All Work and All Play at Emerald City Theatre Company

The artistic team at The Emerald City Theatre Company on the North Side knows its newest creation is a hit. But it’s not anything audiences will see at their home for performances, the Apollo Theater.

It’s called “The PlayGround,” and it’s the company’s new play development process that was implemented this past summer. It features “play dates” that range from staged readings in front of young audiences to table readings with actors, writers and designers.

“What we set out to do was create a lab where we could develop work for the mainstage or even play with ideas for work that might be developed,” said Ernie Nolan, Associate Artistic Director at Emerald City.

Nolan adapted and directed “If You Take a Mouse to School,” which opened in September and was the first play to come out of “The PlayGround.”

Because of contractual reasons, two pages of the play needed to be rewritten. Originally, Mouse wrote a story called “Goodnight Mouse,” but Nolan had to change the story Mouse writes for the Emerald City production. A “play date” was the perfect opportunity to get feedback from the kids.

“I asked the group what kind of story they would like to hear,” Nolan said. “Was it a story about dinosaurs...or cowboys...on the moon? What cool thing did they want to see? Almost all of the three to five-year-olds wanted the story the character wrote to be about playing with his friend. They didn't want anything crazy. They wanted something that was identifiable and important to them.”

While staged readings for young audiences are not necessarily groundbreaking in children’s theater, Emerald City sets itself apart in another way.

“Ours is the only company that workshops and receives feedback from children, parents, and educators,” Nolan said. “It's the three groups that our company actively serves, so we want to know what they want and how we can help them.”

Elizabeth Schmeski, an artistic intern at Emerald City during the summer, took part in one of the “play dates” and noticed the children’s unique feedback.

“They have no filter,” she said. “I remember a little girl who would cup her hands over her ears whenever Boy would start to list his daily activities.”

Throughout the show, Boy lists his daily activities—brushing his teeth, doing a science experiment or eating a snack—and adds simple physical movements for the children to imitate.

“Clearly she was showing us that she didn’t like that part,” said Schmeski. “Some kids were not into the lists, so we had to cut a lot of it.”

Like most kids shows, “Mouse” gives the actors a chance to connect with the audience.

“I think it’s a lot of the repetition and direct contact with the audience that makes the show effective,” said Mary Williamson, who plays six different characters in the play. “It’s also a really fun, silly show.”

Audiences have responded quite positively to “Mouse,” and Nolan said it has almost become “The Rocky Horror Picture Show” for kids.

After “Mouse,” Emerald City’s season of new plays continues with “Hansel and Gretel” (Nov. 20-Jan. 4.) and “The Voyages of Dr. Dolittle,” (Jan. 17-Mar. 14) both of which will take trips to the “PlayGround.”

Check out a clip of "Mouse" here.

Kings of Leon's "Only By the Night" Starts Strong, Quickly Fades

Sometimes, innovation backfires.

As most bands experiment with new sounds from album to album—think Beck, Radiohead and Wilco—Kings of Leon is an exception. But instead of returning to and improving what it does best—pairing energetic drum and bass beats with upbeat guitar riffs—the quartet ventures into a musical world in which “woah-oh-oh” passes for background vocals and each song is a mellow, boring continuation of the previous track. The resulting sound is akin to the worst of Incubus mixed with, it really pains me to say this, Creed.

Just a few days after Kings of Leon’s third album, Because of the Times, was released in April 2007, the Tennessee-born Followills—brothers Caleb, Nathan, Jared and their cousin Matthew—began working on tracks for their fourth album—Only By the Night (RCA). While bassist Jared said the album would “rock harder,” the group’s latest effort starts strongly but ultimately fades into mediocrity and strays too far from its grungy Southern roots.

The first two albums, Youth and Young Manhood (2003) and Aha Shake Heartbreak (2004) established the band’s intimate garage-style rock sound and garnered lofty comparisons to The Strokes. Only By the Night, however, continues the much different mood and feel that Because of the Times started. It’s too polished, too big and expansive. Nathan’s echoing drums, Matthew’s wailing guitars, and Jared’s lackluster bass lines amount to a contrived, conventional sound that abandons the simple yet satisfying beats that made songs like “The Bucket,” “Holly Roller Novocaine” and “Red Morning Light” famous.

That’s not to say, however, that the record is a complete waste.

