Chicago dance company Ishti examines divided country in new production, "Prakriti: A History of the Present"

By ERIC SCHELKOPF

In its latest production, "Prakriti: A History of the Present," Chicago dance company Ishti examines how divided the county has become in the wake of the 2016 presidential election.

Creating productions that are both relevant and accessible is part of Ishti's mission. “Prakriti: A History of the Present” will be performed at 7:30 p.m. Sept. 28 and at 3:30 p.m. and 7:30 p.m. Sept. 29 at Indian Boundary Park, 2500 W. Lunt Ave in Chicago. General admission tickets are $20 and student tickets are $15.

I had the chance to talk to choreographer Preeti Veerlapati about the production.

Q – How were you inspired to create this production? Is the production coming together as you envisioned?

After the 2016 election, we witnessed just how divided the country had become. People could no longer communicate with each other without letting their emotions take over to the point that friends and family members would no longer talk to each other.

Kinnari’s good friend and his twin sister stopped talking to each other because of this and that is what inspired us to create this production. How have we, as humans, have arrived to our present-day climate? How and why can we be so unwilling to listen to views, beliefs or behaviors that are different from our own?

We journey to our most primitive/primal times to discover our need for tribes, reactions to the different and ability to find balance. 

The production in pretty close to what we had envisioned conceptually.  Due to some technical challenges, limitations with the space, budget and man-power, we are learning to find a balance between our dreams and reality.

Q – The production will also feature an original score and live music by composer Bob Garrett, visual art by filmmaker Shawn Convey and light design by Geoffrey Bushor. How did you come to collaborate with them? Do you all share the same ideas for the production?

We have been very lucky to collaborate with some super talented, like-minded artists who believe in our work and have inspired us all along.

At the time of conception, we had envisioned a music mix with rare instruments: ancient (yay bahar, Tibetan glass singing bowls, Indian mouth harp), Indian classical and folk music, ancient chanting as well some new age electronic. Considering all this, composer, sound designer Bob Garrett was an obvious choice.

Once the story board was shared, Bob came up with the original score almost as if it were a painting, landing the score a visual appeal.

The honesty, emotional depth and healing qualities of Shawn Convey’s work has always appealed to us. We learned more about his process of filmmaking, his beliefs and our shared ideas after our work in progress.

We absolutely enjoyed our collaboration with Shawn, his encouragement of our silliest ideas and his enthusiasm for the project.

Geoffrey Bushor’s experience, creativity and willingness to work in a nonconventional space and with unconventional lighting had shaped our very first production. When we approached him with Prakriti, he came up with a map of the 1800s and the history of the performance venue, Indian Boundary Park, and so started the detailing and finishing of the project.

Q – What are the different dance forms that will be part of the production? 

The production is influenced by various dance styles. Most of the choreography has been about creating a new vocabulary influenced by traditional and modern dance forms.

It is rooted in Bharatanatyam – a South Indian classical dance form – along with various forms of Indian folk dance styles. Kalaripayattu – a martial arts form from India, also is represented, as well as modern and contemporary dance.

You may also see the influence of Performance Art and Theater.

Q – Is this production more challenging than other productions Ishti has done? How does the production fit in with Ishti's mission? 

Absolutely. The abstract nature of the subject and the in-depth research and thought put in for each movement, each moment and the intensity of emotions without a physical story was new for us.

The number of dancers, the diversity in their dance training and backgrounds have been a gift and challenge at the same time. Use of Solkattus (vocalization of percussive syllabus in South Indian music), chanting a shloka (verse from ancient Vedic meter in Sanskrit), wearing non-traditional costumes, conceptualizing the dance first (with the music composed after) are all unique to "Prakriti."
 

Q – What would you like the audience to take away from this production?

We believe that it will open up a dialogue: sensory, emotional and cerebral. However, the takeaway message is left to the audience.

It may be a life-changing for some, it may be an evening of pleasing visual aesthetics, unique music and atmosphere for others. We do not intend to impose our ideas on anyone – there is no right or wrong.

Each of our performances end with a talk back and a chance to share the process, ideas, etc.

