ART
“Taoism and the Arts of China”: The first major exhibition more than 150 scroll paintings, sculptures, textiles, examples of calligraphy, ritual objects, books – on the achievements of the philosophy and religion at the center of Chinese civilization. Nov. 4-Jan. 7, Art Institute of Chicago.
Edward Ruscha: A retrospective of nearly 40 years of paintings, drawings and photo books by a California artist who has consistently explored language and imagery from the popular media. Nov. 18-Feb. 4, Museum of Contemporary Art.
Markus Raetz: Selections from 20 years of work by the incomparable – and unclassifiable – contemporary Swiss artist. January-April. Arts Club of Chicago.
“In Between”: The first comprehensive survey in Chicago of Polish art created since World War II. Jan. 20-March 25, Chicago Cultural Center.
“Beyond the Easel: Decorative Paintings by Bonnard, Vuillard, Denis, and Roussel 1890-1930”: The first in-depth exhibition of the ensembles created on commission by key figures of the Nabi group dedicated to expressive color and rhythmic pattern. Feb. 28-May 16. Art Institute of Chicago.
“Edward Weston’s Last Years in Carmel”: California landscapes, family portraits and domestic scenes from the famed American photographer’s final decade. June 2-Sept. 16, Art Institute.
H.C. Westermann: The first retrospective in more than 20 years for an artist much loved in Chicago. June 30-Sept. 23, Museum of Contemporary Art.
— Alan G. Artner
CLASSICAL
“Mahler and Modernism in America”: The idea sounds way too ambitious: examine Gustav Mahler’s role in the momentous transition from musical late Romanticism to the brave new world of modernism, while seeking answers as to how his innovations relate to his own time as well as our own. But nobody ever could accuse Daniel Barenboim of lacking ambition. The Chicago Symphony Orchestra music director will preside over a three-week perspective of concerts, seminars, lectures and exhibits at Symphony Center. The focal point will be the U.S. premiere of CSO resident composer Augusta Read Thomas’ piano concerto, “Aurora,” written for Barenboim, with the soloist-dedicatee conducting from the keyboard, Sept. 21-26. The Mahlerfest also will embrace the composer’s charming “Des Knaben Wunderhorn” songs, with mezzo-soprano Waltraud Meier and baritone Bo Skovhus as soloists (Sept. 24, 28, 29).
John Harbison’s “The Great Gatsby”: The American composer’s operatic adaptation of F. Scott Fitzgerald’s masterpiece arrives at Lyric Opera with impeccable artistic credentials and the two principal singers of last year’s world premiere performances at the Metropolitan Opera – Jerry Hadley as the mysterious millionaire Jay Gatsby and Dawn Upshaw as his lost-and-found lover, Daisy Buchanan. David Stahl will conduct, with Mark Lamos recreating his original staging. Although “Gatsby” drew mixed reviews, I found much to admire in Harbison’s inventive score and ingenious libretto. Oct. 2, Civic Opera House.
Ian Bostridge: The English lyric tenor has been the subject of great geysers of praise by critics in his native land, and this has inevitably raised cries of “hype!” on our side of the pond. But Bostridge’s numerous EMI recordings of German lieder and other works prove that Bostridge is a major vocal artist who can convey poetry through song in a compelling manner very much his own. Oct. 13, Mandel Hall, part of the University of Chicago Presents chamber music series.
Chicago Opera Theater: Give Brian Dickie credit. For his first full season as COT’s general director, he has assembled a program of operas that have everything going for them save instant box-office appeal: Monteverdi’s “Orfeo” (Oct. 18-28), Robert Kurka’s “The Good Soldier Schweik” (March 21-31) and Handel’s “Acis and Galatea” (June 6-16). The Monteverdi and Handel productions have high promise: Both will employ period instrument orchestras; both will be staged by major directors, Diane Paulus for “Orfeo” and Mark Lamos for “Acis”; both can only benefit from an intimate approach. At the Athenaeum Theatre.
