CHICAGO – Put in a dash of crazy, add a dash of funny and you are defining “The Asylum,” a catch-all name for a couple of show events in Chicago, playing at The Apollo Theater Studio through February 23rd, 2017. Behind the scenes of these showcases is producer Michael Sanow, a Chicago theater veteran. For “The Asylum” information regarding the “Atypical Musical Comedy Show” (Tuesdays) and “Access Comedy” (Thursdays), click here.
CHICAGO – The “Prince of Pain” was in Chicago recently. Richard Lewis, the overtly introspective and hilarious stand up comedian, has written a new book – “Reflections From Hell” – and appeared at Chicago’s City Winery, plus sold out two shows at the legendary Zanies comedy club.
CHICAGO – Nobody puts actor Crispin Hellion Glover in a corner. The eclectic and insightful performer is also a filmmaker, musician and author, and he brings all those elements to Chicago with the presentation of his “Big Slide Show” at the Patio Theater, 6008 Irving Park Road, on Friday, February 7th, 2014.
CHICAGO – Any list of the most influential and important people in the history of television that doesn’t include Johnny Carson is simply incomplete. He was SUCH a force in the medium, coming into the homes of millions every night. That’s why so many luminaries came out to speak about the man in the excellent “American Masters” documentary “Johnny Carson: King of Late Night,” recently released on Blu-ray and DVD.
CHICAGO – There is arguably no icon on a higher pedestal in the history of television than Johnny Carson, the man who didn’t just host “The Tonight Show” for three decades but became a cultural fixture. We let Johnny into our homes and trusted him in ways that I believe just can’t happen again in a more cynical TV age. He was a nightly visitor for millions and the new PBS documentary about him, “American Masters Johnny Carson: King of Late Night,” is one of the best TV history documentaries yet produced.
CHICAGO – Is “I’m Still Here,” the story of Joaquin Phoenix’s attempts to leave behind his acting career and try to make it as a hip-hop star, an elaborate piece of performance art or a documentary about an identity crisis of a man committing professional suicide? The problem is that the answer is irrelevant. Either way, “I’m Still Here” is grating, boring, and completely without value.