Mentored by the fabulous Tabatha Coffey of Bravo’s Tabatha Takes Over, David LaSalle is celebrating the Menz Room’s one year anniversary with a fashion and hair show on March 23, 2013 at Hydrate to benefit OVAH! and TPAN. Recently I spent the afternoon at David’s amazing salon and found out exactly why the Menz Room has been such a success.
MJR: (Michael J. Roberts) Your salon is absolutely fabulous!! How did you first get involved in the industry?
DL: (David LaSalle) A. Well thank you Michael. I grew up in Fort Wayne, Indiana and received a degree in social work but I wasn’t making any money. I come from a family of surgeons, so my father told me I had to find something I couldn’t get fired at. I walked into Ravenscoft Beauty College and that was it! I graduated nine years ago and headed to Chicago. I worked for a few salons in the area and became artistic director for Regis Salon.
MJR: How did you meet Tabatha Coffey?
D.L.: I was in Dallas for a show and Nick Arrojo and Tabatha Coffey where there. I just started talking with Tabatha who told me she just finished filming an episode of her show Tabatha’s Salon Takeover, and that they needed some stylists. So I was there when they filmed the first one and was there for 2 1/2 years. When Tabatha came back the second time and saw that nothing had changed in the salon, she told me to get out of there and open my own place. She said that not only do I create technically strong haircuts but I create an environment and that is what can make money.
MJR: What do you think is the biggest misconception about the haircutting industry?
D.L: I think it is that it just shouldn’t just be a haircut. You should be going to a professional to explain everything about your hair. What we do at the Menz Room is to educate and to tell you why your hair is that way it is. From the texture to the diameter of your hair; to what you are doing daily that is effecting it. We talk about diet, how often you shampoo and things of that nature. If you are at a salon and they begin speaking “Pantene” to you, get out.
MJR: How much of learning the art of hairstyling is natural and how much can be taught?
D.L: Wow, that is a great question. I do think a lot of it is natural to the person, much like a dancer or an actor. Sure, the technique is there to be taught but some people just have an innate talent and those are the people I have always gravitated to. I have also stood next to technically strong people but for whatever reason, or whatever demons they had, never excelled in the business aspect of it. So you have to have both to be successful in this business. Bottom line is that everything that is taught, has to be taught from the standpoint that this is a business.
MJR: What is the biggest lesson Tabatha has taught you?
D.L.: That I am my business and that I am representing it 24 hours a day, 7 days a week. So whether I am out with my friends at the bars in Boystown or just at a friend’s get together, whatever I do and how I act is a reflection on my integrity that absorbs into my business. So you would never see me topless or drunk outside a bar. I want people to know that I will be around for the long term.
MJR: What has the hardest part about opening the Menz Room?
D.L.: The biggest thing, and it is also what Tabatha told me, is once you get the salon open, how do you get butts in chairs? That was the most difficult thing. I have worked in this neighborhood, but where the Menz Room is located is about 50% in Boystown and 50% outside of it. We have a lot of visibility being in this location so we took advantage of that and worked with Yelp and various social media.
MJR: Let’s talk about that special relationship and bond between a stylist and client.
D.L: You have to form that trust very quickly. You have to ask specific questions to figure out their lifestyle, which impacts how you are going to proceed with their hair. Then we can relax and talk. A lot of my closest friends are clients. But trust never happens right away. It usually takes three times before a real relationship takes hold. But after that bond is established you become very attached and can end up being a matchmaker, a counselor and friend.
MJR: Tell us about the upcoming show at Hydrate.
D.L: It our one year anniversary show and I wanted to put something together as a charity benefit that would also educate the people on what the upcoming styles in both hair and fashion would be for 2013. I went to Cram to see if they would be interested in doing the fashion portion of the show and they agreed. We also wanted it to be a mix of straight and gay boys of different shape and sizes so everyone could be included and find their own style. So if you are going to Hollywood Beach, this is the look you should have and how to achieve that look through the cut, clothes and products.
MJR: What are the charities that you picked for this years fashion and hair show?
D.L: At the outset of this I contacted CyonFlare and told him I wanted to pick some organizations that he was a part of. That is how we chose both OVAH! and TPAN as our recipients. OVAH! is CyonFlare’s main charity which was established a few years ago to help homeless gay youth and of course TPAN has been a staple in our community for HIV education and outreach.