Philip Glass: The former guru of Minimalism will be all over Chicago, with productions of two operas, “In the Penal Colony” at Court Theatre and “The Marriages Between Zones Three, Four and Five” at the Merle Reskin Theater, plus a performance of his new score to the classic 1931 horror film, “Dracula.” Glass will be here on Oct. 27 at the Chicago Theatre to take part in the Kronos Quartet’s live performance of his music as accompaniment to the film. On June 7, the composer will attend the American premiere of his science fiction opera, “Marriages Between Zones Three, Four and Five,” with libretto by novelist Doris Lessing and featuring singers from the DePaul University Opera Theater and professional orchestra. Also June 8 and 9.
— John von Rhein
COMEDY
D.L. Hughley: The witty comic is on a roll. He’s a member of the Kings of Comedy, the biggest-selling stand-up stage show in history and the subject of a successful concert film currently in theaters directed by Spike Lee. And Hughley’s sitcom, “The Hughleys,” is now getting the proper promotional support on UPN after two seasons on ABC. (It’s on Mondays at 8 p.m. on WPWR-Ch. 50.) Hughley gets a broader platform to show what he can do as a headliner. Sept. 23, Chicago Theatre.
Penn & Teller: The hippest magic act in the country makes a limited engagement stop in Chicago. Penn Jillette-the motormouth huckster-and Teller-the strong, silent, short type-are known for sometimes being too cool for the room, but their appealing showmanship makes them fan favorites. Sept. 26-Oct. 1, Ford Center for the Performing Arts, Oriental Theatre.
The Flying Karamazov Brothers: The four-member juggling team debuts a new performance, “L’Universe” (which is pronounced “Looney Verse”), a multimedia event the guys created with help from the Massachusetts Institute of Technology Media Lab. Oct. 14, the Center for Performing Arts at Governors State University, University Park.
Dennis Miller: The caustic host of the Emmy-winning HBO talk show canceled an August appearance here for a surprising second job-color commentator for ABC’s “Monday Night Football.” Miller’s selection has been controversial, but he is slowly winning people over with his wit and non-football, non-broadcast style. In concert, without the restrictions placed on him by free TV, Miller shines as one of the brightest of his generation. Nov. 3, New Arie Crown Theatre.
— Allan Johnson
DANCE
“Foot Notes: The Concert”: At 27, Savion Glover has been in show business for two decades and is now a master of tap dancing. His new vehicle is designed to show off the amazing punch and percussion of his style, as well as the work of other tappers, including 10-year-old Cartier A. Williams. Sept. 27-Oct. 15, Shubert Theatre.
Birmingham Royal Ballet: Formerly the Sadler’s Wells Ballet, this English troupe is making its Auditorium Theatre debut with a “Jazz Triple” bill that embraces George Balanchine’s “Slaughter on Tenth Avenue” and two pieces by artistic director David Bintley: “The Shakespeare Suite” and “The Nutcracker Sweeties,” both with music by Duke Ellington. Oct. 4-7, Auditorium Theatre.
Mark Morris Dance Group: The theater of the Museum of Contemporary Art, which featured the Merce Cunningham company last season, has another big deal with the Mark Morris Dance Group, featuring a new work, “Sang Froid,” by the American choreographer and set to piano music by Frederic Chopin. Oct. 12-15, MCA.
Dance Africa: The communal celebration marks its 10th anniversary with “Universal Umoja: Dance! And Music of the Soul.” If past years are any indication, this program of visiting and American dance companies will be sold out again. Featuring Zimbabwe’s Iwisa Music and Dance Group and Kenya’s Mizizi Dance Ensemble. Oct. 13-15, Auditorium.
White Oak Dance Project: Mikhail Baryshnikov’s post-modern troupe, performing in the smallest theater in its history, has two different programs Nov. 15-19 as part of the inaugural season for the Dance Center of Columbia College’s new home at 1306 S. Michigan Ave.
— Richard Christiansen
JAZZ
“American Heritage Jazz Series”: The Chicago Jazz Ensemble expands its geographical reach this season, taking its series to four venues in the Chicago area and one in Rockford. The programs will concentrate on music of Stan Kenton, Benny Goodman and a double-bill of Bix Beiderbecke and Louis Armstrong, with concerts at the downtown campus of Columbia College Chicago, Du-Sable Museum of African American History, North Shore Center for the Performing Arts, Wheaton College and Rockford College. Add to this the band’s periodic sets at the Jazz Showcase, and the Chicago Jazz Ensemble may rank as the most visible band in town. September through March.
