, and this piece is already long and pretentious enough. 

So you can see photos of my European vacation here, and if you really want to revisit my daily recaps, you can do so here (they start with this post on June 12).

In addition to Europe, I enjoyed getting to Kenosha, Milwaukee, Urbana--for Ebertfest, the first following Roger's death, which likely hit me hardest of all celebrity passings in 2013--and as mentioned above, multiple stops in Iowa.

You can read my recap of Iowa here, but in concluding this, as much for my own memory's sake as anything else, I'll mention that at the Surf Ballroom in Cedar Lake, IA, famous for being the venue last played by Buddy Holly, Richie Valens and the Big Bopper, I met Richie Valens' sister, Connie. As in, I sat down at a table and she just happened to be at the same one.

It was that kind of year.

Hope you enjoyed it as well.

Here's to this one.

--
2013 by the numbers:

Movies seen: 143
Ticketed events (theater, concerts, sports, etc): 99
Photographs taken: 84,190
Blog posts written: 172
SethSaith.com pageviews: 238,646

The Best of 2013: The Best New Movies I Saw

Amidst congregating all these Best of 2013 lists--and if you happened to just stumble across this one, take a look at my past 4 posts--it's easy for me to forget that January was just as much a part of this year as is December.

And as I blathered on about in creating my Best Movies of 2012 list, without being anyone officious who gets to see every movie within the year of its official--I guess for Oscar purposes--release, I am stuck with tricky situations such as this. Two of my favorite movies of 2013--Zero Dark Thirty and Amour--were technically 2012 releases (as were perhaps some other foreign films I saw and liked this year).

But neither ZD30 nor Amour were released in Chicago until January 2013. Hence they didn't make my Best of 2012 list, but they also are far too good to ignore. (Interestingly, at least to me, the film I picked as Best of 2012--A Separation--was considered as a 2011 film by most list makers, but didn't open in Chicago until 2012; the same director's (Asghar Farhadi) new movie, The Past, is in a similar situation this year. Though it's had a limited U.S. release, it's yet to open in Chicago, and I don't know exactly when it will.)

So in titling this list the Best New Movies I Saw in 2013, I am essentially counting as eligible any film I watched over the past 12 months that I didn't have a reasonable chance to see previously. 

The 20 or so people who may care about this list should understand this conundrum, so I won't prattle on about rules and disclaimers. And if you don't feel like Zero Dark Thirty or Amour deserve to be included for chronological reasons, feel free to ignore them.

With that said, these are the Best New Movies I Saw in 2013:

(12) = Technically a 2012 release; (F) = Foreign Film; (D) = Documentary

1. Zero Dark Thirty (12)

2. 12 Years a Slave

3. Blancanieves (F)

4. Fruitvale Station

5. Gravity

6. Mud

7. The Hunt (F)

8. Amour (F, 12)

9. Dallas Buyers Club

10. Nebraska

11. Blue Jasmine

12. American Hustle

13. Philomena

14. The Gatekeepers (D, F)

15. War Witch (F)

16. The Place Beyond the Pines

17. Inside Llewyn Davis

18. Saving Mr. Banks

19. Prisoners

20. Her

Honorable Mention
Side Effects
The Wolf of Wall St.

Before Midnight

Sound City (D)

Star Trek: Into Darkness

At Any Price

Frances Ha

Fill the Void (F)

The World's End
42

Other Films Seen: The Spectacular Now, The Hunger Games: Catching Fire, This is the End, The Bling Ring, Oz: The Great and Powerful, Springsteen & I, Escape From Tomorrow, A Good Day to Die Hard

Notable Films Not Seen: Rush, Captain Phillips, In a World..., Stories We Tell, 2 Guns, Blue is the Warmest Color (F), The Attack (F), 20 Feet From Stardom (D), Muscle Shoals (D), All is Lost, Spring Breakers, The Act of Killing (D), The Butler, The Past (F)

My Friend Dave's Top 13 of 2013

1) Blue Jasmine
2) Nebraska
3) American Hustle
4) Gravity
5) Neighboring Sounds
6) Zero Dark Thirty
7) The Silence
8) Fruitvale Station
9) Philomena
10) Before Midnight
11) Like Someone in Love
12) Amour
13) You're Next

The Best of 2013: The Best Musicals I Saw on Stage

With a relative scarcity of new musicals making big Broadway splashes—only Kinky Boots, Matilda and Motown the Musical seem to be successes worth noting—and the relative mediocrity of Big Fish, which was Chicago's big world premiere production before heading to a disappointing run on Broadway, 2013 doesn't instantly strike me as a great year for musical theater.