MJR: How have you changed and grown in the last year since the Menz Room has been open?
D.L.: I worry a lot more. I realize that I have a responsibility to my client’s, my staff and my neighborhood that I will never take for granted. With this salon, I have the ability to make a difference in people’s lives and I take that responsibility very seriously. When I see people just coming in to hang out and have a good time, I know that I have created an environment that is goes beyond just a salon, and that is something that I am so very proud to have been a part of creating.
Jazz great Patricia Barber discusses her critically acclaimed new album SMASH. For more information visit www.PatriciaBarber.com
On Smash, her debut on Concord Jazz, Patricia Barber reiterates her unique position in modern music as a jazz triple-threat - imaginative pianist, startling vocalist, and innovative composer. With a new band and a dozen new compositions, she also continues her two-decade crusade to retrieve the ground that jazz musicians long ago ceded to pop and rock: the realm of the intelligent and committed singer-songwriter, tackling even familiar subjects (like love and loss) with a nuance and depth beyond the limits of the Great American Songbook.
Once again - in the crisp chill of her vocals, as well as the fiery feminine intellect that informs her music and lyrics - Barber makes most of her contemporaries sound like little girls.
A prime example is the title track, where Barber paints the end of a love affair with subtly stated allusions to destruction: the erosion of edifices; a bloody road accident. The lines are more akin to poetry than conventional song lyrics, as she depicts "the crumbling of tall castles built / on kisses and blood / and dreams so like sand." The song's reprise compares "the sound of a heart breaking" to "the sound of / the red on the road" - a devastatingly effective mélange of synesthetic imagery. Aided by a raw, forceful guitar solo, the performance illuminates a counter-intuitive realization about loss:
"It just struck me, as it does everyone who experiences great loss, that on the outside, no one can tell," Barber explains. "You go to the grocery store, and everything's the same, which is shocking. It struck me that this is the sound of a heart breaking: silence. You're alone. And I felt that this was an interesting juxtaposition, since the sound of a heart breaking should be the loudest, screamiest, shriekiest combination of sounds there could be."
Barber has another song on the subject of "loud, shrieky" emotion: "Scream," paradoxically set to a gentle, quiet melody that belies its message, and which has proved extremely popular with those audiences hearing it prior to this recording. "Scream / when Sunday / finally comes / and God / isn't there . . . . the soldier / has his gun / and the war / isn't where / we thought it would be." As Barber points out in conversation, with only the slightest sarcasm, "It's an angry song - and everyone wants that."
Her anger finds a more whimsical (but no less impactful) outlet in the catchy "Devil's Food," written specifically from Barber's perspective as a gay woman: "boy meets boy / girl meets girl / given any chance / to fall in love / they do . . . / like loves like / like devil's food / like chocolate twice / I'm in the mood / for you . . . ." She wrote the song in reaction to last year's highly publicized efforts to quash gay-marriage initiatives around the country:
"It made me mad, and it made me want to make a declaration - but to make it fun. I find one of the best ways to bring people to your perspective is of course to charm them, and music can always do that. That's how I get a lot of people thinking about a lot of things. I mean, the lyrics are fairly graphic - ‘sweet on sweet, meat on meat' - but the music is so beguiling, I think I make the case. And when it becomes clear that it's turning into a gay disco song, it's really fun watching people's reaction, which is surprise and mostly delight."
It's not the usual territory trod by jazz singers and songwriters; we're a long way from "The Man I Love." ("Smart songs about the way we think and live, not just about the way we love," wrote Margo Jefferson in The New York Times.)
Much of Barber's magic lies in setting these words to music as fully evocative as it is coolly provocative. Many of her arrangements attain a thrilling friction between style and substance. (For a defining example, turn to "Redshift," in which Barber weds the science-geek lyric - itself a miraculous marriage of physics and love - to the gentle lull of a bossa-nova beat.) Throughout the album, her Chicago-based quartet - comprising the superlative rhythm team of bassist Larry Kohut and drummer Jon Deitemyer, with the edgy and arresting John Kregor on guitars - functions as a translucent extension of Barber's own musicality, while her piano work enjoys a prominence that some of her newer fans may not previously have experienced.
One song, "Missing" - perhaps the album's most indelible portrait of heartache - came about in an unusual way: "This was a commission, I guess you could call it. A woman sent me a letter and her story, and a very small check, and asked if I could turn it into a song. It was sort of an outrageous request, but it really hit me, so I wrote it; it was my idea to take the story through the four seasons. In some ways, it's the sleeper of the record. When I play this in concert, a lot of people cry at this one."