Edgy, affected guitar works well with forceful drums in “Crawl.” And lead singer Caleb continues to impress. His raw, howling vocals carry the album’s first single “Sex On Fire” that chugs along like a powerful locomotive. And the opening track, “Closer,” which Caleb says is about a lovesick vampire, features funky guitar effects that create a desolate, other-worldly mood.

But the album’s bland latter half weakens the whole package. The messy, awkward droning in “I Want You” and the long-winded “Cold Desert” feel unfinished and uninspired.

It’s especially disappointing to hear an album begin with such promise and quickly resort to drab, predictable three-minute and change songs.

While the group has achieved incredible success overseas—last year’s album reached number one on the charts in the U.K. and Ireland—Kings of Leon is best suited to stick with its strengths. A bigger sound isn’t always better. It might work in arenas and other concert venues, but not for everyday listening.

Young, Inventive Band Ready to Grow Up

Marseilles is a harbor town on the southeast coast of France. “Marseilles” is a group of multi-talented college musicians from Schaumburg whose pivotal moment has arrived.

Composed of five members—Ray Green, Chris Heller, Brandon Louro, Ian Noble and Bryan Tyrpin—the band has finished recording its debut album, “Post Modern Heart,” which is set for an early November release.

“We really became something as a group during the last two years and it really reflects in the music,” said Green, 20, who goes to DePaul University. “It’s really important for us.”

With an A-Side and B-Side, the 10-track album blends electronic, guitar-driven sounds with rock, pop and indie layering. In addition to writing songs, Green, Heller and Louro contribute vocals, guitar and keyboard on the album. Noble plays bass and Tyrpin works the drums.

“It’s the first full-length CD I’ve been a part of,” said Louro, 20, who also attends DePaul and sings in the school’s only all-male a cappella group. “We learned how to channel individual bits of creativity to have the cohesive quality of talent and tastes.”

Those tastes include “Radiohead,” “Grizzly Bear” and the “Born Ruffians.” But on the band’s site, their influences expand to “everything and everyone.”

Since becoming a group in the summer of 2006, “Marseilles” has encountered its fair share of obstacles—namely, finding time to rehearse and play when all but two members are at separate schools.

Noble goes to Truman State University in Missouri, Tyrpin attends the University of Wisconsin-Madison and Heller studies at Ontario College of Art and Design. While they can’t play as many shows as they would like to, the distance gives the band a solid network that reaches different parts of the country. They’ve even had radio time in Toronto.

While members continuously write and share their own music when they’re away from the group, breaks from school in the winter and summer allow them to reconvene and rehearse Tyrpin’s basement in Schaumburg—where Dr. Pepper and ginger ale flow like wine.

But recording the first album allowed “Marseilles” to legitimize itself and take a major step forward.

Providing a critical, outside perspective, Luke Johnson, 21, of Downers Grove produced and mixed “Post Modern Heart.” And after spending the summer recording with the group, Johnson is convinced of its talent.

“If this album takes off, they’re a band,” he said.

Johnson studies sound recording technology in DePaul’s School of Music and sings in the same a cappella group as Louro. He first heard “Marseilles” at Reggie’s Rock Club, where the group has played twice.

“They work well together,” said Johnson. “What one person lacks, another can make up for. They really understood the concept of an album versus making the next one-hit-wonder.”

The group plans to play in Madison in December and hopes to play other venues—at colleges, open mics or otherwise—when it can.

“We’ve always wanted to get to Toronto,” said Louro.

As for the first album, Johnson sees a bright future ahead. “It’s something I could listen to on repeat.”

Hitching a Ride on "The Express"

Whether it’s the parade scene in “Ferris Bueller’s Day Off” or the crowd cheering for “Rudy,” these cinematic moments wouldn’t be complete without people who take advantage of a not-to-be-missed opportunity. Being an extra lets ordinary folks participate in something extraordinary.

Before concluding its 53-day shoot at Syracuse University, “The Express,” which opened October 10, was filmed at a handful of locations in the Chicago area, including Lane Technical High School, Northwestern University and Hyde Park.

It tells the true story of Syracuse University football player Ernie Davis, who was the first African-American to win the Heisman Trophy. Dennis Quaid stars as hall-of-fame coach Ben Schwartzwalder and Rob Brown plays Davis.

“If you get a chance to [be an extra] at least once, do it,” said Rob Frappier, who was a first-time extra in movie.