Yet even without a trip to New York this year—seemingly theatrically unnecessary due to having seen Kinky Boots in its 2012 pre-Broadway Chicago run, catching Matilda while in London this summer and already having tickets to Motown next year as part of my Broadway in Chicago subscription—I wound up enjoying a good number of musicals I saw on stage over the past 12 months.

From the Lyric Opera's glorious staging of Rodgers & Hammerstein's Oklahoma to a terrific touring production of Anything Goes to a resplendent, full-octane Les Miserables in London's West End, plus satisfying takes on Cabaret and Evita, I was reminded how mirthful "classic" musicals can be. Not too surprisingly, I was also fully satisfied with another viewing of The Book of Mormon before it left Chicago, and of Wicked in its return.

Oklahoma - Lyric Opera of Chicago

In terms of anything new, I largely loved Mary Zimmerman's lush staging of The Jungle Book at the Goodman Theatre (likely to wind up on Broadway), tremendously enjoyed the laudably rocking and rebellious Matilda and liked the recent Tony-winning Once, though wished I could have seen it in a more intimate setting than the cavernous Oriental Theatre.

Big Fish had much to appreciate--including Norbert Leo Butz in the lead role and inventive staging by Susan Stroman--but the songs were largely forgettable, an issue that also relegated Catch Me If You Can to just "so-so."

Once Upon a Dream starring the Rascals wasn't much of a "musical," but enjoyable nonetheless, as were Hank Williams: Lost Highway and Buddy: The Buddy Holly Story.

The Jungle Book - Goodman Theatre

I appreciated getting to see Barnum for the first time ever, in a strong Mercury Theatre production, and enjoyed the stage musical of Elf despite never seeing the movie.

All in all, out of 27 musicals seen on stage this year, from London's West End to Skokie's Devonshire Playhouse for community theater, there was really only one I didn't much like: Flashdance the Musical, and even that had its moments.

But after having cited virtually everything on it, here is my list of...

The Best Musicals I Saw On Stage in 2013:

(Note: My rankings are based on my enjoyment of the particular productions, but blend in the quality of the source material as well. I included a couple shows that were staged as operas.)

Matilda

1. Oklahoma - Lyric Opera of Chicago (my review)

2. Les Misérables - Queen's Theatre, London 

3. Wicked - Oriental Theatre (my review)

4. The Book of Mormon - Bank of America Theater (Broadway in Chicago) 

5. Matilda - Cambridge Theatre, London

Once

6. Anything Goes - Cadillac Palace (Broadway in Chicago) (my review)

7. The Jungle Book - Goodman Theatre (my review)

8. Next to Normal - Drury Lane Oakbrook (my review)

9. The Grapes of Wrath - Northwestern University Opera Theater (my review)

10. Once - Oriental Theatre (my review)

Honorable Mention (in order of preference)

Barnum - Mercury Theatre (my review)

Barnum - Mercury Theatre

Buddy - Cadillac Palace (Broadway in Chicago) (my review)

Evita - Oriental Theatre (Broadway in Chicago) (my review)

Mary Poppins - Marriott Theatre Lincolnshire (my review)

Hank Williams: Lost Highway - Greenhouse Theater (American Blues Theater) (my review)

Opera in Focus

Now & Forever: The Music of Andrew Lloyd Webber - Marriott Theatre Lincolnshire (my review)

Jekyll & Hyde - Cadillac Palace (Broadway in Chicago) (my review)


Special Mention  

Opera in Focus (Puppet Opera) - June production featuring opera & musical selections (my review)