The other songs on Smash represent the fruit of Barber's decision to write what she calls a "syllabic song series"; these pieces resulted from a disciplined framework, based on the number of beats in each poetic line. (For instance, "The Swim" consists entirely of two-syllable lines; "Spring Song" has three such phonemes per line; "The Wind Song," six.) "I studied the songwriters, but now I just study the poets," she explains. "I'm trying to make the poetry of a finer order. But I still need to rhyme, because rhyme is rhythm, and rhythm is music."
Audiophiles will be especially glad to know that Smashreunites Barber with her long-time recording engineer Jim Anderson (with whom she first worked in 1994, on her Premonition Records debut Café Blue.) Anderson - who is Professor of Recorded Music at New York University's Tisch School for of the Arts - has again captured Barber's music with the clarity and presence that led Stereophile Magazine to label Café Blue a "Record To Die For." HDTracks and Mastered for iTunes versions of Smash are also available.
After her long association with Premonition and then Blue Note Records, Barber self-released her two most recent albums - recorded at Chicago's legendary Green Mill, her weekly showcase for more than two decades - and had no plans to sign with anyone else at this point in her career. "I didn't have a contract, or even a recording in mind," she states. "I assumed that when I had a group of ten or so new songs I would probably put it out myself." Halfway through this process, Barber received an offer from Concord, which she promptly turned down: "I was really enjoying the freedom of not having a label, especially in this environment, and just doing what I always do - trying to advance myself musically, practicing a lot, and locking in on what I consider a really good band."
But the persistence of Concord producer Nick Phillips won out. "He came to see me, and he reminded me so much of Bruce Lundvall," Barber recalls, referring to the former Blue Note president with whom she worked closely. "I had been grieving the loss of that professional relationship. And then Nick mentioned that he has great respect and admiration for Bruce. So we hit it off personally, and that's what it takes for me."
That, and the chance to take her time - to read poetry, practice piano, and do some gardening on a tract of farmland she owns in Michigan, a welcome getaway from city life in Chicago. That's how Barber's ideas take root and bloom. She remains an electrifying performer, but performance is not the most important aspect of her art. "My favorite part is the internal part - the research," she points out. "All the interesting stuff happens inside your head and at the piano."
Fortunately, those of us not in Patricia Barber's head or at her piano still get to enjoy the fruits of that labor.
Actor LIAM BENZVI discusses his role as Gabe in the Goodman Theatre’s World Premiere production of TEDDY FERRARA by playwright Christopher Shinn.
LIAM BENZVI (Gabe) makes his Goodman and Chicago debut. Regional credits include A Streetcar Named Desire, Roman Holiday and a workshop of Long Day’s Journey Into Night (Edmund) at the Guthrie Theater, and as Le Chevalier Danceny in Les Liaisons Dangereuses at Torch Theater in Minneapolis. New York credits include Ross at the Storm Theatre (off off Broadway). Film credits include Joshua Sanchez’s Four, based on the play by Christopher Shinn. Mr. Benzvi received his training from the University of Minnesota/Guthrie Theater BFA Actor Training Program and LaGuardia Arts at Lincoln Center.
Teddy Ferrera Information:
Rehearsals are underway for the world-premiere production of the Goodman-commissioned Teddy Ferrara by Pulitzer Prize finalist Christopher Shinn, praised as “among the most provocative and probing of American playwrights today” (The New York Times). Evan Cabnet directs this stirring exploration of an on-campus tragedy with a cast that includes Liam Benzvi (Gabe), Patrick Clear (University President), Rashaad Hall (Nicky), Ryan Heindl (Teddy Ferrara), Christopher Imbrosciano (Jay), Jax Jackson (Jaq), Dev Kennedy and Fawzia Mirza (Campus Police), Paloma Nozicka (Jenny), Adam Poss (Drew), Josh Salt (Tim), Kelli Simpkins (Ellen) and Janet Ulrich Brooks (University Provost). The design team includes Jenny Mannis (Costume Designer), Keith Parham (Lighting Designer), Lee Savage (Set Designer) and Richard Woodbury (Sound Designer). Teddy Ferrara runs February 2 – March 3, 2013 in the Owen Theatre. Tickets ($14 – $45; subject to change) are now on sale and are available at GoodmanTheatre.org/Teddy, by phone at 312.443.3800 or at the box office (170 North Dearborn).
