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Linda Pauli, a producer of Chesterton’s 4th Street Theater’s “6 X 10 Play Festival,” doesn’t see the half dozen stories that make up their inaugural shorts showcase as mere skits.
Earle Howe, co-director of Hammond Community Theatre's production of George Bernard Shaw "Don Juan in Hell," says the subjects debated in the play are uncannily relevant to today's audiences.
Hammond songsmith and singer Fernando Rodriguez admitted to being apprehensive when he advised members of his Titus Rodes Band he would be stepping down as a member and guiding force.
Forty-Five years after its release, “Revolution 9,” the infamous audio pastiche from the Beatles self-titled album, continues to be a source of inspiration – and frustration - for Fab Four enthusiasts.
Stacy Broutman, director of Chicago Heights’ Drama Group’s production of “Reefer Madness,’ says bringing the cult musical comedy to her stage is a regional rarity.
“Somewhere Over the Rainbow,” “Ding-Dong! The Witch is Dead,” “We’re Off to See The Wizard” and “If I Only Had a Brain” from “The Wizard of Oz” have been pop culture mainstays now for 75 years.
Daulton Dickey, director of Michigan City’s Footlight Players production of “God of Carnage,” sees his production of the acclaimed dark comedy as a balancing act of sorts for his four-member cast.
Chicago-based performer Gerry Grossman is not one to describe his “Human Jukebox Reloaded” music and comedy show as art.
Andy Leahy, director of Hammond’s Genesius Guild’s production of “The Pajama Game,” issued an important dictum to his cast when beginning production on the musical favorite.
Ross Music Theatre’s production of “Spamalot” is a bittersweet affair for the region-based theater company.
Grant Fitch, director of Crown Point Community Theatre’s production of “Hamlet,” sees William Shakespeare’s classic tragedy as being as relevant today as it was when it was first staged more than 400 years ago.
Chicago Street Theatre director Eric Brant attributes his inspiration for their Shakespeare in the Park festival to regular drives he took four years or so ago with his wife through downtown Valparaiso.
Sherry Sweeney, director of Hammond’s Towle Theater’s production of the musical “From Up Here,” appreciates the quality of the story which the musical drama allows her and her cast to present.
Patrick “Sully” Sullivan, vice president of Chicago-based REB Records, sees the grounds of Michigan City’s Dunes Summer Theatre as the perfect locale to host their first Indiana “Micro Music Mash.”
John Cain, executive director of South Shore Arts and curator of its “Baby Boom or Bust!” exhibit, found his inspiration for his show from a personal milestone.
Tony Labriola, artistic coordinator at Chicago Heights’ Drama Group, described the difference between British and American farcical comedy is it's as vast as the distance between the two lands.
Joe Culley, Crown Point Community Theatre board president, described their production of the cult comedy "Sordid Lives" as a “black comedy about white trash.”
David Pera, director of Valparaiso’s Chicago Street Theatre’s production of “Rabbit Hole,” found some startling news when doing his research for the acclaimed drama.
Nearly three decades ago, Frank Zappa released an album titled “Does Humor Belong in Music.”
Mark Baer, director of Hammond’s Towle Theater’s production of “The Nightmare Room,” was immediately drawn to the psychological thriller the first time he read the script.
Mary Lee Hoganson, director of Chicago Heights’ Drama Group’s production of “Ragtime,” says the tales told in the turn-of-the-century set bestselling tome and award-winning musical are still relevant nearly a century later.
Scot PJ MacDonald, director of Valparaiso’s Memorial Opera House’s production of “Company,” expects viewers to leave the theater with their own unique take on the acclaimed musical.
“Acclaimed singer-songwriter” is just one of Cosy Sheridan’s many talents and occupations.
Loretta Simonet, one half of the Minneapolis-based folk duo Curtis and Loretta, considers stops at Valparaiso’s Front Porch Music to be a longtime highlight of their regular touring regiment.