Area musicians provide many memorable musical moments in benefit concert for fellow musician Michael Heaton

Hoss frontman Pete Lindenmeyer and other musicians perform Sept. 1 at Two Brothers Roundhouse in Aurora as part of a benefit concert for fellow musician Michael Heaton, who is battling cancer.

Musician Noah Gabriel Giblin painted this portrait of Michael Heaton, which was auctioned off in a silent auction as part of the benefit concert.

In a show that put the true meaning of friendship on display, area musicians performed on Sept. 1 at Two Brothers Roundhouse in Aurora in a benefit concert for fellow musician Michael Heaton, who is battling cancer.

 

 Kevin Trudo performs the Michael Heaton song "We're Not Sleeping."

Singer Pete Jive and other musicians, including noted guitarist Pat Bergeson, perform Michael Heaton's song "The Good Times." 

Musician Michael Heaton thanks his fellow musicians and those who came to a benefit concert for him.

Musician Ralph Covert performs the Michael Heaton song "Souvenirs." 

Joined by noted musician Pat Bergeson on harmonica, musician Dave Ramont performs the Michael Heaton song "Rhum and Coffee (For Guy Clark)."

Joined by the horn section from the band Pawnshop, Hoss frontman Pete Lindenmeyer performs Michael Heaton's song "Smells Like Gasoline." 

Musicians perform Sept. 1, 2018, at Two Brothers Roundhouse in Aurora as part of a benefit concert for fellow musician Michael Heaton, who is battling cancer. 

 

Kevin Trudo leads the band in a version of The Who's "Won't Get Fooled Again," which Heaton has played at his shows on a regular basis.

Eric Peter Schwartz to perform Aug. 27 at Uncommon Ground in Chicago

 

 

By ERIC SCHELKOPF

 

After taking the stage as an actor and comedian – including being part of the Geneva Underground Playhouse – the spotlight is squarely on Aurora resident Eric Peter Schwartz these days as a musician.

 

Schwartz is becoming a familiar face on stage as he is constantly performing. He will perform Aug. 27 at Uncommon Ground, (Edgewater), 1401 West Devon Ave., Chicago.

 

A full list of his upcoming shows can be found on his website at epschwartzmusic.tumblr.com.

 

I had the chance to talk to Schwartz about his music.

 

 

Q – Since 2013, you've been a solo acoustic artist, right? Prior to that, were you playing with a full band?

 

Before that, I was doing mostly theatre and sketch comedy stuff. I was writing songs behind the scenes. Every once in a while, I would go out and do open mikes by myself. But it was pretty rare.

 

Most of my time was spent writing or doing theater or sketch comedy.

 

Q – What made you want to explore music?

 

 

I really just wanted to go and do something by myself, where the only thing I had to worry about when I had a show was me. It was time to do some stuff on my own.

 

Q – How have you been enjoying it?

 

I love it. I always wanted to do this. Even when I was with Gag Reflex comedy group, I was trying to book us like a band.

 

I love going around and playing shows. I used to think it was a terrifying notion to just stand up their by yourself, but I've really come to enjoy it.

 

Q – What do you like best about the experience? Is it the interaction with the audience?

 

Interacting with an audience is great. If you're kind of playing background music at a bar, there's not a ton of interaction.

 

When I do have a show at a place like a coffee shop where people are actually listening, then yeah, interacting with the audience and talking to them and things like that, that's always great.

 

 

I love playing at Kiss The Sky record store in Batavia. The people who are there are there because they love music. In 2016, I did a little tour of record stores.

 

I took like a week, and did eight shows between Indiana, Illinois and Wisconsin. I just kind of went around to all these different record stores.

 

Most of them seemed to have plugged into the idea of also being a music venue for the local musicians. It's a good deal for record stores to do that with local musicians.

 

Q – I know that you were named songwriter of the year in 2014 by Twirl Radio. Was that a ego boost?

 

Mike Lidskin, who runs Twirl Radio, has been a big supporter of mine. I was surprised and yeah, it was a ego boost. Absolutely.

 

Q – You describe your music as kind of folky and kind of quirky.