In conjunction with the production, Goodman Theatre hosts its first-ever student press conference including cast members from Teddy Ferrara on February 7 from 5:30 – 6:30pm. Chicagoland college and high school students are invited to join participants of the Goodman’s Cindy Bandle Young Critics program (CBYC) in this unique opportunity to interview the cast. To make arrangements, student journalists should call 312.443.5152 or email Press@GoodmanTheatre.org.
Students can also take advantage of “10Tix” tickets – $10 tickets exclusively for students, now available for advance purchase – at GoodmanTheatre.org using the promo “10Tix” or at the box office (170 N. Dearborn). Previously, 10Tix were only available day-of show. A valid Student ID must be presented upon pickup, and limit four tickets per student. All tickets are subject to availability and handling fees apply.
“I was teaching undergraduates just as I was beginning to work on Teddy Ferrara and really observing them and measuring my own experiences against that,” says playwright Christopher Shinn. “It’s an entirely different social world today as mediated through media and technology, and it’s rare to see college students represented truthfully. I’ll know I have achieved this if college-aged students respond to this play.”
Other special events for audience members include:
Wednesday, February 6 | Polk Rehearsal Room 6pm, FREE for Subscribers, Donors and students with ID; $5 for the general public (reservations required) Join us for an intimate conversation with Teddy Ferrara director Evan Cabnet before the 7:30pm performance that evening. Moderated by Adam Belcuore. To reserve tickets, call the box office at 312.443.3800.
Following each Wednesday performance of Teddy Ferrara, audiences are invited to attend free post-show discussions with members of the Goodman’s artistic staff.
Teddy Ferrara takes place during Gabe’s senior year of college. His future looks bright: he runs the Queer Students Group, he finally has a single room and he recently started dating a great guy. But when a campus tragedy occurs that makes national headlines it ignites a firestorm and throws Gabe’s world into disorder. When new evidence surfaces, Gabe discovers that the events surrounding the tragedy aren’t as straightforward as they seem, and he is forced to question popular assumptions—and his own life’s contradictions.
Katten Muchin Rosenman LLP is the Corporate Sponsor Partner for Teddy Ferrara. The Time Warner Foundation is the Major Supporter of New Play Development and The Glasser and Rosenthal Family and the Harold and Mimi Steinberg Charitable Trust are Supporters of New Work Development. The Davee Foundation is the Major Contributor to Research and Development for New Work. The Joyce Foundation is the Principal Supporter of Artistic Development and Diversity Initiatives.
About Goodman Theatre
The Goodman’s 2012/2013 Season features 11 productions on its two stages—six in the 856-seat Albert Theatre and three in the 400-seat flexible Owen Theatre, plus a Latino Theatre Festival that includes two additional productions. Still to come in the 2012/2013 Season are Other Desert Cities by Jon Robin Baitz, directed by Henry Wishcamper (now through February 17, 2013); Teddy Ferrara by Christopher Shinn, directed by Evan Cabnet (February 2 – March 3, 2013 in the Owen); a Latino Theatre Festival in the Owen, including Cuba’s Teatro Buendía’s production of Pedro Páramo by Raquel Carrió, co-directed by Flora Lautén and Henry Godinez and produced in association with the Museum of Contemporary Art Chicago (March 22 – March 31); The Happiest Song Plays Last by Quiara Alegría Hudes, directed by Edward Torres (April 13 – May 12, 2013) and Albany Park Theater Project’s production of Home/Land, written collectively by the Albany Park Theater Project teen ensemble and directed collectively by the Albany Park Theater Project artistic staff (June 20 – June 30, 2013); By the Way, Meet Vera Stark by Lynn Nottage, directed Chuck Smith (April 27 – June 2, 2013 in the Albert); and The Jungle Book, a new musical based on the Disney animated film and the stories of Rudyard Kipling, adapted and directed by Mary Zimmerman (June 21 – July 28, 2013 in the Albert).