For Jason Utesch, helming Valparaiso’s Chicago Street Theatre’s production of “Play it Again, Sam” is an ideal fit.
Wayne Puchkors, director of Hammond Community Theatre’s production of “Laughter on the 23rd Floor,” is admittedly not a fan of plays with gratuitous foul language.
Kate Ryan, director of Crown Point Community Theatre’s “Time Stands Still,” saw an immediate connection with the four actors and their respective characters in her production of the acclaimed drama.
With his Jazz 101 multimedia extravaganza, Big Apple-based composer and pianist Jesse Lynch is doing his part in keeping the music exciting for present and future generations.
Jeff Casey, director of Hammond’s Towle Theater’s production of “Adrift in Macao,” has had nothing but fun with his cast being “Adrift" for their latest musical production.
Bonnie Johnson, director of Hammond’s Beatniks on Conkey’s fundraising production of “The Vagina Monologues,” has an idea why the women-themed play has been a smash with audiences throughout the world.
Valerie Wotkun, director of Hammond Community Theatre’s production of “The Mousetrap,” came across Agatha Christie’s beloved murder mystery by unconventional means.
“The Beauty Queen of Leenane” is often referred to as a dark comedy or adult comedy, but Traci Brandt, co-director of Valparaiso’s Chicago Street Theatre’s production of “Leenane,” sees more to the story than just laughs.
Angie Lowe, co-director of L’arc en Ciel Theatre Group’s production of “Sister Mary Amnesia’s Country Western Nunsense Jamboree,” has an idea why the “Nunsense” series has been a habit with many area theatergoers.
Angie Lowe, co-director of L'arc en Ciel Theatre Group’s “Rumors,” is putting her own touch on Neil Simon’s acclaimed farcical comedy to make it appealing to a wider audience.
Over the course of the last several years, the New York Times bestseller list has regularly read more like Billboard’s album charts, circa 1975.
“History of The Eagles,” a three-hour documentary on the long-beloved classic country rock band, is both the best and worst music documentary released this year.
If no one has yet to opine that, in the event of an apocalypse, cockroaches and “Weird Al” Yankovic would pull through, I’m throwing that one out there now.
Ever want to upset a musical artist straying outside of the entity he or she is best known for? Call that endeavor a “side project.”
While separated by a massive body of water and varying stylistically, North Mississippi Allstars and Stereophonics, at critical junctures in their still-evolving careers, made past musical benchmarks sound like the next big thing.
For better or for worse, Ke$ha has managed to stand out amongst her pop peers at a time where they are manufactured, marketed and managed to where pretty much anything unique has been rung out.
From the Rolling Stones to Taylor Swift to Beyonce, many a household name is making their way to venues throughout the country this summer, with Chicago stops on their schedule.
The Ramones have become trendy with the last few young generations of punk appreciators.
Referring to the Rolling Stones as the “Mt. Rushmore of Rock and Roll” takes on more than one meaning, depending on your point of view.
Jason Newsted’s tenure with Metallica may have lasted a decade and a half with tens of millions of albums sold, but his input was anything but prodigious.
Depending on what side of the fence you sit on, the upcoming 15th anniversary of Limp Bizkit’s first hit, a cover of George Michael’s “Faith,” is something to acknowledge or scour over.
Mike Konieczny, co-chair of Southern Shore Art Association’s “Tomorrow, Back and Beyond” exhibit, had a specific instruction to the artists who submitted their works to his show.
The year 1975,, in terms of the pop music landscape, doesn’t stand out in the way benchmark years such as 1963, 1977 and 1992 did, but its impact would be felt for years to follow.
Tyler McMahon, director of Chicago Heights’ Drama Group’s production of “The Wiz,” holds the beloved musical in high regard for both personal and artistic reasons.
Marty Grubbs, director of Hammond’s Towle Theater’s production of “Jewtopia,” sees an important moral in his production of the acclaimed comedy.
For Hammond Community Theatre’s Earle Howe, the comedy “All in the Timing” is an ideal play for him to bring to the stage.
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