Frappier plays No. 57 on the Syracuse University football team. His 13-hour day of work involved standing in the blistering hot sun in full football garb—not to mention battling the sunscreen he got in his eyes. He stood on the sideline while the crew shot coverage of the football sequence stunts.

The clichés about being an extra are generally true. There’s a lot of waiting, the days are incredibly long and it’s hardly glamorous.

But unlike most extras, Frappier got an up close look at the lead actor when he took part in a post-game handshake and walked within a few feet of Brown.

“That was a really legit, memorable moment,” said Frappier.

Father and son Jack and Sean Curtin of Mount Greenwood were also first-time extras in “The Express.” Jack worked for one day as a secret service agent, and Sean spent two weeks on the film.

In Jack’s scene, he had to walk down a fight of stairs behind the actor playing President Kennedy. So he did that. Thirty times. Until director Gary Fleder got the shot he wanted.

“It was great exercise,” said Curtin. “I loved it. It was so interesting to see how [filmmaking] works.”

Sean’s experience fulfilled his longtime dream of being involved in a movie. He played a handful of characters, but his favorite was being a member of the “Goon Squad,” which is a pep squad in the film.

“We got to fire a cannon on set, so that was really cool,” he said.

Because Sean was involved in several scenes, there’s a good chance he’ll see himself on the big screen. If that moment arrives, it’s sure to make this experience even more memorable.

“I’ll feel very accomplished,” said Curtin. “I’ll be very, very happy.”

“The Express” joins other big-name films recently shot in Chicago like the summer box office giant “The Dark Knight,” and the upcoming “Public Enemies,” which stars Christian Bale and Johnny Depp and is scheduled for a July 2009 release.

Since 2007, more than 40 feature films have been filmed in the city, according to the Chicago Film Office.

And thanks to the city’s consistent cinematic appeal, it doesn’t appear that these unique opportunities will end anytime soon.

"The Office" Sheds Pounds, Not Laughs

Ever wonder what Michael, Jim, Pam, Dwight, Andy, Angela and the rest of the Dunder Mifflin gang do during their summer? Well, in the season five premiere of “The Office,” (8 p.m. Sept. 25, WMAQ-Ch. 5) fans finally get a hilarious inside look at what the Scranton branch does during the often ignored months. We also get much-needed updates on the show’s unpredictable relationships.

It’s “The Biggest Loser” meets “The Office.” Corporate is sponsoring a weight-loss contest and whichever branch loses the most weight wins a whopping three extra vacation days. Of course, Michael and Dwight spearhead this opportunity and enforce weekly weigh-ins to monitor the group’s progress.

Determined to help the Scranton branch win, Dwight replaces the vending machine goodies with only fruits and vegetables, Holly (Amy Ryan) who replaced Toby last season when he fled for Costa Rica, teaches yoga classes and Kelly begins her own cleanse diet. All she has to do is drink maple syrup, lemon juice, cayenne pepper and water for all three meals.

But thankfully, the writers don’t leave viewers waiting to see what’s happening with the relationships. Pam leaves for design school in New York, Andy brainstorms ideas for his wedding with Angela because, as he puts it, “every little boy fantasizes about his fairy tale wedding.” Michael, meanwhile, continues to crush on Holly.

In a great exchange, Michael asks Jim if he saw Holly’s butt during yoga. Jim, who’s been insisting that Michael take it slow with Holly, responds, “No, because friends don’t ask about other friends’ butts.”

Oh, and Dwight and Angela are still fooling around, but this time they continuously flee to the warehouse unbeknownst to Andy.

Now separated by three hours, Pam and Jim will face their fair share of challenges and encounter some surprises.

Even pregnant Jan and recently fired Ryan make brief appearances. Jan’s candle business is apparently doing quite well, and Ryan takes Pam’s receptionist job after the first replacement, Ronni (whom Michael dubbed “Rice-A-Ronni”), was not up to snuff for Michael

“The Office” is at its best when the writers weave several storylines together into a seamless, smart and very amusing story. This episode is no exception. When Michael tries to reinvigorate the team after some weight-loss struggles he informs Angela, whose doctor actually told her to gain weight, “If you gain weight, you will die.”