Goodman Theatre, “the leading regional theater in the nation’s most important theater city” (Time), is a major cultural, educational and economic pillar in Chicago, generating nearly $250 million in economic impact over the past decade in its state-of-the-art two-theater complex on North Dearborn Street. Founded in 1925 and currently under the leadership of Artistic Director Robert Falls, “Chicago’s most essential director” (Chicago Tribune), and Executive Director Roche Schulfer, Chicago’s oldest and largest not-for-profit resident theater has welcomed nearly two million patrons to productions and events—including 10 festivals celebrating playwrights such as David Mamet, August Wilson and Horton Foote, as well as the biennial Latino Theatre Festival—and served legions of students through its Education and Community Engagement programs (including the FREE Student Subscription Series and other interactive programs). The Goodman has earned more than 90 awards for hundreds of productions, including the Pulitzer Prize for Ruined by Lynn Nottage—one of 25 new work Goodman commissions in the last decade. American Airlines is the Exclusive Airline of Goodman Theatre. Ruth Ann M. Gillis is Chairman of the Board of Trustees, Sherry John is President of Women’s Board and Lauren Blair is President of the Scenemakers Board, the Goodman’s young professionals auxiliary group.
The hilarious Jesse Tyler Ferguson of t.v.'s Modern Family and his partner Justin Makita stopped by our favorite talk show Windy City LIVE to discuss marriage equality, which today is being debated in Springfield. Jesse also promoted their new charity venture Tie The Knot in which proceeds of bow ties sales go to pro-gay marriage
organizations. And ooops……Jesse also let a little secret slip about
his upcoming nuptials. Thank you to my friends at Windy City LIVE for allowing me to share this with you! Today's show will be rebroadcast at 12:05 am on ABC7 Chicago.
Multi-talented singer/songwriter Laury Shelley discusses her upcoming concert “My Life With Legrand” which is a tribute to her friend and mentor, composer Michel Legrand.
MJR (Michael J. Roberts): Congratulations on the success of your show “My Time With Legrand”, how did your association with Michel Legrand begin?
LS (Laury Shelley): It started with an album called “Jack Jones Sings Michel Legrand”. One day my brother in-law played this album and as they say, ‘I was gone’! I was very young and pretty much ahead of my time musically. I was listening to music most kids my age weren’t even interested in. I was mesmerized, hypnotized and thoroughly taken in by the magic of some the most beautiful music I had ever heard !
Of course I would then go on to learn and sing his songs whenever and wherever I was singing, not realizing at the time that it was the unusual rangy melody’s that I was drawn to, which explains why I had such a passion for the avaunt guard and unexpected music of Legrand.
So with each year I learned more of his music and was growing as a singer, always singing his songs. I started to hang and jam with several musicians, one I became very friendly with, a pianist named Randy Waldman. One particular evening I was leaving my apartment. As the heavy door was closing the phone started to ring and I ran back to answer the phone. It was Randy asking me if I wanted to go to Mr Kelly’s, a famous and well known club in Chicago that artists from Barbra Streisand to Sarah Vaughan performed at, and see Michel Legrand perform.
Well of course I changed my plans and said yes and met him there. So we go in and there was Michel about to go up and perform. I remember the minute I heard him play and sing. Everything else around me disappeared and I was completely enthralled with every note and every word he sang. It was so magical and beyond anything I had ever experienced musically.
When the first set was over I kind of went up to him as he was walking by and said hello, introduced myself and told him I was a singer and loved singing his songs. He asked if I had anything he could hear of me singing, so I mentioned Randy and I were talking about recording something soon. (BTW, Randy is a very well known pianist arranger who has worked with the many artists in the business including arranging and accompanying Barbra Streisand on albums and her concerts).
Funny how I don’t think I got an address, phone number or gave him one, which leads me to going back the next night to hear Michel again with a group of jazz musicians I knew. Did I mention Michels band? On piano, Michel Legrand; Bass- Steve Gilmore;Drums- Bill Goodwin;Trumpet- Marvin Stamm; Alto Sax- Phil Woods and a String Quartet from the Chicago Symphony. The best and it was glorious!So I get to the club for the second night to hear Michel, walk in and most of his band, were all sitting at a table. He saw me and motioned, “Did I bring the Cassette recording on me for him”? Of course I said no, walked over to the table and asked Michel “Why don’t you play and I’ll sing for you”? Well there was complete silence. Everyone looked at me like who the hell is this kid! Michel then looked up at me and said “o.k.”, come to the club tomorrow and he’ll play and I’ll sing. I couldn’t believe it, I was going to sing the next day for Michel Legrand !