David Young & New Republic: The exceptional trumpeter-composer, still a student at Northwestern University’s School of Music, ranks as one of the more talked-about young musicians in Chicago. Considering his self-assurance as performer, continually deepening technique as instrumentalist and originality as composer, Young appears unstoppable. He’ll headline the Fifth Annual Jump & Verve Festival, Sept. 12-16, Pete Miller’s Steakhouse in Evanston.
Danilo Perez: Though he has been a frequent visitor to Chicago, Perez returns to the Jazz Showcase with a project that has been widely anticipated: the music from his forthcoming “Motherland” recording, possibly his deepest exploration yet into music of his native Panama. Sept. 26-Oct. 1, Jazz Showcase.
Chicago Asian American Jazz Festival 2000: An event that started small has become one of the largest – and best – of its kind. In addition to shows at the Museum of Contemporary Art, which is becoming an important champion of new and unjustly marginalized music, the festival will present John McLaughlin and Zakir Hussain at the Chicago Theatre, on Nov. 10. Nov. 9-11.
Jelly Roll Morton Series: The Chicago Humanities Festival presents an exploration of Morton’s music, featuring trumpeter Orbert Davis, pianists Reginald Robinson and Jon Weber, and the Chicago Jazz Ensemble conducted by Morton scholar James Dapogny. Nov. 11-12. Field Museum.
— Howard Reich
LATIN MUSIC
Cafe Tacuba: Mexico’s Cafe Tacuba is probably one of the best, most imaginative rock bands in the world right now, regardless of language. They sold out the Monday gig, added the one on Tuesday, House of Blues.
Compay Segundo: The Cuban elder is better known at home as Francisco Repilado, one of the 20th Century’s most important composers of the classic son style. Plus, the guy’s a charmer. If you can only go to one show all season, this is the one. Sept. 18, Symphony Center.
Sergent Garcia: Everybody talks about fusion but no one mixes it up so raucously as the Paris-based Sergent Garcia, who parties down with bits of rock, salsa, funk, and rap. Oct. 1, HotHouse.
Chava Alberstein and Susana Baca: Alberstein is probably Israel’s most well-known singer, with an English, Hebrew and Yiddish repertoire. Hers is an emotional, crystalline delivery. Baca is an Afro-Peruvian singer with an earthy, almost sacred approach to music. The combo should make for a dazzling evening. Oct. 1, Symphony Center.
— Achy Obejas
MOVIES
“Almost Famous”: Who better to rip the lid off rock reportage than ex-“Rolling Stone” writer Cameron Crowe? Sept. 15
“Remember the Titans”: Based on fact, this is a real heart-tugger. It is one of the better black-white bonding films and certainly the best high school football movie. Sept. 29
“Ran”: The great Akira Kurosawa’s late, wintry 1985 masterpiece is “King Lear” re-set in medieval Japan. Sept. 29
“Dr. T & the Women”: The best Altman since “Short Cuts” and one of his classic ensemble pieces. Oct. 6
“Dancer in the Dark”: Lars Von Trier’s musical tragedy is strange, flawed, but powerful. Oct. 20
“Crouching Tiger, Hidden Dragon”: From the incredibly versatile Ang Lee comes this stunning martial arts saga. Dec. 8
“A Hard Day’s Night”: Dick Lester directs The Beatles in the best “fictional” rock movie. Dec. 8
“O Brother, Where Art Thou?”: My favorite film at the last Cannes Fest. The Coen brothers create a cornpone, chain gang version of Homer’s “Odyssey.” Jan. 12
“Traffic”: Ambitious drug crime thriller with ace director Steven Soderbergh and cast. January
— Michael Wilmington
ROCK
Elastica: Missing in action for five years, these retooled UK favorites return with tunes hotwired through Wire and the Velvet Underground and trash-talking attitude intact. Sept. 27, Park West.
Jurassic 5: This soulful sextet showcases tunes from one of the year’s finest hip-hop debuts, “Quality Control.” With Dilated Peoples and the World Famous Beat Junkies. Sept. 27, the Vic.
Flower 10: Flowerbooking, the Chicago-based agency that has become a national presence in the underground community, celebrates its 10th anniversary with a five-day, 30-band series of shows at Metro featuring the cream of indie rock. The lineup includes Trans Am on Sept. 27, Burning Airlines on Sept. 28, Tortoise and a reunion of Antietam on Sept. 29, The Sea and Cake and Isotope 217 on Sept. 30, and Jets to Brazil on Oct. 1. A matinee at Empty Bottle on Oct. 1 is headlined by the Blacks and the Grifters.