All in all, it’s a great welcome back to our favorite paper company. Thanks to the love triangle between Angela, Andy and Dwight, Michael and Holly’s awkward chemistry and Pam’s new digs, there’s plenty of new show to love. But Dwight and Jim’s antics, Creed’s dry wit and Michael’s loveable ineptitude ensure the show’s strengths are alive and well.

Emerald City's "PlayGround" to Improve Productions

Inside a converted storefront on the North Side, a dozen three-year-olds are giggling, eagerly waiting for the play to begin. The Emerald City Children’s Theatre Company is hosting a “play date” for its newest production, “If You Take a Mouse to School.”

A “play date” is part of Emerald City’s new play development process called “The PlayGround,” which was implemented at the company this past summer. “Play dates” can be anything from reading a script around a table with actors, writers and designers to readings in front of an audience.

“The amount of quality material for young people is not as large as it is for the "adult" world,” said Ernie Nolan, Associate Artistic Director at Emerald City Theatre. Nolan also adapted and directed “Mouse,” which is based on the book of the same name written by Laura Numeroff.

“Mouse” opened September 20 at the Apollo Theater, is the first Emerald City production to have gone through “The Playground.”

“What we set out to do was create a lab where we could develop work for the mainstage or even play with ideas for work that might be developed,” Nolan said.

While staging readings for a play’s intended audience is not groundbreaking in children’s theater, Emerald City sets itself apart in another way.

“Ours is the only company that workshops and receives feedback from children, parents, and educators,” Nolan said. “It's the three groups that our company actively serves, so we want to know what they want and how we can help them.

The “play dates” provide invaluable feedback for the play’s development. And sometimes the children’s frankness is refreshingly beneficial.

“They have no filter,” said Elizabeth Schmeski, the artistic intern who participated in one of this past summer’s “play dates” at Emerald City. “They aren’t afraid to tell you what they thought was boring, silly or confusing. They can be a tough crowd, but what they say is essential to making the play work.”

Audiences have thoroughly enjoyed “Mouse,” and much of its success can be attributed to the interaction between the actors and children.

“I think it’s a lot of the repetition and direct contact with the audience that makes the show effective,” said Mary Williamson, who plays six different characters in the play. “It’s also a really fun, silly show.”

Nolan knows the importance of play development, and Emerald City is demonstrating its ongoing commitment to new plays for children.

“The "PlayGround" means that we are dedicated to not only creating world class scripts but contributing to the legacy of theatre for young audiences in this country,” Nolan said.

After “Mouse,” Emerald City’s season of new plays continues with “Hansel and Gretel” (Nov. 20-Jan. 4.) and “The Voyages of Dr. Dolittle,” (Jan. 17-Mar. 14) both of which will take trips to the “PlayGround.”

"Dave DaVinci Saves the Universe"

Time travel is a tricky topic for anyone in the artistic world to tackle. There are rules to follow and time lines are rarely accurate, but in “Dave DaVinci Saves the Universe” it actually works, as heartfelt characters embark on an emotionally charged journey into the past, present and future.

When we meet Dave (Stephen Taylor, “The Sparrow”), he’s a jittery, lovably awkward 18-year-old self-proclaimed scientist, who is convinced he will successfully build a time machine. Future Dave (Dennis Watkins, “Hope Springs Infernal”) appears rather quickly and we learn, just like teenage Dave, that he actually does build a machine in the future. Easy enough, right?

Well, there would not be much of a story if it were that simple. Even Leonardo encountered some obstacles.

Future Dave has a wife, Norah (Stacy Stoltz, “Hatfield & McCoy”), who’s a musician and is having trouble communicating with Dave. They have a young daughter named Perdi (Paige Hoffman, “The Sparrow”), an exceptionally gifted science fiction writer. She has written six books in her “Cass Meridian” series, which follows the journey of three space explorers.

But Dave’s future holds a hard, harrowing truth. Early on, we learn that Perdi has committed suicide. This proves to be the plot point that propels the rest of the story, as Dave is convinced he can build a time machine that will allow him to fix everything. For Dave, sometimes “the answers are as simple as knowing the right buttons to press.”

Perhaps the most visually gripping moments occur when Dave reads aloud from his daughter’s books. Dave’s vivid imagination causes the simple living room set to transform into the interior of a spaceship in which the three crew members look like something from “The Fifth Element.” Arcturus (Carolyn Defrin, “The Sparrow”), a horned, bear-like creature simply shines onstage.