Before I knew it, the next day I was having lunch with Marvin Stamm, one of the most renowned Trumpet players in the music business, who would then walked me over to Mr Kelly’s for me to sing for Michel Legrand. We get there and Michel is working on the piano and having it tuned up. So Michel played for me as I sang the first song, Bye Bye Blackbird, sang it once through then scatted. The next song I sang was his Pieces Of Dreams. I couldn’t believe I was singing that song that he wrote to him. Michel seemed very pleased and that was enough for him to hear. I really wanted to singYou Must Believe In Spring one of my favorites, so when I mentioned that song he said “yes” to sing it, probably because it’s a very difficult song to perform.
After I sang, Nat and Michel were talking about being interested in me singing with Michel. Within a couple of weeks I was sent Michel’s demo album so I could start learning his songs. Soon I would started touring with Legrand. I was singing and performing with one of the greatest composers in the world !
MJR: How did you go about choosing songs from the Legrand songbook for your show?
LS: As you know, I’m working with Ralph Lampkin, who is producing, writing and directing this show with me. Choosing what Legrand’s songs to sing is a bit challenging since there are so many of his songs I love. I wanted to really personalize the show so every song is picked for a specific reason and meaning and there are stories that connect personally with the songs too from my 5 1/2 years of touring as vocal soloist with him. Of course there are some favorite and well known songs that are a must to do. Then, while working on choosing other songs, Ralph introduced me to some very obscure and not so well known Legrand songs that I couldn’t resist the minute I heard them and had to add the list.
MJR: What song means the most to you personally and why?
LS: There are a few or maybe even three. But the one that grabbed at my soul the first time I heard it, then sang it to the maestro himself the day after I met him and is very near and dear to my heart, is “Pieces Of Dreams”, which has become a signature song for me and for years I had the honor of singing a duet arrangement of the song with Michel while we toured and performed concerts. The live recording of the duet, which is on the album Michel Legrand and Friends was just re-released for CD on RCA this last Oct 2012. ”Pieces Of Dreams” to this day, still holds it’s own as one of the most important Legrand songs in my life.
MJR: Growing up, who were your biggest musical influences?
LS: There are more than a few, in fact a variety I love and enjoy singing many different genre’s of music. I listened to lots of jazz, though I listened to many Sarah Vaughan was one of my biggest influences as a singer. I was very drawn to her, still am. I always listened to many musicians in jazz, think the reason is because I think like a musician not just a singer so my mind set is all the elements that make up singing a song, melody, lyrics and how you approach the music is all important. When I was a child I listened to Gospel a lot and of course a lot of R&B and Rock and Roll..Aretha, James Brown, Beatles and country, classical, etc. But I’m saving the most important musical influence for last, I must say is Barbra Streisand. The connection was there right away, I think mainly because what I wasn’t given as child I could express through music and listening to Barbra, although I didn’t know it at the time because I was young, inspired me to do something I could feel free and good about, SING, and so I did !
MJR: What do you want the audience to take away from your show and what do you want them to know about Mr. Legrand?
LS: I want the audience to experience an evening hearing some of the most beautiful, passionate music ever written, hear the heart warming and fun stories I share of the years touring and singing Legrand’s haunting and brilliant songs and to be moved. What do I want the audience to know about Michel? That he is one of the most important composers in the world and how important his music is, forever!
MJR: What other projects are you working on?
LS: After this show I will be writing more of my own original music and recording it. Also, I am working with Ralph on many other projects that will be announced soon.
Lampkin Music Group is proud to present singer, Laury Shelley, in “My Time With LeGrand”. Saturday November 17th at 8:00 pm. Music Director/Accompianist/Arranger: ViJay Tellis Nayak. Drums: Bob Rummage. Bass: Jim Cox. Direct from New York, Laury takes you on a journey through the music and memories she shared with Michel LeGrand. Laury toured with LeGrand for about 6 years, appearing at Carnegie Hall, St. Regis Hotel and many others concert halls and nightclubs cross country and in Canada. Laury’s New York solo debut last month was attended by critics and singers, who made note of her stunning vocal instrument. We are thrilled to be home in Chicago and to share this newly written show with you. Songs include The Way He Makes Me Feel, I Was Born in Love With You, Sweet Gingerbread Man and The Hands of Time. Tickets are $20.00. Available atwww.stage773.com.www.Chicagojazz.com/LauryShelley.
For ticket information, call the Stage 773 box office at 773.327.5252 or click here to purchase tickets online