Queens of the Stone Age: Blending blissed-out vocals, churning rhythm beds reminiscent of German machine rock and stun-gun guitar riffs, this California band has made one of the year’s finest rock albums, “Rated R.” Oct. 5, Metro.
Low: The quietest band on Earth turns music into slow-motion beauty. Oct. 5-6, Schubas.
Emmylou Harris/Buddy and Julie Miller: Difficult to imagine a finer showcase for the progressive fringe of the country-folk movement. Oct. 6, the Vic.
Independent Arts Festival: Indie-rock supergroup Shellac (Steve Albini, Todd Trainer, Bob Weston) headlines two evenings of “music and independent creative businesses” with New Zealand’s High Dependency Unit and Loraxx on Oct. 6 and Robbie Fulks and the Oxes on Oct. 8, at Centrum Hall, 1309 N. Ashland Ave.
Moby: Still riding high on his 1999 masterpiece, “Play.” Oct. 6, 8, Aragon.
The Roots: Joined by a like-minded cross-section of rap and R&B up-and-comers, including Jill Scott, Talihb Kweli, Dead Prez and Slum Village, the Roots should only bolster their reputation as hip-hop’s finest live band. Oct. 23, House of Blues.
Screeching Weasel: These punk legends from the Chicago suburbs, whose music is acknowledged by bands ranging from Green Day to Blink-182, make a rare live appearance. Oct. 28-29 House of Blues.
King Crimson: Art-rock’s premier band should sound terrific in one of the city’s most acoustically inviting rooms; Oct. 30-31, Nov. 1, Park West.
— Greg Kot
THEATER
“Syncopation”: The story of a middle-aged meat packer and a young seamstress who become social dance partners at the turn of the 20th Century. Ross Lehman, Apple Tree Theatre’s co-artistic director, and Ann Noble Massey are the waltzing couple in Alan Knee’s “dance romance,” with the recorded music drawn from songs of the period. Sept. 18-Oct. 22, Apple Tree Theatre in Highland Park.
“The Ballad of Little Jo”: Steppenwolf Theatre’s 25th anniversary season begins with the world premiere of the tale of a woman who disguises herself as a man in order to survive in a Gold Rush mining camp. Judy Kuhn, owner of dozens of Broadway credits, including “Les Miserables” and “Sunset Boulevard,” takes the title role under the direction of Steppenwolf ensemble member Tina Landau. The lyrics are by Sarah Schlesinger and the music is by Mike Reid, a classically trained pianist, composer of country-western songs and former defensive tackle for the Cincinnati Bengals. Sept. 24-Nov. 5, Steppenwolf Theatre.
“In the Penal Colony”: The new opera, with music by Philip Glass and a libretto by Rudolph Wurlitzer, is based on a story by Franz Kafka about an execution in a penal colony. JoAnne Akalaitis, whose past Court Theatre productions are “The Iphigenia Cycle” and “Life Is a Dream,” stages this co-production with A Contemporary Theatre in Seattle. Nov. 11-Dec. 10, Court Theatre.
“The Rhythm Club”: A pre-Broadway engagement. “The Rhythm Club” takes place in the same 1930s Germany that was the setting for “Cabaret.” The story concerns two big-band musicians, one a Jew and the other a Christian, and their female lead singer, all hoping to get out of Hamburg and into the U.S. Eric Schaeffer is the director, and the songs are by lyricist Chad Beguelin and composer Matthew Sklar. Dec. 9-Jan. 7, the Ford Center for the Performing Arts/Oriental Theatre.
“Enter the Guardsman”: This production adds music to the Ferenc Molnar backstage comedy of 1910, “The Guardsman,” in which a jealous actor disguises himself as a guardsman in order to seduce his actress wife. Music is by Craig Bohlmer, lyrics by Marion Adler and book by Scott Wentworth, with Peter Amster, who staged “Master Class” for Northlight Theatre, directing. The cast includes Hollis Resnik and John Reeger. Dec. 13-Jan. 7 at Northlight Theatre in Skokie.
— Richard Christiansen