Dave eventually develops a relationship with the trio, and the crew guides him on his arduous journey. Their encounters are some of the play’s quirkiest, most genuine scenes.

While it’s not hard to keep track of the future and past characters, it definitely keeps you on your toes. It’s also quite amusing. In one exchange, Dave asks Nora “Do you mind if I talk to myself for a minute?”

The House is known for its unique, highly creative productions like “The Sparrow” and “The Terrible Tragedy of Peter Pan.” True to its predecessors, “Dave DaVinci” hits on all aesthetic cylinders. Think flashy lighting, other-worldly sound effects and time traveling made easy with the help of some wispy curtains and plenty of strobe lights.

Playwrights Chris Matthews, Jake Minton and Nathan Allen, who wrote 2007’s “The Sparrow,” infuse funky, comedic moments throughout Dave’s otherwise powerful, genuine journey to save his daughter.

“Dave DaVinci” first premiered at in 2005 at and the writers are approaching the script in an entirely new way.

While the play’s title is quite ambitious, taking risks has its perks. And the House has never been known to hold back. Embracing time travel is never easy, but this is a show that knows what's at stake and effectively delivers.

The House Theatre of Chicago’s “Dave DaVinci Saves the Universe.” Through Nov. 8 at the Chopin Theatre, 1543 W. Division St.; $25-$29, 773-251-2195 and www.thehousetheatre.com.

"Gary Unmarried" Fails to Deliver

When the writers of “Gary Unmarried” (7:30 p.m. Sept. 24, WBBM-Ch. 2) brainstorm material for jokes, one wonders if they consider something other than sex. It appears they don’t.

The show revolves around Gary Brooks (Jay Mohr, “Jerry Maguire”), a painting contractor who has just recently called it quits after 15 years of marriage with Allison Brooks (Paula Marshall). They share custody of two children—Louise (Kathryn Newton), an 11-year-old who frequently outsmarts her dad and has posters of Al Gore and Gandhi covering her bedroom walls, and Tom (Ryan Malgarini), a socially awkward 14-year-old who is, you guessed it, nervous around girls.

Eager to start over, Gary meets a new love interest, Vanessa (Jaime King). But he neglects to tell her about his ex-wife. And his two children. While this premise has comedic potential, the humor takes an unexpected turn for the worse. After sleeping with Gary, someone she barely knows, Vanessa thinks it makes her a slut. Gary quickly corrects her, saying “No, no; it makes you a whore.” This sort of unnecessarily dirty humor is haphazardly inserted into nearly every scene of “Gary Unmarried,” and it spoils what could otherwise be an enjoyable show.

Unfortunately, the writers have difficulty moving beyond sex to get a laugh. Even during a heart-to-heart talk about girls between Gary and his son, Tom innocently asks, “What if she expects me to, you know, tap it?”

However, Gary and his son do have some redeeming moments together. Tom says of a girl he likes “She smells good.” Gary quips, “They all do. That’s how they get you.”

Gary’s supposed appeal is how little he knows about his children, his childish behavior and what’s in his fridge (two beers and ranch dressing). But a guy who doesn’t know a lot about his son or daughter rarely, if ever, comes across as funny. This is no exception.

Veteran actor Ed Begley Jr. plays Dr. Walter Krandall, Gary and Allison’s former marriage counselor and the author of “Rules for the Perfect Divorce.” Begley Jr. offers some relief from the constant barrage sex-laced dialogue. And let’s just say he plays an interesting role in Allison and Gary’s post-divorce plans.

CBS has delivered other smart, humorous shows like “How I Met Your Mother” and “Two and a Half Men,” so viewers ought to expect better from its new comedies—especially one that’s directed by James Burrows, who was behind megahits like “Will & Grace” and “Friends.”

But the show’s creator and series’ executive producer, Ed Yeager, has yet to achieve similar success. Yeager’s producing credits include “Grace Under Fire,” “Suddenly Susan” and other short-lived sitcoms. He also co-wrote the screenplay for the wholly unsuccessful “The Comebacks,” which attempted to parody every sports cliché known to man.

Longtime comic Mohr appears awkward in a sitcom role. His talents are not completely wasted, but they’re not used well, either.

Beyond the cheap laughs that are few and far between, “Gary Unmarried” has very little substance. It’s not quite “Gary Unwatchable,” but “Gary Underdeveloped” is more like it.