 

I usually would put me with somebody like John Mellencamp or Paul Simon, kind of that folk rock and probably just slightly more quirky. I've got stuff that would probably fall within Warren Zevon a little more and some of his quirkier things.

 

Not that I'm as good as any of those people, but if I had to find where I lie, it's in there.

 

Q – Are you working on any new material?

 

I'm always writing. When a song comes to me, then it comes to me. And then I write it down.

 

I usually will try it out at a show, and if it's working, I keep it, and eventually, maybe record it.

 

Now that I'm doing this full time, I'm probably going to have to set aside time. That was the one thing 

 

 

I started noticing that as soon as this became my job, the songwriting was slowing down because I was far more concerned with the fact that I would have to book a lot of shows and get paid.

 

But I'm always working on something. I carry notebooks around with me.

 

I have a little cassette recorder, and if I have just a little snippet of a musical idea, I'll record it on there. Or I will record it on my phone.

 

Q – Do you have a process for writing a song?

 

Sometimes I'll think of the lyrics first, other times, it starts as music and then I add lyrics to it.

It just sort of comes to me. I don't have a set time of day that I write, or anything like that.

 

Q – Do you think your music has evolved since you first started?

 

Oh, yeah, I think so. The performing itself has gotten better.

 

Over time, you're going to get better. The songs seem a little more polished when I'm done with them now.

 

When I'm done with a song and I'm ready to play it, it either feels more polished or I'm just more willing to play it in front of people.

 

There's been days when I've finished a song in the morning and I play it at a gig that night.

Acclaimed Chicago band Martin Van Ruin releases new album, will perform Aug. 17 show at FitzGerald's

By ERIC SCHELKOPF 

Following the release of its 2014 critically acclaimed debut album,  "Every Man a King," Chicago band Martin Van Ruin continues its adventurous ways with the album "Current Day."

Martin Van Ruin  will celebrate the release of the album with a show on Aug. 17 at FitzGerald's, 6615 Roosevelt Road, Berwyn. Tickets are $10, available at ticketweb.com.

I had the chance to talk to Martin Van Ruin bandleader Derek Nelson about the new album. 

Q – Your first album, "Every Man a King," enjoyed rave reviews. Did you feel any pressure in following up the album? 

None at all. This whole thing is pretty free of pressure. If we feel any, it’s just about making sure that we’re making something that feels right.

Q – In sitting down to make the new album, what were your goals and do you think you accomplished them? 

We wanted to write songs and tell stories that were somewhat appropriate for the times we’re living in. There are parts of music and songwriting that are universal and timeless, but we didn’t want to make music that was a tribute to the '70s, even though those influences will still come through.

Hence the name of the release,  "Current Day." 

https://soundcloud.com/martinvanruin 

Q – Mike Lust recorded and engineered the record. How did you hook up with him and what do you think he brought to the project?

Lust is the very best. He goes way back with Pete Falknor (drummer/songwriter/everything else), and he records in the same practice space as us and has recorded us before. 

So, it just made sense. It was good to have another songwriter in there to help guide things in the right direction.

We needed him, actually. We recorded in so many stops and starts that it wouldn't have worked without somebody who could pull it all together.

Q – Are you just concentrating on Martin Van Ruin these days? What do you like about leading this particular group of musicians?  

I’m definitely not leading anything here; it’s a collective effort from all of us. We all just do whatever interests us. 

 

What the seven of us share is a need to make music without wondering what we’ll get out of it other than the music. That’s enough. 

Q – The band has been compared to Bob Dylan and Neil Young. Do you consider them to be a big influence on the band's music? 

Yes, for sure. I think what’s drawn people to them for so long — I mean, the songs of course — but also that they’re free. They do what they feel like.

I remember seeing Neil Young do a show solo, and he had all these instrument stations set up around the stage, and after every song he’d just wander around in slow-mo and decide what to play next. It was like watching somebody rehearse, except it’s Neil Young.

Q – Do you have any dream projects or collaborations? 
 

I've always been obsessed with T Bone Burnett, so he'd have to be high up on the list.